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CATALOGUE 
 
 OF THE 
 
 ART TREASURES I 
 
 UNITED KINGDOM. 
 
 COLLECTED AT 
 
 MANCHESTER IN 1857. 
 
 H 
 
 PRICE ONE SHILLING. 
 
BRADBURY AND EVANS, 
 
 PRINTERS TO THE MANCHESTER ART TREASURES EXHIBITION, 
 
 WHITEFRIARS, LONDON. 
 
 THE J. PAUL GETTY MUSEUM LIBRAB* 
 
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ADYEETISEMENT. 
 
 The Works of Art contained in this Exhibition are divided into 
 the following sections, viz. : — 
 
 1. PAINTINGS BY ANCIENT MASTERS. 
 
 2. PAINTINGS BY MODERN MASTERS. 
 
 3. BRITISH PORTRAIT GALLERY. 
 
 4. COLLECTION OF HISTORICAL MINIATURES. 
 
 5. MUSEUM OF ORNAMENTAL ART. 
 
 6. SCULPTURE. 
 
 7. WATER-COLOUR DRAWINGS. 
 
 8. ORIGINAL DRAWINGS AND SKETCHES BY 
 
 THE OLD MASTERS. 
 
 9. ENGRAVINGS. 
 10. PHOTOGRAPHS. 
 
 1. The Eiest Division, comprising the "Woeks of the Ancient 
 Mastees, is contained in Saloons A, B, and C, on the south side 
 of the building ; commences at the end of the South Gallery, adjoin- 
 ing to the Transept, and proceeds in chronological order towards the 
 Grand Entrance. The Division is continued in the south side of the 
 Clock Gallery, in the passage leading to the Railway Corridor, and is 
 completed in Saloon H, which also contains the contribution of the 
 Marquis of Hertford. This part of the Exhibition, with the arrange- 
 ment of the pictures therein, and the compilation of the catalogue 
 thereof, has been placed under the superintendence of George Scharf, 
 Esq., Jun., E.S.A. 
 
 [5] 
 
ADVERTISEMENT. 
 
 2. The Second Division, comprising the "Works of Modern Masters, 
 is contained in Saloons D, E, F, the intervening vestibules, and is con- 
 tinued in the Clock Gallery, north side. The arrangement of the 
 Second Division has been entrusted to A. L. Egg, Esq., A.E.A. 
 
 3. The Gallery oe British Portraits on each side of the 
 Central Hall has been entirely collected and arranged by Peter 
 Cunningham, Esq., E.S.A. 
 
 4. The Historical Miniatures in the South Transept Gallery 
 have been collected by the same gentleman. 
 
 5. The Museum of Ornamental Art occupies the Central Hall. 
 This department has been arranged, and the materials of the catalogue 
 furnished, by J. B. "Waring, Esq., assisted by Messrs. Bedford, Dudley, 
 and Chaffers. 
 
 The Meyrick or Goodrich Court Collection of Armour (part of 
 the Museum) extends nearly to the Transept, and has been arranged 
 under the direction of J. E. Planche, Esq., to whom the Executive 
 Committee are indebted for the general description of this part of 
 the Exhibition. 
 
 The collection of Indian and Chinese Tapestry, Furniture, and works 
 of Decorative Art, &c, contributed by Her Majesty the Queen, the 
 Honourable East India Company, and many private contributors, 
 (also a part of the Museum) is in Saloon G, at the upper end of 
 the North Transept. Dr. Eoyle, of the East India House, has 
 arranged and furnished the general description of the coutents of 
 this Saloon. 
 
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ADVERTISEMENT. 
 
 6. The Sculpture has been arranged by Mr. Dudley. 
 
 7. The Watee-Coloue Galleey, in three rooms behind the 
 Orchestra, has been collected and arranged by Edward Holmes, Esq., 
 M.A. The works of deceased Masters are in the two lesser rooms :— 
 those of living Masters in the Long Gallery. 
 
 8. 9. The Obiginal Dbawings and Engbayings have been col- 
 lected and arranged in chronological order, and the catalogue (a 
 separate publication) compiled by Mr. Scharf and Mr. Holmes. 
 
 10. The Photographs have been collected and arranged by Philip 
 H. Delamotte, Esq. 
 
 Art Treasures Exhibition, Manchester, 
 
 20th May, 1857. , /__ 
 
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 [7] 
 
CONTENTS. 
 
 PAGE 
 
 1. PAINTINGS BY ANCIENT MASTERS 9 
 
 2. PAINTINGS BY MODERN MASTERS 77 
 
 3. BRITISH PORTRAIT GALLERY 109 
 
 4. SCULPTURE ... 133 
 
 5. MUSEUM OP ORNAMENTAL ART 137 
 
 6. WATER-COLOUR DRAWINGS 177 
 
 7. HISTORICAL MINIATURES 207 
 
 8. INDEX AND BIOGRAPHICAL NOTICES OF ANCIENT MASTERS 210 
 9 INDEX OF THE WORKS OF MODERN MASTERS . . . 230 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 SALOONS A, B, C, and H. 
 
 Thk Greeks, who had in classic times produced such noble, works as the sculptures 
 of the Parthenon, the Niobe, the Laocoon, and the paintings of Polygnotus and Apelles, 
 were about a.d. 1000 reduced to a miserable state of artistic incapacity. Nor were the 
 Romans any better ; they who had in former times plundered and collected Art without 
 ever having been able to produce it, seemed at this period also to have lost all interest in 
 it, except where it ministered to the vanity and glory of their rulers. The Church, alone, 
 seemed to employ Art for its own sake ; and in this way many traditional representations 
 have been preserved. 
 
 Two other nations deserve notice whilst considering the state of Art at this period, 
 since, although called barbaric, and at no period remarkably elevated, they never sunk so 
 low as the two celebrated races first mentioned, but they exercised a considerable influence 
 on the weakened state of Art in other countries. 
 
 One nation was the Persian, the other the Saracens or Moors, a people always advancing 
 westward, and who had, before the date we have started from, possessed themselves of 
 nearly all the shores of the Mediterranean. With the Greeks themselves we have compara- 
 tively very little to do ; but the workmen they .sent forth to Ravenna and Sicily left a 
 deep impression on the subsequent character of Italian Art. 
 
 Constantinople, or Byzantium, as it was also styled, was the fountain-head of all these 
 peculiarities. The Roman magnates who had deserted the banks of the Tiber for the 
 shores of the Bosphorus, soon became imbued with the tastes of an Oriental city ; and as 
 Constantinople maintained frequent intercourse with Persia, a connection in matters of Art 
 became strikingly perceptible. Justinian made a special treaty with the Shah of Persia. 
 At Constantinople a Palace was erected in exact imitation of one of the Mahometan resi- 
 dences on the banks of the Tigris. When the Romano-Byzantine Emperor instituted a chief 
 governor or Exarch resident at Ravenna, a city well situated on the shores of the Adriatic 
 for communication with Greece itself, a certain occupation for Art naturally arose there, 
 and it is to the walls of the Palaces and Baptistery of Ravenna that we must look for some 
 of the most striking and characteristic illustrations of Byzantine art in Italy. The employ- 
 ment of Mosaics may be regarded as very characteristic of this period. Mosaic work is 
 undoubtedly of Oriental origin. It was employed much by the ancient Greeks and 
 Romans, and to the imperishability of the process may be attributed the preservation of 
 many fine antique compositions, discovered at Pompeii and Herculaneum. A small speci- 
 men of Pictorial Mosaic may be seen in the west wall of Saloon A. No. 23 A. 
 
 The Byzantine, with its Oriental influences, forms one of the two great divisions of Art 
 which existed at that time in Europe. The other was the Frankish or Carlovingian, in 
 which, to judge from the paintings in manuscripts, more common materials were employed. 
 Silver was frequently blended with gold, and more earthy colours made use of. Bed, 
 white, and black were very common. Byzantine Art has, with the tradition of the 
 Greek service to Russia, been handed down unchanged from the earliest period to the 
 present day, where it still remains in precisely the same form with all its faults, pecu- 
 liarities, and inscriptions. See Nos. 22 and 23 in Saloon A. These forms were also 
 carried in a westerly course north of the Alps, and manifested themselves very powerfully 
 in the earliest Art of Germany. 
 
 In Italy itself these conditions were greatly modified by the importation of ancient 
 Greek sculptures of the finest periods of Art, which were diligently studied by the Pisani 
 in the Thirteenth Century. Whereas, on the contrary, in Greece and Russia also, every- 
 thing was preserved with a Chinese-like tenacity. 
 
 We have now to consider one of the leading features of the early Christian Art of 
 Italy and Byzantium. All subjects are painted on a flat gold ground, which gives, 
 when viewed in certain lights, a peculiarly sombre effect to the rest painted in colours. 
 In ancient times it was a great honour to have a portrait painted on a circular golden 
 
 [9] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 shield, and suspended in temples and public places. Greek inscriptions decreeing these 
 honours are still in existence. The distinction was generally reserved for heroes or those 
 who had publicly served their country. 
 
 The value of gold as an honour-giving material was fully recognised by these nations, 
 and, in process of time, from the head being painted on a circular gold shield, the shield 
 itself became attached to the figure round the head alone, especially in full-length per- 
 sonages. Hence the circular plate glory, or nimbus as it is called. Nor was the nimbus 
 confined to Christian Art alone, it frequently appears in Pagan Pictures, especially those 
 discovered at Herculaneum and Pompeii. This peculiar form of glory will be clearly 
 seen in all the paintings on the extreme West Wall of Saloon A., and among the works 
 of Angelico da Fiesole. 
 
 These little disks were also employed by the sculptors, who attached them like flat hats to 
 the heads of their statues as a mark of distinction and sanctity, although in earlier times 
 sculptors had employed the same kind of plates over their statues to protect them from 
 rain in the open air or against the ordure of birds. 
 
 Such a protection was called Meniscus. The painters seeing the effect of these plates 
 on the statues imitated them in actual perspective in their pictures, instead of keeping 
 them flat and perfectly round, as in the works of Giotto and Cimabue. The next change 
 in the representation of the glory or nimbus was to define it merely with a line or thread 
 of gold, sometimes quite round, sometimes as a small disk in correct perspective. Occa- 
 sionally, as in the works of Lippi, the space within the ring was delicately dotted with 
 gold. These peculiarities are best illustrated in the western end of South Wall, Saloon A. 
 
 In scenes representing the interior of a room the entire surface of the picture was 
 painted, but a flat gold surface generally indicated the open air. Thus trees are very 
 commonly painted on a gold ground. 
 
 Gradually the effect of sky and clouds was imitated, and gold retained only upon the 
 borders of the dresses or to mark the actual material, whether of the goldsmith or 
 embroiderer, as in the large picture by Crivelli, No. 80, on the South Wall. 
 
 Raphael gilded the borders of his dresses in the first fresco he painted in the Vatican. 
 a.d. 1508. 
 
 The Germans rarely marked the nimbus. 
 
 Correggio seems to have been the first who devised the beautiful idea of a pale light 
 issuing from the head without outline or division into rays. 
 
 Michel Angelo rarely employed any distinction round his heads. 
 
 Titian and Tintoretto occasionally painted large yellow masses of rays radiating to a 
 considerable distance round the head. 
 
 In the early paintings of Cimabue and Duccio of Siena, figures were painted without 
 shadows cast from them ; draperies were shaded in self-colours, that is to say, pink with 
 crimson, blue with a deeper blue, and so on. The eyes were always peculiarly long and 
 almond-shaped, but set straighter in the head than the Chinese, which they otherwise 
 resemble. At the beginning of the 15th century a great change occurred in Italian Art. 
 Masaccio, an inborn genius, first observed and pourtrayed the gradations and masses of 
 shadow ; with him dramatic expression and bold relief of objects were paramount consider- 
 ations. So excellent were his works in the Brancacci chapel of the Church of the Carmine 
 at Florence, that both Michel Angelo and Raphael studied them at a subsequent period. 
 
 In North Italy, especially at Padua, in the schools of Squarcione and Mantegna, a 
 profound study of the antique sculpture and treatment of subjects produced an immediate 
 effect of pedantry and occasional distortion ; but it led the way to the adoption of sounder 
 principles based on nature in the succeeding Art-generation, and Verocchio and Perugino, 
 with Leonardo da Vinci and Ghirlandajo, prepared the way for the excellencies of Michel 
 Angelo, Fra Bartolommeo, and Raphael, whose mental attainments combined with the 
 most perfect command of execution have never been surpassed in the world of Art. Colour 
 at the same period was raised to the highest pitch of excellence in Venice by Giorgione 
 and Titian, whilst Francia in Bologna had been fulfilling his mission as a painter in a 
 peculiar but beautifully different phase of religious enthusiasm. Albert Durer, in 
 Germany, was at this time producing his multiform works, which he disseminated actively 
 by his practice with the burin and graver. He was the inventor of etching, and wrought 
 
 [10] 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 upon plates of iron. He was a great mechanician, painted fine portraits, wrote upon Art, 
 and was the Leonardo da Vinci of Germany. _ 
 
 Perhaps the most original of all Raphael's contemporaries, and the greatest, if measured 
 bv excellence and success in what he had proposed to himself to perform, was Correggio. 
 He at Parma, astonished the world by his bold fore-shortenings, his vigorous conceptions, his 
 unapproachable grace, delicate softness of colour, and, above all, by a breadth of light 
 which although dimly hinted at previously by Masaccio and Melozzo da Forli now burst 
 forth 'with a power and perfection which no succeeding artist has been able to excel. 
 The successors of these great luminaries of Italian Art lost sight of the first objects of their 
 calling namely devotion and truth to nature. They sought merely to parade their Art 
 and display their mechanical skill which had been almost forced upon them m academies. 
 Simpering Madonnas, gaudy colours and saiuts looking out of the picture towards the 
 3 pectator°for sympathy, pervade nearly all their- works ; in short, a want of earnestness 
 and the merest forms of acting characterise the productions of the decadence. Hut from 
 this to a certain extent, the school of the Carracci, including the best works of Guido 
 andDomenichino, must be made an exception, since, although cold and classical in con- 
 ception they were not executed without a close reference to nature, and some passages 
 in the pictures of Domenichino especially, display a very deep feeling and strong perception 
 of the workings of the human heart. Many of his finest works being executed in fresco 
 cannot be seen in this country, except by the means of engravings; but his dramatic 
 power his technical skill, his fine draperies, and fidelity to nature in many instances tend 
 to place him highest of all among the successors and imitators of Raphael and his school. 
 One or two terms that occur ki the Catalogue might here find an acceptable explanation. 
 Diptych —An altar-piece, generally small, made in two leaves so as to close face to face, 
 like the cover of a book. The name derived from Als (dis) twice, and n™£, VItvxos 
 (Ptychos) a fold or leaf. 
 Triptych —An altar-piece, composed of three parts ; the centre generally large and either 
 square or pointed, with a leaf or door at each side, made with hinges to close in 
 front and join in the middle. The name derived from Tpeis (Treis) three, and n™£, 
 Utvyos (Ptychos), a fold or leaf. . 
 
 Predella.— A name given to a small step upon the altar, supporting the altar-piece, and 
 usually decorated with small pictures in panels or otherwise. The paintings by 
 Perugino and Raphael, Nos. 83—87, 137, &c, are examples of compartments 
 from a Predella. . 
 
 Pieta —A name given to representations of the dead Saviour mourned by the Virgin, 
 ' with or without angels and holy persons. It is to be distinguished from the 
 entombment, where the body is either being carried to, or rests supported on the 
 edge of the tomb. , 
 
 Sacra Conversazione.— An ideal assemblage of saints grouped round the Madonna and 
 Child, irrespective of chronological considerations. Many of Raphaels most 
 beautiful works are of this nature. 
 The Visitation. — The meeting between Mary and Elizabeth. 
 The Deposition. — The taking down from the Cross, in which the event is treated 
 
 historically, and part, at least, of the Cross introduced. _ 
 
 A Silentium.— A Holy Family, in which the Infant Saviour is asleep, and the Virgin by 
 
 a finger to the lip imposes silence on the little St. John. 
 " Ecce Homo "—Behold the Man. The figure of the Saviour crowned with thorns and 
 holding the reed as he appeared before the multitude. Pilate and the Jews 
 generally form a group round him, but the solitary figure, or Pilate alone with 
 him, equally constitutes the " Ecce Homo." _ 
 
 Riposo.— A representation of the Holy Family resting during their Flight into Egypt. 
 The »roup is generally placed under a tree ; sometimes angels bond down the 
 branches and, plucking the fruit, offer it to the Infant Saviour. In later times the 
 Virgin is employed in some domestic occupation. A piece of tapestry in the 
 present Exhibition displays the Holy Family engaged in washing linen and 
 angels assisting them to hang the clothes on the branches. The whole subject 
 nevertheless forms a "Riposo." 
 
 [11] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 TiW P XA » 0BRB - - T1 »e Magdalen on her knees in the Garden, recognising the Saviour 
 PBHco-PA»TiH«.-When the colours are actually laid on the coat of plasterwhUsi Tstili 
 moist. In process of drying a chemical action takes place, and the colours become 
 ^r^ d towlL! he ^^ *"* P-^-^-LrdasenamerpeS; 
 Tempera. -Painting where the colours are mixed with water alone, having a little glue 
 Em*™/ wf 6gg £ fiX 1 tW ThG Same pr0CeSS " modern ^-painters employ 
 
 ™t'h"a^otTron * "* m **" *** and the surface ^7 smoothed 
 
 M0SAIC '^S t0 f ri f "P^* 4 ™ 8 PF°d™*d by the fitting together of numerous small 
 pieces of stone and glass of various colours, as stitches of different colours are used 
 in worsted-work, sometimes coated with gold and silver ♦ 
 
 J^&t^^wZ* is deroted to the earUest Itaiian and German 
 
 CaJrSr^pVntStS 117 t0 *" Pr ° dUCti0nS ° f Norfh "** imm ^tely preceding the 
 
 tWcT B ' ^ t 3 C T St perfect wks of the Venetian School, and the Caracci 
 themselves, confronting those of Rubens, Van Dyck, and Nicolas Poussin 
 
 vestibule 2 contains almost exclusively paintings by Murillo 
 
 feALOON C is devoted to the works of Claude, Rembrandt, Van Dyck Velasauez 
 
 SfiSWSSStt; a ° d T ^ mMto ' ** "~ of ihe ch0 J " ^° r »' f 
 
 T^^f * GALLERr ' over the Clock, contains numerous paintings of the old Masters. 
 The numbers commence on the upper cross wall in the N.W corner of Saloon A ™d 
 continue to the left across the doors and down the South Wall ' 
 
 Italian Art is confined to the South Wall throughout the Saloons A, B, and C 
 German, Flemish, and French Art is confined to the North Wall throughout all the 
 
 section 
 
 The Spanish is principally on the South Wall of Saloon C and in Vestibule No 2 
 
 GallM^fh^T S ° arraUgCd i aS A° P / eSent ' k J uxta P osi «o". on opposite sides 'of the 
 Uallery, the contemporary works of Italy and Germany. 
 
 JeAheSsC^r:- &eqUent,y **** " *" ^^ ° f Ancient MaSters 
 W. Waagen, Treasures of Art in Great Britain. 3 vols., Svo. 1S54 
 
 it v "• Jani ? so i. 1 s H ,. and bo , ok t0 the Public Galleries, and Handbook to the Private Galleries. 
 tSZE*. bS^^&2W^ S 5 V °- F T rankfurt, 1S33. English tra^slaU^X. 
 rmwc, KMael von TJrbmo. 2 vols. Svo. Leipzig, 1839. 
 K. kuglcr. Handbook of Tainting ; Italian Schools, edited bv Sir Charles Eastlnke P R \ 
 
 kug er, Handbook to German Schools, edited by Sir Edmund Head Svo London l<Ufi 
 g London Ts°48 t0 *" 8pMi8h "^ Fl " e " C ' h S *° ols ' edited b^EWtaundB& Ivo 
 
 Kji^^^S^ 8 ' ^ Crowe and Cavalcaaelle. Svo. London, 1S57. l ^ 18 ° 5 - 
 
 Vasan. The Florence edition of 1S32-3S, and Bonn's translation bv Mrs Former 
 
 ^>, •• B r?fT° ed i, tlon ' 3 vols - 8vo > 1795 - G = ™ d Bonn's edStf Ifc^stK^ 
 Smith s Catalogue Raisonnu. 9 vols. Svo. 1829— 4* noscoe s translation. 
 
 Stirling s Annals of the Artists of Spain. 3 vols. Svo. 1S48. 
 
 P. signifies Panel. C. Canvas. 
 
 The measurements are all given in English feet and inches, 
 edited fl^N P™ ci P all * T deri 7 ed from the Biographical Catalogue of Italian Painters, 
 edited by lv. N Wornum, London, 1855 ; Nagler's Kunst Lexicon ; Bryan's Dictionai4 
 
 tTX SMS* ey - 8vo ' ^ 1853 ; aQd ottle ^ s ^ °< *«-£ 
 
 Mat 20th, 1857. GEORGE SCHARF, J C * 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 SALOONS A, B, C, and H. 
 
 Note.— The pictures are all described under the names given by their present owners. 
 
 10 
 
 11 
 
 llff 
 
 SALOON A. ITALIAN. 
 
 WEST WALL.— CLASSIC AND EARLY ITALIAN ART. 
 ANCIENT CLASSIC ART. 
 
 Fresco Painting from a Tomb at Rome . . C. Wentworth DilJce, Esq. 
 Described by Conyers Middleton in his Germana, and engraved in 
 same work, page 14, Tav. I. 
 
 EARLY ITALIAN SCHOOL. 
 Saints in compartments. Bearing the date 1338. A. H. Beresford Hope, Esq. 
 Half-figures of Prophets in spandrils of the gold arcade. 
 ANCIENT CLASSIC ART. 
 
 Encaustic Painting Sir M. W. Ridley, Bart. 
 
 Exhibited at British Institution in 1S56. Engraved in Tumbull's Painting. 
 
 BYZANTINE SCHOOL. 
 
 The Nativity. Painted on cedar . . . H.R.H. Prince Albert. 
 
 Probably painted in the 17th century.* No. 7 of the Kensington 
 Catalogue. 
 The Death of the Virgin. Probably of the 13th century. Ditto. 
 
 No. 1 of the Kensington Palace Catalogue. 
 The Monastery of Solowetzk, on the White Sea . . Ditto. 
 P. Probably painted about the 14th century. No. 9 of Kensing- 
 ton Catalogue. 
 
 CIMABTJE, 1240; still living in 1302. 
 A Triptych ....•• Christ Church, Oxford. 
 
 P. The central subject contains the Madonna and Child enthroned, 
 attended by angels. On the left wing the Crucifixion with the 
 Madonna and St. John. On the right, St. Francis receivmg the 
 stigmata. No. 117 of the Library Catalogue. 
 
 BYZANTINE SCHOOL. 
 
 The Sudarium. Surrounded by 10 pictures relating to the 
 
 legend of King Abgarus . . .. • H.R.H. Prince Albert. 
 P. The inscriptions are in Greek. Probably painted about 1550. No. 4 
 of the Kensington Catalogue. 
 The Death of St. Ephraim Syrus . . . W. Fuller Maitland, Esq. 
 Probably of the 11th or 12th century. Similar to the Vatican picture 
 engraved in D'Agincourt, pi. £2, and Pistolesi, vol. 3, tav. 76, but of "• - 
 oblong form. 
 
 GIOTTO, 1276—1336. 
 Standing half-length figure of a Saint with Cross and Book. 
 
 To the knees. No. 128 of the Library Catalogue. Christ Church, Oxford. 
 
 DUCCIO DA SIENA. Painted 1282—1340. 
 Madonna and Child surrounded by Saints, half-length 
 
 No. 115 of Library Catalogue Ditto. 
 
 MODERN RUSSIAN. 
 An enamelled Triptych of brass with blue ground . C. Bradbury, Esq. 
 
 figures 
 
 * Although several of these. Byzantine or Russian paintings have really been executed in the 
 16th and 17th centuries, the perfectly unchanged and traditional style of their subjects and execu- 
 tion justifies their being placed among genuine specimens of a remote period. One Greek picture, 
 representing St. George, No. 189, has been inserted in its actual chronological position on the East 
 wall of Saloon A. 
 
 [13] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A, West Wall. 
 
 DUCCIO DA SIENA. Painted 1282—1340. ITALIAN. 
 
 A Triptych. The Crucifixion, with St. John and the Virgin. 
 Two LamentiDg Angels above. On the left wing of °he 
 Triptych The Annunciation and the Virgin and Child, 
 enthroned, attended by Angels. On the right hand wing 
 St. Francis receiving the Stigmata, and the Virgin enthroned 
 
 on the same seat with the Saviour 
 
 H.R.H. Prince Albert. 
 
 BUFFALMACCO, 1273—1351. 
 St. John the Baptist, enthroned, holding a scroll and staff. 
 
 Christ Church, Oxford. 
 MARGARITONE D'AREZZO, 1236—1313. 
 Half-length figure of a Monastic Saint holding a book 
 
 Ditto. 
 
 TADDEO DI BARTOLO, 1363—1422. 
 Two Saints. Half figures 
 
 Ancient Painting. 
 
 Col. Meyrick. 
 Earl of Pembroke. 
 
 ANCIENT ROMAN. 
 
 From the Temple of Juno at Rome. 
 
 TADDEO GADDI, 1300—1366. 
 Four Figures with Musical Instruments and part of a 
 
 Fifth . No. 113 of the Library Catalogue. . Christ Church, Oxford. 
 
 MARGARITONE D'AREZZO, 1236—1313 
 Coronation of the Virgin .... Liverpool Royal Institution. 
 
 CIMABUE, 1240; still living in 1302. 
 TWO WINGS OF A TRIPTYCH. They have been joined the reverse way. Ditto. 
 
 FLORENTINE SCHOOL. 
 A Triptych H.R.H. Prince Albert. 
 
 The principal subjects are the Deposition, and Adoration of the Magi. 
 
 ANDREA ORCAGNA, 1315—1376. 
 "Noli me tangere." 
 
 From the Abbate Casah's Collection at Florence. 
 
 G. E. S. Vernon, Esq. 
 
 Norwich Jlusenm. 
 Ditto. 
 
 MODERN RUSSIAN. 
 Virgin and Child with Prophets 
 Virgin and Child 
 
 MOSAIC PAINTING. 
 
 Representing an Ancient Tragic Mask from Pompeii. 
 
 The late J. Smith Barn/, Esq. 
 GIOTTO, 1276—1336. 
 Three Women and a Child . . Liverpool Royal Institution. 
 
 1 ft. 5 in. by 1 ft. 9 in. * 
 
 Part of a fresco detached from the wall of the Carmine Church at 
 Florence Sawn from the wall by Mr. Patch, in 1770. See No 28 of 
 Ottleys Sale Catalogue, 1811. W. vol. 3, p. 231. No. 7 of the new 
 Liverpool Catalogue. 
 
 TTGOLLNO DA SIENA, d. 1339. 
 Seven Predella Pictures, from the great Altarpiece formerly 
 in the possession of W. J. Ottley, Esq. 
 
 The Last Supper Sev , John FulUr R t(sse n. 
 
 The Betrayal Ditto. 
 
 The Flagellation Ditto. 
 
 The Procession to Calvary . . . Ditto. 
 
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MNTINGS BY ANCIENT MASTERS. 
 
 Saloon A, West Wall. 
 
 UGOLINO DA SIENA— con tinned. ITALIAN. 
 
 The Deposition ....•• Rev. John Fuller Russell. 
 
 The Entombment Ditto. 
 
 The Resurrection . Ditto. 
 
 Nos. 10, 11, and SI of the Sale Catalogue of Warner Ottley, in 1847. 
 W. vol. 2, p. 462. 
 
 GIOTTO, 1276—1336. 
 The Crucifixion, with numerous figures . . . Lord Northicick. 
 
 A small genuine picture of the School. From Thirlestane House, 
 but not in the Catalogue. 
 
 UGOLINO DA SIENA, d. 1339. 
 Half-length Figures of Apostles, from the great Altai-piece 
 
 formerly in the possession of \V. J. Ottley, Esq. Rev. John Fuller Russell. 
 See No. 25. 
 
 TADDEO GADDI, 1300—1366. 
 Martyrdom of St. Lawrence 
 
 >// lUz. M 
 
 Col. Meyrick. 
 
 GIOTTO, 1276—1336. 
 Wing of an Altar-piece : The Agony, and Pilate 
 
 Washing his Hands Ditto. 
 
 THE LAST SUPPER . From the Bisenzio Collection. W. vol. 2, p. 230. Lord Ward. 
 
 SPINELLO ARETINO, 1318 ; still living 140S. 
 A small Tabernacle painted with the Descent of the Holy 
 Ghost. The figure to the left said to be a portrait of Cimabue. 
 
 G. E. S. Vernon, Esq. 
 
 MODERN RUSSIAN. 
 
 31» A small Painted Triptych. Painted with numerous figures. C. Bradbury, Esq., 
 
 GIOTTO, 1276—1336. 
 32 Part of the figure of the Daughter of Herodias. 
 
 A Fresco, l ft. 3 in. by l ft. 1 in. • Liverpool Royal Institution. 
 
 This figure and the portions of the group in No. 24 may be re- 
 cognised in Patch's complete engravings made before the church 
 was destroyed by fire. No. 8 of the new Liverpool Catalogue. 
 Descent of the Holy Ghost .... Ditto. 
 
 Coronation of the Virgin, w. vol. 3, p. 371 . Rev. W. Davenport Bromley. 
 
 BARTOLO DI FREDI. Painted 1356; still living in 1409. 
 
 Adoration of the Kings Rev. J. Fuller Russell. 
 
 For a memorandum of the family of the Fredi, see Lanzi, vol. 1, 
 
 33 
 34 
 
 35 
 
 GhSU. 
 
 36 
 
 37 
 
 38 
 
 page 285 of Bonn's edition. W. vol. 2,_p. 462. _ 
 \C)(pU l^^iMARUX' 1240 ; still living 
 St. Peter, a half-length figure . 
 
 in 1302. 
 
 Christ Church, Oxford. 
 
 SIMONE MEMMI, 1285—1344. 
 Christ returning to his Parents . . . Liverpool Royal Institution. 
 lft 7 in by lft. 2 in. Inscribed and dated 1342. Engraved by />»/-' 
 G. Scharf, in Kugler's Handbook of Italian Painting, p. 157. (edition </■ f?\ 
 1855.) No. 9 of the new Liverpool Catalogue. 
 
 JUSTUS DA PADUA. Painted 1367. 
 A Triptych in numerous compartments, containing in 
 
 the centre " The Coronation of the Virgin" . . E.R.S. Prince Albert. 
 
 Dated 1367 on the pedestal, and on the back inscribed "Justus 
 pinxit in Archa." From the Ottingen Wallerstein Collection. No. 13 
 of Kensington Palace Catalogue. 
 
 [15] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A, West Wall. 
 
 SPINELLO ARETINO, 1318—1408. Italian. 
 
 St. Michael and Angels combatting . . . . A. H. Lamrd Esq. 
 Tlie central portion of the celebrated fresco, representing the Fall ' 
 of Lucifer, formerly in the Church of Sta. Maria degli Angeli, 
 at Arezzo. Mentioned by Vasari, in his Life of Spinello, page 195. 
 Flor. Ed., 1832. Bohn's translation, vol. i. p. 269. Engraved by 
 Lasinio in his Specimens of Early Florentine Painters, and by G. 
 Scharf in Kugler's Handbook to Italian Painting, ed. 1855, p. 152. This 
 fragment contains the upper part of the figure of St. Michael, with sis 
 angels hovering to the left with lances. 
 
 TADDEO DI BARTOLO, 1363—1422. 
 A Diptych, containing on one leaf the Madonna and Child 
 enthroned between SS. James the Greater and John the 
 Baptist and two Angels : on the other the Crucifixion, the 
 Virgin, and St. John ; the Magdalen embraces the Cross 
 
 Rev . J. Fuller Russell. 
 DON SILVESTRO CAMALDOLESE, still living in 1410. 
 Death and Glorification gf the Virgin Mart, an illumina- 
 tion on parchment Ditto. 
 
 This and No. 44 formed part of the same book. Described in Dib- 
 din's Bibl. Decameron. It cost Mr. Ottley £100. Waagen, Kunst- 
 werke, &c., in England. Ed. Berl. 1S37, vol. 1, p. 401. 
 
 EARLY ENGLISH. 
 
 Wings of a Diptych, with Portrait of Richard II. and his 
 
 Patron Saints (Edmund, Edward the Confessor, and John the 
 
 Baptist) on one leaf, and the Madonna and Child with Angels 
 
 on the other. W. vol. 3, p. 150. Engraved by W. Hollar. Earl of FcmbroJce. 
 
 TADDEO GADDI, 1300—1366. 
 
 A small Coronation of the Virgin. Four kneeling Angels 
 
 below Rev. J. Fuller Russell. 
 
 The style of this picture closely approaches that of Giotto. W. vol. 2, p. 463. 
 DON SILVESTRO CAMALDOLESE, still living 1410. 
 Illumination of the Birth of St. John, on parchment 
 
 Liverpool Royal Institution, 
 Cut out of one of the celebrated large Missals, described by Vasari 
 in his life of Don Lorenzo, which were so much admired by Lorenzo 
 de' Medici, and sought also by his son Leo X. (Vasari, ed. Flor. 1S32, 
 page 202. Bohn's translation, vol. 1, p. 2S3.) Formerly in Ottley's 
 and Roscoe's Collection. W. vol. 3, p. 282. 
 
 TADDEO DI BARTOLO, 1363—1422. 
 Virgin and Child with four Angels, two holding the Crown Rev. J. F. Russell, 
 Called by Mr. Dawson Turner a Starnina. W. vol. 2, p. 462. 
 BARNABA DA MODENA. Painted 1374. 
 Painting on Wood, divided into four compartments, 
 
 viz.: — Lord Wensleydale, 
 
 1. The Coronation of the Virgin. 
 
 2. The Holy Trinity, accompanied with the Virgin, 
 
 St. John, and Symbols of the Four Evangelists. 
 
 3. The Madonna and Child, with Two Votaries in- 
 
 troduced by an Angel. 
 
 4. The Crucifixion. 
 
 Inscribed "Barnabas de Mutina pinxit. 1374." Engraved in 
 D'Agincourt. Plate 133, fig. 3. 
 
 TADDEO GADDI, 1300—1366. 
 Small Altarpiece with Wings . . . . W. Fuller Maitland, Esq, 
 Inscribed and dated 1338. The central subject is the Crucifixion ; on 
 the right the Nativity ; on the left the Virgin enthroned and 
 surrounded by Saints. The centre is thought to be by Giottino. W. 
 vol. 3, p. 2. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saigon A. South Wall. 
 
 48 
 
 52 
 
 53 
 
 54 
 55 
 
 56 
 
 57 
 
 58 
 |) 
 
 59 
 
 60 
 61 
 
 62 
 
 SOUTH WALL. ITALIAN. 
 
 MASACCIO, 1402—1443. 
 A Male Portrait. Three-quarters ; face turned to the right. 
 
 William Drtt.ry Lowe, Esq. 
 From the family of the Marcliese Gherardi. The receipts for this 
 and No. 49 are said to still exist among the archives of the family. 
 
 A Female Portrait, turned to the left. p. . . Ditto. 
 
 METRO DELIA FRANCESCA, 1398—1484. 
 Portrait op a Youth in profile Ditto. 
 
 MASACCIO, 1402—1443. 
 His own Portrait ... ... Lord Northwich. 
 
 No. 74 of the Thirlestane House Catalogue. W. vol. 3, p. 196. 
 
 l Jf>H<* ANGELICO DA FIESOLE, 1387—1455. 
 The Virgin and Child enthroned, Angels stand around ; St. 
 
 Domenic and St. Catherine kneel in front . . . Lord Ward.+ 
 
 MASACCIO, 1402—1443. 
 St. Lawrence Liverpool Royal Institution. 
 
 SANO DI PIETRO. About middle of 15th century. 
 St. Peter restoring Tabitha. w. vol. s, p. 4. W. Fuller Maitland, Esq. 
 
 POLLAJUOLO, 1427—1498. 
 David standing with the Sling .... William Drury Lowe, Esq, 
 Painted upon a leathern wedge-shaped shield of somewhat convex 
 surface. 
 
 LORENZO DI CREDI, 1454 ; still living 1536. 
 Holt Family Marquis of Westminster. 
 
 ANDREA VERROCCHIO, 1432—1488. 
 Holt Familt Ditto. 
 
 ^VvCU ANGELICO DA FIESOLE, 1387—1455 
 
 The Last Judgment Lord Wardr¥ 
 
 From the Fesch Collection. Fiesole executed five repetitions of this 
 subject, which have been engraved. In lithography, by L. Gruner, 
 (the Paradise only). The whole in outline by G. Scharf, for the Life 
 of Fiesole issued by the Arundel Society. The upper part of the 
 picture in the Belle Arti at Florence will be found in Rossini's Storia 
 dell' Arte. W. vol., 2 p. 230. 
 
 Entombment op the Virgin . . . . W. Fuller Maitland, Esq. 
 Formerly in the possession of Mr. Warner Ottley, and No. 30 of the 
 Sale Catalogue in 1S47. Engraved in the Etruria Fittrice, vol. 1, pi. 9, 
 and in D'Agincourt, pi. 114, fig. 6, as the production of Giotto. 
 Exhibited at the British Institution in 1S52, No. 12. W. vol. 3, p. 2. 
 
 SANO DI PIETRO. About the middle of 15th century. 
 A Miracle from the Legend of St. Clara . . Sir John F. Boileau, Bart. 
 W. vol. 3, p. 423. 
 
 FILIPPINO LIPPI, 1460—1505. 
 
 The Virgin and Child, called, " Our Lady of the Fingers." 
 
 Beriah Botfield, Esq. 
 P. 2 ft by 1 ft. 2£ in. J 
 
 From the Palazzo Ricardi at Florence A duplicate is in the Gal- 
 lery of the Marquess d'Alvanter at Lisbon. Exhibited in the British 
 Institution in IS50. No. 151. W. vol. 2, p. 335. 
 
 FRA FLLIPPO LIPPI, 1412—1469. 
 The Stort of Jupiter and Callisto . . Sir John F. Boileau, Bart. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South Wall. 
 
 ANGELICO DA FIESOLE, 1387—1455. ITALIAN. 
 
 Head of the Saviour. Part of a fresco, representing The 
 
 Crucifixion The Rt. Rev. Br. Gillies. 
 
 SANO DI PIETRO. About middle of 15th century. 
 Virgin and Child surrounded by Angels and Saints H.R.H. Prince Albert. 
 The tunic of the Infant Saviour is very peculiar. No. 16 of the 
 Kensington Catalogue. 
 
 The Nativity; 
 
 FRA FILIPPO LIPPI, 1412- 
 A Circular Picture 
 
 -1469. 
 
 G. Cornwall Legh, Esq. 
 
 GIOTTO, 
 
 The Death of the Virgin . c. 
 
 1276—1336. 
 
 7 ft. by c ft. . . Lord Northwick. 
 
 The Apostles kneel around the Madonna lying on a couch. St. 
 Lawrence and St. Stephen stand on each side. The youthful figure of 
 Christ appears above seated in a Vesica glory supported by angels. He 
 holds the soul of the Virgin, represented as a praying child, in a 
 napkin. No. 799 of the Thirlestane House Catalogue. More probably 
 a production of some early North-Italian painter of Venice or Verona. 
 
 ■ VINCENZIO CATENA, died 1530. 
 Madonna and Child with Saints and Donor . Liverpool Royal Institution. 
 
 COSIMO ROSELLI, 1439; still living 1406. 
 The Sacrifice of the Mass. A large Altai-piece. IF Fuller Maitland, Esq. 
 P. The Saviour appears crowned and in a long black jewelled dress, 
 standing on the Sacramental Cup in the attitude of Crucifixion in 
 front of a deep blue floriated cross. St. John and St. Dominic kneel on 
 the left. St. Peter Martyr and St. Jerome, on the right Painted in 
 tempera. Formerly in the Solly Collection. No. 13 of the Sale Cata- 
 logue in 1S47. W. vol. 3, p. 4. The figure of the Savour is the same 
 as in the famous Santo Volto, at Lucca. 
 
 FRA FILLIPPO LIPPI, 1412—1469. 
 The Martyrdom of St. Sebastian . . . Liverpool Royal Institution. 
 A predella picture. No. 14 of the new Liverpool Catalogue. W. 
 voL 3, p. 232. 
 
 A Legendary Scene Ditto. 
 
 A predella picture. No. 15 of the new Liverpool Catalogue. W. 
 vol. 3, p. 232. 
 
 St. Peter and St. John healing the Lame Man . W. Fuller Maitland, Esq. 
 From Mr. Ottley's Collection. This picture adorned the predella or 
 step of an altarpiece. W. vol. 3, p. 3. 
 
 PESELLINO, 1426 
 The Exhibition of a Relic 
 
 -1457. 
 
 Liverpool Royal Institution. 
 The picture contains portraits of Cosmo de' Medici, his son Piero, 
 and grandsons Lorenzo and Giuliano. In the massiveness of the 
 figures the influence of Masaccio may be traced. No. 17 of the new 
 Liverpool Catalogue. W. vol. 3, p. 233. 
 
 FRA FILLIPPO LIPPI, 1412—1469. 
 Virgin and Child, enthroned, surrounded by Saints and 
 
 Angels j / lfl jy. Brett, Esq. 
 
 P. Imported from Florence in 1S38. 
 
 SANDRO BOTTICELLI, 1447—1515. 
 
 The Story of Ulysses and the Sirens . Liverpool Royal lnstitut ion. 
 
 This curious but much injured picture seems to have formed a part 
 of one of those huge Italian chests, or cassone, given as presents to 
 contain the wedding garments. No. IS of the new Liverpool Cata- 
 logue. W. vol. 3, p. 233. 
 
 GRANACCI, 1477—1544. 
 Holy Family. In a Circular Frame 
 
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 G. E. LI. Vernon, Esq. 
 

 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South Wall. 
 
 79 
 
 81 
 
 II 
 
 88 
 
 91 
 
 ,92 
 
 G. BELLINI. ITALIAN. 
 
 A Dominican Monk. Inscribed .... Soulages Collection. 
 
 SANDRO BOTTICELLI, 1447—1515. 
 The Virgin adoring the Infant Saviour lying among Roses. 
 
 C. Probably transferred from panel. W. vol. 3, p. 196. Lord Xorthwieh. 
 
 Adoration of the Kings. With a choir of Angels above, and 
 
 Men and Angels rejoicing below W. Fuller Maitland, Esq. 
 
 The long Greek inscription is to the effect that it was painted in 
 1500, by Alessandros. The principal group is engraved in W. Y. ' J - & al - <&• A 
 Ottley's work on the early Florentine Masters. 
 
 GRANACCI, 1477—1544. 
 Virgin and Child enthroned, two Angels adoring . . Ditto. 
 
 A circular picture. W. vol. 3, p. 4. 
 
 C. CRIVELLI. Painted 1476—1486. 
 Madonna and Child enthroned. St. Peter receiving the 
 
 Keys, other Saints standing around .... Lord Ward. 
 Inscribed OPVS. CAROL. CRIVELLI. VENETI. "W. vol. 2, p. 234. 
 
 FRANCESCO FRANCIA, 1450—1518. 
 The Baptism of Christ .... Right Hon. H. Labottchere. 
 
 From the Collection of Mr. Coningham. W. vol. 2, p. 419. A 
 predella picture. 
 
 GLROLAMO DA SANTA-CROCE. Painted 1520—1548. 
 
 The Resurrection The Royal Institution, Liverpool. 
 
 PIETRO PERUGINO, 1446—1524. 
 
 "Noli me tangere." Alexander Barker, Esq. 
 
 A predella picture. This, together with Nos. 84 to 87, all of the 
 same series, were exhibited at the British Institution in 1852. Each 
 19 inches long and 10 inches high. 
 
 The Baptism Ditto. 
 
 The Nativity Ditto. 
 
 The Resurrection Ditto. 
 
 Similar in motives and with the same personages that are introduced 
 in the well-known picture in the gallery of the Vatican. Attributed 
 to Raffaelle. 
 
 Christ and the Woman of Samaria Ditto. 
 
 An original pen drawing for this composition is in the Oxford 
 University Gallery. It was formerly in the Collections of Ottley, 
 Robert Udney, and Sir Thomas Lawrence. Engraved by Fisher, No. 2, 
 in his "Seventy Facsimiles," Oxford, 1852. It is No. 116 of the 
 Gallery Catalogue. 
 
 PESELLI PESELLO, 1380—1457. 
 Madonna and Child with St. John .... Lord Ward. 
 
 The Virgin holds the Child, who stands upon a parapet with a carpet 
 over it. He blesses the infant St. John, who looks up with fervent 
 devotion and holds a jewelled cross. W. vol. 2, p. 231. 
 
 GIOVANNI BELLINI, 1426—1516. 
 Christ on the Mount of Olives . . Rev. W. Davenport Bromley. 
 
 W. vol. 3, p. 376. 
 Portrait of a Young Man ... . R. S. Holford, Esq. 
 
 Inscribed "Opus Bellini Johannis Veueti," and the motto "Non 
 aliter." W. vol. 2, p. 196. 
 
 ANDREA MANTEGNA, 1431—1506. 
 Pieta. With the Crucifixion in the distance . Liverpool Royal Institution. 
 
 GIOVANNI ANTONIO BELTRAFFIO, 1467—1516. 
 Madonna and Saints ... . The late J. Smith Barry, Esq. 
 
 P. 
 
 [19] c 2 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. Sooth Wall. 
 
 93 
 
 94 
 
 95 
 
 i 96 
 
 97 
 
 ,,9B 
 
 99 
 100 
 
 101 
 102 
 
 103 
 104 
 
 105 
 
 106 
 
 107 
 
 Christ Church, Oxford. 
 
 C0SIM0 ROSELLI, 1439 ; still living 1406. ITALIAN. 
 
 The Virgin and Child enthroned between Angels. Four 
 Saints in niches at the sides. A large Altai-piece. 
 
 Rev. W. Davenport Bromley. 
 Dated November 28th, 1443. W. vol. 3, p. 372. 
 
 C. CRIVELLI. Painted 1476—1486. 
 
 A " PnrrA " W. vol. 2, p. 235 Dord Ward. + 
 
 Half-length figures, remarkable for the extravagance of expres- 
 sion ; but nevertheless genuine. 
 
 MATTE0 DA SIENA. Painted 1462—1491. 
 Madonna and Child with thh Infant St. John . . Hy. Farm; Esq. 
 
 2 ft. 44 by 2 ft. , ■ • . ' ). 
 
 From the Collection of the Bishop of Dantzig. See Lanzi, (Roscoe 
 ed.) vol. 1, page 28S. The date MCCCCXVIII is on his picture of the 
 Massacre of the Innocents, at Naples. Delia Valle however proposes 
 to reconcile differences by reading, MCCCCLXVIII.— Lanzi (Roscoe), 
 vol. 2, p. 7. 
 
 ANDREA MANTEGNA, 1431—1506. 
 Judith Earl of Pembroke. 
 
 Probably the picture known as a Raphael in Charles I.'s Collection, 
 and which he exchanged with the Earl of Pembroke for one by 
 Parmigianino. W. vol. 3, p. 151. 
 
 Christ bearing the Cross .... 
 
 From the Collection of Charles I. 
 Christ on the Mocnt of Olives . . ... • Thos. Baring, Esq. 
 
 Inscribed "Opus Andrea Mantegna." From the Collections of 
 Cardinal Fesch and Mr. Coningham. No. 5S of the Sale Catalogue in 
 1849. W. vol. -2, p. 178. 
 
 PACCHIAROTTO. Painted 1535. 
 
 Holy Family O. Cornwall Legh, Esq. 
 
 SANDRO BOTTICELLI, 1447—1515. 
 The Virgin and St. John adoring the Infant Saviour. 
 
 W. vol. 3, p. 3. w - FMer Maitland, Esq. 
 
 CIMA DA C0NEGLIAN0, living 1517. 
 
 Marriage of St. Catherine D. Walls Russell, Esq. 
 
 Inscribed. KSSKEL MANTEGNA, 1431—1506. 
 The Triumph of Scipio 
 
 C. Exhibited in the British Institution in 1835. W. vol. 2, p. 248. 
 Painted evidently iu oil. 
 
 CARLO CRIVELLI. 
 I St. Jerome and St. Catherine. Half-length figures . Soulages Collection. 
 
 LEONARDO DA VINCI, 1452—1519. 
 I St. Jerome in the Desert; bearing the questionable date 1465. 
 
 P Ahraha-m Darby, Esq. 
 
 FILIPPINO LIPPI, 1460—1505. 
 j The Birth of the Virgin. A small picture . Liverpool Royal Institution. 
 ¥< .l-merlv belonged to Mr. Roscoe, by whom it was considered an 
 Angelico da Fiesole. No. 20 of the new Liverpool Catalogue. W. 
 
 L0 SPAGNA. Still living 1530. 
 Small half-figure of Magdalen . . The late J. Smith Barry, Esq. 
 MICHEL ANGELO BUONARROTTI, 1474—1563. 
 ' Holy Family. With four Angels holding Scrolls. Unfinished. 
 
 Rt. Son. E. Labouchere. 
 Purchased as a work of Ghirlandajo's, but now considered to be a 
 youthful production of his illustrious pupil. W. vol. 2, p. 417. 
 [20] 
 
 Geo. Vivian, Esq. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South Waix. 
 
 Ill 
 
 112 
 113 
 
 114 
 115 
 
 117 
 
 FRANCESCO FRANCIA, 1450—1518. ITALIAN. 
 
 The Madonna and Child, with St. Joseph, w. vol. 2, p. 235. Ford Ward.* 
 
 PIETRO PERTJGINO. 
 
 The Madonna and St. John. Half-length, figures, each in a 
 
 Medallion mu °- 
 
 Half-length Figures op the Saviour and four Saints. 
 
 On gold ground Francis Edwards, Esq. 
 
 From the Rogers' Collection. No. 569 of the Sale Catalogue in 1856. 
 
 ANDREA PASSERIS. 
 
 Madonna and Child. Inscribed and dated — /. Morrison, Esq. 
 
 X,, ,L .;.u),i (U) "IWl. DIE XX. MARTII." 
 
 r ^o, ALBERTINELLI, 1475—1520. 
 
 THE ANGEL GABRIEL. Imported from Florence in 1838. John W. Brett, Esq. 
 
 LORENZO DI CREDI, 1454 ; still living 1536. 
 
 Coronation of the Virgin Lord Overstone. 
 
 P. 3 ft. by 1 ft. 5 in. 
 
 Jameson's Private Galleries, p. 394. From the Rogers' Collection. 
 No. 610 of the Sale Catalogue in 1S56. W. vol. 2, p. 76. 
 
 GIOVANNI BELLINI, 1426—1516. 
 
 The Virgin and Child between St. Francis and a Monastic 
 
 Female Saint J- -2. Anderdon, Esq. 
 
 From the Rogers' Collection. No. 595 of the Sale Catalogue in 1856. 
 
 NICCOLO ALUNNO, 1458—1499. 
 Virgin and Child. Surrounded by a Vesica glory and beads of 
 
 Cherubim S.R.E. Frince Albert. 
 
 Probably part of a picture. M. Hartzen inclines to attribute this 
 picture to Pintukicchio. No. 17 of the Kensington Catalogue. 
 
 GIOVANNI BELLINI, 1426—1516. 
 St. Francis in the Desert. The Saint stands in front of his 
 
 Cell in the attitude of receiving the Stigmata . /. Dingwall, Esq. 
 P. Signed "JOANNES BELLINVS." Imported by Buchanan. 
 Mentioned in the Government Report on the National Gallery in 1853, 
 page 67S. 
 
 PIETRO PERUGINO, 1466—1524. 
 Virgin and Child enthroned between St. Jerome and St. Peter 
 
 Lord IXorthwieli. 
 From the Collection of the Duke of Lucca. Painted originally for 
 the church of St. Jerome at Lucca, and has been engraved. No. 257 
 of the Thirlestane House Catalogue. 
 
 FRA BARTOLOMMEO, 1469—1517. 
 A Riposo Earl Cowper. , 
 
 Passavant, Kunstreise, page 99, ed. Francf. 1833. W. vol. 3, p. 10. 
 
 BERNARDINO LTJLNI, 1460— still living, 1530. 
 Holy Family Abraham Darby, Esq. 
 
 t CIMA DA CONEGLIANO, living 1517. 
 Inscribed- 
 
 St. Catherine 
 
 ■ioa.nis babtistb 
 coneglanes1s 
 
 OPVS. 
 No. 260 of the Thirlestane House Catalogue. TV. vol. 3, p 
 
 lord Northwich ■ 
 
 201. 
 
 RAPHAEL, 1483—1520. 
 Christ bearing the Cross John W. Brett, Esq. 
 
 P. Painted in tempera upon a gesso ground. Imported from 
 Florence. More probably by Conegliano, a specimen of whose work 
 hangs above it. 
 
 [21] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. Sooth Side. 
 
 BORGOGNONE. Painted about the year 1500. ITALIAN. 
 
 Virgin and Child on a rocky Throne. St John the 
 
 Baptist and St. Ambrose presenting the donor . H.E.H. Prince Albert. 
 
 RAPHAEL, 1483—1520. 
 The Crucifixion. Angels hover in the Air. St. John and the 
 Virgin stand on each side. St. Jerome and the Magdalen 
 
 kneel in front Lord Wari.^r 
 
 P. Inscribed "RAPHAEL. VRBINAS. P." From the Fesck 
 Collection at Rome. Painted before he had attained his l"th year, 
 in 1500, for the Dominican Church at Citta di Castello. Passavant's 
 Raphael, vol. 2, p. 12. Engraved by L. Gruner for the above work, 
 Taf. VI. W. vol. 2, p. 232. 
 
 FRANCESCO FRANCIA, 1450—1518. 
 Madonna and Child, the latter also clothed . . Daniel Lee, Esq. 
 
 ANTONIO VrVARINI, Painted 1444—1451. 
 Holt Family From the Soulages Collection. 
 
 RAPHAEL, 1483—1520. 
 Three full-length figures of Saints .... Lord Ward. 
 
 A Tempera Painting. Attributed by Dr. Waagcn to Lo Spagxa. 
 W. vol. 2, p. 232. 
 
 FRANCESCO FRANCIA, 1450—1518. 
 
 Virgin and Child Lord Xorthwick. 
 
 Attributed by Dr. Waagen to Lo Spaona. No. 178 of the Thirle- 
 stane House Catalogue. W. vol. 3, p. 197. 
 
 RAPHAEL, 1483—1520. 
 Christ on the Mount of Olives .... Henry Farrer, Esq. 
 P. 2 ft. 3j in. by 1 ft. 7i in. Part of a predella. Another portion, 
 representing Christ bearing the Cross, is in the Collection of the 
 Duke of Sutherland at Stafford House. Compare the principal figure 
 of No. 134. 
 
 Three full-length figures of Saints .... Lord Ward. 
 
 A Tempera Painting. Attributed by Dr. Waagen to Lo Spaona. 
 W. vol. 2, p. 232. 
 
 PINTURICCHIO, 1454—1513. 
 Virgin and Child H.R.H. Prince Albert. 
 
 RAPHAEL, 1483—1520. 
 Portrait of Pops Julius II. Ki xY J. /^i'cy ct ) G. Cornwall Legh, Esq. 
 
 FRANCESCO FRANCIA, 1450—1518. 
 
 The Baptism Her Majesty, from Hampton Court. 
 
 Inscribed — "Francia avrifex." W. vol. 2, p. 365. See an l 
 engraving of this in the Gallery of North Transept. 
 
 RAPHAEL, 1483—1520. 
 Madonna and Child. The Child standing on a parapet in front 
 of the picture turns round and embraces the Virgin, resting 
 his right foot in her hand . . . . E. J. Mackintosh, Esq. 
 
 From the Orieans Gallery, and afterwards in the Collections of Hy. 
 Hope and S. Rogers. Engraved by Flipart in the Orleans Gallery. 
 Landon, vol. 6, pi. 325. In the series of Holy Families by Raphael in 
 Kugler's Italian Painting, No. 31. Described in Passavant, vol. 2, rage 
 146. Jameson's Private Galleries, p. 399. No: 727 of the Rogers' Sale 
 Catalogue in 1856. A copv of this by Sassoferrato is No. 357 of this 
 Gallery. W. vol. 2, p. 76. 
 
 The Agony in the Garden. Painted originally for Guidobaldo, 
 
 Duke of Urbino, in the year 1504 . . . W. Fuller Maitland, Esq. 
 
 P. From the Gabrielli Palace at Rome. No. 60 of Mr. Coningham's 
 Sale in 1849. See Passavant's Raphael, vol. 2, p. 31. Engraved by L. 
 Gruner for the last-named work, pL X. See Vasari's Life of Raphael, 
 ed. Flor. 1832-38, page 500. W. vol. 3, p. 4. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South Wall. 
 
 -1519. 
 
 135 
 136 
 
 137 
 138 
 
 139 
 
 !j 
 
 140 
 
 ITALIAN. 
 Lady Dunmore. 
 
 Lord Ward. 
 
 v 
 
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 142 
 
 143 
 
 144 
 
 145 
 146 
 
 147 
 
 LEONARDO DA VINCI, 1452 
 Madonna, with Infant Christ 
 
 \ttributed by Dr. Waagen to Giovanni Pedrini. 
 RAPHAEL, 1483—1520. 
 
 Madonna and Child E<&1 Cowper. 
 
 P. Obtained by Earl Cowper when ambassador at Florence. Pro- 
 bably painted about the year 1505. Passavant's Kunstreise, p. 99. 
 Described in Passavant's Raphael, vol. ii., page 37. W. vol. 3, p. 9. • 
 
 The Agony in the Garden Miss Burdett Gov'ts. 
 
 P. Formerly in the Orleans and Rogers' Collections. Part of the 7 . .- y ' cu/00 
 predella of the altarpiece painted in 1505 for the nuns of St. Anthony . , , . 
 at Perugia. Landon, vol. iv. pi. 226. Engraved by L. Gruner ; *"" f™ 
 also by Flipart in the Crozat Gallery, and in the Orleans Gallery. 
 Passavant, vol. ii. page 41. Jameson's Private Galleries, p. 399. 
 W. vol. 2, p. 76. . . 
 
 A " PietX." The dead Christ on the knees of the Virgin, Disciples 
 
 standing round Mrs - s - Eaicson. ^ ' 
 
 Part of the altarpiece predella described in No. 137. From the %/L^aJ/^/M 
 Collections of Christina of Sweden, the Duke of Orleans, Count 
 Rechberg of Munich, Sir Thomas Lawrence, and Mrs. Whyte of /Jj_ -^ fy/Q x& 
 Barron Hill. Engraved bv Lienard and Du Flos for the Orleans and 
 Crozat Galleries. Described in Passavant's Raphael, vol. 2, p. 42. 
 W. vol. 3, p. 390. 
 
 The Three Graces 
 
 P. From the Borghese Gallery in Rome. Purchased by Sir .i. 
 Lawrence of Woodburn. Considered by Passavant to have been / on ,o y " **** 
 painted in 1506 ; vol. 2, p. 65, of his Life of Raphael. An original 
 sketch of this subject is in the Academy at Venice, and probably 
 taken from the celebrated antique group in the Library of the 
 Cathedral at Siena. Engraved by Sherwin and FOrster. W. vol. 2, 
 p. 233. 
 
 The Annunciation G. E. H, Vernon, Esq. 
 
 The figures of the Angel and Madonna are enclosed in two medal- 
 lions within one frame. Purchased at the sale of the remainder ot 
 Coesvelt's pictures, and engraved in his Collection. From the Palazzo 
 Rosso at Florence. 
 
 Madonna and Child. Dated 1508 Sari Cowper. 
 
 Acquired bv Earl Cowper when ambassador at Florence from the 
 Casa Niecolini. Mentioned bv Cinelli in the Bellezze di Firenze, 1677, 
 p. 409. Engraved by Perfetti in 1S31, and George Doo in 1S35 
 Engraved bv J. N. Hoff in Passavant's Kunstreise, p. 99. Described 
 in Passavant's Raphael, vol. ii. p. 83. No. 19 of the series of Holy 
 Families collected by G. Scharf, Jun., in Kugler's Handbook of Italian 
 Painting, voL ii. p. 341. W. vol. 3, p. 10. The inscription and date 
 are on the border of the Virgin's dress, round the neck. i i 
 
 SCIPIO GAETANO. fl. krf4 ■ 23 
 
 The Annunciation. After Raphael . . Liverpool Royal Institution, ■ 
 Engraved iu Landon, pi. 151. A similar picture by Pulzone is at 
 Naples. Museo Borbonico, vol. xiv. tav. 16. 
 
 LEONARDO DA VINCI, 1452 — 1519. 
 
 Portrait of a Youth Sari °f Elgvn. 
 
 The work, most probably, of Antonio Beltraffio. 
 The Head of La Vierge aux Rochers . . E- S. Eolford, Esq. 
 
 P. A small study on brown ground. W. voL 2, p. 194. 
 
 GLROLAMO DA SANTA-CROCE. Painted 1520—1548. 
 
 The Crucifixion The late J. Smith Barry, Esq. 
 
 FRANCESCO FRANCIA, 1450—1518. 
 St. Roch. Inscribed " Francia Aurifaber . . Sir W. B. Farquhar, Bart. 
 
 p. MCCCCCII." 
 
 RAPHAEL AND FRA BARTOLOMMEO. 
 
 The Legend of the Cintola. The Ascension of the Virgin 
 
 from the tomb and dropping her girdle to St. Thomas. Earl of Warwick. 
 
 P Formerly in the Cathedral of Pisa. Afterwards in the Solly 
 Collection. No. 41 of the Sale Catalogue in 1847. See also Waagen s 
 " Art and Artists in England," first edit., page 1S8. 
 [23] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South Wall. 
 
 RAPHAEL, 1483—1520. ITALIAN. 
 
 Holy Family B.C. Oakover, Esq. 
 
 A Replica of the famous picture called "LaPerla," now at Madrid. 
 London, pi. 143. Described in Passavant's Raphael, vol. 2, p 309 
 W. vol. 3, p. 3S9. 
 
 Holy Family T. Grenfell, Esq. 
 
 Replica of the Holy Family. Known as " La Madonna del 
 
 Passeggio." Lord Scarsdalc. 
 
 P. Mentioned in Passavant's Raphael, vol. 2, p. 399. London, pi. 104. 
 No. 43 of the Collection of Holy Families by Raphael in Kugler's Italian 
 Painting. Two other repetitions of this composition are at Bridge- 
 water House, London, and in the Studj at Naples. 
 
 TTBERTINL 
 
 Moses Striking the Rock Geo. Hoskins, E^. 
 
 CORREGGIO, 1494—1534. 
 Madonna and Child. On gold ground ... I. James, Esq. 
 
 Engraved by D. Cunego and in Landon, pL 11. 
 
 GIANERANCESCO PENNI, died 1528. 
 Holy Family, with a Lamb. Unfinished . . Earl of Pembroke. 
 
 After a composition by Raphael: W. vol. 3, p. 151. 
 
 RAPHAEL, 1483—1520. 
 
 The Maries at the Sepulchre Lord Scarsdale. 
 
 Engraved in London, voL 8, pi. 432. Passavant's Kunstreise, page 
 187. Passavant's Raphael, vol. 2, page 4S1. 
 
 INNOCENZIO DA IMOLA, 1494—1550. 
 Madonna and Child surrounded by Saints J. Dingwall, Esq. 
 
 From the Solly Collection, No. 37 of the Sale Catalogue, 1S47. 
 
 BORGOGNONE. Painted about the year 1500. 
 The Dead Christ mourned by Angels . . . Rev. J. Fuller Russell. 
 
 FRA BARTOLOMMEO, 1469—1517. 
 Marriage op St. Catherine. The Madonna and Child are 
 seated under a canopy held by Angels. The Magdalen kneels 
 on the left, inscribed ORATE PRO PITTORE. Abraham Darby, Esq. 
 
 RAPHAEL, 1483—1520. 
 
 Joanna op Aragon Earl of Warwick. 
 
 A similar picture'to 'this in the Louvre, No. 3S4 as it now stands. 
 It has been engraved m the Crozat Gallery. W. vol. 3, p. 213. 
 
 innocenzio da imola, 1494—1550. 
 
 An Altar-piece Rcr. W. Davenport Bromley. 
 
 W. vol 3, p. 376. 
 
 RIDOLFO GHLRLANDAJO, 1482—1560. 
 Portrait of Copernicus. Holding a planisphere in his right hand 
 
 and a scroll in the left William Drury Lowe, Esq. 
 
 P. Copernicus was at Rome in 1500. 
 
 SEBASTLANO DEL PIOMBO, 1485—1547. 
 The Holy Family with St. John the Baptist. The Virgin 
 
 lays her band on the shoulder of the donor . . T. Baring, Esq. 
 Formerly at Stratton Pork. W. vol. 2, p. 175. 
 
 ANDREA DEL SARTO, 1488—1536. 
 Joseph and His Brethren Earl Cowpcr. 
 
 Joseph Discovering Himself to His Brethren . . . Ditto. 
 
 A predella picture. " n Jrft 3 ' // 
 
 A Legendary Subject Ditto. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon t A. South Wall. 
 
 H' 
 
 ! 
 
 165 
 
 166 
 
 167 
 168 
 
 CORREGGIO, 1494—1534. 
 The Magdalen reading in the Desert .... 
 
 This is an original repetition of the celebrated picture at Dresden, 
 and the subject of a legal trial of many years' duration at Rome, that 
 occasioned much excitement. W. vol. 2, p. i!.Ji. Engraved in 
 Landon, pi. 17. 
 
 An Angel's Head 
 
 This and No. 16V are froni the fresco, the Coronation of the Virgin, 
 in the old apsis of St. Giovanni at Parma, which was demolished in 
 the last century. W. vol. 2, p. 233, 
 
 Two Angels' Heads, w. vol. 2, p. 233 
 
 Virgin kissing the Child, tt. vol. 2, p. 278. . . . Ear 
 
 ITALIAN. 
 
 Lord Ward. 4- 
 
 1m ft 
 
 Ditto. + ' 
 
 Ditto. + 
 I of Carlisle. 
 
 169 Holt Family . 
 
 PARMIGIANINO, 1504—1540. 
 
 Peter Norton, Esq. 
 
 PONTORMO, 1493—1558. 
 
 170 i Vends and Cupid ..... Her Majesty, from Hampton Court. 
 
 This picture is mentioned by Vasari, both in the life of Pontormo 
 and that of Michel Angelo. Engraved in Landon, vol. ii. pL 17. The 
 Cartoon for it was pi-epared by Michel Angelo to obUge his friend 
 Bartolommeo Bettini, who employed Pontormo to paint it as the 
 •*• crowning decoration of a room. Allessandro, the Grand Duke of 
 
 Florence, appropriated to himself the first painting which Pontormo 
 made, and it still remains at Florence. This picture was brought to 
 England, and exhibited in 17o4 at Essex House in London. It was to be 
 disposed of at a raflie, and tickets issued. Purchased by Queen 
 Caroline for £1000. Jameson's Public Galleries, vol. 2, p. 360. 
 
 PORDEN0NE, 1483—1539. 
 
 171 ! Portrait of a Young Man F. Perkins, Esq. 
 
 Inscribed, and dated 152S. 
 
 VASARI, 1512—1574. 
 ( 172 i The Death op Cleopatra Lieut.-General Fox. 
 
 RAPHAEL, 14S3— 1520. 
 
 Ill 173 j The Nativity Christ Church, Oxford. 
 
 From the Collection of Charles I. No. 140 of the Library Catalogue. 
 
 ANDREA DEL SARTO, 1488— 153G. 
 I 174 His Own Portrait, in a black dress, w. vol. 3, p. ll -daw Earl Conner- • 
 
 *)** ^•7^F^ > ^DE^ZI0 > FlRRARI, 1484-1550. 
 
 /it I 175 I The Visitation Wynn Ellis, Esq. 
 
 ,!l! From the Solly Collection, No. 36 of the Sale Catalogue, 1847. For- 
 
 merly in the Church of St. Jacobo, at the Gate of St. Lucia, at Genoa, 
 and is mentioned in Soprani's " Lives of the Genoese Painters," vol. 1, 
 p. 22S : — " Tavola che miglior non sarebbe se fosse de mano di Rafaello 
 o d' Andrea del Sarto." 
 
 GIULIO ROMANO, 1492—1546. 
 !!j. 176 Conversion of St. Paul Lady Dunmore. 
 
 PALMEZZANO DA FORLL Painted 1503—1537. 
 177 THE BAPTISM. Inscribed, and dated 1534. . • .PP. Nichols, Esq. 
 
 MAZZOLINO DI FERRARA, 1481—1530. 
 HI 178 The Passage of the Red Sea . . . . Edward Solly, Esq. 
 
 Inscribed "Z. V. 19. MDXXI." Engraved in D'Agincourt, pi. 198. y^jj 
 No. 30 of the Sale Catalogue of the Solly Collection in 1847. 
 
 DANLELE DA VOLTERRA, 1509—1566. 
 
 179 The Entombment W. Angerstein, Esq. 
 
 I From the Florentine gallery ; imported by Mr. Solly. 
 
 [25] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. South and East Wall. 
 
 FRANCESCO PRIMATICCIO, 1504—1570. 
 
 180 Penelope and Ulysses, w. vol. 3, p. 322. 
 
 ANGELO BRONZINO, 1502—1572. 
 
 181 J Portrait of Cosmo L, Grand Duke of Tuscany 
 
 W. vol. 2, p. 195. 
 
 ITALIAN. 
 
 Earl of Carlisle. 
 
 E. 8. Ho/ford, Esq. 
 
 BACCIO BANDINELLI, b. 1487—1559. 
 Portrait of an old Man William Dmry Lour, Esq. 
 
 LEONARDO DA VINCI, 1452—1519. 
 Portrait of Mona Lisa E. Twminff, Esq. 
 
 This rephca of the celebrated picture in the Louvre, called also Lt 
 Belle Joconde, formerly belonged to the poet Wordsworth, and was bv 
 him presented to its present owner. 
 
 MICHAEL ANGELO BTJONAROTTI, 1474—1563. 
 Christ and the Woman of Samaria. Painted in chiaro oscuro. 
 
 _. _ i .„ „.,, Liverpool Eoyal Institution. 
 
 P. Formerly at Capo di Monte in the Collection of the King of Naples 
 Brought to England by Ottley. No. 34 of his Sale Catalogue in lSll' 
 Engraved in Landon, vol. 1, pi. 42. No. 61 of the new Liverpool 
 Catalogue. W. vol. 3, p. 237. l 
 
 GIDLIO ROMANO, 1492—1546. 
 Figures and Elephants. In chiaro oscuro .... Ditto. 
 
 MARCELLO VENTJSTI, 1515—1576. 
 The Scourging of Christ. Canvas . . . . J. S. Harford Esq 
 Inscribed on the" slab of pavement beneath the Saviour's foot ' ' 
 MA VENV. 1552. AP. S. VEN. This picture is a reduced copy of 
 the famous fresco by Sebastiano del Piombo in S. Pietro in Montario 
 at Rome, from the design of Michel Angelo. Engraved in Landon 
 vol. v>, pi. 6. W. vol. 3, p. 188. ■ 
 
 A " Silentium." After Michael Angelo and Raphael . . Mrs. Dawson 
 
 Engraved by Charles Pyo in 1825, when In the possession of Jonathan 
 Dawson, Esq. 
 
 PERINO DEL VAGA, 1500—1547. 
 The Nativity ...... 
 
 Inscribed and dated, 1534. W. vol. 2, page 233. 
 MODERN GREEK. 
 
 Lord Ji'ard.'f- 
 
 Christchurch, Oxford. 
 
 St. George. See Note at page 13 
 
 DOMENICO RICCIO, called BRTJSASORCI, 1494—1567. 
 The Vision of St. Francis. Painted on marble . . G. A. Hoskins, Esq. 
 
 MAZZOLINO DI FERRARA, 1481—1530. 
 
 The Circumcision . Earl of ElUsmcre. 
 
 P. From Mr. Comngham's Collection. No. 4G of the Sale Catalogue. 
 1849. W. vol. 2, p. 30. 
 
 ANGELO BRONZINO, 1502—1572. 
 Portrait of Cosmo I., Grand Duke of Tuscany If.E.H. Erinee Albert. 
 P. No. 20 of the Kensington Palace Catalogue. 
 
 BATTISTA FRANCO, called SEMOLEI, 1498—1561. 
 The Baptism. St. John, holding a cross, kneels to take some 
 water in a bowl. Two Angels in the act of undressing the 
 Saviour. . . . . ... . Duke of Newcastle. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Vestibule I. 
 
 VESTIBULE No. I. 
 
 ITALIAN. 
 
 CONTAINING EXCLUSIVELY ITALIAN AND EARLY SPANISH PICTURES. 
 
 7 BALDASSARE PERUZZI, 1481—1537. 
 The Adoration of the Shepherds .... Lord Ward.-h^ 
 
 Dr Waa^en suggests the name of Prospero Fontana as the author 
 of this large altarpiece. From the Fesch Collection. W. vol. 2, p. 236. 
 faiatb VASARI, 1512—1574. 
 St. Peter, St. Paul, St. Jerome . . . Liverpool Royal LnstituUcn. 
 
 G. B. MORONI, 1510—1578. 
 Portrait of Bartolommeo Capello . . . Wm. Drury Lowe, Esq. 
 Inscribed " Bart 5 . CappeUus, 1546. April 2," on the letter in his hand. 
 PALMEZZANO DA FORLI. Painted 1503—1537. 
 
 Judith. (Inscribed) H.R.H. Prince Albert. 
 
 G. B. MORONI, 1510—1578. 
 An Old Man at an Anvil . . • Earl of Elgin and Kincardine. 
 
 Considered by Dr. Waagen to be by Bonvicino called Moretto da 
 
 PERINO DEL VAGA, 1500—1547. 
 
 Portrait of Cardinal Pole ■ Larl Spencer. , 
 
 No. 315 of the Catalogue at Althorp House. W. vol. 3, p. 45a. 
 GITJLIO ROMANO, 1492—1546. 
 Alexander the Great. Holding a figure of Victory in his right 
 
 h and /. Dingwall, Esq. 
 
 From King of Holland's sale, No. 178. 
 
 Described br Vasari in his Life of Giulio Bomano. Vol. 1, p. 713, of 
 the Florentine Edition, 1832. Vol. 4, page 48, of Bohn's translation. 
 DANIELE DA VOLTERRA, 1509—1556. 
 The Deposition, or Descent from the Cross . Abraham Darby, Esq. 
 A reduced early copy of the celebrated fresco in the church of the 
 Trinita di Monte at Rome. 
 
 PARMIGIANINO, 1504—1540. 
 
 Two Cupids carrying a third Earl of Yarborough. 
 
 No. 26 of the Brocklesby Catalogue. 
 
 DOSSO DOSSI, 1490—1560. 
 The Circumcision Liverpool Royal Institution. 
 
 BERNARDINO LUINI, 1460— still living 1530. 
 The Marriage of St. Catherine ...<?. Cornwall Legh, Esq. 
 
 ANDREA DA SALERNO, 1480—1545. 
 A Triptych. St. Jerome seated ; St. Catherine to the left, St. // . fat I p 1 j 
 
 Rosalia to the right Earl of JEllemere. . 
 
 ANDREA DEL SARTO, 1488—1536. 
 
 Portrait of Leonora D'Este *■ Edwards, Esq. 
 
 GIOVANNI DI SPERANZA. Painted about 1500. 
 Madonna and Child and St. Joseph. . . G. E. K. Vernon, Esq. 
 
 Name inscribed. 
 
 PEDRO CAMP ANA, 1503—1570. 
 The Magdalen taking off her Pearls . . Geo. A. Hoshins, Esq- 
 Stirling vol 1 p. 123—125. W. vol. 2, p. 259. From the Spanish 
 Gallery of Louis Philippe. No. 358 of the Sale Catalogue in 1853. 
 
 BERNARDINO LUINI, 1460, still living 1530. 
 St. Catherine and Angels *■ B™"*** ** 
 
 [27] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 VESTIBULE I. 
 
 I 211 
 
 !! 212 
 
 213 
 
 [I 214 
 
 215 
 I 216 
 
 ! 217 
 
 ! 218 
 
 219 
 
 220 
 221 
 
 1 222 
 
 oia L t. „ PARMIGIANINO, 1504—1540. ITALIAN 
 
 210 | The Emperor Charles V. Painted at Bologna in 1530. W. Angerstam, Bag. 
 
 „ T RAPHAEL, 1483—1520. 
 
 The Incredulity of St. Thomas . . Lord North ui, I- 
 
 Jlousec'tafe^ 10 Catal ° gUe * ^ ^ 27 ~ « the TWriestane 
 ANDEEA DEL SAETO, 1488-1536. 
 
 holy Family Sir Humphrey Be Tra ford, Bart. 
 
 INN0CENZI0 DA IMOLA. 
 
 Virgin and Child Socages Collection. 
 
 CESARE D'ARPINO, 1568—1640 
 
 ln?tT« G ?o E i CR ??- '• , HurJc Phillips, Esq. 
 
 Purchased at Cardinal Spina's sale at Rome, 1S2S— 9. * 
 
 eo „ JUAN ^CENTE JOANNES, 1523—1579. 
 
 SS. Peter and Paul Geo _ L ^^ ^ 
 
 NAVARKETE, called EL MTJDO, 1526—1579 
 
 His own Portrait Wm. Stirling, Esq. 
 
 Prom the Soult Collection. No. 4 of the Sale Catalogue. Stirling, 
 \ol. 1, p. :>ol — 261. °' 
 
 GAUDENZIO FERRARI, 14S4— 1550 
 Madonna and Child, with Saints . . . . G . A . Hoskins, Esq. 
 
 D03S0 DOSSI, 1490—1560. 
 Adoration op the Shepherds LadlJ z> U)imore . 
 
 PERIOD OF MICHEL ANGELO. 
 The Story of Francesca da Rimini. A tempera 
 
 £ ctm ' e If. Drury Lowe, Esq. 
 
 GI0RGI0NE. 
 
 The Chevalier Bayard. Full-length. . . The Itev. Br. Well^hy. 
 
 CORREGGIO, 1494—1534. 
 Portrait of the Sculptor Baccio Bandinelli 
 
 ~ ■ , . • , BLer Majesty, from Hampton Court. 
 
 Engraved by Cornelius Vi.sscher. Jameson's Public Galleries, p. 303. 
 
 EMPOLI, 1554—1640. 
 
 "EcceHomo" The Bowayer Lady SiUcell. 
 
 C. Purchased m Florence by Thomas Wright, Esq. 
 
 DOSSO DOSSI, 1490—1560. 
 Adoration of the Shepherds j?. s. Hol/ord, Esq. 
 
 MARCELLO VENUSTI, 1515—1576. 
 A "Silentium," after Michael Angelo . . Liverpool Royal Institution. 
 
 22,S 
 224 
 225 
 
 226 
 227 
 
 PARMIGIANINO, 1504—1540. 
 Sleeping Endymion Peter Nort E 
 
 *rorn the Lucieu Buonaparte Collection. Buchanan's Memoirs 
 vol. 2, p. 273. ' 
 
 F. ZDCCHERO. 
 
 Don Carlos when young. Full-length portrait . . Earl of Yarborough, 
 No. 89 of the Brocklesby Catalogue. 
 
 VASARI, 1512—1574. 
 
 The Poets of Italy riel College, Oxford. 
 
 Jicinus Poliziano, Petrarcha, Boccaccio. Dante, Cavaloante 
 Engraved by Hieronirnus Cock. O. A similar picture to.this on panel 
 was in the Orleans Collection. Engraved by Cathelm and Mondct. 
 
 [281 
 

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 \pH-(i*«) ef-*- xUw 
 
INGS BY ANCIENT MASTERS. 
 
 Vestibcle I. 
 
 PROCCACINI, 1548- 
 The Marriage of St. Catherine 
 A"Pieta" 
 
 -1626. ITALIAN. 
 
 Liverpool Royal Institution. 
 Abraham Darby, Esq. 
 
 230 
 
 231 
 
 232 
 
 233 
 234 
 
 236 
 237 
 
 FRANCISCO DE RD3ALTA, b. about 1555, d. 1628. Spanish School. 
 Portrait of the Artist and his Wife . . Sir Wm. Eden, Bart. 
 
 Stirling, vol. 1, p. 491—496. 
 
 ANDREA DEL SARTO, 1488—1536. A / J „1'Qm€ a 
 
 With St. John the Baptist and Saint Elizabeth./ft/^ •* & 'f* 
 
 Holt Family, 
 
 A Circular picture 
 
 From the Collection of Charles I 
 
 /( 241 
 
 W. -vol. 2, p. 4VS. 
 
 Son. Wm. Warren Vernon 
 
 m 
 
 fa 
 
 7-2)0 
 
 ALESSANDRO BONVICINO (IL MORETTO), 1500— still living 1556. 
 Altar-piece -the Madonna and Child, seated on the 
 Clouds, with St. Hippolytus and St. Catherine below. 
 
 «2^l1^^^^^k^^^ DIVELLERETVB .ETEKNIS." 
 C. 7 ft. 6 in. by 4 ft. 6 in. _ - # , **»• Pahjrare, Jun., Esq. 
 
 From the Solly Collection, No. 20 of the Sale Catalogue, 1S4,. 
 
 PARMIGIANINO, 1504— 1540Jt~> f C i^ZcfllC ) 9 >s 
 Cabinet Picture. From the Barberini Palace. . -J- *'• Harford, Esq. 
 
 D THEOTOCUPOLI, called EL GRECO, 1548—1625. 
 
 Portrait of his Daughter William Stirling, Esq. 
 
 From the Spanish Gallery in the Louvre. Stirling's Painters, v. 1, p. 2&5. 
 GAUDENZIO FERRARI, 1184—1550. 
 Virgin and Angels worshipping the Infant Saviour. 
 
 w i o mr -p %■ S. Holford, Esq. • 
 
 W. vol. 2, p. IPO. P. J ■ 
 
 GAROFALO. 
 
 The Circumcision E « rl °f ^rborougL 
 
 GIULIO ROMANO, 1492—1546. 
 Sacrifice of a Goat to Jupiter . Her Majesty, from Hampton Court, 
 Formerly in King Charles's Collection, and called "a high and 
 narrow piece ; four little entire figures and a goat lying by to be -*- 
 sacrificed." No. 244 of Hampton Court Catalogue. Jameson s Public- 
 Galleries, part 2, p. 334. W. vol. 2, p. 360. 
 
 FRANCESCO HERRERA (the Elder), 1576—1656. 
 ST. PETER. From the Spanish Galley of the Louvre . . William St,rh,>r,, Esq. 
 
 ANDREA ! SOLftMO, b.145 8, still living 1530. // WlZ I M 
 Virgin and Child R. S. Holford, Aq. . 
 
 LUIS DE VARGAS, 1502—1568. 
 Virgin and Child adored by Saints . . . Wm. Stirling, Esq. 
 
 From the Spanish Gallery of the Louvre. Stirling, vol. 14, p. 30T— 31. 
 SEBASTLANO DEL PIOMBO, 1485—1547. 
 The Dead Christ mourned, and the Descent into Hell. 
 
 A Triptych . Lord Jsorthmck. 
 
 Attributed by Dr. Waagen to Bloemakt. No. 2j of the Thirlestane 
 House Catalogue. W. vol. %, p. 206. 
 
 ANNIBALE CARRACCI, 1560—1609. 
 
 Assumption of the Virgin Duke of Newcastle. 
 
 From Hafod House. 
 
 ANDREA SOLARIO, b. 1458, still living 1530. 
 The Daughter of Herodias holding the Charger 
 
 + -/Uv 
 
 treorge A. Soskins, Esq. 
 
 [29 1 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. Sooth Side. 
 
 244 
 
 
 245 
 
 • 
 
 246 
 
 'II 
 
 ... 
 
 247 
 
 Ill 
 
 248 
 
 
 249 
 
 
 250 
 
 ;i 
 
 251 
 252 
 
 253 
 
 
 254 
 255 
 256 
 
 . I 257 
 
 258 
 
 . |l 259 
 
 260 
 
 261 
 
 I 262 
 
 ! 263 
 
 PELLEGEINO MTJNARI DA MODENA, d. 1523 ITALIAN 
 Madonna and Child .... T j v ., . , 
 
 Attributed by Dr . Waagen to Gaudehzio Wki. No. 204 of Northwtek ' 
 Thirlestaue House Catalogue. W. vol. 3, p. 200. 
 
 SALOON B. SOUTH SIDE 
 
 CONTAINING VENETIAN AND BOLOGNESE PAINTINGS. 
 
 GI0RGI0NE. 
 
 The Woman op Samaria with the Saviour at the Well. 
 
 Sir Humphrey de Trafford, Bart. 
 
 CAESAR RECEIVING THE HEAD OP POMI>EY . . Farl of T)„>-„7„, 
 
 W. vol. 3, p. 19. ' ■ -L«>i of Darnlet/. 
 
 m a „ TITIAN, H77—1576. 
 
 1 HE SurPER AT EMMADS . . T7,s Vn-1 „/• V 7. i 
 
 Mentioned by Ridoln, No. of Arlington St. clSl° f Iarforw V*. 
 
 DOMENICHLNO, 1581—1641. 
 David and Goliath . . v „„ 7 . ■„, . . 
 -tare of Warwick. 
 
 SEBASTIANO DEL PIOMBO, 1485—1547 
 Female Portrait Earl of Xincardine a)>d Elg ^ 
 
 TITIAN, 1477—1576. 
 
 Ignatius Loyola The Dulce of Manchester. 
 
 GIORGIONE, 1477—1511. 
 
 The Judgment op Paris . rh* v nv i n f \r„i x 
 
 C. W. vol. l, P . 416. Ihe Earl of Mahnesbunj. 
 
 The Daughter of Herodias with the Head op St John 
 
 W. vol. 2, p. i 79 . . . . . Th. Baring, Esq. 
 
 A Music Party. A Youth and two Ladies seated in a Landscape. 
 
 ^jss^^js^ No - 157 of the ™^^T del '' 
 
 TITIAN, 1477-1576. 
 
 A * EM ALE ATTIRED BY TWO RICHLY DRESSED MALE FIGURES. Lord Ward 
 
 Portrait op Verdizotte. i nscribe d. . . . Francis Edwards, Esq. 
 Alessandro de* Medici . Ser Majast from Hamtm Court 
 
 lisfi^^ys; 3? 7 d c - visschor - janies ° u ' s pubiic Gai - % 
 
 Portrait of Ariosto, half length .... Earl of T>ar„lr„ 
 
 '4^^^^^^^°°^^^^^ ^ibed J J ' 
 
 . _, TITIAN and SCHIAVONE. 
 
 A PlETA . . O- T J T> • 7 -r, 
 
 oir John Pnnglc, Bart. 
 
 TITIAN, 1477—1576. 
 Rape of Europa . . . F , . n . 
 
 p From the Orleans Gallery. Inscribed "Kttanii pinx'it." W. vol. s, f ^0 
 
 The Dog of Charles V The late j_ Smith B E 
 
 The Magdalen . • Jntph ^ 
 
 The Rape of Proserpine t t? j n • -^ 
 
 From the Onea.s^.nection. Se'e ^ *,££ i f thf """' ** 
 Orleans Gallery under the name of Lambert Scenes by J?L Deliguon 
 Portrait of a Girl occupied in making Lace . Richard Baxter, E*q 
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AINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. South Wall. 
 
 ITALIAN. 
 Abraham Darby, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 
 276 
 
 277 
 
 ( 
 
 278 
 279 
 
 TITIAN — continued. 
 
 Julius Cesar 
 
 Ttberius 
 
 Caligula 
 
 Claudius 
 
 Galba . . •.-."■ 
 
 Otho 
 
 BONEFAZIO VENEZIANO, 1491—1553. 
 Susanna and the Elders .... The late J. Smith Barry, Esq. 
 
 TITIAN, 1477—1576. 
 The Adoration of the Shepherds . . . Christ Church, Oxford. 
 
 Formerly in the Collection of Charles I. 
 The Duke of Alva • • Ditto. 
 
 PAOLO VERONESE, 1528—1588. 
 Diana and Action. ^A Sketch W. Anger stein, Esq. 
 
 TINTORETTO, 1512—1594. 
 
 The Nine Muses Ecr Majesty from Bampton Court. 
 
 Formerly belonged to Charles I. and James II. Engraved by Gnbelin. % 
 
 Jameson's Public Galleries, p. 368. W. vol. 2, p. 359. Jf 
 
 ANDREA SCHIAVONE, 1522—1582. 
 A Monk Preaching before an Assemblage of Nobles Rev. T. Staniforth. 
 In this interesting picture may be recognised portraits of Charles V., 
 Philip II and the reigning pontiff. The subject seems to have refer- 
 ence to one of the king's ceremonials of abdication, as his son wears a 
 crown also. Generally regarded as a Titian. 
 
 GIACOMO DA PONTE (called BASSANO), 1510—1592. 
 
 The Rich Man and Lazarus Th. Birchall, Esq. 
 
 From the Rogers' Collection, No. 612 of the Sale Catalogue, 
 1856. W. vol. 2, p. 77. 
 
 TITIAN, 1477-1576. ///y 
 
 Titian's Daughter holding up a Jewelled Casket on a dish >£ -H C 
 
 Earl De Grey. 
 From the Orleans Gallery. W. vol. 2, p. 85. See Kugler's essay in 
 Blatter fur bildende Kunst, 1833, No. 30. Engraved by Francois 
 Guibert. 
 
 Marriage of St. Catherine C. P. Grenfell, Esq. 
 
 From the Lucien Buonaparte Collection. 
 Finished Sketch for the large picture in the Escurial 
 
 known as " La Gloria di Tiziano "... Lord Harry Vane. 
 
 From the Collection of Mr. Rogers. No. 725 of the Sale Catalogue 
 of 1S56 The original picture was painted by order of Charles V., and 
 placed in the monastery to which he had retired ; Philip II. removed 
 it to Madrid, and it now remains in the Escurial. This sketch was 
 discovered in a gambling house at Madrid, about 180S. Brought to 
 England by Mr. Wallis. Engraved in 1566. See Ridolfi, vol. 1, p. 167. 
 Jameson's Private Galleries, p. 401. W. vol. 2, p. 77. 
 
 280 
 281 
 282 
 
 PAOLO VERONESE, 1528—1588. 
 
 Marriage of St. Catherine . 
 
 TITIAN, 1477—1576. 
 
 Philip II. of Spain 
 
 Christ Church, Oxford. 
 
 Earl Stanhope 
 
 PAOLO VERONESE, 1528— 15S8. 
 Expulsion of the Money Changers . . . Earl of Yarborough, 
 
 No. 55 of the Arlington Street Catalogue. W. vol. 2, p. 87. 
 [31] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 283 
 
 , 284 
 285 
 
 286 
 287 
 288 
 
 t |j| 289 
 
 290 
 291 
 
 292 
 
 . ||| 293 
 
 294 
 295 
 296 
 
 297 
 298 
 
 51 i\ 
 
 *aloox B. Sornr Bo! 
 
 _■ „ TINTORETTO, 1512—1594 
 
 Sketch op the Miracle of St. Mark «r- D ITA "A». 
 
 From the Collections of Ottley and Rogers Wo MO n < jf W *f Mr ^ CoutU. 
 
 t,««t« ™: ' ' Zfoerpobl BayaZ Institution. 
 
 "Le Respect" . PA0L ° ™° raE ' 1523 - 15 ^- 
 
 C. 5 ft 10 in square. From the Orleans Gallery W VoL S « J"* of Darnley. 
 
 " L' Amour Heureux " 
 
 C. 5 ft. 10 in. square. From the Orleans fialWr* V \ « " 
 Engraved by Beljambe et Cathelin. ^ery. W. vol. 3, p. 20. 
 
 "L'Infidelite " 
 
 C 5 ft. 10 
 Engraved b 
 
 "Le Degout' 
 
 B^Sd^.T^rSr thQ ° rleaM GaUe ^ * ««■'* P- » 
 
 En^v e dbyJ:a q oX. Fr ° I " the Cleans Galfery. W. vol'. 3, p. 20. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
 TITIAN, 1477—1576. 
 
 A WCI 3 KffilfcK? PE • ** *** >* *-*W« Iiuj 
 
 Page 13 of Jameson's Private Galleries. W. vol. 2 p 2 +- 
 
 PARIS BORDONE, 1500—1570! 
 Female Figure, inscribed -Par Bor." . 4/,,-„i„„ -n , ^ 
 
 GIACOMO DA PONTE (called BASSANO), 1510-' 5, ' ^ " 
 The Madonna and Child Presenting a Rosvry to a 
 
 V enetian Lady . T , _ 
 
 From the Rogers-Collection, xXo.C.31 of the SaieCatalogue'lS^''' ^ *""'• 
 
 . . • TITJAN, 1477—1576. 
 
 An Allegory . . r„„ 7 „ f e . ,. , , __ 
 
 * - • • Earl of Stamford and Warrington. 
 
 BONIFAZIO VENEZIANO, 1491—1553 
 Virgin and Child, with Saints 
 
 Formerly known as Palma Vechio. W. vol. '% p. 197. 
 
 PAOLO VERONESE, 152S-1588 
 Nymph Extracting a Thorn 
 
 No. 51 of Brocklesby Catalogue. 
 The Infant Saviour and St. John 
 
 It. S. Holford, Esq. 
 
 Earl of Yarborough. 
 
 Peter Norton, Esq. 
 
 X. S. Holford, Esq. 
 
 n : 
 
 299 
 
 300 
 
 TINTORETTO, 1512-1594. 
 A Procurator op St. Mark . 
 
 From the Palazzo Foscari. W. vol. 2, p. 197. ' 
 
 SCHOOL OF TITIAN. 
 St. Peter Martyr . 77, „ 7 . U o ... „ „ 
 
 An old copy, on a reduced scale, 'of Titian's 'celebrated J^Zl *'' ** 
 
 formerly in the Church of SS. Giovanni e JWo, at Venice '^P 16 "' 
 
 TINTORETTO, 1512—1594. 
 Juno and the Infant Hercules; or, the Origin of 
 
 THE IV^ILKY "W \ Y* 
 
 C 4 7, 8 in. by 4 ft. lin. ' From 'the OrlcansGallery. W. vol.f ftf ^''"^ 
 PALMA VECCHIO, 1480, still living 1521 
 Virgin and Child worshipped by Saints . . s s Holford Fs„ 
 
 Attributed by Waagen to Bonifazio. W. vol. 2, p. 197 J 2 ' 
 
 TINTORETTO, 1512—1594 
 Portrait op a Senator 
 
 [32] 
 
 Marquis of Abercorn. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. South Side. 
 
 301 
 
 302 
 303 
 
 304 
 
 305 
 306 
 
 307 
 308 
 309 
 
 310 
 
 311 
 
 312 
 313 
 314 
 
 315 
 
 316 
 317 
 
 318 
 
 ^200 
 
 Peter Norton, Esq. 
 E. S. Holford, Esq. 
 
 TITIAN, 1477—1576. Italian. 
 
 A " Riposo " E. 3. Solford, Esq. 
 
 From the Orleans Gallery. W. vol. 2, p. 197. 
 
 TINTORETTO, 1512—1594. 
 LEDA. From the Orleans Gallery. .... 
 
 TITIAN, 1477—1576. 
 Presumed Portrait op a Duke op Milan . 
 W. vol. 2, p. 197. 
 
 PAOLO VERONESE, 1528—1588. 
 Rebecca at the Well ....... Earl of Yarborouyh. 
 
 Exhibited in the British Institution in 1S56, No. 91. No. 66 of the 
 Brocklesley Catalogue. i /^~* 
 
 PALMA VECCHI0, 1480— still living. 1521. ft* fo/ Z A 3&& 
 Adoration op the Shepherds . . Her Majesty, from Hampton Cwrt. » 
 
 PAOLO VERONESE, 1528—1588. 
 The Magdalen Anointing the Feet op the Saviour Miss Eurdett Coutts. 
 This finished study for the great picture in the Durazzo Palace 
 at Genoa, was formerly in the Collections of Mr. Henry Hope and 
 Mr. Rogers, No. 716 of the Sale Catalogue, 1S56. Engraved in 
 Hamilton's "Schola Italica." Exhibited in the British Institution 
 in 1S54, No. 71. Jameson's Private Galleries, p. 39S. 
 
 TINTORETTO, 1512—1594. 
 Portrait op a Doge Euhe of Manchester. 
 
 AG0STIN0 CARRACCI. 
 
 An Adoring Angel Earl of Yarborouyh. 
 
 L0D0VIC0 CARRACCI, 1555—1619. 
 Two Saints and an Angel above, the half-length figure 
 
 op Donor below . . .... . The late Smith Earry, Esq. 
 
 ANND3ALE CARRACCI, 1560-1609. ^^j^^. 
 
 The Three Maries j£r/V of 'Carlisle. 
 
 From the Orleans Gallery. Engraved by Sharpe. W. vol. 3, p. 324. 
 
 GUIDO RENI, 1575—1642. 
 The Assumption of the Virgin, w. vol. 3, p. 190. . J. S. Harford, Esq. 
 
 TINTORETTO, 1512—1594. 
 Landscape, with the Sacrifice of Isaac . . . Earl of Carlisle. 
 
 From the Tresham Collection. W. vol. 3, p. 320. 
 
 Landscape, with the Temptation op Christ . . Eitto. 
 
 From the Tresham Collection. W. vol. 3, p. 320. 
 
 Esther before Ahasuerus . . . Her Majesty, from Hampton Court. 
 Formerly belonged to Charles I. Jameson's Public Galleries, p. 318. J> /7/) 
 W. vol. 2, p. 359. &'*U/ 
 
 ANNISALE CARRACCI, 1560—1609. 
 The Virgin borne to Heaven by Angels . 
 W. vol. 2, p. 198. 
 
 L0D0VIC0 CARRACCI, 1555—1619. 
 The Entombment 
 
 AGOSTINO CARRACCI. 
 
 Cupid overcoming Pan in presence of Two Nymphs 
 
 Inscribed " Amor vincit omnia." 
 
 ALBANI, 1578—1660. 
 The Judgment of Paris 
 
 
 E. S. Holford, Esq. - 
 
 Earl of Ellesmerc. 
 Lord Eeversham. 
 
 [33] 
 
 John Anderson, Esq. 
 
 D 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. Boctu Side. 
 
 GUIDO RENI, 1575—1642. ITALIAN. 
 
 Infant CSRBT sleeping on the Cross . . . Earl of Tarborough. 
 
 From the Orleans Gallery. No. 7 of the Brocklesby Catalogue. 
 
 GUEECINO, 1592—1666. 
 Vision of St. Bruno Peter Norton, Esq. 
 
 DOMENICHINO. 
 
 The Infant Saviour with Instruments of the Passion Miss Burdett Coutts. 
 From the Rogers' Collection, No. 6S1 of the Sale Catalogue, 1S5G. 
 Formerly in the possession of Benjamin West. 
 
 ANNIBA1E CAERACCI, 1560—1609. 
 The Magdalen in the Desert. On copper. . . Lord Scar sdale. 
 
 W. vol. 3, p. 393. 
 
 PARMIGIANINO, 1504-1540. 
 Cupids, with Bows and Torches. From Brocklesby. . Earl of Yarborough. 
 
 ALESSANDEO TIARINI, 1577—1668. 
 VISION OF St. FRANCIS. No. 61 of Brocklesby Catalogue. . Bitto. 
 
 LODOVICO CAEEACCI, 1555—1619. 
 Madonna and Child adored by Saints . . . Miss Burdett Coutts. 
 From the Rogers' Collection, No. 623 of the Sale Catalogue, 1856. 
 W. vol. 2, p. 77. 
 
 Madonna and Child Peter Norton, Esq. 
 
 ANNIBALE CAEEACCI, 1560—1609. 
 St. Roche Interceding with the Madonna . . Messrs. Wadmore. 
 From the Orleans Gallery. 
 
 LODOVICO CAEEACCI, 1555—1619. 
 
 The Entombment Earl of Carlisle. 
 
 From the Orleans Gallery. W. vol. 3, p. 319. 
 
 ANNIBALE CAEEACCI, 1560—1609. 
 Madonna and Child, attended bx St. John, St. Mar- 
 garet, and the Magdalen .... J". Evelyn Benison, Esq. 
 Painted for the Convent of Nuns of St. Giovanne Eta, of Lucca ; cited 
 by Baldiuucci, and detailed in the various guides of Lucca. 
 
 ALBANI, 1560—1609. 
 A " Riroso. " w. vol. 2, p. 193 R. S. Bolford, Esq. 
 
 ANNIBALE CAERACCI, 1560—1609. 
 St. John the Evangelist, w. vol. 2, p. 19s. . . Bitto. 
 
 GUEECINO, 1592—1666. 
 
 The Magdalen Earl of Yarborongh. 
 
 Supposed to be the portrait of Madame de la Valliere. No. 147 of 
 BrocklesDy Catalogue. 
 
 Madonna and Child with Bird Miss Burdett Coutts. 
 
 C. 2 ft. 6 in. by 1 ft. 10 in. From theBorghese Palace. Brought to 
 England by Ottley. From the Rogers' Collection, No. 609 of the Sale 
 Catalogue, 1806. Engraved by Bcttelini. 
 
 DOMENICHINO, 1581 1641. 
 
 St. Agnes Her Majesty, from Windsor Castle. 
 
 Formerly at Kensington Palace. Jameson's Public Galleries, p. 259. 
 W. vol. 2, p. 434. Engraved by 
 
 ANNLBALE CAEEACCI, 1560—1609. 
 The Coronation of the Virgin .... Buhe of Newcastle. 
 
 C. 3 ft. 10 in. by 4 ft. 7 in. 
 
 From the Rogers' Collection, No. 730 of the Sale Catalogue, 1856. 
 From the Palazzo Aldobrandini at Rome, and brought to England 
 by Mr. Day about 1800. Jameson's Private Galleries, p. 392. 
 
 [34] 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. South Side. 
 
 CARAVAGGIO, 1569—1609. ITALIAN. 
 
 The Entombment . . • Sir Philip Be Malpas Grey Egerton, Bart. 
 
 C. Formerly belonged to the Melvezzi family at Bologna. It is 
 mentioned in Baldavicini's Lives of the Painters. 
 
 Grand Landscape 
 
 DOMENICHINO, 1581—1641. 
 
 Francis Edwards, Esq. 
 
 Bord Fever sham. 
 
 GUIDO RENI, 1575—1642. 
 
 David and Abigail 
 
 Exhibited in the British Institution in 1855. 
 
 Head op the Saviour . . . . . . . John Sick, Esq. 
 
 The Magdalen M. Bayley, Esq. 
 
 DOMENICHINO, 1581—1641. 
 
 St. John the Evangelist Earl of Carlisle . 
 
 From the Orleans Gallery. Engraved by MUller. W. vol. 3, p. 321.^? A /}{) 
 
 ANNIBALE CARRACCI, 1560—1609. 
 A Butcher's Shop, containing Portraits of the Carracci Family. 
 
 W. vol. 3, p. 47. Christ Church, Oxford. 
 
 GUIDO RENI, 1575—1642. 
 Half-length Figure of St. Sebastian, w. vol. 2, p. 236 . Bord Ward. 
 
 Cleopatra and the Asp . .. . Her Majesty, from Windsor Castle. 
 Engraved by Strange in 1753. Mrs. Jameson's Public Galleries, 
 p. 253. W. vol. 2, p. H4. 
 Holy Family. From the Tanari Palace. . . Sir John Stuart Forbes, Bart. 
 
 SALOON C— SOUTH SIDE. 
 
 N.B. — The whole of Vestibule 2 is devoted to Spanish Art, and includes 
 Ms. 620— 647, pp. 50, 51. 
 
 David and Bathsheba 
 
 GUERCINO, 1592—1666. 
 
 Charity 
 
 GUIDO RENI, 1575—1642. 
 
 Wynn Ellis, Esq. 
 Bord Fever sham. 
 
 FRANCESCO FURINI, 1600—1649. 
 
 Sigismunda Buhe of Keic castle. 
 
 See Hogarth's Sigismunda, No. 21, Saloon D, p. 78. 
 
 GIULIO CAMPI. 
 Marriage of St. Catherine . . . . . G. Soshins, Esq. 
 
 GUERCINO, 1598—1666. 
 
 A " Pieta " W. Stuart, Esq. 
 
 On copper. A replica of the National Gallery picture. From the 
 Rogers' Collection, No. (51S of the Sale Catalogue, 1S56. 
 Assemblage of Saints. A study . . . Earl of Ellesmere. 
 
 St. Cecilia 
 
 DOMENICHINO, 1581—1641. 
 
 Son. Warren Vernon. 
 
 GUERCINO, 1592-1666. 
 Christina of Sweden. ' No. 149 of Brocklesby Catalogue. Earl of Y arbor ough. 
 [ 35 ] D 2 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. South Bide. 
 
 DOMENICO FETI, 1589—1624. 
 The Lord op the Vineyard hiring Labourers . 
 
 No. 10 of the Brocklesby Catalogue. 
 
 ITALIAN. 
 Earl of Tarboroityh. 
 
 CARLO DOLCI, 1616—1686. 
 The Virgin Giving the Picture op St. Domenic to the 
 
 Superiors ; of a Convent Earl of Dando, 
 
 Purchased by the present Earl at Florence. W. vol. 3, p. 20. ■ 
 
 St. Agnes, Virgin Martyr ...... Philip H. Howard, Esq, 
 
 SASSOFERRATO, 1605—1630. 
 The Madonna and Child 
 
 GUERCLNO, 1592—1666. 
 A Violin-player with a Female addressing him 
 
 ANDREA VACCARO, 1598—1670. 
 
 St. Cecilia 
 
 DOMENICHINO, 1581—1641. 
 Portrait op a Cardinal .... 
 
 GTJIDO RENI, 1575—1642. 
 Salome receiving the Head op St. John the Baptist. Earl of Yarborowih 
 
 Mark Phillips, Esq. 
 
 Earl of Portsmouth . 
 George Faulkener, Esq. 
 The Duke of Newcastle. 
 
 No. 32 of the Arlington Street Catalogue. W. vol.2, p. S7. 
 
 Venus attended by Cupid 
 
 GUERCLNO, 1592—1666. 
 Portrait of a Cardinal, w. vol 2, p. 236. . 
 
 GIOVANNI LANFRANCO, 1581—1647 
 GUERCLNO, 1592—1666 
 
 A Bishop . 
 
 Earl of Portsmouth. 
 
 Lord Ward.*' 
 Earl of Wilt', . 
 
 Lot and his Daughters StM, 'xif. ? t^y/.A)V' / -»«'■ Th. Staniforth. 
 
 Enerraved bv R. Morchen. J 
 
 Engraved by R. Morghen. 
 
 a/ v- 
 
 The Nativity 
 
 LUCA GIORDANO, 1632—1705. 
 
 PIETRO DA CORTONA, 1596—1669. 
 Sacrifice to the Lamb 
 
 CARLO DOLCI, 1616—1686. 
 
 Marriage of St. Catherine . ./£...?,. }S.>, 
 
 No. 31 of the Catalogue at Althorp House. 
 
 SPAGNOLETTO, 1588—1656. 
 San Carlo Borromeo at Prayer 
 
 Earl of Derby. 
 
 Ditto. 
 
 Earl Spencer. 
 
 Ditto. 
 
 GUERCLNO, 1592—1666. 
 The Martyrdom of St. Lawrence . . .St. 3fari/s College, Oseotl. 
 Painted for tire private chapel of Cardinal Magalotti, mentioned 
 by Malvasia in his Felsina Pittrice, torn. 2ndo, p. 367, ed. Bolog. 
 1678. Cardinal Magolotti's Christian name was Lorenzo ; hence 
 probably the selection of the subject of the picture. He was created 
 cardinal by Urban VIII., 1624, aud made Bishop of Ferrara, which is 
 only a few miles distant from Cento, the birth-place and residence 
 of Guerciuo. 
 
 SASSOFERRATO. 
 
 Virgin and Child. After Guido Earl of Warwick. 
 
 From the King of Holland's Collection. 
 
 CARLO DOLCI, 1016— 16S6. 
 Christ crowned with Thorns 
 
 [36] 
 
 Thomas Towncnd, E-q. 
 

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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. North Wall. 
 
 373 
 
 ^ 
 
 An Altar-piece. 
 
 GTJERCLNO, 1592—1666. 
 Virgin and Child and two Angels in the 
 
 ITALIAN. 
 
 Clouds, four Saints and a Youth below . 
 Formerly at Stratton. W. vol. 2, p. 180. 
 
 CARLO MARATTI, 1625—1713. 
 The Magdalen in the Desert .... 
 
 TJios. Baring, Esq. 
 
 T. Thorby, Esq. 
 
 375 
 
 375 
 377 
 
 378 
 379 
 380 
 
 331 
 332 
 
 383 
 384 
 
 385 
 
 If. B. The following numbers commence with Early German Art at the upper 
 end of North Wall, Saloon A. 
 
 SALOON A.— NORTH WALL. 
 GERMAN AND FLEMISH ART. 
 
 SCHOOL OF VAN EYCK. GERMAN. 
 
 The Adoration of the Lamb. A Large Triptych Altar-piece. L. Lemme, Esq. 
 C. This ancient copy of the famous work of Hubert and John Van 
 Eyck comprises all the internal paintings that were displayed when 
 the wings of the Triptych were opened. 
 
 The various parts of the orierinal— and of a famous copy also made by 
 Michel Coxis for Philip II. of Spain,— have been dispersed, and this 
 copy on canvas affords the only clue to their original arrangement. The 
 portions above alluded to are now divided between Munich, Berlin, 
 the Haghe, and Ghent. 
 
 The copy in this Gallery was formerly in the Chapel of the Townhad 
 at Ghent. Sold by the French in 1796 to M. C. Hisette, afterwards in 
 Mr. Aders's Collection.— Passavant, p. 92. Kugler. p. 68. 
 W. vol. 2, p. 461. 
 
 LOWER RHENISH SCHOOL, 1480. 
 The Holt Trinity . . . . ' . . E.B.H. Prince Albert. 
 No. 29 of Kensington Palace Catalogue. 
 
 Holt Familt Ditto. 
 
 C. 1 ft. 4i in. by 1 ft. 
 
 No. 27 of Kensington Palace Catalogue. 
 
 ROGIER VAN DER WEYDEN, b. 1401—1464. 
 The Entombment Sir Culling Eardley, Bart. 
 
 PASSION. 
 
 Painted 1466—1470. 
 S.R.H. Prince Albert. 
 
 MASTER OF THE "LYVERSBERG' 
 
 Presentation in the Temple 
 
 P. 3 ft. 7 in. by 2 ft. 9£ in. 
 
 No. 23 of Kensington Palace Catalogue. 
 
 STEPHEN LOTHENER, called MEISTER STEPHAN. Painted 1442—1451. 
 St. Catherine of Alexandria, St. Matthew and St. John 
 
 the Evangelists Ditto. 
 
 No. 22 of Kensington Palace Catalogue. 
 
 JOHN VAN EVOK, about 1390—1441. 
 A Priest officiating ^JllMcJ$ (&- ft. tjfi£ayirf . . Lord Ward. \ 
 
 W. vol. 2, page 237. Crowe atfd Cdvalcaselle's Flemish painters, p. 107 
 
 EARLY COLOGNE. 
 
 A Tripttch, adorned with Saints under Canopies. A. Bercsford Hope, Esq. 
 
 JOHN VAN EYCK, about 1390— 1441. 
 Moses and the Burning Bush T. Lloyd Roberts, Esq. 
 
 Virgin and Child A. Beresford Hope, Esq. 
 
 From the King of Holland's Collection. No. 3 of the Sale Catalogue in 1S50. 
 Madonna and Child . . . . . . . . DuU of Newcastle. 
 
 [37] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. North Wall. 
 
 m 
 
 387 
 
 388 
 389 
 
 390 
 
 391 
 392 
 
 393 
 
 MATTIAS GRUNEWALD, 1450—1510. GERMAN. 
 
 386 An Altar-piece ; in the centre, the Virgin and Child on 
 
 A CRESCENT, BETWEEN St. CATHERINE AND St. BARBARA; 
 
 1,on the inner sides of the wings, St. Philip, St. James' 
 , /W.and St. Erasmus; on the outer, St. Nicholas and St 
 /George . . . 1I.ILH. Prince Albert. 
 
 From the Orford Collection. W. vol. 3, p. 435. 
 
 VAN DEE WEYDEN THE YOUNGER, d 1529 
 
 "Ecce Homo" Ditto. 
 
 P. 1 ft. 2i in. by 11 in. No. 37 of the Kensington Palace Catalogue. 
 ROGIER VAN DER WEYDEN, b. 1401—1464 
 
 "Ecce Homo." W. vol. 2, p. 459 J. H. Green, Esq. 
 
 VAN DER WEYDEN THE YOUNGER, d 1529 
 
 '•'Mater Dolorosa" H.R.H. Prince Albert. 
 
 P. 1 ft. 2£ m. by 11 in. No. 37 of the Kensington Palace Catalogue. 
 HANS MEMLING, d. 1489. 
 
 A Man eating Porridge j % BZ. Anderdon, Esq. 
 
 SCHOOL OF VAN EYCK. 
 Marie d'Anjou Colonel Meyrick. 
 
 Portrait op a Young Man . . . Her Majesty, from Hampton Court. 
 Crowe and Cavalcasellc's Flemish Painters, p. 266. 
 
 HANS MEMLING, d. 14S9. 
 Wing of an Altar-piece. A female kneeling, attended by 
 
 her patron Saint j& jjon. Vernon Smith. 
 
 From the Rogers' Collection. Crowe and Cavalcaselle's Flemish 
 Painters, p. 265. S«*«£*v\fcUjeV AsU /CO Ph , ' ■ i, 
 
 JOHN VAN EYCK, about 1390—1441 . 
 
 Virgin and Child Lord peversUm. 
 
 GAERAERT VAN DER MEIRE. Painted 1447. 
 
 Virgin and Child H.R.H. Prince Albert. 
 
 P. 8 in. by 6 in. No. 35 of the Kensington Palace Catalogue. 
 ^7. bit 2 /l IT! HANS HOLBEIN. 
 
 Portrait of a Young Man holding a Book . . . Lord Ward.-h 
 
 Painted on a gold ground. 
 
 HANS MEMLING, d. 14S9. 
 A Triptych. In the centre the Deposition from the Cross, on the 
 
 wings St. James of Compostella and St. Christopher. Rev. J. M. Heath. 
 
 Saint Sebastian The Earl Wcmyss. 
 
 Considered by SignorCavalcaselle a genuine specimen of Anton ello da Messina. 
 A Diptych. On the right wing is the Crucifixion, on the left 
 Jeanne of France, wife of John, 2nd Duke of Bourbon, kneel- 
 ing before a Prie-Dieu, with several other figures . Rev. J. Fuller Russell. 
 Portrait of the Artist. Dated 1462 . . . Wynn Ellis, Esq. 
 
 From the Adcrs' and Rogers' Collections. Passavant's Kunstreise, 
 p. 94. Crowe and Cavalcaselle's Flemish Painters, pp. 240, 253. 
 Jameson's Private Galleries, p. 405. 
 
 Portion of a Triptych, containing St. John the Baptist and 
 
 supposed figure of the donor, and St. George . . Rev. J. If. Heath. 
 
 Recently in the possession of Mr. Hertz. Crowe and Cavalcaselle's 
 Flemish Painters, p. 357. 
 
 Virgin and Child H.R.H. Prince Albert. ■ 
 
 No. 32 of the Kensington Palace Catalogue. 
 Wing of an Altar-piece. Companion to No. 393 Rt, Hon. Vernon Smith. 
 
 A male figure kneeling, attended by his patron Saint. 
 
 Virgin and Child Soulages Collection. 
 
 [38] 
 
 Zi 
 
 395 
 
 . 
 
 397 
 398 
 399 
 
 400 
 401 
 
 402 
 403 
 404 
 
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PAINTINGS BY A7JC1ENT MASTERS. 
 
 Saloon A. Nobth Wall. 
 
 405 
 406 
 
 407 
 
 408 
 409 
 410 
 
 411 
 412 
 
 413 
 414 
 415 
 
 416 
 
 417 
 
 418 
 
 419 
 420 
 
 MICHAEL WOHLGEMUTH, 1434—1519. GERMAN. 
 
 Pilate washing his Hands . . . . Liverpool Royal Institution.* 
 
 P 3 f t 4 in. by 1 ft. 8 in. 
 
 No. 41 of the New Liverpool Catalogue. W. vol. 3, p. 235. 
 
 The Deposition, Resurrection, and Ascension . Ditto. 
 
 No. 42 of the New Liverpool Catalogue. W. vol. 3, p. 235. 
 
 ROGIER VAN DER WEYDEN THE YOUNGER, d. 1529. 
 The Deposition K.R.H. Prince Albert. 
 
 2 ft. 6i in. by 1 ft. 8 in. 
 
 No 36 of the Kensington Palace Catalogue. 
 
 ANDREA MANTEGNA, 1431—1506. 
 Two Heads. From the Palazzo Durazzo . . Christ Church, Oxford. 
 More probably a Flemish production. 
 
 R0GIER VAN DER WEYDEN, b. 1401—1464. i 
 
 Portrait op a Young Man *«rl of Damley. 
 
 W vol. 3, p. 23. No. 138 of Cobham Catalogue. 
 MASTER OF THE "LYVERSBERG" PASSION, painted 1466— 1470. 
 Portrait of a Lady op the name op Hoperin E.R.E. Rrince Albert. 
 P. 1 ft. 9 in. by 1 ft. 3i in. 
 No 24 of Kensington Palace Catalogue. 
 
 SCHOOL OF MICHAEL WOHLGEMUTH. 
 
 The Circumcision Liverpool Royal Institution. 
 
 ROGIER VAN DER WEYDEN, b. 1401—1464. 
 The Descent prom the Cross. A Triptych. On the outer sides 
 St. John the Baptist and St. Julian .... Ditto. 
 
 Centre 2 ft. by 2 ft., each wing 2 ft. by 9 in. 
 
 Attributed by Dr. Waagen to the earlier time of the niastei. JNO. 
 38 of the new Liverpool Catalogue. W. vol. 3, p. 235. 
 MABUSE, 1496—1532. 
 Madonna and Child in a Garden . . . D7.R.E. Prime Albert. 
 
 No. 65 of Kensington Catalogue. 
 
 VAN DER WEYDEN THE YOUNGER, d. 1529. 
 A Triptych, Coronation of the Virgin . . . Ditto. 
 
 No 34 of the Kensington Palace Catalogue. 
 
 ROGIER VAN DER WEYDEN, b. 1401— 1464. 
 Adoration of the Kings . . . ■•£./• m Gnm ' ** 
 
 Inscribed with the initials " A.W." on the pocket of the King. 
 W. vol. 2, p. 459. 
 
 QUENTIN MATSYS, 1450—1529. 
 Altar-piece, with Wings . . . • • . • £ ttt0 - 
 
 In the csntre the Virgin and Child with angels and samts ; on one 
 •wing St John the Baptist, St. Agnes, and another saint; on the 
 other St. Juhu the Evangelist and two other figures, from Mr. 
 Aders' Collection. W. voL 2, p. 460. 
 
 MICHAEL WOHLGEMUTH. 
 Madonna and Child, Angels drawing the curtains of the ,.,„,■ 
 
 throne . ... • • • Liverpool Royal Institution. 
 3 ft by 2 ft. No. 45 of the New Liverpool Catalogue. 
 
 SCHOOL OF MICHAEL WOHLGEMUTH. 
 Madonna and Child, the latter receiving a cup from 
 the infant St. John. The donor looks on over a 
 
 parapet . . . • • • • • 
 3 It. by 2 ft. No. 44 of the New Liverpool Catalogue. 
 EARLY ENGLISH. 
 Old Paintings of Saints, from a Rood-screen . 
 From the Church of St. Mary Maddermarket, Norwich. 
 
 [ME 
 
 Ditto. 
 
tmiin i iinus by AINUIENT MASTERS. 
 
 Saloon A. North Wall. 
 
 421 
 
 422 
 423 
 
 424 
 425 
 
 426 
 
 427 
 
 428 
 
 429 
 430 
 
 431 
 
 432 
 433 
 
 433« 
 434 
 
 435 
 436 
 437 
 438 
 
 ' h** A . D m ST™ SCH0EN ' aWt U2 «> d 1488 - _ 1T «**£ 
 
 P. 3 ft. by 1 ft. 4 in. From the Aders' Collection. W vol 3 p 459 ' *" 
 
 'aa t, LUCAS YM! LEYD EN, 1494—1533. 
 
 A Card Party, w. vol. 3, p. 152 . . rw nf » , , 
 
 _.-. ___.'* -ban of Pembroke 
 
 JAN SWART. Painted in first half of 16th century. 
 Virgin and Child in Garden . . H j> w ■*&.- ,„ , 
 
 P. 2 ft. by l ft. 8 in. ... M.Ji.M. Prince Albert. 
 
 No. 52 of Kensington Palace Catalogue. 
 
 SCHOOL OF MEMLING 
 
 The Annunciation Sofc kO*. 9W{lt) Abraham Darby, Esa 
 
 HUGO VAN DER GOES. Painted 1467-1480 
 
 Ihe Espousals, the Annunciation, the Salutation and thf 
 
 Nativity ... t/, V, , <• ^ 
 
 Ihe Provost of Eton 
 
 LUCAS CRANACH, 1470-1553. 
 Judith ... r ,, 
 
 Marked with the Artist's winged Wagon. ' ' >' ">■ Delafelcl, Esq. 
 
 MARTIN SCHAFFNER, living 1508-1539. 
 The Infant Savioor learning to Walk . . h.M.H Prince Albert 
 
 P. 1 ft. lO.jr in. by 1 ft. 6 in. 
 
 No. 43 of Kensington Palace Catalogue. 
 
 OLD GERMAN. 
 
 Marriage of the Virgin . Earl of Derby. 
 
 Sir J. Kelthorpe, Bart. 
 J. Dingwall, Esq. 
 
 J. H. Green, Esq. 
 W. 
 
 MABUSE, 1496—1532. 
 Legend of a Count of Toulouse 
 The Descent from the Cross 
 
 From the King of Holland's Collection.' 
 Male Portrait. Wing of an Altar-piece 
 
 From the Aders' Collection, where it was called a 3Ii.miini: 
 vol.2, p. 460. . 
 
 Madonna and Child in a Garden . . . n.P.H. p rince Alhcvt 
 
 r. 1 it. I* m. by 10£ m. 
 No. 39 of the Kensington Palace Catalogue. 
 Wisa of an Altar-piece. With Portraits of James the Fourth, %T o > 11 
 lung of Scotland, his Brother, and the Patron Saint, St. ? 9 * 
 
 Andrew ... . Her Majesty, from Hampton Com t. 
 
 Ditto. Queen Margaret of Scotland, attended by St. George Ditto. 
 
 LATTANZIO GAMBARA,* of Brescia, 1541— 1574. 
 Frescoes from the Palazzo Sacehctti .... HR.H Prince Albert, 
 transferred jrom plaster to canvas. 
 
 LUCAS VAN LEYDEN, 1494—1533 
 
 The Emperor Maximilian Duke of Neueasth . 
 
 Compare a Woodcut 111 the Engraving Gallery, by Albert Purer, No. 1380. 
 MABUSE, 1496—1532. 
 
 Adoration of the Kings Earl of Carlisle 
 
 P. Inscribed "JENNI GOSSiERT." W. vol. 3, p. 820. fW'f «****• 
 
 MARTIN SCHONGAUER or SCHOEN, about 1420, d 1488 
 Virgin and Child in a Garden .... H.R.H. Prince Albert. 
 P. 11 111. by S3 in. No. 30 of Kensington Palace Catalogue. 
 MABUSE, 1496—1532. 
 
 Portrait of an Ecclesiastic _p/«« 
 
 No. 3S of the Kensington Palace Catalogue. 
 
 * The great size of these frescoes required them to be placed on this 
 wall, the only available space for them. They are strictly Italian, and 
 the necessity is to be regretted.— G. S. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloox A. North Wall. 
 
 439 
 
 442 
 
 443 
 
 444 
 
 J. V. HEEMSEN, b. 1500. 
 
 St. Uesdla 
 
 No. 63 of Kensington Catalogue. 
 
 GERMAN. 
 H.R.H. Prince Albert. 
 
 ALBERT DUEER, 1471—1528. 
 
 440 Madonna and Child, with Saints . Her Majesty, from Windsor Castle. 
 
 MEISTER CRISTOPH or CRISTOPHSEN. Painted 1471. 
 
 441 SS. Peter and Dorothea H.R.H. Prince Albert. 
 
 /,»,... J P. 4 ft. 2 in. by 2 ft. ik in. 
 
 •£lW x ~W<-™ No. 46 of Kensington Pala 
 
 Kensington Palace Catalogue. 
 HANS VON KULMBACH. Painted 1509—1540. 
 
 Portrait of a Young Man H.R.H. Prince Albert. 
 
 P. 1 ft. 8 In. by 1 ft. 2 in. Inscribed— "Anno D.n.i, 1509." No. 40 
 of Kensington Palace Catalogue. 
 
 SCHOOL OF VAN EYCK. 
 
 The Entombment Liverpool Royal Institution . 
 
 BARTHOLOMAUS DE BRUYN. Painted 1520—1550. 
 A Triptych ; in the centre, St. Jerome in his Study. . Pari Spencer. 
 Called a Mabuse in Passavant's Kunstreise, p. 191. W. vol. 3, p. 457. 
 
 QUENTIN MATSYS, 1450—1529. 
 
 The Misers Her Majesty, from Windsor Castle. 
 
 Engraved by Earloni and by Fittler. Jameson's Public .Galleries, Z,?JjJX*j 
 245. W. vol. 2. o. 432. a U«ff *&%*$*» /UC/tebl> 
 
 445 
 takdal' p- 245. w. toi. 2, P . 432. 
 
 HANS SCHEUFFELEIN, d. about 1540. 
 
 446 Portrait of a Girl Gibson Craig, Psq. 
 
 HEBBI DE BLES, 1480—1550. 
 
 447 The Taking Down from the Cross .... Pari of Portsmouth . 
 A small picture on a gold ground. 
 
 QUENTIN MATSYS, 1450—1529. 
 
 448 i Madonna and Child. Of bis earlier time. . • Rev. J. Fuller Russell. 
 
 ROGIEE VAN DEB WEYDEN, b. 1401—1464. 
 
 449 A " Pieta " J. H. Green, Psq. 
 
 From tbe Aders' Collection. W. vol. 2, p. 459. 
 
 HANS MEMLING, d. 1489. 
 
 450 St. Christopher Pari of Burlington. 
 
 QUENTIN MATSYS, 1450—1529. 
 
 451 Head of the Madonna Weeping .... Rev. J. M. Heath. 
 
 LUCAS VAN LEYDEN, 1494—1533. 1, \.V& 
 
 452 His own Portrait - ^ nib «-i<ti- hrmam- . Liverpool Royal Institution. • 
 
 BEENAED VAN OELEY, 1490, still living 1550. 
 
 A Female Portrait • H.R.H. Prince Albert. 
 
 P. 10 in. by 7 in. 
 
 No. 55 of Kensington Palace Catalogue. 
 
 MABUSE, 1496—1532. 
 454 A Girl Writing Ditto. 
 
 No. 64 of Kensington Catalogue. 
 
 OLD GEBMAN. 
 
 The Last Supper. Dated 1507 J- Dingwall, Psq. 
 
 Possibly by an elder Heemskerk. 
 
 LUCAS VAN LEYDEN, 1494—1533. 
 
 456 St. Jerome D. Hodgson, Psq. 
 
 From tbe Collection of Sir Felix Agar. 
 [41] 
 
PAINTINGS BY ANCIENT MASTERS. Saloon a. North Wall. 
 
 LUCAS CRANACH, 1470—1553. GERMAN. 
 
 A Female Sleeping by a Fountain . . . Liverpool Royal Institution. 
 The Artist's Wife. Marked with the Dragon, and dated 1534. 
 No. 49 of the New Liverpool Catalogue. W. vol. 3, p. 235. 
 
 LUCAS VAN LEYDEN, 1494—1533. 
 
 St. Jeromb Mrs. Layard. 
 
 BARTHOLOMAUS DE BRUYN. Painted 1520—1550. 
 
 Two Saints in a Niche, w. vol. 2, p. 463 . . Rev. J. Fuller Russell. 
 
 LUCAS KRUG. Painted 1516. 
 
 The Nativity Liverpool Boyal Institution. 
 
 1 ft. by 10 inches. No. 53 of the New Liverpool Catalogue, ft " J 236 
 
 HANS HOLBEIN. 
 
 Portrait of Francis I. Her Majesty, from Hampton Court. 
 
 Considered by some to be a Janet. Jameson's Public Galleries 
 p. 34S. 
 
 ALBERT DURER, 1471—1528. 
 Portrait of His Father. Inscribed and dated 1497. 
 
 Duke of Northumberland. 
 LUCAS CRANACH, 1470—1553. 
 The Elector of Saxony, Luthek. and the Reformers . . Earl Craven. 
 W. vol. 3, p. 219. The names are written on the back of the panel. 
 
 HANS SCHEUFFELEIN, d. about 1540. 
 
 H. S. Beham Duke of Northumberland. 
 
 RAPHAEL, 1483—1520. 
 
 Holy Family Earl of Pembroke . 
 
 Most probably by B. Van Orlet. 
 
 t/L , OLD GERMAN. **** 
 
 Small Triptych *&'■* ' . -i ■• X » • \.j J 3 (l$) .... flS. Rolls, Esq. 
 
 MABUSE, 1496— 1532. 
 
 Virgin and Child. More probably by Van Orley . Robert Napier, Esq. 
 A Triptych. Adoration of Magi "With Virgin in Glory, and 
 
 Descent of Holy Ghost on the leaves . . . Ditto. 
 
 HANS HOLBEIN. 
 The Prodigal Son w. vol. 3, page^/i . . Liverpool Royal Institution. 
 
 OLD FRENCH. 
 
 A Pieta, attended by Three Saints. A French Inscription 
 
 in 6 lines below . Ditto. 
 
 No. 60 of the new Liverpool Catalogue. 
 
 HANS HOLBEIN. 
 
 King Henry VIIT Earl of Warwick. 
 
 W. vol. 3, p. 215. P. 
 
 BERNARD VAN ORLEY, 1490— still living 1550. 
 Virgin and Child, with St. Catherine and St. Barbara. 
 
 H.R.H. Frinee Albert. 
 P. 1 ft. 8 in. by 1 ft. 2£ in. No. 56 of Kensington Palace Catalogue. 
 
 HANS BURGKMAIER, 1472—1559. 
 Adoration of the Shepherds .... Ditto. 
 
 P. 3 ft. 9 in. by 2 ft. 2 in. 
 No. 42 of the Kensington Palace Catalogue. 
 
 BERNARD VAN ORLEY, 1490— still living 1550 
 The Saviour and Mary Magdalen .... Ditto. 
 
 P. 2 ft. C in. square. 
 No. 53 of Kensington Palace Catalogue. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. North Wall. 
 
 475 
 
 476 
 
 477 
 
 478 
 479 
 
 480 
 
 481 
 482 
 
 483 
 
 484 
 485 
 486 
 487 
 
 488 
 489 
 
 490 
 491 
 492 
 
 HERRI DE BLES, 1480—1550. GERMAN. 
 
 A Teipttch S. R. ff. Prince Albert- 
 
 In the centre, the Deposition from the Cross ; on the left -wing, 
 St Joseph of Arimathea and St. Nieodemns returning to Jerusalem ; 
 on the right, St. Mary Magdalen and St. Mary Oleophas. 
 
 P. The centre picture 2 ft. 104 in. by 1 ft. 10$ in. ; each wing 2 ft. 
 5 in. by 9 in. 
 No. 70 in the Kensington Palace Catalogue. 
 
 JOACHIM PATENIER. Painted 1515—1535. 
 St. Christopher Ditto. 
 
 P. 1 ft. 10 in. by 10 in. • 
 
 No. 5S of the Kensington Palace Catalogue. 
 St. John in the Island of Pathos .... Ditto. 
 
 P. 1 ft. 2i in. by 9£ in. 
 
 No. 59 of the Kensington Palace Catalogue. 
 
 CORNELITZ ENGELBRETSCHEN, 1493—1552. 
 
 Small Circular Portrait of a Lady . . . Senry Farrer, Esq. 
 
 Small Circular Portrait of a Gentleman. Arms at back. Ditto. 
 
 FRANCOIS CLOTJET, called JEANNET. Painted 1540—1560. 
 Jean d'Albret, King of Navarre and Father of Henrt IV. 
 
 of France, w. vol. 3, p. 423 . - . • Sir J. P. Bodeau, Bart. 
 
 OLD FLEMISH. 
 
 The Duchess of Burgundy C. Wentworth DUhc, Esq. 
 
 CESARE DA SESTO, d. 1524, and BERNAZZANO. _ 
 
 Standing Figure with Cross and Book . . . R. P. Nichols, Esq. 
 Pronounced by Dr. Waageu and G. B. Cavalcaselle a Flemish work. 
 
 SCHOOL OF BASLE. 
 
 A Young Lady in Swiss Costume .... Soulages Collection. 
 
 Birth of the Virgin 
 
 Virgin and Child 
 
 ALBERT D'trRER, 1471—1528. 
 
 ms // 
 
 MOSTAERT, 1474—1555 
 EARLY ENGLISH. 
 
 Liverpool Royal histitution. 
 Ditto. 
 
 . Gilbert French, Esq. 
 
 -1535. 
 S.R.S. Prince Albert. 
 
 The Tree of St. Domenic 
 
 JOACHIM PATENIER, Painted 1515- 
 
 The Magdalen 
 
 P. 1 ft. S^ in. by 1 ft. 2 in. 
 
 No. 57 of the Ken&ington Palace Catalogue. 
 
 HANS HOLBEIN. 
 
 A Male Portrait The DuJce of Newcastle. 
 
 Dr. Stokesly, Bishop of London, in 1530. Her Majesty, from Windsor Castle. 
 
 W. vol. 2, p. 431. 
 
 HEINRICH SCHWAHN. 
 A Costume Portrait • 
 
 Signed " Heinrich Schwann, Maler zu Landshuet, &c. 
 J. V. HEEMSEN, h. 1500. 
 Adoration of Kings S. R. S. Prince Albert. 
 
 No. 62 of the Kensington Catalogue. 
 
 GEORG. PENTZ, b. about 1500, d. 1550. 
 Portrait of Erasmcs .... Ser Majesty, from Windsor Castle. 
 A copy of a picture by Holbein. Inscribed-" D. Erasmus Rotero- 
 damus! Visit an LXX. obiit V. id. 1VL. Anno MDXXXVI. 15 G. P. 
 37." Jameson's Public Galleries, p. 242. W. vol. 2, p. 430. 
 [43] 
 
 Soulages Collection. 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon A. North Wad.. 
 
 22>'>. 
 
 493 
 
 494 
 495 
 
 496 
 
 497 
 
 498 
 
 499 
 500 
 
 501 
 502 
 
 503 
 504 
 
 > 
 
 505 
 
 506 
 507 
 
 GERARD LUCAS HOREBOUT, 1498—1558 germ \v 
 
 The Root of Jesse Sir Culling Eardiey, Bart. 
 
 This picture is referred to in Crowe and Cavalcaselle's 
 ' Flemish Painters," pp. 126 and 360. 
 
 BERNARD VAN ORLEY, 1490— Htill living 1550. 
 Procession to Calvary. Arms at the back. . . . Alfred Stowe, Esq] 
 The Scourging op Christ. Arms at the back of picture. . Ditto. 
 
 SIR ANTONIO MORE, 1512-1588. 
 
 Earl op Essex Earl j Yarborough. 
 
 JOACHIM PATENIER, Painted 1515—1535 
 
 The Crucifixion H.R.H. Prince Albert. 
 
 P. 2 ft. 114 >n. by 1 ft- 11 in. 
 
 No. 60 of the Kensington Palace Catalogue. 
 
 BERNARD VAN ORLEY, 1490— still living 1550. 
 A Riposo near a Fountain . , Ditto. 
 
 No. 54 of Kensington Catalogue. 
 
 HANS HOLBEIN. 
 
 Portrait of Francis I j j0r a ,j- or; \ 
 
 SIR ANTONIO MORE, 1512—1588. 
 
 Sir Fr,vncis Drake Viscount Dillon. 
 
 Inscribed " Antonius Mar," and dated 1568. "W. vol. 3, p. 134. 
 
 SCHOOL OF VAN EYCK. 
 
 A Triptych, Raising of the Cross .... Oscott Oolleg 
 
 FRANZ POURBTJS, 1540—1580. 
 
 Sir Nicolas Carew, setat. 35, 1549 . . . . Earl of Yarborough 
 
 No. 150 of Brocklesby Catalogue. 
 
 SIR ANTONIO MORE, 1512— 158S. 
 Queen Mart j)u to 
 
 No. 80 of Arlington Street Catalogue. W. vol." 2, p. 87. 
 
 HERRI DE BLES, 1480— 1550. 
 
 The Crucifixion H.R.H. Prince Albert. 
 
 P. 3 ft, 1^ in. by 2 ft. 2$ in. 
 
 No. 68 of the Kensington Palace Catalogue 
 
 m * BERNARD VAN ORLEY, 1490— still living 1550. 
 
 Madonna and Child ..... Liverpool Royal Listii 
 
 JOOST VAN CLEEF, 1500—1536. 
 
 A Male Portrait Christ Church, Oxford 
 
 A Male Portrait Ditto. 
 
 
 503 
 
 509 
 
 I 
 510 
 
 511 
 
 512 
 513 
 
 LUIS DE MORALES, 1509—1586. 
 DEPOSITION. From the Soult Collection .... 251. Towncnd, Esq. 
 
 GUILLTM STRETES. 
 Edward VI j am es Maitland Hog, Esq. 
 
 ^ FRANCOIS CLOUET, called JEANNET. Painted 1540—1560. 
 Marguerite de Valois Liverpool Royal Institution, 
 
 2 ft. by 1 ft. 7 in. No. 55 of the New Liverpool Catalogue. 
 
 JOOST VAN CLEEF, 1500—1536. •TjT $ US l> 
 His Own Portrait . ' Earl S 1 
 
 SIR ANTONIO MORE, 1512—1588. 
 Philip II. of Spain 
 
 His Own Portrait, w vol 3 p 457 
 
 [44] 
 
 ' Spencer, 
 
 Ditto. 
 Ditto. 
 
fta<^e^ ' 
 
 
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 t \£. .'V yyiaA 4^^Ma/^^ 
 
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 3~o4.—. //frtoi-t <&> ***** ■ r ■"*' '■■ ^-'''» ' j - 
 
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 w-on, ' ; e> <^v. ' Ye //car 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. North Side. 
 
 514 
 
 FRANZ POTJRBTJS THE YOUNGER, 1570—1622. GERMAN. 
 Portrait of Henri Doc de Guise (le Balafre), assas- 
 sinated 1588 ■• Earl Spencer 
 
 No. 299 of the Catalogue at Althorp House. W. vol. 3, p. 457. 
 
 515 
 516 
 
 517 
 518 
 
 519 
 . 520 
 521 
 522 
 523 
 524 
 525 
 523 
 527 
 528 
 529 
 530 
 
 SALOON B.~ NORTH SIDE. 
 
 GERMAN, FLEMISH, AND FRENCH MASTERS. 
 J. C0URT0IS (BOURGUIGNON), 1628—1676. 
 
 A. Darby, Esq. 
 
 Large Battle-Piece . 
 
 More probably by Cavaliere d'Abpko. 
 
 V. CARDTJCHO, 1585—1638. 
 
 His own Portrait Wm. Stirling, Esq. 
 
 From the Spanish Gallery of the Louvre. Engraved m Stirling s 
 Annals of the Artists of Spain, vol. 1, page 417. 
 
 GIORGIONE, 1477—1511. 
 Portrait op Claus Stortz den Becher . . . Earl of Yarborough. 
 P. Engraved by David Hopfer in 1527. No. 83 of the Brocklesby 
 Catalogue. Most probably a German production. 
 
 D. THEOTOCUPOLI, called EL GRECO, 1548—1625. 
 
 Portrait of Pompeyo Leoni Wm Stirling, Esq. 
 
 From the Spanish Gallery of the Louvre. Leoni is represented at 
 work upon the bust of his patron. Stirling, vol. 1, pp. 276—289. 
 No. 21 of Louis Philippe's sale Catalogue in 1853. 
 
 CORNELIS POELENBTJRG, 15S6— 1666. 
 Landscape with Elijah . .... Duke of Richmond. 
 
 ADAM ELZHEIMER, 1574—1620. 
 Adoration of the Infant Saviocr. By Angelo . Abraham Darby, Esq. 
 on Copper. coen:elis pojxemburg, 1586—1666. 
 
 Nymphs among Ruins Euke of Newcastle. 
 
 CORNELIS JANSSENS, 1590—1665. 
 
 Portrait of a Female Eev. J. Fuller BusseU- 
 
 ADAM ELZHEIMER, 1574—1620. 
 Sacra Conversazione. On Copper . ■ • Abraham Darby, Esq. 
 
 GERARD TERBURG, 1608—1681. H, t £ (-$) 
 The Council of Trent. Or more probably a State Trial . Ditto. 
 
 JTJAN DE RIBALTA, b. about 1555, d. 1628. 
 
 St. John in the Desert, w. vol. 2, p. 259 • • Geo. A. Boskins, Esq. 
 
 FRANCISCO DE RIBALTA. 
 
 The Last Judgment Sir Wm. Eden, Dart 
 
 JTJAN VICENTE JOANES, 1523—1579. 
 A Legendary Subject . Stirling, vol. l, p. 354-3C7 . Eitto. 
 
 ROTTENHAMMER. 
 
 The Last Judgment Al f ml Stowe > »*• 
 
 JTJAN DE LAS ROELAS, 1560—1625. 
 
 His own Portrait Wm. Stirling, Esq. 
 
 From the Spanish Gallery in the Louvre. 
 I Madonna and St. Elizabeth with the Meeting of the 
 
 Holy Children Geo. A. Boston, Esq. 
 
 Stirling, vol. 1, p. 449-454. W. vol. 2, p. 259. . „ 
 
 No 341 of Louis PhiPppe's Spanish Gallery sale Catalogue in 1S53. 
 
 [45] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloox B. North Side. 
 
 0*j 
 
 531 
 532 
 
 533 
 534 
 
 535 
 536 
 
 537 
 
 533 
 
 539 
 540 
 
 541 
 542 
 
 543 
 544 
 545 
 
 546 
 
 547 
 
 548 
 549 
 
 DAVID TENTERS, 15S2-1649. FLEMISH 
 
 Landscape, with Cattle on a Rising Ground . . /. Dingwall, Esq. 
 His own Chateau. With Portraits of himself and his Three 
 
 C. 2 ft. 9 in. by 8 ft. lOJ in. From the' Collection 'of Sir G.' ' emSter ' 
 Warrender. Smith's Cat., No. 422. Exhibited in the British Institu- 
 tion in 18: 5. P. 2 ft. by 1 ft. S in. insuiu 
 
 A Guard-Room w ar ? f ju'/rr^^i 
 
 Exhibited in the British Institution in 1S54. // '<d. n'ltfr irwrmus. 
 
 RUBENS, 1577—1610. 
 
 Prometheus Vide of Manchester. 
 
 The vulture by Snyders, according to a letter written by Rubens. 
 
 FRANZ SNYDERS, 1579—1657. 
 A Stork in the Air, beset by Hawks . . . J. Tollemache, Esq. 
 
 RUBENS, 1577—1640. 
 The Tribute Monet. P. 5 ft. by 6 ft J. Dingwall, Esq. 
 
 From the King of Holland's Collection, No. 85, p. 28 of the Sale 
 Catalogue. Engraved by Landry, Visscher, and Vosterman. Smith's 
 Cat., No. 577. 
 
 Portrait of John Malderus, Bishop op Antwerp 
 
 »»«■ 'i. »*-■ t . .> ., Her ^oj^tg, from Windsor Castle. 
 
 1 ft. 8 in. by 1 ft. C m. Jameson s Public Galleries, p. 241. 
 
 Triumphal Procession of Henry IV., after the battle of 
 
 k cw'T , A "x 1 •••™ Earl of Damley. 
 
 A Sketch for the great picture in Florence. W. vol. 3, p. 23. 
 
 Head of a Female, flowers in her hand . . Duke of Newcastle. 
 
 Children blowing Soap Bubbles .... Earl of Darnlcu 
 P. 2 ft. by 1 ft. 8 in. 
 
 From the Collections of Sir Joshua Reynolds and Mr. Willett. 
 Exhibited in the British Institution in 1828. Smith's Cat No 715 
 W. vol. 3, p. 23. 
 
 Sketch of Children carrying Fruit . . . . c. T. Maud, E$q. 
 
 Atalanta, Meleager, and the Calydonian Boar-Hunt. 
 
 John W. Brett, Esq. 
 Purchased at a chateau in Sweden. Formerly in the Collection of 
 Queen Christina. 
 
 VELVET BREUGHEL, 1568—1625. 
 The Queen of Bohemia hunting .... 
 
 Landscape 
 Market Scene 
 
 RUBENS, 1577—1640. 
 ERANZ SNYDERS, 1579—1657. 
 
 Earl Spencer. 
 Earl of Burlington. 
 Dale of Newcastle. 
 
 RUBENS, 1577—1640. 
 The Marquis of SriNOLA. w. vol. 3, p. 213 . . . Earl of Warwick. 
 Ignatius Loyola ... .... Ditto. 
 
 From the College of the Jesuits at Antwerp. W. vol. 3, p. 214. 
 
 Rubens and hfs Wife carrying Fruit and Game . Earl of Atjlesford. 
 C. 4 ft. 1 in. by 4 ft. Engraved by J. Summerfield, 1814. 
 
 Diana departing for the Chase Thos. Baring Esq. 
 
 C. 7 ft. by 5 ft. 10 in. ' 
 
 From the Collection of Sir Simon Clarke. Engraved by J Ward 
 R.A. Smith's Cat., No. 752. W. vol. 2, p. 182. . 
 
 [46] 
 
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 £47.—. < -o-tKf/fO v '•• *ta ; "*f '<' '' tens fa . 
 
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AINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. North Side. 
 
 561 
 562 
 
 563 
 564 
 565 
 
 567 
 568 
 569 
 
 570 
 571 
 
 572 
 573 
 
 RUBENS — continued. FLEMISH. 
 
 His Own Portrait .... Her Majesty, from Windsor Castle. 
 
 P 2 ft. 9i in. by 2 ft. 1 in- „ . , _ , _ „ 
 
 Presented to Charles I. by Lord Danby. Engraved by Paul Pontius, 
 Worlidge Chambers, Facius, Pelham, and J. H. Robinson. Jameson s 
 Public Galleries, p. 261. W. vol. 2, p. 435. 
 
 Portrait op His First Wife . . . • I)itto - 
 
 Formerly at Antwerp, in the possession of the JiOnden family. 
 Exhibited in the British Institution in 1826 and 132,. Smith s Cat., 
 No 559. Jameson's Public Galleries, p. 263. W. vol. 2, p. 435. 
 DAVID TENLERS, 1582—1649. 
 A Village Scene with Peasants playing at Bowls . . P. Norton, Esq. 
 
 RUBENS, 1577—1640. 
 
 JONO TRANSFERRING THE EYES OF ARGUS TO THE TAIL OF THE 
 
 Peacock Matthew C. Wyatt, Esq. 
 
 From the Burazzo Palace at Genoa. Smith's Cat., No. 1119. 
 
 VELVET BREUGHEL and ROTTENHAMMER. 
 Eabth Sir Humphrey de Trafford, Bart. 
 
 Air \ ' • mt0 - 
 
 Fire . ' mto ' 
 
 Water mm - 
 
 RUBENS, 1577—1640. 
 Sketch from the Life of Achilles— Thetis dipping Achilles 
 
 into the Styx The late J. Smith Barry, Esq. 
 
 Sketch from the Life of Achilles— His Education . Ditto. 
 Sketch from the Life of Achilles — The Contest between 
 
 the Kings Bdt0 ^ 
 
 Sketch from the Life of Achilles— The Death of Hector . Ditto. 
 Sketch from the Life of Achilles — Thetis receiving the 
 
 Armour from Vulcan Ditto. 
 
 Sketch from the Life of Achilles— The Death of Achilles. Ditto. 
 
 . Earl Spencer. 
 
 . Earl of Derby. 
 
 E. S. Holford, Esq. 
 
 The Misses Bredell. 
 Lord Hatherton. 
 
 FRANZ SNYDERS, 1579—1657. 
 Large Wreath enclosing a bust of Ceres 
 
 RUBENS AND SNYDERS. 
 A Boar Hunt . .... 
 
 RUBENS, 1577—1640. 
 Sketch for the Elevation of the Cross . 
 
 W. vol. 2, p. 199. 
 
 A Sketch 
 
 Nymph with Javelin 
 
 St. Martin dividing his Cloak with the Beggar 
 
 Her Majesty, from Windsor Castle. 
 
 C. 8 ft. 4. in. by 7 ft. 10. in. m GffthfL , ■ 
 
 Brought from Spain by Mr. Bagnol. Engraved by T. Chambers and 7 / / 
 
 byC Galle Exhibited in the British Institution 1822. Smiths Cat., '■> QaOL/-/}- 
 No. 822. Jameson's Public Galleries, p. 261. W. vol. 2, p. 435. / 
 
 ROELANT SAVERY, 1576—1639. 
 
 Paradise Earl of Portsmouth. 
 
 The Morning after the Deluge .... Ditto. 
 
 FRANZ SNYDERS, 1579—1657. 
 
 Market Scene DuU of Newcastle. 
 
 Boar Hunt. From theFeseh Collection Sir P. M. de Grey Egerton, Bart. 
 
 [47] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon B. Nohth Side. 
 
 RUBENS, 1577-1640. FLEMISH AND FRENCH 
 
 Landscape by Sunset, w. vol. 3, P 152 . . . . MofSrfke 
 David with the Elders op Israel, presenting a thank- 
 offering to Jehovah on the return of the Ark of the 
 
 Covenant from the house of Obed-Edom. A Sketch . Earl Spencer 
 P. 2 ft. 34 in. by 2 ft. 10 in. * 
 
 Smith's Cat., No. 937. W. vol. 3, p. 458. 
 
 The Wife, Sister, and Child op the Painter 
 Landscape .... 
 His Own Daughter. 
 
 Wm. Angerstein, Esq. 
 
 Francis Edwards, Esq. 
 
 Earl of Warwick. 
 
 Earl of Larnley. 
 
 Ditto. 
 
 . J. S. Harford, Esq. 
 
 Lord Earnley. 
 
 Christ Church, Oxford. 
 
 From Ghent . . . 
 
 Queen Tomyris, with head of Cyrus 
 C. 6 ft. Sin. by 11 ft. 9 in. 
 From the Orleans Gallery. Engraved by P. Pontius, Ragot, Duchangc, 
 ruvfCti anc t Laim ay. Exhibited m the British Institution in 182a A simitar 
 W v ? 3° "3 1S m GaUer y of the Louvre. Smith's Cat., No. 74.0. 
 
 CHARLES LEBRUN, 1612—1690. 
 Centaurs and Lapith^e. w. vol. 3, p. 25 
 
 GASPAR POUSSIN, 1613—1675. 
 Storm Landscape .... 
 
 From the Barberini Palace. W. vol. 3, p. 193.' 
 
 NICOLAS POUSSIN, 1594—1665. 
 The Preservation of the Infant Pyrrhus 
 
 C. 2 ft 5 in by 3 ft. 4£ in. A replica of the 'picture in the 
 Louvre. Smith's Cat., No. 166. W. vol. 3, p. 25. 
 
 GASPAR POUSSIN, 1619—1675. 
 Mountain Scene with a Plain beyond . . . DuU of Newcastle. 
 
 PHILIPPE DE CHAMPAGNE, 1602—1674. 
 Robert Arnaud de Andilly. w. vol. 3, P . 459 . . . Earl Spencer. 
 
 VAN DYCK, 1599—1641. 
 Study op a Man on Horseback . 
 
 In black and white oil-colours on a grey ground. 
 C. No. 160 of the Library Catalogue. 
 
 Mrs. Margaret Leman. Mistress of the Painter. 
 
 a "..., ' . ,1 _ . Her Majesty, from Hampton Court. 
 
 Smith s Cat., No. 229. Jameson's Public Galleries, p. 304. 
 
 NICOLAS POUSSIN, 1594—1665. 
 
 Rinaldo and Armida Earl of Yarborough. 
 
 No. 52oftheBrocklesby Catalogue. 
 The Testament of Eddamidas A study . . . Rev T. Tfaic/.c* 
 Landon, vol 2. pi. 22. 1 ft. 11 in. by 1 ft. 54 in. Smith's Cat., No. 
 1 65 Engraved by Pesne and by Landon, Annales du M usee, vol. 2, pL 3, S ?s V rL : - 
 and by Ue Maroeuay de Chuy. >-*><-«. 
 
 VAN DYCK, 1599—1641. 
 Madonna and Child The late J. Smith Barry, Esq. 
 
 ERASMUS QUELLINUS, 1607—1678. 
 The Return From Egypt. . w. vol. 3, p. 221. . . S.Howard Galton, Esq. 
 
 VAN DYCK, 1599—1641. 
 Portrait op Rubens. Represented with the Chamberlain's key, 
 
 in virtue of his Office. C. 6 ft. 10 in. by 4 ft. . . . ' Earl Spt accr. 
 
 Inscribed " Ant. Vandyck Eques Pt." No. 263 of the Althorp House 
 Catalogue. W. vol. 3, p. 458. 
 
 CHARLES LEBRUN, 1619—1690. 
 
 Perseus and Andromeda Earl of Yarborough. 
 
 [48] 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon - I>. North Side. 
 
 VAN DYCK, 1599—1641. FLEMISH and FRENCH. 
 
 The Countess Kynalmekie Earl of Denbigh . 
 
 St. Jerome Henry Spencer Lucy, Esq 
 
 Known as "l'Ange Ma Plume." . 
 
 Through Mr. Buchanan from the Soult Collection. Pamted by- 
 order of Philip IV. of Spain for the Palace of the Escurial, and pre- 
 sented by Joseph Buonaparte to the Marshal Soult, when on a visit to 
 him at the Escurial. 
 
 The Magdalen J- Dingwall, Esq. 
 
 C. From the King of Holland's Collection, No. 74. of the Sale 
 Catalogue in 1850. 
 
 Descent from the Cross C. T. Maud, Esq. 
 
 From the Collection of P. Panne, Esq. Compare a composition of 
 the same subject at Munich. Engraved in Payne's Munich Gallery, 
 vol. 2, p. 12. Smith's Cat. No. 357. 
 
 NICOLAS POUSSIN, 1594—1665. 
 
 Landscape and Figures Earl of Yarborough. 
 
 No. of Arlington Street Collection. 
 
 Triumph of Bacchos Earl of Carlisle. 
 
 C. 4 ft. 3 in. by 5 ft. From Lord Ashburnham's Collection, No. 
 63 of Sale Catalogue. Smith's Cat., No. 211. 
 
 VAN DYCK, 1599—1641. 
 Copid and Sleeping Nymph. . . Her Majesty, from Hampton Court. 
 Said to be Van Dyck's last picture. No. 159, p. 14, of the Catalogue 
 of the Collection of .Tames II. Smith's Cat., No. 246. Jameson's Public 
 Galleries, p. 330. W. vol. 2, p. 360. 
 
 NICOLAS POUSSIN, 1594—1665. 
 Landscape with Orpheus and Eurydtce .... Lady Dunmorc. 
 From the Collection of General Craig. Smith's Cat., No. 303. 
 
 View of the Campagna Miss BunUtt Couits. 
 
 C. 3 ft. 1 in. by 4 ft. 2 in. From the Champernowne and Rogers 
 Collections. No. 711 of the Rogers Sale Catalogue, 1S56. Jameson's 
 Private Galleries, p. 398. Smith's Cat., No. 310. W. vol. 2, p. 7S. 
 
 Holt Family Earl of Yarborough. 
 
 Engraved in Landon, vol. 2, pi. 29. No. 41 of Arlington Street 
 Catalogue. 
 
 VAN DYCK, 1599—1641. 
 
 Daedalus and Icarus . Earl Spencer. 
 
 C. 3 ft. 9 in. by 2 ft. 
 
 Smith's Cat., No. 437. W". vol. 3, p. 45S. 
 
 SEBASTIAN BOURDON, 1616—1621. 
 
 One of the Acts of Mekcy Earl of Yarborough. 
 
 No. 12S of the Broeklesby Catalogue. 
 
 VAN DYCK, 1599—1641. 
 
 Snyders, "Wife and Child Sir Culling Eardley, Bart. 
 
 NICHOLAS POUSSIN, 1594—1665. 
 
 Moses Striking the Rock Peter Norton, Esq. 
 
 The Woman of Megara. Landon, vol. 2, pi. 56. . . • Earl of Derby. 
 JACOB JORDAENS, 1593—1678. 
 
 A Girl with a Parrot Earl Fitzwillium. 
 
 MOLENAER. 
 A Man and a Woman at a Window . . . Howard Gallon, Esq. 
 
 Life size. W. vol. 3, p. 224. 
 
 JACOB JORDAENS, 1593—1678. 
 
 Wisdom and Folly Peter Norton, Esq. 
 
 A Girl with a Parrot Earl of Darnley . 
 
 3 ft. 4 in. by 2 ft. S in. 
 
 From the Choiseul Collection. W. vol. 3, p. 24. 
 
 t 49] E 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Vestiboxe II. 
 
 GERARD HONTHORST, 1592—1660. FLEMISH AND SPANISH. 
 
 The Agony in the Garden . . . The late J. Smith Barry, Esq.. 
 
 SEBASTIAN BOURDON, 1616—1621. 
 Small Oval Holt Family Lord Satherton. 
 
 NICOLAS POUSSIN, 1594—1665. 
 
 SpRING W.W. Burden, Esq. 
 
 GASPAR POUSSIN, 1613—1675. 
 Landscape Lord Karry y aM ^ 
 
 NICOLAS POUSSIN, 1594—1665. 
 
 Venus and Cupid W.W. Burden, Esq. 
 
 SEBASTIAN BOURDON, 1616— 1G21. 
 A Bacchanalian Scene .... Liverpool Royal Institution. 
 2 ft. 10 in. by 3 ft. 6 in. No. 118 of the new Liverpool Catalogue. 
 
 DANIEL MYTENS, 1590, still living 1656. 
 A Female with a Guitar, w. vol. 3, p. 222 . . . Howard Gallon, Esq. 
 
 NICOLAS POUSSIN, 1595—1665. 
 The Arts inquiring op Rome why; they do not flourish 
 
 in Modern Times Earl of Derby. 
 
 Exhibited at the British Institution in 1S55. 
 
 St. 
 
 VESTIBULE II. 
 DEVOTED CHIEFLY TO THE WORKS OF MtTRILLO. 
 
 MURILLO, 1618—1682. 
 Giles standing in a Transport of Religious Ecstacy 
 before Pope Gregory IX. p. Miles Esq. 
 
 C. 12 ft. 6 in. by 5 ft. 4 in. Painted for the Franciscan Convent at 
 Seville ; taken from Spain by Fabvier. From the Aguado Collection. 
 Sale Catalogue, No. 33. See Jameson's Mon. Ord., p. 34. 
 
 VELASQUEZ, 1599— 1G60. 
 A Miracle by St. Anthony of Padua 
 
 MURILLO, 1618—1682. 
 St. Augustine and the Infant Saviour 
 
 Head of the Saviour 
 
 Brought from Spain to England by Mr. Ford. 
 
 VELASQUEZ, 1599—1660. 
 
 Figures in a Landscape 
 
 From the Collection of the Hon. General Meade, long time Consul 
 General at Madrid. 
 
 J. Whatman, Ei>q. 
 
 Lord Elcho. 
 . Lord Ovcrstonc. 
 
 Wm. Stirling, Esq. 
 
 Figures in a Landscape .... 
 
 From the Collection of the Hon. General Meade. 
 The Infant Don Balthazar Carlos . 
 Shepherds crowned, leading a Boll . 
 Queen Mariana of Austria . 
 
 Woman Drinking 
 
 MURILLO, 161S— 1682. 
 
 Ditto. 
 
 Col. Hugh Baillie. 
 
 Lady Dunmore. 
 
 Col. Hugh Baillie. 
 
 William Stirling, Esq. 
 
 Study for the group in the great picture of "Moses Striking the 
 Rock," in the Hospital of Charity at Seville. 
 
 IGNACIO LRIARTE, 1620—1685. 
 630 I Large Landscape, with Figures . . . . George A. Hoskins, Esq. 
 ' Stirling, vol. 2, p. 931—934. W. vol. 2, p. 259 
 
 [50] 
 

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PAINTINGS BY ANCIENT MASTERS. 
 
 Vestibule II. 
 
 631 
 632 
 633 
 
 634 
 
 638 
 
 639 
 640 
 641 
 642 
 
 643 
 644 
 645 
 
 646 
 
 647 
 
 MTTKILLO, 1618—1682. SPANISH, FRENCH AND FLEMISH. 
 
 Abraham entertaining the Angels . . . Abraham Darby, Esq. 
 His OWN Portrait. From the Standish Gallery . . Wm. Marshall, Esq. 
 
 Landscape Francis Edwards, Esq. 
 
 St. Anthony on his Knees. The Infant Saviour holding a 
 
 globe and cross, appearing to him . . . Miss Burdett Coutts. 
 
 From the Rogers Collection. No. 715 of the Sale Catalogue in 1856. 
 St. Joseph embracing the Infant Saviour . . . Ditto. 
 C. 1 ft. by 9i in. From the Collections of Henry Hope and Samuel 
 Rogers. No. 722 of the Sale Catalogue in 1856. Stirling, p. 1424. 
 
 The Baptism Wm. Burdon, Esq. 
 
 C. S ft. 6 in. by 5 ft. 7 in. Purchased by Mr. Nathan Wetherall 
 from the nuns of St. Leandro at Seville. Stirling, vol. 3, p. 1429. 
 The Madonna and Saviour with St. John . Wm. Stirling,' Esq. 
 
 Figures life-size. From the Dominican Nunnery of Madre'de Dios, 
 Seville. 
 
 Infant Christ sleeping in the Arms op St. Joseph G. A. Ho skins, Esq. 
 
 From the Standish Gallery. W. vol. 2, p. 259. 
 Holt Family. Engraved by Boydell. .... Rev. T. Staniforth. 
 
 His own Portrait Earl Spencer. 
 
 Madonna in Glory, w. vol. 2, p. 341 . . Sir Culling Eardlcy, Bart. 
 
 Virgin and Child Lord Overstone. 
 
 C. 5 ft. Z'? in. by 3 ft. 6£ inches. Formerly in the Chapel of Palace 
 of the Marquis Santiago at Madrid; brought to England by Buchanan. 
 From the Berwick Collection. Stirling, p. 1422. W. vol. 3, p. 27. 
 
 The Flight into Egypt. Stirling, p. 1424 • . Sir Culling Eardley, Bad. 
 " ECCE Homo." From the Standish Gallery . . [Thos. Birchall, Esq. 
 
 St. John and the Pharisees John Anderson, Esq. 
 
 C. 8 ft. 6 in. by 5 ft. 7 in. Formerly in the Nunnery of St. Leandro 
 at Seville. Sold by Mr. Wetherall to Mr. Purvis. Stirling, p. 1427. 
 
 JUAN SIMON GUTTLERREZ. Painted 1664—1672. 
 
 The Ecstacy of St. Francis . . . Liverpool Royal Institution. 
 C. 5 ft. 6 in. by 4 ft. 
 
 No. 115 of the New Liverpool Catalogue. W. vol. 3, p. 240. 
 
 MURILLO, 1618—1682. 
 
 The Good Shepherd Baron Lionel Rothschild. 
 
 This was once the companion picture to the Infant St. Jhn with 
 the lamb, now in the National Gallery, when in Palais du Lassay. 
 They were afterwards in the collections of Presle and Robit, purchased 
 in 1801 by Sir Simon Clarke, and were separated in 1S4Q. Stirling, 
 vol. 2, p. 913. 
 
 648 
 
 649 
 650 
 
 651 
 652 
 
 SALOON C— NORTH WALL. 
 
 FRENCH, FLEMISH, AND SPANISH MASTERS. 
 
 VAN DYCK, 1599—1641. 
 
 A "Pieta" Duke of Newcastle. 
 
 CLAUDE GELEE LE LORRAIN, 1600—1682. 
 Landscape, with Parnassus, Apollo, and the Muses ; River 
 
 God in front Earl of Burlington. 
 
 Poetical Landscape .... Her Majesty, from Windsor Castle. 
 
 Jameson's Public Galleries, p. 237. W. vol. 2, p. 430. 
 Oval Landscape Earl of Dartmouth. 
 
 Landscape Earl of Yarborough. 
 
 This picture was 'painted at Rome for Pope Urban VIII., and was 
 afterwards in the collection of Louis XVI., when it was engraved by 
 Le Bas with the title of "La Recompense du Village." No. 18 of 
 Arlington Street Catalogue. 
 
 [ 51 ] E 2 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. North Wall. 
 
 Henry T. Hope, Esq. 
 
 . Howard Gallon, Esq. 
 Ditto. 
 
 VAN DYCK, 1599—1641. FLEMISH. 
 
 Rinalpo and Armida Dide of Newcastle. 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682. 
 Landscape with a biposo in foreground . . . Earl of Bnrlingto» . 
 A Seaport, with Trees . • Her Majesty, from Windsor Castle. 
 
 Jameson's Public Galleries, 230. W. vol. 2, p 430. 
 
 REMBRANDT, 1606—1664. 
 Family Portraits, W. vol. 2, p. 115 ... 
 
 NICHOLAS MAES, 1632—1693. 
 St. Anne Teaching the Virgin to Read . 
 Two Women and Child. Half-length, life-size . 
 w. vol 3, p 221. 
 From the Collection of Mr. Strutt of Derby, 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682. *JjJS " \. / ' 
 Scnset. A Bay with Rocky Arch iu the centre of the 
 
 picture Edward Loyd, Esq 
 
 VAN DYCK, 1599—1641. 
 Three Children, w. vol. 2, p. 84. . . ^ , • • Earl de Grey. 
 
 King Charles the First. Half-length. Dated"l63Y. H u Earl of Warwul:. 
 Portrait of Snyders . €as*1^ &<*w - tJ.tC) . Earl of Girlish- . 
 C 4 ft. 2 in. by 3 ft. 1 in. 
 M£) ft/nuad F \. om tne Orleans Gallery. Smith's Cat., No. 329. Engraved by 
 
 Dequevauviller. W. vol. 3, p. 319 . 
 
 Portrait of Snyders* Wife r^c L U&* 1 J l ) • Bad of If at 
 
 C 1 ft. S in. by 1 ft. 5 in. 
 i>i&i From the Orleans Gallery. Smith's Cat, No. 330. W. vol. 3, p. 213. 
 
 JACOB VAN ARTOIS, 1613—1665. 
 Large Landscape Sir Humphrey Dc Trafford, Bur'. 
 
 FERDINAND BOL, 1611—1681. 
 Man and ms Wife . . • • • • 
 Inscribed "F. Bol. fecit 1G49." W. vol. 2, p. 182. 
 
 REMBRANDT, 1606—1664. 
 Female Portrait. 4 ft. ioi in. by 4 ft. 3i in. . 
 
 VAN DYCK, 1599—1641. 
 Thomas Killigrew and Thomas Carew, Poets . . Earl of Warwicl. 
 1HOMAS KILLIGREW ^ ^ gj^cd and dated 1638. Smith's Cat 
 
 NoT 214 Exhibited in the Brit.sh Institution in 1821. Jamesons 
 Public Galleries, p. 226. 
 
 HONDEKOETER, 1636—1695. 
 
 Eagles and Lamb 
 
 WILLIAM VAN DE VELDE, 1633-1707. 
 Sir PhineasPett and the Ship '-Sovereign Royal.' Called 
 
 by Ihe Dutch "the Golden Devil" . . . . Earl of larborouy,, 
 
 653 
 
 654 
 655 
 
 656 
 
 657 
 658 
 
 659 
 
 660 
 661 
 662 
 
 663 
 
 664 
 665 
 
 666 
 667 
 
 668 
 669 
 
 670 
 671 
 
 672 
 
 Thomas Bariny, Esq. 
 
 Duke of BuceleueJ . 
 
 Earl of Derby. 
 
 VAN DYCK, 1599—1641. 
 
 A Portrait, w. vol. j, p. 40. <v/J 
 
 FRANK HALS, 1584-^1666. 
 
 Portrait Sketch of De Ruiter . . 
 
 ARNOULD DE GELDER, 1645—1727. 
 
 A Synagogue 
 
 [52] 
 
 Earl of Elhsmere. 
 
 Earl Spe>\>: r. 
 
 /. Whatman, Ei'j. 
 

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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. North Wall. 
 
 Howard Gallon, Esq. 
 
 SOLOMON KONING, 1609—1663. FLEMISH. 
 
 Judas in the Temple Henry Call, Esq. 
 
 FERDINAND BOL, 1611—1681. 
 Hagar and the Angel .... Liverpool Royal Institution. 
 
 REMBRANDT, 1606—1664. 
 The Preaching of St. John in the Wilderness. Unfinished Lord Ward. 
 
 C. 2 ft. 4 iu. by 3 ft. 
 From the Fesch Collection. Smith's Cat, No. 124. W. vol. 2, p. 237. 
 
 GERBRANDT VAN DEN EECKHOUT, 1621—1674. 
 
 A Male Portrait, w. vol. 3, p. 221 
 
 REMBRANDT, 1606—1664. 
 
 An Old Woman. From the Verstolk Collection. W. vol. 3, p. 27. Lord Overstonc. ■ 
 
 Portrait of a Young Man in Turban ... JR. Napier, Esq. 
 
 A Male Portrait. From the Stowe Collection. W. vol. 2, p. 237. Lord Ward. 
 
 Portrait of a Standard Bearer .... Earl of Warwick. 
 From Reynolds's Collection, where it was called " Van Tromp." 
 Smith's Cat. No. 201, and Suppl. p. 798. 
 
 FRANK HALS, 1584—1666. 
 
 A Portrait. 4 ft. 6 in. by 4 ft.. Dated . • . Henry Farm; Esq. 
 
 NICHOLAS MAES, 1632—1693. 
 
 A Female Portrait Howard Galton, Esq^j^ 
 
 Signed and dated 1682. 
 
 VAN DYCK, 1599—1641. 
 Children of Charles I. .... . Her Majesty, from Windsor Castle. ' 
 
 C. 5 ft. 9 in. by 7 ft. 3 in. Signed and dated 1637. Engraved by jy §* 
 
 ■'•sh Institution //- '- ' ' 
 
 Baron. R. Strange, and Cooper. Exhibited in the British Institution 
 in 1S21. Smith's Cat., No. 20S. Jameson's Public Galleries, p. 230. 
 See original drawing, No. 149 in North Transept Gallery. 
 
 REMBRANDT, 1606—1664. 
 Head of an Old Man with Hat on . . . . Lord Seartdale. 
 
 His own Portrait at the age of about Thirty- 
 six Her Majesty, from Buckingham Palace. 
 
 P. 2 ft. 3 in. by 2 ft. From the Baring Collection. Smith's Cat., 
 No. 200. Jameson's Private Galleries, p. 3S. W. vol. 2, p. 5. 
 A Young Man in Turkish Costume . Her Majesty, from Windsor Castle. 
 Inscribed. " Rt. 1631." Jameson's Public Galleries, p. 239. 
 W. vol. 2, p. 430. 
 Jacob's Dream. Smith's Cat., No. 12. ... Viscount Dillon. 
 
 JAN LIEVENS, 1607—1663. 
 Job Tormented, signed aud dated 1631. . The late J. Smith Barry, Esq. 
 
 REMBRANDT, 1606—1664. 
 
 Male Portrait &>'• L (C - 
 
 Portrait of an Elderly Lady Ditto. 
 
 Daniel before Nebuchadnezzar Lord Scarsdalc 
 
 Called by Dr. Waagen a Solomon de Kojjing, and by others 
 an Eeckhout. W. vol. 3, p. 391. 
 
 GERARD DOW, 1613—1680. 
 Rembrandt's Wife as a Jewish Bride . . . Messrs. Wadmore. 
 
 REMBRANDT, 1606—1664. 
 Portrait of a Lady. Signed and dated 1642. • Samuel Barton, Esq. 
 
 No. IS, p. 797 of Smith's Catalogue, Supplemental Volume. 
 Female Portrait. From the Pourtales Collection . Charles T. Maud, Esq. 
 [53] 
 
rrtin i mvja bi minuicin I MAS I tKS. 
 
 Saloon C. North Wall. 
 
 695 
 
 696 
 
 697 
 698 
 
 BOOR. 
 
 699 
 
 700 
 701 
 
 702 
 703 
 
 704 
 705 
 706 
 707 
 708 
 
 709 
 710 
 
 711 
 712 
 
 713 
 
 714 
 
 Belshazzar's Feast 
 
 Earl of Yarborough . 
 
 EEMBRANDT — continued. FLEMISH. 
 
 Earl of Derby. 
 
 No 40 ibited "* the Briiish Institu t ion in 1821 and 1S50. Smith's Cat., 
 The Duchess op Lorraine .... 
 
 No. 97 of the Arlington Street Catalogue. • 
 
 BARTHOLOMEW VAN DEE HELST, 1613—1670 
 
 A Portrait. 4 ft. 6 in. by 4 ft Senrg Farrer, Esq . 
 
 EEMBRANDT, 1606— 16G4. 
 
 Large Landscape " Lord Overstone 
 
 Prom the Collection of the Marquis de Vences. 
 
 JACOB BTJYSDAEL, 1630—1681. 
 Landscape, with Figures by A. Van de Velde . . F. Sanderson, Esq. 
 W. vol. 2, p. 288. * 
 
 MLNDERT HOBBEMA. Painted 1660 
 Water with Trees f^dc&r, *)CrO q, * . . . Earl Howe. 
 
 ALBERT CUYP, 1605—1683. 
 Landscape— Shepherd and Cattle . . . . TJic Misses Bredcll. 
 
 P. 1 ft. 64 in. by 2 ft. 5 in. W. vol. 2, p. 290. 
 
 JACOB RUYSDAEL, 1630— 1681. 
 A Waterfall Lord Overstone. 
 
 PHILIP DE KONLNCK, 1619— 16S0. 
 
 A Landscape. Signed and dated 1653 . . . . C. P. Grcrfell, Esq 
 
 From thePourtales and Orford Collections. No. 270 of the Orford 
 Catalogue. 
 
 LUDOLPH BAKHULZEN, 1631—1702. 
 
 A Sea Piece jt oot ^pier, Esq. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 Small Picture op a Calm Sea, and Shipping. (Signed) Edward Loyd, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 A Stormy Sea Lord Hather ton. 
 
 PIERRE MIGNARD, 1610—1695. 
 Our Saviour with the Woman of Samaria . • Marquis of Westminster. 
 
 JACOB RUYSDAEL, 1630—1681. 
 View op Bentheim Castle on the Rhine . . /. Walter, Esq. 
 
 Signed and dated 1053. 
 
 JAN WEENIX, 1644—1719. 
 
 A Gamepiece Earl of Wilton. 
 
 ALBERT CUYP, 1605—1683. 
 Ntmtegen on the Rhine, w. vol. 3, p. 466. . . Duke -of Bedford. 
 
 JACOB RUYSDAEL, 1630—1681. 
 
 Landscape, yt. vol. s, p. 50 Worcester College, Oxford. 
 
 ALBERT CUYP, 1605—1683. 
 
 Large Landscape, inscribed. W. vol. 2, p. 336 . . jF. FerHns, Esq. 
 From the Zachary Collection. 
 
 MOUCHERON, 1633—1685. 
 A Landscape. The Figures by Lingeibach . . . Howard Gallon, Esq. 
 From the Poulin Collection. W. vol. 3, p. 221. 
 
 ALBERT CUYP, 1605—1683. 
 The Prince op Orange starting on a Coursing Expedition. 
 
 Edward Loud, Esq. 
 [54] 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. East Wall. 
 
 BARTHOLOMEW VAN DER HEIST, 1613— 1C70. FLEMISH and SPANISH. 
 Landscape with eight Figures .... Henry I. Hope, Esq. 
 
 3 ft. by 4 ft. S in. W. vol. 2, p. 115. 
 
 AART VAN DER NEER, 1613—1683. 
 
 Woody Landscape Duke of Newcastle. 
 
 Exhibited at the British. Institution in 1854. 
 
 ALBERT CTTYP, 1605—1683. 
 A Dutch Merchant and Servant on the Banks of a River. 
 
 With Shipping Edward Loyd, Esq. 
 
 JAN BOTH, 1610—1656. 
 An Italian Evening Scene 
 
 Landscape— "The Muleteer" . John Walter, Esq. 
 
 Inscribed. C. 2 ft. 11 in. by 3 ft. 6i in. Smith's Cat., No. 64. 
 
 KAREL DTI JARDLN, 1635—1678. 
 GurLLAUME le Taciturne and the Artist . . G. Cornwall Legh, Esq. 
 
 ALBERT CTJYP, 1605—1683. 
 The Ferry Boat, a view on the River Maes . . . Rev. F. Leicester. 
 P. 1 ft. 10* in. by g-ft. 4 in. Smith's Catalogue, No. 24. 
 
 MTNDERT HOBBEMA. Painted 1660. 
 Landscape : Lord Hpthfrton.^ 
 
 
 Edmund Foster, Esq. 
 
 C. 3 tt^i in. by 4 ft. 2£ in. 
 
 Signed and dated 1663. Smith's Cat., No. 1. W. vol. 2, p. 251. 
 
 I .cY %■ 3- 
 
 
 /. 
 
 EAST WALL.— FLEMISH, ITALIAN AND SPANISH MASTERS. 
 
 SALVATOR ROSA, 1615—1673. 
 Landscape m. Fhillips, Esq. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 Smp in Storm ^ ari f Warwick. 
 
 ADAM PYNACKER, 1621—1673. 
 View on the Tiber Zord Overstone. 
 
 From the Verstolk Collection. 
 
 JAN DAVIDSZ DE HEEM, 1600—1674. 
 Fruit and Flowers. Signed Matthew Anderson, Esq. 
 
 VELASQUEZ, 1599—1660. 
 Adrian Pultdo Pareja .... 
 
 Stirling, vol. 2, p. 576— 6S3. W. vol. 3, p. 465. 
 Philip IV. of Spain Senry Farrer, Esq. . 
 
 SLR GODFREY KNELLER, 1648—1723. 
 
 Peter the Great Her Majesty, from Hampton Court. 
 
 Background by W. Van de Velde. Inscribed and dated 169S. En- 
 graved by Smith. Jameson's Public Galleries, p. 35S. W. vol. 2, p. 356. 
 
 ADRIAN VAN OSTADE, 1610—1685. 
 
 Musicians Her Majesty, from Buckingham Falace. 
 
 P. 1 ft. 5 in. by 1 ft. 9 in. 
 
 Signed and dated 1656. Prom the Baring Collection. Exhibited in 
 the .British Institution in 1826 and 1827. Smith's Catalogue No. 200. 
 Jameson's Private Galleries, p. 34. W. voL 2, p. 13. 
 
 WILLIAM DE HEUSCH, 1638—1712. 
 
 Luke of Bedford. 
 
 Small Landscape 
 
 [55] 
 
 , Richard Baxter, Esq. 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. East Wall. 
 
 732 
 
 733 
 734 
 735 
 736 
 
 \m 
 
 737 
 738 
 
 739 
 
 740 
 741 
 
 742 
 743 
 744 
 745 
 746 
 747 
 748 
 749 
 
 750 
 
 Landscape 
 
 P0MPE0 BATTONI. SPANISH, FLEMISH, and DUTCH 
 Sacrifice of Iphigenia Zord Yarborough. 
 
 Brocklesbury Catalogue, No. 157. 
 
 JOHN VAN HAGEN. Painted 1650. 
 
 . . . Lord Harry Vane. 
 
 JAN VAN DEE HEYDEN, 1637—1712. 
 View in Utrecht George Faulkener, Esq. 
 
 ADRIAN VAN OSTADE, 1610—1685. J t Z/O 
 
 PE ASANTS IN A Co URT-TARD . . . J).' {jf % . / ' H. ?■ Hope, JSt q. 
 
 VAN DYCK, 1599—1641. 
 Charles I. on Horseback . . . Her Majesty, from Windsor Cattle. 
 C. 13 ft. 7 in. by 8 ft 
 
 Engraved by Baron and by Lombart. Smith's Cat., No. 207. 
 Jameson's Public Galleries, p. 234. W. vol. 2, p. 429. 
 
 VELASQUEZ, 1599—1660. 
 
 Comte Due Olivarez Col. Hugh Baillie. 
 
 The Queen of Philip IV Henry Farrcr, Esq. 
 
 CARRENO DE MIRANDA, 1614—1685. 
 
 Charles II. of Spain St. Hon. Evelyn Dcnison. 
 
 The Escurial in the background. From the Private Collection of 
 the Palace of the Escurial. See Ford. Stirling, vol. 3, p. 1000. 
 See Sale Catalogue of Spanish Gallery of Louis Philippe in 1S53, No. 305. 
 
 ADRIAN VAN OSTADE, 1610—1685. 
 Still Life lord Overstate. 
 
 JAN VAN DER HEYDEN, 1637—1712. 
 A Dutch House. The figures by A. Van der Velde. 
 
 Her Majesty, from Buckingham Falace. 
 P. 1 ft. 6£ in. by 1 ft. 11 in. 
 Jameson's Private Galleries, p. 52. W. vol. 2, p. 22. 
 
 JACOB RUYSDAEL AND WOUWERMAN. 
 A Cavalier Halting Samuel Barton, Esq. 
 
 WATERLOO AND LINGELBACH. 
 
 A Landscape. LnBcribed "a. W." W. voL 3, p. 223 . /. Hoivard Galton, Esq. 
 
 SALVATOR ROSA, 1615—1673. 
 A Landscape . G. Cornwall Legh, Esq. 
 
 JAN WYNANTS, b. about 1600, d. 1677. 
 Small Landscape . Lord Overstouc. 
 
 JOHN HACKAERT, b. about 1635. 
 Landscape Francis Edwards, Esq. 
 
 J. ANTOLXNEZ, 1639—1676. 
 A Dog. Stirling, vol. 3, p. 1106—1109 .... Wm. Stirling, Esq. 
 
 ALONSO CANO, 1601—1667. 
 His own Portrait. A Skull on the table near him . 
 
 CARRENO DE MIRANDA, 1614—1685. 
 Don John of Austria, Natural Son of Philip IV. 
 
 Bust portrait. John died 1679. Stirling, vol. 3, p. 1001. 
 
 SALVATOR ROSA, 1615—1673. 
 
 LANDSCAPE. From the Falconieri Palace at Rome. 
 [56] 
 
 Ditto. 
 Ditto. 
 
 M. Fhillips, Esq. 
 
VZ2 , — . a/&9or' /Vciofc ? 0091 /istd <?>? u/ as -fetes- hsca/?e4 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. South Wall. 
 
 SPANISH and DUTCH. 
 SOUTH WALL.— FLEMISH AND SPANISH PAINTEKS. 
 
 PEDRO DE MOYA, 1610—1666. 
 
 751 Holy Family. Stirling, vol. 2, p. 813—816 . . Matthew Anderson, Esq. 
 
 PIERRE MIGNARD, 1610-1695. 
 
 752 Julie d'Angennes, Duchesse de Montausier . . . Earl Spencer. 
 
 "W. vol. 3, p. 459. 
 
 PIETRO NOVELLI, 1603, still living 1660. 
 
 753 Head of St. Elizabeth .... Sir John P. Boileau, Ban '.. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 T54 A Small Sea Piece Lord Overstone. 
 
 755 Sea-Piece. Dated 1057 Francis Edwards, Esq. 
 
 JACOB RUYSDAEL, 1630-1681. 
 
 756 Solitude Rev. F. Leicester. 
 
 SALVATOR ROSA, 1615—1673. 
 
 757 Landscape, w. vol. 2, p. 236 Lord Ward. - 
 
 SIR PETER LELY, 1618—1680. 
 
 758 Lady Byron ' Her Majesty, from Hampton Court. 
 
 ADAM PYNACKER, 1621—1673. 
 
 759 "The Obstinate Boll" Matthew Anderson, Esq. 
 
 Compare Smith's Cat., No. S. 
 
 MURILLO, 1618—1682. 
 7G0 Head of a Bacchante Wm. Wells, Esq. 
 
 MINDERT HOBBEMA. Painted 1660. 
 761 Landscape Earl of Burlington. 
 
 ALONSO CANO, 1601—1667. 
 Madonna and Child, w. vol. 2, p. 259 . . Geo. A. Hoskins, Esq. ■ 
 
 JAN STEEN, 1636—1689. 
 
 763 Sleeping Female, life-size Abraham Darby, Esq. 
 
 ALBERT CTJYP, 1605—1683. 
 
 764 Man holding a Horse . . . Her Majesty, from Buckingham Palace. 
 C. 3 ft. 16 in. by 4 ft. 10£ in. 
 Exhibited in the British Institution in 1S26, 1827, and 1S35. Smith's 
 
 Cat. No. 241. Jameson's Private Galleries, p. 18. W. vol. 2, p. 19. 
 
 SALVATOR ROSA, 1615—1673. 
 
 765 A Grand Landscape Toivnley Parker, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 
 766 A Storm Puke of Neiccastlc. 
 
 C. 2 ft. 7 in. by 3 ft. 3 in. Smith's Catalogue, No. 320. 
 
 MINDERT HOBBEMA. Painted 1660. 
 67 .Wood with a Road through it . . .■ * , . R. S. Holford, Esq. 
 
 C. 3 ft. by 4 ft. 2 in. Signed and dated 1663. ^Exhibited in the ^"SQflfl 
 
 768 
 769 
 
 British Institution in 1840. Smith's Cat., No. 18. W. vol. 2, p. 202. 
 
 CORNELIS SACHTLEVEN, 1606—1661. 
 Poultry . John Anderson, Esq. 
 
 ADRIAN VAN DE VELDE, 1639— 1672. 
 Landscape and Cattle Jos. Sanders, Esq. 
 
 [57] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saju>on 0. South Sidk. 
 
 770 
 
 771 
 
 772 
 
 773 
 
 ■ 774 
 
 775 
 776 
 777 
 
 778 
 
 779 
 
 780 
 
 781 
 
 782 
 783 
 
 784 
 
 785 
 788 
 787 
 788 
 789 
 
 790 
 
 SALVATOR ROSA, 1615—167! 
 Coast Scens. w, vol. 3, p. 101. 
 
 SPANISH and ITALIAN. 
 . /. S. Harford, Esq. 
 
 Landscape 
 
 JACOB RUYSDAEL, 1630—1681. 
 
 Thos. Townend, Esq. 
 
 SALVATOE ROSA, 1615-1673. 
 Large Landscape }f. fy$& 2 .Ji $/j . . . Earl of Tarborotcgh. 
 
 ADEIAN VAN DE VELDE, 1639— 1672. 
 Ferry-Boat, with Holt Family introduced . . F. Perkins, Esq. 
 C. 3 ft. II in. by 5 ft. 9 hi. Smith's Cat., No. 12S. 
 
 SIMON VAN DEE DOES, 1653—1717. 
 
 Sheep and Goats Howard Gulton, Esq. 
 
 Signed . . W. vol. 3, p. 222. 
 
 SALVATOE EOSA, 1615—1673. 
 
 A Landscape, w. vol. 2, p. 420 Rt. Hon. H. Zabouchere. 
 
 A Landscape, w. vol. 2, p. 420 Ditto. 
 
 Mountainous Coast, w. vol. 3, p. 15. . . ' . . . Earl Coivper. 
 
 FEANCISCO ZURBARAN, 1598—1662. 
 
 "Regina Angelorum" William Stirling, Esq. 
 
 The Madonna crowned and wearing: a crimson robe ; cherubs hover- 
 ing around her. From the Staudish Gallery in the Louvre (Qy. No. 123). 
 
 VELASQUEZ, 1599—1660. 
 
 Philip IV. in Shooting Dress Col. Hugh Baillie. 
 
 A Nobleman Earl Stanhope. 
 
 EOSA DA TIVOLI, 1655-1705. 
 A Youth seated among Sheep and Goats, a Dog at his 
 
 Side Duke of Newcastle. 
 
 VELASQUEZ, 1599—1660. 
 Henry de Halmale, attended by a Servant . T. P. Smyth, Esq. 
 
 C. 9 ft. by 7 ft. From the Purvis Collection. 
 Two Peasants offering grapes to a child sitting on its 
 
 mother's lap. w. vol. 2, p. 311 Earl of Zistowcl. 
 
 G. MATTIA PEETI (called IL CALABRESE), 1613—1699. 
 Cupid seated on a wall surrounded by Game. 
 
 The late J. Smith Party, Esq. 
 
 VELASQUEZ, 1599—1660. 
 The Cardinal Infant Don Ferdinand of Austria in 
 
 Shooting Dress Col. Hugh Baillie. 
 
 Portrait of a Young Lady John W. Brett, Esq. 
 
 From the King of Holland's Collection. 
 Venus Wm. Morritt, Esq. 
 
 TREVISANI, 1656—1746. 
 St. Francis . Lord Hat her ton. 
 
 VELASQUEZ, 1599—1660. 
 
 Duke Olivarez, on Horseback Earl of Elgin. 
 
 C. 9 ft. by 7 ft. From the Purvis Collection. 
 
 FRANCISCO ZURBARAN, 1598—1662. 
 Standing Figure of St. Francis, w. vol. 2, p. 259 . G. A. Hoskins, Esq. 
 No. 207 of Louis Philippe's Spanish Gallery Sale Catalogue in 1853. 
 [58] 
 

 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon C. South Wall. 
 
 791 
 
 792 
 793 
 794 
 
 795 
 796 
 
 797 
 798 
 799 
 
 800 
 801 
 
 802 
 803 
 
 804 
 805 
 
 806 
 807 
 808 
 
 809 
 
 PAUL BRILL, 15o4— 1626. SPANISH AND ITALIAN 
 
 View of the Campagna tare n from Tivoli . Earl of Carlisle 
 
 W. vol. 3, p. 325. J 
 
 PIETR0 DA C0RT0NA, 1596—1669. 
 Antiochus and Stratonice Marquis of Westminster. 
 
 FRANCISCO ZURBARAN, 1598—1662. 
 The Virgin in Glory . 
 
 A. DELORME. 
 
 Interior of a Church . 
 
 VELASQUEZ, 1599—1660. 
 St. John. From the Standish Collection . 
 
 Lord Elcho. 
 . DuJce of Newcastle. 
 . E. P. Nichols, Esq. 
 
 FRANCISCO ZURBARAN, 1598—1662. 
 One of the Patron Saints of Seville, St. Jdsta or 
 
 St. Rofina j{ t E\on. Evelyn Eenison. 
 
 See Sale Catalogue of Louis Philippe's Spanish Gallery in 1853, No. 297. 
 
 P. FRANCESCO MOLA, 1612—1668. 
 Hagar in the Desert Col. S. Millie. 
 
 LUCA GIORDANO, 1632—1705. 
 Venus and Maes. No. 169 of the Brocklesby Catalogue. . Earl of Tarborough. 
 
 M. A. DI BATTAGLIA, 1602—1660. 
 Rehearsal of an Italian Comedy .... Ditto. 
 
 A similar picture was in the Orleans Gallery. No. 67 of the 
 
 Brocklesby Catalogue. 
 
 FRANCESCHINI, 1648—1729. 
 The Birth of Adonis ...... Jos. Sanders, Esq. 
 
 LUIS DE MORALES, 1509— 15S6. 
 
 Head of our Saviour j, p. Miles, Esq. 
 
 From the Collection of Mr. Frere, H.M. Consul at Madrid. 
 
 SASSOFERRATO. 
 
 Madonna and Sleeping Child Rev. F. Leicester. 
 
 SPAGNOLETTO, 158S— 1656. 
 Jacob keeping Laban's Sheep Earl of Derby. 
 
 VELASQUEZ, 1599—1660. 
 The Alcalde Eonquilla, full length . . George A. ELoskins, Esq. 
 
 SALVATOR ROSA, 1615—1673. 
 Job and his Friends Col. Sugh Baillie. 
 
 DE WITTE, 1607—1692. 
 Interior of a Church Matthew Anderson, Esq. 
 
 CARLO DOLCI, 1616—1686. 
 The Annunciation .... Sir Humphrey Ee Trafford, Bart. 
 
 FRANCISCO ZURBARAN, 1598—1662. 
 
 St. Catherine William Stirling, Esq. 
 
 On canvas. From the Soul t Collection. No. 40 of the Sale Catalogue. 
 
 ADAM ELZHEIMER, 1574—1620. 
 
 St. Peter delivered from Prison Earl of Elgin. 
 
 [59] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Clock Gallery. South Side. 
 
 JUAN BAUTISTA DE SIMO. 
 
 Portrait of Juan Palomino Velasco, the Historian of 
 
 Spanish Artists Win. Stirling, Esq. 
 
 See Stirling, vol. 3, p. 1120—1134. 
 
 CORREGGIO. 
 
 Magdalen. Probably Carlo Dolci . . . .CD. Young, Esq. 
 
 STAIRCASE TO THE CLOCK GALLERY.— SOUTH SIDE. 
 
 MISCELLANEOUS. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 
 Dutch Fleet at the Mouth of the Thames . . Lord Hathcrtou 
 
 An Engraving, partly coloured. Dated 1655. 
 
 UNKNOWN. 
 
 Portrait of Petrarch's Laura .... Soulagcs Collection. 
 
 A 17th century pasticcio from an early work. 
 
 INNOCENZIO DA IMOLA, 1494—1550. 
 Marriage of St. Catherine 
 
 Wynn Ellis, Esq. 
 
 John Walter, Esq. 
 Ditto. 
 
 R. P. Nichols, Esq, 
 
 J. G. PLATZER, 1702—1755. 
 The Philistines' Feast. Signed. 
 The Death of Samson. Signed. 
 
 MARCO D'OGGIONE, 1470—1530. 
 St. Jerome adoring the Madonna and Child 
 
 AART VAN DER NEER, 1613—1683. 
 Moonlight Scene George Field, Esq. 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682. 
 
 Sea-Coast with Figures Thos. Baring, Esq. 
 
 W. vol. 2, p. 177 Signed and Dated, Rome, 1679. 
 
 See Original Sketch, No. 189, in North Transept Gallery. 
 
 SCHOOL OF FRANCIA. 
 
 St. Nicholas enthroned between St. Roch and St. 
 
 SEBASTIAN. From the Collection of Charles I. . . A. Darby, Esq. 
 
 CANALETTO. 
 
 View of the Horseguards and Whitehall. 
 
 St. James's Park : 
 
 TINTORETTO, 1512—1594. 
 Consecration of a Bishop, with Portrait of Paul III. 
 
 OFFICIATING. No. 75 of Arlington Street Catalogue. . Earl of Yarborough. 
 
 CANALETTO. 
 
 Northumberland House Duke of Northumberland '. 
 
 View on the Thames from Richmond Gardens 
 View of Whitehall and the Holbein Gate . 
 The Dogana and S. M. dklla Saluto, Venice 
 Piazza di San Marco, Venice 
 Piazza di San Marco, Venice 
 A Landscape and Ruins 
 Piazza di San Marco, Venice 
 View of Whitehall 
 
 [60] 
 
 Dulce of Richmond. 
 
 Duke of Buccleuch. 
 
 . Earl of Craven. 
 
 Ditto. 
 
 Peter Norton, Esq. 
 
 Lord Hatherton. 
 
 Rev. F. Leicester. 
 
 Duke of Richmond. 
 
• / . 
 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Clock Gat.lery. Sooth Side. 
 
 832 
 833 
 834 
 835 
 
 836 
 837 
 838 
 839 
 840 
 
 841 
 
 842 
 
 843 
 
 844 
 
 845 
 846 
 
 847 
 
 848 
 849 
 850 
 
 ,k 
 
 Irtl'iyty G. P. PANNINI, 1691—1764. VV * 
 
 Ancient Rome. A series of views collected in a magnificent hall, 
 
 with figures and statuary. '. .. , ,^^ l i JL (_ ix ^e Hll Alexander Baruehson, Esq. 
 Modern Rome. Ditto. 5 vr ( Jr . I . ' iy£ (fl/if^JU^ Ditto. 
 
 CASTIGLIONE, 1616—1670. 
 The Discovery of Cyrus Ditlcc of Newcastle. 
 
 ARTEMISIA GENTLLESCHI, 1590—1642. 
 
 Her Own Portrait Earl Spencer. 
 
 No. 274 of the Catalogue at Althorp House. 
 
 CLAUDE GELEE LE LORRAINE, 1600— 16S2. 
 Landscape. From Grosvenor House. W. vol. 2, p. 171 . Marquis of Westminster. 
 
 . k. 
 
 FLLIPPINO, 1460—1506. 
 A Virgin and Child, with Angels . . Liverpool Royal Institution. 
 
 REMBRANDT, 1606—1664. 
 Dismissal of Hagab The Earl of Denbigh. 
 
 GUERCINO, 1592—1666. 
 St. Peter Wm. Drury Loice, Esq. 
 
 THOMAS WYCK, 1616—1686. 
 
 The Raising of the Siege of Vienna by John Sobiesky. 
 
 ^3 .. l'- 
 
 Hon. Warren Vernon. 
 
 DAVID TENIERS, 15S2— 16£>. 
 Neptune and Amphitrite Richard Baxter, Esq. 
 
 REMBRANDT, 1606—1664. 
 The Entrance to the Sepulchre. A " Noli me Tangere." 
 
 Her Majesty, from Buckingham Palace. 
 P. 2 ftj)i in. by 1 ft. S in. Signed and dated 163S. From the 
 Collection of the Empress Josephine at Malniaison. Smith's Cat., 
 No. 103. Jameson's Private Galleries, p. 36. W. vol. 2, p. 5. 
 
 EGBERT HEEMSKERK, 1645—1704. 
 A Tbial Scene. A Sketch /. Tollemache, Esq. 
 
 REMBRANDT, 1606—1664. 
 A Plain traversed by a River . . . . EC. T. Hope, Esq. 
 
 P. 1 ft. 4 in. by 1 ft. 9 in. 
 Smith's Cat., No. 604. W. vol. 2, p. 115. 
 
 MLNDERT HOBBEMA. Painted 1660. 
 Landscape . . . . . . . . George Field, Esq. 
 
 PHILIP DE ZONING, 1619— 16S9. 
 A Landscape. Signed Samuel Barton, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 Small Landscape with Castle . . . . . Earl of Ellcsm, to , . 
 C. 2 ft. 3 in. by 1 ft. 10 in. From Sir C. Bagot's Collection. Smith's 
 Collection, 163. W. vol. 2, p. 49. 
 
 PIETRO LAURATI. 
 St. Jerome ... Colonel Meyrick. 
 
 UNKNOWN. 
 
 Head of the Saviour in profile . . . Ditto. 
 
 CANALETTO. 
 
 View of Venice, with the Lauding of an Ambassador . , Earl qf m Warwick. 
 
 [ 61 ] h '3, f, 
 
 r 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Clock Gallery. South Sidi 
 
 851 
 852 
 
 853 
 
 854 
 
 855 
 
 856 
 
 857 
 858 
 859 
 860 
 861 
 
 862 
 
 863 
 
 864 
 865 
 
 866 
 
 867 
 
 868 
 
 869 
 870 
 871 
 872 
 
 873 
 
 JACOB RTJYSDAEL, 1630—1681 
 Landscape with Canal .... Earl of Won yss and March. 
 
 A Landscape G. Field, Esq. 
 
 JAN VAN DE KAPELLE. Painted 1650. 
 
 Earl Spencer. 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682 
 The Tower on the Tiber, w. vol. 3, p. 393 . . . _ . Lord Scarsdak. 
 
 SOFONISBA ANGTJSSOLA or ANGTJISCIOLA, b. about 1533, d. 1626. 
 Her own Portrait, Playing on the Harpsichord . . Earl Spencer 
 No. 269 of the Althorp House Catalogue. W. vol. 3, p. 456. 
 
 DOMENICHTNO, 1581—1641. 
 Caricature op a Lawyer mounted on a Mule and 
 
 holding (an Owl on a Staff . . . Lord Ham, Vane. 
 
 From the Rogers' Collection, No. 675 of the Sale Catalogue 1856 
 Jameson's Private Galleries, p. 412. 
 
 MINDERT HOBBEMA. Painted 1660. 
 Landscape Edward Loyd, Esq. 
 
 MICHEL MLREVELT, 1568—1641. 
 A Female Portrait Z ord Ward. 
 
 Nativity 
 
 FEDERIGO BARROCCIO, 1529—1620. 
 
 Lord Feversham. 
 
 SCHOOL OF SANDRO BOTTICELLI. 
 
 The Virgin adoring the Infant Saviour . . Christ Church, Oxford, 
 
 FRANCISCO ZTTRBARAN, 1598—1662. 
 
 The Sudarium, or Napkin of St. Veronica. . Wm. Stirling, Esq. 
 
 From the Spanish Gallery in the Louvre. 
 
 ADRIAN HANNEMAN, 1611—1680. 
 
 His own Portrait Sir H. Hume Campbell, Bart. 
 
 Walpole's Anecdotes, edited by Wornum, vol. 2, p. 367. 
 
 HONDEKOETER, 1636—1695. 
 
 Birds, w. vol. 2, p. 422 Rt. Hon. H. Laboucherc. 
 
 JOSE ROLDAN, 1849. 
 Copy from Juan da Valdesleal .... Win. Stirling, Esq. 
 
 Copy from Juan da Valdesleal .... Eitto. 
 
 JAN VAN HTJYST7M, 1682—1749. 
 A Flower-piece. Signed Robert Napier, Esq. 
 
 SCHOOL OF CANALETTO. 
 
 Venice Buke of Manchester. 
 
 PHILIP DE KONINCK, 1619—1689. 
 Landscape. Signed and dated, 1695 .... Earl of Berby. 
 
 F. GOYA, 
 
 C. M. Bkillips, Esq. 
 
 t Four Sketches op Boys at Play 
 
 Landscapb 
 
 SALVATOR ROSA, 1615—1673. 
 [62] 
 
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 $///, , rt/e.c6<fci 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Clock Gallery. South Side. 
 
 874 
 875 
 876 
 
 877 
 878 
 879 
 880 
 
 881 
 
 882 
 
 883 
 
 884 
 " 885 
 
 887 
 888 
 889 
 890 
 
 JAN LLNGELBACH, 1625—1687. 
 Italian Seaport and Market Earl of Derby. 
 
 ISABELLA DAL P0ZZ0. Painted 1666. 
 Roman Chaeitt . Lord Scarsdale. 
 
 BATTISTA MORONI, about 1510—1578. 
 Portrait of a Philosopher, pointing to his Fore- 
 head. Inscribed — " Hie intus est omnis Beatitudo mea." . Earl of Yarborottgh. 
 No. 54 of Arlington Street Catalogue. 
 
 ANDREA DEL SARTO, 1488—1536. 
 
 Samuel Barton, Esq. 
 
 St. Sebastian 
 Holt Family . 
 
 SCHIDONE, 1580—1615. 
 
 Ditto. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 A Sea Fight, w. vol. 2, p. 312 Earl of Listowel. 
 
 PEDRO ORRENTE, d. 1644. 
 St. John and the Lamb at a Fountain . . „ Geo. Hoshins, Esq. 
 
 Stirling, vol. 1, p. 503—506. "W. vol. 2, p. 259. 
 
 GUIDO RENI, 1575—1642. 
 
 Assumption of the Virgin Earl of Ellesmere. 
 
 Engraved by 
 
 LTJDOLPH BAKHBTZEN, 1631—1709. 
 
 Sea-Coast. Boat taking in Cargo. Signed . . . Henry T. Hope, Esq. 
 C. 3 ft. 10 in. by 5 ft. 6 in. 
 Smith's Cat, No. 100. W. vol. 2, p. 123. 
 
 Holt Family 
 St. Catherine 
 
 SCHIDONE, 1580—1615. 
 LUCA LONGHI, 1507—1580. 
 
 . Earl of Yarborough. 
 G. Cornwall Legh, Esq. 
 
 SALVATOR ROSA, 1615—1673. 
 Landscape, with Hagar and Ishmael Lady Dunmorc. 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682. 
 
 Carlo and Ubaldo Embarking Wm. Moseley, Esq. 
 
 C. 4 ft. 6 in. by 5 ft. 1 in. 
 
 No. 168 of Liber Veritatis, painted in 166V for Signor Falconieri. and 
 afterwards in the Collections of the Duke of Kent, the Earl of Hard- 
 wicke, and the Earl de Grey. Engraved by Canot in 1744, and by 
 Pond. Smith's Cat., No. 168. 
 
 TINTORETTO, 1512—1594. 
 The Supper at Emmaus. Containing family portraits . Duke of Manchester. 
 
 SWANEVELDE, 1620—1690. 
 A-Grand Landscape jw|- ^fftlfa • . G. Cornwall Legh, Esq. 
 
 VELASQUEZ, 1599—1660. 
 A Cardinal W. W. Burdon, Esq, 
 
 NICOLAS POUSSIN, 1594—1665. 
 Jupiter and Antiope • . Earl of Listowel. 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Clock Gallery. South SiDr.. 
 
 < 
 
 891 
 
 892 
 
 893 
 894 
 895 
 896 
 
 897 
 
 
 899 
 
 
 900 
 
 < 
 
 901 
 
 1 
 
 902 
 
 
 903 
 
 ANDREA SOLARIO, b. 1458, still liviDg 1530. 
 
 •' Ecce Homo " George Herring, Esq. 
 
 Formerly in the possession of the Duke de Liancourt, and mentioned 
 by Felibien as his masterpiece. 
 
 CLAUDE GELEE LE LORRAINE, 1600—1682. 
 
 Landscape Earl of Yarborough. 
 
 No. 22 of Arlington Street Catalogue. "W. vol. 2, p. 87 note. 
 
 JUAN VICENTE JOANES, 1523—1579. 
 Coronation of the Virgin Alfred Stowe, Esq. 
 
 B. DENNER, 1685—1747. 
 An Old Man Francis Edwards, Esq. 
 
 CIGOLI. 
 
 St. Francis P- Norton, E>q. 
 
 DAVID TENIERS, 1582—1649. 
 The Death of Leander Earl Spencer. 
 
 Cop. 9 in. by 1 ft. 8.} in. 
 
 Smith's Catalogue, No. 650. W. vol. 3, p. 459. 
 
 Ditto. 
 
 904 
 S05 
 
 906 
 907 
 903 
 909 
 910 
 
 The Triumph of Neptune 
 
 Cop. 9 in. by 1 ft. 84 in. 
 
 Smith's Catalogue, No. 655. W. vol. 3, p. 459. 
 
 ALESSANDRO TURCHI, called ORBETTO. 
 
 The Calling of St. Peter. Painted on Lapis Lazuli. Cardinal Wisi 
 
 SCHOOL OF BELLINI. 
 Male Head Christ Church, Oxford. 
 
 MURILLO, 1618—1682. 
 
 " Sposalizio." w. vol. % p. 311 Earl of Listourl. 
 
 Considered by G. 1!. Cavalcaselle as the work of Tobar, his scholar 
 and imitator. ,» 
 
 /tfcU CLAUDE GELEE LE LORRAINE, 1600—1632. JLbO 
 
 Seaport. No. 102 of Brocklesby Catalogue .... Lord Yarborough. 
 JAN BOTH, 1610—1656. 
 
 Landscape Sir John Nelthorpe, Bart. 
 
 ALBANI, 1573—1660. 
 The Expulsion. The work of the painter at" a very 
 
 advanced age Lord WentleydaU\ 
 
 Letters from the artist relating to this picture are in Lord 
 Wensleydale's possession. 
 
 SCARSELLINO, 1551—1621. 
 
 The Procession to Calvary . . • &ter Norton, Esq. 
 
 GUERCINO, 1592—1666. 
 
 The Death of Sapphira John W. Brett, Esq. 
 
 From Lord Berwick's Collection. 
 
 STEFANO LEGNANI, 1660—1715. 
 
 Madonna and Child .... Sir Humphrey De Traford, Bart. 
 
 FRANCOIS CLOUET, called JEANET. Painted 1540—1560. 
 
 Mart Queen of Scots, w. vol. 3, p. 457 Earl S/r 
 
 GERARD DOW, 1630—1680. 
 
 A Dead Rabbit *■ Napier, Esq. 
 
 TITIAN, 1447—1576. 
 
 Small Holt Family J- Ba/yUy, Esq\ 
 
 RICCI. 
 
 Jephtha .... J) - Hodgson, Esq. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Railway Gallery. 
 
 911 
 912 
 913 
 914 
 
 913 
 
 916 
 917 
 918 
 919 
 
 920 
 
 921 
 922 
 
 923 
 
 924 
 925 
 926 
 927 
 
 928 
 
 Sea-piece 
 
 GALLERY LEADING TO THE RAILWAY. 
 
 MISCELLANEOUS. 
 
 LTJDOLPH BAKHTJIZEN, 1631—1709. 
 
 Colonel Baillie. 
 
 PHILIP WOUWERMAN, 1620—1668 
 A Shore Scene John Walte ^ Esq _ 
 
 EEMBEANDT, 1606—1664 
 His Colour grinder F Norto ^ ^ 
 
 TINTOEETTO, 1512—1594. ?J£) 
 
 Sketch for the Last Judgment . . . Liverpool Royal Institution. 
 .No. 64 of the last Liverpool Catalogue. 3 ft. 2 in. by 2 ft. 2 in. " 
 
 ANDEEA SACCHI, 1593—1661. 
 St. Romualdo among the Friars op his Order . /. j>. Nichols Esq 
 
 A sketch for the celebrated picture in the Gallery of the Vatican 
 From the Rogers' Collection. No. 63S of the Sale Catalogue in 1856. 
 
 ANNIBALE CAEEACCI, 1560—1609 
 
 Polyphemus and Galatea Abraham Darby, Esq. 
 
 VAN DEE NEEE AND CUYP. 
 
 Sunset. Monogram on wall, over the Inn Sign . Francis Edwards, Esq. 
 
 HONDEKOETEE, 1636—1695 
 
 Live Fowls . • Earl Spencer. 
 
 EEMBEANDT, 1606—1664. 
 Samuel and Eli. From the Verstolk Collection . . . Earl of Craven 
 Exhibited at the British Institution. 
 
 ADEIAN VAN UTRECHT, 1599—1651. 
 A Group of Vegetables on a Table . . William Gacdaertz, Esa 
 
 Signed aud dated 1641. ' l ' 
 
 CESARI D'ARPINO, 1568—1640 
 
 Glaucus and Scylla P. No rton, Esq. 
 
 EEMBEANDT, 1606—1664. 
 Jacob Katz and the Prince of Orange . . . Earl of Craven 
 
 Exhibited at th» British Institution. 
 
 ALONZO CANO, 1601—1667. 
 Adam and Eve, in Landscape .... William Stirling, Esq. 
 One of a. series of eight paintings for the refectory of the Carthusian 
 Convent of Sta. Maria de las Cuevas, at Seville. Mentioned as exist- 
 ing there by Cean Bermudez, Diccionario de las Bellas Artes en 
 Espaiia. From the Standish Collection in the Louvre. Sale Cata- 
 logue, No. 149. 
 
 ESPINOSA. 
 
 Three Angels S ir W. Eden, Bart. 
 
 CAELO DOLCI, 1616—1686. 
 
 A Female Reading & Edwards, Esq. 
 
 SALVATOE EOSA, 1615—1673. 
 
 A Seaport . Luke of Richmond. 
 
 TITIAN, 1447—1576. 
 Assemblage of Five Saints, viz.: Isidore, Ignatius, Francis 
 
 Xavier, Theresa, and Philip Neri ... H. C. Oakorer, Esa 
 
 A Spanish Picture. Of the School of Seville. J ' 
 
 PELLEGRINO TLBALDI, 1527—1600. 
 
 Holy Family Sir Humphrey Lc Trafford, Bart 
 
 [65] ¥ 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon II. South Side. 
 
 SALOON H.— SOUTH SIDE. dutch. 
 
 MISCELLANEOUS, BUT PRINCIPALLY DUTCH CABINET PICTURES. 
 
 VAN DYCK, 1599—1641. 
 Achilles discovered among the Daughters of Lyco- 
 
 medes ......... Earl of Listened. 
 
 From the Vanloo Collection. Exhibited in the British Institution 
 in 1829. Smith's Cat, No. 276. W. vol. 2, p. 312. 
 
 BARTHOLOMEW VAN DER HELST, 1613—1670. 
 A Male Portrait • Hon. E. Phipps. 
 
 JACOB RUYSDAEL, 1630—1681. 
 A Waterfall and Hilly Landscape, with a Mansion 
 
 House Ecv. F. Leicester. 
 
 C. 2 ft. 3 in. by 1 ft. 94 in. From the Collection of Lady Stuart. 
 Smith's Catalogue, No. 7, and Supplement p. 703. 
 
 JAN STEEN, 1636—1689. 
 A Party of Artists in a Balcony, one of them reading a Paper. 
 
 Edward Loyd, Esq. 
 Group of Figures in the Open Air surrounding a 
 
 Musician -Rev. Thos. Staniforth. 
 
 Marauders attacking and pillaging Peasants . P. Norton, Esq. 
 
 C. 2 ft. 10 in. by i ft. 6 in. Smith's Cat, No. 137. 
 The Village School Earl of Ellesmere, 
 
 C. 2 ft. 8 in. by 3 ft. 6 in. 
 
 Has passed through the Collections of M. Lormier, M. Braamcamp, 
 and the Marquis Camden. Engraved by V. Green. Smith's Cat., No. 
 20. Jameson's Private Galleries, p. 150. W. vol. 2, p. 45. 
 A Dinner H. T. Llope, Esq. 
 
 C. 2 ft. 7 in. by 3 ft. 6 in. 
 
 Signed and dated 1661. W. vol. 2, p. US. 
 
 u.^ Q ^.NICHOLAS BERCHEM, 1624—1683. 
 
 A Landscape'. " T" John Walter, Esq. 
 
 PHILIP WOUWERMAN, 1620—1668. 
 
 A Horse-fair . Edward Loyd, Esq. 
 
 VAN OS, 1744—1808. 
 
 Fruit and Flowers. Signed. E- ifapier, Esq. 
 
 JAN VAN HTTYSUM, 1682—1749. 
 
 Flower-Piece Earl of Derby. 
 
 W. VAN AELST. 
 
 Fruit and Flowers. Signed R- Najner, Esq. 
 
 JEAN BAPTISTE MONNOYER, called BAPTISTE, 1635—1699. 
 
 Flower-piece Lord Hatherton . 
 
 JAN VAN HUYSTJM, 1682—1749. 
 
 Large Flower-piece Abraham Darby, Esq. 
 
 Dated 1736. From Mr. Wells's Collection at Bedleaf. No. 120 of 
 Sale Catalogue. 
 JEAN BAPTISTE MONNOYER, called BAPTISTE, 1635—1699. 
 
 Flower-piece Lord Hatherton. 
 
 PIETER BE HOOGE, 1658—1670. 
 A Mother Nursing. W. vol. 2, p. 827. .... The Hon. E. Phipps, 
 
 JAN STEEN, 1636—1689. 
 
 The Marriage at CaNa John Walter, Esq. 
 
 [661 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. South Side. 
 
 JAN LINGELBACH, 1627—1687. DUTCH 
 
 The Landing of Charles II. Sir P. M. G. Egerton, Bart. 
 
 GONZALES COQUES, 1618—1684. 
 The Stadtholder, Henry Prince of Orange, with his 
 Family, receiving a Letter from Cardinal De Witt. 
 
 Bev. F. F. Leicester. 
 MICHEL VAN MUSSCHEE, 1645—1705. 
 Street View, with a Woman crying Vegetables . B. Napier, Esq. 
 
 PIETER DE HOOGE, 1658—1670. 
 
 An Interior with Figures Howard Galton, Esq. 
 
 Inscribed . W. vol. 3, p. 222. 
 
 EGLON VAN DEE NEER, 1643—1703. 
 A Gentleman and Lady at a Table . . . . H. T. Hope, Esq 
 C. 2 ft. 2| in. by 2 ft. 3£ in. W. vol. 2, p. 117. 
 
 MICHEL VAN MUSSCHEE, 1645—1705. 
 The Artist and his Wife in a Stddio. Sir Humphrey de Trafford, Bart. 
 
 PIETER DE HOOGE, 1658—1670. 
 Garden Scene— Ninepin Players, signed. . . John Walter, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 Group of Trees with a Gleam of Sun on a Rising 
 
 Ground beyond Edward Loyd, Esq. 
 
 ALDERT VAN EVERDLNGEN, 1621—1675. 
 
 A Norwegian Scene Earl of ListoweU 
 
 Inscribed. W. vol. 2, p. 312. 
 
 JOHN HACKAERT, about 1635. 
 Landscape. A Stag Hunt Bobert Napier, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 
 Landscape with Water Mill Geo. Field, Esq. 
 
 A View of the Y, with a Cloudy Sky and agitated 
 
 Water /y ' M Fortter, Esq. 
 
 JEAN BAPTISTE GREUZE, 1726—1805. 
 
 A Girl's Head Alderman Salomons. 
 
 Girl with a Dove. w. vol. 2, p. 199 . . . . B. S. Holford, Esq. 
 
 A Little Girl with a Lap Dog in her Arms . . Edm. Foster, Esq. 
 From the Choiseul and Watson Taylor Collections. W. vol. 2, p. 453. 
 
 HENRY VAN LINT. Painted 1680. 
 A Harbour Howard Galton, Esq. 
 
 GASPAR POUSSLN, 1613—1675. 
 View of the Campagna. w. vol. 2, p. 195 . . B. S. Holford, Esq. 
 
 PETER VAN SCHUPPEN THE YOUNGER, 1669—1751. 
 An Interior, with Lady and Gentleman playing Guitar 
 
 Liverpool Boyal institution. 
 2 ft. 8 in. by 3 ft. 6 in. 
 No. 130 of the New Liverpool Catalogue. W. vol. 3 i . 241. 
 
 FRANCESCO HERRERA (the elder), 1576—1656. 
 Christ Disputing with the Doctors . . Edward Stephens, Esq. 
 
 Stirling, vol. 1, p. 454 — 460. 
 
 L 57 ] k 2 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. South Sidk. 
 
 966 
 967 
 968 
 
 969 
 970 
 971 
 
 972 
 973 
 
 974 
 975 
 
 976 
 
 977 
 
 VAN DEE MEULEN, 1634—1690. DUTCH. 
 
 A Battle-piece with William III. engaged . . Duke of Newcastle. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 A Calm. w. vol. 2, p. 336 G. Field, Esq. 
 
 GONZALES COQUES, 1618—1684. 
 Portrait op Ver Helst and Family. Her Majesty, from Buckingham Palace. 
 C. 1 ft. 9J in. by 2 ft. 4 in. From the Collection of Lord Radstock. 
 Jameson's Private Gallerios, p. 25. W. vol. 2, p. 11. 
 
 CORNELLS POELEMBURG, 1586—1666. 
 A Eehearsal Earl Spencer, 
 
 JACOB RUYSDAEL, 1630—1681. 
 Winter Scene Earl of Wemyss and March. 
 
 KAREL DTJ JARDLN, 1635—1678. 
 " Le Menage : " Horses, Gentlemen, and Grooms, 
 
 gathered together in an open space. . . Thos. Baring, Esq. 
 
 1 ft. 7 in. by 1 ft. 1 in. 
 Dated 1054. Formerly at Fonthill Abbey. W. vol. 2, p. 18>1. 
 
 LTJD0LPH BACKHUISEN, 1631—1709. 
 A Sea-Piece ir m . Delafield, Esq. 
 
 JACOB RUYSDAEL, 1630—1681. 
 A Ruined Arch The Misses Brodell. 
 
 P. 1 ft. 6i in- by 2 ft. 1^ in. 
 
 Smith's Catalogue, No. 44. W. vol. 2, p. 289. 
 
 A Family Picture. 
 
 JAN LE DUC, 1636—1695. 
 W. vol. 3, p. 221 . 
 
 JACOB RTJYSDAEL, 1630—1681. 
 Landscape 
 
 C. 3 ft. 9 in. by 4 ft. 8 in. Smith's Catalogue, No. 313. 
 
 Howard Galton, E\>/. 
 Win. Wells, Esq. 
 
 979 
 980 
 
 981 
 982 
 983 
 
 A Landscape 
 
 VAN DER MEULEN, 1634—1690. 
 A Battle-piece with Louis XIV. engaged . . Duke of Korea •;!>■. 
 
 A Military Piece with Louis XIV. engaged I . Ditto. 
 
 / KAREL DU JARDLN, 1635—1678. 
 Cows lyino in a Meadow . . Her Majesty, from Buckingham Palace. 
 P. 11 in. by 1 ft. 2 in. Exhibited in the British Institution in 1820 
 and 1827. Smith's Cat., 101. 1Y. vol. 2, p. 18. 
 
 NICHOLAS BERCHEM, 1624—1683. Tfifyt 'l 
 
 €<£ Edmund Foster, Esq. 
 
 PHILIP WOUWERMAN, 1620—1668. 
 Cavalry Soldiers. Called " Le Coup de Pistolet." 
 
 Her Majesty, from Buckinqham Palace. 
 P. 1 ft. 4 in. by 1 ft. in. 
 
 Exhibited in the British Institution in 1S26 and 1827. Engraved by 
 Visscher, and also by Le Bas in the Le Brun Gallery. Smith's Cat., 
 No. 158. Jameson's Private Galleries, p. 61. W. vol. 2, p. 18. 
 
 Skirmish op Cavalry George Field, Esq. 
 
 NICHOLAS BERCHEM, 1624—1683. 
 The Bird-Catchebs Samuel Barton, Esq. 
 
 A Guard-Room 
 
 DAVID TENLERS, 1542—164 9. 
 [68] 
 
 ftobt, Napier. Esq. 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. South Si db. 
 
 m 
 
 WILLIAM VAN DE VELDE, 1633— 17o/ /' DUTCH. 
 A Small Sea-Piece Earl of Listowel. 
 
 PHILIP WOUWERMAN, 1620—1668. 
 A Battle, with Skirmish of Cavalry . . . John W. Brett, Esq. 
 
 Cart with a Grey Horse ; in the foreground, a Woman 
 
 Nursing her Child, inscribed. W. vol. 2, p. 202. E, S. Holford, Esq. 
 
 VELASQUEZ, 1599—1660. 
 
 Large Landscape Wynn Ellk, Esq.- 
 
 PHILIP WOUWERMAN, 1620—1668. 
 Men and Women on Horseback, called "La Course au 
 
 ^ aren e" . • • , R. S. Holford, Esq. 
 
 23 in. by 29$ in. Inscribed. From the Collections of M Randon 
 de Boisset, M. Tolozan, and the Duchess de Berri. Smith's Cat No 
 130. W. vol. 2, p. 202. 
 
 A Cavalry Charge Earl of Elles mere. 
 
 From the Fesch Gallery. W. vol. 2, p. 47. 
 
 JACOB RUYSDAEL, 1630—1681. 
 A Rising Road, with Oaks and Stream on righthand. Eon. E. Phipps. 
 
 NICHOLAS BERCHEM, 1624—1683. 
 Group op Peasants . . . Her Majesty, from Buckingham Palace. 
 P. 1 It. 1 in. by 1 ft. 4 in. J J 
 
 Dated 1655. Exhibited in the British Institution 1826 and in 1827. 
 Smith's Cat., 224. Jameson's Private Galleries, p. 16. W. vol. 2, p. 16. 
 A LANDSCAPE. Signed "Berchem." W. vol. 2, p. 201. 
 Was Beckford's, called "The Little Diamond!"" 
 
 R. S. Holford, Esq. 
 
 Fete Champetrb 
 Winter Scene. 
 
 ANTOINE WATTEAU, 1684—1721. 
 
 PHILIP WOUWERMAN, 1620-1668. 
 W. vol. 2, p. 291 
 
 E. Perkins, Esq. 
 
 A Watermill 
 
 Inscribed. 
 
 Hope, Esq. 
 
 . The Misses Bred.ell. 
 ALBERT VAN EVERDINGEN, 1621—1675. 
 
 . . Jos. Sanders, Esq. 
 
 PAUL POTTER, 1625— 1C54. 
 Man in Stable, currying a White Horse. Others loading a 
 Mule outside ...... H 'T 
 
 P. 1 ft. 5J in. by 1 ft. 3 in. 
 Signed and dated 1647. Exhibited in the British Institution in 
 1851. Smith's Catalogue, No. 87. W. vol. 2, p. 120. 
 
 Scene in front of a Stable, Boy running off with Puppies. 
 
 Her Majesty, from Buckingham Palace. 
 P. 1 ft. 9A in. by 2 ft. 6A in. 
 
 From the Geeldemeester Collection. Exhibited in the British 
 Institution in 1815, 1826, and 1827. Smith's Catalogue, No 19 
 Jameson's Private Galleries, p. 35. W. vol. 2, p. 15. 
 
 Two Cows and a Bull j ) m Walter, Esq! 
 
 P. 1 ft. 5£ in. by 1 ft. 3 in. Signed and dated 1647. From M. Nieu- in m 
 wenhuys' Collection. Smith's Catalogue, No. 29. W. vol. 2, p. 453. />C/l/^ 
 
 NICHOLAS BERCHEM, 1624—1683. 
 Head of a Cow, life-size. Signed .... Earl of Warwick. 
 Exhibited at the British Institution in 1854. 
 
 ALBERT CUYP, 1605—1683. 
 DucKS Edward Loyd, Esq. 
 
 SIMON VAN DER DOES, 1653—1717. 
 A Cattle-Piece, w. vol. 2, p. 312 Earl of Listowel. 
 
 [69] 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. West Wall. 
 
 DUTCH. 
 R. S. Holford, Esq. 
 
 PAUL POTTER, 1625—1654. 
 An Ass and two Goats in Landscape 
 Inscribed "P. P. 1647." W. vol. 2, p. 201. 
 
 ADBLAN VAN DE VELDE, 1639—1672. 
 A Ford and Cattle . . . Her Majesty, from Buckingltam Palace. 
 C. 1 ft. 8 in. by 1 ft. 5^ in. 
 
 Dated 1659. From the Geeldermeester and Baring Collection. Exhi- 
 bited in the British Institution in 1826 and 1827. Smith's Cat., No. 
 109. Jameson's Private Galleries, p. 56. W. vol. 2, p. 15. 
 
 GONZALES COQUES AND ARTOIS. 
 
 A "Pic-NIC" John Walter, Esq. 
 
 ALBERT CUYP, 1605—1683. 
 Cattle on the Banks of a Eiver. Smith's Cat., No. 277 • Earl Howe. 
 
 PAUL POTTER, 1625—1654. ^r/Z./ta^. JZA 
 Sheep and Cattle, a Bull on a rising ground '. H. T. Hope, Esq. 
 
 A Peasant with a Halter, a Grey and a Brown Horse, 
 
 and Dog R. Sanderson, Esq. 
 
 Signed and dated 1653. From the Baring, Buchanan, and Vernon 
 Collections. Smith's Catalogue, No. 61. W. vol. 2, p. 289. 
 
 SOLOMON EUYSDAEL, d. 1670. 
 Landscape with Cattle in the Foreground . . Howard Galton, Esq 
 W. vol. 3, p. 220. 
 
 JAN VAN HUYSUM, 1692—1749. 
 
 Fruit and Flowers R. S. Holford, Esq 
 
 From the Collection of Demoiselle Hoffman. W. vol. 2, p. 203. 
 
 Vase and Flowers Ditto. 
 
 From the Collection of Demoiselle Hoffman. W. vol. 2, p. 203. 
 ISAAC VAN OSTADE, 1613—1671. 
 Travellers Halting at an Inn .... Ditto. 
 
 2 ft. 8 in. by 4 ft. From the Collection of P. Methuen, Esq. 
 Smith's Catalogue, No. 43. W. vol. 2, p. 201. 
 
 WEST WALL. 
 
 F. H. MANS. 
 
 A Winter Scene. Signed and dated 1669 . Liverpool Royal Institution. 
 
 BONAVENTUE PETEES, 1614—1671. 
 
 Storm Scene Earl Spencer. 
 
 VAN OS. 
 
 Fruit and Flowers. Signed. .... 
 Fruit and Flowers. Signed. .... 
 
 ISAAC VAN OSTADE, 1613—1671. 
 Village Scene with Figures, w. vol. 2, p. 289 . . R- Sanderson, Esq. 
 
 WM. SCHELLINCKS, 1632—1678. 
 
 A Winter Scene William Tite, Esq. 
 
 DAVID TENLEES, 1582—1649. 
 Nine-pin Platers G. Cornwall Legh, Esq, 
 
 C. 2 ft. 9 in. by 3 ft. 10A in. 
 
 From the Collection of Sir G. Warrendcr. Smith's Cat. No. 422. 
 
 Duke of Newcastle. 
 . Ditto. 
 
 A Village Green 
 
 JAN STEEN, 1636—1689. 
 
 Francis Edwards, Esq. 
 
 ^aa.0 ADELAN VAN OSTADE, 1610—1685. 
 Skittle-Platers, w. vol. 2,~p. 335 
 
 L70] 
 
 George Field, Esq. 
 

 . 
 
 - a^cTrt Tenth, \ 
 
 ■cJ <°4~a6Yy &>rt, Mtuzaea^ ^7c/> ■?%<?'&& &/fat? 
 <s/tAc£4, ant - 'h/f, 
 
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 &&/?z&L '2&<Z4fit iz>ia£ ottu* t , s //r J 
 
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 Y. . . (< ototcm; /wide;; a 
 
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 UU>l<./s f u . ( t ' . ,< 
 
 ^ r^ C0L0&yl> ctsi<y t Xa?y<e?zc£;t:ytzeu//ces, 
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 cyi- /We 
 
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 ■ //7?r^^^^//(/ ^a*>i/esv $fy ana 
 
 >■*& w r/te *4fcOW < ; . : ;^<,.)/ci, a4oei^ 
 
 
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PAiNTINGS BY ANCIENT MASTERS. 
 
 Saloon H. West Wall. 
 
 DAVID TENIERS, 1582—1649. DUTCH. 
 
 Four Boors at a Table . . Her Majesty, from Buckingham Palace. 
 P. 9i in. by 13i in. 
 
 Exhibited in the British Institution 1S26 and 1S27. Smith's Cata- 
 logue, "No. 491. Jameson's Private Galleries, p. 48. W. vol. 2, p. 11. 
 
 Christ crowned with Thorns Lord Ward 
 
 Cop. 1 ft. 9 in. by 2 ft. 4 in. 
 
 Smith's Catalogue, No. 140. Engraved by Le Brun. W. vol. 2, p. 237. 
 
 JACOB RUYSDAEL, 1630—1681. 
 
 A Landscape and Corn-field Duke of Newcastle 
 
 C. 1 ft. 10 in. by 2 ft. 5 in. Smith's Catalogue, No. 321. 
 
 EGIDIUS VAN TILBURG, 1625, still living 1658. 
 A Country Party, w. vol. % p. 312 Earl of Listowel 
 
 ISAAC VAN OSTADE, 1613—1671 
 Travellers Carousing before an Inn 
 
 A. VAN BEERESTRAATEN, died 1687. 
 A Winter Scene 
 
 n, Esq. ' 
 
 Ui{& W/.' NICHOLAS BERCHEM, 1624—1683. 
 A Snow Scene. Dated 1652 
 
 F. Perkins, Esq. 
 oivard Cralton 
 John Walter, Esq 
 . G. Field, Esq 
 
 DAVID TENIERS, 1582—1649. 
 The Interior of a Cabaret .... 
 
 Two Figures and a Dog CM. Phillips, Esq. 
 
 Three Persons at a Fire-place . . . .■■".. James Tulloch, Esq. 
 A Village Festival The Bev. T. Bradshaw. 
 
 WILLIAM VAN DE VELDE, 1633—1707. 
 
 A Calm James Tulloch, Esq. 
 
 JAN BOTH, 1610—1656. 
 Evening Scene . Matthew Anderson, E*q. 
 
 ISAAC VAN OSTADE, 1613—1671. 
 Travellers Halting . . . Her Majesty, from Buckingham Palace. 
 P. I ft. 11 in. by 2 ft. 9 in. 
 
 Exhibited in the British Institution in 1826 and 1827. Smith's 
 Catalogue, No. 35. Jameson's Private Galleries, p. 34. W. vol. 2, p. 14. 
 
 ALBERT CTJYP, 1605—1683. 
 A Frost-Scene. Signed •' 
 
 -1683. 
 -1749. 
 
 Earl of Yarborough. 
 
 R. Napier, Esq. 
 
 Alderman Salomons. 
 
 B. S. Holford, Esq. 
 
 JAN VAN HUYSTJM, 1682- 
 
 Fruit and Flowers 
 
 B. DENNER, 1685—1747. 
 An Old Man 
 
 KAREL DO" JARDIN, 1635—1678. 
 Two Horsemen halting tCfKfi>\ . • • 
 
 Inscribed " Dujardin, 1655." W. vol. 2, p. 202. S «-£ 
 
 GERARD DOW, 1613—1680. 
 A Goat lying down, a Shepherd and Shepherdess in the 
 
 Distance. Signed. Edward Loyd, Esq. 
 
 CORNELIS FOELEMBTJRG, 1586—1666. 
 Portrait of the Artist ...... Newman Smith, Esq. 
 
 Portrait of the Artist's Wife Ditto. 
 
 ADRIAN BROUWER % 1608—1640. 
 Two Boors Quarrelling, w. vol. 2, p. 280 . . ■ Earl of Carlisle. 
 
PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. Bcrken. 
 
 1052 
 
 ■ ttO 3 /*- 
 
 u 
 
 1053 
 
 DUTCH. 
 
 REMBRANDT, 1606—1664. 
 Virgin and St. Joseph reading ; the Infant in a 
 
 Cradle John W. Brett, Esq. 
 
 From Mr. Hogers's Collection, No. 643 of the Sale Catalogue, 1856. 
 
 KAREL DE MOOR, 1656—1738. 
 A " Riposo," inscribed in left-hand corner — " Moor" . Doicr. Lady Sit well. 
 P. From the Haringay Sale. 
 
 SALOON H. SOUTH SIDE OF SCREEN. 
 
 GERARD DOW, 1613—1680. 
 
 Girl at a Window Bmry T. Mope, Esq. 
 
 P. 1 ft. 8 in. by 1 ft. 3 in. Exhibited in the British Institution, 
 1S15. Smith's Cat., No. 7. W. vol. 2, p. 116. 
 
 LOUIS LENAIN, d. 1648. 
 Five Children-, one of them playing a Pipe, another 
 
 a Violin, p. 
 
 Matthew Uziel/i, Esq. 
 
 ADRIAN VAN OSTADE, 1610- 
 An Interior, Peasants after Dinner 
 
 . Signed and. dated, 1661. W. vol. 2, p. 200. 
 
 -1685. 
 
 B. S. Ho/ford, Esq. 
 
 ' EGLON VAN DER NEER, 1643—1703. 
 A Lady seated at a Table, with a Book before her. The Misses Bredell. 
 C. 1 ft. 14 in. by 10i in. Inscribed and dated 1665. From the Col- 
 lection of Lord Gwydir. Smith's Cat., No. 20. W. vol. 2, p. 292. 
 
 GERARD TERBURG, 1608—1681. 
 Parental Advice— " Conseil Paternel." . . . Earl of Elhsmerc. 
 C. 2 ft. 2 in. by 2 ft. -U in. 
 
 A repetition of the celebrated picture at the Hague called " The 
 Satin Gown." Engraved by Wille. From Lord Whamcliffe's Col- 
 lection. Smith's Cat, No. 4. Jameson's Private Galleries, p. 153. 
 W. vol. 2, p. 43. 
 
 NICHOLAS MAES, 1632—1693. 
 Lace-maker at Work, and Child at Play on a Little Stool. 
 
 Bt. Hon. H. Labouchere. 
 
 C. 2 ft. 94 in. by 2 ft. 6£ in. /f/-6'/{t** faci j # £ in U/eWi. 
 W. vol. 2, p. 421. / ' ' y 
 
 JAN STEEN, 1636—1689. 
 
 Schoolboys at Play . . /# l .ficu<. /#&. . Thos. Baring, Ssq. 
 P. 1 ft. 3 in. by 1 ft. 7£ in. Dated 1672; From the Verstolk Gallery. 
 Smith's Cat. No. 140. Vk^ek^irprtt. 
 
 GODFRIED SCHALKEN, 1643—1706. 
 " Le Roi Detrousse " . . . Her Majesty, from Buckingham Paha. 
 / t P. 2 ft. li in. by 1 ft. 7i in. 
 
 From the Collections of Louis XVI. and Mr. Walsh Porter. Pur- 
 chased in 1803. Exhibited in the British Institution in 1826 and 1827. 
 Smith's Cat., No. 2. Jameson's Private Galleries, p. 45. W. vol. 2, p. 8. 
 
 A Merry-making 
 
 JAN STEEN, 1636—1689. 
 
 . Lord Overstone. 
 
 An Old Woman Peeling Onions 
 Cakd-Players .... 
 [72] 
 
 DAVID TENIERS, 1582—1649. 
 
 Sir B. H. Wilson, Sort. 
 G. Eaulkener, E»q^ 
 
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PAINTINGS BY ANCIENT MASTERS. 
 
 Saloon H. Screen. 
 
 1056 
 
 1059 
 
 1060 
 
 1061 
 1062 
 
 1063 
 
 1064 
 
 1065 
 1066 
 1067 
 1068 
 
 1069 
 1070 
 
 1071 
 1072 
 
 FRANS VAN MIERES, 1635—1681. DUTCH 
 
 A Cavalier seated, and a Young Woman holding a Tankard. 
 
 n ,. .;. , 4 _ , , . The Misses Brcdiil. 
 
 P. 1 It. 4£m. by 1 ft. H in. Inscribed " F. M. 1059." Smith's Cata- 
 ogue Suppl., p. 18. W. vol. 2, p. 289. 
 
 A Chandler's Shop . p «- . _, 
 
 -/t. Aapier, Esq. 
 
 GASPAR NETSCHER, 1639—1684. 
 A Ladt in White Satin feeding a Parrot at a window H. T. Howe Esq 
 Cop. 1 ft. 2 in. by ll| in. ^ ' ? * 
 
 Dated 1664. Smith's Catalogue, No. 49. W. vol. 2, p. 117. 
 
 GABRIEL METZU, 1615—1658. 
 The Intruder . _. _ . _ 
 
 a n « PIETER DE H00GE, 1658-1670. 
 
 An Old .Voman with Bedclothes on her Arm, calling to 
 
 a Child standing at a Door t?j i r i r 
 
 H™iW«n.* xt „„ . ■L'WR .... Edward Loud, Esq. 
 
 bmiths Cat, No. 29, and Suppl., p. 066. 
 
 JOHANN KESSEL. 
 Worms and Caterpillars, &c. Signed and dated 1657. 0A- W. Treoellyan, Bt. 
 Worms and Caterpillars, &c. n .* 
 
 ' * Ditto. 
 
 a TT DIETRICHY. 
 
 Shoeing a Horse . „ . . Tr . 
 
 No. 27 of the Arlington Street Catalogue. ' ' *"' ° f Yarhwo "9 h - 
 
 . n OCHTERVELDT. Painted 1670 
 
 A Girl tickling a Sleeping Cavalier with a Feather. 
 
 ■utttttatut -iirr-^T,^ ^ m Walter, Esq. 
 
 , _, ^ WILLIAM MIERIS, 1662—1747 
 
 A Fish and Poultry Shop . . ' '*'* n ., v . _, 
 
 icooc. Napier, Esq. 
 
 Vir „ DAVID TENIERS, 1582-1649. 
 
 Village Festival, w vol 2 t> i<u ti i> • t, 
 
 vol /, p . iM. . # < Thomas Baring, Esq. 
 
 EGIDIUS VAN TILBTJRG, 1625-still living 1658 
 Guard-Room with Figures g 2 °% „., 
 
 J£. B. Pitman, Esq. 
 
 DAVID TE NIERS, 1582-1649. 
 A Drinking Party, a Young Man ascending a Flight of Steps. 
 
 p i «■• c i„ i » fl ,. „ Edward Loud, Esq. 
 
 P. 1 ft. 8 in. by 2 ft. 6 in. Smith's Catalogue, COS. 
 
 m xr r . DIETRICHY. 
 
 I he Nativity. Signed and dated 1767 . . ztitto 
 
 „, ' WILLIAM MIERIS, 1662-1747 
 
 The Greengrocer. Portraits of the Artist's Mother and Wife. 
 
 P l ft <!Ain h-uT^i,, a- j , -^ cv - F. Leicester. 
 
 <&££&&£ %Jfi5iES£^» 1 *° a tbe 
 
 AG!RL SEWING . NIC0LAS MAES ' 1632 " 16 ^- _ , " 
 
 fmSffigg?" Bright to England in 1833. ' W ^"T 
 Jameson's Private Galleries, p. 142. W. vol. 2, p. 42. 
 
 ADRIAN VAN 0STADE, 1610—1685 
 Adoration oe the Shepherds. Dated 1667. . . John Walter, Esq. 
 [73 ] 
 
PAINTINGS BY ANCIENT MASTERS. Saloon H. North Side. Hertford Contribution-. 
 
 1073 
 1074 
 1075 
 
 1076 
 1077 
 
 1078 
 1079 
 
 GOLD 
 
 NOS. 
 
 1 
 
 3 
 
 4 
 5 
 6 
 
 y°/} 
 
 FRANZ VAN MIERIS, 1635—1681. 
 A Gentleman at a Window, drinking. A Violin lies on the 
 
 sill H T. Hope, Esq. 
 
 P. 10J in. by 8 in. 
 
 Dated 1660. Smith's Catalogue, No. 37. W. vol. 2, p. 117. 
 
 ADRIAN VAN DER WERFF, 1659—1722. 
 Boy and Girl with Guinea-Pig and Kitten. 
 
 Her Majesty, from Buckingham Palace. 
 Inscribed "A. v. der Werff, 16 . ., V From the Baring Collection. 
 Jameson's Private Galleries, p. 60. W. vol. 2, p. 9. 
 
 GERARD DOW, 1613—1680. 
 A Young Woman cleaning a Saucepan. Called La Me'nagere. 
 
 Her Majesty, from Buckingham Palace. 
 P. S.J in. by 5 in. Engraved by Wille. Exhibited in the British 
 Institution in 1S26 and 1827. Smith's Cat., No. 43, and Supplement, 
 p. 12. Jameson's Private Galleries, p. 20. W. vol. 2, p. 6. 
 
 ART DE VOIS, 1641—1698. 
 
 A Young Man Matthew Anderson, Esq. 
 
 DAVID TENIERS, 1582—1649. 
 
 The Cabaret CM. Phillips, Esq. 
 
 From the Collection of Sir C. Bagot. 
 
 FRANZ VAN MIERIS, 1635—1681. 
 
 A Pedestrian with a Flask P. S. Holford, Esq. 
 
 From the Collection of Demoiselle Hoffman at Haarlem. W. vol. 2, 
 p. 200. 
 
 NICOLAS MAES, 1632—1693. 
 The Listener ....... Rt. Hon. H. Laboucherc. 
 
 C. 2 ft. 9£ in. by 2 ft. 6i in. From the Collection of, Demoiselle , ' . 
 
 Hoffman, at" Haarlem. W. ml. 1, i). 41. ~/Zf 
 
 Signed and dated on the step, N. MAES, 1656. " 
 
 SALOON H. NOETH SIDE. 
 
 THE MARQUIS OF HERTFORD'S CONTRIBUTION. 
 
 MDRILLO. 
 
 The Adoration op the Shepherds . . . Marquis of Hertford. 
 
 Described in Buchanan's Memoirs, vol. 2, p. 171. 
 
 The Charity op St. Thomas de Villa Nueva . . . Ditto, 
 Formerly in the Church of the Francescans, at Genoa. From the 
 Collection of Mr. Wells. No. 125 of Sale Catalogue. W. vol. 2, p. 1856. 
 
 Joseph being carried bt his Brethren to the Mouth of 
 
 THE WELL. Originally in the Capuchin Convent at Genoa. Ditto. 
 
 Stirling, v. 2, p. 1416. Described in Buchanan's Memoirs, v. 2, p. 171. 
 
 THE ANNUNCIATION. From the Aquado and Stow Collections. . Ditto. 
 
 W. vol. 2, p. 156. Stirling, vol. 3, p. 1417. 
 
 A Holt Family Ditto. 
 
 VAN DYCK. 
 Philip le Roy, Seigneur de Ravels Ditto. 
 
 C. 6 ft. 34 in. by 3 ft. 64 in. 
 
 Inscribed— "A. Van Dyck, ajtatis sua; 34, A. 1630." From the 
 King of Holland's Collection. No. 71 of the Sale Catalogue in 1850. 
 1 Smith's Cat., No. 369. W. vol. 2, p. 157. 
 
 Lady of Philip Le Roy, Seigneur de Ravels . . Ditto. 
 
 C. 6 ft. 34 in. by 3 ft. 64 
 
 Inscribed— " JEtatis sua; 16, 1631." From the King of Holland's 
 Collection, No. 72 of the Sale Catalogue in 1850. Smith's Cat., No. 
 370. W. vol. 2, p. 157. 
 Female Portrait, three-quarters, seated .... Ditto. 
 Male Portrait, full length, standing, in black dress . . Ditto. 
 
 [74] 
 
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 aw79t£tn --ccrt/si, si&t AzsA 3 ux&ruuz - * 
 
 £f/xlo>z&>?f. cfaj-csi/Zec/- vO ')(?. <JAcd 4tcou>tes '?a-t>f/ec/ st^'H/ie 
 
 # </ -' • J y • V /</ 
 
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 , , . ■ t<£a£ A . V DER. W-EKTS /6 . . ; 
 
 ? czrf /set)?} i c<e<-s * 
 
 
 
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PAINTINGS BY ANCIENT MASTERS. Saloon H. North Side. Hertford Contribution. 
 
 VELASQUEZ. 
 
 Full-length Portrait op the infant Don Balthazar, 
 
 in long dress. Marquis of Hertford, 
 
 Equestrian Portrait of the infant Don Balthazar, 
 
 in the Tennis Court Ditto. 
 
 Lady "with a Fan Ditto. 
 
 Portrait of Don Balthazar, full, length, dressed in black and 
 
 silver. From Mr. Wells of Redleaf. No. 123 of the Sale Catal., in 1S48 Ditto. 
 REMBRANDT. 
 
 The Unmerciful Servant Ditto. 
 
 C. 4 ft. 1 in. by 5 ft. 6 in. From the Stowe Collection. Smith's 
 Cat., No. 114. W. vol. 2, p. 158. 
 
 Jan Pellicorne and his Son .... Dittoh 
 
 C. 4 ft. 9 in. by 3 ft. 9 in. From the King of Holland's Collection. '/ 
 
 No. 84 of the Sale Catalogue in 1850. W. vol. 2, p. 158. 
 
 Wife of Jan Pellicorne, with a Daughter . . Ditto. 
 
 C. 4 ft. 9 in. by 3 ft. 9 in. From the King of Holland's Collection. ) 
 
 No. 85 in Catalogue. W. vol. 2, p. 158. 
 
 Jan Pellicorne. Head only. In red cap. ;6c}rz<v?a4zcd/~ Ditto. 
 C. 1 ft. 10i in. by 1 ft. 6 in. Inscribed and dated 1643. From the 
 King of Holland's Collection. Smith's Cat., No. 216. W. vol. 2, p. 158. 
 SIR JOSHUA REYNOLDS. 
 The Strawberry Girl. From the Rogers Collection.^ ^2 -J XtDitto. 
 
 Nelly O'Brien / 
 
 Miss Bowles caressing a Dog 
 
 /2£?i Mild 
 
 . 
 
 Ditto. 
 
 . . Ditto .£ mo. 
 
 RUBENS, <&t<^ <.*/£*// 4aiH. ^24/90? 
 
 Ditto., t ■ ■■ te oni 
 
 3&&o<j<. 
 
 Mrttu 
 
 The Rainbow Landscape 
 
 P. 4 ft. 6i in. by 7 ft. 9 in. From the Orford Collection ; originally 
 in the Balbi Palace at Genoa. Smith's Cat., No. 768. W. vol. 3, p. 434. 
 
 Holy Family, with St. Joseph and S. Elizabeth/^ V^2, /f? 'Ditto. 
 
 HOBBEMA. 
 
 Watermill Ditto. 
 
 P. 2 ft. 3 in. by 3 ft. From the King of Holland's Collection. W. /&&£ 
 vol. 2, p. 160. 
 
 LANDSCAPE. Signed and dated 1665. .... Ditto. 
 
 SALVATOR ROSA. 
 A Landscape — with Apollo and the Sibyl in the fore- 
 ground Ditto. /v 
 
 Purchased of M. Julienne by the late Lord Ashburnham, and at //< v® OtuM 
 
 Lord Ashburnham's Sale by Lord Hertford. No. 45 of Sale Catalogue ' y 
 in 1S50. W. vol. 2, p. 150. /Jj" 
 
 ANDREA DEL SARTO. 
 
 Holy Family . jj'tfo. 
 
 Known as "La Vierge de Pade." St. Antony of Padua is in the ,>> asi / 
 
 distance. An Angel above plays the violin. No. 181 of the Sale Cata- j2a'(/ Of 
 logue of the King of Holland, in 1850. /?. W- W« /^ </ 
 
 WATTEAU. 
 
 Fete Champetre . . .... 
 
 From the Fesch Collection. W. vol. 2, p. 156. 
 
 NICOLAS LANCRET. 
 
 A Party regaling by a Fountain 
 
 Ditto. 
 
 Ditto 
 
 iiso 
 
 Fete Champetre 
 
 Larqe Sea Piece. 
 
 JEAN BAPTISTE PATER. 
 
 WILLIAM VAN DE VELDE. 
 
 W. vol. 2, p. 100 
 
 [75] 
 
 Ditto. 
 
 Ditto. 
 
PAINTINGS BY ANCIENT MASTERS. Saloon H. North Side. Hertford Coxtributi 
 
 31 
 00 anufhtaA 
 
 32 
 33 
 
 >/ 
 
 34 
 35 
 
 37 
 
 38 
 
 39 
 40 
 41 
 
 42 
 
 43 
 
 44 
 
 ADRIAN VAN DE VELDE. 
 
 The Migration of Jacob Marquis of Her /fori 
 
 C. 4 ft. 2A in. by 5 ft. 7 in. J * 
 
 From the Fesch Collection. Signed and dated 1063. W. vol. 2, p. 159. 
 JEAN BAPTISTE GREUZE. 
 
 A Sylvan offering to Cupid Ditto. 
 
 A Young Girl with a Dove Ditto. 
 
 W. vol. 2, p. 157. No. 121 of the Redleaf Sale Catalogue in 1S4S 
 Formerly in the Collection of Mr. Wilkinson. Smith's Catalogue 
 No. 75. ' 
 
 WEENIX. 
 Dead Game j) itio . 
 
 NICOLAS POUSSIN. 
 
 The Seasons Dancing to the Music of Time . . . Ditto. 
 
 From the Fesch Collection. Engraved by Raphaol Morghen, Volpato 
 B. Picart, and Dughet. Smith's Cat., No. 279. W. vol. 2, p. 156. 
 
 GASPAR POTJSSLN. 
 
 A Yiew of Tivoli Ditto. 
 
 From Lord Ashburnham's Collection. W. vol. 2, p. 155. 
 PHILLIP DE CHAMPAGNE. 
 Adoration of the Shepherds. A Grand Altar-piece . Ditto. 
 
 SASSO PERRATO. 
 
 The Marriage of St. Catherine Ditto. 
 
 From the Orford Collection, No. 279 of the Sale Catalogue in 1S5C. 
 
 WILLIAM HILTON, R.A. 
 
 Venus appearing to Diana and Nymphs Bathing . . Ditto. 
 
 PAUL DE LA ROCHE. 
 Mother and Child Ditto. 
 
 JACOB RUYSDAEL. 
 
 A Waterfall Ditto. 
 
 C. 2 ft. 8i in. by 4 ft. 4 in. From the Collection of Baron Denon. 
 Smith's Catalogue, No. 216. W. vol. 2, p. 160. 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 Full-length Portrait of a Young Lady holding a Minla- 
 
 ture, seated on a Bank, with, a Dog at her side . Ditto. 
 
 DECAMPS. 
 Exterior Ditto. 
 
 HORACE VERNET. 
 
 Camp Scene . Ditto. 
 
 [76] 
 

 
PAINTINGS BY MODERN MASTERS. 
 SALOON D. 
 
 i 
 
 MICHAEL DAHL, 
 
 Miss Margaret Cavendish Harley .... Duke of Portland '. 
 
 WILLIAM AIKMAN. 
 The Hon. Mrs. Page, as St. Catherine .... Earl Hone. 
 
 WILLIAM KENT. 
 
 Portrait of Himself q. G. Vernon Hareourt, Esq. 
 
 CHARLES JEEVAS. 
 Miss Margaret Cavendish Harley .... Duke of Portland. 
 
 LUKE CRADOCK. 
 
 Poultry .... 7),. 7? n -n 7 ■ . 
 
 JJi ■ M. O. Pabington. 
 
 { S. SCOTT. 
 
 6 J Westminster Bridge in progress .... Lord Hathcrton. 
 
 7 Old London Bridge . . r,.,. 
 
 . Ditto. 
 
 j ALLAN RAMSAY. 
 
 8 I Dr. Charles Lyttelton, Bishop of Carlisle . . Lord Lyttdton. 
 
 JOHN WOOTTON. 
 
 Bloody-Shouldered Arabian Horse, sent over from Aleppo 
 
 by Mr. Nathaniel Harley, with the Turk and his Dog Duke of Portland 
 Signed and dated 1724. 
 
 J. VANDERBANK. 
 Portrait of Gay, the Poet Jolm w Brei ^ ^ 
 
 FRANK HAYMAN. 
 
 Garrick, as Richard III. . . . Vnv1 77 v „ 
 
 Signed "F.H., 1760." Em I Hour. 
 
 WILLIAM HOGARTH. 
 
 Lord Grey (Fifth Earl of Stamford) and Lady Mary West, 
 at the ages of three and one year old. Painted 1740. 
 
 Earl of Stamford and Warrington. 
 Hogarth Full-length, Painting the Comic Muse . .HP WUUtt Em 
 Painted 1749. Engraved 1 75S. Bought by Mr. Willett at the Mar- ' ' 
 
 quess Camden s sale. 
 
 Half-length of Mrs. Hogarth Ditto 
 
 Mrs. Hogarth was the daughter of Sir James Thornhill, the painter. 
 Scene from " The Beggars' Opera." .... Ditto 
 
 Strawberry Hill picture. Study for Mr. Murray's Picture' 
 Walker as Machmth; Miss Fenton (afterwards Duchess of Bolton) as 
 lolly; Hippisley as Peachem ; Hall as Lockit. On one side, in a box 
 Sir Thomas Robinson, very tall and lean ; Sir Robert Fag"- a famous 
 horse-racer, fat, with short grey hair. Bought by Horace Walpole at 
 the sale of John Rich, the well-known harlequin and master of the 
 theatres in Lincoln's Inn Fields and Covent Garden for whom the 
 picture was painted. 
 Bought by Mr. Willett at the Strawberry Hill sale for £57 15*. 
 
 Florizel and Perdita Ditto 
 
 Vikw of Rosamond's Pond in St. James's Park Dit'o 
 
 The pond was filled up in 1770. 
 
 •[77] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon D. 
 
 19« 
 
 20 
 
 21 
 
 22 
 
 23 
 24 
 25 
 
 SI 
 
 o- 
 
 27 
 28 
 29 
 30 
 
 31 
 
 WILLIAM HOGARTH— continued. 
 
 View of Spencer House 
 
 Portrait of an Old Woman 
 
 Lord Feverskam. 
 
 Earl Spencer. 
 Hon. E. Fhipps. 
 
 SlGISMUNDA WEEPING OVER THE HEART OF HER LOVER /. H. Alldcrdon, Esq. 
 
 Painted in 1759, iu competition with a so-called Correggio, of the 
 same subject, sold at Sir Luke Schaub's sale in 175S (lor 404L 5s.) to 
 Sir Thomas Sebright, and now in the collection of the Duke of New- 
 castle. The Schaub picture, now properly assigned to Furini, is No. 
 348 of Saloon C. This picture was a commission from Sir Richard 
 Grosvenor, afterwards Earl Grosvenor, to Hogarth, who asked iOOl. 
 for it. Sir Richard returued it to Hogarth, with whoso widow it 
 remained till her death. 
 
 Hogarth's subscription-ticket for the engraving of Sigismunda 
 represents Time blackening a picture. 
 
 Garrick, as Richard III 
 
 Painted (1746) for the ancestor of Lord Feversham. 
 "For the portrait of Mr. Garrick, as Richard III., I was paid two 
 hundred pounds (which was more than any English artist ever 
 received for a single portrait), and that, too, by the sanction of several 
 painters who had been previously consulted about the price, which 
 was not given without mature consideration." — Hogarth. 
 
 Martin Ffolkes, P.R.S. Painted 1741 Royal Society. 
 
 Small Portrait Earl of Ellesmtrc. 
 
 Scene from " The Beggars' Opera " . . . . John Murray, Esq. 
 
 Painted in 1729 for Sir Archibald Grant, of Monnyniusk, Bart. 
 Observe — Walker as Macheath; Lavinia Fen ton (afterwards Duchess 
 of Bolton) as Polly. The audience partly seated on the stage. 
 
 The frame, with the portrait of Gay on the top in colours, is the 
 original as designed by Hogarth. The companion picture, "The Com- 
 mittee of the House of Commons examiniug Bambridge " (with the 
 portrait of Judge Page on the frame), belongs to the Earl of Carlisle. 
 
 The March of the Gcards to Finchlet . . . Foundling Hospital. 
 Painted in 1750, and obtained by the Governors of the Foundling 
 Hospital from the unsold lottery tickets for the sale of the picture, 
 presented by the artist to the Hospital. Hogarth dedicated the 
 engraving to the King of Prussia, in resentment of King George the 
 Second's sending for the picture to St. James's, and returning it 
 without any other notice. 
 
 Convivial Party 
 
 FRANCIS HAYMAN. 
 
 J. Howard Gallon, Esq. 
 
 SIR JOSHUA REYNOLDS, P.R.A. 
 
 Portrait of Frank Hayman Royal Academy. 
 
 RICHARD WILSON, R.A. 
 
 Rome, with the Alban Hills Earl of Dartmouth. 
 
 WILLIAM HOGARTH. 
 
 Captain Thomas Coram Foundling Hospital. 
 
 Painted in 1743. Engraved by McArdell, in Hogarth's lifetime. 
 "The portrait which I painted with the most pleasure, and in 
 which I particularly wished to excel, was that of Captain Coram, for 
 the Foundling Hospital ; and if I am so wretched an artist as my 
 enemies assert, it is somewhat strange that this, which was one of 
 the first I painted the size of life, should stand the teat of twenty 
 years' competition, and be generally thought the best portrait in the 
 place, notwithstanding the first painters in the kingdom exerted all 
 their talents to vie with it." — Hogarth. 
 
 Southwark Fair Duke of -V. u •■■■ 
 
 Painted 1733. Formerly at Valentine's, in Essex ; afterwards the 
 property of Johnes of Hafod (the translator of Froissart), from whom 
 it passed with the Hafod estate to the father of the present possessor. 
 
 [73] 
 
tyti /w^. )U.-zc.\A<j>n (uf J*) viu*, £%%*U 
 
 A*A 
 
PAINTINGS BY MODERN MASTERS. Saloon D. 
 
 RICHARD WILSON. 
 
 A Landscape, with the Story op Niobe and her Chil- 
 
 DB ^ N . • • Wynn Ellis, Esq. 
 
 Painted 1760. Five pictures of the Niobe exist :— 1. Mr. Wynn Ellis 
 (the original, painted and exhibited in 1760 ; bought by the Duke 
 of Cumberland, the hero of Culloden).— 2. National Gallery (Sir George 
 Beaumont's).— 3. Bridgewater Gallery. — i. Thirlestane House.— 5 Mr 
 Monro's. 
 
 ALLAN RAMSAY. 
 Portrait op Dr. Mead Foundling Hospital. 
 
 RICHARD WILSON. 
 
 Rome, with St. Peter's Earl of Dartmouth. 
 
 THOMAS HUDSON/ 
 
 The Rev. Chas. Hawtrey, Sub-Dean of Exeter . . Eton College. 
 
 RICHARD WILSON, R.A. 
 
 Cicero's Villa .... . Sir W. W. Wynn, Bart. 
 
 Exhibited 1770. Engraved in 1778, by Woollett. 
 View on the Thames near Marble Hill . . . Duke of Newcastle. 
 
 Vale of Llangollen Edward Loyd, Esq. 
 
 View on the Arno j m w% Eussell, Esq. 
 
 Landscape ........ . E. Loyd, Esq* 
 
 Landscape W. Entwisle, Esq. 
 
 Painted for John Hunter, the celebrated surgeon. Wilson received 
 twelve guineas for thi picture. 
 
 SLR J. REYNOLDS, P.R.A. 
 
 Archbishop Markham. Painted 1778. . . , Christ Church, Oxford. 
 
 GAINSBOROUGH 
 
 Welbore Ellis (Lord Mendip) .... Ditto. 
 
 SLR J. REYNOLDS. 
 The Hon. Mrs. Tollemache, as Miranda. Painted 1774. /. TolUmaclie, Esq. 
 
 The Captive Earl of Durham- 
 
 Angels' Heads Lord Overstate. 
 
 Lavinia, Viscountess Althorp Earl Spencer. 
 
 Portrait op Himself, in his Robes, as Doctor of Civil Law Royal Academy. 
 Archbishop Robinson. Painted 1774. . . . Christ Church, Oxford. 
 
 GAINSBOROUGH. 
 
 Portrait Adam lodge, Esq. 
 
 SLR J. REYNOLDS. 
 
 The Duke of Portland DuJce of Portland. 
 
 The Braddyl Family T . P. Smyth, Esq. 
 
 Sir William Chambers. R.A R oya i Academy. 
 
 Rev. J. Reynolds . . Eton CoUege _ 
 
 Lady Sarah Bunbury, Lady Susan Strangeways, and Charles 
 
 James Fox General C. P. Fox. 
 
 Girl Sketching Miss Burdett Coutts. 
 
 Young Winn, as St. John Sir W. W. Wynn, Bart. 
 
 P. H. DE LOUTHERBOURG, R.A. 
 
 Battle of the Nile j_ q_ F rith, Esq. 
 
 Battle of the First of June Ditto. 
 
 [79] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon D. 
 
 83 
 
 84 
 
 84a 
 
 SIB J. REYNOLDS, P.R.A. 
 A Negro. ? Frank Barber, Dr. Johnson's Black Servant Sir G. Beaumont 
 
 Lady Jane Halliday. Full length. . . . John Ibllemache, Em 
 
 Sister to the Earl of Dysart. Engraved 1779 by V. Green. 
 
 3- flof-- 2/$-. 
 
 . Earl of Ferersham. 
 
 Earl of Durham . 
 
 Abraham Darby, Esq. 
 
 Earl of Darnley. 
 
 Earl of Warwick. 
 
 . Earl of Yarborough. 
 
 Marquis of Westminster. 
 
 Royal Academy. 
 
 Duke of Newcastle. 
 
 . Duke of Ruecleuch. 
 
 . Duke of Newcastle. 
 
 Earl Spencer. 
 Sir W. W. Wyrm 
 
 Earl Spencer. 
 
 Major Mair. 
 
 Countess of Dartmouth. An early picture. 
 
 Lady Hamilton 
 
 Miss Farren, as Comedt 
 
 Lady Frances Cole ,-ffC \ 
 
 The Schoolboy . . # $tt?3 
 
 Sir Richard Worsley. Full length. 
 
 Mrs. Hartley. Actress 
 
 Giuseppe Marchi. Painter . 
 
 Samdel Foote, the Actor 
 
 Boy with Dogs, in Landscape 
 
 GAINSBOROUGH. 
 
 Landscape, with Cows, Sheep, Goats, &c. . 
 
 SLR J. REYNOLDS, P.R.A. 
 
 George John, Viscount Althorp 
 
 Full-length, in style of Van Dyck. Painted 1776. 
 
 St. Cecilia 
 
 Georgiana, Viscountess Althorp, and her Daughter, 
 afterwards Duchess of Devonshire 
 
 GAINSBOROUGH. 
 Mrs. Siddons 
 
 SLR J. REYNOLDS, P.R.A. 
 
 Puck - . . . . Earl Fitzwilliam. 
 
 Painted for Boydell's Shakespeare Gallery. Sold to the poet aft); « ./*• 
 Rogers, and bought by Lord Fitzwilliam at Rogers's sale in 1S56, for/7''/^- '*-• /O 
 9S0 guineas. ' 
 
 GAINSBOROUGH. 
 Landscape Thomas Todd, Esq. 
 
 GEORGE ROMNEY. 
 Lady Broughton Sir P. M. de Grey Egerton. 
 
 ANGELICA XAUFFMAN. 
 Jane Maxwell, Duchess of Gordon .... Duke of Richmond. 
 
 WRIGHT, of Derby. 
 
 Portrait Lord Helper. 
 
 ANGELICA KAUFFMAN. 
 The Fourth Duke of Gordon Duke of Richmond. 
 
 WRIGHT, of Derby. 
 
 Siege of Gibraltar Lord Overstone. 
 
 Lady "VVilmot in a Riding-Dress Sir H. Jl'ilmot. 
 
 GEORGE ROMNEY. 
 Lady Hamilton, as a Bacchante . . . . , Lord de Tabic/. 
 
 WRIGHT, of Derby. 
 
 Portrait Lord Del per. 
 
 Jean Jacques Rousseau Sir J. P. Roitcau, Hart. 
 
 In profile — reading by candle-light. 
 
 [80] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Salo on D. 
 
 85 
 86 
 
 87 
 
 89 
 90 
 91 
 92 
 93 
 34 
 95 
 
 96 
 
 97 
 
 98 
 
 93 
 
 100 
 
 101 
 
 102 
 
 WHEATLEY. 
 Children and Birds 
 
 Children with Squirrel .... 
 
 S. WOODFORD, R.A. 
 
 DORINDA, WOUNDED BT SYLVIA 
 
 J. H. MORTIMER. 
 Portrait of Himself R. Twining, Esq 
 
 GEORGE STUBBS. 
 
 A Lion and Lioness 
 
 GAINSBOROUGH. 
 
 Small Landscape .... 
 
 SAWREY GILPIN, R.A. 
 Horses in a Storm .... 
 
 GAINSBOROUGH. 
 
 Two Boys and Fighting Dogs 
 
 ZOFFANY. 
 
 Scene from " Love in a Village " 
 
 P. DE LOUTHERBOURG. 
 Landscape .... 
 
 ZOFFANY. 
 
 Garrick, in "The Farmer's Return" 
 
 Exhibited 1762, and engraved in 1766 by Haid. 
 
 GAINSBOROUGH. 
 Landscape 
 
 JOSEPH FARRINGTON, R.A. 
 
 A Coast Scene 
 
 Farrington was the scholar of Richard Wilson, R.A. 
 
 v G. STUBBS. 
 Horses 
 
 W. HAMILTON, R.A. 
 
 Vertumnus and Pomona. . Vn , , , 
 
 Moyal Academy. 
 
 ROMNEY. 
 
 Rev. Chancellor Thicrlow. 
 
 ZOFFANY. 
 
 Foote, as " Major Sturgeon " in the " Mavor of Garratf " *v,./ „f n t i 
 
 Exhibited 1704 and described by Walpole I U , oS gu of £ f ^'^ 
 Exhibition as " admirably natural." Engraved 1765 by Haid 
 
 H. FUSELI, R.A. 
 
 Hotspur and Glendower a z. t ^ 
 
 Ambrose Lace, Ear. 
 
 1 BENJAMIN WEST, P.RA 
 
 103 | Christ blessing little Children Soy al Academy. 
 
 1 H. FUSELI, R.A. 
 
 104 | Thor battering the Serpent of Midgard . x»itto 
 
 105 i Theseus and Ariadne a Wmtworth mj ^ ^ 
 
 WILLIAM HAMILTON, R.A. 
 
 106: Mrs. Siddons, as Zara George Combe, Esq. 
 
 . m ! T SIR J. REYNOLDS, P.R.A. 
 
 .07 : Lady Louisa Manners John Tollemael - 
 
 • E. G. Martin, Esq. 
 Ditto. 
 
 Royal Academy. 
 
 Duke of Richmond. 
 
 Samuel Barton, Esq. 
 
 Royal Academy. 
 
 J. Tollemache, Esq. 
 Earl of Yarborough. 
 
 ' Royal Academy. 
 Earl of Yarborough. 
 
 J. W. Russell, Esq. 
 Royal Academy. 
 
 Lord Oversione. 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon D. 
 
 JOHN SINGLETON COPLEY, R.A 
 
 The Tribute Money 
 
 B. WEST, P.R.A. 
 THE BATTLE OP La HoGUE. Engraved by Woollett 
 
 WILLIAM HODGES, E.A 
 The Death of Captain Cook . . . , 
 
 Royal Air, 
 Marquis of Westminster. 
 
 . John Garland, Esq. 
 Royal Academy. 
 
 J. F. RIGAUD, R.A. 
 
 Samson and Delilah 
 
 J. S. COPLEY, R.A. 
 
 The Death of Major Piekson, on the Invasion of Jersey 
 
 by the French Lord Lyndhurst. 
 
 An Incident in the Life of Sir Brook Watson. 
 
 This picture, the property of the Governors of Christ's Hospital, 
 is placed near to the Staircase leading to the Transept Gallery 
 (North). 
 
 B. WEST, P.R.A, 
 The Departure of Regulus . . S.M. the Queen. 
 
 Cupid and Pstche X'-O ■■/$'. fc. ./ff C'Cj (VcJ j- „^»uU, *V S^Kj ohn S ick, Esq. 
 
 The Death of General Wolfe S.M. the Queen. 
 
 Duplicate in the Grosvenor Gallery. Engraved by Woollett. 
 The Battle of the Boyne ..... Marquis of Westminster. 
 
 JAMES NORTHCOTE, R.A. 
 
 La Fayette in the Dungeon at Olmutz . . . Lord de Table y. 
 
 SIR J. REYNOLDS, P.R.A. 
 
 Thais (Miss Emily Bertie) . J. Tollemache, Esq. 
 
 Painted 1776—1781. Engraved 1792, by BartolozaL 
 
 HENRY HOWARD, R.A. 
 
 St. Michael Royal Academy. 
 
 "Mr. Howard gained the first prize of our Academy in December last, 
 [1790] and I had the pleasure of telling him, when I delivered the gold 
 medal, that it was the opinion of the Academicians that his picture 
 was the best that had been presented to the Academy ever since its 
 establishment." — Sir Joshua Reynolds to Lord Hervey, 19 March, 1791. 
 
 PHILIP REINAGLE, R.A. 
 
 Eagle and Vulture disputing with a Hyena . 
 
 Maritana 
 
 Jael and Sisera . 
 The Cottage Door 
 Age and Infancy . 
 
 HENRY THOMSON, R.A. 
 
 NORTHCOTE. 
 
 WILLIAM OWEN, R.A. 
 
 JOHN OPIE, R.A. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Earl of Derby. 
 Royal Academy. 
 
 GEORGE ROMNEY. 
 Lord Stanlsy, 13th Earl of Derby, with his Sister 
 
 H. THOMSON, R.A. 
 Prospero and Miranda . . . 
 
 GEORGE MORLAND. 
 
 Gipsy Encampment F. Eigou, Esq 
 
 Sheep $i t<, . £V..< . 1^/ [ity .-** %K 'i^\ Bonamy Dobree, Jim., Esq 
 
 Children playing at Soldiers I. S. Galton, Esq 
 
 [82] 
 
IU. icCu> '7 -i i^i('Vc)3 r x4-7. 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloox D. 
 
 130 
 131 
 
 132 
 133 
 134 
 
 135 
 136 
 
 PATRICK NASMYTH. 
 Landscape. The Ringwood Pictm-p r> • j i -n- • -^ 
 
 Painted in 1830. ° ' ' ' Ste *"* Hemming, Esq. 
 
 Landscape, with Waterfall . . Tnh „ r , ^ 
 
 John Graham, Esq. 
 
 GEORGE MORLAND. 
 Cottage Scene 
 
 JOHN OPLE. 
 
 Ear! of Stamford and Warringto 
 
 J. Tollemache, Esq. 
 
 The Schoolmistress 
 
 WILLIAM DANIEL, R.A. 
 View on the Coast of Scotland 
 
 GEORGE DAWE, R.A. 
 G. MGRLAND. 
 
 Demonia 
 
 African Hospitality 
 
 137 I Landscape 
 138 
 
 P. NASMYTH. 
 
 Royal Academy. 
 Ditto. 
 
 A. Bcnnistoun, Esq 
 
 139 
 140 
 
 141 
 
 142 
 
 143 
 
 GlIsgow .' R. Hemming, Esq. 
 
 </. lennant, Esq. 
 
 GEORGE MORLAND. 
 Rustic Scene .... 
 
 A Horse .... 
 
 Eeinbtjrgh 
 
 Gipsies 
 
 P. NASMYTH. 
 GEORGE MORLAND. 
 
 J. Tollemache, Esq. 
 Bonamy Bobree, Jim., Esq. 
 
 J. Tennant, Esq. 
 
 ] J- Tollemache, Esq. 
 
 The Englishman s return for African Hospitality. A. Dennistoun Esq 
 THOMAS DANIEL, R.A. 
 Temple, on the Sumnah .... Royal Academy 
 
 SIR M. A. SHEE, R.A. 
 145 I Belisarius 
 
 Bitto. 
 1 • I GEORGE MORLAND. 
 
 145^ iee Recruit . . . rn,,.- * ? -n , ,, „ 
 
 Christopher Bnshell, Esq 
 
 I REV. WILLIAM PETERS, RA 
 
 Boy and Girl 
 
 146 
 147 
 148 
 149 
 150 
 
 JOHN SINGLETON. 
 
 Nelson boarding the San Josef 
 
 ALEX. NASMYTH 
 Glencoe 
 
 R. WILSON, R.A. * 
 
 view of Foundling Hospital 
 
 GAINSBOROUGH. 
 
 Coast Scene, with Cattle. &c. . 
 
 . Kn I „ G. H. HARLOWE. 
 
 150<? Mrs. Siddons, as " Queen Catherine " 
 ' 1505 The Congratulation 
 
 , K1 L T R- WILSON," R.A.' 
 lol I View in Wales 
 
 ,„ L fl SIR J- REYNOLDS, P.R.A. 
 
 152 The Contemplative Youth j. Tollemache, Esq 
 
 1W L „ GAINSBOROUGH. 
 
 153 I The Market Cart 
 
 Royal Academy, 
 
 J. G. Frith, Esq_ 
 
 William Fairbairn, Esq. 
 
 . Foundling Hospital. 
 
 John Billon, Esq. 
 
 George Combe, Esq. 
 . Rev. F. Leicester. 
 
 Sir W. W. JFynn, Bart. 
 
 [83] 
 
 Bitto. 
 c2 
 
PAINTINGS BY MODERN MASTERS. 
 
 154 
 155 
 
 156 
 
 j 157 
 153 
 
 159 
 
 160 
 161 
 162 
 163 
 
 164 
 
 165 
 
 166 
 167 
 
 SIR J. REYNOLDS, P.R.A. 
 
 Robinetta J. Tolhmachc, Esq. 
 
 Mrs. Anderson Pelham, feeding Chickens. Painted 1759. Earl of Yarborough. 
 
 GAINSBOROUGH. 
 
 The Blue Boy (Master Buttall) .... Marquis of Westminster. 
 Painted to disprove the opinion of Sir Joshua Reynolds that the 
 predominance of blue in a picture is incompatible with a good effect 
 of colour. 
 
 Mrs. Graham (Lord Lynedoch's wife) .... JRobt. Graham, Esq. 
 
 JAMES BARRY, R.A. 
 
 Pandora, or the Heathen Eve . . . Manchester Royal Institution. 
 Sold at Barry's sale, in 1S0T, for £230. Sold at Christie's, 31st 
 January, 1846, for eleven guineas and a-half. 
 
 SIR J. REYNOLDS, P.R.A. 
 
 Angel Contemplation. The upper part of the Window of 
 
 Christ Church, Oxford Duke of Portland. 
 
 Bequeathed by Sir Joshua to the grandfather of the present Duke 
 of Portland. 
 
 John, Viscount Mount-Stuart Lord Wharncliffe. 
 
 GAINSBOROUGH. 
 
 Landscape, with Children /. Tollcmache, Esq. 
 
 R. WILSON, R.A. 
 Welch Landscape Sir W: W. Wynn, Bt. 
 
 SIR J. REYNOLDS, P.R.A. 
 
 Earl of Sheffield (the friend of Gibbon) . . .. Earl of SJieffidd. 
 
 R. WILSON, R.A. 
 
 St. George's Hospital Foundling Hospital. 
 
 The Dee, near Eaton Marquis of Westminster. 
 
 G. H. HARLOWE. 
 
 The Proposal Lord de Tabley. 
 
 R. WILSON, RA. 
 
 Portrait of Himself Royal Academy. 
 
 [84] 
 

VESTIBULE 3. 
 
 PAINTINGS BY MODERN MASTERS. 
 
 ,„ a ! _ n THOMAS STOTHARD. 
 
 iO» ; Ladies Quarreling over a Card-Table at Bath . R. Fisher, Esq. 
 
 iao T PATRICK NASMYTH. 
 
 -io» I Landscape 
 
 170 
 
 171 
 172 
 173 
 174 
 
 175 
 
 178 
 
 177 
 
 178 
 179 
 180 
 181 
 182 
 183 
 184 
 185 
 186 
 
 Scene in Sussex .... 
 
 THOMAS STOTHARD, RA. 
 
 Charity . 
 The Pic-nic 
 
 Keith Barnes, Esq. 
 Ditto. 
 
 Royal Academy. 
 Miss Burdett Coutts. 
 
 Pea E ce ANTEBBURT PlLGRIMAGE * ' ' • " • J - T ™900d, Esq. 
 
 W. Sharpe, Esq. 
 
 _ _ _ SIR THOMAS LAWRENCE, P.RA. 
 
 J. P. Kemble, as "Coriolanus" . . . . Earl of Yarborough. 
 
 P. NASMYTH. 
 
 Landscape . r .,, » - 
 
 Keith Barnes, Esq. 
 
 In the New Forest B - tt 
 
 THOMAS STOTHARD, RA. 
 Dance in the open air at Sans Souci ... R. Fisher, Esq. 
 
 ROBERT SMLRKE, RA. 
 
 Scene from Foote's comedy of "Taste" . . Sir Geo. Beaumont, Bart. 
 
 HENRY TRESHAM, RA. 
 Death of Virginia 
 
 Royal Academy. 
 
 ROBERT SMLRKE, RA. 
 
 Don Quixote and Sancho .... 2»/«o 
 
 SLR H. RAEBURN, RA. 
 Boy and Rabbit Ditto 
 
 SLR THOMAS LAWRENCE, P.RA. 
 
 Miss Farren, Countess of Derby . ■ . . Earl of Wilton _ 
 
 G. H. HARLOWE. 
 
 Sketch for "Wolsey at Rome' .... Lord de Tabley . 
 
 EDWARD BIRD, R.A. 
 Proclaiming King Joabh Royal Academy. 
 
 ROBERT SMLRKE, R.A. 
 Taming the Shrew S!r Geo , Bmtmont BarL 
 
 [85] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Vestibule 3. 
 
 . 187 
 188 
 189 
 190 
 191 
 192 
 
 193 
 194 
 
 195 
 198 
 197 
 198 
 199 
 200 
 201 
 202 
 203 
 204 
 205 
 
 D. ROBERTS, R.A. 
 Cathedral— Interior John Davis, Esq. 
 
 H. P. BRIGGS, R.A. 
 
 Col. Blood stealing the Crown Jewels . . . 
 
 THOMAS BARKER. 
 Boy 
 
 H. P. BRIGGS, R.A. 
 
 " Do you bite your thumb at me, Sir ? " . 
 
 J. M. W. TURNER, R.A. 
 
 Pluto carrying away Proserpine 
 
 Royal Academy. 
 
 C. T. Maud, Esq. 
 
 Jacob Bell, Esq. 
 
 John Chapman, Esq. 
 
 wen 
 
 ' K. Ward, Esq. 
 
 G. H. HARLOWE. 
 James Xorthcote, R.A Sir J. E. Swinburne, Bart. 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 Children with a Donkey Sight Hon. J. W. Groker. 
 
 The Cottage Door J- Bentley, Esq. 
 
 JOHN CONSTABLE, R.A. 
 The Rustic Bridge FT. Rufford, Esq. 
 
 JAMES WARD, R.A. 
 BOLL, Cow, AND Calf. Pahited 1S22. Exhibited 1S23. 1 
 
 FRANCIS DANLY, R.A. 
 The Evening Gun Robert Stephenson, Esq. 
 
 J. M. W. TURNER, R.A. 
 
 Dunstanborough Casti* T. Birchall, Esq. 
 
 G. H. HARLOWE. 
 
 Henry Fuseli, R.A. Painted in ISIS . • • Major-Gen. Angerstein. 
 PATRICK NASMYTH. 
 
 Landscape. Small Kcith Barnes, Esq. 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 Two Beggar Boys Duke of Newcastle. 
 
 SIR THOMAS LAWRENCE, P.R.A. 
 
 Lady Leicester, as " Hope" Lord de Tabley. 
 
 W. E. FROST, A.R.A. 
 
 The Syrens A - Bennistoun, Esq. 
 
 SLR E. LANDSEER, R.A. 
 An Interior William Wells, Esq. 
 
 WILLIAM ETTY, R.A. 
 The Idle Lake Wynn Ellis, Esq. 
 
 GEORGE LANCE. 
 
 i ! Fruit .,.;•./•' Jos. Earle, Esq. 
 
 [86] 
 
SALOON E. 
 
 PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 207 
 208 
 209 
 210 
 211 
 212- 
 ' 213 
 214 
 215 
 
 216 
 
 217 
 
 218 
 
 219 
 
 220 
 
 .' 221 
 
 222 
 
 223 
 
 Duke of Bedford. 
 
 Earl of Yarborough. ' 
 
 Royal Academy. 
 
 J. C. Grundy, Esq. 
 
 John Bicker staff, Esq. 
 
 
 SIR A. CALLCOTT, B.A. 
 
 Scheldt, near Antwerp. Sea-piece 
 
 J. M. W. TURNER, R.A. 
 
 WRECK OF THE MlNOTAUR .... 
 
 J. JACKSON, R.A. 
 The Head op a Rabbi .... 
 
 JOHN CROME. 
 
 An English Homestead 
 
 WM. ETTY, R.A. 
 
 "Come unto these Yellow Sands" . 
 
 SIR THOMAS LAWRENCE, P.R.A. 
 
 Sir Sidney Smith John Anderdon, Esq. 
 
 THOMAS PHILLIPS R A 
 Portrait op Napoleon. Painted 1802. .' '. Duke of Northumberland. 
 
 SIR THOMAS LAWRENCE, P.RA 
 
 GlPSYGlRL • • Royal Academy. 
 
 JAMES NORTHCOTE, R.A. 
 
 His own Portrait, in Profile Zord de Tablet/ 
 
 Painted in 1802 for Sir John Fleming Leicester, Bart. 
 WILLIAM OWEN, R,A. 
 Portrait of Dr. Cyril Jackson, Dean of Christ Church. 
 
 ■c ., . . . „ Christ Church, Oxford. 
 
 l V, 2 ?™ ™ P' cture Chantrey made his noble statue of Dean Jackson 
 at Christ Church, Oxford. Chantrey never saw Jackson. 
 
 SLR THOMAS LAWRENCE, P.R.A. 
 
 Countess of Wilton . .... Earl of Wilton. 
 
 A. E. CHALON, R.A. 
 
 Gipsy Encampment Royal Academy. 
 
 SLR THOMAS LAWRENCE, P.R.A. 
 Miss Croker (now Lady Barrow) . . . Bight Eon. J. W. Croker. 
 Right Hon. John Wilson Croker .... Ditto. 
 
 Master Lambton Earl of Durham. 
 
 SLR W. BEECHEY, R.A. 
 
 George IV., when Prince of Wales .... Royal Academy. 
 
 SLR A. CALLCOTT, R.A. 
 
 Landscape Lord de Tabley . 
 
 J. M. W. TURNER, R.A. 
 Cologne the Arrival of a Packet-Boat— Evening John Naylor, Esq. 
 Exhibited 1820. Sold at Mr. Wadmore's sale in 1854 for 2000 guineas. 
 
 W. J. MttLLER. 
 225 | The Slave Market K Q _ Sm , es ^ Esq . 
 
 [87] 
 
PAINTINGS BY MODERN MASTERS 
 
 Saloon 10. 
 
 WM. ETTY, R.A. 
 
 Bivouac of Cupids Jpaepk Gillott, Esq. 
 
 WM. COLLINS, R.A. 
 Ckombb j);tt . 
 
 J. M. W. TURNER, R.A. 
 
 Sunrise— Mouth of the Thames, with Men of War. William Wells, Esq. 
 Vintage at Macon Earl of Tarborouffh. 
 
 Exhibited at the Royal Academy in 1803. Painted for the grand- 
 father of the present Earl of Yarborough, who, with two other 
 noblemen, subscribed a sum of money to enable Turner, when a 
 young man, to study on the continent the works of the great mas- 
 ters. The large engraved steel plate, by Mr. Barlow.from this picture n / n</ 
 (now nearly completed), as also the engraved steel plate from " The / 9, A C / 
 Wreck of the Minotaur " (No. 208), botli executed at the expense of ' 
 the present Earl of Yarborough, have been presented by his lordship 
 (together with the copyright of each) to the Artists' General Bene- 
 volent Institution, in the hope that other proprietors of valuable 
 pictures may ba induced to follow his lordship's excellent example. 
 
 WM. HLLTON, R.A. 
 Ganymede . Royal Academy. 
 
 Venus disarming Cupid ... . William Bashalt, Esq. 
 
 J. M. W. TURNER, R.A. 
 Dolbadarn Castle Royal Academy. 
 
 Turner's Diploma Picture. Exhibited 1799. 
 
 SLR A. CALLCOTT, R.A. 
 Morning . Ditto. 
 
 WM. ETTY, R.A. 
 
 The Toilette Thomas Todd, Esq. 
 
 SLR D. WLLKIE, R.A. 
 
 The Jew's Harp William Wells, Esq. 
 
 Painted 1S09, for Mr. Annesley. Price 25 guineas. Engraved by 
 Bumet, and the first picture of Wilkio's that was engraved. 
 
 G. S. NEWTON, R.A. 
 
 Girl at a Balcony Ditto. 
 
 WM. COLLINS, R.A. 
 
 Hop-Gatherers . Ditto. 
 
 The Gossips S. Ash ton, Esq. 
 
 J. M. W. TURNER, R.A. 
 
 Saltash • John Miller, Esq. 
 
 WM. ETTY, R.A. 
 
 Sleeping Nymph and Satyrs Royal Academy. 
 
 B. R. HAYDON. 
 
 Macbeth Sir G. S. Beaumont. 
 
 Painted for Sir G. H. Beaumont, Bart., the friend of Wordsworth, 
 Coleridge, Haydon, and Wilkie. 
 
 SLR A. W. CALLCOTT, and SIR E. LANDSEER. 
 
 Harvest Scene in the Highlands .... John Naylor, Esq. 
 JOHN CONSTABLE, R.A. 
 
 Salisbuby Cathedral Samuel Ashton, Esq. 
 
 SLR D. WILKLEj R.A. , 
 
 Sketch for Blindman's Buff . . //. . 2 . ./: 2tf The Misses Bredell. 
 
 J. M. W. TURNER, R.A. 
 
 Highland Bridge John Miller, Esq. 
 
 [83] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Sat.oox E. 
 
 246 
 247 
 
 248 
 249 
 250 
 251 
 252 
 
 253 
 
 254 
 
 255 
 256 
 
 257 
 258 
 259 
 
 260 
 261 
 262 
 
 < 
 263 
 
 264 
 
 265 
 
 266 
 267 
 268 
 269 
 
 Rustic Hospitality 
 
 WI, COLLINS, R.A. 
 SIR D. WILKLE, R.A. 
 
 William Marshall, Esq. 
 Royal Academy. 
 
 Boys Digging foe Rats 
 
 Painted 1811. Wilkie's Diploma picture. 
 
 J. M. W. TURNER, R.A. 
 Small Sea-Piece Miss Burdett Coutfs _ 
 
 W. ETTY, R.A. 
 Cleopatra on the Cydnus . ... St. Hon. Henry Zabouchere. 
 
 W. J. MTJLLER. 
 River Scene Charles Morgan, Esq. 
 
 JOHN CONSTABLE, R.A. 
 Landscape and Castle .... sir G. H. Beaumont, Bart 
 
 SIR H. RAEBTJRN, R.A. 
 The Laird op Macnab Marquis of Breadalbane. 
 
 J. M. W. TURNER, R.A. 
 River Scene, Fishermen . . . Sir P . Mt de Grey Egertm ^ Bart 
 
 Old Margate Pier Bonamy Dobree, Jan., Esq. 
 
 W. ETTY, R.A. 
 Cupid ... t> r e • -n 
 
 -n. J. opiers, Esq. 
 
 J. M. W. TURNER, R.A. 
 
 Barnes Terrace (on the Thames) Exhibited 1827 . Samuel Ashton, Esq. 
 JOHN CONSTABLE, R.A. 
 
 Landscape : Barge passing a Lock . . . ^oyal Academy. 
 
 SLR D. WILKLE, R.A. 
 
 Blindman's Buff . H .M. the Queen. 
 
 1 amteel 1813. A commission from the Prince Regent. Price 500 guineas 
 Distraining for Rent WilUam We]l £ 
 
 Painted 1815. Bought of the Artist by the Directors of the British 
 Institution for 600 guineas. Engraved by Raimbach. 
 
 The Gamekeeper. Painted isio. Price £ioo . Sir G. H. Beaumont, Bart. 
 
 The Artist's Parents. Painted 1807 Mrs. Hunter. 
 
 Letter of Introduction .... Bonamy Dobree, Jun. Mm 
 Painted 1S14, for Samuel Dobree, Esq. Price 250 guineas. 
 W. ETTY, R.A. 
 Ulysses and the Syrens .... Manchester Boyal Institution. 
 
 J. M. W. TURNER, R.A. 
 Coast Scene Frmcis Ton;jm Rufford ^ &f . 
 
 SIR D. WILKIE, R.A. 
 
 The Rent Day John Ch £ 
 
 Painted 1807, for the Earl of Mulgrave. Price £150. Engraved bv 
 Raimbach. ° J 
 
 J. M. W. TURNER, R.A. 
 Walton Bridge (on the Thames) .... Joseph Gillott, Esq. 
 
 SLR D. WILKIE, R.A. 
 Death of Sir Philip Sidney . . . Bonamy Dobree, Jun., Esq. 
 
 TOWN. 
 
 Small Landscape William Entwisle, Esq. 
 
 SLR D. WILKIE, R.A. 
 
 Napoleon and Pope Pius VII William Marshall, Esq. 
 
 Pamted 1S36, for John Marshall, Esq. Price £500. Engraved bv 
 J. H. Robinson. 
 
 [89] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 SIR A. W. CALLCOTT, R.A. 
 
 The Arcadian Shepherds John Chapman, Esq. 1 
 
 W. J. MULLER. 
 
 The Dance Francis Tongue Rnfford, Esq. 
 
 J. M. W. TURNER, R.A. 
 
 Henley House, on the Thames .... John Miller,, Esq. 
 
 W. ETTY, R.A. 
 
 The Storm Manchester Royal Institution. 
 
 SIR D. WTXKIE, R.A. 
 
 " Guess my name " F. Perkins, Esq. 
 
 Painted 1S21, for M. M. Zachary, Esq. Price 150 guineas. 
 
 The Card-Platers . . ff~~. 2../i2<]/ . . The Misses Bredfill. 
 
 Painted 1808, and sold to the Duke of Gloucester for 150 guineas. 
 G. S. NEWTON, R.A. 
 
 The Student The Royal Academy. 
 
 JOHN CONSTABLE, R.A. 
 
 White Horse— Landscape Richard Hemming, Esq. 
 
 SLR A. W. CALLCOTT, R.A. 
 
 Italian Landscape Earl of Durham. 
 
 W. COLLINS, R.A. 
 Buying Fish on the Beach . . . &Tj L^^ Duke of Bedford. ! 
 
 Exhibited 1825. Price paid to Artist, 250 guineas./'" *s I 
 B. R. HAYDON. 
 Judgment of Solomon .... Sir Edwin Landseer, R.A. \ 
 
 W. ETTY, R.A. 
 
 The Homeric Dance John Ten n ant, Esq. 
 
 J. M. W. TURNER, R.A. 
 
 Van TROMP. Exhibited 1844 John Miller, Esq. 
 
 R. P. BONINGTON. 
 
 A Turk enjoying Siesta Thomas Birchall, Esq. 
 
 SLR D. WILKIE, R.A. 
 THE HOOKABADAR . Painted 1840. Price 65 guineas. . Jacob Bell, Esq. 
 
 G. S. NEWTON, R.A. 
 Shylock and Jessica . . . . Right Hon. Henry Laboucherc. 
 
 WM. COLLINS, R.A. 
 
 Two Boys on the Beach Thos. Bat ing, Esq. 
 
 SLR D. WILKIE, R.A. 
 
 Scene from the Gentle Shepherd . . . James GKbsm Craig, Esq. 
 
 Price paid by Mr. Craig in 1856, £400. 
 
 J. M. W. TURNER, R.A. 
 
 Meeting of the Waters Joseph Gillott, Esq. 
 
 JOHN MARTIN. 
 
 Alpheus and Arethusa Earl Grey. 
 
 W. J. MULLER, 
 
 The Sphinx John Davis, Esq. ., 
 
 G. S. NEWTON, R.A. 
 
 Casket Scene from "Gil Blas" Duke of Bedford. 
 
 J. M. W. TURNER, R.A. 
 
 Tabley Lake and Tower Lord de Table y. 
 
 WM. COLLINS, R.A. 
 
 Young Anglers i?oyaf Academy. 
 
 [90] 
 
3os, (%•* i'u^v.7 7 iynO*)~t&' W-hx+$- 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 ■ 294 
 ' 295 
 
 296 
 
 297 
 
 298 
 
 299 
 300 
 
 301 
 
 302 
 
 I 303 
 
 J. M. W. TURNER, R.A. 
 
 Sun rising through vapour John Chapman, Esq. 
 
 Pas de Calais John Naylor, Esq. 
 
 W. J. MULLER. 
 Praters in the Desert m Sharpe ^ ^ 
 
 J. M. W. TURNER, R.A. 
 Palls of Schapfhausen . . . . . . Lord de Tm 
 
 JOHN CONSTABLE, R.A. 
 
 Landscape : Barge passing a Lock 
 
 WILLIAM COLLINS, RA. 
 
 Boulevard at Paris .... 
 
 The Dead Bird 
 
 T. DUNCAN, M.R.S.A. 
 
 Entry of Charles Stuart into Edinburgh 
 
 W. J. MULLER. 
 The Baggage-Wagon .... 
 
 B. R. HAYD0N. 
 
 Venus and Anchises 
 
 T. PHILLIPS, R.A. 
 304 Venus and Adonis 
 
 W. J. MULLER. 
 
 Gillingham (on the Medway) Mw , Eodgett, Esq. 
 
 THOS. PHILLIPS, R.A. 
 Lord Chancellor Thurlow R eVt Chawellor Thurlow. 
 
 SLR E. LANDSEER, R.A. 
 
 . W. O. Foster, Esq. 
 
 . Duke of 'Newcastle. 
 Richard Hemming, Esq. 
 
 Alex. Sill, Esq. 
 
 Samuel Ashton, Esq. 
 
 Rev. F. Leicester. 
 
 . Royal Academy. 
 
 305 
 306 
 307 
 308 
 
 309 
 310 
 
 311 
 
 312 
 
 j 313 
 
 314 
 
 315 
 316 
 
 317 
 
 Portrait of Callcott 
 
 SLR A. W. CALLCOTT, R.A. 
 
 Scene on the Medway 
 
 Welsh Landscape 
 The Memnon . 
 
 J. Bickerstaff, Esq. 
 
 Earl of Durham. 
 
 W. J. MULLER. 
 
 Charles Morgan, Esq. 
 
 Joseph Gillott, Esq. 
 
 SIR A. W. CALLCOTT, RA. 
 
 The Tomb of Cicero W. Marshall, Esq. 
 
 E. G00DALL, A.R.A. 
 
 The Irish Wedding /. Bickerstaff, Esq. 
 
 W. P. FRITH, R.A. 
 
 Sweet Anne Page Gi Dewhurst, Esq. 
 
 GILL. 
 Children round a Dancing Dog jy. jp e u s jw 
 
 F. GRANT, RA. 
 
 Sir William Frazer, Bart. 
 
 W. COPE, R.A. 
 
 Interior of an Italian Osteria 
 
 Allan Cunningham 
 
 W. BOXALL, A.R.A. 
 
 Sir William Frazer, Bart. 
 Mrs. Villebois. 
 Peter Cunningham, Esq. 
 
 J. R. HERBERT, R.A. 
 
 318 I The Outcast & SMnd> Esq _ 
 
 a ! F. M. BROWN. 
 
 319 i The Hayfield 
 
 [91] 
 
 W. Morris, Esq. 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 320 
 321 
 
 322 
 323 
 324 
 
 325 
 326 
 327 
 328 
 
 329 
 330 
 331 
 332 
 
 333 
 
 334 
 
 335 
 
 336 
 337 
 
 338 
 
 339 
 340 
 341 
 342 
 343 
 344 
 345 
 
 The Merry-making 
 The Rocky Lake . 
 
 W. P. FRITH, R.A. 
 TH0S. CRESWICK, R.A.' 
 
 John Naylor, Esq. 
 
 Mark Philips, Esq. 
 
 E. W. COOKE, A.R.A. 
 
 St. Ives Alderman Salomons. 
 
 View of Oneglia Thos. Fairbairn, Esq. 
 
 The Salute at Venice] Samuel Christie, Esq. 
 
 C. A. COLLINS. 
 
 Convbnt Thoughts T. Combe, Esq. 
 
 P. F. POOLE, A.R.A. 
 
 Song of the Troubadours S. Mendell, Esq. 
 
 J. INSKIPP. 
 
 A "Windfall R. Carruthers, Esq. 
 
 T. WEBSTER, R.A. 
 
 The Playground Lord Overstone. 
 
 J. R. HERBERT, R.A. 
 
 Lear disinheriting Cordelia John Chapman, Esq. 
 
 SLR C. L. EASTLAKE, P.R.A. 
 Pilgrims in sight of Rome )y . J- fi..*/a/) • Duke of Bedford, K.G. 
 
 SIR E. LANDSEER, R.A. 
 
 "There is Life in the Old Dog yet ". . . John Naylor, Esq. 
 
 M. ANTHONY. 
 
 The Glen at Eve E. A. Butler, Esq. 
 
 J. R. HERBERT, R.A. 
 
 Piracy of the Brides of Venice .... Rev. E. P. Ouen. 
 
 T. WEBSTER, R.A. 
 
 The Rubber Miss Broun. 
 
 R. DADD. 
 
 Puck on a Mushroom Thos. Birchall, Esq. 
 
 SLR E. LANDSEER, R.A. 
 
 Alexander and Diogenes Jacob Bell, Esq. 
 
 Dignity and Impudence Ditto. 
 
 J. C. HOOK, A.R.A. 
 
 A Passing Cloud P. Arrowsmith, Esq. 
 
 SIR E. LANDSEER, R.A. 
 
 Rat-Catching John Chapman, Esq. 
 
 T. UWINS, R.A. 
 
 Neapolitan Picture S. McConndl, Esq. 
 
 WILLIAM DYCE, R.A. 
 
 Jacob and Rachel Wm. Bower, Esq. 
 
 SLR E. LANDSEER, R.A. 
 
 Lassie herding Sheep W. Wells, Esq. 
 
 C. STANFIELD, R.A. 
 
 Passage of the Magra Earl of Ellesmtre. 
 
 J. B. PYNE. 
 
 Palace of the C.esars J. B. Pyne, Esq. 
 
 SLR E. LANDSEER, R.A. 
 Shepherd's Grave William Wells, Esq. 
 
 [92] 
 

 

PAINTINGS BY MODERN MASTERS. 
 
 Salook E. 
 
 346 
 
 347 
 
 348 
 
 349 
 
 350 
 
 351 
 
 352 
 
 ' 353 
 
 354 
 
 355 
 356 
 357 
 358 
 
 I 359 
 I 360 
 
 361 
 362 
 363 
 364 
 
 365 
 
 366 
 
 I 368 
 
 369 
 
 ' 370 
 
 371 
 
 372 
 
 D. MACLISE, E.A. 
 
 Origin of the Irish Harp Alan Potter, Esq. 
 
 W. MULREADY, RA 
 
 The Barber's Shop Bichard Hemming, Esq. 
 
 SIR E. LANDSEER, R.A. 
 
 The Intruder. An early picture. . . Sir P. M. de Grey Egerton, Bart. 
 
 W. ETTY, R.A. 
 
 Joan of Arc at the Stake Thomas Todd, Esq. 
 
 T. WEBSTER, R.A. 
 
 The Slide Mrs. Gibbons. 
 
 SIR C. L. EASTLAKE, P.RA. 
 
 The Sketchers William Marshall, Esq. 
 
 T. WEBSTER, R.A. 
 
 The Village Choir Samuel Ashton, Esq. 
 
 C. STANFIELD, R.A. 
 
 Dartmouth J. McArthur, Esq, 
 
 SLR E. LANDSEER, R.A. 
 
 Catherine Setton Bichard Newsham, Esq. 
 
 W. MULREADY, R.A. 
 
 The Forgotten Word Sir J. E. Sivinbumc. 
 
 " Train up a Child in the Wat he should go " Thos. Baring, Esq. 
 
 The Bathers Ditto. 
 
 The Dog of Two Minds W. Wells, Esq. 
 
 SLR C. L. EASTLAKE, P.R.A. 
 
 Christ weeping over Jerusalem .... John Naylor, Esq. 
 
 W. ETTY, R.A. 
 
 The Combat Boyal Scottish Academy. 
 
 W. MULREADY, R.A. 
 
 The Wolf and the Lamb Her Majesty the Queen. 
 
 Burchell and Sophia, from " The Vicar of Wakefield " Thomas Baring, Esq. 
 
 The Travelling Druggist John Chapman, Esq. 
 
 Scene from " St. Ronan's Well " . . Sir J. E. Swinburne, Bart. 
 C. R. LESLIE, R.A. 
 
 Looking at the Miniature Alderman Salomom. 
 
 J. D. HARDING. 
 The Jung Frau from the ascent of the Wengern Alp. 
 
 John Eritchard, Esq. 
 1 , C. W. COPE, RA. 
 
 Babts Turn(| .i^ X ll> .* V) . . . . Edward Bodgett, Esq. 
 
 C. R. LESLIE, R.A. 
 
 Uncle Toby and the Widow Wadman . . . Jacob Bell, Esq- 
 
 J. C. HOOK, R.A. 
 
 Welcome Bonny Boat Bichard Netvsham, Esq. 
 
 H. WALLIS. 
 The Death of Chatterton . . . ' . . . A. L. Egg, Esq. 
 
 W. ETTY, RA. 
 St. John Pre^chkjg vs. the Wilderness . . . Bev. Isaac Spencer. 
 
 U] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 373 
 
 374 
 
 375 
 
 376 
 
 377 
 
 378 
 
 379 
 
 380 
 
 381 
 
 382 
 
 383 
 
 384 
 
 385 
 
 386 
 
 387 
 
 388 
 
 389 
 
 390 
 
 391 
 
 392 
 
 393 
 
 394 
 
 395 
 
 396 
 
 Landscape with Deer WUliam Wills, Esq. 
 
 W. P. FRITH, R.A. 
 
 Prater . . . U. W. Eaton, 7- . 
 
 J. SANT. 
 
 Mother and Child F. Fuller, Esq. 
 
 JAMES WARD, R.A. 
 
 St. Donets Castle C. T. Maud, Esq. 
 
 C. STANFIELD, R.A. 
 
 St. Michael's Mount H. W. Baton, Esq. 
 
 C. R. LESLIE, R.A. 
 
 Scene from Henry VIII IK. Brunei, Esq. 
 
 SLR E. LANDSEER, R.A. 
 
 The Catspaw Earl of Essex. 
 
 C R LESLIE R A 
 
 The Rivals (#M.C * uU- \SJ . . . E. Bodgett, Esq. 
 
 WILLIAM GALE. 
 
 An Angel Thomas Fairboirn, Esq. 
 
 SIR E. LANDSEER, R.A. 
 
 The Highland Cabin H. W. Eaton, Esq. 
 
 T. S. COOPER, A.R.A. 
 
 Cattle Sir -ST. Be Trafford. 
 
 S. A. HART, R.A. 
 
 Eccelino in Prison S: A. Hart, R.A. 
 
 J. R. HERBERT, R.A. 
 
 Girl with Tambourine W. Bower, Esq. 
 
 W. P. FRITH, R.A. 
 
 A Stage-Coach Adyentdre ..[(\a0liaVU- .... Mrs. Gibbons. 
 
 C. STANJFIELD, R.A. 
 
 The Wreck T. Bit clwll, Esq. 
 
 IL ANSDELL. 
 
 The Game-bag H.W. Eaton, Esq. 
 
 R. W. BUSS. 
 
 Waiting for the "Times" R. Napier, Esq. 
 
 C. R. LESLIE, R.A. 
 
 Juliet Sir G. H. Beaumont, Bart. 
 
 SLR E. LANDSEER, R.A. 
 
 The Dogs or St. Bernard /• Watts Russell, Esq. 
 
 C. R. LESLIE, R.A. 
 
 Sir Roger de Coverlet going to Church . . John Naylor, Esq. 
 
 T. CRESWICK, R.A. 
 
 Passing Showers Alderman Salomons. 
 
 W. P. FRITH, R.A. 
 Trial of a Witch (?■ OA C jvU c £/) . . • Thomas Miller, Esq. 
 
 f. danbV; ar.a. 
 
 Opening of the Sixth Seal .... Brands Edwards, Esq, 
 
 W. GALE. 
 
 GUIDERIUS AND ARVIRAQUS REPEATING THE DlRGE OVER 
 
 Imogen William Edgar, Esq. 
 
 [94] 
 
Jjr . tWf.ftf.*" 
 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon E. 
 
 397 
 
 '..398 
 
 399 
 
 400 
 [ 401 
 
 J 402 
 403 
 
 404 
 405 
 
 R. REDGRAVE, R.A. 
 
 The Forest Portal George Duekworth, Esq. 
 
 A. L. EGG, A.R.A. 
 Peter the Great's First Interview with Catherine Thomas Miller, Esq . 
 A. COOPER, R.A. 
 
 Battle of Bosworth Earl of Durham 
 
 GEO. LANCE. 
 
 Fbuit . John Zeech, Esq. 
 
 The Village Coquette ^ Hemming, Esq. 
 
 SIR E. LANDSEER, R.A. 
 Children of the Mist Joseph mUr , Esq - 
 
 W. I. WINDUS. 
 
 Burd Helen John MiUer ^ ^ 
 
 J. C. H0RSLEY. 
 
 The Pet of the Common 
 
 SIR E. LANDSEER, R.A. 
 
 Dog and Rabbit 
 
 408 j Hare and Weazel 
 
 407 | Shoeing 
 
 RICHTER. 
 
 408 I The Tight Shoe . 
 
 E. W. COOKE, A.R.A. 
 
 Loading Fish on the Beach .... 
 S. A. HART, R.A. 
 
 409 
 
 410 ! Arnolfo di Lapo 
 
 411 ] Interior, with Fish 
 
 E. W. COOKE, A.R.A. 
 
 James Eden, Esq. 
 
 W. Wells, Esq. 
 
 Ditto. 
 Jacob Bell, Esq. 
 
 William Marshall, Esq. 
 
 . W. Wells, Esq. 
 
 Josh. Miller, Esq. 
 
 W. Wells, Esq. 
 
 [95] 
 
VESTIBULE 4. 
 
 PAINTINGS BY MODERN MASTERS. 
 
 HENRY LIVERSEEGE. 
 
 412 Captain Macheath 
 
 413 Cobbett's Register 
 
 SIR W. ALLAN, RA. 
 
 414 The Assassination of the Regent Murray 
 
 GLOVER. 
 
 415 Durham Cathedral 
 
 THOMAS BARKER. 
 
 416 ; The Salterella 
 
 HENRY LIVERSEEGE. 
 
 417 The Inquiry . . . . ' . 
 
 418 Lucy Ashton 
 
 419 | Christopher Sly and Hostess . ... 
 
 SLR W. ALLAN, R.A. 
 
 420 Shepherd's Grace 
 
 B. R. HAYDON. 
 
 421 The Mock Election Her Majesty the Qua n. 
 
 JOHN MARTIN. 
 
 422 I The Seventh Plague Earl of Durh, m. 
 
 HENRY LIVERSEEGE. 
 
 W. Slater, Esq. 
 J. Bentley, Esq. 
 
 Duke of Bedford. 
 
 Sari of Durham. 
 
 Joseph Dingwall, Esq. 
 
 J. Sick, Esq. 
 
 Ditto. 
 . E. S. Barlow, Esq. 
 
 Royal Academy. 
 
 423 
 424 
 425 
 426 
 427 
 428 
 429 
 430 
 
 The Recruit 
 
 The Hireling Shepherd 
 
 W. H. HUNT. 
 C. R LESLIE, R.A. 
 
 Sterne and the Grisette . 
 
 GEORGE HARVEY, R.S.A. 
 Reading the Bible in the Crypt of Old St. Paul's 
 
 F. Y. HURLSTONE. 
 Italian Peasants)' P. M . C . Wv 1 . %. /) • 
 
 Punch . 
 Forgotten Vows 
 The Duet 
 
 431 I The Forester's Family 
 
 E. DAVIS. 
 C. A. DUVAL. 
 
 f. stone, a.r.a 
 ;lr e. landseer, b 
 
 [CO] 
 
 Billiard Fort, Esq. 
 
 J. Brodcrip, Esq. 
 
 Thomas Miller, Esq. 
 
 J. Torr, Esm 
 
 Joseph Earlc, Esq. 
 
 Joseph Bull, Esq. 
 
 E. Loyd, Jan., Esq. 
 
 Jacob Bell, Esq. 
 
 11. M. the King of the Belgians. 
 

*< 
 
 
 
 
 
 
PAINTINGS BY MODERN MASTERS. 
 
 Vestibule 4. 
 
 432 Heloise 
 433 
 
 SIR C. EASTLAKE, P.R.A. 
 
 434 
 
 ... 435 
 
 ' 436 
 
 437 
 438 
 
 439 
 440 
 
 441 
 442 
 443 
 444 
 
 W. T. C. DOBSON. 
 
 The Prosperous Dats of Job 
 
 Lord Crewe. 
 Henry Mouldsworth, Esq. 
 
 DAVID ROBERTS, RA. 
 
 Rome, from the Gardens of the Convent of San Onofrio on Mont 
 
 D. Roberts, Esq., R. A. 
 
 SIR E. LANDSEER, RA. 
 
 Janieulum 
 
 Stag at Eat 
 
 C. A. DUVAL. 
 
 Forgotten Vows recalled to Memory 
 
 A. L. EGG, A.R.A. 
 
 Villiers, Duke of Buckingham, Rebuffed 
 
 MISS MTJTRIE. 
 Flowers 
 
 JAMES HOLLAND. 
 
 Chapel of St. John the Baptist at Lisbon 
 
 RICHARD ANSDELL. 
 
 Lttham Sandhills 
 
 Marquis of Breadolbanc. 
 . E. Loyd, Tun., Esq. 
 
 P. Dudgeon, Esq. ■ 
 . H. MeConnett, Esq.. 
 J. S. Forbes, Esq.. 
 R. Ncwsham, Esq. ■ 
 
 J. P. KNIGHT, R.A. 
 Smugglers if. McConnell, Esq. 
 
 E. TJ. EDDIS. 
 
 Moses consigned to the Nile lord Overstme. 
 
 JAMES HOLLAND. 
 Venice J. S. Forbes, Esq 
 
 MISS M. MUTRIE. 
 Flowers S. McConnell, Esq. 
 
 [»7] 
 
SALOON F. 
 
 PAINTINGS BY MODERN MASTERS. 
 
 Saloon F. 
 
 445 
 446 
 447 
 448 
 449 
 450 
 451 
 452 
 453 
 454 
 455 
 456 
 
 457 
 458 
 
 459 
 
 460 
 
 461 
 
 462 
 
 463 
 
 V ' 464 
 
 465 
 
 466 
 
 467 
 
 The Infant Samuel 
 Flowers . 
 The Smile 
 
 J. SANT. 
 
 klSS MTJTRIE. 
 
 T. WEBSTER, R.A. 
 
 William Bashall, Esq. 
 C. Loddigcs, Esq. 
 William Wells, Esq. 
 
 T. FAED, A.R.S.A. 
 The School ........ Richard Hemming, Esq. 
 
 SIR J. W. GORDON, P.R.S.A., R.A. 
 
 Professor Wilson John Blackwood, Esq. 
 
 BRADLEY. 
 
 Head of a Girl A. H. Novell!, Esq. 
 
 MISS M. MUTRIE. 
 
 Flowers Jonas Cressingham, Esq. 
 
 T. WEBSTER, R.A. 
 
 The Frown w. Wills, Esq. 
 
 F. GOODALL, A.R.A. 
 The Arrest of a Peasant Royalist in Brittant Calvert Toulmin, Esq. 
 
 G. B. O'NEILL. 
 The Obstinate Juryman . R„(X Jiff -+■///& j George Dewh»rst. Sag. 
 
 SIR J. W. GORDON, P.R.S.A., R.A. 
 Portrait of a Lady. Half-length. .... Sir -J. W. Gordon. 
 
 J. DANBY. 
 Sunrise off the Isle of Arran .... W. W. Warren, Esq. 
 
 F. GOODALL, A.R.A. 
 Cranmer at the Traitors' Gate .... Thos. Graham, Esq. 
 
 The Hurdy-Gurdy James Watts, Esq. 
 
 T. S. COOPER, A.R.A. 
 
 Halt on the Fells Henry Blundell, Esq. 
 
 F. R. PICKERSGILL, A.R.A. 
 
 The Death of Foscari H.R.H. the Prince Albert. 
 
 J. G. GILBERT, R.S.A. 
 Portrait of Sir J. W. Gordon .... Royal Scottish Academy. 
 
 M. ANTHONY. 
 
 Landscape— The Red Gown .... Edward Rodgctt, Esq. 
 
 M'CULLOCH, R.S.A. 
 
 Loch Awe C . D. Young, Esq. 
 
 E. M. WARD, R.A. 
 Charlotte Corday led to Execution /. Starhey, Esq. 
 
 C. LANDSEER, R.A. 
 
 The Sacking of Basinghouse Jacob Bell, Esq. 
 
 D. MACNEE, R.S.A. 
 
 Dr. Wardlaw . . Congregation of the late Dr. Wardlaw, Glasgow. 
 
 THOS. CRESWICK, R.A. 
 
 Lake and Mountains Alan Potter, Esq. 
 
 [9S] 
 

 
 Lf4-. sW.isr*. (j,.zsi3j)rfv^.Xju4 iC}jy?c(rz)lUu>. 
 
 
 
— 
 
PAINTINGS BY MODERN MASTERS 
 
 Saloon F. 
 
 ,'~ v , J- »• HERBERT, R.A. 
 
 • 468 THE Boy Daniel -P Al.f . LgSv] ' ■ ■ ******-««*«*, Esq. 
 . AaA W. F. WTTHERINGTON, E.A. 
 . 469 the Ferry George Vaughan ^ ^ 
 
 W. H. HUNT. 
 
 ■' 470 Two Gentlemen of Verona— Valentine rescuing 
 
 Sylvia Thomas Fairbairn, Esq. 
 
 , «, J - ilnnell. 
 
 471 Landing op Ulysses John Grahm , h Esq , 
 
 Arin \ J- G. GELBEET, R.S.A. 
 
 472 John Gibson, R.A R<njal Scottish Academy . 
 
 A. CUNT. 
 
 On the Sands— Barmouth . 
 
 473 
 474 
 
 '.'475 
 476 
 477 
 478 
 479 
 
 '480 
 481 
 482 
 
 '483 
 
 484 
 485 
 
 488 
 
 487 
 
 488 
 
 489 
 
 490 
 
 491 
 
 Owen Jones . 
 
 H. W. PHILLIPS. 
 
 , , /. LINNELL. . 
 
 Crossing the Brook f IH .Q kU. 9 ^. v' .) 
 
 T. WEBSTER, R.A. 
 
 The Letter from the Colonies . 
 
 A. Clint, Esq. 
 
 J. Scott Russell, Esq. 
 
 T. Wrigley, Esq. 
 
 James Edsn, Esq. 
 
 R. DADD. 
 
 Midsummer Night's Dream Samuel Ashton, Esq. 
 
 MRS. CARPENTER. 
 
 Mrs. Carpenter. 
 
 PENRY WILLIAMS. 
 
 Lady C. Schreiber. 
 
 G. B. O'NEILL. 
 
 The Heart's Complaint William Sharp, Esq. 
 
 J. LINNELL. 
 The Last Gleam John Milhr ^ Esq 
 
 T. WEBSTER, R.A. 
 
 The Lacemaker 
 Italian Peasants 
 
 Children going to School 
 
 C. STANFIELD, R.A. 
 
 Battle of Roveredo. Painted 1851. 
 
 Captain Penny 
 Captain M'Clure 
 
 T. Baring, Esq. 
 
 F. D. P. Astle-y, Esq. 
 STEPHEN PEARCE. 
 
 John Bar rote, Esq. 
 
 Ditto. 
 
 W. E. FROST, A.R.A. 
 The Sea Cave M ^ SpkrSj ^ 
 
 T. WEBSTER, R.A. 
 
 Children returning from School 
 
 W. H. HUNT. 
 
 Strayed Sheep . C. T. Maud, Esq. 
 
 PENRY WILLIAMS. 
 
 The Shrine. Painted 1830. Zafy a frfon^ 
 
 F. Y. HURLSTONE. 
 
 Palace of the Cjhsars in the 19th Century . Richard Hemming, E,q. 
 
 SIR E. LANDSEER, B.A. 
 Portrait op John Allen Genet . al c % ^ 
 
 [99] H2 
 
 T. Baring, Esq. 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon F. 
 
 492 
 493 
 494 
 495 
 496 
 
 497 
 498 
 499 
 
 500 
 501 
 502 
 
 503 
 504 
 505 
 506 
 507 
 508 
 509 
 510 
 511 
 512 
 513 
 514 
 515 
 516 
 517 
 
 The Launch . 
 Cattle. Painted 1S27. 
 
 GEORGE SMITH. 
 JAMES WARD, R.A. 
 
 H. S. Barlow, Enq. 
 William Wells, Esq. 
 
 BAXTER. 
 
 White and Red Roses Thomas Todd, Esq. 
 
 SIR E. LANDSEER, R.A. 
 
 Carrying home the Deer William Wells, Esq. 
 
 F. R. PICKERSGILL, A.R.A. 
 Flight of the Pagan Deities on the Dawn of Chris- 
 tianity. Painted 1857 (^ M. (' ■• l\K c . rt: v . ' . . T. Fairbaini, E*q. 
 SLR E. LANDSEER, R.A. 
 
 Sleeping Bloodhound Jacob Bell, Esq. 
 
 SLR J. W. GORDON, P.R.S.A., R.A. 
 
 Lord Cockburn Royal Scottish Academy. 
 
 C. STANFIELD, R.A. 
 
 DORT ON the Maas. Painted 1850 John Denis, Esq. 
 
 A. ELMORE, R.A, 
 
 The Novice ■ • William Bashall, Esq. 
 
 Origin of the Stocking-Loom TJiomas Bazley, Esq. 
 
 Rienzi in the Forum /■ Fenton, Esq. 
 
 J. B. PYNE. 
 
 View on the Avon J. W. Brett, Esq. 
 
 C. STANFIELD, R.A. 
 
 The Abandoned. Painted 1S56 Thomas Baring, Esq\ 
 
 P. WESTC0TT. 
 
 Archdeacon Brooks Select Vestry, Liverpool. 
 
 J. B. PYNE. 
 
 Genoa John M' Arthur, Esq, 
 
 W. E. FROST, ARA.-A^-*- / ) 
 Una and the Wood Nymphs. Painted 1847 . E.R.M. Prince Albert. 
 
 E. W. COOKE, A.R.A. 
 
 Rouge ET Noir William Wells, Esq. 
 
 T. FAED, A.R.S.A. 
 
 Evanoeline • -Alan Totter, Esq. 
 
 A. JOHNSTONE. 
 
 Tyndal translating the Bible Painted 1854 . . J- Crcssinyhum, Esq. 
 
 E. U. EDDIS. 
 
 Portrait of Mr. Loyd Lord Ovcrslonc. 
 
 O'CONNOR. 
 
 River Scene in Ireland John Fcrnlcy, Esq. 
 
 BRIGHT. 
 
 View in the Isle of Ark ax C. T. Maud, Esq 
 
 JOHN PHILIP. 
 
 Drawing for the Militia Thomas Wrigley, Esq. { 
 
 A. CHRISTIE, A.R.S.A. 
 An Incident rN the Plague of London, painted 1349. J- Gibson Craig, Esq, 
 
 R. REDGRAVE. 
 The Miraculous Cure. Painted isio . . W. Wells, Esq. 
 
 W. T. C. D0BS0N. 
 Tobtt anb the Angel. Painted isos ... . Jmm Eden, Esq 
 [100] 
 

 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon F. 
 
 518 
 | 519 
 
 520 
 521 
 
 522 
 
 523 
 
 !524 
 
 525 
 
 : 526 
 527 
 528 
 529 
 
 { 530 
 531 
 532 
 533 
 534 
 
 j 535 
 536 
 537 
 538 
 539 
 540 
 
 W. LINTON. 
 NEWENHAM. 
 J. LEIGHTON. 
 
 William Bobson, Esq. 
 
 W. Sharp, Esq. 
 
 Her Majesty the Queen. 
 
 J. Barrow, Esq. 
 
 Carthage. Painted 182S. 
 
 Whittington . 
 
 Procession of Cimabue 
 
 S. PEARCE. 
 The Arctic Council .... 
 
 Discussing the plan of search for Sir John Franklin. 
 
 D. MACLISE, RA. . . 
 
 The Ghost Scene in Macbeth ^uA'till •n(lmW(. TJie Earl °f Chesterfield. 
 
 M. CLAXTON. 
 My " Grandmother " ... Miss Burdett Coutts. 
 
 W. LINTON. 
 Return of a Greek Armament. Painted 1826. Thomas Armstrong, Esq. 
 
 J. K. HERBERT, RA. 
 Portrait of Horace Vernet. Painted 1854 . . J. R. Herbert, Esq., R.A. 
 
 A. L. EGG, A.R.A. 
 Pefys' Introduction to Nell Gwynne. Painted issi. William Bashall, Esq. 
 
 J. P. KNIGHT, RA. 
 Rev. Mr. Locke Rev. Mr. Locke. 
 
 MARTLNEAir. 
 Kits Writing Lesson Edward Mudie, Esq. 
 
 W. P. FRITH, RA. 
 Four Female Heads . Jacob Bell, Esq. 
 
 E. NICOLL, A.R.S.A. 
 
 A Whist Party j ) m R ar ker, Esq. 
 
 J. TENNENT. 
 
 Coast Scene s. McComiel, Esq. 
 
 H. J. STANLEY. 
 An Italian Mother and Child .... Worcester Society of Arts. 
 
 BRIGHT. 
 Orford Castle a T. Maud, Esq. 
 
 D. MACLISE, RA. 
 Snap-Apple Night w. F. Fryer, Esq. 
 
 D. ROBERTS, R.A. 
 
 Giralda— Seville. Painted 1833 .... Lewis Loyd, Jim., Esq. 
 
 M. ANTHONY. 
 The Deserted Church . . . . . . . B. A. Butler, Esq. 
 
 E. W. COOKE, A.RA. 
 
 Elizabeth Castle, Jersey Marquis of Westminster. 
 
 R. MTNNES. 
 
 A Venetian Festa James Walker, Esq. 
 
 F. GRANT, RA. 
 The Duchess of Northumberland . . . Bttke of Northumberland. 
 
 W. P. FRITH, R.A. 
 Le Bourgeois Gentilhomme. Painted 1848 S. Mendel, Esq. 
 
 [101] 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon F. 
 
 GEORGE JONES, R.A. 
 
 St. Stephen's Church, Vienna Lord Overstate. 
 
 G. LANCE. 
 Melancthon's First Misgivings G. Holt, Esq. 
 
 J. E. MILLAIS, A.R.A. 
 Autumn Leaves. Painted 1856 j / m j^Hfer, &q, 
 
 F. R. LEE, R.A. 
 
 Breakwater— Plymouth . Painted 1856 . . . F. R. Lee, R.A. 
 
 C. LANDSEER, R.A. 
 
 Sacking op a Jew's House Jacob Bell, Esq. 
 
 T. DANBY. 
 
 The Poet's Hour . Joseph Gillott, Esq. 
 
 W. J. GRANT. 
 
 The Lesson op Mercy Thomas Barnes, Esq. 
 
 T. CRESWICK, R.A. 
 
 Over the Sands John Davis, Esq. 
 
 J. C. HORSLEY, A.R.A. 
 
 The Madrigal jp. Bashall, Esq. 
 
 W. H. HUNT. 
 
 The Awakened Conscience. Painted 1853 . . Thomas Fairbaim, Esq. 
 
 T. TTWTNS, R.A. 
 
 The Saint Shop Ditto. 
 
 SLR J. W. GORDON, P.R.S.A, R.A. 
 Provost of Peterhead .... Merchants Maiden Hospital. 
 
 WILLIAM WEST. 
 Chapel of the Strozzi Family — at Florence . . T. Colnaghi, Esq. 
 
 F. M. BROWN. 
 Christ washing Peter's Feet .... F. M. Brown, Esq. 
 
 P. F. POOLE, A.R.A. 
 
 Crossing the Brook. Painted 1845 . . . William Bashall, Esq. 
 
 J. LLNNELL, JUN. 
 
 A Morning in Autumn L. Huth, Esq. 
 
 J. C. HORSLEY, A.R.A. 
 Lady Jane Grey and Roger Ascham . 
 
 C. W. COPE, R.A. 
 The Firstborn. Painted 1819 .... 
 
 F. DANBY, A.R.A. 
 The Vale of Tempe ... . 
 
 W. COPE, R.A. 
 Martyrdom of Laurence Saunders. Painted 1S37 
 
 J. F. HERRING, SEN. 
 Rabbits 
 
 T. FAED, A.R.S.A. 
 
 Home and the Homeless .... 
 
 F. GOODALL, A.R.A. 
 
 Episode in the happier Days of Charles I. 
 
 J. F. HERRING, SEN. 
 Rabbits 
 
 W. H. HUNT. 
 
 Claudio and Isabella 
 
 [102] 
 
 John Sick, Esq. 
 
 George Dcuhurst, Esq. 
 
 . John Graham, Esq. 
 
 Mrs. Thurbum. 
 
 Sir B. H. Wilson, Bart. 
 
 A. Dennistoun, Esq. 
 
 T. Fairbairn, Esq. 
 
 Sir B. H. Wilson, Bart. 
 
 A. L. Egg, E*q. 
 

 
sfA. \Ueu4o&,)^7*^ 4 MUL 
 
 fltf.(Wcd°.w) 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saloon F. 
 
 JOHN LINNELL, JUN. I., t u>/jj 
 
 566 Aotumn Landscape— Sunset. . . . </ l . Jfimes Fallows, Esq. 
 
 I. K. Brunei, Esq. 
 . W. C. Thomas, Esq. 
 
 C. W. COPE, R.A. 
 567 Lear and Cordelia. Painted 1S50 
 
 568 
 
 569 
 
 570 
 
 571 
 
 .572 
 
 573 
 
 574 
 
 575 
 
 576 
 
 577 
 
 , 578 
 
 V 579 
 
 580 
 
 581 
 582 
 
 ! 583 
 
 ! 584 
 
 ! 585 
 
 586 
 
 587 
 
 588 
 
 589 
 
 W. C. THOMAS. 
 
 The Heir cast out of the Vineyard 
 
 J. INSKIPP. 
 A Surrey Peasant returning from Market 
 
 SIR J. W. GORDON, P.R.SA. 
 
 Portrait of William Fairbairn. Painted 1S56 
 
 JOHN PHILIP. 
 Agua Fresca ...... 
 
 A. HUGHES. 
 April Love. Painted 1S56 .... 
 
 JOHN PHILIP. (i\ I 
 The Andalusian Letter-writer. Painted 1S54 
 
 C. STANFIELD, R.A. 
 BlDASSOA. Painted 1853 
 
 A Roman Christening 
 
 View in Lycia 
 
 Italian Banditti . 
 
 P. WILLIAMS. 
 H. JOHNSON. 
 RIPPLNGLLLE. 
 
 F. DANBY, A.R.A. 
 
 Lake of Zurich. Painted 1S49 
 
 D. MACLISE, R.A. 
 Fitting out Moses for the Fair 
 Painted 1837 ; retouched 1S50. 
 
 F. GRANT, R.A. 
 Portrait of Lobd John Russell 
 
 W. SHAYER. 
 Landscape and Figures .... 
 Landscape and Horses .... 
 R. ANSDELL. 
 Returning from Labour. Painted 1S57 
 
 JOHN LINNELL. 
 Sheepfold — Evening. Painted iSol 
 
 D. MACLISE, R.A. 
 Moses' Return from the Fair. Painted 1S50 
 
 W. HEMSLEY. 
 Draughts — Black to move .... 
 T. UWINS, R.A. 
 Cupid and Psyche. Painted 1845 . 
 
 D. ROBERTS, R.A. 
 Interior of Seville Cathedral. Painted 1S33 
 
 WILLIAMSON. 
 Landscape 
 
 rios] 
 
 Richard Carriithers, Esq. 
 R.A. 
 
 W. A. Fairbairn, Esq. 
 
 George Holt, Esq. 
 William Morris, Esq. 
 Her Majesty the Queen- 
 Charles Morgan, Esq. 
 Lady C. Schreiber. 
 C. T. Maud, Esq. 
 . Xewman Smith, Esq. 
 . W. 0. Foster, Esq. 
 . John Chapman, Esq. 
 
 Lord John Russell. 
 
 . Sir B. H. Wilson. 
 Ditto. 
 
 . Lord Londcsborough. 
 
 Thomas Todd, Esq, 
 
 . John Chapman, Esq. 
 
 J. Cressingham, Esq. 
 
 Her' Majesty the Queen- 
 
 Lewis Loyd, Jun., Esq. 
 . Lord de Tabley. 
 
PAINTINGS BY MODERN MASTERS. 
 
 Saioon F. 
 
 590 
 591 
 592 
 593 
 594 
 595 
 
 596 
 597 
 
 598 
 599 
 600 
 
 E. LEAR. 
 
 The Quarries op Syracuse, painted 1853 
 
 D. MACLISE, R.A. 
 The Author's Reception by the Players . 
 
 H. O'NEILL. 
 Naomi and her Daughters-in-law. Painted 184a 
 
 H. W. PHILLIPS. 
 Sir Colin Campbell 
 
 E. NICOLL, A.R.S.A 
 Rustic Anglers 
 
 SIR J. W. GORDON, P.R.S.A., R.A. 
 Portrait of J. F. Lewis, President of Society of Water- 
 colour Artists Royal Scottish Academy 
 
 A. L. EGG, A.RA. 
 Scene from " Taming of the Shrew " 
 
 E. M. WARD, R.A. 
 Louis XVI. and Marie Antoinette in the Temple 
 
 Painted 1851. 
 
 J. BALLANTYNE, A.R.SA. 
 NlGHT. Painted 1840 
 
 BAXTER. 
 The Wayfarers 
 
 A. J. HERBERT. 
 
 PniLip II. of Spain conferring Knighthood on 
 
 Velasquez. Painted isse Alderman Salomons. 
 
 Son. F. Lygo)). 
 
 Joseph Gittott, Esq. 
 
 . IT. Loire, Esq. 
 
 B. W. Phillips, Esq. 
 
 John Tennant, Esq. 
 
 Jaooh Bell, Esq. 
 R. Xewsham, Esq. 
 
 S. J. Brown, Esq. 
 Thomas Todd, Esq. 
 
 I 104 1 
 

CLOCK GALLERY, 
 
 COMMENCING AT NORTH STAIRCASE. 
 
 601 
 602 
 603 
 604 
 605 
 606 
 607 
 . 608 
 609 
 ['.[ 610 
 611 
 612 
 613 
 614 
 615 
 616 
 617 
 
 618 
 
 619 
 
 SIR D. WILKIE, R.A. 
 Interior of a Highland Cottage Earl of Essex. 
 
 FREDERICK R. LEE, RA. 
 The Silver Pool Fred. B. Lee, Esq. 
 
 R. DABD. 
 
 The Water-Carriers 
 
 Benvenuto Cellini 
 The Last Judgment 
 View of Rotterdam 
 The Ferry Boat 
 
 Bd. G. Beeves, Esq. 
 
 Alderman Salomon*. 
 
 . J. Til dt worth, Esq. 
 
 Earl of Essex. 
 
 . Edw. Bodgctt, Esq. 
 J. DRUMMOND, R.SA. 
 Wat Tinlin, from the " Lay of the Last Minstrel" John Pender, Esq. 
 
 J. M. W. TURNER, RA. 
 Sea-Piece Earl of Essex. 
 
 S. A. HART, R.A. 
 WILLIAM ETTY, R.A. 
 
 A. CALLCOTT, RA. 
 GEORGE CHAMBERS. 
 
 JOHN LINNELL, JUN./ , , / 
 Spbing 1)1(11111 kit. Jos. Ball, Esq. 
 
 The Fish Auction 
 
 WM. COLLINS, RA. 
 
 D. MACLISE, R.A. 
 
 Scene from "As You Like it" . 
 
 T. FAED. 
 
 Sir Walter Scott and his Contemporaries 
 
 UNKNOWN. 
 Portrait 
 
 POMPEO BATTONI. 
 
 Lieut.-General Sir Richard Lyttelton 
 
 HENRY RAEBURN, R.A 
 
 Neil Gow 
 
 . Earl of Essex. 
 E. L. Belts, Esq. 
 A. Dennistoim, Esq. 
 C. M. Philips-, Esq. 
 . Lord Lyttelton. 
 Bt. Salmon, Esq. 
 Miss B. Couth. 
 
 MASQUERIER. 
 
 Portrait of Himself when fourteen 
 Painted by the artist at the age of 16. 
 
 SLR D. WILKIE, R.A. 
 
 Christopher Columbus in the Convent at La Rabida B. S. Eolford, Esq. 
 Painted 1S35. Price paid to artist, £500. 
 
 F. GOODALL, A.R.A. 
 
 Hunt the Slipper J. B. Neilson, Esq. 
 
 [105 J 
 
PAINTINGS BY MODERN MASTERS. 
 
 Clock Entrance Gallf.ry. 
 
 620 
 
 621 
 
 622 
 
 623 
 
 624 
 
 625 
 
 625« 
 
 626 
 
 626 
 
 629 
 
 630 
 
 631 
 
 632 
 
 633 
 
 634 
 
 635 
 
 636 
 
 636(7 
 
 637 
 638 
 
 639 
 
 640 
 
 641 
 
 642 
 
 643 
 
 J. SEVERN. 
 
 The Ancient Mariner Rev. W. J. Hattiday. 
 
 J. M. W. TURNER, R.A. 
 Landscape .... 
 
 F. G00DALL, A.RA. 
 Passing a Roadside Cross .... 
 
 . Earl of Essex. 
 Wm. Wells, Esq. 
 
 J. B. Green, E'q. 
 
 W. DYCE, RA. 
 Virgin and Child 
 
 E. V. RIPPINGILLE. 
 
 The Country Post-Office chas. Blissett, E-q. 
 
 J. R. HERBERT, A.R A. 
 
 John reproving Herod Win. Botcer, Esq. 
 
 W. COLLINS, RA. 
 
 The Morning Bath h. McConnel, E/sq. 
 
 R. WESTALL, R.A. 
 
 Girl at a Brook ]u,,ry Houhhicorth, Esq. 
 
 MIGNARD. 
 
 Madame de Montespan Duke of Richmond. 
 
 PENRY WILLIAMS. 
 
 Italian Pilgrims Marquis of Westminster. 
 
 G. E. HERRING. 
 Bat of Salerno M. Schuuck, Esq. 
 
 GEO. ROMNEY. 
 Lady Hamilton as a Bacchante (Sketch) . . . Lord de Table y. 
 
 JOHN MARTIN. 
 
 The Last Man Sir Walter James, Bart. 
 
 UNKNOWN. 
 Miss Price 
 
 ESQUIVAL. 
 
 Martyrdom of the Patron Saints of Seville 
 
 GRANET. 
 
 Franciscans at Service 
 
 WILLIAM HILTON, RA. 
 
 The Mermaid of Galloway . 
 
 B. R. HAYDON. 
 J. VERNET. 
 
 Earl of Wilton. 
 Viscount fielding. 
 Her Majesty the Queen. 
 Lord de Tabley. 
 Ditto. 
 
 Earl of Yarhorough . 
 Lord Ward. 
 
 Study for an Ass . 
 
 French Port 
 French Port 
 
 Landing Fish 
 
 Indifference 
 
 The Losing Game 
 
 PAUL DE LA ROCHE. 
 Napoleon Duke of Bortiand, 
 
 ARY SCHEFFER. 
 
 Francesca da PtiMiNi John Dillon, Esq. 
 
 [106] 
 
 C. TR0Y0N. 
 
 FICHEL. 
 V. CHAVET. 
 
 Thos. Cresuick, Esq., R.A. 
 Ditto. 
 Ditto. 
 

 
 
66^, A*** .%i\L .\.'i.\(ini.h<)y 
 
PAINTINGS BY MODERN MASTERS. 
 
 Clock Entrance Gallery. 
 
 644 
 645 
 646 
 647 
 
 648 
 
 E ^ 649 
 
 650 
 
 651 
 652 
 
 653 
 
 654 
 
 !655 
 
 656 
 657 
 658 
 659 
 659a 
 660 
 660a 
 661 
 662 
 663 
 664 
 . 665 
 666 
 \ 667 
 
 ARY SCHEFFER— continued. 
 
 Fikst Interview op Faust with Marguerite . . Samuel Ashton, Esq. 
 
 Love Scene in the Garden Ditto. 
 
 Marguerite at Church Ditto. 
 
 The Vision Ditto. 
 
 V. CHAVET. 
 
 The Connoisseurs Thos. Fairbairn, Esq. 
 
 BRACKELEER. 
 
 The Young Marauder . -- John Anderson, Esq. 
 
 PLASSAN. 
 
 The Duet . . . . ' . . . Thos. Cresivich, Esq., R.A. 
 
 MEISSONIER. 
 
 The Studio, teiip. Louis XIV Titos. Baring, Esq. 
 
 AUG. BONHEUR. 
 
 Mountainous Landscape and Cattle . 
 
 BOUCHER. 
 Madame de Pompadour .... 
 REGEMORTER. 
 Jan Steen taking down his Sign 
 
 H. VERNET. 
 Scene in the Siege of Rome 
 
 ED. HOTTENROTH. 
 Temples at P^estum -f . . . . 
 
 VERBOEKHOVEN. 
 
 Sheep and Goat 
 
 ED. FALKNER. 
 Monument in the Lunipus .... 
 
 P. DE LA ROCHE. 
 
 Napoleon crossing the Alps»»- . 
 
 SIR D. WILKIE. 
 Praters to the De'il^ .... 
 
 ZIEM. 
 Venice ........ 
 
 W. P. FRITH, R.A. 
 
 Black and Blue Eyes 
 
 ARY SCHEFFER. 
 
 St. Augustin, with St. Monica his Mother 
 
 ROSA BONHEUR. 
 
 Landscape and Cattle . . . . 
 
 ARY SCHEFFER, 
 
 Dante and Beatrice 
 
 C. TROYON. 
 
 Cattle Piece 
 
 ARY SCHEFFER. 
 Christ weeping over Jerusalem 
 
 ROSA BONHEUR. 
 
 Cattle 
 
 A. CALAME. 
 
 Swiss Landscape 
 
 [107] 
 
 John PilTcington, Esq. 
 
 James Gibson Craig, Esq. 
 
 J. H. Galton, Esq. 
 
 Wm. Bower, Esq. 
 
 Wm. Earl, Esq. 
 
 . F. Perkins, Esq. 
 
 . Edw. Falhier, Esq. 
 
 John Dillon, Esq. 
 
 , Wynn Ellis, Esq. 
 
 . Jas. Fallowes, Esq. 
 
 R. Hemming, Esq. 
 
 Richard Holland, Esq. 
 
 . A.H. Novelli, Esq. 
 
 Ed. Hemming, Esq. 
 
 M. Uzielli, Esq. 
 
 Robt. Barnes, Esq. 
 
 Jas. Fallowes, Esq. 
 
 P. Fairbairn, Esq. 
 
 ftfevV 
 
PAINTINGS BY MODERN MASTERS. 
 
 Clock Entrance Gallery. 
 
 668 
 669. 
 
 673 
 674 
 675 < 
 676 
 677 
 678 
 679 
 680 
 681 
 682 
 683 
 684 
 685 
 686, 
 687i 
 | 688 
 669 
 
 Mre. Sohwabe. 
 
 Thos. Fairbairn, Esq. 
 
 . Jos. Dingvoll, Esq. 
 
 . J. B. Heuitt, Esq. 
 
 F. Perkins, Esq. 
 
 . A.J.B. Hope, Esq. 
 
 Hy. Houldsicorth, Esq. 
 
 Mrs. L. Seiss. 
 
 , , ARY SCHEFFER. 
 
 The Magdalen/ f-'.tf. CfX*. A /.' ') . 
 
 W. WYLD. 
 View of Nice— Early Morning 
 
 A. CALAME. 
 
 670 , Swiss Landscape 7?. jj. Greg, Esq 
 
 P. VAN SCHENDEL. 
 
 671 ! Market Scene by Candlelight . 
 
 H. VERNET. 
 672- I VlTTOIUA DI Albano 
 
 VERB0EKH0VEN. 
 Drove of Sheep 
 
 B. OVERBECK 
 
 Incredulity of St. Thomas 
 
 RUDOLF JORDAN. 
 
 Looking for the Fisherman's Return 
 
 TIDEMAND. 
 
 The Emigrant's Farewell 
 
 SEITZ. 
 
 The Deliverance of St. Peter Lord Overstonc. 
 
 DE KEYSER. 
 Queen of Hungary distributing Alms Mis Majesty the King of the Belgian*. 
 
 ROHDEN. 
 Virgin and Child Miss Orrell. 
 
 ARY SCHEFFER. 
 Christ Teaching Humility John Aikin, Esq. 
 
 HESS. 
 
 Christ Blessing Little Children -f- . His Excellency Hy. F. Howard, Esq. 
 
 ROHDEN. 
 The Holy Family Miss Orrell. 
 
 GEORGE JONES, R.A. 
 Scene in the Afghan War 
 
 VALLATI. 
 
 A BOAR-HUNT 
 
 SEITZ. 
 Portrait of Pio Nono .... 
 
 T. STOTHARD, R.A. 
 
 Prince Arthur and his Jailers 
 
 UNKNOWN. 
 A Composition Major-Gen. Angenteia 
 
 JOSEPH FARRINGTON, R.A. 
 Eagle Tower, Caernarvon Castle .... Adam Lodge, Esq 
 
 WM. HOGARTH. 
 
 Hogarth painting thb Comic Musb . . . . H. B. Willett, Esq 
 
 [108] 
 
 Win. Earle, Esq. 
 
 Miss Orrel!. 
 
 J H. Green, Esq. 
 
BRITISH PORTRAIT GALLERY. 
 
 In collecting and arranging a Portrait Gallery of persons distinguished in British 
 History or British Biography, I have sought assiduously to obtain specimens of every 
 class of Worthies (in Fuller's large acceptation of the term) : — to call the illustrious or 
 infamous dead before the spectator in their habits as they lived, to group them in chrono- 
 logical order, and bring friends together on canvas upon one wall who have long ceased 
 to sit together in the flesh in the same room. I have attempted a kind of Basiliologia, 
 or "the true and lively effigies of all our kings," a kind of "Heroologia Anglicana," 
 not on paper — but on canvas and panel — briefly, a coloured and enlarged Heroologia, 
 Houbraken and Lodge. 
 
 I have had a further object in making my selections. I have sought to illustrate 
 the condition of Art in England at a period when portraits were our only pictures, and 
 portrait-painters almost our only artists. I have aimed moreover to supply trustworthy 
 materials for correcting those misleading guides called Housekeepers' Lists, and for 
 rescuing once well-known portraits (rechristened by chance like children at a Foundling 
 Hospital) from the lumber of the garret and the mildew of the stable-loft. 
 
 Anything like so large and important a series of British Portraits has never before 
 been brought together ; at no time have so many Vandycks been under one roof. Edge- 
 Hill and Naseby did not see so many Cavaliers and Roundheads of note in real buff and 
 armour as are here assembled upon canvas. Windsor and Hampton Court cannot vie 
 with the Lely and Kneller beauties of the Restoration, that smile (in the Central Hall of 
 the Manchester Exhibition) upon the heroes of the Civil War. 
 
 As for poets, the curious will find a whole nest of singing birds, from Shakspeare and 
 Ben Jonson to Dryden and Pope, and from D^denand Pope to Byron and Sir Walter Scott. 
 
 In short, I have rather wanted room than materials. 
 
 / 
 
 PETER CUNNINGHAM. 
 
 [109 j 
 
"A collection, showing us by the pencil how the most distinguished of our ancestors 
 looked, moved, and dressed."— Sir Walter Scott (of Lodge's Portraits). 
 
 "I have observed that a reader seldom peruses a book with pleasure till he knows 
 whether the writer of it be a black or a fair man."— Addison. 
 
 " From hence the line of Alban fathers come, 
 And the long glories of majestic Rome."— Dry den's Virgil 
 
 " Whate'er was beauteous and whate'er was great." — Pope. 
 
 " portraits that cost twenty, thirty, sixty guineas, and that proudly take possession 
 ol the drawing-room, give way in the next generation to those of the new-married couple 
 descending mto the parlour, where they are slightly mentioned as my father's and 
 mother g pictures. When they become my grandfather and grandmother, they mount 
 to the two pair of stairs ; and then, unless despatched to the mansion-house in the 
 country, or crowded mto the housekeeper's room, they perish among the lumber of 
 garrets or flutter in rags before a broker's shop in the Seven Dials."— Horace Walpole 
 (Anecdotes, Art. Jervas.) 
 
 «' What treasures there are in private seats, if one knew where to hunt them "— 
 Walpole to Cole, Sept. 30, 1762. 
 
 "I have given Lady Betty Germaine a very fine portrait that I discovered at Drayton 
 I her own seat] in a wood-house."— Walpole to Montagu, July 25, 1763. 
 
 [110] 
 
I 0, XX*A t&.IL. l^c(^) 
 
BRITISH PORTRAIT GALLERY. 
 
 CENTRAL HALL— Back of Saloon A. 
 
 UNKNOWN. 
 
 KlNG Henry IV. From Hampton Court in Herefordshire. Earl of Essex. 
 
 " An undoubted original." Walpole, by Wornum, p. 25. 
 
 King Henry VI G. G. Vernon Harcorirt, Esq. 
 
 King Henry VI Eton College. 
 
 John Wyclyf Earl of Denbigh. 
 
 King Edward IV. From the Bemal Collection. . . Duke of Newcastle. 
 
 Jane Shore Eton College. 
 
 "Almost as few charms can be discovered in his favourite Jane 
 Shore, preserved at Eton, and probably an original, as her confessor 
 was provost of that College, and by her intercession recovered their 
 lands, of which they had been despoiled ... In this picture her 
 forehead is remarkably large, her mouth and the rest of her features 
 small : her hair of the admired golden colour." — Walpole. 
 
 King Richard III James Gibson Craig, Esq. 
 
 Margaret, Countess of Richmond, mother of Henry VII. Earl of Derby. 
 Another, "an original," says Walpole, in the Library of St. John's 
 College, Cambridge. A third at Brasenose College, Oxford. 
 
 Earl of Derby, K.G. (Edward Stanley). Died 1574. Head Ditto. 
 
 Anne Boleyn . . Earl of Denbigh. 
 
 Anne Boleyn Earl of Warwick. 
 
 Anne Boleyn Sir John P. Boileau, Bart. 
 
 Mary Boleyn Earl of Warwick. 
 
 John Talbot, Lord Talbot, created Earl of Shrewsbury by 
 
 King Henry VI.; slain at the Battle of Chastillon, 1453. 
 
 Head Marquis of Northampton. 
 
 Wife of Ditto (Margaret Beauchamp). Head Ditto. 
 
 LUCAS DE HEERE. 
 
 Lord Darnley (husband of Mary Queen of Scots), and his ^ n 4 fo'j 
 brother Charles Stuart, a boy, afterwards father of 
 Lady Arabella Stdart . - . Her Majesty, front Hampton Court. 
 Walpole, by Wornum, p. 154. Engraved by Vertue. 
 
 UNKNOWN. 
 
 Mary Tudor (Daughter of Henry VII.), and Charles 
 
 Brandon, Duke of Suffolk. The Strawberry Hill picture. Duke of Bedford. 
 
 King .Richard II. Full length . . Dean and Chapter of Westminster. 
 The person of Richard II. is still preserved in the most lively manner 
 in two different pictm-es. The first a whole length, in the Abbey of 
 Westminster, the other at the Earl of Pembroke's at Wilton. — Walpole, 
 by Wornum, p. 24. The Wilton picture is No. 42 of Saloon A. 
 
 HOLBEIN. 
 
 Queen Katherine Parr. Full length .... Earl of Denbigh. 
 Earl of Surrey (Henry Howard), the poet ; in a red habit 
 
 Her Majesty, from Hampton Court. 
 Walpole believed this to be by Holbein. — Walpole, by Wormian, p. 84. 
 
 ZUCCHERO. 
 
 Queen Elizabeth, standing on the Map of England Lord Dillon. 
 
 Earl of Essex (Robert Deyereux), beheaded 1601. Full 
 
 length Duke of Bedford. 
 
 [Ill] 
 
BRITISH PORTRAIT GALLERY. 
 
 CENTRAL HALL-Back of Saloon 4. 
 
 20 
 
 21 
 
 22 
 
 23 
 23a 
 
 24 
 
 25 
 26 
 
 27 
 28 
 
 29 
 
 30 
 31 
 
 32 
 
 33 
 
 34 
 
 CORNELIUS KETEL. 
 
 Sir Christopher Hatton (Lord Chancellor). Full lenjrth 
 
 holding a cameo of Queen Elizabeth . . ' r nt .j n „ 
 
 VANSOMER. 
 Lady with Fruit .... 
 
 « k T , Ls P i*J? th ?V n no '? lemai ''^ galieries/the names are not writt on 
 or behind the pictures. " Avbrev, ii. 394 
 
 " Write his [Mutora's] name in red letters on his picture with his 
 v. idowe to preserve." Aubrey, ii. 44S. 
 
 ''Pray pet Sir Godfrey to write on the back of my Lady Masham's 
 picture, 'Lady Masham/ and on the back of mine • John Locke • 
 1ms lie did to Mr. Molyneux ; it is necessa 1T to be done or else the 
 
 ^Assur-' are lost in two wti - e 5£S2* 
 
 Ladt Morton. Full length . 
 
 Ditto. 
 
 Ditto. 
 Duke of Portland. 
 Lord Dillon. 
 
 UNKNOWN. 
 
 Countess of Bedford (Lucy Harrington). Full leueth 
 
 The patroness of Ben Jonson, Daniel, Drayton, &c. 
 A Lady. Full length Sec Note on 21. 
 
 VANSOMER 
 
 Countess of Essex and Countess of Somerset (Frances 
 
 Howard). Full leugth in richly worked dress . Duke of Portland. 
 
 A Bulstrode picture. This is the Lady Essex so deeply implicated 
 in the poisoning of Sir Thomas Overburyl "upucatea 
 
 UNKNOWN. 
 Mary Queen of Scots. Full length 
 
 The Cavendish and Harley picture. 
 
 HOLBEIN. 
 
 Sir Nicholas Carew, K.G. in armour. 
 Engraved in Lodge. 
 
 Ditto. 
 
 Duke of Buccleuch . 
 
 ZUCCHERO 
 
 Sir Walter Raleigh. Half length. Map of Cadiz at the back 
 
 Inscribed, " 159S, vEta ; 4-1 " r „» „ . « 
 
 ' ' , Janus Gibson Craig, Esq. 
 
 Lady Raleigh. Half length. The companion picture . Ditto 
 
 Inscribed, " iEtat. 3J Laisse toinberlc Monde." 
 
 The Darnley Cenotaph 
 
 Monde. ' 
 UNKNOWN. 
 
 Duke of Richmond. 
 
 Ascribed to Levinus Venetianus or Vogelarius. Engraved by Vertuc " 
 
 LlTTLET0N Lord LyUelton. 
 
 Earl of Southampton (Henry Wriothesley), the patron 
 of Shakspeare. Half length, with his Cat his companion in 
 the Tower Duke of Portland. 
 
 ■ A ^trode picture. Pointed out to Granger by Walpole. Granger, 
 iv. MS. Ed. 1775. See Walpole to Montagu, Oct. 3, 1703. 
 
 Countess of^ Southampton (Elizabeth Vernon), Wife of 
 
 Shakspeare'a patron .... Ditto 
 
 Bess of Hardwick (Building Bess) 2>tffc! 
 
 William Camden, in his dress as Clarencieux Pumter-Stainerit Cmpany. 
 
 Camden left a sum of money to the Painter-Staiucrs' Company 
 for a silver-gilt cup. His father was a painter-stainer. 
 
 [112] 
 
4t. v *w/ £>*t jStCy ipr* r ^ y >* 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back of Saloon C. 
 
 SOUTH SIDE— BACK OF SALOON C. 
 
 (/'fOr 
 
 Full 
 
 Ditto. 
 
 Earl Graven, 
 Colonel North . 
 
 Vacuo o ZUCCHERO. 
 Q cteen Elizabeth in a fancy costume. Full length 
 
 Her Majesty, from Hampton Cow 
 " Another picture of Elizabeth, in a fantastic habit, something like a 
 Persian, is in the gallery of Royal Personages at Kensington. Melville 
 mentions her having and wearing dresses of every country. In this / '!■ 
 picture, too, appears her romantic turn : she is drawn in a forest, a stag 
 behind her, and on a tree are inscribed these mottos and verses, &c." 
 — WalpoU, by Wornum, p. 163. 
 
 ZUCCHERO. 
 
 Lady Arabella Stuart. Full length, in white : dog at her 
 
 feet Duke of Portia;- d 
 
 Fan in left hand. Marked "iEtatis sua? 13 et \, anno Domini 1589." 
 Pointed out to Granger by Walpole. Granger, iv. 374, ed. 1775. 
 
 VANSOMER. 
 
 Henry, Prince of Wales, eldest son of James I. 
 length in robes ........ 
 
 Henry, Prince of Wales, in a pink suit. Full length. 
 
 Henry Prince of Wales and Sir John Harrington 
 A repetition, with variations, at Hampton Court. 
 
 MYTENS. 
 Countess of Newcastle (Elizabeth Basset of Blore), first 
 wife of William Cavendish, Earl, Marquis, and Duke 
 of Newcastle. Full length, in black . . . Duke of Portland. 
 
 Signed in gold, "iEtatis sua? 25, anno 1624. D. Mytens fct." 
 
 VANSOMER. 
 
 Lord Deputy Falkland, father of Lucius Cary Lord Falk- 
 land. Full length in white on a matted floor John ToUemache, Esq.. M.P. 
 
 The Strawberry Hill picture. The figure walking from the frame in 
 the " Castle of Otranto," was suggested by this picture. 
 
 MYTENS. 
 
 Lady Ogle of Ogle, daughter and heir of Cuthbert 
 Lord Ogle, wife to Sir Charles Cavendish, and 
 mother of William, Earl, Marquis, and Duke of 
 Newcastle. Full length, in blue .... Duke of Portland. 
 
 Sir Charles Cavendish, father of William, Earl, Marquis 
 
 and Duke of Newcastle. Full length . . Ditto. 
 
 Robert Rich, Earl of Warwick (died 165S). Full length. 
 
 Duke of MancJteat 
 
 Inscribed " jEtatis sua? 44, anno 1632. D. Mytens p'." 
 "The Earl of Warwick at Kimbolton is delightful.'"' — WalpoU to 
 
 Montagu, 30 May, 1763. 
 
 "The Earl of Manchester and the Earl of Warwick were the two 
 
 pillars of the Presbyterian party." — C'laremlon. 
 
 JANSEN. 
 Duke of Buckingham (George Villiers, first Duke). Full 
 
 length, when young Ditto. 
 
 MYTENS. 
 King Charles I., Queen Henrietta Maria, Sir Jeffrey 
 
 Hudson, &c. Given by Queen Anne to Mr. Addison. . Viscount Galwoy. 
 
 JANSEN. 
 Duke of Buckingham. Full length, in black . . Earl of Denbigh. 
 [113] i 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back ok Salomj Q. 
 
 HOLBEIN. 
 King Henry VIII Duke of Manchester. 
 
 Duplicate of the picture at Warwick Cattle. See No. 471 of Saloon A 
 iu the present Exhibition. 
 
 UNKNOWN. 
 
 Cardinal Wolset Christ Church, Oxford. 
 
 Thought to be the earliest genuine contemporary portrait of the 
 founder of any college. Engraved in Lodge. 
 
 HOLBEIN. 
 
 Queen Jane Seymour (wife of King Henry VIII., and 
 
 MOTHER OF KlNG EDWARD VI.) Engraved in Lodge. . Duke of Bedford. 
 
 The Father of Sir Thomas More (Lord Chancellor), holding 
 
 A LEGAL DOCUMENT AND PRONOUNCING JUDGMENT . Ear! (if Pembroke. 
 
 Sir Henry Guildford, master of the Horse to Henry VIII. 
 ")/) Her Majesty, from Windsor Castle, 
 
 Signed on scroll, "AnnoD. mcccccxxvij. Etatissuajxi.ix." Engraved 
 by Hollar. Original drawing from the life by Holbein among the Holbein 
 drawings at Windsor Castle. 
 
 Ladt Grey (Margaret Wootton), wife to Sir Thomas Grey, 
 K.G., and grandmother to Lady Jane Grey. Half length 
 
 Duke of Portland. 
 
 King Edward VI. A knee-piece. Distant view of a Royal 
 
 Manor Her Majesty, from Windsor Cattle. 
 
 UNKNOWN. 
 
 King Edward VI. at the age of Six. . . . Earl of Yarborough. 
 
 King Edward VI. . .... BvJsmof /Northumberland. 
 
 King Edward VI. Miniature, full length. . . . Dal'- of Portland. 
 
 MABUSE. 
 The three Children of King Henry VII., viz., Arthur, 
 Prince of Wales (in centre). King Henry VIII., and 
 Margaret? wife of James IV. of Scotland . Earl of Pembroke. 
 
 Duplicates at Hampton Court, Longford Castle, and at Corshftm 
 (Lord Methuen's). Hampton Court picture engraved by Vertue. 
 
 UNKNOWN. 
 
 Queen Mary I. and Philip II. Small full lengths . Bake of Bedford. 
 Dated 1558. Engraved for the Granger Society. 
 
 LUCAS DE HEERE. 
 Queen Mary I. Half length .... Society of Antiquaries. 
 Mr. Shaw lias published a reduced and exquisite copy in colours. 
 His the monogram of Dc Heere, and the date 1544. 
 
 Queen Elizabeth. Miniature, full length, the sword of 
 
 Justice at her feet Duke of Portia/"?. 
 
 "There is a small whole length of Queen Elizabeth, by De Heere, at 
 Welbeck : on the background a view of the old fabric at W:uustead." 
 — WaifoU, (in ffbmtun, p. l-'.j. 
 
 UNKNOWN. 
 Marquis of Winchester (William Paulet), Lord High 
 
 Treasurer, Died 1572 Ditto. 
 
 NICHOLAS MLLIABD. 
 
 Sir Oliver Wallop. In oval Earl of Portsmouth. 
 
 A rare specimen in large of this celebrated miniature-painter. 
 
 MARK GARRARD. 
 
 Queen Elizabeth holding a fan of white feathers. Half 
 
 length J- TollcmocLc, Esq., M.P. 
 
 [114] 
 

BRITISH PORTRAIT GALLERY. 
 
 SOUTH S1U£— Hack of Saloon C. 
 
 MASK G-AERAED— continued. 
 Queen Elizabeth in a sedan, in a "progress" to Hunsdon 
 
 House, Hertfordshire — . 
 
 Engraved by Vertue. Walpole, by Wornum, p. 166. Dudley, Earl of 
 Leicester, is nearest the Queen. Henry Lord Hunsdon carries the 
 sword of state before the Queen. Lord Burleigh carries his white 
 staff as Lord Treasurer. Lord Hunsdon was cousin-german to Queen 
 Elizabeth (son of Lady Mary, sister to Queen Anne Boleyn). 
 
 Queen Elizabeth holding a fan of coloured feathers, 
 
 Diyby, Esq. 
 
 WITH A RICHLY ENAMELLED JEWEL BY HER SIDE 
 
 Lord Darnlcy. 
 
 HOLBEIN. 
 William Warham, Archbishop of Canterbury. Died 1532. 
 
 Duplicate in the Louvre. Archbishop of Canterbury. 
 
 The Princess Elizabeth (Queen Elizabeth). Half length, 
 
 holding a book .... Her Majesty, from. Hampton Court. 
 
 " Over one of the doors [at Kensington] is a picture ascribed to 
 Holbein, and supposed to be Queen Elizabeth, when Princess, with a //, . 7. «'J)/ 
 book in her hand ; but I question both the painter and the person 
 represented." — Walpole, by Wornum, p. 86. 
 
 Sir Thomas Gresham, founder of the Royal Exchange. 
 
 Half length ' .... Earl of Stamford and Warrington. 
 
 UNKNOWN. 
 
 Duke of Norfolk (Thomas Howard), son of the Poet 
 Earl of Surrey. Beheaded, 1572. Half length, in black ; 
 his right hand in a purse by his side . . . Earl of Westmoreland. 
 
 Earl of Leicester (Robert Dudley). Died 1588. Half length, 
 in white ; his right hand in a purse by his side : head of a 
 dog near his right baud ...... Ditto. 
 
 Earl of Lincoln (Edward Clinton), Lord High Admiral 
 
 and K.G. Died 1584. Dated 1584 . . . . Ditto. 
 
 The same Person Duke of N'etrcastle. 
 
 Sir Henry Lee. K.G. and Dog. Half length . . Lord Dillon. 
 
 Sir Henry Lee of Ditchley, the prototype of the noble character 
 sketched by Sir Walter Scott in his tale of Woodstock. He was a 
 Knight of the Garter and annually appeared in the Tilt-yard on Queen 
 Elizabeth's birthday to maintain her honour against all coiners. He 
 died at the age of 81, and was buried at Quarendon, Bucks. The 
 dog, although not previously a favourite, yet on one occasion saved 
 his master from the hand of an assassin. Hence the point of the 
 motto inscribed on the painting, — "?.k>re faithful than favoured." 
 
 Lord Treasurer Burleigh (William Cecil) riding on a Mule. 
 
 Flowers in his right hand Bodleian Gallery. 
 
 Countess of Pembroke (Mary Sidney). Half length, in black, 
 
 holding a book ........ Earl of Tembrokc. 
 
 Sidney's sister, Pembroke's mother. Sen Jonson. 
 
 Sir Francis Veee. Died 1608. Head in profile. . Duke of Portland. 
 Engraved by Faithorne for Vere's ' Commentaries,' 1657. 
 
 Horatio Lord Vere of Tilbury. Died 1635 . Earl of Westmoreland. 
 Engraved by Vertue. 
 
 Lady Catherine Stanley, maid of honour to Queen Eliza- 
 beth. She was the daughter of the Earl of Derby, and wife 
 
 of Sir George Griesly, Bart. Lady Dc Vccu.r. 
 
 The rich Jewel represented in the portrait is in the present 
 Exhibition. 
 
 Lord Burleigh seated in the Court of Wards . Duke of Richmond. 
 Engraved by Vertue. 
 
 [115] , I 2 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDK-Back of Saloon- C. 
 
 79 
 
 80 
 
 Earl of Denbigh . 
 
 Dr. Lee. 
 
 „ _ UNKNOWN— continued. 
 
 Earl of Oxford (Edward Verb), seventeenth Earl, Lord 
 
 ^V^SStSSmP^ Di6dlG04 - 
 King James I. Small full length, seated 
 _ _ VANDYCK. (?) 
 
 Sir John Suckling. Full length, holding a copy of the folio 
 edition of Shakespeare. The volume is inscribed Shake- 
 speare. A rock, on which his left arm leans, is inscribed ■— 
 JNe te quae sciveris extra." 
 a ", ^ Lady Southcot, who.se husband banged himself, was Sir John 
 Suckling's sister At her house in Bishop's Gate Street, I ondo 
 
 a ",°T a11 of her br °««r, Sir John, of Sir Anth. Van D yke ill at 
 ?& !f»^g against a rock, with a play-book, contending.' It'] 
 a piece of great value. "— Aubrey, ii 550 
 
 ad^re^fShak^ a r e h0 ^ * ^ — the ^ "*"**«* 
 
 _ _, UNKNOWN. 
 
 Sir Robert Cecil (first Earl of Salisbury). On a table at 
 
 his side a bell; his red embroidered letter-bag as Secretary ; 
 
 and a letter addressed to him. Above is the motto— 
 
 Sero sed non serio " . . T)„h* n f v^.n j 
 
 Shakespeare (the Chandos Shakespeare). 
 
 Wao ., , . . Trustees of the National Portrait Galleru. 
 
 beKfl EEFSSPm f P r T^ y 0f -, M f S - , Barr >'' the celebrated actress, 
 between 1680 and 1,10. It is said to have belouged to Sir William 
 
 Davenant The late Lord Ellesmere bought it at the Stowe sale and 
 presented it to the nation. ' 
 
 Ben Jonson . . . tv,»„ - r, ,, , 
 
 » . . , , * • • • • • Duke of Portland 
 
 The picture engraved by Vertue. A Harley picture 
 John Fletcher the dramatist Earl of Clarendon 
 
 This picture belonged to Lord Chancellor Clarendon. 
 Richard Burbadge Dulwich Colic 
 
 Bequeathed [to .Dulwich College by Cart bright," an actor of reputation ' ^' 
 
 in the reign of Charles II. ' 
 
 Nat Field, the actor .... Ditto 
 
 Same remark. Field was one of Shakespeare's fellow-player-; 
 
 John Lowen, the actor Ashnohf , n Musmm _ 
 
 Lowen was one of Shakespeare's fellow-players. 
 James Shirley the dramatist .' . . . Bodleian Gaiter,/. 
 
 Engraved for Gifford and Dyce's edition of Shirley's Works. 
 John Taylor, the Water-poet . j); f(o 
 
 Sir David Murray, the Scottish poet . . . David Laing, Esq. 
 George Abbot, Archbishop of Cantehbury. Died 1633. 
 
 Archbishop of Canterbury. 
 VANDYCK. 
 William Laud, Archbishop of Canterbury. Beheaded 
 
 Duke of Portland. 
 
 Lord Ilatherton. 
 
 Earl of Yarborough. 
 
 1644-5 
 Inigo Jones. Copy by Hogarth, after Vandyck 
 King Charles I. Head in oval . 
 
 UNKNOWN. 
 
 The Infanta of Spain . 
 
 Marked, I his is the jnwn JL ule mama oi ;spa 
 brought over by tho Duke of Bucks. She was to have married King I J ,V) 
 
 "This is the picture of the Infanta of Spain, that was 
 
 er by tho Duke of Bucks. She was to have married King 
 
 The knife with which Felton stabbed the Duke 
 
 Earl of Denbigh. 
 
 ::, . — ■-—--■ ...i.i»u.ii,iiiui»uini rciinii suiooeu uiu uuko 
 oi Buckingham is preserved at Lord Denbigh's seat, Nuneham Paddox 
 in Warwickshire, and by his Lordship's permission is to be seen in 
 the present Exhibition. 
 
 [116] 
 
 * /) 
 
ejy. \hlC Uv 6 .V ^vv*-t^ V^$L-*k*v% b|,o .5^ M ax t 
 
 ■ - 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back of Saloon C. 
 
 JANSEN. 
 
 Duke of Buckingham (Villiers, first Duke). Head 
 
 in oval, signed "C. J. 1624." .... Had of Westmoreland. 
 
 From Apethorpe, where Sir Henry Wotton tells us King James first 
 saw and fancied Mr. Villiers. 
 
 VANDYCK. (?) 
 Earl of Pembroke and Montgomery (Philip Herbert). Half 
 
 length, seated Duke of Portland. 
 
 JANSEN. 
 Sir Christopher Nevill. Head in oval . . . Colonel North . 
 
 Signed " C. J. fecit, 1627." 
 Lady Nevill (wife of Sir Christopher Nevill) . Head 
 
 in oval. Signed " C. J. fecit, 1627." .... Ditto. 
 
 VANDYCK. 
 Earl of Pembroke (Philip Herbert). Died 1669. Half length, 
 
 in pink. Engraved by Lombart. .... Earl of Pembroke. 
 
 UNKNOWN. 
 Sir Henry Wotton, Provost of Eton College . . Eton College. 
 
 Engraved in Izaak "Walton's " Reliquiae Wottonianav' 
 
 JANSEN. 
 Sir Hugh Myddelton, who brought the New River to 
 
 London Duke of Portland. 
 
 Engraved by Vertue. Duplicate (given by Lady Myddelton, 9th 
 Nov. 1633) at Goldsmiths' Hall, London. The second wife of Robert 
 Harley, first Earl of Oxford, was Sarah, daughter of the youngest son 
 of Sir Hugh Myddelton. Margaret, only daughter of the second Earl 
 of Oxford, married William, second Duke of Portland. 
 
 VANDYCK. 
 
 Sir "William Killigrew. Half length, in black . . Duke of Newcastle. 
 
 Signed "A. Van Dyck pinxit 163S." 
 
 DOBSON. 
 
 Sir Charles Cottrell embraced by Dobson, and Sir Balthazar 
 
 Gerbier (the Painter) in a white waistcoat . Duke of Northumbei lend. 
 
 Walpole. by Woniurn, p. 279 and 354. Sold at. Betterton the great 
 actor's sale for & 44. 
 
 RUBENS. 
 Earl of Arundel (Thomas Howard). Died 1646 . Earl of Warwick. 
 The great collector and munificent patron of Artists. /) ' P. 
 
 VANDYCK. 
 
 Queen Henrietta (in blue) and Sir Jeffrey Hudson, with 
 
 AN ape on his shoulder. Full lengths . . . Earl Fitzw ill 'lam. 
 
 Given by King Charles I., in 1633, to the great Earl of Strafford. .' " fcrf ' 1 [ n 
 Vaudvck received £40 for it. // ■ t/wi O , : j 
 
 MYTENS. 
 King Charles I. Full length, standing .... Earl Craven. 
 
 VANDYCK. 
 
 Earl of Strafford (William Wentworth). Full length, in 
 armour. Truncheon in left hand ; his right hand extended 
 
 Duke of Portland. 
 MIGNARD. (?) 
 Duchess of Orleans (Henrietta Maria), Daughter of King 
 Charles I. of England, and wife of Philip, Ddke of 
 Orleans, brother of Louis XIV. Full length, seated. 
 
 Duke of Richmond. 
 JANSEN. 
 Sir John Booth (died 1678). Full length, with gun inhis hand. 
 
 Earl of Stamford and Warrington. 
 
 [117] 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back ok Saloon C. 
 
 % 
 
 VANDYCK. 
 
 Earl of Danby (Henry Danvers). Died 1644. Full length, 
 in Garter robes. He was page to Sir Philip Sydney 
 
 Same as the Houghton pit-turo. Earl of Stamford and Warrington. 
 
 Prince Maurice, nephew of King Charles I. Full length. Earl Craven. 
 Prince Rupert, nephew of King Charles I. Full length. Ditto. 
 
 King Charles I., Queen Henrietta Maria, and Family Duke of Richmond. 
 The Orleans Duplicate. Original at Windsor. 
 
 Lord John and Lorb Bernard Stuart. Full lengths Earl dc Grey. 
 
 I Bought by Anthony, Earl of Kent, in 1682. Duplicate at Lord 
 
 Darnley's, Cobham Hall, Kent. Lord John foil at Cheriton Down ; 
 
 Lord Bernard at Rowton Heath — both fighting for Charles I. 
 
 Engraved by M'Ardell. 
 Madam Ann Kirk (daughter of Aurelian Townsend the poet), ' 't^J « 
 
 one of the dressers to Queen Henrietta Maria. Full length, 
 
 in yellow Bit: , 
 
 Bought iii 1682 by Anthony, Earl of Kent, from the collection of Sir 
 
 Peter Lely. 
 
 Countess of Southampton (Rachael de Rouyigny), wife of 
 
 Thomas Wriothesley, Earl of Southampton . . Ditto. 
 
 Bought by Anthony, Earl of Kent, in 16S3. 
 
 Earl of Carlisle (James Hay). Died 1636. The spendthrift 
 
 Earl, and husband of Lucy Percy. Full length, in black Lord Lyttelton. 
 
 Earl, Marquis, and Duke of Newcastle (William Caybndish). 
 
 Full length, in black Duke of Portland. 
 
 The Cavendish Picture engraved in Houbraken. Repetitions at 
 Althorp, The Grove, and Burleigh. 
 
 Sir Charles Cavendish (brother of the foregoing). Full length, 
 
 in armour ......... Ditto. 
 
 " He was a little weake, crooked man, and nature not having 
 adapted him for the court or campe, he betook himself to the study 
 of the mathcmatiques, wherein he became a great master. His 
 father left him a good estate, the revenue thereof he expended on 
 bookes and learned men." Aubrey, ii. 273. 
 
 Earl of Bedford (afterwards Duke of Bedford) in Red, and 
 
 Digby Earl of Bristol, in Black. Full lengths . Earl Spencer. 
 
 Earl of Northumberland (Algernon Percy) Lord 
 
 High Admiral. Died 166S Earl of Eteex. 
 
 The original picture. There are many duplicates, "ne was in all 
 his deportment a very great man, and that which looked like formality, 
 was a punctuality in preserving his dignity from the invasion and 
 intrusion of bold men, which no man of that age so well preserved 
 himH&f from."— Clarendon's Rebellion, Ed. 1826, iii. 562. 
 
 Earl Craven (William Craven, the First Earl). Died 1697. 
 
 Full length, in armour Earl Craven. 
 
 Earl of Holland, K. G. (Henry Rich), second son of Robert 
 Rich, Earl of Warwick. Full length, in buff, red, and 
 breastplate. Lord Holland was beheaded in 1649 . Duke of Buccleuch. 
 
 " He was a man of a pleasant and companionable wit and con- 
 versation ; of an universal jollity, and such a license in his words 
 and in his actions, that a man of less virtue could not bo found 
 out." — Clarendon. 
 
 Marquis of Huntley (George Gordon, Second Marquis). 
 
 Full length, in buff, red, and breastplate . . . Ditto. 
 
 Engraved 1775 by Val. Green. 
 Duke of Richmond and Lexox (James Stuart). Full length, 
 
 in black Ditto. 
 
 The Duke attended King Charles I. to the Bcaffold, and followed his 
 royal master to his grave. See his two sons. No. 117. 
 Duke of Hamilton (James Hamilton). Defeated at Preston 
 
 1648, and beheaded. Full length in armour . . Ditto. 
 
 [US] 
 
■IC V- 
 
 
 - 
 
 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back of Saloon C. 
 
 130 
 
 131 
 
 132 
 132a 
 
 133 
 134 
 135 
 
 136 
 
 137 
 138 
 
 139 
 140 
 
 141 
 
 142 
 
 143 
 
 WALKER. 
 
 Oliver Cromwell. Half length in armour, truncheon in right 
 
 hand, helmet by his side J. Tollemache, Esq., M.P. 
 
 Duplicate (and finer) in the British Museum, another at Althorp. 
 For Cromwell Portraits, see Collection of Miniatures. 
 
 UNKNOWN. 
 
 John Hampden. Head in oval, breastplate and buff . Ear! of St. German*. 
 
 Engraved for Nugent's Hampden and Forster's Statesmen of 
 the Commonwealth. 
 Sir John Eliot. Head in oval, with ruff and peaked . . Ditto. 
 
 beard. Engraved in Forster's Statesmen of the Commonwealth. 
 John Ptm. Head in oval, with folding linen collar . Sir Henry Wihnot. 
 
 Formerly in the Collection of Dr. Mead. 
 
 JANSEN. 
 Sir John Pennington, Admiral of the Fleet to King 
 
 Charles. Half-length J. Tollemache, Esq., M.P. 
 
 WALKER. 
 
 Lord Brooke (Robert Greville) killed at the Siege oi 
 
 Lichfield in 1642. Half length, in buff and armour . Earl of Warwick. 
 
 D0BS0N. 
 
 Sir Charles Lucas (Brother of Margaret Lucas, Duchess 
 of Newcastle). Shot after the siege of Colchester by 
 order of Sir Thomas Fairfax. Head . . . Lord Lyttelton. 
 
 UNKNOWN. 
 
 Gervase Holles, Esq., (Son and heir of Frescheville Holles, 
 married Dorothy, daughter of John Kirkton, gentle- 
 man). In buff. . . .... Duke of Portland. 
 
 The entertaining historian of the Holles family. 
 POELEMBERG. 
 King Charles I. Miniature size . . Provost of Eton {Dr. Hawtrey.) 
 
 UNKNOWN. 
 
 Thomas Fairfax, Baron Fairfax, General of the Parlia- 
 ment Army (married Anne, daughter and co-heir to 
 Horatio Lord Vere). Miniature size, in armour, a knee-piece 
 
 Duke of Portland. 
 VANDYCK. 
 Countess of Derby (Charlotte de la Tremouille). . 
 
 the defender of Latham House. Head Earl of Derby. 
 
 Earl of Derby (James Stanley), taken prisoner at the Battle 
 of Worcester, and beheaded 1651. Head size, holding a 
 helmet *** 
 
 Sir John Byron, K.'B. (First Baron Byron, as Constable 
 of Chester, with a black page holding his horse). A 
 
 knee-piece ^ Lord de Tailey . 
 
 See Ms wife's portrait from Hampton Court, No. 758 of Saloon C. 
 Lord De Tabley has a duplicate. 
 
 Lvdy Diana Cecil, Countess of Oxford and Elgin, to the 
 
 waist in black, holding a rose . . Earl of Stamford and Warrington. 
 
 UNKNOWN. 
 
 Abraham Cowley, the Poet, when young . . . Sir Henry Wihnot. 
 From Dr. Mead's Collection. Compare the head engraved before 
 Cowley's first publication in 1633. 
 
 [119] 
 
or.. ■ ion rumKAIT GALLERY. 
 
 SOUTH SIDE— Back of Saloon C. 
 
 
 144 
 145 
 146 
 
 146V 
 147 
 
 148 
 
 149 
 
 150 
 
 151 
 152 
 
 153 
 
 154 
 
 155 
 
 a „ DOBSON. 
 
 biB Charles Cottjuell, (Master of the Ceremonies, temp 
 
 Charles!) Head in octagon . . . C . OoUrell Dormer, JEsa. 
 Lady Cottrell. Head in octagon Bitto 
 
 n n UNKNOWN. 
 
 Colonel Richard Lovelace, the Poet, in armour, red sash. Dulwieh Colleae 
 "He ma an extraordinary handsome man, but proud." Aubrey, ii 433 9 ' 
 
 Spencer Compton, Earl of Northampton, killed at Hopton 
 
 Heath . t\t ■ ***■ , 
 
 n ••••-•• Marquis of Northampton. 
 
 Duchess of Richmond and Lenox (Frances Howard). 
 
 "daughter of Thomas; Lord Howard of fifwftSS *"*¥**■ 
 SJ^& Duke ofNrfolk: wljose jnoth . er ^ s \l ««cond 
 El zal eth Stafford, eldest daughter to Edward, Duke of Buckingham 
 Her brace was home the 27th of Julie An". Doui. 1577 London 1033 
 m." Inscription on picture. ^onaon 1033, 
 
 There was a full-length of this famous lady at Strawberry HiU See 
 the description of her in Wilson's Life of James I. Ld nTwalpoiiant 
 
 Sir Jacob Astley (first Lord Astley), Major-General of 
 
 ™ E ns!Xi™^ A r' E A L I™°urandbnff ■ . Lord Eatimg*. 
 
 inscribed ^Etat. 0/, Anno D" 1640." The breast-plate, buff coat 
 
 and sword of Sir Jacob Astley are in the Exhibition. ' 
 
 In Council he used low but very pertinent wards."— Clarendon. 
 
 , _ MYTENS. 
 
 JohnSelden. Half length. Engraved in Lodge. . . Bodleian Gall er, 
 
 He was very tall, I guesse about C foot high, sharp ovall face 
 Z%)" SAtSF 1WSe ' inChuiaG t0 ° Ue Sike < ^Popping^e 
 
 . ., UNKNOWN. 
 
 Jane Cavendish, eldest daughter to William, Duke of New- 
 castle married Charles Cheney of Chesham Bois, Esq 
 11ns lady kept garrison for her father at Welbeck against 
 the rarhament Army 
 
 WALKER 
 Admiral Blake. The only portrait of the great Admiral . 
 Sir Thomas Browne, Author of Religio Medici 
 in oval 
 
 Duke of Portland. 
 
 Wadham College. 
 Head 
 
 Bodleian Gallery. 
 
 Royal Society. 
 In 
 
 GASPARS. 
 
 Thomas Hobbes of Malmesbury 
 
 "He [Hobbes] had a high esteem for the Royal Societie 
 their meeting at Gresham College is his picture, drawn by the life" 
 lc.Oo, by a good hand, winch they much estceme, and several! copies 
 have been taken of it." Avbrty, u. 632. ' 
 
 RILEY. 
 
 Edmund Waller, the Poet. Half length, seated, holding a paper 
 
 inscribed "sedcarmiua major imago." . . C. Cottrell Dormer, Esq 
 
 He is somewhat above middle stature, thin body, not all robust ■ 
 hue thin skin, his face somewhat of an olivaster ; his hair frized, of a 
 biownish colour; full eie popping out and working: ovall faced his 
 forehead high and full of wrinkles." Avbrey, ii. 565. Rymer has a 
 copy of verses "To Mr. Riley drawing Mr. Waller's picture." 
 
 SOEST, or LELY. 
 
 Samuel Butler, Author of Hudibras. Half length . Bodleian Gallen, 
 Inscribed in Kneller's writing - << Samuel Butler, author of 
 Hudibras, presented to the University of Oxon by Sir Godfrey 
 hneller." Query : if by Soest wwuvy 
 
 BoSw^^g^ff^ Str ° Ug SCtt ' hjgh C ° l0Ured ' a head ° f 
 
 [ 120 J 
 

 - 
 
BRITISH PORTRAIT GALLERY. 
 
 SOUTH SIDE— Back of Saloon C. 
 
 JANSEN. 
 
 156 I Dr. William Harvey. Half length, seated . . . College of Physicians. 
 
 " He -was not tall, but of the lowest stature, and faced, olivaster 
 (like wainscott) complexion ; little eie, round, very black, full of 
 spirit ; his haire was as black as a raven, but quite white twenty years 
 before he died." Aubrey, ii. 3S2. 
 
 VANDYCK. 
 
 157 i Lady Betty Sidney. Half length, in blue . . , Duke of Richmond. 
 
 UNKNOWN. 
 
 158 : Earl of Clare (John Holles, Second Eakl). Died 1655. 
 Half length . Duke of Portland . 
 
 "He was a man of honour and of courage, and would have been an 
 excellent person, if his heart had not been set too much on improving 
 his estate." — Clarendon. 
 
 Sir Edward Harley, K.B., when a boy. Full length . Ditto. 
 
 DOBSON. 
 
 Sir Charles Lucas. Half length — Digoi*, Esq. 
 
 UNKNOWN. 
 
 Sir John- Langham, Knight and Baronet. Died 1671, aged 88 
 
 Earl of Stamford and Warrington. 
 Lady Langham. Died 1652 ... . Ditto. 
 
 Lord Delamere. Head size, holding a paper. . . Ditto. 
 
 VANDYCK. 
 Countess of Arundel (Lucy Sidney), Great Aunt to 
 
 Elizabeth, First Duchess of Gordon. Head size. Duke of Richmond. 
 JANSEN. 
 Dr. William Har ye y. Head. From Dr. Mead's Collection. Sir Henry Wilmot. 
 
 VANDYCK. 
 Sir Charles Goring and Another. A Page tying a Scarf on 
 
 Goring Duke of Manchester , 
 
 "Who is the man in the picture with Sir Charles Goring, where a 
 page is tying the latter's scarf?" — Walpole to Montagu, Mat/ 30, 17o3. 
 
 Earl of Northumberland (Algernon Perot), his wife and 
 
 daughter Ditl-. 
 
 VANSOMER. 
 
 Lady Mandeville (Anne Rich, wife of the Parliamentary 
 
 General) in her wedding dress . Full length . . Ditto. 
 
 "The Lad}' Maudeville attiring herself in her wedding dress — 
 delicious." — Walpole to Montagu,, May 30, 17C3. 
 
 DOBSON. 
 
 King Charles II. when Prince of Wales. Half length. Earl Gravem 
 
 UNKNOWN. 
 Lady Brooke, wife of Lord Brooke killed at the siege 
 
 of Lichfield, 1642, Duke of Manchester. 
 
 Earl of Manchester (Edward Montagu) the Parliamentary 
 
 General Ditto. 
 
 HOLBEIN. 
 
 Lucius Cary, Viscount Falkland. Half length . . Earl of Clarendon. 
 The best picture of this celebrated man. It belonged to Lord 
 Chancellor Clarendon. 
 James, Duke of Monmouth and Ferguson. Whole length. Ditto. 
 
 Earl of Clarendon (Lord Chancellor) when Mr. Hyde. 
 
 T. W. Bramston, Esq. 
 Presented to Sir John Bramston the Autobiographer, by Mr. Hyde 
 his "chamberfellow." Engraved for the 1816 edition of Clarendon. 
 
 [121] 
 
BRITISH PORTRAIT GALLERY. 
 
 NORTH SIDE— Back of Saloon D. 
 
 HOLBEIN— continue!. 
 Chief Justice Buamston. Died 1654. Full length. T. W. Bramston, Esq. 
 Denzil Holles, Lord Holles, younger son and younger 
 
 brother of the Earls of Clare. Head . . Duke of Portland. 
 
 One of the five members of the Commons accused of high treason bv 
 King Charles I. ~ ' 
 
 NORTH SIDE— BACK OF SALOON D. 
 LELY. 
 
 Duchess op Portsmouth (Louisa de Querouaille). Full length 
 
 Duke of Ilichmond. 
 Duchess of Richmond (La Belle Stuart), as Bellona. Full 
 
 length Ditto. 
 
 King Charles II. in Robes. Full length . . . Duke of Portland. 
 Duchess of Newcastle (Margaret Lucas). Full length, in a 
 
 fancy dress Ditto. 
 
 Duplicate at Went worth Castle. This was the celebrated lady who 
 wrote so many folio volumes of Plays, Letters, Memoirs, and Philo- 
 sophical Transactions. 
 
 Duchess of Cleveland (Barbara Villiers). Full length, 
 
 seated Earl of Stamford and Warrington . 
 
 Duchess of Cleveland (Barbara Villiers). Full length, in 
 
 blue and white .... Sir Philip De Grey Egerton, Bart. 
 Earl of Arlington (Henry Bennet). Full length, in his 
 
 robes and white staff as Lord Chamberlain . Christ Church, Oxford. 
 Duke of Newcastle (Henry Cavendish, Second Duke). 
 
 Full length J)nkt of Porthw I 
 
 Duke of Ormond (James Butler, Second Duke). Full length. Ditto. 
 
 Prior has a clever poem " On seeing the Duke of Ormond's picture 
 at Sir Godfrey Kneller's." 
 
 Duchess of Albemarle and Montague (Elizabeth Caven- 
 dish, Daughter of Henry Cavendish, Second Duke of 
 Newcastle; wife of Christopher Monk, Second Duke 
 
 of Albemarle) Ditto. 
 
 " As this great lady had an immense estate from her noble ancestors, 
 she was determined, after the Duke of Albemarle's death, to give her 
 band to nobody but a sovereign prince. Lord Montagu, therefore, 
 courted and married her as Emperor of China. This story was brought 
 on the stage in the comedy of ' The Double Gallant, or the Sick Lady's 
 Cure,' written by Colley Cibber." Granger, iv. 158. Ed. 1775. 
 
 Duke of Albemarle (Christopher Monk, Second Duke). 
 
 Full length Ditto. 
 
 KNELLER. 
 King William III. in his Coronation Robes. Full length Ditto. 
 Queen Mary (Queen of William III.) Full length . . Ditto. 
 
 LELY. 
 Nell Gwynn with a Lamb. Half length, seated . Colonel Mcyrick, 
 
 Duchess of Portsmouth. Half length, seated 
 
 Earl of Stamford and Warrington. 
 Countess of Meath. Half length .... Ditto. 
 
 Lady Ranelagh. Half length Ditto. 
 
 Duchess of York (Anne Hyde). Half length, seated Ditto. 
 Lord Cornbury and Lady. Half length, seated . Duke of Portland. 
 
 [122 1 
 
„ 
 
BRITISH PORTRAIT GALLERY. 
 
 NORTH SIDE— Back of Saloon D. 
 
 210 
 
 211 
 212 
 
 213 
 214 
 
 215 
 216 
 
 217 
 
 218 
 219 
 
 220 
 221 
 
 LELY — continued. 
 King James II.; when Duke op York, with his first wife 
 (Anne Hyde), and two children, afterwards Queen Mart 
 and Queen Anne. Half lengths .... Duke of Richmond. 
 Earl op Bridgewater (John Egerton, d. 1686), and his wife, 
 Elizabeth Cavendish, daughter of William, Duke of New- 
 castle. Half length Dale of Portland. 
 
 Lord Delamere (George Booth). Died 1684. Half length 
 
 Earl of Stamford and Warrington. 
 
 WALKER? 
 
 Earl of Oxford (Aubrey de Yere), Twentieth and last Earl 
 
 G. G. Vernon Earcourt, Esq. 
 
 KNELLER. 
 
 Lvdt Ogle and Duchess of Somerset (Elizabeth Percy), 
 sole daughter and heir to Josceline Percy, eleventh Earl of 
 Northumberland, and wife of the Proud Duke. . Duke of Portland. 
 
 It was for the sake of this lady's money that Count Konmgsmark 
 murdered her first husband, Mr. Thyim. 
 
 LELY. 
 
 Earl of Devonshire (William Cavendish). Half length 
 
 Earl of Stamford and Warrington. 
 
 UNKNOWN. 
 
 King William III., when Prince of Orange. Half length. Duke of Portland. 
 Given by King William to Henry Bentinck, Earl of Portland. 
 
 LELY. 
 
 Catherine of Braganza (Queen of Charles II.), in her Portu- 
 
 guese dress. Half length. Engraved by Faithorne. • • Lord DUton. 
 
 Countess of Grammont (La Belle Hamilton). Half length 
 
 Her Majesty, from. Hampton Court . 
 One of the Windsor Beauties. Engraved by McArdell. W- PHI - Z * 
 
 Countess of Southesk (Anne Hamilton), daughter of the 
 Duke of Hamilton, mortally wounded at the Battle of 
 Worcester. Half length . . . . • • Lord Lyttelton. 
 The Lady Carnegy and Countess of Southesk of De Grammont. 
 Countess of Rochester (Ann St. John, Widow of Sir 
 Francis Henry Lee of Ditchley), mother of John 
 Wilmot, the celebrated Earl of Rochester. Half length Lord Dillon. 
 
 Lady Villiers (Frances Howard), wife to Sir Edward 
 
 Villiers. Half length Duke of Portland . 
 
 VERELST. 
 
 Mary of Modena (Queen of James II.) Half length, seated 
 
 , „ a tt _ai 4. >• /• Tollemache, Esq. 
 
 Signed " S. Verelst. " ' 
 
 LELY. 
 
 Lady Delamere (Lady Elizabeth Grey). Half length 
 
 v Earlof Stamford and Warrington. 
 
 222 
 223 
 
 KNELLER. 
 
 Signed "G. Kneller, 16S9." 
 
 Sir Isaac Newton. Head size. Signed « G. Kneller, 1689." Pari of Portsmouth. 
 
 John Locke. Head in oval • Pev. Dr Wellesley. 
 
 Inscription on back "John Locke, by Kneller. In testimony and regard 
 to his friend Paul D'Arand, of Putney, Surrey, the maternal ancestor of 
 its present possessor, the Rev. George Coxe, of Twyford, Hants. Bougnt 
 by Dr. Wellesley at Mr. Coxe's sale at Twyford. 
 [123] 
 
BRITISH PORTRAIT GALLERY. 
 
 Back of Saloox E. 
 
 224 
 
 225 
 226 
 
 227 
 
 227a 
 
 2286 
 229 
 
 228 
 
 229 
 
 230 
 231 
 
 HALES. 
 
 oaaiuel Pepts. Head size p t n • 
 
 Holding a piece of music inscribed "Sdlyxnan to Rox2a' BcautT ' E ^ 
 
 rne, I think, a very fine picture. He promises it shall be as good as 
 my wife's and I sit to have it full of shadows, and do almostbreak 
 my neck looking over my shoulder to make the posture for him to 
 
 " March 30. To Hales's, and there sat till almost quite dark upon 
 April 11. Jo Hales s, where there was nothing found to be done 
 £bei£ pah^Ume!' """^ WMCb U ™ 3""" 1 ""•WSj! 
 
 KNELLER. 
 John Evelyn, holding a folio volume inscribed "Evelyn's Sylva." RoyalSocitttj 
 
 UNKNOWN. 
 Jacob Hall, the Rope-Dancek, dressing his hair. 
 
 There is a scarce old print of him, by De Brune, JLU'JEST *'"'"""■'' ^ 
 KNELLER. 
 Y\ illiam Lord Russell. The Patriot. Head in oval. . Duke of Bedford. 
 
 LELY ? 
 
 Earl op Rochester (John Wilmot), crowning his Monkev 
 
 with Laurel. Died 1680. Half length . . Earl of Wn u-;i 
 
 Mentioned by Granger, iii. 306, ed. 177.3 ' ^ '' * " " Z ' 
 
 RLLEY. 
 Dr. Busby and his favourite pupil, Thomas Sprat, afterwards 
 
 Bishop of Rochester. Half length. Engraved by Watson. Bodleian Uallm,. 
 KNELLER. 
 Sir Christopher Wren, holding a diagram view of St. Paul's in 
 
 his hand. Half length Royal Society. 
 
 UNKNOWN. 
 Earl of Arlington (Henry Bennet), his Wife and Daughter 
 
 afterwards Duchess of Grafton .... Earl Coir ter 
 
 LELY. 
 Earl of Shaftesbury (Anthony Ashley Cooper), Lord 
 Chancellor. Half length in armour and buff . 
 
 ■xr -^ . Earl of ShaftCtbltt'V. 
 
 Viscount Brouncker (William Lord Brouncker), first Presi- 
 
 dent otthe Royal Society. Died 1684. Half length Lord LyttclUn. 
 
 Must Earl of Stamford (Henry Grey). Died 1673 Half 
 
 length, in armour and buff . . Earl of Stamford and Warrington. 
 
 He was Colonel of a regiment in the Parliament Army'under the 
 
 vl££S£;J3&2SfiP ilctivc iu thcir -**&**+* 
 
 BACK OF SALOON K. 
 
 CLOSTERMAN. 
 230^ Queen Anne. Full length . ... . A. C. Billings, JEW. 
 
 KNELLER. 
 
 Earl of Portland (Henry Bentinck), King Willi \m\s 
 
 favourite. Full length Dake of Portland . 
 
 Countess of Oxford (Henrietta Cavendish Holles), wife 
 of Edward Harley, second Earl of Oxford. Full length 
 in a riding habit. Signed, and dated 1714 . . . Ditto 
 
 231< 
 232 
 
 [124] 
 
i 
 
BRITISH PORTRAIT GALLERY. 
 
 Back of Saloon E. 
 
 VANDERBANX. 
 
 Countess of Tankerville (Camilla Colville). 
 
 Signed, and dated 1722. 
 
 RICHARDSON. 
 Lord Chancellor Cowper. Died 1723. Full length 
 
 Full length. 
 
 Lord de Tabley. 
 
 Earl Cowper, 
 
 VANDERBANK. 
 
 Duchess of Portland (Henrietta Cavendish Harley). Full 
 
 length Duke of Portland. 
 
 Daughter of Edward Harley, Earl of Oxford, and granddaughter of 
 Robert Harley, Earl of Oxford, the founders of the Harleian Library. 
 
 King George II. Full length Duke of Mehmond. 
 
 Caroline, Queen of George II Ditto. 
 
 George Frederick Handel. Full length .... Earl Howe. 
 Painted for Charles Jemiens, Esq., of Gopsall, for the room at 
 Gopsall in which Handel composed the " Messiah." 
 
 COSWAY. 
 
 The Second Lord Lyttelton, commonly called the "bad" 
 Lord Lyttelton. Died 1779. Full length 
 
 VANDERBANK. 
 
 Sir Isaac Newton. Half length, seated 
 
 KNELLER. 
 
 Grinling Gibbons thh sculptor. Half length, with 
 bust ......... 
 
 Lord Lyttelton. 
 Royal Society. 
 
 The Great Duke of Marlborough 
 
 Viscount Gal tea y. 
 Half length. 
 
 Earl of Stamford and Warrinyton. 
 OLD ZEEMAN. 
 Duchess of Buckingham (Lady Catherine . Darnley), 
 daughter of King James II. by Catherine Sedley; and 
 her son. Half length, seated Duke of Portland. 
 
 ELECTRESS SOPHIA. 
 
 King George I. (the artist's son), when a boy, as 
 
 Cupid Earl Craven. 
 
 The Electress Sophia was taught painting by Honthorst (Walpole, 
 by Wornum, p. So5). Combe Abbe}', the seat of Lord Craven, is 
 extremely rich in specimens of Honthorst. The first Lord Craven 
 inherited many of the Queen of Bohemia's pictures. 
 
 KNELLER. 
 
 Earl Stanhope (the First Earl). Half length . . Earl Stanhops. 
 
 Lord Stanhope was commander of the British army in Spain during 
 the War of the Succession, and prime minister under George I. 
 
 Lord Chancellor Harcourt. Half length G. G. Vernon Hareourt, Esq, 
 Earl and Countess of Buckinghamshire (so called). Half 
 length. He is holding an architectural ground-plan. 
 
 Sir Philip I)c 3Ialpas De Grey Eyerton, Part. 
 John Locke. Half length, seated .... Christ Church, Oxford. 
 
 DAHL, 
 
 Earl of Oxford (Edward Harley, the Second Earl), holding 
 
 a medal of Queen Anne. Engraved by Vertue . Duke of Portland. 
 
 Dr. Mead, the great physician and collector. Half length 
 
 Sir Henry Wilmot, Bar 4 . 
 Signed and dated 1725. See a full length of Dr. Mead, by Allan 
 Ramsay, in Saloon D. 
 
 [125] 
 
BKI I I5H KOHIKAIT UALLtKY. 
 
 Back of Bali 
 
 SIR JAMES THORNRTLL. 
 Sir Isaac Newton in his old age, and in his own hair. 
 
 Earl of Portsmouth, 
 This picture belonged to Mr. Conduit, of the Mint. It is the only 
 example of Thornhill in the Exhibition. 
 
 ARTHUR POND. 
 
 Duke of Cumberland (the hero of Culloden, son of King 
 
 George II). Half length Duke of Richmond. 
 
 Earl Stair (field-marshal) and Aide-de-camp. Full lengths. 
 
 in small Lord Pijttelton. 
 
 GEORGE ROMNEY. 
 Edward Wortley Montagu, in a Turkish dress. Half 
 
 length Earl of Warwick. 
 
 Lady Mary's dissolute son. Duplicate at Wortley Hall (Lord * 
 Wharncliffe's). 
 
 J. S. COPLEY, R.A. 
 Lord Lyttelton (the Third Lord) and Family . lord Ly/btelton. 
 
 UNKNOWN. 
 
 TnE Young Pretender £ ar i Hoar. 
 
 The Young Pretender's Wife Ditto. 
 
 These two portraits were the property of Charles Jennens, Esq., of 
 Gopsall, a great collector of the last century, and a resolute Jacobite. 
 Rob Rot. Small full length , /. /. Hope Scott, Esq., of Abbots ford. 
 
 KNELLER. 
 Robert Harley, Esq. (afterwards Earl of Oxford 1 ), in his 
 
 dress as Speaker of the House of Commons . Duke of Portland. 
 He holds the " Succession Bill." 
 
 VANBERBANK. 
 
 Thomas Tickell, the Poet, and Friend of Addison. Half 
 
 length .' Queens Colter/e, Oxford. 
 
 Presented to Queen's College by the poet's grandson. 
 
 KNELLER. 
 Atterbury, Bishop of Rochester. Head . . Christ Church, Oxford. 
 
 Lord Chancellor Somers . . .77'. 7?. Baker. Esq., ef-Bayfordbwry 
 
 This is one of six Kit-Kat portraits wliich Mr. Baker allowed Mr. 
 Cunningham to select from the Kit-Kat Club Portraits. Mr. Baker is 
 the representative of Jacob Tonson, the celebrated bookseller and 
 Secretary of the Kit-Kat Club, for whom the portraits, about forty in 
 number, were painted. 
 
 Jacob Tonson, the bookseller Ditto. 
 
 He is holding a folio copy of " Paradise Lost," of which he had the 
 copyright, and by winch he added largely to his large fortius. 
 
 John Dryden. holding a laurel-wreath . . . Ditto. 
 
 Jacob Tonson s picture, ami admirably engraved by Edelinck. 
 
 Sir Joun Vanbrcgh, toe celebrated DRAHATERU . Ditto. 
 
 William Congreye, the dramatist .... Ditto. 
 
 Sir Richard Steele Ditto. 
 
 Joseph Addison Ditto. 
 
 JONATHAN RICHARBSON. 
 
 Matthew Prtor, the Poet Duke of Portland. 
 
 Richardson has made an excellent picture of me. from whence Lord 
 Harley (whose it is) has a stamp taken bv Vei-tuc. — /' 
 4 May, 17-20. 
 
 This was Lord Harley 's picture. Duplicate in Bodleian Gallery. 
 
 [126] 
 
JR1TISH PORTRAIT GALLERY. 
 
 Back of Saloon E. 
 
 JONATHAN RICHARDSON— continued. 
 
 271 : Alexander Pope, the Poet, and his dog Bounce . Lord Lyttelton . 
 Engraved for the first time (by Mr. Doo) for Mr. Croker's forth- 
 coming edition of Pope. . . . When Bounce died, Pope at first intended 
 inscribing his grave with 'O Rare Bounce,' but abandoned the idea 
 lest he should be thought to cast ridicule on Ben Jnnson's epitaph. 
 
 The four marble busts near this portrait— of Spenser, Shakespeare, 
 Milton and Dryden, were presented to Pope by Frederick Prince of 
 Wales —stood in the poet's library at Twickenham, and were be- 
 queathed by him in his will to Lord Lyttelton. The present Lord 
 Lyttelton lias allowed them to be thus exhibited. 
 
 CHARLES JERVAS. 
 Dean Swift Bodleian Gallery. 
 
 The best portrait of Swift iu his prime:— in the days of Lord Oxford's 
 Ministry. Presented to the Bodleian Gallery, in 1739, by Swift's 
 friend and correspondent, Alderman Barber. Engraved by Vertue. 
 
 KNELLER. 
 
 Alexander Pope. Head . . . . G.G. Vernon Harcourt, Esq. 
 The best portrait of Pope. Presented by the poet to Lord Chancellor 
 Harcourt. Painted 1722. Engraved by G. White, 1732. 
 
 CHEVALIER RUSCA. 
 Lady Mart Wortley Montagu, as an authoress . Lord Whorncliffv . 
 Painted 1739 (the year in which Lady Mary left England), and 
 presented by her as an inscription on the back records to her friend 
 and correspondent, the Countess of Oxford. 
 
 "Chevalier Rusca came over in 1738, and painted a few pictures 
 in a gaudy fluttering style, but with some merit."— Waljpole. 
 GEORGE KNAPTON. 
 Ladt Sundon (Charlotte Dyves), better known as Mrs. 
 
 Clayton Duke of Portland . 
 
 Queen Caroline's celebrated bedchamber woman. 
 
 DOUGHTY. 
 
 William Mason, the Poet. An oval . . G. G. Vernon Harcourt, Esq. 
 
 Doughty was the pupil of Sir Joshua, and a good engraver. 
 
 JOSEPH HIGHMORE. 
 
 Edward Young, LL.D., the Poet . . . All Souls' College, Oxford. 
 
 WILLIAM AIRMAN. 
 James Thomson, Author of the Seasons . . . Lord Lyttelton, 
 
 Thomson wrote a beautiful poem on Aikman's death. 
 This picture, which the great Lord Chatham told the last Lord 
 Lyttelton was "beastly like," was engraved for the subscription 
 edition of Thomson's Works, published by Millar in 1762. 
 RIGAUD. 
 Matthew Prior, the Poet Duke of Portland. 
 
 Painted at Paris bv Rigaud in 1699 (inscription on back). The picture 
 engraved for all the early editions of Prior's Poems. 
 JERVAS. 
 Duchess of Queensbury (Catherine Hyde) with a Lamb. 
 
 Prior's Kitty and the patroness of Gay. Celebrated in verse also by 
 Pope and Horace Walpole. She was a great beauty, and retained her 
 beauty, her wit, aild her eccentricities to the last. 
 HOARE OF BATH. 
 The Great Lord Chatham. Head .... 
 
 274 
 
 275 
 
 276 
 
 277 
 278 
 
 279 
 280 
 
 281 
 
 282 
 283 
 
 283« 
 
 SIR JOSHUA REYNOLDS. 
 
 The Good Lord Lyttelton, the Poet and Historian 
 Sir John Pringle, F.R.S. Head . . ... 
 
 UNKNOWN. 
 Cardinal York 
 
 [127] 
 
 Ditto. 
 Royal Society. 
 
 Plilip E. Hotcard, Esq. 
 
BRITISH PORTRAIT GALLERY. 
 
 Back, of Saloon E. 
 
 284 David Garrick. Head 
 
 GAINSBOROUGH. 
 
 285 
 
 287 
 
 288 
 289 
 290 
 291 
 
 293 
 294 
 295 
 296 
 
 297 
 
 298 
 
 299 
 300 
 
 301 
 302 
 
 303 
 304 
 
 305 
 306 
 
 Mrs. Garrick. Head 
 
 Sir Bclford Jl. Wilson, 
 Ditto. 
 
 SIR JOSHUA REYNOLDS. 
 Garrick as Kitely. Head .... 
 
 General Fox. 
 
 JERVAS. 
 Lady Walpole (Catherine Shorter), first wife of Sir 
 Robert Walpole, and mother of Horace Walpole. 
 Head Henri/ C. G. Bedford, E*q. 
 
 SLR JOSHUA REYNOLDS. 
 King George III. in his coronation robes 
 Queen Charlotte in her coronation robes 
 The Earl of Bute (prime-minister). Full leiigth 
 Warren Hastings. Head .... 
 
 Royal Academy. 
 Ditto. 
 Lord Whamcliffc. 
 J. P. Fearon, Esq. 
 
 H. W. PICKERSGILL, R.A. 
 
 Duke of Wellington. Full length. Painted for General Lord Hill. Lord Hill. 
 General Lord Hill. Died 1842. Full length . . . Ditto. 
 
 LUCAS. 
 
 George Stephenson, the Engineer. Full length Robert Stevenson, Esq. 
 
 UNKNOWN. 
 
 Gilbert West, the Poet 
 
 MATHER BROWN. 
 John Smeaton, the Engineer 
 
 GAINSBOROUGH. 
 Lord Amherst 
 
 Lord Ly Helton . 
 • Royal Society. 
 
 Major JLiir. 
 
 SLR WILLIAM BEECHEY, R.A. 
 Admiral Lord St. Vincent Rev. St. Vincent Beechcy. 
 
 GAINSBOROUGH. 
 
 Admiral Earl Howe. Oval Earl Hence. 
 
 Thomas Pennant, the Topographer. Engraved by Sherwin. . Lord Feil ding. 
 
 SLR THOMAS LAWRENCE. 
 
 Benjamin West, P.R.A. 
 
 Sir Thomas Lawrence, P.R.A. Unfinished 
 
 His own Portrait 
 
 JOHN WATSON. 
 
 . Earl of Chesterfield. 
 Royal Scottish Academy. 
 
 GAINSBOROUGH! 
 
 Samuel Johnson, LLD. A small picture, almost in profile. 
 
 James Crossley, Esq. 
 SLR JOSHUA REYNOLDS. 
 
 James Boswkll Ditto. 
 
 Formerly the property of Boswell's son James, the editor of 
 Shakespeare. 
 
 Edward Gibbon. Painted for Gibbon's friend, Lord Sheffield. Lord Sheffield. 
 
 [128] 
 

 
BRITISH PORTRAIT GALLERY. 
 
 Back op Saloox E. 
 
 SIR JOSHUA REYNOLDS— continued. 
 Himself, in Spectacles . . Her Majesty, from Buckingham Palace. 
 
 Bought by George IV. at the Marchioness of Thomond's sale in 
 1821, for £105. 
 
 " Of the many portraits of Sir Joshua himself, by his own hand, 
 
 e last which he painted was executed this year [17S8] : it is a three- /'. ' . * ^r 
 
 the 
 
 quarter in length, with spectacles, representing him familiarly as in 
 common domestic life ; one in the possession of the Duke of Leeds ; 
 but his niece, the Marchioness of Thomond, possesses the original." 
 Northcote's Life of Reynolds, ii. 245. 
 
 
 , George Combe, Esq. 
 . . Ditto. 
 
 . Royal Academy, 
 
 Sir W. W. Wynn, Bart. 
 
 Royal Academy. 
 
 SLR THOMAS LAWRENCE. 
 
 Mrs. Siddons at the age of Twenty-nine . 
 J. P. Kemble, when Twenty-five. Head . 
 
 GAINSBOROUGH. 
 His own Portrait . 
 
 RAPHAEL MENGS. 
 
 Richard Wilson, R.A 
 
 JOHN HOPPNER, R.A. 
 His own Portrait ...... 
 
 ALLAN RAMSAY. 
 David Hume, the Historian, in a red dress. Half length. 
 
 W. Stirling, Esq. 
 SLR N. DANCE, R.A. 
 Lord Chancellor Camden. Half length . . , Marquis Camden. 
 
 HITCHCOCK. 
 
 General Wolfe. Small full length in uniform . , Duke of Richmond. 
 
 READ. 
 
 Duchess of Hamilton and Argyll (Elizabeth Gunning). 
 
 Mark Philips, Esq. 
 ALEX. NASMYTH. 
 
 Robert Burns Colonel William Nicol Burns. 
 
 Engraved in 17S7 by Beugo, for the second edition of Burns's Poems. 
 This picture hung in the poet's house in the poet's life-time. 
 
 Robert Burns. Small full length (posthumous) 
 GAINSBOROUGH. 
 
 William Pitt (prime minister). Half length 
 
 SLR M. A. SHEE, P.R.A. 
 
 William Roscoe 
 
 UNKNOWN. 
 Dr. Priestley 
 
 THOMAS PHILLIPS, R.A. 
 
 Sir Joseph Banks, as President of the Royal Society 
 
 ALLEN. 
 Dr. John Dalton . Manchester Philosophical Society. 
 
 SLR THOMAS LAWRENCE. 
 Sir Humphry Davy. Half length .... Royal Society. 
 
 JOHN JACKSON, R.A. 
 Dr. Wollaston, F.R.S . Ditto. 
 
 SLR THOMAS LAWRENCE. 
 J. P. Kemble. Half length, eeated Colonel North. 
 
 SLR N. DANCE. 
 Mb, Baker, of Bayfordbury, Herts. Half length . The Rev. Mr. Baker. 
 [ 129 ] K 
 
 Sir S. Et. Campbell. 
 Duke of Richmond. 
 John Barratt, Esq. 
 
 Royal Society. 
 
BRITISH PORTRAIT GALLERY. 
 
 Back or S a look E. 
 
 328 
 
 329 
 
 H. W. PICKERSGILL, R.A. 
 
 John Murray, of Albemarle Street. Half length . John Murray, Esq. 
 
 SLR HENEY EAEBT7EN, E.A. 
 Sir 'Walter Scott Dale of Bucvleuch. 
 
 The first picture by Raebum was done in 1808 for Constable, ami ' 
 
 of his effects, into the hands Of the Dukn of Bue- 
 
 cleueh. Scott Is represented at full length, sitting by a ruined wall, 
 
 with Camp at his feet, Hermitage Castle and the mountain^ of Llddes- 
 
 dale in the back ground. This noble portrait has been repeatedly 
 
 ed. Dress, black; Hessian boots. — Lockhart, 
 
 T. PHILLIPS, E.A. 
 
 330 Lord Byron 
 
 331 George Crabbe 
 
 332 Robert Southey 
 
 333 S. T. Coleridge 
 
 334 
 
 335 
 
 336 
 
 331 
 
 JOHN HOPPNEE, E.A 
 William Gifford, Editor of the " Quarterly Review." 
 
 John Murray, Esq. 
 Ditto. 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 H. W. PICKEESGLLL, E.A. 
 
 John Gibson Lockhart Ditto. 
 
 No. 330 Jo 333. painted for the late Mr. Murray, of Albemarle Street. 
 
 S. LAWEENCE, ESQ. 
 
 Samuel Rogers ' Edward Moxou, Esq, 
 
 Painted for Mr. Moxon, about four years before the poet's death. 
 
 J. SEVERN. 
 
 John Keats 
 
 Ditto. 
 
 ADDITIONAL PORTRAITS. 
 
 338 j Sir Thomas More. After Holbein . Sir Philip De Grey Eyerton, Bart. 
 338</ Sir Philif Sidney. A copy Lord De Lish. 
 
 339 Portrait of a Max. Head. (Query if by Dobson) . Sir II. De Trafford. 
 
 340 ' Sir Robert Cecid, Earl of Salisbury. Compare with No. 84. 
 
 David Lainy, Esq. 
 
 341 King Charles II. Copy after Sir Peter Lely . . Christ's Hospital. 
 
 342 i Sir Peter Leycester, the historian of Cheshire. Said to be 
 
 by Sir P. Lely. . . . . . • Lord dc Tabby. 
 
 343 ! Sir 'William Middletox, eon and heir of Sir Hugh Myddelton. 
 
 holding a framed picture of the New River . . Lord Darnley. 
 
 344 HENRIETTA Maria, Queen of Charles I. Halfdength. Said to 
 
 be by Van Dyck G. G. Pwmm Jlnrcoxrt, flhp. 
 
 345 Charles I. Small full-length 
 
 346 Sir Robert Wuhsley. Head in chalk?, by] John Greenhill, 
 
 temp. Charles II John Tollemache, Esq. 
 
 C17 CVjntf.ss or Gainsborough. Same remark . Ditto. 
 
 [130] 
 

Ik. 
 
BRITISH PORTRAIT GALLERY. Back of Saloon E. 
 
 Countess of Thanet (daughter of Henry Cavendish, 2nd Duke 
 
 of Newcastle), when a child Duke of Portland. 
 
 Sir Cloudesley Shovel, or, as some call it, Quin the Actor, as 
 
 Cato Sir Philip Pc Grey Egerton, Part . 
 
 Henry Pelham, Prime Minister Puke of Newcastle. 
 
 Samuel Cromptox John L, Kennedy, Esq. 
 
 Earl Grey, Prime Minister. By Sir Thomas Lawrence . Earl Grey. 
 
 Thomas Stotharb, R.A. By James Green. From Mr. Eogers's 
 
 Collection, Lot 632 J- HI. Andcrdon, Esq. 
 
 Cipriani the Artist. By Sir N. Dance . . . Royal Academy. 
 
 Sir Walter Scott. By Sir J. Watson Gordon . William Stirling, Esq. 
 
 Chafles Dibdin Robert Napier, Esq. 
 
 Lord Cockburn. By Sir Henry Baeburn . . Henry Raeburn, Esq. 
 
 William Cavendish, Earl, Marquis, and Duke of Newcastle. 
 
 Full length. By Van Dyck. A repetition, with variations, of 
 
 No. 121 Earl Spencer. 
 
 Christiana, Countess of Devonshire. Full length ' . Lord Wharneliffe. 
 Frederick, Prince of Orange. Full length . . Earl Craven. 
 
 Henry Bennet, Earl of Arlington. Full length. By Sir 
 
 Peter Lely Christ Church, Oxford. 
 
 Duchess of Manchester, as Diana disarming Cupid. By Sir 
 
 Joshua Reynolds. Exhibited 1769 . . . . Puke of Manchester. 
 Caroline, Queen of George II., and her Children. A 
 
 present from Queen Caroline to Dr. Mead . . Sir Henry Wilmot. 
 
 Earl of Stamford and Warrington. By Mengs. 
 
 Earl of Stamford and Warrington. 
 
 King Edward VI. Puke of Northumberland. 
 
 King Edward VI • • Christ's Hospital. 
 
 Queen Henrietta Maria. Profile .... Earl of Penbigh. 
 
 John Milton Earl of Shaftesbury. 
 
 Shakespeare ] ..... Earl of Stamford and Warrington. 
 
 Duke of Manchester Puke of Manchester. 
 
 Duchess of Manchester Pitto. 
 
 Pope the Poet. By Richardson. In profile. This picture 
 
 belonged to Dr. Mead Sir Henry Wilmot. 
 
 Shakespeare 1 Earl of Warwick. 
 
 Algernon Sidney Lord Pe Lisle. 
 
 The Penshurst picture, but a copy of Mr. Speaker Onslow's picture. 
 
 Lord Chancellor Shaftesbury . . Earl of Stamford and Warrington. 
 Copy of No. 229 of Portrait Gallery. 
 
 The Young Pretender Earl Howe. 
 
 The Duke of Richmond. Temp. Geo. III. . . Puke of Richmond. 
 
 Lord Brougham, when Henry Brougham, Esq. By Sir Thomas 
 
 Lawrence Henry Raeburn, Esq. 
 
 Portrait, unknown Royal Academy. 
 
 Portrait called William Faithorne the Engraver 
 
 [131] k2 
 
BRITISH PORTRAIT GALLERY. 
 
 Back of Saloon E. 
 
 380 
 
 381 
 382 
 383 
 384 
 385 
 
 386 
 
 Portrait (said to be by Mabuse) of Margaret, daughter of 
 
 HeNRT VII. Eric Sudd, Esq. 
 
 The present Earl of Essex. Full length . . . Earl of Essex. 
 
 Lady Jane Gret. Engraved in Dibdin . . . David Laing, Esq. 
 
 Lord Guildford Dudley Col. North, M.P. 
 
 Family Piece. Time of James II Lord Stafford. 
 
 Mehemet All Full-length, by Brigstock. Placed at the entrance 
 to the Oriental Museum 
 
 W. H. Prescott, Esq. By H. W. Phillips W. Stirling, Esq. 
 
 Note.— The full-length Portraits of Her Majesty Queen Victoria 
 and His Royal Highness Prince Albert, placed over the Dais, 
 are by Winterhalter, and the property of Her Majesty the 
 Queen. 
 
 P. CUNNINGHAM. 
 
 For Miniatures, Enamels, §e., see p. 207. 
 
 [132] 
 


 

 
 
SCULPTURE. 
 
 The Numbers commence from the General Entrance, No. 1 being on the left hand . 
 
 of Central Aisle. 
 SCULPTURE. 
 
 Eve at the Fountain 
 
 MARBLE. 
 
 (E. H. BAILY, R.A.) In the possession of 
 
 Captain Leicester Vernon. 
 (HOLME CARDWELL.) . Peter Graham, Esq. 
 
 . (B. E. SPENCE.) 
 (L. MACDONALD.) . 
 (G. FONTANA.) 
 
 Sabrina 
 
 The Favourite 
 
 Andromeda . 
 
 The Genius of Commerce 
 
 The Industrious Girl 
 
 The Hunter ... (J. GIBSON, R.A. 
 Ophelia . . (W. CALDER MARSHALL, R.A.) 
 
 Highland Mart . . (B. E. SPENCE.) . 
 
 H. N. Sandbach, Esq^ 
 Marquis of Abercorn. 
 , The Sculptor. 
 
 Tlie Sculptor. 
 H. N. Sandbach, Esq. 
 
 The Sculptor. 
 Henry Bury, Esq. 
 
 Girl at the Fountain Thomas Critchley, Esq. 
 
 A Bacchante . . (L. MACDONALD.) . . Lord Ward. 
 
 Eve Startled at the Sight op Death (J. HOGAN.) Lord de Tabley. 
 
 Narcissus 
 Sabrina 
 Adam and Eve 
 Venus at the Bath 
 The Fisher Boy . 
 The Nymph Salmacis 
 Ino and Bacchus 
 
 W. 
 
 Eros .... 
 
 Eurydice 
 
 A Water Nymph 
 
 The Boy and Butterfly 
 
 Children's Play . 
 
 Paul and Virginia 
 
 Psyche . 
 
 The Reaper 
 
 Cupid and Psyche 
 
 Fate 
 
 The Peri 
 
 The Queen of the Waters 
 
 Psyche discovering Cupid 
 
 . (W. THEED.) . . The Sculptor. 
 
 CALDER MARSHALL, R.A. G. Moore, Esq. 
 . (SCHULER.) . . /. Tennant, Esq. 
 (CANOVA) . . Samuel Mendel, Esq. 
 (HIRAM POWERS.) Robert Stephenson, Esq. 
 (SCHOOL OF CANOVA.) . Lord Ward. 
 . (R. J. WYATT.) . G. Cornwall Legh, Esq. 
 (This is a replica of Statue No. 79.) 
 
 . (J. GIBSON, R.A.) 
 
 (L. MACDONALD.) 
 
 . (R. J. WYATT.) . 
 
 (W. THRUPP.) . 
 
 . (A. MUNRO.) 
 
 (W. CALDER MARSHALL, R.A.) Earl of Ellesmere. 
 
 . (B. E. SPENCE.) . . W. Jackson, Esq. 
 
 . (R. ORMEROD SMITH) . The Sculptor. 
 
 . (E. AMBROSE.) . . The Sculptor. 
 
 (ENGLE.) . . Alderman Salomons. 
 
 (J. SHERWOOD WESTMACOTT.) The Sculptor. 
 
 (J. GEEFS.) . . The Sculptor. 
 
 (E. AMBROSE.) . . The Sculptor. 
 
 , Mrs. Yates. 
 
 Lord Ward. 
 . Richard Fort, Esq. 
 . The Sculptor. 
 
 Herbert Ingram, Esq. 
 
 Euphrosyne . . (SIR R. WESTMACOTT, R.A.) 
 Preparing for the Chase (E. B. STEPHENS.) . 
 
 Ruth .... 
 The Faithful Messenger 
 Venus .... 
 
 . (W. THEED.) . 
 (H. MALEMPRE.) . 
 (L. MACDONALD.) 
 [133] 
 
 Duke of Newcastle. 
 
 The Sculptor. 
 
 , The Sculptor. 
 
 , The Sculptor. 
 
 Hon. A. D. Willoughby. 
 
SCULPTURE. 
 
 Venus. After the Antique . (BYSTROM.) . 
 Robin Hood . . . (SUSAN DURANT.) 
 Cupid . . . (BENJAMIN JENNINGS.) 
 Melancholia . . . (OBICI.) 
 Preparing for the Bath (R. J. WYATT.) . 
 Vends disarming Cupld (L. SCHWANTHALER.) 
 Narcissus at the Brook . (J. GIBSON, R.A.) 
 
 The Infant Bacchus 
 
 Arethusa 
 
 Cupid, as Hercules 
 
 A Drunken Faun 
 
 Love Triumphing 
 
 Infant Bacchus - . 
 
 Henry Christy, Esq. 
 
 The Sculptor. 
 
 The Sculptor. 
 
 B. Fort, Esq. 
 
 II. X. Sandbach, Esq. 
 
 It. Dalgleish, Esq. 
 
 Richard Fort, Esq. 
 
 A. H. Xovelli, Esq. 
 
 Lord Ward. 
 
 E. Leatham, Esq, 
 
 . lie i try Christy, Esq. 
 
 The Sculptor. 
 
 Ditto. 
 
 F. Bcnnoch, Esq. 
 
 (A. MUNRO.) • . ' . The Sculptor. 
 
 . (G. FONTANA.) . . li. Freeland, Esq. 
 
 (A. MUNRO.) The Eight Hon. W. E. Gladstone. 
 
 (E. H. BAILY, R.A.) 
 (L. MACDONALD) 
 . (E. WOLFF.)' 
 . (BYSTROM.) . 
 (L. AMBUCHI.) 
 . (Ditto.) 
 
 Little Red Riding Hood (\V. C. MARSHALL, R.A.) 
 
 Undine . 
 
 The Orphans 
 
 Francesca da Rimini 
 
 The Broken Pitcher 
 
 The Shepherd Paris 
 
 Industry 
 
 Jephtha's Daughter 
 
 Rebekah 
 
 Venus Victrix • . 
 
 Reeekah . • . 
 
 Spring . 
 
 Summer 
 
 Autumn 
 
 Winter 
 
 Preparing for toe Bath . (R. J. WYATT.) . 
 (A replica of the Statue, No. 42.) 
 
 Prater •. •. . (P. M'DOWELL, R.A.) 
 
 (W. C. MARSHALL, R.A.) 
 (HOLME CARDWELL.) 
 . (T. THORNYCROFT.) 
 
 (GALLI.) . . • 
 (W. THEED.) 
 . (HOLME CARDWELL.) 
 (R. ORMEROD SMITH.) 
 (B. E. SPENCE.) . 
 
 F. Bcnnoch, Esq. 
 J. Fender, Esq. 
 The Sculptor. 
 B. Freeland, Esq. 
 S. Ash ton, Esq. 
 B. Opcnshcuc. Esq. 
 . T. Agncu; Esq. 
 John Fender, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 B. Opcnshau; Esq. 
 
 David 
 
 Napoleon 
 
 Boadicea 
 
 The Startled Nymph 
 A Falling Titan . 
 
 G. W. Beaumont^ Esq. 
 
 The Sculptor. 
 
 The Dale of Xewcastlc. 
 
 Sir S. Morton Fito. 
 
 J. Xceld, Esq. 
 
 Boyal Academy. 
 
 (G. FONTANA.) 
 (UNKNOWN.) 
 (JOHN THOMAS.) 
 (E. G. PAPWORTH.) 
 (T. BANKS, R.A.) 
 The Nymph Salmacis gazing upon the son of Mercury 
 
 and Venus . . (BARUZZI.) . Tounhy Barker, Esq 
 
 (A. MUNRO.) 
 (P. M'DOWELL, R.A.) . 
 (FLAX MAN.) 
 . (FLAXMAN.) 
 . (MOLTINI.) 
 . (R.J. WYATT.) . 
 (P. MDOWELL, R.A.) 
 (Ditto.) . . 
 [134] 
 
 Brother and Sister 
 Virginius . . 
 
 Apollo and Mori 
 Rape of Ganymede . 
 Francesca and Paolo 
 Ino and Bacchus 
 The Summer Reverie 
 The Student . 
 
 Bt.llf.n. W.E.Gladstone. 
 
 G. W. Beaumont, Esq. 
 
 Boyal Academy. 
 
 Boyal Academy. 
 
 S. Mendel, Bsq. 
 
 Marquis of Abcreorn. 
 
 S. Ash ton, Esq. 
 
 Ditto. 
 
. 
 

 
SCULPTURE. 
 
 82 
 .1] 83 
 
 ',;! 84 
 
 - 85 
 
 - 86 
 
 87 
 -88 
 -89 
 
 90 
 -91 
 -92 
 
 - 93 
 -94 
 
 - 95 
 -96 
 
 91a 
 
 97 
 98 
 
 98« 
 .99 
 
 100 
 
 101 
 102 
 
 - 103 
 
 .104 
 
 - 105 
 -106 
 
 108 
 109 
 110 
 
 - Ill 
 
 -112 
 -113 
 .114 
 -115 
 -116 
 
 The Minstrel's Curse . (CARL MULLER.) 
 
 Paris . . i (SCHOOL OF CANOVA) 
 
 The Dying Magdalen . . (CANOVA.) 
 Sunshine . (J.DURHAM.) . 
 
 Kittens at Play (THE HON. MRS. DAMER.) 
 
 J. Myers, Esq. 
 
 S. Mendel, Esq. 
 
 Lord Ward. 
 
 The Sculptor. 
 
 Col. t/*e Rt, Son. Dawson 
 
 Darner. 
 
 The Sculptor. 
 
 Francis Edwards, Esq. 
 
 Sir S. K. Bruce, Bart. 
 
 G. Rigby, Esq. 
 
 G. Rigby, Esq. 
 
 Stitt Wilson, Esq. 
 
 S. Barton, Esq, 
 
 Lord Ward. 
 
 The Sculptor. 
 
 R. B. Freston, Esq. 
 
 S. Christy, Esq. 
 
 John Sick, Esq. 
 
 . G. Feel, Esq. 
 Richard Fort, Esq. 
 
 "See-Saw" . . (W. F. WOODINGTON.) 
 
 Singing Angels ' . . (THORWALDSEN) . 
 Boy and Dolphin . (RAFFAELLE.) 
 
 Rape of Ganymede . (ROUBILLIAC.) 
 
 Prometheus . . (SCHOOL OF BERNINI.) 
 Dead Christ ' . . (Ditto) . . % . 
 Sleeping Cdpid * . . (Ditto) . ... 
 The Greek Slave . (HIRAM POWERS.) 
 Venus, with the Bow of Cupid (R. DAVIS.) 
 The Wounded Amazon (J. GIBSON, R.A.) . 
 The Love-stealing Maiden . (BYSTROM.) . 
 
 BRONZE. 
 Mercury . (Copy, after JOHN OF BOLOGNA.) 
 Hercules Tearing off the Poisoned Mantle 
 
 (17th Century) . ' . 
 
 The Praying Boy . (FISCHER, After the Antique) 
 
 The Young Naturalist . (ELKINGTON & Co., ' 
 
 After H. Weekes, A.R.A.). Messrs. Ellcvngton $• Co. 
 
 Henry of Navarre— -afterwards Henry IV. of France 
 
 (BOSIO.) Lord Sa stings. 
 
 Prince Alfred .. (MRS. THORNYCROFT.) Ser Majesty the Queen. \ 
 
 Princess Alice . . (Ditto) . . . -D/«o. 
 
 The Death of Teudric (ELKINGTON & Co., 
 
 After Evan Thomas.) Messrs. Elhington § Co. 
 
 La Genie de la Chasse (J. DEBAY.) . . 1L. W. Eaton, Esq. 
 
 The Huntsman and Stag (HOLME CARD WELL.) . R. Openshaw, Esq. . 
 Satan (J. A. HATFIELD, After H. H. Armstead.) The Art Union of London. 
 
 BUSTS. 
 
 BRONZE. 
 Henry VII. . (TORREGIANO— ascribed to.) . S. Catt, Esq. 
 
 Charles I. (UNKNOWN.) . . S. Addington, Esq. 
 
 Cromwell . . (TORREGIANO— ascribed to.) . S. Addington, Esq. 
 Henry VII. (Terra-cotta, from the Strawberry Hill Collection.) Lord Elcho- 
 Oliver Cromwell (EDWARD PIERCE.) Rt. Son. S. Labouchere. j 
 
 This is the Bust which Walpole mentions as " sold at an auction in 1714.' 
 
 MARBLE. 
 Lawrence Sterne . . (NOLLEKENS) . Rt. Son. S. Labouchere. \ 
 Head of a young Girl (THORWALDSEN— ascribed to.) R. Napier, Esq, 
 Milton . . . (SCHEEMAKERS.) . . Lord Lyttelton. 
 
 Spenser .... (Ditto.) . . . I>Mo. 
 
 Shakespeare . . . (Ditto.) . . . ■2t«* 
 
 [ 135 ] 
 
SCULPTURE. 
 
 117 
 
 118 
 
 • 119 
 120 
 121 
 122 
 123 
 124 
 125 
 126 
 127 
 
 -128 
 129 
 130 
 131 
 132 
 133 
 134 
 135 
 136 
 137 
 138 
 139 
 140 
 141 
 142 
 143 
 144 
 145 
 146 
 147 
 148 
 149 
 150 
 
 -151 
 152 
 153 
 
 -154 
 155 
 156 
 
 •157 
 
 158 
 
 - 159 
 
 160 
 
 MARBLE. 
 
 DR ^ DEN , I ' • (SCHEEMAKERS.) . Lord Lyttelton. 
 
 Inese four busts were presented to the poet Pope by Frederick Prince of Vales 
 
 and bequeathed by Pope to the first Lord Lyttelton. 
 
 Wellington 
 Swift , 
 Milton 
 Isis . 
 Antinous 
 
 WlELAND 
 
 Henry Hallam . 
 
 Adam Smith . 
 
 A. H. Latard , 
 
 Earl of Derby . 
 
 Mr. Pitt 
 
 Sir Robert Peel . 
 
 Sir Robert Peel . 
 
 Duke of Wellington 
 
 Professor Owen . 
 
 Professor Faraday 
 
 Henry Cline 
 
 John Hunter 
 
 James Watt 
 
 John Rennie 
 
 James Rendel 
 
 G. P. Bidder 
 
 Robert Stephenson 
 
 Her Majesty the Queen 
 
 Her Majesty the Queen 
 
 Dr. Simpson of Edinburgh 
 
 (M. NOBLE.) . . W. Harding, Esq. 
 (SCHEEMAKERS.) Right Hon. H Labouchcre. 
 (Ditto.) . . . Ditto. 
 
 (CANOVA.) . Francis Edwards, Esq. 
 
 (After the Antique). 
 . (SCHADOW.) . 
 (BARON MAROCHETTI.) 
 . (Ditto.) 
 (P. PARK) . 
 (C. MOORE) . 
 . (NOLLEKENS.) 
 (M. NOBLE.) . 
 . (J. GIBSON, R.A.) 
 
 (M. NOBLE.) 
 . (E. H. BAILY, R.A.) 
 (M. NOBLE.) 
 (SIR F. CHANTREY) 
 (Ditto.) 
 
 . S. Mendel, Esq. 
 
 H. C. Robinson, Esq. 
 
 The Sculptor. 
 
 Ditto. 
 
 J. G. Frith, Esq. 
 
 The Sculptor. 
 
 Earl Howe. 
 
 The Sculptor. 
 
 H. Carchcell, Esq. 
 
 The Sculptor. 
 
 Professor Owen. 
 
 Professor Faraday. 
 
 Royal College of Surgeons. 
 
 Ditto. 
 
 (J. HEFFERNAN, After Chantrey.) 
 (SIR F. CHANTREY.) . 
 (E. W. WYON.) 
 . (Ditto.) 
 , (Ditto.) 
 (J. DURHAM.) 
 . (M. NOBLE.) 
 (W. BRODIE, R.S.A.) 
 
 Douglas Jerrold . (E. H. BAILY, R.A.) 
 
 Alfred Tenntson . (WOOLNER.) 
 
 Thomas Moore . . (C. MOORE.) 
 William Wordsworth (SIR F. CHANTREY.) . 
 Francois Le Moine (Terra-Cotta.) (UNKNOWN.) 
 Benjamin West, P.R.A. (SIR F. CHANTREY.) 
 
 Henry Bone, R.A. (the Enameller.) (Ditto.) 
 La Penserosa . (MRS. THORNYCROFT.) 
 W. Etty, R.A. . . (M. NOBLE.) . 
 Head of Eve at the Fountain (E. H. BAILY, R.A.) 
 L'Allegra . . . (J. DURHAM.) 
 La Penserosa . . . (Ditto.) . 
 
 Jenny Lind 
 
 R, Frewin, M.D. . . (ROUBILIAC.) 
 A Venetian Noble. (Attributed to Sansovino.) 
 
 The Royal Society. 
 
 G. Rennie, Esq. 
 
 . J. Scott Russell, Esq. 
 
 . G. P. Didder, Esq. 
 
 Ditto. 
 
 W. H. Smith, Esq. 
 
 The Sculptor. 
 
 J. Pender, Esq, 
 
 Douglas Jerrold, Esq. 
 
 The Sculptor. 
 
 The Sculptor. 
 
 Sir G. Beaumont. 
 
 R. Napier, Esq. 
 
 Royal Academy. 
 
 Ditto. 
 
 T. Thorny croft, Esq. 
 
 The Sculptor. 
 
 DuJce of Newcastle. 
 
 The Sculptor. 
 
 Ditto. 
 
 Ditto. 
 
 Christ Ch. Coll. Cambridge. 
 
 Soulages Collection. 
 
 Cardinal Grimani. (ALLESSANDRO VITTORIA.) R. # E. Cheney, Esqs. 
 Shakespear, (From the Monument at Stratford.) Fullwood Thompson, $• Co 
 [136] 
 



MUSEUM OF ORNAMENTAL ART. 
 
 As labels giving a brief description of the several works of Art contained in the Museum 
 are affixed to most of the articles, the following short notices of the nature and history 
 of the particular branches of Art exhibited in the glass cases, are intended to point out 
 the more salient features of each class of work, so that some slight aid may be given to 
 the visitor's appreciation of individual specimens, in studying which, admiration for the 
 genius, patience, varied ability and fine workmanship shown in many of these reliques of 
 past ages, can hardly fail to be excited amongst those who are at the present day engaged in 
 similar pursuits, and who may here find endless suggestions for fresh ideas and important 
 adaptations fitted to the requirements and usages of the time in which we live. A 
 laborious and spiritless reproduction of any such works could have little value now, 
 however excellent in mechanical execution ; it is not as models to be copied, but as a 
 store from which to study, that these works of Art are placed before the public, that the 
 artist, seeing what has been done of old, may with the aid of such helps strike out a new 
 path leading to a point, it is to be hoped, beyond anything that has yet been accomplished ; 
 and achieve a success which will give to the second half of the 19th century a renown 
 for that knowledge and good taste in Art, which can lend to the commonest material a 
 charm and value only to be derived from the artistic treatment bestowed on it by the 
 human mind and hand. 
 
 J. B. WARING. 
 20th May, 1S57. 
 
 CENTRAL HALL. 
 
 CASE A— South Side. 
 
 GLASS. 
 
 It is desirable to avoid any detailed retrospective view of the history of the various 
 Arts represented in the Museum ; and however tempting the subject may be, little more 
 can be done than to make a few notes on glass-making during the 15th, 16th, and 
 17th centuries, explanatory of its most remarkable features. 
 
 Foremost in this manufacture stands Venice, which at the beginning of the 13th 
 century obtained workmen from Constantinople, and founded workshops that were in full 
 activity till the year 1291, when they were all transferred to the neighbouring island of 
 Murano. During the 14th century the principal manufacture consisted of beads, 
 imitation jewels, &c, which found a ready market in Asia and Africa. In the 15th 
 century a new direction was given to the manufacture, arising from the capture of 
 Constantinople by the Turks, and the revival of ancient Art in Italy ; the former 
 throwing the glass trade almost entirely into the hands of the Venetians, whilst the latter 
 furnished the artist with fresh and valuable sources of design. It was not, however, until 
 early in the 16th century, that the very beautiful process of which so many and such 
 exquisite varieties are to be seen in the present Collection was discovered ; a discovery 
 which at first was religiously kept secret by the manufacturers themselves, and against the 
 divulgence of which the Venetian government passed most stringent orders and threatened 
 the severest penalties, whilst on the other hand the glass-makers who remained faithful 
 
 [137] 
 
MUSEUM OF ORNAMENTAL ART. SOUTH side-Case a. 
 
 and silent, content with Murano, were made citizens of Venice on that account alone, the 
 highest official positions being open to them - } indeed, such singular honour was paid to 
 them, that masters of the Art were looked on as little inferior in dignity to the greatest 
 nobles, and peculiar privileges were extended to them. 
 
 During the whole of the 10th and 17th centuries Venice was the principal glass 
 manufactory of all Europe, at which every conceivable variety for use and ornament was 
 produced. 
 
 Early in the 18th century the Bohemian manufactures became noted, and the cut-glass 
 of that country caught Fashion's ever variable fancy ; from that period the art gradually 
 declined at Murano, and the privileges of the glass-makers were annulled ; then came the 
 decay of tbe republic of Venice, and its destruction by the French at the close of the 18th 
 century. Since which time, although the manufacture of glass is still carried on at 
 Murano, its glory has quite departed, and its principal trade is again reduced to beads 
 and ornaments. 
 
 More even than for the exquisite beauty and delicacy of its contours and proportions, 
 Venetian glass is celebrated for its ornamental patterns in latticinio or milk-white 
 threadwork, enamel, &c. The principal and most characteristic varieties of the manufacture 
 were : — 
 
 1st. Subjects in white or stained glass ornamented with enamel colours and gilding. 
 2nd. Glass ornamented with latticinio or small milk-white threads, which, either 
 
 milk-white or otherwise coloured, are enclosed in the glass ; these are spirally 
 
 twisted into a charming variety of patterns. 
 3rd. Pieces in which two sheets of this class are conjoined so as to form a network 
 
 of "latticinio" or other coloured threads, between each mesh of which 
 
 little air-bubble is formed; the extreme delicacy, exactness, and minuteness of 
 
 these pieces have, as yet, defied all efforts at successful imitation. This kind 
 
 was known as "vitro di trina," lace-work glass. 
 4th. Mosaic glass, in which slices of coloured threads or reeds were placed within 
 
 two layers of white glass, and fused into masses ready for forming vases, &c. 
 
 This kind has been very successfully revived in the present century ; it was 
 
 termed "Millefiore" or "Vitro fiorito," Jloicered f/lass. 
 5th. Glass in which very small particles of gold are arranged in patterns and fused, 
 
 or in which metallic filings were dropped in the process of fusion, so as to 
 
 form patches or blots of gold, &c. , termed ' ' Aventurine. " 
 6th. Dark mottled glass of many colours fused and blended, which when held to the 
 
 light shows a deep ruby colour. To this species the German word "Schmeltze" 
 
 has been applied. 
 
 Other varieties are, "Schmelz Aventurine," a combination of the last with 
 
 the gold specks of the Aventurine ; Frosted, or crackle glass, and frosted glass 
 
 with masks, flowers, &c, blown in relief on it from within. 
 
 These are some of the principal processes found in old Venetian glass, which beside? 
 the elegance of its forms already noticed, is remarkable for some most grotesque and 
 curious designs in the shape of animals, fishes, nondescripts, &c, which are stated to have 
 been chiefly in use for chemical purposes. Some of the above processes have been imitated 
 iu other countries ; but Venetian glass far surpasses them all in the beauty and variety of 
 its outlines, and the lightness of its material, which was of so delicate a nature that it 
 was believed, if poison were poured into certain of the finest specimens, the glass would 
 break to pieces, "though, writes Sir Thomas Browne, it be said that poison will break s 
 Venice glass, yet have we not met any of that nature !" Examples of every class will bf 
 easily distinguished by an inspection of the contents of the Case, to which most liberal! 
 contributions have been made by the Duke of Buccleuch, Felix Slade, Esq., R. Napier,] 
 Esq., Miss Auldjo, the Earl of Cadogan, G. Nicholson, Esq., and other collectors. Se«j 
 Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 
 
 Germany during the 16th and 17th centuries manufactured a great number of largt 
 dass goblets ornamented with armorial bearings, figure subjects, foliage, and inscriptions 
 in enamel colours, which afford much interest and some information on contemporary eventei 
 
 [138] 
 
 J 
 


MUS EUM OF ORNAMENTAL ART. SOUTH SIDE-Wau. Cam A. 
 
 to those who can translate the writing which commemorates the purpose for which they 
 were often especially made. Very fine examples of this class are contributed by the Duke 
 of Buccleuch, Mr. Napier, of Shandon, and Lord de Tabley. See Nos. 11, 12, 13, 14, 15. 
 
 Engraving on glass, though commenced with the diamond point by the V enetians in 
 the 16th century, was carried to greater perfection by machinery, in Germany, France, and 
 Holland, from the 1 7th century to the present day. Many yen' beautiful examples of this 
 description are to be seen in the present Collection. Etching on glass was also practised ; 
 the power of etching by means of a powerful acid was discovered by Schwanhard ot 
 Nuremberg in the 1 7th 'century ; his secret however died with him. For a very delicate 
 example of etching on glass, see No. 16, contributed by the Honourable A. D. 
 Willoughby. , _ . .. 
 
 The first manufacture of glass established in England appears to have been m the year 
 1557, at the Savoy house in the Strand ; in 1635 a patent was granted to Sir Robert Mansell 
 for glass-making"; but it could not have been on any large or important scale, as the 
 same patent empowered him to import Venetian glasses. In 1670 the second Duke of 
 Buckingham induced some Venetian workmen to settle in London: but ornamental 
 glass-making never prospered, and it was not until the present century that the higher 
 branches of decorative workmanship have been successfully practised, and their application 
 extended to a great and increasing variety of subjects. For good examples of modern 
 work, see Nos. 17, 18, 19, 20, and 21, contributed by Apsley Pellatt, Esq., and G. 
 Nicholson, Esq. 
 
 One of the most interesting pieces in the Collection perhaps is an Arabian glass-lamp 
 contributed bv J. W. Wyld, Esq., as it is the oldest example in the Collection of the 
 Mediseval period, (No. 22). It is to be remarked that in the arts of glass-making, pottery, 
 and metal work, as seen, even by the examples collected in this Museum, the East 
 preceded and excelled the West in works of industrial Art. 
 
 WALL CASE A. 
 
 Contains a great variety of objects for personal and domestic use, amongst which are 
 interesting examples of bridal knives, worn by ladies during the sixteenth century 
 
 (No. 1). 
 
 " Fortune doth give this bridal knife, 
 To cut the thread of lite if 't be not free." 
 
 These are contributed by Mr. Mills, of Norwich. 
 
 Here also are to be seen combs richly carved and inscribed, mostly made, it is supposed, 
 in the north of France or south of Holland. Excellent specimens are contributed by the 
 Rev. Walter Sneyd, W. Tite, M.P., and the Trustees of the Ashmolean Museum (No. 2). 
 The Bev. Mr. Staniforth, and Messrs Ollivant and Potsford, send some excellent baptismal 
 spoons (No. 3), a custom once in fashion, from whence the well-known expression of being 
 horn with a gold or silver spoon in his mouth. A Horn- book, in its old setting, contri- 
 buted by Admiral Shifnall (No. 4). A common shoe (No. 5), rendered interesting by 
 incised ornament, and the date in choice Latin, Anno Domini, 1595. The richly-carved 
 wood-sheaths for knives, &c, bear witness to their origin in High Dutch inscriptions 
 (No. 6). Next come watches and chatelaines, such as were worn by the beaux and belles of 
 the seventeenth and eighteenth centuries. Jewellery of the Renaissance and succeeding 
 epochs, obtained mainly through the exertions of Messrs. Hunt & Boskell, and the 
 kindness of Earl Cardigan, Miss Auldjo, Lord de Tabley, and other fortunate possessors. 
 
 The next section, consisting of snuff-boxes, &c, is rich in pique and enamel-work. 
 Beyond that are some fine examples of Papal signet-rings, contributed by R. Cheney, Esq., 
 and some curious mediaeval rings sent by the Rev. J. Blois Turner. Mr. Waterton's fine 
 collection will not come until later, as it is now at Rome. The Stuart relics, contributed 
 by the Duke of Richmond, deserve notice : and, amongst other beautiful works of art, the 
 triptych contributed by Lord Alfred Howard, carved in wood ; a marvellously minute work 
 of the fifteenth century; probably German. 
 
 [139] 
 
MUSEUM OF ORNAMENTAL ART. SOUTH SIDE— Case B. 
 
 CASE B— South Side. 
 
 ENAMELS. 
 
 Of all the arts that lent such a charm to the works of past ages, not one perhaps has 
 fallen into such disuse as the art of enamelling ; and this arose, no doubt, in a great 
 measure from its purely decorative character. Amongst the ancients it was extensively 
 practised, and has, probably from time immemorial, been a favourite method of decoration 
 throughout the East. The contents of the glass case, however, are principally confined 
 to illustrations of the history of the enameller's art in Europe. 
 
 From the 4th until the 1 1th century, and even up to a later period, Byzantium was 
 the great metropolis of Eastern Europe ; the city most distinguished for its love of Art ; 
 the Court at which prevailed the greatest splendour, the most magnificent ceremonies. 
 
 Amongst the arts, more than any essentially Byzantine, was that of mosaic pictures, 
 with which the interior of the churches were profusely decorated ; these were composed of 
 cubes of vitrified substances embedded in a fine cement, so that between every single piece 
 serving to form part of a robe or hand, for example, might be seen a thin line of separation. 
 This idea seems to have been carried out to some extent in the art of enamelling aa 
 practised during the Byzantine period, only in place of cement each piece of enamel was 
 separated from the other by a very fine partition of gold, and by this means a picture 
 necessarily of small dimensions (from the material on which the enamel was applied, 
 being usually gold) was produced, very much on the same principle as those colossal works 
 in mosaic which adorned the walls of the great metropolitan cathedral. 
 
 But although there may be some resemblance as to principle between the mosaic and 
 enamel work of Byzantium, it is not to be inferred that the latter was founded on the 
 former, as the same system is said to have been practised in Oriental countries from a 
 very early period. 
 
 The first inspection of the Case containing enamels, affords at once a classification of 
 two very distinct styles, both however executed mainly at Limoges in the south of France ; 
 the one has been very generally termed Byzantine, the other is Renaissance. A closer 
 inspection will present examples of the pure Byzantine style, and other varieties of minor 
 importance. They may all be classified under the following heads : — 
 
 1st. The Byzantine school, in which mechanical excellence supersedes every other 
 artistic merit : several magnificent examples of the patience and delicate workmanship of 
 this school are to be found throughout Europe, but are held in such veneration that they 
 are seldom to be seen out of the treasuries of Continental churches or national museums ; 
 a few examples however may be observed in the present collection, amongst which the 
 pectoral cross of A. J. B. Beresford Hope, Esq., though much injured, is one of the most 
 interesting. It is probably of the 10th century. (See No. 1.) 
 
 The method pursued by the Byzantine artists has been termed cloissonie, or inclosed ; 
 it consisted in forming the whole of the required design generally on gold, in a species of 
 case, and separating the several colours composing it, by very delicate filagree gold bands to 
 prevent them running into each other and so becoming confused. The celebrated Alfred 
 jewel, in the Ashmolean Museum at Oxford, is also an example of this class, though 
 probably executed by an English artist after the Byzantine manner, probably of the 9th 
 century. The Byzantine enamel work was in vogue from an indefinitely early period ; the 
 examples of it now existing range from about the 6th to the close of the 12th century, and 
 the great centre of its manufacture would appear to have been Byzantium, although much 
 was doubtless executed by Byzantine artists employed on valuable works in other countries. 
 
 2nd. The Early Limoges school, characterised by a mueh broader style of Art than 
 the preceding, and indeed differing in many important respects from it both in design and 
 in method of execution, although bearing evident traces of its influence, has, even up 
 to the present day, been termed Byzantine. A manufacture of enamelled works at 
 Limoges was probably in activity from a very early period ; and its excellence was no 
 doubt increased by the settlement there of Venetian or Greek artists at the close of the 
 10th and beginning of the 11th century. No authentic examples however of Limoges 
 
 [140] 
 
MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case B. 
 
 work are known before the second half of the 11th century. The greater number of 
 examples now preserved, which are very numerous, were executed during the 12th and 
 13th centuries. Crucifixes, pastoral staffs, reliquaries, &c, all the numerous ornamental 
 laccessories of the Roman Church were eagerly sought for in this comparatively cheap, 
 effective, and durable manufacture, not in France only, but throughout Europe. 
 \ The method of execution has been termed champleve, the ground or field cut out ; the 
 imaterial was generally copper, on which the ornamental design or figures to be filled in 
 iwith colour, were cut away to some depth, leaving wherever two colours met, a thin 
 I partition of the copper itself to prevent their running into each other ; and after the enamel 
 colour was fixed by fusion and polished, the outline of the figures and the lines for 
 separation of colour were gilded and again fixed by fire. 
 
 As regards the style of Art, although founded on a Byzantine type, it neither in 
 ; ornament °or figures bears any striking resemblance to it, but rather to that particular 
 ! school of ornament which flourished simultaneously with it in the West of Europe, and 
 > which took its most marked features very probably from the Gallo-Roman school. 
 
 A great difference as regards manipulation is to be observed in this class of work ; some 
 | are very roughly designed, whilst others are admirably executed ; it is not unlikely that 
 I the best were reserved for France and the most important ecclesiastical bodies of other 
 I countries, whilst the commoner examples were sent to the places and persons of minor 
 I importance at home and abroad. Manufactories of much the same style as the above 
 l appear also to have been established in the Rhenish provinces at the same period, or during 
 i the 13th century, only to be distinguished from them by certain peculiarities of 
 style and colour ; examples of this class may perhaps be cited in the Rev. W. Sneyd's 
 contribution. See Nos. 2 and 3. ..... 
 
 Of the early Limoges enamel the finest examples are to be seen in the reliquaries, 
 crucifixes, book-covers, fee., contributed by Lord Hastings, A. J. B. Beresford Hope, 
 I Esq., The Society of Antiquaries, London, Oscott College, and Col. Meyrick. See Nos. 
 4, 5, 6, 7, 8, 9, 10. 
 
 3rd. Translucent enamel on bas-relief, which had its origin and was brought _ to its 
 
 greatest perfection in Italy, consists of transparent enamel of almost every variety of 
 
 i colour, laid in thin coatings over the design which is incised on the metal, generally silver ; 
 
 ! the figure or figures being slightly raised (in low relief), and marked with the graver, so 
 
 ; as to allow the drawing of the contours to be seen through the enamel, instead of being 
 
 ! formed by the coarse lines of the copper, as in the Limoges method. This style, which far 
 
 i surpasses any which we have yet noticed for artistic merit, would appear to have originated 
 
 i in Central Italy, and to have been greatly improved, if not originated, by Giovanni Pisano 
 
 (John of Pisa) at the close of the 13th century, and to have continued in vogue up to the 
 
 close of the 15th, and even later in Italy, which country boasts amongst those who 
 
 practised it in connection with goldsmith's work some of the most remarkable names in 
 
 the history of art. Of this class of enamels few important examples are to be found in 
 
 England, very fair specimens may however be seen in William of Wykeham's crozier, 
 
 the cup 'of King's Lynn, and the Marquis of Ailesbury's horn. Nos. 11 and 12. 
 
 4th. Surface-painted enamels, which received their first development and were carried 
 , to their highest perfection at Limoges. In this method the metal plate was covered with 
 i a good coating of dark enamel for shadows, on which the subjects were painted in white, 
 sometimes set off with gold hatchings, sometimes completely coloured ; indeed the nature 
 of this surface-painting on an enamel ground admitted of a very great variety of processes 
 and styles, which are all more or less artistic, and some of the finest kind bear signal 
 evidence of the influence exercised on the Limoges manufacture by the ItaUan artists 
 resident at the Court of Francis I. The favourite subjects for the enameller were plates, 
 salvers, tazzas, ewers, and almost every kind of work for domestic use, besides ecclesiastical 
 utensils. The subjects were taken from the well-known paintings and engravings of the 
 period, which formed a kind of text-book for the enameller, whilst many were no doubt 
 original designs. This style extends from about the beginning of the 16th up to the 
 first half of the 17th century. Some of the finest specimens are to be seen in the 
 contributions of Sir Anthony Rothschild, H. Magniac, Esq., Lord Hastings, Danby 
 Seymour, Esq., the Earl of Warwick, Samuel Addington, Esq., G. Field, Esq. See Nos. 
 
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MUSEU M OF ORNAMENTAL ART. SOUTH SIDE-Cxae C. 
 
 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, which serve to illustrate the variou* 
 styles of this art during the Renaissance period at Limoges. 
 
 The following were the principal artists chronologically arranged : — Mouvearni and 
 Jehan P. E. Nicaulat (Penicault ?), alleged to have worked at the close of the 15th century. 
 Leonard Limousin, Pierre Raymond, or Rexinon, Jean Penicaud, father, and J. Penicaud, 
 liis son, P. and N. Penicaud, Pierre and Jeau Courteys, or Courtois, Jean Court (surnamed 
 Vigier), M. D. Pape, Martial Courteys, Suzanne Court, M. Raymond, Rechambaut, Colin, 
 Mouret, and others of less note ; all of the above worked between the years 1532 and 
 1600. During the 17th century we have Jean Limousin (supposed to be the son of 
 Leonard), H. Poncet, the Nouailhers, and the Laudins, who worked also early in the 18th 
 century, from which period the art rapidly declined until it was displaced by the process 
 of Jean Toutin, which was in full vogue by the year 1650, and consisted iu preparing a 
 gold plate with a white ground, on which to paint in enamel colours as on ivory. The 
 subjects were chiefly portraits and ornaments in miniature, very finely executed. Amongst 
 the most celebrated artists of this period were Gribelin, Prieur, Petitot, and Bordier ; they 
 were followed by several other good miniaturists ; but the art of enamelling confined to such 
 small subjects, was forgotten during the troubles of the French revolution, and died out. 
 
 The art of pictorial enamelling has been revived of late years, and very excellent 
 specimens of it are now universally to be met with ; which, though somewhat laboured 
 and affected in style, give promise of an advance towards a new development of the 
 manufacture. As an example of this process applied on a new principle see No. 26, the 
 work of Messrs. Jennens & Bcttridge, contributed by Mr. Apsley Pellatt, and Messrs. 
 Binns, of Worcester, in Wall Case C. 
 
 WALL CASE C. 
 
 The first section of this case consists of Limoges enamels of the earliest period ; amongst 
 which are very interesting pieces, a book-cover (No. 1), contributed by Mr. Felix Slade, 
 German (?) enamel, in setting of the 14th or 15th century. A polyptych of the Gneco- 
 Russian school (No. 2), sent by Mr. Bere.sford Hope, M.P., and a very interesting plaque 
 of the 14th or 15th century, the meeting of Mary and Elizabeth (No. 3), surrounded by 
 a portrait of a Doge and the Lion of St. Mark, with the following inscription beneath : 
 " Ma<nster Bertudius aurifex venetus me fecit." In the next section is a splendid example 
 of Venetian enamel of the 15th or 16th century (No. 4), contributed by Mr. Rhode 
 Hawkins, and three of somewhat rougher style and injured, of the same period, belonging 
 to Lord de Tabley (No. 5). The interesting enamelled fire-dogs (No. 6), supposed to be 
 of English manufacture, sent by the Rev. E. Duke, and the fine tazza contributed by 
 Lord Hastings (No. 7), signed Jean Court dit Vigier, the back and stem of which are 
 remarkably fine, merit notice. Further ou are pictures in enamel illustrative of the Life 
 of Christ, after Albert Durer, two of which are dated 1541, 1545, belonging to Lord 
 Delamere, and one of the last examples of the 18th century work, by Jean Nouailher, of 
 Limoges, dated 1751, sufficient to show the wretched state into which art had fallen. 
 
 CASE C— South Side. 
 
 PORCELAIN. 
 
 Although porcelain was manufactured in the East, and especially in China, probably 
 before the commencement of the Christian era, the means of making it were unknown in 
 Europe up to the last century. Before the passage to India round the Cape of Good 
 Hope was discovered by the Portuguese in 1497, Oriental porcelain had found its 
 way into Europe, and after that period came into increased demand. In the 17th 
 century it was imported in large quantities, and was highly prized ; but it was not until 
 the year 1700 that the secret of its real composition was discovered in Europe, and 
 shortly afterwards perfected, by Johan Bbttcher of Schlaiz in Saxony, assisted by 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDB-Case C. 
 
 ichirnhaus, an excellent analytical chemist. With them originated the celebrated 
 mufactory of Meissen, near Dresden, from -which city the earliest European porcelain 
 ok its name. Perhaps the greatest misfortune which ever befell Bottcher was his 
 scovery of its composition ; for so exaggerated were the ideas entertained of its 
 lportance, that he was kept a close prisoner (as were all connected in any way with its 
 anufacture, in order that the secret might not be revealed) until the day of his death, 
 
 the year 1719. But the strictest vigilance of a tyrannical prince could not prevent its 
 vul fence. In 1720 Stolzen, a foreman at Meissen, managed to escape, and established 
 
 manufactory at Vienna under the protection of the emperor. In 1740 Ringler, a 
 orkman of the Vienna establishment, settled at Hochst near Mayence, from whence the 
 cret spread to Frankenthal, Nyniphenburg, Berlin, &c. ; and shortly after the middle of 
 
 te century, either by these means or from individual discovery, porcelain was made 
 roughout Europe. 
 
 The celebrated Sevres porcelain had its origin in an artificial imitation of Oriental 
 are established at St. Cloud in 1695. In 1735 the manufacture was transferred to Chan- 
 Ry. In 1745 the secret of making this artificial porcelain was purchased by a brother of 
 le minister De Fulvy, who formed a company for its advancement, and a manufactory was 
 it up at Vincennes ; and in 1756,. the process having been much improved and the works 
 itended, it was transferred to a factory built expressly for it at Sevres, which was 
 Dught, and with it the sole proprietorship, by Louis XV. in 1760. From that time up 
 > the present day Sevres retained its reputation. Government, even during the troublous 
 mes of the Republic, endowed it ; and artists of very superior ability educated in its 
 ihools, were employed to design and decorate its productions. 
 
 The eaiiier examples of most European china were little better than a modification of 
 lass ; and at Sevres this artificial or soft porcelain was the only one manufactured up 
 ) the year 1769, about which period hard or true porcelain became generally known. 
 
 The soft porcelain was composed of several materials, amongst which clay was merely 
 q adjunct, and the composition was termed soft on account of its comparative fusibility 
 ad easiness of being cut by any sharp instrument. The hard porcelain was so termed on 
 scount of its capability of resisting great heat, and the hardness of its glaze, which 
 annot be easily scratched. Its basis consists of two natural clays, which, properly 
 ised, form with little aid from further chemical combination true porcelain. 
 
 Most of the examples of European porcelain during the 18th century, when not 
 nitations of Oriental models, are characterised by the very bad and affected style of Art 
 'hich then prevailed, and are chiefly valuable for their mechanical and manipulative 
 xcellence, the little enamel paintings which abound on them being frequently of a most 
 eUcate and charming style of colouring. The following contributions furnish exceUent 
 pecimens of some of the most remarkable manufactures of European china : — 
 
 Amongst the finest examples of Dresden may be noticed those contributed by Her 
 Majesty the Queen, S. Addington, Esq., R. Napier, Esq., and The Honourable 
 Ashley Ponsonby. See No. 1. 
 Sevres. — Her Majesty, the Duke of Buccleuch, Lord Feversham, the Marquis 
 of Bath, Lord Hastings, Charles Mills, Esq., S. Addington, Esq., R. Napier, 
 Esq., and Messrs. Minton. See No. 2. 
 Berlin. — R. Napier, Esq., S. Addington, Esq. No. 3. 
 Copenhagen. — The Rev. J. Staniforth. No. 4. 
 
 Buen Retiro (Spain). — The Rev. J. Staniforth, Messrs. Durlacher. No. 5. 
 Doccia (Italy).— H. G-. Bohn, Esq., W. R. Drake, Esq. No. 6. 
 Capo di Monte (Italy). — The Honourable General Lygon, R. Napier, Esq., W. R. 
 
 Drake, Esq., J. Addington, Esq., and C. K. Mainwaring, Esq. See No. 7. 
 In England, the earliest manufactories were those of Bow, Chelsea, Derby, and 
 Worcester, which were in activity during the greater part of the last century. All ol 
 hese were formed more or less on Continental models, and exhibited the influence of the 
 lizarre style of Art then prevalent, influenced by national and local peculiarities. A 
 omparison with their productions and the Continental examples will best explain in what 
 hat difference consists. Other manufactures, of a more original character as regards 
 lesign, were those of Nantgarrow and Swansea in Wales, Lowestoft, Plymouth, &c. 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case D. 
 
 Amongst the most remarkable examples of English porcelain are some pieces of old 
 Chelsea ware, contributed by the Earl of Cadogan, J. Addington, Esq., the 
 Earl of Chesterfield, Sir P. de Grey Egerton, and a very fine vase belonging 
 to the Foundling Hospital, London. See No. 8. 
 
 Worcester. — Sir Greyde Malpas Egerton, Honourable A. D. Willoughby, R. Napier, 
 Esq., H. Catt, Esq. See No. 9. 
 
 Derby. — Sir P. de Grey Egerton, Rev. E. Trollope. No. 10. 
 
 Bow. — C. K. Mainwaring, Esq. No. 11. 
 
 Swansea. — A. Walter Arnold, Esq. No. 12. 
 
 Lowestoft.— H. Catt, Esq. See No. 13. 
 
 WALL CASE C. 
 
 Contains some good imitations of the Limoges style of Renaissance enamel, applied to 
 porcelain, and a fine series of Wedgwood's works, contributed by Messrs. Pellat, 
 Addington, Davis, and Smith ; amongst them the copy of the Portland Vase (No. 1), is 
 a very good specimen of the few which were made. 
 
 CASE D— South Side. 
 
 ORIENTAL CHINA. 
 
 It has been considered instructive to have a collection illustrative of Eastern porcelaii 
 and pottery in juxtaposition with similar works of European manufacture. The high 
 antiquity of porcelain in China has already been alluded to ; from diligent researches 
 made on the subject by M. Stanislaus Julien, we find that porcelain was known in China 
 nearly two hundred years B.C., and was generally manufactured during the 6th and 7th 
 centuries ; but was not brought to perfection until some centuries later, and was scarcelj 
 known in Europe until the latter part of the 16th century, after which period it was 
 imported by the Dutch, although it was not until the middle of the 17th and beginning oi 
 the 18th century that its use became a fashionable mania. About the year 1717 the 
 celebrated collection in the Japan palace at Dresden was formed, and great prices were 
 given for it in all European countries ; and of that celebrated virtuoso, Horace Walpole, 
 
 it was said — 
 
 " China's the passion of his soul ; 
 A cup, a plate, a dish, a bowl, 
 Can kindle wishes in his breast, 
 Inflame with joy, or break his rest." 
 
 Information as to the dates of the several species of manufacture is very defective, 
 and has been in a great measure obtained from the Chinese themselves, in whom deceit is 
 supposed to be a national virtue. The pure white porcelain of Fokien, which when heldtc 
 the light shows designs of flowers, fishes, &c, through it, is esteemed the oldest. The blue 
 pattern, on a white enamel ground, of Nankin, comes next in date. The sea-green oi 
 celadon coloured ware, crackled — i.e. with a glaze which by some means appears cracked in 
 prismatic forms, is stated to be manufactured at King-te-tehing, where at the present daj 
 the finest ware is still made. Several other modern manufactories are at work in China; 
 the most celebrated of which is situated near Canton, from whence the ordinary large jars 
 are exported to England. m 
 
 Amongst the most valued colours applied to Chinese ware may be named the imperial 
 yellow, so called from its being used by the emperor or his guests alone, and the 
 ruby, which is sometimes seen on the outer side of saucers and plates. The brown ware 
 with white medallions on it is in common use in China. The greater number of China 
 plates, jars, &c, now imported, poorly designed and coloured on a white ground, are 
 of very little artistic value. This is not the case with the better class of old china, 
 
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riicl 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case 
 
 Inch is characterised by very graceful contours, a fine tone of colouring, sometimes 
 owerful deep, and beautifully commingled, sometimes of a delicacy which has never been 
 quailed by Europeans ; and throughout all epochs there may be remarked a quaint 
 rotesqueness in the design of minor subjects, a variety and ingenuity of adaptation 
 •hich, if somewhat strange to us, evinces a peculiar power in which we are com- 
 arati'vely deficient. Many of the fine outlines of the bottles, vases, &c, are destroyed, 
 wing to the bad taste of the metal mountings in which they have unfortunately been set. 
 Some very choice specimens of China porcelain are to be seen in the contributions 
 f Her Majesty, J. 0. Fischer, Esq., S. Addington, Esq., 0. Coope, Esq., Lord 
 Eastings, and Messrs. Hewitt ; see Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 
 
 P 16. 
 
 1 Japanese porcelain bears much the same impress as that of China, but is of a better 
 escription in material, design, and colour. Good specimens are by no means common, 
 ouie small examples maybe seen of very delicate egg-shell paste, prettily ornamented, 
 jntributed by D. Davidson, Esq. Amongst other specimens may be noticed the open- 
 'orked cups, &c, the open work being filled up with a glaze so as to look transparent on 
 n opaque ground ; the lacquer bottles ornamented with inlay mother-of-pearl, &c. ; and 
 tie red unglazed pottery, of which numerous examples may be noticed in the section of 
 ae Case labelled "Japanese." 
 
 The only other examples of Oriental Art which require notice, are a very beautiful 
 ase, mother-of-pearl inlay, with designs in precious stones, contributed by Ayshford 
 and'ford, Esq. ; some pieces of a very finely designed and coloured Persian ware, 
 ontributed by S. Addington, Esq., and Messrs. Minton, and two remarkable Siculo- 
 loorish vases contributed by Mr. E. Falkener, Esq., of London, probably of a very early 
 >eriod. 
 
 CASE E— South Side. 
 
 MAJOLICA WARE, &c. 
 
 The name Majolica has been applied to the Italian manufacture of coloured earthen- 
 rare of the 15th and 16th century, from a received tradition that it took its origin 
 ither from a' professed imitation of similar ware made in the island of Majorca, or 
 .y workmen from that island, employed in Italy ; but the only class of Italian pottery to 
 trhich such a derivation can justly be assigned, is that which consists of dark-brown 
 lesigns on a white ground, sometimes picked out with a few blue touches, the whole being 
 overed with a metallic reflex glaze, probably founded on Saracenic models made at 
 Majorca. The great mass of other examples, including ornamental designs and figure - 
 ubjects, may be laid claim to by the Italians as the result of their own genius, to which 
 he metallic reflex, whether gold, ruby, or mother-of-pearl, is a mere accessory, and one 
 fhich as the power of the artist gained strength in design and execution was probably 
 ;iven up as an unworthy method of arresting attention, or from a feeling that it actually 
 nterfered with the true artistic worth of the subject. Perhaps at uo period in the history 
 if this art has so great a variety of style, so much real genius, and such a perception of 
 rhat constitutes real artistic value, been exhibited within so short a space of time ; and 
 he study of this manufacture, from the great number of subjects represented by it, 
 lomestic, historical, mythological, and sacred, serves as a most interesting and valuable 
 :ommentary on Italian life in the 16th century. 
 
 The earliest examples of Majolica — termed " Hispano-Moorish. " from the supposition 
 hat they were originally executed by Moorish artists in Spain — consist, as before 
 )bserved, of dark-brown ornamental patterns on a white ground, the whole covered with 
 i glaze which adds a great charm to the design, according as the light falls on the pattern, 
 >y giving to it various metallic lustres, from the richest deep brown to the most delicate 
 imber. This class of earthenware, if properly illustrated, might form a series extending 
 lown to the last century, the latest being the smaller examples nearly covered with leaf 
 tnd bird patterns covered with copper reflex glaze. The earliest remarkable for the 
 
 [145] L 
 
MUSEUM OF ORNAMENTAL ART. SOUTH SIDE— Cask E. 
 
 delicacy of the design and glaze, belong to the second half of the 15th century. Good ! 
 examples of several classes of this ware are to be found in the contributions of Lord i 
 Hastings, in case Q. in the north aisle, and 8. Addington, Esq. in case E. No. 1. The i 
 earliestfigure-subjects are to be seen on the large dishes, with broadly ornamented borders i 
 and a central portrait on a white ground ; few colours are used, chiefly blue and yellow, | 
 and they are covered with a metallic glaze. The best of these were made at Pesaro in : 
 Central Italy, from about 1480 to early in the 10th century. See Nos. 2 and 3. Good 
 examples may be seen in the contributions of Lord Hastings, and J. Mayer, Esq. 
 
 Love pieces ("amatorii") of a somewhat later period are also very common, with the I 
 portrait of the ladies to whom they were to be presented on them, and inscriptions such I 
 as "Pulisena bella " (The beautiful Polixena), or "Cecilia di Georgio" (George's 
 Cecilia), " Daniella diva" (The divine Daniela), &c. See Nos. 4 and 5. 
 
 From the first quarter of the 1 6th century onwards, rapid strides were made in | 
 manipulation and design, and under the patronage of the princely families of Montefeltrtf 
 and Delia Rovere, the duchy of Urbino and neighbouring states and cities produced a suc- 
 cession of remarkable works up to its close. These are distinguished by the excellence of 
 their glaze, design, and colouring ; and it is from the fact of many works of this period 
 having been copied from Raffaelle's paintings or designs, that the name of Raffaelle ware" 
 has been given to them, it having been originally thought that Raffaelle himself painted 
 them. The principal seats of manufacture at this period were (jubbio, Faenza, Pesaro, 
 Castel Durante, Citta di Castello, Rimini, Forli, Bologna, Castel Deruta, Ferrara, &c. FoU 
 examples of this class, see Nos. 6, 7, 8, 9, 10, II, and 12. 
 
 During the 17th century the art declined; grotesques, " cnpriccii," and land- 
 scapes came into vogue ; see Nos. 13, 14, 15. 16, and 17 ; the figure-subjects are carelessly" 
 drawn and coloured ; the art, after its rapid deterioration in Central Italy, died away 
 in the comparatively rough and common-place productions of Naples, Venice, Siena,) 
 Montelupo, and Savona. 
 
 The best artists employed in this manufacture as draughtsmen, designers, and; 
 painters, were Timoteo delle Vita, of Urbino, and Georgio Andreoli (Maestro Georgio),; 
 of Gubbio, at the close of the 15th and first part of the 16th century ; for good specimens 
 of this master, see Nos. 18, 19, and 20— the last-named being celebrated for the fine 
 ruby metallic glaze which he applied to the manufacture ; Viucenzo, his son (Maestro 
 Ceneio) ; Francesco Xanto (Rovigese), of Urbino, 1530—1540 ; Battista Franco, 154ft 
 — 1561,' a pupil of Michael Angelo ; Orazio Fontana, 1540—1560; Raffaelle dal Coile,, 
 designer', a pupil of Raffaelle, circa 15*i3; Piecolpasso, of Castel Durante, circa 1550; 
 Flaminio Fontana, Guido Selvaggio, Guido Durantino, and the Patauazzi, of the second 
 half ol the 16th and commencement of the 17th century. 
 
 The finest examples of earthenware manufacture, perhaps ever executed, are to be seen 
 in the ewer and candlestick contributed by Sir A. Rothschild, No. 21. This style of ware, 
 known as thatof Henri II., or Diana of Poitiers, presents remarkable and unique features, 
 both as to the method of its execution and its design. The material is a fine white pipe- 
 clay, on which the ornamental pattern was incised, filled up with coloured pastes, and then 
 thinly varnished over ; the style is that of the Renaissance, very delicately designed and 
 executed, combined with much that is of Oriental character in the interlaced patterns, 
 which are probably founded on some of the damascened ornamental metal work so much 
 in vogue at the period ; the date of its manufacture appears to have ranged from about 
 the year 1520 to 1550, or somewhat later; examples of it are exceedingly scarce; and 
 appear to have proceeded from one artist alone, — not improbably one of the Italianf 
 who came over to the Court of Francis I ; it has been suggested that they are the work 
 of Gholamo della Bobbin (nephew of the celebrated Luca, the sculptor aud worker iu tern; 
 ootta), who was iu France about the above period. 
 
 The Paliesy ware, of which there are a few examples in this Case, No. 22, anc 
 some of the finest description in the Soulages Collection on the north aisle, takes its name 
 from its inventor, Bernard Palissy (b. 1510, d. 15S9), whose romantic history, genius, 
 untiring perseverance, and troubled life, have been favourite themes with writers on Art 
 The mobt characteristic of his works are those he called "rustic pieces,"' which an 
 ornamented with fieh, lizards, shells, leaves, &c, coloured in relief, the models of whiol 
 
 [146] 
 

MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case E. 
 
 he collected from the neighbourhood of Paris, where he was principally employed. 
 Although the colouring of these works is somewhat peculiar, they evince an artist of 
 the highest perceptive power and educated taste, both in composition and modelling. 
 
 Besides these he made vases, dishes, writing-stands, salt-cellars, and other objects for 
 domestic use, founded in design on the Italian style of the day, combined with great 
 originality of treatment and a love of natural models. Some of the borders of his plates 
 in this style are exquisitely composed in open work of daisies and other common flowers ; 
 in this class of work are to be observed figures also in relief, very artistically modelled. 
 Of his large figures (for which also he was celebrated) made as garden ornaments, 
 fountains, &c, few now are known to exist. A small specimen of this kind may be seen 
 in the Soulages Collection, No. 145, aDd one in this case, No. 22 a. 
 
 About the year 1565 a manufactory of Majolica was established at Nevers, under 
 ihe superintendence of Italian artists, which produced some fine pieces characterised by a 
 deep blue ground, on which are formed very well designed flowers, &c, in white ; it 
 declined unfortunately during the wars of the League in the 17th century, at the latter 
 part of which period Rouen became famous for its enamelled pottery. 
 
 As regards the peculiar stoneware known as Delft, although manufactured at that 
 city, it was made also in other Flemish towns and in the Rhenish provinces very largely 
 for exportation ; and was common both in France and England. Some of the earliest 
 Specimens of German ware may perhaps belong to the last part of the 15th century, but 
 of Delft the greater number at present existing are of the 16th and 17th centuries ; they 
 are characterised by great picturesqueness and quaintness of design, and have always been 
 favourite subjects with the Flemish painters, as accessories in their pictures. There are 
 three distinct kinds : the drinking-cups of one colour, in German stoneware, ornamented 
 with flowing foliage, figures, &c, good examples of which are contributed by Mr. Pfister, and 
 Messrs. Minton— see No. 23; the stoneware of Holland, known as Delft, or Gres de Flandres, 
 with stamped armorial devices, figures, &c, white on a blue or claret ground, covered 
 with a greenish enamel glaze, of the second half of the 16th and of the 17th century, of 
 which interesting specimens are to be seen amongst the contributions of R. Napier, Esq., 
 Lord Hastings, 0. Coope, Esq., Smith Barry, Esq., and the Honourable A. Willoughby— 
 see No. 24 ; and the coloured German or Franconian ware of the 17th century, of which 
 the Apostle jugs, contributed by H. G. Bohn, Esq., and R. Goff, Esq., are examples— see 
 No. 25. Other varieties of German earthenware may be seen in the brown mottled jugs, 
 with figures, &c, stamped on them, to be seen amongst the contributions of P. H. Howard, 
 Esq., W. Stirling, Esq., M.P., Lord de Tabley. The mottled brown jugs manufactured 
 in the Rhenish provinces, with a bearded mask below the spout, were commonly used in 
 England, and were called " Greybeards, " or "Bellarinines," from the flowing beard of 
 Cardinal Bellarmine. 
 
 The earlier specimens of English ornamental stoneware were modelled after Flemish 
 and German models in the 16th or 17th century ; but the principal manufacture 
 dates from the settlement of the brothers Elers from Nuremberg at BradwelL near 
 Burslem, in Staffordshire, in 1690, from which period to the present day the manufacture 
 has been extended and continually at work in various parts of the country. Interesting 
 examples of English pottery from Staffordshire, Norfolk, Liverpool, &c, are to be seen in 
 the contributions of J. Mills, Esq., J. Mayer, Esq., C. Bradbury, Esq., Messrs. Minton, and 
 the Trustees of the Norwich Museum. The earliest example of printing on earthen ware ap- 
 pears to have been executed by Mr. Carver at Liverpool, about the year 1776 ; see wall case C. 
 
 The most remarkable name in the whole history of ceramic art in England is 
 decidedly that of Wedgwood, bom at Burslem 1730, died 1795. An inspection of the 
 collection of his works now exhibited will serve better than words can, to explain how 
 varied in character and manufacture, how beautifully designed and executed they were, 
 and this was chiefly due to his intelligence in employing the best workmen to be obtained, 
 and the best designers, amongst whom the name of Flaxman stands pre-eminent. The 
 principal contributions to this beautiful section of ceramic art, arranged in wall case C, are 
 sent by Messrs. Addington, Davis, Apsley Pellatt, Bradbury, and Smith. 
 
 Amongst the curious pieces of English pottery of the 16th century and later, 
 contributed by J. Mills, Esq., C. Bradbury, and others, may be seen some rough and 
 amusing imitations of the Majolica ware. 
 
 [147] L 2 
 
MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Casbs F akd G. 
 
 CASES F and G— South Side. 
 
 THE GOLDSMITHS' AET AND METAL WORK. 
 
 Under this head will be included of necessity many subjects which exhibit a combination 
 of the lapidary's art, jewellery, niello, enamel, and other accessories with which the art 
 as practised of old was intimately connected : nor indeed should works in the baser 
 metals be excluded ; for the goldsmith of the Mediaeval and Renaissance periods considered 
 all of them to be within the legitimate range of his vocation. 
 
 Vases, bowls, ewers, &c. were cut out of sardonyx, rock crystal, agate, and other precious 
 materials, and placed in the hands of the goldsmith to be set ; many of these works are of 
 the greatest beauty, not only from the ability and artistic power exhibited by the 
 lapidary, but from the excellence and fine design of the mounts in which they are set. 
 
 The application of niello as an ornamental accessory to works in gold and silver was of 
 frequent occurrence during the 14th and 15th centuries ; but early in the 16th appears to 
 have been transferred to works in steel, as Benvenuto Cellini complains that in the year 
 1515, the art was quite abandoned by the Florentine goldsmiths. Niello or nigellum is 
 an amalgamation of metal, rendered black by means of sulphur, and laid as a powder in 
 the incised design, then melted and fixed by fusion, and polished. The art of engraving 
 received its first impulse from experiments made by Finiguerra, a Florentine goldsmith, 
 on metal plates prepared for this process. 
 
 Concerning the application of enamel to ornamental art we have already spoken ; during 
 the 14th and 15th centuries it was much in vogue, and is to be found on most of the 
 finest relics of the goldsmith's art of that period. 
 
 Damascening, which formed another important aid in ornamental metal work, consists 
 in forming patterns of one metal inlaid on another, as silver on gold, gold on steel, &c. ; 
 this method of heightening the decorative effect of metal work is of the greatest value, and 
 has been extensively practised from time immemorial in the East, from whence (Damascus), 
 as its name denotes, it was introduced into Europe ; Venice and Milan in the 16th century 
 were particularly famed for their works of this description ; it was especially affected for 
 ornamenting arms and armour. Amongst the best artists of this period should be noticed 
 Paolo Azzimino of Venice, Filippo Negroli, Antonio Biancardi, Bernardo Civo, the Piccinini 
 and Romero of Milan, all celebrated armourers, some of whose exquisite damascened works 
 may probably yet be discovered in the Meyrick Collection of armour. Paolo Rizzo of 
 Venice and Carlo Sovico of Milan were famed as goldsmiths and damasceners, whilst 
 Caradosso of Milan was the Cellini of Lombardy. Nor indeed should Benvenuto Cellini 
 himself (1500-1561) be forgotten, to whom is ascribed the splendid shield contributed by 
 Her Majesty ; examples of damascening in relief are also not unfrequent and have a 
 very rich effect. 
 
 At no period was metal-work carried to greater perfection in all its branches than 
 during the 14th and 15th centuries, of which splendid examples are to be seen in some of 
 the College plate and in the magnificent crozier of William of Wykeham (circa 1386), 
 placed in case A. To such an extravagant extent was the desire for works in the 
 precious metals carried, that several Royal collections of this century are stated to have 
 been of incalculable value. During the 15th century the same luxury prevailed, and the 
 same style of Art is continued somewhat more ornamental and modified by the changes in 
 architectural design ; the picture by Mabuse in the gallery of the old Masters (Saloon A), 
 represents fine specimens of the goldsmith's art at this period ; and the crozier of Bishop 
 Fox contributed by Corpus Christi College, Oxford, is a splendid illustration of goldsmith's 
 work about the close of the 15th or beginning of the 16th century. 
 
 Shortly after this period, the Renaissance style, which had for some time previous been 
 established in Italy, extended to Germany, Spain, France, and England, and what may 
 almost be termed the style of Cellini became paramount. Italy was the principal source 
 from whence works in the precious metals were obtained, and boasts at this epoch a great 
 number of remarkable artists. In the 16th and 17th centuries France, Spain, and 
 Germany, especially, produced excellent artists, amongst whom Briot, the Jamnitzers, 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case H. 
 
 3Qber, Balin, and Delavny were pre-eminent, by them the art was preserved in excellent 
 ;aste and brought to great perfection. During the 18th century, in spite of such able 
 irtists as Falz, Thelot, and Dinlinger, this art, in common with all others, declined ; the 
 work was less careful, and the style became affected, until it lost itself in the contorted, 
 twisted, and meaningless caprices of the Louis XV. and XVI. epochs. 
 
 The best examples of the Medieval period are to be seen in the contributions of Oxford 
 and Cambridge Universities, Oscott College, King's Lynn, Norfolk ; Cardinal Wiseman, 
 Mr. Beresford Hope, the Rev. W. Sneyd, the Rev. Dr. Rock, Mr. Arnold, Mr. Fairer, 
 and others. Of the Renaissance, in those of Her Majesty, the various Municipal autho- 
 rities, Earl Cadogan, Mr. Mainwaring, Lord de Tabley, General Lygon, Mr. Brunei, 
 and many others, by whose liberality the respective changes of style may be traced to the 
 '17th century. See Nos. 1 to 24, inclusive. 
 
 There are few more interesting or beautiful specimens of metal-work than those con- 
 tributed by Mr. Falkener and Mr. Rhode Hawkins, Case F, which illustrate a period and 
 a style as yet but very insufficiently known ; a great number are Arabian, chiefly of the 
 Mediseval period, and are probably the models on which much of the Venetian and German 
 metal-work of the 15th and 16th centuries was founded. (See No. 25.) 
 
 From the 12th and 13th centuries Damascus and Moussul appear to have been the 
 •principal seats of this very beautiful damascened metal-work ; the examples of which in 
 the Museum are not only of exquisite beauty, as regards their ornament and workman- 
 ship, but are also excellent in form. Salvers, &c, of Italian workmanship, contributed 
 ■by Mr. Hawkins and others, are placed side by side with some of them, to illustrate the 
 ■resemblance between the European copy and the Oriental model. 
 
 CASE H— South Side. 
 
 SCULPTURE IN BRONZE, TERRA COTTA, &c. 
 
 Sculpture earlier than any other art advanced in the path which a love of nature and 
 an appreciation for antique remains suggested to Italian artists in the 15th century, and 
 bronze, especially, was the material in which the sculptors of that period delighted to carry 
 out their ideas. Amongst the great variety of subjects produced by them, statuettes 
 form an important feature, and became in the course of the 16th century a regular branch 
 of trade. Jacopo della Quercia, Ghiberti, Donatel'o, Luca della Robbia, Vecchietta, 
 Verocchio, Pollaiuolo, Filarete, and others produced the most beautiful works of Art in 
 this material, that Europe could boast since the Augustine age of Rome. Of this 
 period a few examples are to be found in the present Collection, contributed by Baron 
 Marochetti, Lord Elcho, Earl Cadogan, and F. Pulszky, Esq. See Nos. 1, 2, and 3. 
 
 In the 16th century bronze was even in greater vogue, and examples of almost every 
 subject to which the art of casting could be applied, are to be found throughout Europe ; 
 the greatest sculptors of the day, with some notable exceptions, used it for large as well as 
 - small subjects. Cellini, to whom Europe is indebted for one of its noblest works in 
 bronze, was the Dsedalus of the age, and Torrigiano, who cast the moumental bronze statue 
 of Henry VII. at Westminster, before coming to England made bronze statuettes according 
 to Vasari, for "certain Florentine merchants" to sell. Jacopo Sansovino, John of 
 Bologna, Riccio (Briosco), the Leopardi, Leone Leoni, Tacca, Francavilla, Mocchi, and 
 a long line of able artists, applied their best energies to casting in bronze. In the 17 th and 
 18th centuries the art gradually declined; some good examples of 17th century work are 
 contributed by Her Majesty, in the alti-rilievi of the Seasons, by Soldani of Florence (1715), 
 (in the North aisle), and by Mr. Addington and Mr. Pilleau. Amongst the most remark- 
 able examples in the present Collection should be noticed contributions by Earl Cadogan, 
 Mr. Cheney, Lord de Tabley, Mr. Field, the Duke of Buccleuch, and Mr. Norton. 
 
 Terra cotta or burnt clay was one of the materials, which, probably on account of its 
 fragility, found less favour with the Renaissance sculptors. Donatello however worked 
 in it, and the name of one of the great sculptors of Italy is inseparably connected with it, 
 Luca della Robbia (1400—1480). Anxious to give durability and colour to this 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH bids-Cases H and Z. 
 
 material and to work in the quickest method, Luca turned his attention to the 
 discovery of some process by which he might obtain his aim ; in this he perfectly succeeded 
 and invented the celebrated ware which lias received his name— clay moulded, burnt, and 
 covered with a fine opaque enamel, very hard and not liable to crack. For monumental 
 and architectural purposes his works were in great request ; and most of those examples 
 which exist out of Italy, are only portions taken from works of that description. The 
 earliest specimens are simply covered with white enamel ; he gradually employed colour in 
 his subjects, and this peculiar method, continued after his death by his relatives, who 
 retained the knowledge of his process, came to be completely in colour. Girolamo della 
 Robbia, who died in France, where he was employed to execute some works for Francis I J 
 was the last who executed this kind of ware, which has been lately revived, with much 
 success, by Messrs. Minton. 
 
 For examples of Delia Robbia's style and other works in terra cotta see the 
 contributions of Mr. Joseph, Mr. Jortin, Mr. Redfern, the Rev. Dr. Wellesley, 
 and the Rev. Mr. Brackenridge. Mr. Arnold's and Mr. Grundy's statuettes by 
 Clodion, Nos. 17, 18, 19, and 20, are good illustrations of art in the 18th century. 
 
 In the 16th century the German artists applied themselves to the carving of small 
 subjects of a very marked character, sharp, angular, minute, and truthful ; the principal 
 names are those of Krug (tl535), Flotner (fl546), and Teschler (1546), principally at 
 Nuremberg and Augsburg ; and of less frequent occurrence, Albert Durer, Lucas Kranach, 
 Schauffin and Briigemann. They had numerous pupils ; and this peculiar species of Art 
 was continued during the 16th and 17th centuries, rich in ornamental works for domestie 
 use and exquisitely carved medallions, of which those on stone are mostly from Nuremberg, 
 those on wood from Augsburg. Several authentic and most beautiful subjects on stone by 
 Albert Durer are still preserved. 
 
 For examples of this class, see the contributions of Mr. MacManus, Mr. Field, 
 Mr. Howard, Lord Delamere, and Mr. Napier, Nos. 4, 5, 6, 7, and 8. 
 
 Examples of another class executed by Italian or Flemish artists principally of the 16th 
 17th and 18th centuries, are to be seen in the wood carvings and boxwood statuettes, &c, 
 contributed by Mr. Field, Mr. Goff, the Rev. Mr. Brackenridge, Mr. Norton, and Mr. 
 Napier. Nos. 9, 10, 11, 12, 13, 14, 15, and 16. 
 
 WALL CASE H— South Side, and CASE Z— Transspi. 
 
 MEDALLIONS AND GLYPTICS. 
 
 It would not be just to leave out of our list the artists who distinguished themselves tk 
 medallists in Italy during the 15th and 16th centuries, and their followers in France, 
 Germany, and Holland. 
 
 Many of these bronze medallions are deserving of attention, not only from the 
 information on contemporary events they afford, but from the fact of their being works of 
 the very highest style of Art ; boldly executed, simple, and thoroughly natural, they afford 
 the most characteristic portraits of the time. The early medallions are all cast in a mould 
 and most frequently finished with the chisel afterwards ; it would be well to compare 
 their artistic merit with the work of modern days, which are all struck with a die. 
 One of the earliest examples in the Soulages Collection, which contains beautiful specimens, 
 is dated 1446. The principal medallists, amongst whom are to be found the names of 
 painters, goldsmiths, and architects, were Vittore Pisano (Pisanello), painter, of Verona, 
 between 1429-1449; his pupil Pasti of Verona, Marescotto of Ferrara, Boldu, a Venetian 
 painter ; Camelio of Venice, Sperandio of Mantua, Petricini of Florence, Guacioloto 
 and Cavino of Padua, in the 15th century; Cellini, Leoni, da Trezzo, de Rossi, 
 the Poggini, Bonzogna and Galeotti, in the 16th century. In this and the following 
 century Germany and France also produced medallists of great merit, Hieronymus 
 Magdeburger, and Reitz of Leipsig, the Malers of Nuremberg, Miiller of Augsburg, 
 Gladehals of Berlin, Pezold of Nuremberg ; Van Vianen, Van Holland, and Conrad 
 Bloc, (Flemings); A. Simon of England ; the celebrated Briot, Hamerani (Italian), and the 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH S[DE-Case L 
 
 Dupres, of Paris. Very fine specimens of many of these artists, especially of the Italian 
 school, are to be seen in the contributions of the Rev. Dr. Wellesley, Stonyhurst College, 
 and Dr. Harrison. 
 
 Amongst the early Italian medals, observe the very life-like portraits of Ludovico de 
 Gonzaga, "capitaneo armigerorum," by Pisanello of Verona (No. 1). Another fine 
 example of the same artist (No. 2). Nicolo Piccinini, the great condottiere. 
 (No. 3). Sigismundo Pandulfo di Malatesta, of Rimini, dated 1446, and his celebrated 
 conjux, Isota, by Matheus de Pasti, 1446. A fine head of Borso d'Este, "opus Jacobis 
 Lugagnolo," 1460 (No. 4). Federigo d'Urbino, by Sperandio of Mantua, about the year 
 1460 (No.'5). Francesco Sforza, by Pisanello, dated 1448, King Alfonzo (No. 7). The 
 fine bust of Lorenzo de' Medici (no name or date, No. 8). The celebrated Paulus Jovius, 
 Bishop of Nocera, 1552. Lorenzo de' Medici, small but very fine (No. 14). Francesco 
 Sforza, 1456, by Jo. Fr. Erzolo of Parma (No. 9). Andreas Crispus (Briosco) of Padua, 
 the artist of the fine candelabrum in the cathedral of St. Anthony (No. 10). Of the 
 French medals remark by Dupre— the Chancellor Sillery, dated 1615 ; the great repousse 
 medal of Henry of Navarre and Maria Augusta, dated 1602 (Nos. 11, 12). The gold 
 medallion of Maximilian is perhaps one of the finest specimens of gold chasing in 
 the collection (No. 1-3). The Stonyhurst contribution contains also fine examples 
 of the early Italian school, and brings us down also to the seventeenth and eighteenth 
 centuries ; amongst them are to be noticed ahead of Howard, Cardinal de Norfolke (No. 15). 
 Cardinal Richelieu (No. 16). Philip of Spain, "et Anglise rex," 1556, (No. 17). The brothers 
 John and Cornelius de Witt (No. 18). Philip V. of Spain, gold, by Velani, and great 
 gold medal of Innocent XII. (No. 20). In the next section are medals of Erasmus (No. 21). 
 Mary of England (N T o. 22). Charles III. of Spain (No. 23). And Washington (No. 24). 
 Beyond these are some fine medallions, succeeded by a very interesting series of the 
 English coinage from the Anglo-Saxon period to the present day, contributed by Dr. Har- 
 rison, of Manchester. 
 
 The carving of gems and precious stones has been practised from the earliest period of 
 antiquity. Those incised are called "intaglios;" those which are raised, "cameos ;" the 
 ancient Greek works of both these classes are of pre-eminent beauty. In the loth century 
 the art, which before then had been almost lost, was revived with great success. Amongst 
 the earlier artists should be named Giovanni "delle Carniole" (of the cornelians), Domenico 
 "de' Camei" (of the cameos), and Caralosso, the Milanese goldsmith. In the 16th century 
 shells were first used for cameos, which, up to that time, had always been of precious 
 stone ; and a great number of artists in Italy distinguished themselves in all classes of 
 the glyptic art. During the 17th century the art declined ; but at the close of the 18th, 
 Joseph Pichler produced beautiful examples, of so fine a character that many might be 
 mistaken for antique. The well known gems collected by Prince Poniatowsky, which for 
 some time were regarded as antique, were executed principally by Roman artists in the 
 present century. As works of modern art they are still very interesting, and are finely 
 executed. 
 
 In the present Collection some very beautiful gems should be noticed, contributed 
 by the Hon. Ashley Ponsonby, Mr. Pulszky, and Mr. Phillips. The fine collection of Mr. 
 Mayer, of Liverpool, exhibits also splendid specimens of the Antique and Renaissance 
 periods. See Case Z, near the Transept, North side. 
 
 CASE I— South Side, and WALL CASE I. 
 
 CARTINGS IN IVORY, &c. 
 
 The contents of this Section deserve particular notice, inasmuch as there is certainly 
 no other branch of Art which can to an equal degree afford us a knowledge of the different 
 styles of successive epochs, of the guiding spirit, dominant ideas, customs, and manners 
 of past ages, from the commencement of the Christian era down to the 17th century ; 
 and more" especially that portion of it which is included between the 4th and 16th 
 centuries. 
 
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MUSEUM OF ORNAMENTAL ART. . SOUTH SIDE-Oase I. 
 
 The styles of art exhibited in these subjects are of primary iinportan«e, and may be 
 divided into four well-defined groups : — 
 
 1st. The late Roman ; extending from shortly after the commencement of the 
 Christian era to the end of the 4th century ; during which period is to be 
 remarked a continual decline, both in design and execution, from older models 
 of a good class. 
 
 2nd. The Byzantine ; in which the same model is in a great measure the basis for 
 additional ornament of an Oriental character ; monotonous, stiff, unnatural, 
 and destitute of original thought, yet not without a certain dignity at times, 
 although generally overloaded with ornament. This period extends from the 
 5th to the 12th and 13th centuries. 
 
 3rd. The Medieval, extending from the 13th to the close of the 15th century ; 
 characterised by a return to natural models, a certain amount of original 
 ideas, an intelligent use of ornamental accessories, and great excellence of 
 manipulation. 
 
 4th. The Renaissance, distinguished, at its best period, by a complete return to 
 natural and antique models of the best class, beautifully executed, and at 
 times richly ornamented ; extending in Italy from the first half of the 15th 
 century to the close of the 17th ; commencing in other countries nearly a 
 hundred years later, and then joining in one general style, continually 
 increasing in affectation and want of refined taste, until it may be said to 
 have died out at the close of the 18th century. 
 
 Other important and numerous subdivisions of style existed throughout the periods 
 above named, which may be studied also in some degree from the examples here 
 collected ; the most important being that which was practised in Western Europe, simul- 
 taneously with the Byzantine style ; characterised by shorter, heavier figures, rougher ) 
 ornament, a rude imitation at times of antique Roman models, combined with an attempt 
 to express in some degree a feeling for Nature. 
 
 The subjects generally represented in these successive epochs were : — 
 1st Period. Those which relate to national, civic, or domestic life ; the most common I 
 being souvenirs of the annual change of consular magistrates, of which a very 
 fine example is to be seen in the diptych or folding tablets which belonged to 
 the Consul Clementinus, a.d. 513, now in Mr. Mayer's Collection. These 
 were frequently presented to the consuls by friends or clients. Of mytho- 
 logical or votive tablets very few examples remain ; the most remarkable is 
 that representing Esculapius and Hygeia as the god and goddess of Health ; 
 a very fine work of art of the 2nd century, which will serve as an excellent 
 starting-point from which to go over the entire Collection ; this also belongs 
 to Mr. Mayer, and formed part of the celebrated Fejervary Collection. See 
 Nos. 1 and 2. 
 2nd Period. Religious subjects, with few exceptions taken from the Old and New 
 Testament ; saints and saintly legends, or a few representations of important 
 events connected with the ceremonies of the Church. Almost all that remains ! 
 of this period relates to subjects of a devotional character. For good examples 
 Bee Christ Enthroned (Mayer Collection), a Byzantine drinking-cup (Mayer 
 Collection), two portions of a coffer probably of the 11th century (Col. 
 Meyrick, formerly the Douce Collection). Nos. 3, 4, 5, and also Nos. 6, 7, ' 
 8, 9, and 10. 
 3rd Period. Religious subjects of every possible kind, and on every article of eccle- 
 siastical, military, or domestic use, but from the close of the 13th century 
 onwards, there is also an increasing love of secular subjects ; and many of the 
 most interesting and finely executed works illustrate the science, romances, 
 and poems of the time, and even the fables of antiquity. For fine examples 
 of this period, see the contributions of the Rev. W. Sneyd, Mr. Field, Mr. I 
 Goff, Mr. Falcke, Mr. Mayer (Fejervary Collection), Colonel Meyrick (Douce 
 Collection) No. 11. 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Case I. 
 
 4th Period. At the commencement, devotional subjects are pretty equally balanced 
 with romantic or military ones ; they gradually give way, however, to the 
 more frequent representation of the nude figure, imitations of the antique, 
 and a reproduction or adaptation of antique ornament as a primary feature en 
 all articles for domestic and general use. At the close of the 16th and during 
 the 17th century, ivory carvings are to be found of the most beautiful design 
 and execution, for fine examples of which see the contributions of Her 
 Majesty, the Earl of Cadogan, Mr. A- J. B. Beresford Hope, Mr. Field, 
 Mr. Goff, Lord Hastings, Mr. Phillips, and Mr. Dennys. (No. 12.) In the 
 18th century the subjects are very frequently mere reproductions in carving 
 of the most celebrated paintings of the day ; and even the etchings of Callot 
 are transformed into statuettes by the hand of the sculptor, as seen in two 
 examples in Mr. Napier's contribution. Nos. 13, 14, 15, and 16. 
 
 Amongst other remarkable productions of this period should also be 
 
 remarked the composite wood and ivory statuettes, greatly the vogue with 
 
 Spanish artists, with whom a love of coloured sculpture had never been 
 
 destroyed even during the reign of Italian taste in the 16th century, and 
 
 amongst some followers of the German school as well ; for specimens of this 
 
 class, see the statuette of a beggar contributed by Mr. C. Mills, and a monk 
 
 by Mr. P. H. Howard of Corby. Nos. 17 and 18. See also 19 and 20. 
 
 Colour and gilding were also as important in sculpture as the carving itself 
 
 during the Byzantine and Medieval periods ; and many traces of it may yet 
 
 be perceived on several examples in the Collection. 
 
 In most of these subjects the material employed is ivory ; but in the North of Europe 
 
 the tusk of the walrus or sea-horse was generally used. Chessmen carved out of this 
 
 material are not uncommon ; and fine examples of Scandinavian drinking or tenure 
 
 horns of this class are to be seen in our Collection. 
 
 The very curious pyx, or cup for containing the sacramental wine, contributed by the 
 Natural History Society of Newcastle, No. 21, is an interesting example of a class of sub- 
 jects apparently of Oriental workmanship, although ornamented with Christian symbols, 
 probably carved by Indians at some of the Portuguese or other European settlements, 
 as at Goa, for instance ; just as cocoa-nuts, &c, are still ornamented by Indians, New 
 Zealanders, &c, with the arms of Great Britain, the Union Jack, and other national 
 insignia, for the purpose of trading with our sailors. Of late years carving in ivory has 
 become again greatly in vogue, the finest specimens being made at Paris, Dieppe, Turin, 
 Dresden, &c. See No. 22. 
 
 Amongst the more remarkable artists who worked in ivory during the 17th and 18th 
 centuries, we would cite Francois de Quesnoy ''il Fiammingo" (1594- — 1644), who worked 
 chiefly at Kome. Cope, also surnamed Fiammingo ( + 1610). Leo Pronner of Nuremberg, 
 celebrated for his minute workmanship ( + 1630). Christof Harrich ( + 1630), noted for 
 his figures and heads of Death. Van Obstal of Antwerp ( + 1688). F. Van Bossiut of 
 Brussels ( + 1692). Balthr. Permoser ( + 1732), an artist of great excellence. Simon 
 Troger of Nuremberg ( + 1769), and Krabensberger, his pupil, used wood for draperies, &c, 
 after the Spanish manner. The Zincs of Nuremberg, ivory turners. Krueger and 
 Doebler, small grotesque figures for cane-heads, &c. The best ivory medallion carvers 
 were Raimond Faltz (+1703) ; Cavalier, of London (circa 1690); and Giovanni Pozzo. 
 Some few subjects of a particularly fine character have been ascribed throughout Europe 
 to Cellini and Michael Angelo ; but there is no reason for supposing that either of them 
 ever worked in ivory. 
 
 In Wall Case I. are placed several examples of ivory carving of the highest merit ; see 
 (No. 1) Adam and Eve, ascribed to Fiammingo, the property of H. Phillips, Esq., of 
 Cockspur Street ; and a Madonna and Child (No. 2), ascribed to Alonzo Cano, sontributed 
 by Miss Auldjo, of Kensington, set in a beautiful filagree frame of the 17th century. 
 Christ crucified (No. 3), lent by Mr. Dennys, of London, is a very fine piece of sculpture 
 of the 16th century. A remarkable relief of the same century, subject, the Judgment of 
 Paris (No. 4), contributed by Mr. Goff; a Good Shepherd (No. 5), belonging to Mr. Stitt, 
 
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MUSEUM OF ORNAMENTAL ART. SOUTH SIDE-Cabb J. 
 
 Wilson, of Norwicb, curiously quaint ; and other fine specimens of 17th and 18th oentury 
 work, contributed by Mr. Goff ; the cups, &c, belonging to Mr. A. Salomans, are excel- 
 lent examples of ivory cut by the lathe. In the corner, between the screen and the wall, 
 is placed the very fine and remarkable triptych, probably of the 14th century, belonging 
 to Mr. D, Falcke, of London. 
 
 CASE J— South Side. 
 
 ARMOUR AND ARMS. 
 
 This case and the compartment it occupies contains a great portion of the cele- 
 brated Collection formed by the late Sir Samuel Meyrick, so well known as one of the 
 first of our antiquaries who brought great perseverance, learning, and research to tear on 
 the history of armour and costume in this country. It is not exhibited as it stood at 
 Goodrich Court ; but has been re-arranged with the greatest care and attention by 
 J. R. Planche, Esq., Rouge Croix Pursuivant, who was intimately connected with Sir 
 Samuel in all his labours ; its presence at Manchester is due to the liberality of Colonel 
 Meyrick. 
 
 It is not in our province to enter into any details concerning the history of armour ; 
 but we venture to point out a few of the more salient points connected with the art which 
 was applied to it. Although weapons and objects used for equestrian purposes or the 
 chase had from the earliest times been more or less ornamented, yet it was not until the 
 15th century that armour was enriched with channelled flutings, was embossed and 
 engraved ; in the 16th century the use of ornamental armour increased to an extravagant 
 degree ; and from this period commences all that exquisite chased, damascened, and 
 engraved ornament of which so many beautiful examples are to be seen in this Collection. 
 Some of the finest specimens of minute sculpture in metal, are to be found in the armour 
 and arms of this period ; and entire suits of gold or silver bore witness to the genius and 
 taste of the artist. 
 
 Italy was the principal seat of this manufacture : Milan, Venice, and Augsburg in 
 Southern Germany, were the most famed cities for artists, amongst whom Michael Agnolo, 
 the master of Cellini, and Kollman of Augsburg, Negroli of Milan, the Piccinini, and 
 Romero, were of signal excellence. Leigeber of Nuremberg was especially noted for sword- 
 handles, &c, in the 17th century. 
 
 Amongst the most remarkable subjects as works of art in this Collection, may be 
 named the targets of Francis I. and Charles V. ; a steel embossed target, a. d. 1 568 ; 
 a breast-plate and morion, 1595 ; Italian and Spanish morions, 1560 ; Fluted cap-a-pie 
 suit of armour, A. d. 1495 ; a puffed and engraved suit, a. d. 1510 ; Genoese demi- 
 lancer's armour, 1535 ; a suit (equestrian figure) chased and engraved, a. d. 1560 ; the 
 embossed and inlaid suit of Alfonso Duke of Ferrara, 1568 ; and a cavalier's armour in 
 splints or folds formed on the principle of a lobster's shell, date 1560. 
 
 The numerous "chanfrons,'' or head-coverings for horses, horse-muzzles, stirrups, 
 saddle-plates, powder-flasks, swords, pistols and guns inlaid, engraved, embossed, and 
 otherwise richly ornamented also deserve very careful inspection, as amongst them may- 
 be seen some of the most beautiful examples of Art on a minute scale, during the 15tb, 
 16th, and 17th centuries. 
 
 The two corresponding compartments on the other side of the great centre aisle, and 
 the bays in which they stand, are devoted to the contributions of armour and arms 
 contributed by Her Majesty, the War Department, Lord Ashburnham, the Earl of 
 Warwick, Lord de L'Isle and Dudley, Lord Hastings, the Earl of Cadogan, Sir H. Dymoke, 
 Mr. Magniac, Mr. S. Pratt, and Mr. Bradbury. From the Tower should especially be 
 noticed the armour of a Maltese knight (time of Elizabeth) ; a suit of German armour 
 (time of Henry VIII.) ; two beautifully embossed casques, Italian, 16th century ; a 
 splendidly embossed gorget, 16th century ; the fine targets, especially that of Charles 
 the Bold ; and many other excellent examples of ornamental art in weapons of every 
 description. From Windsor Castle, the suits of Prince Henry and Prince Charles : the- 
 
 [l-'l 
 
. 
 
MUSEUM OF ORNAMENTAL ART. 
 
 Cellini shield ; the swords of Phillip of Spain ; Charles VI. of Germany ; Elector of 
 Brandenbarg ; and one ascribed to Benvenuto Cellini. A Case containing Spanish guns, 
 pistols, and sword; a gun of Louis XIV. date 1682; and a richly embossed German gun ; 
 pistols by Lazzarino Comminazzo, a celebrated maker of the 17th century; pistols of 
 the time of Louis XIV., and German pistols ; a wheel-lock gun which belonged to the 
 Farnesi, date 1596 ; and a German rifle. It is indeed difficult to say what requires 
 most particular attention in so fine a collection of ornamental arms, where hardly a piece 
 but for one reason or other deserves to be individualised. 
 
 CHRONOLOGICAL NOTE, BY J. R. PLANCHE. 
 
 Of the military equipment of the Saxons and Normans, who in the year 1066 con- 
 tended on the coast of Sussex for the mastery of England, and of their immediate 
 descendants, a few corroded swords, blades, single spurs, and bosses of shields may be 
 said to be the only relics that have been handed down to us. Even the best authenticated 
 of these cannot be precisely dated, and if they could, would furnish us with but little useful 
 information. It is from the illuminations, rude as they are, in the MSS. of the 11th 
 century, and that most interesting and fruitful subject of antiquarian controversy, the 
 Bayeux Tapestry, that our imperfect knowledge of the armour and weapons of that period 
 must be drawn, confused more than assisted by the vague expressions to be picked here 
 and there out of the prose and poetry of contemporary Chronicles aud Romances. 
 
 Whether the " Gehringed Byrn" of the Anglo-Saxon was composed of metal annulets 
 forming a garment of themselves, as is darkly hinted by Bishop Aldhelm in his Enigma 
 "De Lorica," or stitched flatly on a tunic of quilted linen, cloth, leather, or other 
 material, remains still to be proven. An inference favourable to the latter hypothesis has 
 been drawn from the fact that not the smallest fragment of such a garment has yet been 
 discovered, as it is fairly presumed that the linen or leather having decayed, the rings 
 would drop off, be scattered, lost, or used for other purposes ; on the other hand, we may 
 actually be in possession of some ringed Byrn without knowing it, as it would be impos- 
 sible to give an exact date to many of the pieces of chain which are occasionally brought 
 to light. The same observations may apply to the early Norman Hauberk (Halbers), 
 which, judging from the pictorial representations of the period, was composed not only of 
 rings but small plates of various forms, and studs, and bosses, which must have required 
 the support of some other and flexible material. 
 
 It is not our purpose, however, to indulge in antiquarian speculation, but to explain 
 to the general public why the most ancient articles in this department of the Exhibition 
 are, with the exception of the British shields (Glass Case J) and a spur or two, 
 of a date considerably posterior to the Conquest. With the Hauberk of linked chain, 
 which in the course of the following century became the principal defensive body armour 
 of the Knight throughout Europe, was worn a large, cumbrous, cylindrical flat-topped 
 helmet (the Heaume of the Normans), with a transverse opening for the sight only, and 
 one of these has been kindly contributed for exhibition by the Earl of Warwick. No. 1, 
 North Side. It may be fairly attributed to the reign of John, a.d. 1199 — 1216, as the 
 seals of earlier date present us generally with helmets having an opening showing nearly 
 the whole of the face, which was apparently defended in time of action by plates of various 
 forms removable at pleasure. Lord Warwick's Heaume is, we believe, the only specimen 
 of its class as yet discovered. 
 
 Next to it in point of date, but certainly not inferior to it in interest, is the Heaume 
 with a grated vizor opening with a hinge, in the National Collection at the Tower of 
 London, which is of the kind visible on the Great Seals of Henry III., and others of that 
 period. It is not, however, unique, as we have every reason to consider the former, for 
 there is another specimen not quite so perfect in the Musee D'Artillerie at Paris. This 
 form continued to be used during the reign of Edward I., but towards the close of it the 
 crown of the Heaume became convex, and, finally, conical. To the Hauberk of chains, 
 ehausses (pantaloons) of the same material had been added in the 12th century, and to 
 both were now superadded protections of plate. Poleyns for the elbows, and genouilliers 
 
 [155] 
 
MUSEUM OF ORNAMENTAL ART. 
 
 for the knees, appear during the latter half of the 13th century ; and greaves or bain- 
 bergs for the legs are seen in painting and sculpture, and named in wills of that period 
 Mr. Samuel Pratt, of Bond Street, exhibits a pair of chausses of chain and plate mixed" 
 which have all the character of the time, and can scarcely be dated later than the com- 
 mencement of the reign of Edward III. Glass Case L. 
 
 Of the 14th century there are several unquestionable relics in this department : the 
 fine Heaume of Sir Richard Pembridge in the Meyrick Collection (No. 2, South Side), of 
 the same form as that of Edward the Black Prince at Canterbury, and a Bascinet which 
 from the bulging of the sides may be still earlier. No. 1, S. B. This latter head-piece 
 was the war-helmet of the 14th century, worn with or without a vizor, and attached to 
 it was a curtain of chain to protect the neck, called a camail. Over it, the vizor being 
 removed, was worn the ponderous Heaume, the crown of which had taken the conical form 
 necessary to fit the bascinet, and was surmounted by the torse or wreath of the wearer's 
 colours and his crest, which is never seen on the bascinet. 
 
 In the reiga of Richard II. a singularly-formed vizor was attached to the bascinet. A 
 fine specimen is exhibited here from the Meyrick Collection. No. 3, South Side. Varieties 
 of it, some beaked like a bird, are to be seen in sculpture and painting from that period 
 to the middle of the 15th century ; but the one before us may be fairly considered not 
 later than the reign of Henry IV. (1399—1411.) The reign of Henry V. is chiefly 
 remarkable as the era of complete plate, which during the 14th century had been 
 gradually superseding chain ; but we are still without authenticated portions of the body 
 armour of that date. Feathers were also first worn upon the apex of the bascinet about 
 the same period, that head-piece assuming occasionally a more classical form, resembling 
 the ancient Greek Helmet. One of this description is exhibited by Mr. S. Pratt. No. 3, 
 North Side. 
 
 With the reign of Henry VI. commences the series of complete suits in this Exhibition. 
 A very fine suit of this date, nearly perfect, is seen on the first equestrian figure on the 
 south side of the nave. The back and breast plate are of a most elegant form. The toes 
 of the steel shoes (sollerets) are sharply pointed ; a fashion, which towards the middle of 
 the 15th century was carried to the most extravagant length, as will be seen from a fine 
 example of the long-toed solleret exhibited by Mr. James of Aylesbury. Glass case L. 
 On the head of the figure is the successor of the bascinet, called the Salade, or Sallet, 
 from the Italian "Celata," the face being protected by a large chin-piece, called the 
 " Hause col." The sword and shield are of the same date, the latter having the opening 
 at the side, called the Bouche, for the passage of the lance. The shank of the spur at 
 this period was extremely long. Two suits of this period, with rondelles (exceedingly 
 rare), and very fine pointed sollerets, have been contributed from the Tower. Nos. 8 to 
 11, North Side. 
 
 Of this reign is the exquisite Ivory Cross Bow from Goodrich Court (centre glass case, 
 South Side), amongst the many figures carved on which, will be seen a St. George, whose 
 armour may be instructively compared with that of the equestrian figure just described. 
 The ivory saddle in the same collection is also of the 15th century. 
 
 Of the reign of Edward IV. there are no complete suits in this Exhibition. About this 
 time greater attention appears to have been paid to the defence of the knight in the 
 tournament. Additional pieces were invented to protect nearly every part of the body, 
 and fastened by screws over the ordinary suit. Fine examples of the tilting Helmet and 
 of the Casquetel of this period are in the Meyrick Collection, Nos. 4 and 5, South Side. 
 
 The Close Helmet, with vizor and bevor, also appear during this reign, and gradually 
 superseded the vizored bascinet, and the salade and hause col. The short reign of 
 Richard III. seems to have been only distinguished by the more elaborate ornamentation 
 of armour, particularly of the elbow and knee pieces, which display large fan-like termi- 
 nations ; but it would be difficult to assign positively any piece of armour to the period 
 within the three years of his domination, and the next great change must be attributed to 
 the accession of Henry VII., of whose reign pass-guards at the shoulders, fluted suits 
 with short waists and very globose breast-plates, sometimes, also, finely engraved, are 
 the principal characteristics. The spectator is referred to a very fine example from 
 Goodrich Court and to a most curious example of a variety of the globose breast- 
 
 [ 156 ] ' 
 

MUSEUM OF ORNAMENTAL ART. 
 
 plate in a suit from the Tower (No. 19, North Side), indicating a change that took 
 place in the succeeding reign. A large tilting helmet of the same date, sword, daggers, 
 and various weapons of the Halbard and Partizan class, are also to be found in this 
 department. 
 
 Indeed, from this time to the close of the 16th century, we are at no loss for specimens 
 of every species of armour used for the battle or the joust. The suits of Henry the YIII.'s 
 time are principally remarkable for the form of the breast-plate, which presents a salient 
 angle called the tepul, and of the solleret, which assumed a breadth at the toe as extrava- 
 gant as was the point in the previous century. In fact, armour appears generally to 
 have followed the fashion of the civil attire, and the square-toed shoes of this reign, the 
 puffed, slashed, and ribbed doublets, and the full, fluted skirts or bases of them, are all 
 to be seen imitated in steel. 
 
 A highly curious example of puffed, ribbed, or slashed armour, will be found in the 
 Meyrick Collection. A fine fluted equestrian suit of this time stands in its proper 
 chronological order in the Nave, and an equally fine example of the tilting armour of the 
 same period is exhibited in the Bay, as running a course with lance and vam-plate, and 
 all the appliances usual on such occasions. The horses are also covered with chamfront, 
 ininnifaire, &c. The tilting helmet appears to have been discontinued after this date. 
 
 Equestrian figures in the complete armour of the reigns of Queen Mary and Queen 
 Elizabeth follow in their due order in the Nave ; amongst them is the magnificent suit 
 which belonged apparently to an Elector of Bavaria, and an equally superb one exhibited 
 by Sir Henry Dymock, ornamented with a double E, surmounted by an Imperial Crown. 
 The horse armour belonging to this suit is still in the possession of Her Majesty, and has 
 been graciously sent for exhibition from Windsor, while a plate of the saddle is the 
 property of Colonel Meyrick. 
 
 One of the distinguishing features of the 16th century armour, is the gradual descent of 
 the angle of the tapul before mentioned, from the centre to the very bottom of the breast- 
 plate, till the point projects in a curved or beak-like form immediately over the waist- 
 belt. In the next century it entirely disappears. Another characteristic is the superb- 
 ornamentation which the revival of art on the Continent extended to the craft of the 
 armourer. The visitor's attention is especially directed to the exquisitively embossed 
 and engraved half-suits exhibited by Col. Meyrick, Mr. Magniac, and other contributors. 
 One from Goodrich Court, formerly belonging to the Duke of Ferrara (No. 30) ; another 
 from the same place, which from the badges upon it of joined hands, and of branches 
 encircled by a coronet, appertained to a member of the Manfredi family (No. 26). 
 
 An open head-piece called a Morion was very generally worn during the 16th century. 
 These were also elaborately engraved and embossed. An interesting series of them has 
 been arranged exhibiting all the principal varieties. 
 
 Of the time of James I., two of the most interesting suits, probably existing in this or any 
 other country, have been most graciously permitted by Her Majesty to be brought from 
 "Windsor Castle. The first was made for Henry Prince of Wales, the eldest son of 
 James I., whose early death was so universally lamented ; the other for his ill-starred 
 brother Prince Charles, afterwards Charles I. Prince Henry's suit is the identical one 
 in which he is painted in the well-known full-length portrait at Hampton Court. It is 
 profusely decorated with the royal badges of England, France, and Scotland. A right- 
 hand gauntlet was many years ago either lost or abstracted from it, and was eventually 
 purchased with some other odd pieces of armour by Sir Samuel Meyrick. Glass Case J. 
 
 The suit assigned to Prince Charles is of bright steel most elaborately engraved and gilt, 
 the ornament consisting entirely of naval deities and trophies. Both suits are furnished 
 with a complete set of pieces for tilting, extra helmets, and vam-plates for the lance, kc. t 
 and are in all probability two of the last full suits of ancient armour ever made in Europe. 
 Whether regarded as exquisite examples of the armourer's art, or as the undoubted personal 
 relics of two Princes whose untimely ends have excited so much sympathy, the interest 
 attached to these suits is exceedingly great, and our obligations to the illustrious per- 
 sonages who have permitted the removal of them to Manchester, must be proportionate. 
 
 The use of armour gradually decreased during the 1 7th century; the improvement in 
 fire-arms, perhaps, being the principal cause. Armour for the legs and feet was abandoned 
 
 '[157] 
 
MUSEUM O F ORNAMENTAL ART. SOUTH SIDE-Cases K and L. 
 
 im the reign of Charles I., and by the time William of Nassau landed at Torba7 
 little remained of the iron panoply of war beyond the breast and back plate 
 
 Specimens of the armour of the times of Charles I. and the Commonwealth will be found 
 in their proper order. Tbe iron-pot, the lobster-tailed casquetel, the cavalier's helmet 
 with the triple or single bars, and lastly, the gorget, No. 29, South Side which 
 dwindled down to the gilt toy worn by officers when on duty within our own recollection 
 
 The Exhibition is rich in varieties of every kind of weapon used in Europe from the 
 middle of the 15th century. The Genoese cross-bow, with the cumbrous machinerv 
 for bending it ; the English cross-bow, with its crow's-foot lever, and the eleeantlv 
 carved prod for deer-shooting will be found arranged in chronological order Also a fine 
 series of fire-arms from the fifteenth century to the pistol and dag of Preston Pans and 
 Culloden. The rest for the matchlock, the spanner for the wheel lock, the patron for 
 bullets and the touch-box for pruning powder, the plug-bayonet and the belt of bande- 
 liers, will assist in recalling the battle-fields of past centuries, from the fight of Flodden 
 to the passage of the Boyne. The fields of Towton, Bosworth, and Worcester have con 
 tnbuted their quota of swords, daggers, spears, &c. The mace, the martel-'de-fer the 
 battle-axe, the guisarme of the earlier baronial wars, will be seen beside the halberds 
 partizans, and langues de bceufs of the Electors of Saxony and the Do»es of Venice 
 
 The greatest care has been taken to display each separate collection in such a manner 
 astomstruct as well as to attract the eye of the visitor, and wherever it has been 
 found compatible with the pledges given to the Contributors, the strictest chronological 
 order has been observed, commencing at the eastern entrance to each Bay All modern 
 decoration has been dispensed with, that the visitor may plume the helmet and caparison 
 the war-steed by the force of his own imagination. J. r_ PLANCHE 
 
 CASES K— North Aislb (Near the Transept) 
 
 Contains a fine "collection of specimens of ancient goldsmiths' work, obtained chiefly 
 through the active co-operation of Messrs. Hunt & Roskell, of London. Amongst the 
 most remarkable subjects should be noticed, three pure gold dishes and cups (Nos 2, 3? 
 4) of the Duke of Devonshire. The Earl of Stamford and Warrington has some remark- 
 able pieces of the 17th century work in a toilet service and church-plat! ; and amongst 
 the pnvate contributions of Messrs. Hunt & Roskell, should be remarkk a se^ of 
 statuettes after Fiammingo in silver gilt, with date 1534, the originals probably of which 
 in ivory may be seen ,„ Case I; a large medallion plateau (No. 11), and a very fine examS 
 of a salver embossed and jewelled of the 16th or 17th century. The Pepys' cup (No ™3 
 contributed by the Worshipful Company of Clothworkers/serves to Est ate the sty e 
 of the 17th century (1677 a.d.) while the modern art is represented by a very prettUv 
 designed and finely executed ewer of Vechte's workmanship (No. 14). In P re ™7 
 
 GLASS CASE L. 
 Fronting the Nave, is arranged the Douce Collection of Ivories contributed by Col Meyrick 
 
 at d own to the V C ,°b Dta,n ? g ValUa i le 6XamijleS ° f the earliest Period'of Chrfs 2 
 art down to the 17th century, and particularly rich, moreover, in reliques of the 
 
 Medical epoch, wluch serve as most interesting illustrations of the poetiS lavs and 
 E^tT^ ** 6 t ; m V m ° DgStwbich 6hould be particularly notLd [those' of Sir 
 SSTSn ^ \TZ 1S ' ^ Com P te T (e Ve ^ and the illustration of the medical 
 fable (No. 1) that the unicorn could only be killed by means of a virgin, in whose lap 
 he would rest and allow the hunter to capture or slay him. No. 2, a diptych wS 
 statuette of the Virgin, is a fine example of early 13th century work, and the pl^M 
 t^ToVVe T tS - h0m ? e -u fC ° f ^ in C ° m Parents; Ko. 3 exhibit, important 
 ZIX »5 r ♦ ? and glldlDg S ° pl '°' USe]y em * ] °y ed iD M «»«™1 sculpture, and as 
 
 «SS.2rt° » ent ." » ™«y Points worthy also of Giovanni Pisano ; and valuable 
 examples of the Byzantine and Romanesque styles are here to be found. Amongst which 
 
 [158] 
 
- 
 
 It 
 In 
 •- 
 
 L 
 
 fa 
 
MUSEUM OF ORNAMENTAL ART. NORTH SIDE-Cases M, N, aad O. 
 
 the most important are a fine casket carved in bas relief (No. 4), and in the elaborately 
 trorked carving No. 5 ; other interesting specimens of the 16th and 17th century work 
 will also be found in the series. 
 
 CASES M, N, and O— North Side. 
 
 SOULAGES COLLECTION. 
 
 PURCHASED AND EXHIBITED BY THE MEMBERS OF THE EXECUTIVE COMMITTEE 
 OF THE EXHIBITION. 
 
 In the cases next in order, and returning towards the principal entrance, is arranged 
 the greater portion of the Soulages Collection. This fine collection was originally 
 got together by M. Soulages, an advocate of Toulouse, in the south of France, who, when 
 works of ornamental art were not appreciated to the extent they now are, visited Italy at 
 various times, and with much trouble and expense, aided by a fine artistic taste, obtained 
 a result of the most satisfactory kind. The value of such objects having increased to an 
 extraordinary degree of late years, M. Soulages resolved to sell his collection, and this 
 fact coming to the knowledge of some English gentlemen who took a deep interest in the 
 advancement of the arts in their native country, and who felt how backward we are in this 
 respect comparatively with France, Belgium, and Germany, they formed a guarantee fund, 
 and purchased it of M. Soulages, trusting that it might finally be bought for the nation by 
 a grant of public money. This hope was not however realised, and the whole collection 
 was to have been dispersed by public auction. Under these circumstances, the Executive 
 Committee of the Exhibition at Manchester, fully appreciating the importance of the 
 subject, especially in respect to the several arts and manufactures carried on in the Central 
 and Northern districts of England, determined that the only great European collection 
 of this kind ever likely to reach tbis country should be preserved in its integrity, and 
 purchased it of the guarantees, first of all, for the purposes of the present Exhibition, and 
 finally, as a grand nucleus for a permanent Museum. 
 
 The Majolica ware, bronzes, furniture, and medallions of this Collection merit especial 
 notice. Nothing can be finer than the carved and inlaid chairs of Italian cinque-cento 
 work, the two carved chestnut-wood coffers (Nos. 655, 656), the carved buffets, tables, 
 and cabinets, and the very rare metallic mirrors suspended on the wall, amongst which 
 the largest is a work of special beauty (No. 669). In tapestry, see Nos. 592, 593, 594, 
 fine examples of Flemish 15th century work, these are hung in the armoury— South aisle. 
 
 The Virgin and Child (No. 437), and the Adoration of the Kings (No. 438), afford an 
 ■excellent idea of the style of Luca della Robbia. Amongst the bronzes, case N, remark 
 •especially Nos. 331, 332, 333, — splendid illustrations of Venetian metal-work ; No. 334, 
 perhaps the finest fire-dogs of Venetian 16th century work known ; the various bronze 
 ■candlesticks, a small bronze pedestal (No. 354), Italian cinque-cento, of singular merit ; 
 No. 359, a knocker of Italian workmanship ; No. 372, a hand-bell richly decorated ; Nos. 
 412, 413, salt-stands of bronze and silver, late 16th century; another (415) of fine 
 •design and execution; clocks in bronze gilt, 16th century (Nos. 424, 425). Amongst 
 the Limoges enamels, Case M, should be particularly noticed Nos. 312 to 315 inclusive, 
 by Pierre Rexinon, or Raymond. Nos. 317, 318, fine specimens of portraiture in 
 «namel. No. 321, an early and interesting example of the Renaissance period. No. 
 323, a fine specimen of the work of Leonard Limousin. No. 324, by J. Penicaud the 
 younger, a very beautifully-executed oval medallion, date about 1510. No. 325, an ink- 
 stand, probably by Leonard Limousin ; and No. 326, an example of translucent colour 
 on gold loil ground, by Jean Courtois. 
 
 The Glass is remarkable for the beauty of its outlines, and serves, with the collection 
 of private contributors (on the South side), to illustrate very completely the various 
 classes of Venetian manufacture. The greater number of the tazzas or stands are of early 16th. 
 
 [159] 
 
M USEUM OF ORNAMENTAL AR T. NORTH SIDK-C'ase M. 
 
 century work ; some few are ascribed to the 15th century : the rest present a great varietj 
 of filagree patterns, &c, and are of remarkable elegance, both as to ornament and outline*! 
 
 In Palissy ware and Majolica, Case O, this collection is peculiarly rich. Of the forme) 
 tba finest specimens are Nos. 134, 135, very characteristic of the master. No. 144, ai 
 ever, most beautifully designed and of extreme rarity ; and Nos. 140, 141, oval perfo 
 rated dishes, of excellent conventional design. 
 
 Of the Majolica, should be especially remarked, Nos. 1, 2, and 4, by Maestro GiorgL 
 No. 5 and No. 9, with a portrait bust of Perugino. No. 10, by M. Giorgio, one of the fines 
 of that master's known. No. 14, a splendid example of the Gubbio lustre. Nos. 18 anc 
 19. No. 22, by Maestro Giorgio, and one of the highest class of his work. Nos. 25, 36 
 o,, 46, are excellent examples of the coloured figure-subjects so generally known ai 
 liaffaelle ware. No. 47, a procession, with Pope Leo X. enthroned. No. 58," the Strean 
 of Life, Maestro Giorgio, a very interesting subject. No. 84, an inkstand formed b 
 fignreB in full relief. No. 88, an oviform ewer. Nos. 92 and 93, fine specimens of th' 
 '■pilgrim's bottle." No. 94, a vase, probably of Faenza ware. No. 95, a beautiful exampl™ 
 of Moorish or Hispano-Moorish ware. No. 96, a large vase of Urbino ware, historica 
 subject. No. 102, a splendid bowl-shaped tazza, of Oriental design and Italian work 
 raansbip. No. 119, a finely executed small plaque, probably by Maestro Giorgio. No 
 120, a circular plaque, dated 1491 ; and No. 124, a vase, intended as a love-present 
 dated about 1480. 
 
 Amongst the smaller subjects, articles of personal use, &c, should be noticec 
 medallions of the 15th and 16th centuries. Nos. 473 and 477, by Sperandio of Mantua 
 No. 475, by Petricini. No. 476, by French artists at Lyons. Nos. 486, 492, 493, bi 
 Pisanello of Verona. No. 489, by Guacioloti. No. 482, by Boldu of Venice. No. 484~ 
 medallion of Alfonso of Naples. No. 495, by Comedello. No. 537, by J. da Trezzo 
 No. 571, by G. Cavino of Padua. No. 574, by Gallotti. And No. 498, by Benvenut< 
 Cellini. 
 
 A knife with three blades with chiselled handle in steel, No. 277, 16th century 
 A knife and fork, silver hilts circa 1600, Nos. 271, 272. A carved ivory comb, 287 
 14th century. A wrought iron key, 295, 15th century. 302, a very finely chisellec 
 steel purse binding, Italian, circa 1550. 303, a diptych in ivory, 14th century. 304 
 305, coffers of Italian workmanship, 15th century. 697, a Venetian coffer, 16th century 
 And 700, 701, 704, locks of French workmanship in the Renaissance style, at th< 
 close of the 15th and beginning of the 16th century. In this section may also be observec 
 many other subjects of great interest and beauty ; not only as regards the art displayed 
 in them, but as illustrative of the domestic usages of past ages. 
 
 WALL CASE M— North Aisle. 
 
 Contains a fine collection of locks and keys, amongst which is a lock of very intricate 
 construction, belonging to Mr. Napier, of Shandon (No. 1) ; others by Mr. Magniac anc 
 Mr. Field (Nos. 2, 3). Amongst the keys, those contributed by the Duke of Portlan< 
 and Mr. Riley Knight (Nos. 4, 5), are of very fine workmanship, chased in steel : thos< 
 of Great Yarmouth (No. 6) are good specimens of the plain barrel key, they are probablj 
 of the 14th century. The bells are interesting and well ornamented ; amongst them art 
 two (Nos. 7, 8) with dates 1543 and 1562, and inscription "Joannes a Fine me 
 fecit." Mr. Philip Hardwick's collection (No. 9) of locks and keys is particularly 
 interesting. Observe also the standard measures, and a steelyard weight, belonging tc 
 the Norwich Museum. Beyond these are some beautiful examples of Niello work, contri 
 1 u ted by Earl Cardigan and Mr. Pulszky. Especially remark the pax in architectural frame, 
 the Adoration of the Magi, and the portrait of Machiavelli, of Mr. Pulszky ; beyond 
 these are some fine examples of inlaid coral frames, &c , contributed by Lord Hastings, 
 Messrs. Hunt k Roskell, and Mr. Phillips. 
 
 L160] 
 
k 
 
MUSEUM OF ORNAMENTAL ART. NORTH SIDE— Cases P, Q, R, s, T, U. 
 
 CASE P— North Side. 
 
 I 
 
 Contains a fine series of Italian Majolica and Raffaelle ware, contributed by Lord 
 Hastings. On the side facing the centre aisle are excellent specimens of early Italian 
 earthenware, having in some cases religious inscriptions, and in others heraldic shields. 
 See Nos. 1, 2, 3, 4. Nos. 5 and 6 are excellent examples of the early Pesaro ware, 
 presented as marriage gifts. Several good examples of the Gubbio lustre ware may also 
 be noticed in Nos. 7, 8, 9, and 10. Nos. 11 and 12, on the other side of the case, are 
 especially good, one, 11, as an example of a Raffaelle ware bowl or cistern, the other repre- 
 senting a sacrifice as an early example of historiated ware. For ornamental design only, 
 see Nos. 13, 14, 15, and 16. The East end of the case, besides some very good examples of 
 Palissy ware, Nos. 17 and 18, contains amongst other very interesting pieces, some 
 examples of Venetian coloured earthenware, with raised borders of the 17th century. The 
 varied nature and general excellence of the Majolica, &c. in this case will well repay 
 much closer attention, and serve to give a good idea, of the nature of the Italian earthen- 
 ware generally in the 16th and 17th centuries. 
 
 WALL CASE P. 
 
 Contains a collection of earthenware, Majolica, Palissy, Delft. German of a varied 
 description, mostly, however, of the seventeenth century ; beyond these are some choice 
 illustrations of bookbinding in leather, of the sixteenth and seventeenth centuries, contri- 
 buted by Mr. Turner of London, very beautifully designed and preserved : some of our 
 modem bookbinders also find a place here, and amongst them may be remarked the finely- 
 carved Bible-cover in wood by Rogers of London (No. 1). Contributed by Mr. Watson, a 
 coloured leather binding by Holloway of London, belonging to Mr. Marjoribanks (No. 2) ; 
 and one by Mr. Winstanley, Jun., of Manchester. 
 
 CASES Q, R, S, T, and U — North Side, 
 
 CONTAINING THE GOVERNMENT CONTRIBUTION FROM 
 THE BRITISH MUSEUM AND MARLBOROUGH HOUSE. 
 
 Her Majesty's Government, impressed with the value and importance of the scheme 
 proposed for the Manchester Art Treasures Exhibition, followed the example of her 
 Majesty and his Royal Highness Prince Albert, by taking an active interest in its 
 promotion, and did all in its power to open those repositories of art which were under its 
 control, for the purpose of contributing to an undertaking so national in its character, 
 and calculated to give so powerful an impulse to Art throughout the United Kingdom. 
 Accordingly, amongst other valuable means of assistance, it was decided to transfer to 
 Manchester, the purchases made by a grant of public money at the sale of the Bernal 
 Collection for the British Museum, and for the department of Science and Art at Marl- 
 borough House. This celebrated collection was made by Mr. Ralph Bernal, long M.P. 
 for Rochester. Mr. Bernal dedicated the latter part of his life to collecting works 
 of ornamental art of every description ; with the indefatigable spirit of a true anti- 
 quary he brought to light a great number of hidden treasures, and among them became 
 the purchaser, for a mere trifle, of the celebrated Lotharingian engraved crystal, now 
 preserved as an invaluable treasure in the British Museum. Some idea may be formed 
 of the value of the entire collection, which consisted of 4,294 objects, from the fact of 
 its being sold by auction for nearly £71,000. Many of the most choice works of art 
 were purchased by the authorities of the British Museum and Marlborough House, a 
 
 [ 161 ] m 
 
MUSEUM OF ORNAMENTAL ART. NORTH SIDE-Cases Q, R, 8. 
 
 selection from which is contained in the remaining Cases of this aisle, arranged in their 
 present order by J. C. Robinson, Esq., Curator of the Museum of Ornamental Art formed 
 for the Department of Science and Art, London. 
 
 Amongst the niany very remarkable and beautiful examples of ornamental art to be 
 seen in this section of the Museum, should be particularly noticed, in 
 
 CASE Q, 
 the deep blue enamelled earthenware vase, Italian, 16th or 17th century ; a fine gold 
 reflex ornamented platter with raised arabesque border on white ground ; several 
 charming examples of Venetian and German glass, a valuable and interesting plaque of 
 Italian enamelled earthenware, 16th century, in frame, at the further eud, and the large 
 and boldly designed Majolica bowl and plates beneath it, lustrous with the Gubbio 
 glaze. Examples of English and Continental china occupy the wall side of the Case, 
 remarkable for the delicacy of the paintings and the richness of their colour; and 
 on the corresponding outer side, a collection of Oriental porcelain (Chinese, &c), 
 affording in many cases, from their simplicity of treatment and very delicate tints, 
 excellent specimens of Chinese ceramic art ; above which particularly remark the Queen's 
 Majolica plate, greenish ornament on a blue ground, a fine sample of 16th century 
 ceramic art. 
 
 CASE R 
 Is principally devoted to the illustration of Italian Majolica ware, amongst the very 
 beautiful examples of which may be specially noticed a plate of early manufacture with a 
 medallion landscape in centre, surrounded with a soprabianco (white on greyish white) orna- 
 ment, and figures with landscape round the border : also Nos. 1744 and 1793. A Persian 
 ewer (No. 708). No. 1717, a plate of particular interest, on which is seen a painter of 
 this species of earthenware at his work, well drawn and coloured with a deep rich blue 
 background ; several small arabesque bordered plates around it are well deserving of 
 notice. The side facing the central aisle is occupied with numerous good examples of 
 Italian Majolica, or RafFaelle ware, amongst which should be particularly noticed those 
 which are contributed by the British Museum. 
 
 WALL CASE R. 
 
 Contains examples of fine jewelled and enamelled Parian marble by Copeland ; and 
 enamelled porcelain, after the style of the Limoges enamels of the Renaissance, by Binns 
 of Worcester. The rest of the case is occupied by very beautiful examples of Sevres 
 porcelain, most liberally contributed by the Duke of Portland, without any reservation or 
 conditions, for the advantage of the public. All of these specimens deserve the closest 
 attention, and are of the most choice description. 
 
 CASE S. 
 Very varied and beautiful. Observe the richly engraved ivory staff, the circular 
 carved ivory, and the circular carved boxwood powder-flasks, and a smaller ivory 
 one with lizard, kc. These are fine specimens of 16th century art. An ivory pas- 
 toral staff-head serves to illustrate the Louis Quatorze period. On the wall-side of the 
 Case thonld be especially noticed a very ri?h collection of ornamental weapons. At the 
 further end see the interesting ivory plaques or tablets of the 14th century ; and the 
 richly- carved bellows of late loth century workmanship. The outer side of the Case 
 presents an interesting series of articles for domestic use, caskets, combs, kc, elaborately 
 ornamented ; and ou the upper portion of the Case are to be seen fine examples of Hispano- 
 
 [162] 
 
I 
 
.1 
 ; - 
 
 a 
 
MUSEUM OF ORNAMENTAL ART. NORTH BIDS-Cases S, T, U. 
 
 Moorish ware, surmounted by a splendid series of Italian vases and large jugs of the 16th 
 and 17th centuries. 
 
 WALL CASE S. 
 
 In this is arranged a very interesting collection of caskets, &e. The dark leather one 
 (No. 1), formerly rich in gilded arabesque ornament, is a good example of the sixteenth 
 century ; this casket formerly belonged to Lorenzo de' Medici, it is now the property of 
 Philip Hardwick, Esq. All of these caskets are of more or less importance, but more 
 particularly we would draw attention to the caskets (Nos. 2 and 3) contributed by the 
 Trustees of the Board of Trade, Edinburgh ; they are probably by Indaco, an artist of 
 note of the sixteenth century for works of this class, i. e. stucco ornament, figui - es, &c, on 
 a gilt ground ; although much injured, these caskets still show traces of very superior design 
 and workmanship. The finely damascened inkstand (No. 4), contributed by Mr. Stedman, 
 is said formerly to have belonged to Cromwell, Wolsey's secretary. 
 
 A casket, belonging to the Earl of Craven, also affords an elaborate example of Damas- 
 cene work. The rest of the case is occupied with a large selection from Mr. Mayer's 
 collection of Wedgwood ware ; amongst which are placed also two very early examples of 
 English pottery, drinking-cups, or "tygs," as they were termed, to pass round from 
 hand to hand; one of them is dated 1612. 
 
 Venetian and German glass, of which explanatory notices have been given before, are 
 represented by very fine specimens in 
 
 CASE T. 
 Amongst which should be noticed several examples of vitro di trina, such as the large 
 circular tazza in the centre, and various goblets, &c, on the upper shelf, which, with 
 the side-cases, contains beautiful examples of almost all the varieties of Venetian, and 
 many of German manufacture. 
 
 The two centre vases on the upper part of the Case are good examples of Oriental 
 enamel, whilst the ewer at the further end shows what progress has been made at the 
 present day in reviving the manufacture and style of the Limoges enamels of the 
 Kenaissance period, numerous examples of which are placed in the end of the Case 
 immediately beneath it. 
 
 The side towards the central aisle contains a variety of domestic and other articles, 
 amongst which observe the boy within a glass vase, and a rare example of etching on 
 glass, subject — the Madonna and the Infant Saviour ; in enamel work a pastoral staff head, 
 with a small reliquary or coffer of early Limoges manufacture, of the 12th or 13th century. 
 
 WALL CASE U. 
 
 Contains a good collection of Early British, Celtic, and Anglo-Saxon remains, contributed 
 by Mr. Mayer, of Liverpool, the Royal Society of Dublin, Dr. Petrie, the Kilkenny 
 Archaeological Society, Cardinal Wiseman, and others. This section of the Museum would. 
 have been in many respects, perhaps, the most complete and interesting portion of it, had 
 it not been for the untimely and melancholy death of Mr. Kemble, to whose hands its 
 formation had been confided. Amongst the most interesting pieces we would draw atten- 
 tion to the bell case contributed by Dr. Todd (No. 1), and the horse-headed pastoral staff, 
 by Cardinal Wiseman (No. 2), as very fine specimens of that peculiar school of Celtic 
 Christian art, which flourished in Ireland from the 7th to the 11th century, and exercised 
 an important influence on all northern ornamental art. The specimens of Anglo-Saxon 
 enamelled ornament, contributed by Mr. Mayer, formerly in the Fawsett Collection, are 
 perhaps unequalled ; see Nos. 3, 4, 5. In the Case I,, Meyrick Collection, will be found 
 also a unique Celtic shield, and Early British targets. 
 
 [ 163 ] m 2 
 
 
MUSEUM OF ORNAMENTAL ART. NORTH side-Case u 
 
 CASE U. 
 Contains some splendid examples of Renaissance, Mediaeval, and Oriental metal-work. 
 No. 2125, a silver repousse tazza ; an enamelled casket, No. 2126 ; a silver gilt table 
 clock of the 16th century, with elaborate open-worked cover. The wall side of the Caa 
 holds many interesting minor articles of domestic use, the most remarkable of which are 
 an engraved ivory quiver-shaped knife case, containing several knives, No. 2165 ; a steel 
 fork, No. 2256 ; a silver-gilt spoon, No. 2252 ; a carved wooden spoon, No. 2142 ; and I 
 spoon mounted in silver-gilt and enamelled, No. 2346. On the step are several fine 
 examples of metal-work, silver-gilt salvers, richly ornamented, and a cup of good design, 
 supported by a halberdier as stem ; at the farther end is a beautifully damascened 
 salver, after an Oriental model ; and in the Case below several small articles of great value 
 and beauty, amongst which see, No. 2375, a richly worked Augsburg clock, and Nos. 
 2362, 2370, enamelled watches of the ISth century ; an enamelled box, No. 2130. Of 
 the jewellery see No. 2656, St. George and the Dragon ; and No. 2756, a pendant orna- 
 ment of the Renaissance. On the outside division of the Case several series of keys, 
 medallions, and other small subjects, merit particular attention ; and especially observe 
 the two very fine examples of pewter salvers in the style of Briot, with raised ornaments 
 and figures most delicately executed ; in the centre of one is a seated figure, with the 
 inscription " Temperantia " ; in the centre of the other, an inlaid piece of Renaissance 
 Limoges enamel, — subject, Cupid Armed. Indeed the whole of this contribution, 
 although necessarily touched on so briefly in the Catalogue, is of the most choice desarip- 
 tion, and offers admirable suggestions to the artist and the manufacturer, which it is hoped 
 will not be passed unheeded. 
 
 FUBNITURE. 
 
 Amongst the principal objects used as furniture from the 15th to the 19th century are 
 to be remarked the works in carved wood and tapestry. Cabinets, wardrobes, beds, 
 chairs, and dressoirs (dressers), which had been favourite subjects of decoration during 
 the Mediaeval period, partook of a still more decorative character from the 15th and 16th 
 centuries onwards. The Italians were especially famous for works of this class during the 
 16th century, and some of the best sculptors did not disdain to turn their genius to carved 
 and inlaid wood furniture ; thus some of the wardrobes and large oblong coffers for 
 dresses, presented to brides at their marriage, exhibit examples of wood carving of a 
 very fine character. See the one contributed by Mr. Rothwell, and one from the Soulages 
 Collection in the South aisle. 
 
 At the close of the 16th and during the 17th century, a more ornamental style pre- 
 vailed, and the numerous rich cabinets of this period of architectural design are inlaid 
 with coloured woods, ivory, tortoiseshell, mother-of-pearl, precious stones, medallions, 
 &c. Germany was perhaps even more celebrated for these rich cabinets than Italy, and 
 splendid specimens are still preserved by Schieferstein of Dresden, Hainhofer, and Bauin- 
 garten. To Schwanhard is due the invention of those pleasing undulated and zigzagged 
 cuttings on ebony, of which several good examples are to be seen in the Museum. See the 
 frames contributed by the Earl of Cadogan and Mr. Rothwell in the South aisle ; for a 
 splendid example of a carved ebony cabinet, that of Mr. Holford in the North aisle. 
 
 Very fine pieces of the furniture of the 18th century are to be noticed in the con- 
 tributions of Her Majesty, amongst which especially observe the grand ormolu and 
 Boule cabinet by Gouthier ; the cabinet of the Cardinal de Retz, a fine example of the peculiar 
 inlay practised by Boule, of Paris, during the 17th and ISth centuries, and a cabinet by 
 Vernis Martin, which affords a good idea of his peculiar style (in the North aisle) ; 
 these are graciously lent by Her Majesty from Windsor "Castle. The other wardrobes, 
 dressoirs, cabinets, &c, afford illustrations of a great variety of styles, amongst which 
 particularly note the Earl of Cadogan's excellent French Renaissance of the 16th century, 
 Miss Auldjo's good Italian 16th century work, Cardinal Wiseman's excellent specimen of 
 the 15th century style, and Mr. Brunei's, both of which serve to show the boldness and 
 vigour of late 16th century ornamental sculpture, in the South aisle. Tapestry, which 
 
 [164] 
 
I 
 
MUSEUM OF ORNAMENTAL ART. CENTRAL HALL-Glass Cases. 
 
 hail been manufactured by the Italians, French, and Flemings during the Mediaeval period, 
 •was not made in England until early in the 17th century. Hangings for walls of the 
 17th and ISth century, of French and Flemish manufacture, woven with subjects taken 
 from the painters most in vogue at the time ; Teniers, Vanloo, and Le Brun, are to be 
 seen in the tapestry from Buckingham Palace and Windsor Castle. Other examples of 
 the textile art are contributed by the Duke of Buccleuch, Mr. Ellis, Mr. Domett, the 
 Honourable Ashley Ponsonby, and Mr. Miles, of Ford Abbey. Interesting specimens of 
 embroidery in silk, a style of work much in vogue during the Middle Ages, are to be seen 
 in the contributions of Mr. Howard of Corby, Stonyhurst College, St. Gregory's Church, 
 Norwich ; the Saddlers' and Fishmongers' Companies, Rev. E. Kennaway, Henry Bowden, 
 Esq., and others, in Cases X, Y. 
 
 GLASS CASES IN V, W, CENTRAL HALL (near the Traksept). 
 
 Amongst other branches of decorative art illustrated in this portion of the building, 
 one especially deserves more than passing attention — that of ornamental bookbinding, 
 which, during all ages until our own, has frequently been of a truly artistic character ; 
 thus, amongst the works in metal, ivory, and enamel of the present Collection may be 
 seen very beautiful examples of the application of those arts to the decoration of book- 
 covers. Most of those exhibited in the Museum are of the Renaissance period ; during 
 which, embroidery, metal-work, and leather, tooled, stamped, pounced, gilded, and coloured, 
 and sometimes an inlay of different coloured leathers, are of frequent occurrence. 
 
 The greatest patron of the art of leather bookbinding, in the early part of the 16th 
 century, was the Chevalier Grolier, who generally employed Gascon, specimens of whose 
 workmanship, choice even at a time when the arts were at their acme, are now eagerly 
 sought for by connoisseurs. A volume printed by Aldus, and bound by Gascon, with the 
 name of Grolier himself inscribed on it, is a treasure of great price. The present series 
 of illustrations has been kindly furnished by Mr. Felix Slade, Sir Charles Price, Mr. 
 Nicholson, and Mr. Turner. To the three first is also due the excellent examples of 
 modern French and English bookbindings, very tastefully designed and beautifully exe- 
 cuted ; amongst which may be seen the large volume by Bedford, which obtained the prize 
 of the silver medal at the Paris Exhibition in 1855. 
 
 The Cases Y containing lace-work exhibits two distinct methods of manufacture, the 
 one called "Guipure," worked with the needle; the other called "Pillow-lace," or 
 bobbin-lace, made with bobbins on a cushion. The last is comparatively of modern 
 invention, and is generally supposed to have been first practised in Germany about the 
 year 1560. It includes a great number of varieties, such as the well-known Spanish, 
 Mechlin, Brussels, Valenciennes, Chantilly, Honiton, &c. 
 
 The "Guipure" lace, made with the needle, consists also of many varieties, and is 
 sometimes of what may be called a respectable old age, even to an antiquary. It is known 
 generically as point-lace, and is divided into several kinds of "point," the most beautiful 
 of which are the Venetian, Rose, Portuguese, Maltese, and D'Alencon. Lace which until 
 the present century was an expensive article of luxury, is now manufactured at a very 
 low cost by means of machinery. The present collection of specimens of old lace has 
 been obtained almost entirely through the kindness of Miss J. Clarke. 
 
 The gold and silver Cases K at the end of the Central Hall are mainly due to Messrs. 
 Hunt & Roskell, and contain some very fine examples of art in the precious metals ; 
 pre-eminent amongst which may be cited, the large silver repousse vases, designed and 
 ornamented with figure subjects by Vechte ; the splendid shield contributed by Her Majesty, 
 a present from the King of Prussia, on the birth-day of the Prince of Wales ; and Mr. 
 Holford's remarkably spirited group in silver, of a processional car, probably of some par- 
 ticular trade on a public holiday (from Burgmayer's Triumph of Maximilian), a very 
 remarkable and finely executed Venetian work of the early part of the 16th century by 
 Lugagnolo. 
 
 Cases Z contain Mr. Mayers fine collection of gems, and mediaeval works of art, 
 amongst which are to be remarked some very fine specimens of wood-carving, Limoges 
 enamel, &c. 
 
 [165] 
 
 
JVIUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 THE ORIENTAL COURT 
 
 Previous to the Great Exhibition of 1851, the great majority of visitors would have 
 been more than surprised at hearing that an Oriental Collection was included among 
 the Art Treasures exhibited at Manchester. But the London and Paris Exhibitions of 
 1851 and 1855 have shown, not only that the East abounds in varied natural products 
 and rich manufactures, but that it has inherited a knowledge of, and daily practises, 
 the various arts of decorative design with taste and exquisite harmony of colouring. And 
 this so much so, that the productions of the East will not only bear, but repay examination 
 even after a visit to the Art Treasures of the rest of the Exhibition. 
 
 But before proceeding to examine the Oriental Court, it is desirable to ascertain the 
 countries of the East which are chiefly represented, and who are the people- by whom 
 the various articles have been designed and manufactured. It is fortunate that the 
 principal contributions are from India and China, as these may be considered the two 
 different, and also very distinct types of the civilisation of the East. 
 
 With the Indian have been placed some of the tasteful productions of Persia, and 
 between these and China, some of those of Turkey. On the opposite side of the Court, and 
 between China and India, are placed a few of the manufactures of Burma, Pegu, and Siam. 
 
 Civilisation, with its attendant arts and manufactures, was early established in the 
 East The disinterred palaces of Nineveh have revealed the high perfection to which. 
 many of these were carried. Destroyed in the year B.C. G06, its cuneiform records have 
 been deciphered up to the ancient date of b.c. 2231. The Ninevites worked metals, 
 carved stones, glazed earth, made glass beads and cylinders, were acquainted with 
 weaving. They dyed and embroidered cloths, and used umbrellas and fly-flappers, as in 
 India at the present day. The latter were probably made then, as now, with the tail of 
 the ox or yak of Tibet. Babylon again, situated at the head of the Persian Gulf, was 
 admirably adapted for commerce. Hence we have reference to "the Chaldreans, whose 
 cry is in the ships." Isaiah, xliii. 14. And we read of Babylonian carpets and 
 tapestry, and its cloths of various hues; and as early as the time of Joshua, of "a 
 goodly Babylonish garment " among the spoils of Jericho. 
 
 Persia also practised many of the same arts, and with skill, as we can still recognise 
 in the sculptured ruins of Persepolis. The present inhabitants continue to practise some 
 of these arts with at least as much taste as any other people, as shown in the patterns 
 and colouring of their carpets, or the beauty of their enamel work : of both there are 
 specimens exhibited by Sir John M'Neil, as well as of some ancient carved stones and 
 cylinders made into bracelets. The Arabs did not cultivate literature, science, or the 
 arts, until after their Caliphs had settled at Bagdad, and no doubt benefited by the 
 previous culture of the fine arts in these regions. 
 
 Tie ] hiUsophical Hccren has ascribed the flourishing state of Babylon, as well as of 
 such chits as Palmyra and Petra. and even of some of those of Egypt, to their having 
 been situated on the route of, and to their having participated in all the benefits of the 
 commerce of ancient India. The country, from being within the limits of the tropical 
 rams, must always have grown many precious products which would be valued in the 
 drier and colder countries of more northern latitudes. The earliest inhabitants are 
 generally considered to have been of Scythic origin. They must have made considerable 
 advances in civilisation, for the earliest writings of the Hindoos refer to the Dasyos and 
 black, Asurae as having kings and cities. Their sacred hymns known by the name of the 
 Big Veda, are supposed to have been composed 1200 or 1400 years before Christ. The 
 Hindoos probably entered India by the western side, as the very remarkable Soma plant 
 which is constantly referred to in their libations, is found nowhere within the limits of 
 Gangetic India. They are considered, like the ancient Persians, to have inhabited some 
 cential part of Asia, called Aryavarta, or home of the Aryans. In consequence of other 
 colonies from the same central position having proceeded westward, is accounted the 
 similarity in many points of Sanscrit with the Persian, Greek, Latin, and Celtic 
 languages. Even at these early periods the Hindoos governed themselves according 
 to their village system. Law institutes were composed as well as epic poems. Philo- 
 
 [166] 
 

MUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 Boohv was studied as well as astronomy, arithmetic, and algebra. Some progress was 
 made in medicine, and apparently also in chemistry. It is not surprising, therefore, that 
 many of the arts should have nourished in India at very early periods nor that 
 agriculture was one of them. The art of engraving was well known. The fabrication 
 of golden and of iron mail, as well as of ornaments, is alluded to, and "the pliant metal 
 is referred to as being "bound round the wheel." To their general cultivation, therefore, 
 as well as to natural taste, we must ascribe the skill with which they design patterns, 
 and appropriately decorate whatever they use, at the same time employing colour, so as to 
 produce ever- varying and yet pleasing and harmonious results. The specimens exhibited 
 from the Collection of the East India Company, have been selected chiefly as displaying 
 artistic skill in the art of decoration. 
 
 Paintings - On entering either of the doors from the transept, we may observe on the 
 wall between them a few paintings by native artists of the city of Delhi. These are not 
 shown so much as specimens of skill in the art, as examples of what they are capable of 
 doin- if they had the benefit of instruction, or even if any of them had ever seen any 
 of the wondrous marvels of their art, which are now contained in the same building 
 with these their own productions. Artists in India are frequently employed to draw the 
 patterns which are afterwards woven into the shawl of Cashmere, the brocade of Benares 
 or the muslin of Dacca, or embroidered on calico, cloth, silk, or velvet, or even engraved 
 into marble, tough jade, or hard metal. 
 
 The small painting representing a native family of rank witnessing a nautch, or 
 native dance, is a favourable specimen of the skill of the artist, whose name unfortu- 
 nately has not been transmitted with his work. Here the various attitudes and 
 costumes are well represented, and all harmoniously coloured, while the expression oi 
 countenance in the family attendants is well contrasted with those of the musicians who 
 accompany the dancing girls. Miniatures of two of the Emperors of Delhi, of many of 
 the chiefs, and of an Eastern beauty, are included in the same frame with a group of 
 four figures from the Punjab, and some pleasing views of the mosques, tombs, and 
 palaces on the Jumna. The central drawing, with another of the Court of Akbar is 
 interesting, as giving a view of one of the emperors of Delhi seated on the celebrated 
 peacock throne, with all his courtiers and attendants, on a state day. _ 
 
 Persian Paint 'in?*.— With the above we may compare the three paintings on the 
 eastern wall, contributed by Sir John M'Neil. These represent the Shah of Persia and 
 his Court. They were copied from a room in his palace of Naganstan, near leneran. 
 The Ion" pictures are from the two sides, and the central one from the end of the room 
 or o-allery The whole represents the shah seated on his throne, surrounded by his sons, 
 and attended by his sword-bearer, shield-bearer, cup-bearer, rifle-bearer and other 
 officers of the household. In the lower compartment, and on the two sides, are the 
 ministers of state, foreign ambassadors, and the nobles of the Court, in their proper 
 Court costume, assembled on the solemn occasion of the "Nuo Roz" or New Years 
 Day which is the vernal equinox. The three European ambassadors, represented in 
 each of the large pictures, are intended for English and French. The artist never 
 having seen a European, took the costume from some old Dutch prints, and added the 
 red cloth boots, which are an indispensable part of the Court dress, though usually 
 worn by Europeans under their trowsers. All the Asiatic costumes, Sir John continues, 
 are of wonderful accuracy, and almost all the figures are portraits, and can almost all be 
 recognised by persons who knew the men. They include nearly every remarkable 
 man of the last generation who resided at, or belonged to, the Court of Futteh Ah Shah. 
 
 Architectural Drawings, &c— Along with the Indian Paintings are arranged some 
 miniature views of some of the mosques and tombs situated on the banks of the Jumna. 
 Above them are large drawings of some of the same buildings, with a view of the interior 
 of the Taj at Agra. These give a tolerable idea of the Mahomedan style of architecture 
 of the North West of India. Exactly opposite, that is on the Western wall, there are 
 views of the remarkable Hindoo buildings from as far south as Madura and from Rarni- 
 seram, an island opposite Ceylon. The 999 pillared choultry from inside the pagoda at 
 Madura, and the colonnade 220 yards long in the pagoda at Ramiseram, are well worth 
 notice. A still older style of Hindoo architecture is represented m the various photo- 
 
 [167] 
 
MUSEUM OF ORNAMENTAL ART. ORIENTAL CO URT, 
 
 graphs of the temples of Siva and Vishnu ; while the peculiarities of the Buddhist 
 aichitecture may be seen in the oil-paintings of the cave temples of ElephantfXcS 
 luar the golden representations of Buddha himself, as clothed at Afferent seasons 
 of the year at Bangkok in Siam. These paintings and photographs are a part Tthe 
 results of the orders of the Court of Directors of the East Indl Company to make 
 drawings of all those ancient buildings. ^^l^aj 10 mate 
 
 Mats, Carpets, «*&— The walls of the court are in a great part covered with textile 
 
 any The m mat C e Ur h e b> 0f ] India ' ^f^ by the H °*^ the E St India Com? 
 K; ♦, I exhibited are remarkable as well for the fineness of the materials 
 
 as for the variety of the patterns with which thev are wrought. The large mat hun * 
 
 7rZ A^ T aU , i 7 Urthy ° f DOtiCe - not »* - ■"«■* oVit size, Dl t Tso 
 01 Jhe skill with which it has been made, and the rich coloured and many-pa tlrncd 
 border with which rt is surrounded. It was manufactured at Midnapore 'in Be ^1 
 The other mats on the same, as well as on the West wall, made on the Malabar C as ' 
 and near Cochin, are also good specimens of mat-inakin- °° dSt ' 
 
 Cotton Uuollcn, and Silk Carpets.-On the North wall may also be seen some 
 
 ^i: V t^Tlf^ gf a V ta F le ° f Manchester - Cotton, I India, besiL th 
 ordinary, is used for a vanety of other purposes, such as carpets and rugs, coverings 
 
 wh™r U ind coV: l f ° r t !, elltS ' T US ' aUd r ° PeS - ThG Iar « e "** conspicuous for t 
 
 nn nl g t ' T f 7^ an -^^ pattern and border > ™ manufactured at Wur- 
 
 mnguL situated within the territories of the Nizam. The blue and white ru* o, the 
 
 S^L M t? . g ?' aad th . e P leasin g^-coloui-ed one on the left from as tonorthw 
 Mooltan. The Sutranjees, though made of cotton, may be compared to hemp-carSn" 
 They fonn a very common manufacture in almost every part of India. Though usualk 
 in stripes of different colours, as in the elegantly varied ones from Agra, the? are also 
 ^nietiuies made in check and diamond patterns. Great numbers °ar made in tt 
 Madras Presidency, and some of very large size at Ahmedabad, on the Bombay side 
 GalWvwL carpet from Cashmere, placed over the entrance into the Water-Colour 
 for the sk 1 £?f vT^ m ^ ?, 5" tbe Variety ° f C0l0UrS vhich are em P%ed, and 
 ore and n fit t £"£ *" aU harmwdsed - Beside it is a silk carpet from Tan - 
 } ° f % m * h !u Centr . e °/ the ° PP ° Slte or Eastera wall > is 0Q e from Wurrangul, with 
 
 17oZZ S enS fJ T T E1 - l0re ' ^MasuUpatam^ though these are no/tke moS 
 
 favourable specimens of the beautiful carpets and rugs of that place 
 
 r, .tWtt'l' f ( ' - 'i t '"'2 Mrf «-— Alon ? with tbese Indi an carpets we must not neglect to 
 fixe l! tl * ^-Patterned one of wool, which together with the striped rug below it is 
 ci^v of He^t U r-^ ' 3S huth ar T e , the manufacture of the lately much-talked-of 
 uty of Heiat which is famous in the East for its manufacture of carpets. The fame 
 .-ems not undeserved, if we take these as ordinary specimens, or look at the two small 
 
 2R tt'n t '"'"I T\ ° f VT ' ° f "***■*»&> »d in which'we may safelv admire no 
 Only the pattern> but a]so th hamony and Softnegs flf colour . ng _ ,/ hese ch y aracteristics 
 
 1 v%ir T, l1^Pv n T U T ^ tl ! e " mM Carpet t0 the Ieft of the ru S' whk>h is contributed 
 
 tribes of ^r!^' aUd WhlCh t* ^ Stat6d to have been the work of ^ Turcoman 
 tubes of feenahhs-an oasis in the desert between the territories of Persia and Bokhara 
 The tribe is now extinct The fortress of Serrakhs was taken by the Prince Royal Abba 
 V^W gramlfath f of , *• P r f en t "hah, in 1333. The carpet was obtained from the 
 Persian soldiers who plundered the place. 
 
 , m \^trl C lT d Fl °° r - Cove \i'T-- MoTi - with the car Pets we must also notice the 
 mbroulered floor coverings, which are also much used in the East for the same purposes 
 as caipets The large one on the South wall is from Cashmere, and is a splendid speci- 
 men of embroidery whether we examine the design or the colouring, On the left of it 
 a a smaller one of coarse but effective workmanship, from Scinde. This is of the kind 
 
 lir ti f7 ' ° thT f p V ° Ver COffi ,' 1S - Near these > and on the left of tbe entrance, is a 
 beautiful specimen of Persian workmanship, from Sir John M'Neil 
 
 On the further corner of the Southern wall is another specimen of Cashmere work- 
 manship on a white ground, while below it is one from Khorassan, and on the West 
 ,, it !l f ^embroidery on a scarlet ground, from Tibet, showing how widely spread 
 is the art of skilful embroidery in the East. 
 
 [163] 
 

 MUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 On the Northern wall, ahove the representations of Buddha, there is equal taste and 
 still more effective workmanship, as being in a less tractable material, that is leather, 
 from Wuzeerabad, in the Punjab. The use of such must be very ancient, as men are 
 referred to as spreading their skin carpets in the Sama Veda. 
 
 The printed palampores, from Masulipatam, &c, are noticed below. 
 Textile Fabrics in Cases I and M. — The specimens of weaving, of embroidery, and of 
 printing, are only instances of arts which are extensively practised in most parts of 
 India, and of all of which specimens in considerable variety may be seen in the two long 
 cases which extend from west towards the east on the northern side of the Court. 
 
 Muslins and Calicoes. — Here we have first the famed muslins of Dacca, not such as 
 are remarkable for fineness, but such as display skill in design, or in the pattern with 
 which they are woven, either in pieces or scarfs, some being simply white, others 
 coloured. Some of the figured muslins are curiously formed by breaking down the texture 
 of the fabric with the needle, and converting it into open meshes. Others again are 
 simply embroidered with cotton : some with the Moonga, or wild silk. These are followed 
 by coloured woven fabrics, ginghams, &c, from Benares, Madras, and Hyderabad in 
 Scinde. 
 
 Calico Printing, and Printing in Gold. — The East has long been famed not only for 
 the brilliancy of, but for the skill with which colour is employed, for the decoration of 
 everything employed, whether for clothing or for furniture, for trappings for horses or 
 elephants, &c. Pliny relates that the Indians displayed flags of various colours. He had 
 also heard of the wonderful art in which cloth, though dipped in a liquor of one 
 uniform hue, came out tinged with different colours. Calico-printing is an art, which, 
 like several others, was common to Egypt and ancient India. The latter still continues 
 to practise the art with a skill which will extort admiration for the palampore on the 
 Northern wall, printed in gold and colours, from Masulipatam, or the smaller one from 
 Boorhanpore, on the Eastern wall, as well as for the Prayer carpet from Madras, which is 
 immediately above it. Though the application of European skill and science now enables 
 the calico-printer of Europe, to surpass in many particulars his brother workman of 
 the East, yet the latter continues to produce patterns which have a crowd of admirers, 
 from the skill with which they harmonise colours, and proportion the ground to the 
 pattern, so that a good effect is produced both at a distance, and on a near inspection. 
 The chintzes, printed muslins, and palampores, are chiefly from Futtehghur. The 
 specimens of printing in gold from Jyepore, &c, are remarkable for the elegance of the 
 effect, the softness of the material, and the permanence of the gold even after friction, — 
 all evidences of the skill that has been attained. 
 
 Embroidery. — As the walls display some specimens on a large scale, the cases contain 
 such as are calculated for ordinary wear, in the form of scarfs and shawls in muslin, 
 net, and cashmere cloth, embroidered with cloth or silk from Dacca, or with gold 
 or silver thread from Delhi . Hyderabad in Scinde sends some beautiful specimens of 
 embroidery in the form of table-covers, book- and chair-covers, aprons, and slippers, 
 while the series is completed by an elegantly embroidered (kar-chobi) saddle-cloth from 
 Berhampore in Bengal. 
 
 Silk and Gold and Silken Fabrics. — In Case M we have silk goods employed by the 
 natives for their own wear, as their mushroos, with a satin face and cotton back, their 
 soosees, which are also silk and cotton, the Lahore taffetas, remarkable for their sub- 
 stance, and all for the neatness of their patterns, or the delicacy of the stripe with 
 which they are varied. Bangalore in the Mysore weaves silk shawls and scarfs of every 
 colour, and of a variety of patterns . After these we may see some specimens of the 
 double weaving of which the natives are so fond, and of which excellent specimens are 
 obtained from both Benares and Poonah. The loongees, or native scarfs, though 
 differently worn from those intended for European use, are remarkable for the richness of 
 their borders and ends, and the skill with which the gold is harmonised with the silk of 
 different colours. This is also conspicuous in the muslin scarfs with which the native 
 womea envelope themselves, and allow the gold and flowered ends to hang down over the 
 shoulders and in front. These are followed by the beautiful fabrics of muslin, gauze and 
 silk, variously embroidered or woven with silver or gold thread, some of which are 
 
 [ 169 ] 
 
MUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 known by the name of Kimkhaubs, or brocades, and for which both Benares and 
 Ahmedabad are famed. 
 
 Cashmere Shawls.— The collection terminates with some cashmere shawls, which are I 
 too well known to require further notice. Some of those exhibited were much admired 
 even in Paris. 
 
 Jewellery— Gold and Silver Work.— At the Eastern end of the room some Indian 
 jewellery is shown. This has been selected not so much on account of its value, as to 
 show the nature and style of the ornaments worn by natives of India, both men and 
 women, as seen in the miniatures already referred to, as well as in the portrait of General 
 Jung Bahadoor. The people of the East have been famed for gorgeousness of personal a 
 decoration from the earliest times. We read in the Bible of many female ornaments, the I 
 nature of which it is difficult to understand ; and decorations of gold and jewels are I 
 frequently mentioned in the hymns of the Rig Veda. Here we have bangles, bracelets, and I 
 armlets, together with anklets and toe-rings ; some of the former with bells, which may I 
 recall the tinkling ornaments about the feet of the Jewish women. Nose-rings and ear- 
 rings of various kinds are likewise worn in India as well as forehead ornaments, of which 
 there are some elegant specimens. The necklaces are often in several rows, and cover 
 the bosom, some elegant in pattern, with intermingled rows of drooping pearls, jewels, 
 and gold. The natives do not hesitate sometimes to place a common bead near pearls to 
 obtain the charming effect of colour. 
 
 Some articles are shown as skilful imitations of precious stones, in which, as in many 
 other arts, the natives of India excel. The gold rose-chains and bracelets from 
 Tnchinopoiy are excellent specimens of skilful workmanship. Near these we may see a 
 gold chain of nobility with rubies from Ava ; also an elegant gold cup, boxes and an ear- 
 knob from Pegu, all showing taste in treating such subjects in distant parts of the East. 
 
 Indian workmen are also famed for their filagree work, of which a few specimens, 
 made into brooches, bracelets, &c, are shown, as well as some large specimens in the 
 form of vases, baskets, and caskets, both in the case and on the tables. Two small 
 vases, made in imitation of European work, are interesting, as having belonged to Warren 
 Eastings, and are contributed by the Rev. F. Leicester, of Daylsford. 
 
 Silver work, in the form of golabdans, or rose-water sprinklers, exercises the in- 
 genuity of workmen in the elegant forms they produce. Perforated and engraved silver 
 washed with gold, is seen in the works from Malwa and Lahore. Bowls of silver, elegantly 
 embossed, from Burmah, are shown by Messrs. Hunt and Eoskell, and by R. Gfongh, Esq. 
 Enamelling.— The art of enamelling has been practised in the East from very rm, i nt 
 times. The Chinese have long been famed for particular kinds, and the Persians produce 
 works displaying superior taste and skill, as seen in the small specimens from Sir J. 
 21 'Neil. In India we find jewellery frequently enamelled over on its under surface. 
 The art is most frequently employed in India for decorating the sheaths of daggers, and 
 the scabbards of swords, as well as the stocks of matchlocks, and various accoutrements. 
 Some beautiful specimens in Case A, from Cutch and Scinde, are contributed by the East 
 India Company, others by General Lygon and Lord Delawarr. 
 
 In the same case are some silver enamelled articles from Cashmere, as well as others, 
 enamelled in gold, from Kangra, From Indore there are specimens of what, has been 
 called enamelling, contributed by Sir Robert Hamilton ; but it is rather inlaid figures in 
 gold, on a green ground. 
 
 , -#«<'■ Uirlike Work (A) .—The silver bowl from Siam appears of the nature of 
 
 nielli work, and seems to be formed by the pattern being punched out from the inside, 
 and the interstices on the outside filled up with the black lacquered ground, while the pattern 
 seems to have been afterwards gilt. The flowered and patterned border of the silver 
 bowl, gilt inside, from Pegu, seems to have been similarly formed. Near these there is a 
 curious ornament from Tibet. 
 
 Along with these there are some elegant specimens of what is called Bidree ware, from 
 the City of Beder in Central India. The objects are usually graceful in form, inlaid 
 with an elegant pattern, forming hookhas, vases, incense-stands, &c, and having the 
 appearance of nielli work. The basis here is a compound of zinc, copper, and lead, upon 
 which a pattern is first drawn and then engraved. The cavities are then filled np with 
 
 [170] 
 

MUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 silver. The black colour of the metallic base is said to be produced by rubbing it with a 
 compound of different salts, and sulphate of copper. 
 
 Gems and Jade Work.— The polishing of gems as well as of crystal, of agates, 
 cornelians, &c, has long been practised in the East, as revealed by specimens found in 
 the ruins both of Nineveh and of Babylon. The art is practised in many parts of India ; 
 but on a large scale only at Cambay. The art could not be carried to its present per- 
 fection unless the natives had good steel as well as diamonds and corundum : with 
 the aid of these they make elegant crystal, agate, and bloodstone cups, &c. The same 
 materials enable them to work and inlay the tough jade, which reaches India on one side 
 and China on the other from Hi or Elee, a colony belonging to China, situated between it 
 and Tibet. A beautiful jade box, inlaid with precious stones, has been contributed by 
 her Majesty, and a specimen in form of a leaf by Lord Hastings. Both were in the 
 Indian collection of 1851. Other jade cups from Cashmere and Nepal (Case A) are 
 contributed bv Hunt and Roskell, and Mr. Fischer, &c. 
 
 Oriental Arms and Armour.— The splendid collection of arms contributed by her 
 Majesty the Queen, placed along the Southern wall, and in cases round the tent, and the 
 selection from the Museum of the Honourable the East India Company, with a few 
 specimens from General Lygon, in case F, display some of the finest specimens of work- 
 manship which have ever been brought together, and are worthy of comparison with that 
 of European make in the nave. The use of arms is nearly coeval with man, and every 
 variety even of defensive armour has been used from the earliest times in the East. 
 Ancient Sanscrit works mention the fabrication both of iron and of golden mail. Armour 
 is still occasionally worn in North West India and in the Punjab. Sir H. Eawlmson 
 lately stated that the Persian army is the only one, in which some thousands of men are 
 still clad in armour. India has long been famous for its manufacture of wootz steel, 
 which is called foulad-i-liind in Persia. There the best swords are made with steel 
 imported from India ; whence juwab-i-hind, " an Indian answer," means a cut with an 
 Indian sword. There was, therefore, much point in the saying of the Bombay troopers, 
 who, after lately cutting up a square of Persian infantry, said, they had given their juwab, 
 for their colonel having been killed a few days previously. 
 
 The arms would appear to belong to different ages of the world, but they are all 
 actually in use at the present day. Thus we have bows and arrows and shields of various 
 materials ; some of the last most elaborate in workmanship. Swords, daggers, and battle- 
 axes in every variety, helmets with small plumes of feathers, and armour, both chain, 
 scale, and plate— one suit of linked armour of recent workmanship forms a complete dress, 
 from the covering of the head to the shoes for the feet. Some display in a remarkable 
 manner the skill of the cutler, (even where what is called the Damascene blade is due in a 
 great measure to its having been formed of wootz steel,) as for instance in the swords in 
 which pearls are let into the~centre of the blade, and still more in the daggers contained one 
 within another, all of hard steel, with the line of junction so beautifully welded as to be 
 hardly preceptible even with a magnifying glass. So also the barrels of the matchlocks 
 display elegant specimens of twisted, of wire, and of damascene steel. 
 
 Besides the excellence of the steel we must notice how gracefully most of it is channelled 
 into patterns or worked in bold relief : much of it is deeply engraved in patterns, some- 
 times in letters, and the interstices filled up with gold. The same elaborate workmanship 
 may be seen in swords and matchlocks, shields, helmets, and gauntlets. Where each 
 article is worthy of notice it is impossible to particularise workmanship. But a revolver 
 matchlock inlaid with silver, presented to the East India Company by Sir Robert 
 Hamilton, is worthy of notice as a great curiosity, as is also the grasshopper gun of 
 Ceylon, and the long matchlock, with a rest, from Lahore. The cap of rte fanatic 
 Akalees is interesting, with its discs which are used as offensive weapons. These being 
 thrown with great force and dexterity so as to inflict severe wounds at a distance. 
 
 The best arms are now made chiefly along the north-west portion of India ; but also in 
 the Nizam's territory. The gunsmiths of Monghyr and of Agra make some excellent 
 imitations of European pistols and fowling-pieces. 
 
 Copper, Brass, and Pewter Articles.— Workers in precious metals and in steel, as the 
 Indians are and have been, were not likely to fail with the other metals which they have 
 
 [171] 
 
MUSEUM OF ORNAMENTAL ART. OMENTAL COURT. 
 
 !-°ith tlnT'w T. eU - ** V^ 7 ^ »^^ compounds. Their copper thev harden 
 with tin and to their bells they know how to give a beautiful tone. A few are exhibited 
 from Bellary and Tanjore. The beauty of external form, as well as of various patterns 
 may be seen in many of the metallic hookhas, legs for bed-posts, as also on the brass plates, 
 lamps braziers, caskets, and drinking-cups : brass being much used in India for all 
 domestic purposes. With these are placed some betel-nut cutters, which are some- 
 times described as ancient snuffers. 
 
 A teapot from Tibet is remarkable for its form as well as its workmanship. It is 
 formed of copper and lined with tin ; perforated silver ornaments with turquoises are 
 nailed on, and inscriptions in the Nagree character engraved. Upon the shelf placed aU 
 Pofl^i v- * !'• tbei £. ai ; e s ome specimens of Hindoo mythology, including what is 
 * the r Tnm " rtl f r H i? do0 Tri ^> from J. Pulsky, Esq. Smaller specimens are con- 
 C" Cas f. D - .Case E contains embroidered elephant trappings, also embroidery from 
 ■Burma, sent from Windsor Castle. • 
 
 fotlen, and Scinde Tiles. -Though a collection of Indian Pottery would have been 
 interesting, if from different parts of India, only a few models have been sent. It has I 
 not however, except in external form, attained the perfection of other countries. This is I 
 perhaps owing in part, to the custom of destroying each article when it has been once used, 
 that much more might have been done is evident from the specimen of encaustic tiles, 
 lliese are still made in Scinde as they were made there a thousand years ago, and with such 
 we know many of the mosques and tombs in India are covered, as they are also in Persia 
 Larvmr, m I VO ry, Horn, Wood, d-c— Case G contains specimens of the skill of the 
 natives in carving in ivory, for which several parts of India, but especially Berhampore 
 are tamed Among these we may observe some excellent representations of the elephant 
 camel, and ox, and even of the giraffe, as also of human figures, though it is ofteu said 
 they cannot execute any thing good of this kind. 
 
 Close to these are different ornamental articles made of horn, very skilfully managed 
 as well as boxes made of porcupine quills. On the table is a more elaborate piece of 
 camng contributed from Windsor Castle, representing the goddess Kali, ten-armed, and 
 with attendants, at a sacrifice. 
 
 Carving in Stone and Mosaic Work. -Polishing the hardest surfaces, executing 
 temples out of the solid rock, as well as sculpturing the gods of their mythology, the 
 Hindoos have long been familiar with. Here we however have only small "specimens of 
 bow [ they can sculpture the elephant, ox, and other animals, from Gyah, with some open 
 trellis-work in marble, a material much employed in this form in North West India for 
 tneir windows and round some of their tombs. 
 
 The taste and skill of the artist are still more conspicuous in the mosaic card tray in the 
 same case, as also in the chess table from Agra placed within the tent. 
 
 Lacquered Ware.— The name lacquer is evidently derived from the Indian word lac 
 or look of the resin which is universally used in India, for varnishing as well as for 
 uniting things together. Some ornaments are made chiefly of lac, and variously coloured. 
 Others are merely varnished. The articles from Hyderabad in Scinde, for instance, the 
 nests of boxes aud of balls, are remarkable as specimens of turning, as well as for the 
 variety of patterns with which they are covered, and at the same time harmoniously 
 coloured. So also in those from Silhet, and likewise in the boxes from Burma, in which, 
 however, the juice of the varnish-tree is no doubt employed. Some larger works of 
 Scinde lacquered ware, as vases, and legs for bedsteads, are shown on the wall-shelf. 
 
 Ivory, Sandalwood, and inlaid Boxes.— In Case H, we have carved sandal-wood 
 boxes from Mysore and Canara, with specimens of the famed Bombay inlaid work, of 
 which there is a small box of fine workmanship inlaid in cold (Airs. Boyle). From Yiza- 
 gapatam there are ivory and sandal-wood, as well as ivory aud tortoise-shell back- 
 gammon boards, with wooden bread-plates elegantly carved, from Saharuupore. In the 
 centre of the whole there is a beautifully inlaid chess-table evidently of Indian workman- 
 sup from the Meynck Collection. There is also a Pegu box which ought to be compared with 
 the betel-nut trays at the other end of the room, and an ancient box, like Bombay inlaid 
 work with painted ornaments intermixed, from Mr. Falkeuer, who has also sent three 
 beautiful chairs of similar workmanship, and which are placed on the neighbouring dais. 
 
 [172] 
 
MUSEUM OF ORNAMENTAL ART. ORIENTAL COURT. 
 
 Pa.piir Mdchee work, <£'C. — (Case E.) Tbe principles displayed are still more conspicuous 
 in the so-called papier-rnachee work displayed in Case E, as in the shawl-patterned tray, 
 and in the writing-cases usually carried in the waistband, with the drawer containing the 
 inkstand, knife and scissors. The pen in the North is a piece of reed ; in the South, iron 
 styles, often ornamented with silver and with gold, are employed (Case A), from Malabar 
 and Coorg. Along with the above there is a drawing of a shawl pattern ; books in the 
 Arabic and Persian character, with illuminated pages ; playing cards, as used both in 
 Rajpootana and in Central India ; as well as the game of Pucheese, with elegantly carved 
 little figures contained within the counters with which they play. Some wooden toys 
 show how elephants and camels are caparisoned. 
 
 Caligraphy. — In addition to the above, some ornamental writing in the Nagree charac- 
 ter is shown in a frame under the Shah of Persia, with elegantly flowered borders and 
 letters covered with ornament. 
 
 Musical Instruments. — -A small collection of musical instruments from Dacca is shown 
 on the Western wall, in order to exemplify the practice of the natives of India of ' ' deco- 
 rating construction," as may be seen also in the spinning-wheel close by. "Decoration is 
 never, as with us, purposely constructed." — Owen Jones. 
 
 Tent and Bombay carved Furniture. — In the centre of the room, a tent has been 
 erected in the form of what is called a double-poled one. Within it has been placed some 
 of the gorgeous specimens of Indian embroidery in gold, as well as some of their silk- 
 gauze and kinkhab fabrics. On the floor are placed embroidered bolsters and pillows, 
 which are used when sitting on the floors, or under shameeanahs. Emblems of royalty, 
 fly-flappers, &c, are also seen with some parts of dress, as turbans, and slippers : among 
 the latter is a very curious pair, with long tapering points, and the two halves of different 
 colours, as we read of being worn formerly in Europe. Inside is placed a Mosaic chess- 
 table from Agra, with some of the famed carved furniture from Bombay, of which other 
 specimens are arranged round the Court. The wood is called blackwood, and is that of a 
 tree called Dalbergia latifolia. Around the tent, we have arms of various kinds, armour, 
 &c. , Indian saddles and horse trappings from her Majesty and the East India Company. On 
 the south of the tent, there is a table which is called Persian, but which looks very like 
 Indian workmanship : the surface is inlaid with some polished elephants' teeth, as well 
 as pieces of lapis lazuli, with ornamentation very like Cashmere or some Bareilly work. 
 It is exhibited by the Rev. F. Leicester, of Daylsford. 
 
 Turkish Arms and Furniture. — In Case D there is a splendid contribution of Turkish 
 arms from her Majesty tbe Queen. The guns and pistols have excellent Damascene 
 barrels, with the stocks richly ornamented. The powder flasks are of great size with 
 tapering necks, aud though elegant in shape and richly ornamented, cannot be very 
 convenient for use. With these there is a hookah with stem and pipe all enamelled, and 
 resembling some Persian work. 
 
 On the dais, on the west side, there are boxes, stools, and pattens for the bath, inlaid 
 with mother-of-pearl and tortoise-shell, contributed by E. Falkener, Esq. 
 
 China, Bumiah, Pegu, and Siam. — Our space will not allow us to do justice to the 
 other countries which are here represented, even if materials sufficient for the purpose 
 were exhibited. But the contributions being chiefly from individuals, they of course keep 
 only such things as are suited to their collections. 
 
 From Burmah, we have the gold chain of nobility, as well as small boxes inlaid with 
 rubies, already referred to in the jewel case. There is also in Case L, a piece of silk 
 remarkable for its wavy pattern and mixture of colours very different from the Indiau, 
 but which is much esteemed by the Burmese. 
 
 From Pegu, there is on the wall, near the north end corner, a red silk coverlet with 
 strange figures embroidered on it. But in the jewel-case the necklaces, ear-knob, scent- 
 boxes, and engraved gold cup display taste in the arrangement of their patterns as well 
 . as skill in the management of their material. 
 
 Siam is represented by two elegant betel-nut trays on the table between the two doors— 
 the wood is lacquered aud inlaid with mother-of-pearl ; also by the silver cups gilt 
 inside, with the pattern on a dark ground, like nielli, in Case A. 
 
 Chinese Productions. — China being one of the most early civilised of nations, and its 
 
 [173] 
 
MUSEUM OF ORNAMENTAL ART. Contributor 
 
 inhabitants remarkable for their ingenuity and patisnce, claims the first discovery of I 
 many arts which the people still practise with unequalled skill, though these are not all I 
 adequately represented. But the silk shawl manufacture and embroidery was probably { 
 never better represented than by that contributed by J. P. Dudden & Co., which is I 
 understood to have been intended for the Exhibition of 1S5L The shrub's, flowers J 
 birds, and butterflies, are embroidered with remarkable skill and power of colourin". 
 
 Above this, are some pictures of Chinese scenery and domestic life, from S. Gregson,°Esq., fl 
 and in the same case with the shawl some beautiful enamels from Lord Hastings and I 
 Mr. Daniel Haubury. Enamelled vases and dishes are contributed by R. Hawkins" Esq. 1 
 These are generally in blue enamel, but one is of yellow enamel, while the two'larco Ej 
 pictures in enamel are curious specimens of the art. 
 
 Case K contains some elaborate specimens of carving the tough jade which the I 
 natives of China are skilful in carving and polishing, and probably by the' same means fl 
 as the natives of India. It is obtained from the same district of Elee. 
 
 The porcelain of China is shown in the nave, Case D, but there are fine specimens of a |: 
 dish and large bowl here from her most gracious Majesty the Queen. 
 
 Metallic compounds of various kinds are well-known to the Chinese as evidenced in I 
 their gongs, in what is called their white copper, and their bronzes. ' Of these a con- I 
 siderable variety of excellent specimens are from the collections of Lord Hastings, J. P. I 
 Fischer, Esq., F. Pulsky, Esq., S. Addington, Esq., Joseph Mayer, Esq., Messrs" Hewett I 
 & Co., among them some large figures of the Chinese god of happiness, and likewise of . 
 Quonyem, from the sacred island of Pato, probably Kuan-yin, by some thought to be one 
 of the names of Buddha, and by others that of one of the intelligences proceeding from I 
 him, and one no doubt highly honoured in China. 
 
 Of the great skill of the Chinese in carviug there are some beautiful specimens, as in I 
 the ivory fan from her Majesty, the carved ivory basket from H. Catt, Esq., the ivory I 
 box from Miss Auldjo, likewise in the set of chessmen standing on balls, carved one with I 
 another. There is also a separate specimen of one of these curiously carved balls. I 
 In this brief review we must not forget two articles presented by the Emperor Kienling I 
 to Sir G. Staunton, when as a little boy he accompanied his father and was present at I 
 the audience of the British Embassy in 1792, — one is a Chinese sceptre of good-fortune, I 
 made of jade, and the other is an embroidered purse, formerly worn by the Chinese ■ 
 Emperor — with these there is also a Chinese writing apparatus, which was given by Sir 
 G. Staunton to the Royal Asiatic Society. 
 
 The Japanese are more celebrated than the Chinese for their lacquered and varnished 
 ware, which is emphatically called Japan ware : of this there are some specimens from 
 Earl Cadogan, and two most splendid cabinets and a screen from his Grace the Duke of 
 Portland. We cannot conclude better than by drawing attention to the suit of armour 
 in lacquered ware from Japan, which is little calculated to resist either the arms on the 
 other side of the Court, or those of European assailants. The set is contributed by her 
 most gracious Majesty from the armoury at Windsor Castle. 
 
 J. FORBES ROYLE, M.D. 
 
 CONTRIBUTORS TO THE MUSEUM OF ORNAMENTAL ART. 
 
 Her Most Gracious Majesty the Queen. 
 II.R.H. Priuco Albert. 
 
 The Lords Commissioners of her Majesty's 
 Treasury. 
 
 The Right Hon. the Secretary of State for War. 
 
 Her Majesty's Board of Trade. 
 
 The Royal Commissioners of Works and Public 
 Buildings. 
 
 The Hon. the East India Company. 
 
 The Very Rev. the Dean and Chapter of York. 
 
 The Trustees of the Board of Trade, Edinburgh. 
 
 All Souls' College, Oxford. 
 
 Corpus Christi College, ,, 
 
 New College, ,, 
 
 Oriel College, ,, 
 
 Queen's College, ,, 
 
 Christ's College. Cambridge. 
 Corpus Christi College, ,, 
 Clare College, 
 Emmanuel College, , 
 
 Pembroke College, ,' 
 
 St. John's College, , 
 
 [174] 
 

MUSEUM OF ORNAMENTAL ART. 
 
 Contributors • 
 
 Stonyhurst College. 
 
 St. Mary's College, Oscott, 
 
 St. Columba College, Dublin. 
 
 The Lord Mayor and Corporation of York. 
 The Mayor and Corporation of Norwich. 
 
 „ Great Yarmouth. 
 
 „ „ Thetford. 
 
 ,, ,, Lynn. 
 
 ,, „ Cambridge. 
 
 ,, ,, Oxford. 
 
 ,, „ Bristol. 
 
 „ ,, Chester. 
 
 „ ,, Rochester. 
 
 ,, ,, Newcastle, Stafford. 
 
 ,, ,, Lincoln. 
 
 The Worshipful the Company of Fishmongers. 
 
 Carpenters. 
 
 Painter Stainers. 
 
 Innholders. 
 
 Ironmongers. 
 
 Saddlers. 
 
 Mercers. 
 
 Clothworkers. 
 
 Barber Surgeons. 
 
 The Royal Society. 
 The Royal College of Surgeons. 
 The Society of Antiquaries. 
 The Royal Society of Antiquaries of Scotland. 
 The Royal Society of Dublin. 
 The Royal Asiatic Society. 
 The Royal Academy of Arts. 
 The Trustees of the Ashmolean Museum, 
 rhe Archaeological Institute. 
 The Archaeological Society of Kilkenny. 
 The Norwich Museum. 
 The Art-Union of London. 
 The Governors of the Foundling Hospital. 
 The Mace Society of Chichester. 
 The Yorkshire Philosophical Society. 
 The Minister and Churchwardens of St. Gre- 
 gory's, Norwich. 
 
 Duke of Devonshire, K.G. 
 Duke of Buccleuch, K.G. 
 Duke of Richmond, K.G. 
 Duke of Northumberland, K.G. 
 Duke of Manchester. 
 Duke of Poi tland. 
 Duke of N ewcastle. 
 Duke of Rutlaud. 
 
 Marquis of Abercorn, K.G. 
 Marquis of Aylesbury. 
 Marquis of Salisbury, K.G. 
 Marquis of Westminster. 
 Marquis of Breadaloane. 
 Marquis of Lothian. 
 Marquis of Bath. 
 Marquis of Northampton. 
 
 Earl of Carlisle. 
 
 Earl of Craven. 
 
 Earl of Warwick. 
 
 Earl of Chesterfield. 
 
 Earl of Stamlord and Warrington. 
 
 Earl Cadogan. 
 
 Earl Cawdor. 
 
 Earl of Portsmouth. 
 
 Earl of Denbigh. 
 
 Lord Bishop of Exeter. 
 Venerable Archdeacon Bonney. 
 
 Lord Elcho. 
 
 Lord Hastings. 
 
 Lord Delamere. 
 
 Lord Stafford. 
 
 Lord Talbot de Malahide. 
 
 Lord Faversham. 
 
 Lord De L'Isle and Dudley. 
 
 Lord De Mauley. 
 
 Lord De Tabley. 
 
 Lady Lyttelton. 
 
 Lord Lyttelton. 
 
 Lord Ward. 
 
 Lord Alfred Howard. 
 
 His Eminence Cardinal Wiseman. 
 
 Right Hon. J. W. Croker. 
 
 Lieut. -General the Hon. E. P. Lygou, C.B. 
 
 The Hon. Ashley Pousonby. 
 
 The Hon. A. D. Willoughby. 
 
 The Hon. Warren Vernon. 
 
 The Right Hon. C. T. d'Eyncourt. 
 
 The Hon. E. C. Curzon. 
 
 The Dowager Lady Sitwell. 
 
 Sir Thomas Bevor. 
 
 Sir H. K. Bruce. 
 
 Sir Henry Dyrnoke. 
 
 Sir P. Malpas De Grey Egerton. 
 
 Sir W. Gore Ouseley. 
 
 Sir Charles Price. 
 
 Sir Anthony Rothschild. 
 
 Sir Wa) ter Trevelyan. 
 
 Sir John P. Boileau. 
 
 Sir John McNeill, G.C.B. 
 
 The Baron Marochetti. 
 
 Auldjo, Miss. 
 Addington, S., Esq. 
 Arnold, A. W., Esq. 
 Attenborough, G., Esq. 
 Attenborough, R., Esq. 
 Attree, W., Esq. 
 Annoot & Gale, Messrs. 
 Abel, Josh., Esq. 
 
 Barker, A., Esq. 
 
 Bay ley, J., Esq. 
 
 Baker, A. Whyte, Esq. 
 
 Bale, C. S., Esq. 
 
 Barry, J. S., Esq., Executors of. 
 
 Bedford, Henry C. G., Esq. 
 
 Binns & Co., Messrs. 
 
 Billings, R. W., Esq. 
 
 Bohn, Henry G., Esq. 
 
 Bradbury, C. , Esq. 
 
 Biaikenridge, Rev. G. W 
 
 Brett, J. W., Esq. 
 
 Brunei, J. K., Esq., P.R.S. 
 
 Bush, Henry, Esq., Executors of. 
 
 Blackburn, Henry, Esq. 
 
 Bowden, H., Esq. 
 
 Beevor, R., Esq. 
 
 Baldock, E. H., Esq. 
 
 Charlton, Dr. 
 Catt, Henry, Esq. 
 Cheney, Edward, Esq. 
 Cheney, Robert, Esq. 
 Christy, Henry, Esq. 
 
 [175] 
 
MUSEUM OF ORNAMENTAL ART. 
 
 CoxraiEUTons. 
 
 Christy, Samuel, Esq., M.l>. 
 
 Clendon, J. C, Esq. 
 
 Cooke, N., Esq. 
 
 Cooke, E. W , Esq., A.R.A. 
 
 Cooksou, J., Esq. 
 
 Coope, O., Esq. 
 
 Clarke, Miss. 
 
 Carlton, W. , Esq. 
 
 Davis, F., Esq. 
 Davidson, D., Esq. 
 Denuys. E. N., Esq. 
 Dilke, C. Weutworth, Esq. 
 Dingwall, S., Esq. 
 Dommett, W., Esq. 
 Drake, Mrs. W. R, 
 Drake, W. R.. Esq. 
 Duke. Rev. Edward. 
 Durlacher, Messrs. 
 Darby, A., Esq. 
 
 Ellis, A. G., Esq. 
 
 Ellis, Messrs. 
 
 Ellison, Richard, Esq. 
 
 Emmanuel, Messrs. 
 
 Swing, J., Esq. 
 
 Elkingtou A- Mason, Messrs. 
 
 Falkener. Edward, Esq. 
 Farrer, II., Esq. 
 Field, George, Esq. 
 Fischer, J. P., Esq. 
 Falcke, Isaac, Esq. 
 Falcke, David, Esq. 
 
 Goode, Messrs. 
 Gilbert, Mrs. 
 Gilman, — , Esq. 
 Goff, Robert, Esq. 
 Grenville, Neville, Esq. 
 
 C. W. Hcmsworth, Esq. 
 Hard wick, P., Esq. 
 Harrison, John G. Esq., M.D. 
 Harrod, Henry, Esq. 
 Hawkins, Rhode, Esq. 
 Hewett, Messrs. 
 Heywood, J., Esq. 
 Hill, Jere, Esq. 
 Holford, R. S., Esq. 
 Hope, A. J. Beresford, Esq. 
 Hoskins, G. A., Esq. 
 Howard, Philip H., Esq. 
 Hudson, W., Esq. 
 Hugo, Rev. Thomas. 
 Hunt & Roskell, Messrs. 
 Hodgkiusou, J., Esq. 
 Hick, John, Esq. 
 Hodgson, David, Esq. 
 
 Joseph, Abraham, Esrj. 
 
 James, J., Esq. 
 
 Jortin Lee, Esq. 
 
 Jennins & Betteridge, Messrs. 
 
 Keunaway, Rev. C. E. 
 
 Knight, J. Riley, Esq. 
 
 Lambert, Rev. A. 
 Leicester, Rev. F. 
 Lambert & Rawlings, Messrs. 
 
 Magniac, Hu'.liiigworth, Esq. 
 Meyrick, Colonel. 
 Maclcod, Norman, Esq. 
 
 Macmanus, Henry, Esq. 
 Mainwaring, C, K., Esq. 
 Maltby, C, Esq. 
 Mayer, Joseph, Esq. 
 Mills, Charles, Esq. 
 Mills, J., Esq. 
 Minton, Messrs. 
 Martin, E. G., Esq. 
 Myers, L, Esq. 
 
 Napier, Robert, Esq. 
 Neill, Robert, Esq. 
 Nicholson, G. J., Esq. 
 Norton, Peter, Esq. 
 Newall, H., Esq. 
 
 Ollivant &. Botsford, Messrs. 
 Palliser, Mrs. 
 Rev. Dr. Petrie. 
 Pavy, Monsr. 
 Pearce, Richard, Esq. 
 Pellatt, Apsley, Esq." 
 Pfister, J. G., Esq. 
 Phillips, H. Esq. 
 Phillips, A., Esq. 
 Phillips, M., Esq. 
 Pilleau, W., Esq. 
 Preston, Mrs. 
 Pulsky, F., Esq. 
 
 Rock, Rev. Dr. 
 Rait, D. C, Esq. 
 Redferu. C, Esq. 
 Reed, Charles, Esq. 
 Ridgeway, Bates, &. Co., Messrs 
 Rigby, G., Esq. 
 Rothwell, Talbot W., Esq. 
 Robertson, J., Esq. 
 Rolls, W. M., Esq. 
 
 Sneyd, Rev. Walter. 
 Salomons, A., Esq. 
 Seymour, H. Danby, Esq. 
 Slade, Felix, Esq. 
 Smith, Archibald, Esq., M.D. 
 Smith, T. Roger, Esq. 
 Spiers, R. J., Esq. 
 Stauiforth, Rev. T. 
 Sinclair, J. S., Esq. 
 Stirling, W., Esq., of Keir. 
 •Sharp, S., Esq. 
 
 Titlow, Rev. S. 
 Trollope, Rev. Edward. 
 Taylor & Sous, Messrs. 
 Tite, William. Esq., M.F. 
 Turner, R., Esq. 
 Tennant, J., Esq. 
 
 Wellesley, Rev. Hy., D.D 
 Wallis, G., Esq. 
 Waterton, E., Esq. 
 Way. Arthur, Esq. 
 Weeks. Mrs. 
 Wells. W., Esq. 
 West, J. R., Esq. 
 Warde, Charles, Es i. 
 Wild, J. W., Esq. 
 Wilson, Btitt, Esq. 
 Winter, Rev. Thomas. 
 Woollall, John, Esq. 
 Woodgate, Messrs. 
 Tatos, Miss. 
 
 C K6 J 
 
 J. B. WARING. 
 

GALLERY OF DRAWINGS IN WATER-COLOURS. 
 
 (AT THE EXTREME END OF THE BUILDING.) 
 
 In this department of the Exhibition a collection of drawings has been made for the 
 mrpose of illustrating the rise, progress, and recent state, of painting in water-colours. 
 
 The practice of this branch of the fine arts is so much followed in England, and the 
 irincipal professors have sent forth such numerous examples (in several instances 
 .mounting to many hundreds), that we generally look upon this as peculiarly a national 
 ohool of art. It is also a matter of notoriety that in the United Kingdom the possession 
 if works of this nature is a circumstance of more general occurrence than in any other 
 ountry. 
 
 The method of using, for the purposes of ornamentation or of delineation, earths or 
 ninerals of different colours diluted with water, is of the highest antiquity, and in the 
 :ourse of time was carried to the utmost possible degree of perfection in the case of 
 resco-painting as practised in Italy by the great artists of that country ; and the process 
 sas applied among other things to the illustration of missals and other books in the 
 niddle ages ; and on the pages of those volumes are to be found, among numerous 
 levotional and fanciful subjects, representations of scenes from nature, flowers and 
 oiimals, of the greatest accuracy and beauty. 
 
 Among other masters of a succeeding period, Albert Durer has left us several examples 
 if water-colour painting in the shape of detached studies ; and following him many of the 
 Dutch painters attained a high degree of excellence in the art, and from this point we may 
 late its expansion in the shape in which we know it. Nevertheless the specimens of this 
 school were almost limited to simple washes of colour, the more modern processes by 
 .vhich effects are obtained equalling the brilliancy and power of oil painting being then not 
 ittempted. In order, however, to show the state of the art at and about that time we 
 lave selected some specimens by Rembrandt, Ostade, and Van Huysum from the Dutch 
 md by Watteau from the French schools. 
 
 From his observation of the productions of these men our own English school may be 
 issumed to have been founded by Paul Sandby, examples of whose practice will be found 
 n this Collection, and following him we give an uninterrupted series of drawings up to 
 ;he present time. _ Sandby, however, is very noticeable as having studied much from 
 nature, and as having used every method, whether on common paper in mere washes of 
 svater- colour, body colour, or Indian ink shaded with colour, or on coloured papers with 
 ■he same mediaj but in general the early practitioners of this art were content to follow 
 the theories of the schools of oil painting in breaking down the warm tints with others of 
 in opposite quality, in representing shadows by cold tones only, and by using the delicate 
 but fugitive vegetable colours ; hence the faded state of many of the works of that time. 
 
 In the course of the chronological arrangement which we have adopted in this depart- 
 ment, will next be found an important assemblage of the works of the late J. M. W. 
 Turner, which commences with his first exhibited drawing and closes with the last which 
 ne executed. By an examination of this series, it will be seen that while this artist did 
 not neglect to study, and even to adopt, the style of any of his contemporaries, he also in- 
 fluenced the whole practice of the water-colour school by the continued display of his ever 
 increasing mastery of effects, which a study of his works will show he spared no amount 
 }f labour in acquiring. 
 
 [177] K 
 
DRAWINGS IN WATER-COLOURS. 
 
 To this master, in fact, is owing all the great improvements which will he seen to have 
 taken place of late years in water- coloar drawing ; for in the course of his career he 
 introduced the use of warm tones into the shadows in the picture, and gradually 
 discarding the use of the vegetable colours, he attained even a higher degree of brilliancy 
 in his work by reintroducing the use of those which are formed from mineral bases and 
 which we have seen in the instances of the pictorial representations on the most ancient 
 monuments, still after many ages preserve their brilliancy unimpaired. Turner's works 
 however, are strictly examples of water-colour drawing ; but since his time a style has 
 arisen which appears to set aside the careful execution by which he and his contem- 
 poraries gained their effects, and to charge the drawing with heavy and unnecessary 
 masses of material. J 
 
 In addition, moreover, to the examples of the English artists thus shown by us we 
 are enabled by the liberality of the gentlemen whose names will be found placed against 
 them in the Catalogue, to exhibit some of the best works of the modern French and 
 Dutch practitioners in this branch of art, and it will be seen that these drawings are of 
 the highest degree of excellence. 
 
 In the case of the deceased artists we have given as far as possible the dates of their 
 birth and death, or of the last occasion on which they are known to have exhibited works 
 in public ; for the general body of which information, and for his other most liberal 
 assistance, I beg to express my best thanks to William Smith, Esq., F. S. A. 
 
 EDWARD HOLMES, M.A. 
 
 DRAWINGS IN WATER-COLOURS. 
 
 1 
 la 
 
 KOOM No. 1. 
 JACOB JORDAENS, 1594— 167S. 
 
 Man and Dogs . i?„.. _p r . Wellesley. 
 
 REMBRANDT, Leydersdorp 1606— Amsterdam 1674. 
 A Girl Leaning over a Gate . . . . T. M. Whitehead, Esq. 
 Pen and bistre wash and tinted. From Ploos Van Amstel's 
 Sir T Lawrence's, and Mr. Esdaile's collections. 
 
 A. VAN OSTADE, 1610— 16S5. 
 Exterior of a Cottage; Peasants and Children . . Mrs. Garle. 
 C. DUSART, 1665—1704. 
 
 Dutch Interior 7? tr . j sme Spcnctr. 
 
 Dutch Interior Ditto. 
 
 H. MOUCHERON, 1633— 16SG. 
 
 Exterior, Garden and Portico Geo. Smith, Esq. 
 
 HERMAN HENSTENBURG, 1667—1726. 
 
 Poultry ... J. b. Kcilmt, Esq. 
 
 Poultry j),y f0- 
 
 Snake, Lizard, Butterflies, &c Mrs. B. P. Kicholls. 
 
 A. WATTEAU, Valenciennes, 1684— Paris 1721. 
 
 Female Head /. Hertz, Esq. 
 
 J. VAN HUYSUM, 1682—1749. 
 
 11 Grapes and Peaches in a Niche in a Wall . . Wm. Russell, Esq. 
 
 12 Vase with Tulips Ditto. 
 
 13 t Four long Groups of Fruit and Flowers . . . Ditto. 
 
 14 Six Sheets op Flowers detached: White RoSBS, 
 
 Hyacinths, Peony, and Pinks . . . . Ditto. 
 
 [178] 
 
DRAWINGS IN WATER-COLOURS. 
 
 J. VAN HUYSUM— continued. 
 
 Vase with Flowers 
 
 A Poppy Branch .... 
 
 A Vase with Cupids 
 
 A Vase with Cupids 
 
 A Sheet of Three Fancy Designs 
 
 A Vase with Tulips, Roses, and Lilies 
 
 A Vase with Grapes, Peaches, and Pomegranate 
 
 Wm. Russell, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Edward Holmes, Esq. 
 Ditto. 
 
 PAUL SANDBY, Nottingham, 1725— London, 1809. 
 Windsor Castle from Eton, Playing Fields — about 
 
 1770 William Sandby, Esq. 
 
 Bothwell Castle, Clydesdale, 1770 Ditto. 
 
 Sketch in Windsor Park, 1770 Ditto. 
 
 Carnarvon Castle, 1773 Ditto. 
 
 View in North Wales, 1780 Ditto. 
 
 A Beech Tree, 1780 Ditto. 
 
 Two Views in Wales, 1782 Ditto. 
 
 Pembroke Castle, 1782 Ditto. 
 
 Two Views on Blue Paper : 
 
 1. A Castle in Wales Ditto. 
 
 2. A Landscape with distant Mountains . . . Ditto. 
 View OF a Castle WITH Trees. Pen and Wash Drawing . Ditto. 
 Landscape, Ruins of a Castle and Trees, 1790 . . Ditto. 
 
 View near Virginia Water, 1790 Ditto. 
 
 View in the Village of Seatoller, Borrowdale, 1795 . Ditto. 
 
 Hyde Park Wm. Smith, Esq. 
 
 GIOVANNI BAPTISTA CIPRIANI, 1728—1785. 
 Drawing for the Diploma .... Royal Academy of Arts. 
 
 Comedy Wm. Smith, Esq. 
 
 Mary, Darnley, and Rizzio Ditto. 
 
 Group of Cupids, after Parmegiano . . W. J. Broderip, Esq. 
 
 SLR JOSHUA REYNOLDS, 1723—1792. 
 Triumph of Sculpture over Painting . . . Rev. Isaac Spencer. 
 Portrait of Sir Joshua Reynolds .... Wm. Cribb, Esq. 
 
 THOMAS GAINSBOROUGH, 1727—1788. 
 
 Cattle in a Pool Edward Holmes, Esq. 
 
 Study, Pen and Ink and Wash, for Sir T. Baring's 
 
 Picture Right Hon. J. W. Croher. 
 
 Ditto, Water Party in a Park .... Ditto. 
 
 Ditto, Lady Walking in the Park .... Ditto. 
 
 JOHN COZENS, d. 1794. 
 
 Windsor Castle George Smith, Esq. 
 
 Gardens, Villa Aldobrandini Ditto. 
 
 [ 179 j n 2 
 
DRAWINGS IN WATER-COLOURS. 
 
 JOHN COZENS— continued. 
 
 Pic du Midi . . 77-7/ • o -n -^ 
 
 _ II illiam Smith, Esq. 
 
 f T LBA Ditto. 
 
 Near Naples, on the Coast Mrs q, 
 
 Florence . Tr T ~ , „ 
 
 _ _ Xf. J uuqhan, Esq. 
 
 Isle Borromeo . -n-,., 
 
 Villa Farnese • . . tv,. 
 
 Ditto. 
 
 MICHAEL ANGELO ROOKER, 1743—1801 
 Ruins of Netley Abbey William Smith, Esq. 
 
 BYRNE. 
 
 Hurst Castle ... t n m.i -^ 
 1. Griffith, Esq. 
 
 FRANCIS WHEATLEY, 1747-1801. 
 Rustic Courtship . . T >—„- c .,. _ 
 
 // illiam Smith, Esq. 
 
 WILLIAM HAMILTON, 1751—1801. 
 
 From Gravs Elegy . -p.... 
 
 _ ' _ Ditto. 
 
 I'rom Thomson's Seasons . r,-,, 
 
 JJlttO. 
 
 THOMAS ROWLANDSON, London, 1756-1827. 
 Quay at Amsterdam . . »•* x,, „, . 
 
 * _ lion. ±.dtn. Phipps. 
 
 English Tourists at Helvoetsluys . . . j) it(o 
 
 Brook Green Fair . 7Tr c .', _ 
 
 If m. Smith, Esq. 
 
 THOMAS GIRTIN, 1775-1802. 
 River Scene ... r , ,, „ 
 
 T TT _ • • John Jloss, Esq. 
 
 Irish Village, Church, &c. t -n-n t _, t, 
 
 „ ' </• Fukkigton, Esq. 
 
 Haugham Abbey . . r . Z , ,, 
 
 „ • . _ _ Lewis Loyd, Esq. 
 
 St. Asaph Cathedral . . -nr-. « ... _ 
 
 Win. Smith, Esq. 
 
 Cottages near Norwich ... Dtt 
 
 Storm, Lightning, &c, Sea Coast Miss MiUn . 
 
 Helmsley Castle, Yorkshire j) ii(o 
 
 Porch of Peterborough Cathedral 2>f'«e. 
 
 Interior of Exeter Cathedral j)i tio 
 
 Dogs, after Morland John Henderson, Esq. 
 
 Ely Cathedral m$s MiU(n 
 
 Lichfield Cathedral Ditto 
 
 Carew Castle Ditto 
 
 Ryland Abbey, near Thirsk Ditto. 
 
 Tattershall Castle, near Lincoln j£ r8 . Cooper. 
 
 View of Durham Henry Vaughm, Esq. 
 
 Bridge and Church John j_llnutt, E$q. 
 
 GIRTIN AND HOWITT. 
 Stags and Forest Scenery Mrs. Cooper. 
 
 EDWARD DAYES, d. 1804. 
 Durham, seen through Arch of Bridge .... Miss Miller. 
 
 Durham Cathedral M)VS . Cooper. 
 
 St. Andrew's Cathedral Miss Miller. 
 
 Caerlaverock Castle . ... . . . Ditto. 
 
 Hyde Park 7/- ; „, Smith, Esq. 
 
 [180] 
 
DRAWINGS IN WATER-COLOURS. 
 
 88 
 89 
 90 
 91 
 92 
 
 THOMAS HEAPHY, 1811. 
 
 Fisherman Wm. Smith, Esq. 
 
 Quarrelling at Cards John Allnutt, Esq. 
 
 Birds and Fruit Ditto. 
 
 Stealing the Tarts Nathaniel BZibbert, Esq. 
 
 The Mother Ditto. 
 
 92a\ Sea Beagh— Fishermen 
 
 PAYNE. 
 
 93 
 94 
 
 95 
 
 95« 
 95b 
 95c 
 
 97 
 98 
 
 99 
 100 
 101 
 101a 
 102 
 103 
 104 
 
 103 
 
 106 
 107 
 108 
 
 109 
 
 110 
 111 
 Ilia 
 
 112 
 
 JllS 
 
 Water Mill 
 
 JACOB CATS, Altona, 1741— Amsterdam, 1799. 
 Canal; Man Shooting 
 
 JOHN JAMES CHAL0N, 1812. 
 
 William Smith, Esq. 
 Mrs. Cooper. 
 Geo. Smith, Esq. 
 
 Wm. Smith, Esq. 
 
 Miss Miller. 
 Ditto. 
 Ditto. 
 
 Wm. Smith, Esq, 
 Thos. Griffith, Esq. 
 
 Bots Fishing .... ... 
 
 ROBERTSON. 
 
 Morning ; Horses and Wagon going out . 
 Evening; Horses and Wagon returning . 
 
 Tivoli 
 
 WILLIAM ALEXANDER, 1768—1816. 
 Suburbs of a Chinese City 
 
 This Drawing was made on the occasion of Lord Macartney's 
 Embassy to China. 
 
 Carisbrook Castle 
 
 THOMAS HEARNE, 1744—1S17. 
 
 Near Monmouth John Sender son, Esq. 
 
 Old Ruin and Trees Mrs. Cooper. 
 
 Dacre Castle Wm. Smith, Esq. 
 
 Cattle w - Smith, Esq. 
 
 Caister Castle Ditto. 
 
 Glasgow. . . .......... Miss Miller. 
 
 Holt Island Cathedral Ditto. 
 
 JULIUS CJESAR IBBETS0N. 
 
 Isle of Wight Wm. Smith, Esq. 
 
 JOHN AUGUSTUS ATKINSON, 1818. 
 
 Sea Beach and Boats Ditto. 
 
 Harvest Field . 
 
 Gipsy Camp 
 
 HUGH WILLIAMS, 1820. 
 
 Loch Lomond 
 
 J. P. STEPHANOFF, 1820. 
 
 Antipholds Bound Wm. Lea fi %*?• 
 
 Lear in the Storm Wm. Smith, Esq. 
 
 Lallah Rookh 
 
 FRANCIA, 1820. 
 
 Calais . 
 
 THOMAS MALTON, b. 174 
 
 The Law Courts 
 
 [181] 
 
 Ditto. 
 Ditto. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
DRAWINGS IN WATER-COLOURS. 
 
 114 
 115 
 116 
 117 
 
 120 
 121 
 122 
 123 
 124 
 
 127 
 
 128 
 
 129 
 
 Tl^ BEWICK ' Che ^ B ^>l '^-Gateshead, 1828. 
 
 • Rev. T. Hugo. 
 
 Wood Pecker 
 
 Rock, Sea-Coast . 
 
 Bamborough Castle 
 
 Stone Quarry. Drawing in Indian Ink 
 
 H. EDRIDGE, 1768—1821. 
 Coast at Brighton, Pier 
 Sea Beach 
 Near Redleaf 
 Near Bromley 
 Pont Neuf, Paris . 
 
 Lion and Lioness 
 
 SAMUEL HOWITT, d. 1822. 
 
 Mountain Scene 
 
 Old Ruins and Church 
 
 WILLIAM HAVELL, 1828. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
 Sir C. Price, Bart.; 
 
 Wm. Russell, Esq. 
 
 Wm. Smith, Esq. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 TJws. Griffith, Esq. 
 8. Crompton, Esq. 
 
 WILLIAM BLAKE, 1757—1828 
 130|OberonandTitaniaonaLily. . . . '. Wm . Russell, Esq. 
 130(7 Vision of Queen Catherine c w mke £s 
 
 131 
 
 132 
 133 
 134 
 135 
 136 
 137 
 
 138 
 
 139 
 140 
 
 141 
 142 
 144 
 
 144,, 
 
 148 
 149 
 
 Dogs Casting 
 
 A Felucca 
 
 Coast Scene . 
 
 Sea Piece and Pier 
 
 Verona . 
 
 Venice . 
 
 On the Scheldt . 
 
 GEORGE ALKEN. 
 
 C. Lang tort, Esq. 
 RICHARD PARKES BONINGTON, 1801— 182S. 
 
 Frank Dillon, Esq. 
 
 Oxford High Street 
 
 AUGUSTUS PUGIN, 1831. 
 
 Thos. Birehall, Esq. 
 
 Frank Dillon, Esq. 
 
 Wm. Smith, Esq. 
 
 S. Cheney, Esq. 
 
 E. Cheney, Esq. 
 
 Wm. Smith, Esq. 
 
 H. LrVERSEEGE, Manchester, 1803—1832 
 
 The Aged Falconer Rt. Johnstone, Esq. 
 
 D0NQUK0TE mj.Ya«ghan,Esq. 
 
 GEO. ERED. R0BS0N, 1790—1833. 
 
 On the Donne Lev-is Loyd, Esq. 
 
 London Bridge (Sunset) . . . . . . WnK U(lf ^ & 
 
 Ddrham Ditto. 
 
 INGLEFIELD. 
 Sea View Messrs. Colnayhi £ Co. 
 
 CHARLES WILD, 1833. 
 Interior of St. Jacques' Church, Antwerp . . Mrs. Owen JKktes. 
 Interior of the Church of the Carmes Dechaussf.i> 
 
 at Ghent 
 
 [182] 
 
 Ditto. 
 
DRAWINGS IN WATER-COLOURS. 
 
 149« Designs for Chess Men 
 
 FLAXMAN. 
 
 CKUIKSHANK. 
 
 149 J 
 
 150 
 
 151 
 
 152 
 
 153 
 
 154 
 
 155 
 
 156 
 
 157 
 
 158 
 
 159 
 
 160 
 
 161 
 
 162 
 
 163 
 
 164 
 
 164« 
 
 165 
 
 166 
 
 167 
 
 167« 
 
 168 
 
 rl69 
 
 170 
 
 171 
 172 
 173 
 
 174 
 
 175 
 176 
 
 177 
 
 178 
 179 
 180 
 
 Sketcher 
 
 — Wedgwood, Esq. 
 
 E. E. Cheney, Esq. 
 
 THOMAS STOTHARD, 1755—1834. 
 r uth E. Fordham, Esq. 
 
 Malvolio from " Twelfth Night " Messrs. Agnew. 
 
 From the " Two Gentlemen of Verona " . . . . Ditto. 
 
 The Lady's Dream Wm. Smith, Esq. 
 
 The Poet's Dream F. T. Palgrave, Esq. 
 
 Children— Hunt the Slipper W. Sharpe, Esq. 
 
 Children— Bridal Procession Ditto. 
 
 Children with a Mask Ditto. 
 
 Illustration to Chaucer (Indian Ink). . . . Ditto. 
 
 Studies, in eight frames Eoyal Academy. 
 
 From Spenser's "Faery Queene" .... W. Sharpe, Esq. 
 
 The Boy leaving Home, Rogers's " Pleasures of Memory " Ditto. 
 
 Penseroso and Allegro Ditto. 
 
 Three Vignettes to " Gil Blas " .... Ditto. 
 
 The First Prayer By. Sharpe, Esq. 
 
 Two Studies . W. DilJce, Esq. 
 
 The Shield of Achilles DZy. Vaughan, Esq. 
 
 Six Illustrations to " Rokeby " . . . Ditto. 
 
 Illustration to Spenser's "Faery Queene" . . Ditto. 
 
 The Canterbury Pilgrimage D. E. Davies, Esq. 
 
 SAMUEL AUSTIN, 1834. 
 
 Cologne on the Rhine 
 
 View in Holland 
 
 Scene near Seven oaks 
 
 RICHARD WESTALL, 1765— 1836. 
 A Suttee, painted with Kirdis and Melville . 
 
 Duncan Warned 
 
 Elijah and the Widow's Son . 
 
 JOHN CONSTABLE, 1776—1837. 
 Sheep in a Lane 
 
 LUKE CLENNELL, 1781—1839. 
 
 Going to the Fair 
 
 Travellers at an Inn 
 
 Sea View, Wind off Shore .... 
 
 JOHN SELL COTMAN, 1839. 
 
 Vessels at Sea 
 
 Dutch Greenlanders, Yarmouth Roads . 
 
 Phantom Ship 
 
 [183] 
 
 Et. Johnstone, Esq. 
 John Pender, Esq. 
 Thos. Griffith, Esq. 
 
 Mrs. Cooper- 
 
 Wm. Smith, Esq. 
 
 Thos. Griffith, Esq. 
 
 Messrs. Agnew. 
 
 John Moss, Esq. 
 
 John Allnutt, Esq. 
 
 Eev. E. Coleridge. 
 
 John Dillon, Esq. 
 
 Thos. Griffith, Esq. 
 
 Ditto. 
 
DRAWINGS IN WATER-COLOURS. 
 
 182 
 183 
 184 
 
 184; 
 
 185 
 186 
 187 
 188 
 189 
 
 190 
 191 
 192 
 
 193 
 194 
 195 
 196 
 197 
 198 
 200 
 201 
 
 203 
 205 
 206 
 207 
 209 
 210 
 211 
 212 
 
 212« 
 213 
 
 213« 
 213* 
 
 213< 
 
 Bkoadstairs . 
 
 Vessels at Anchor in a Gale 
 
 Sunset at Sea 
 
 GEOEGE CHAMBERS, d. 1840. 
 
 Southampton 
 
 F. DANBY. 
 
 SIR DAVID WHXIE, 1785—1841 
 Grace Before Meat 
 
 Dragoman op Austrian Consul . 
 
 Winnowing Corn . 
 
 The Soldier Finding the Body op Hyder Ali 
 
 Study op Chelsea for the distance in his Chelsea 
 
 Pensioners 
 The Novice .... 
 The Arrest of the Cardinal 
 Pen and Ink Sketch for a Group in his 
 
 Festival 
 
 GEORGE BARRETT, d. 184 
 
 Summer — The Piping Shepherd . 
 Italian Composition 
 Evening Composition (1822) 
 Landscape and Cows . 
 Landscape and Cattle 
 Rocky Scene 
 
 Walton Bridge .... 
 Italian Landscape, Tivoli . 
 
 JOHN VARLEY, d. 1S43 
 
 Oval 
 
 Lake Scene 
 
 Composition. 
 
 Ryland 
 
 The Watery Waste 
 
 Hampstead Heath 
 
 Conway . 
 
 Bridge at Beddgelert 
 
 Landscape, with Flock of Sheep 
 
 JOHN WRIGHT. 
 
 The Widow 
 
 The Tomb of Merlin 
 
 Tivoli 
 Landscape 
 
 J. GANDY. 
 
 REINAGLE. 
 
 John Barratt, Esq. 
 
 John Fender, Esq. 
 
 Thos. Birchall, Esq. 
 
 John JL'ller, Esq. 
 
 T. Birchall, Esq. 
 
 Lewis Logd, Esq. 
 
 John Allnutt, Esq. 
 
 Ii. H. Cheney, Esq. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
 Village 
 
 George Yaughan, Esq. 
 
 J. G. Livingstone, Esq. 
 
 D. R. Davies, Esq. 
 
 Thos. Griffith. Esq. 
 
 Ii. Frceland, Esq. 
 
 JFtn. Smith, Esq. 
 
 . J. Dillon, Esq. 
 
 Wm. Leaf, Esq. 
 
 James Ditgdale, Esq. 
 
 Death on the Pale Horse 
 
 B. WEST, P.R.A. 
 
 [184] 
 
 T. Ashton, Esq. 
 
 Thos. Birchall, Esq. 
 
 Sir C. Price, Bart. 
 
 John Allnutt, Esq. 
 
 If'm. Smith, Esq. 
 
 Ditto. 
 
 Ditto. 
 
 Mrs. Bernasconi. 
 
 Thomas Griffith, Esq. 
 
 B. If'cstmacott, Esq. 
 
 John Allnutt, Esq. 
 Ditto. 
 
 Bogal Acadt, ;/. 
 

^1 
 
DRAWINGS IN WATER COLOURS. 
 
 214 
 215 
 216 
 217 
 218 
 219 
 220 
 221 
 
 ai« 
 
 222 
 223 
 224 
 225 
 226 
 227 
 228 
 229 
 
 229« 
 2296 
 
 230 
 
 230« 
 
 231 
 232 
 233 
 234 
 235 
 236 
 237 
 238 
 239 
 240 
 241 
 242 
 243 
 
 244 
 245 
 246 
 
 SIR AUGUSTUS W. CALLCOT, 1779—1844. 
 
 Coast Scene Tt. B. Preston, Esq. 
 
 Ruins of Baalbec E. Munn, Esq- 
 
 Ruins Thos. Birchall, Esq. 
 
 Pool of Solomon Tewis L °y d -> Es V 
 
 View in Sicily • . • • Frank Dillon, Esq. 
 
 Landscape on the Trent Col. Rogers. 
 
 Trent in the Tyrol . ... . . • Messrs. Agnew. 
 
 Hampstead Thos. Griffith, Esq. 
 
 OWEN. 
 
 Coast and Ships William Smith, Esq. 
 
 ROBERT HILLS, 1765—1844. 
 
 Cows and Water George Smith, Esq. 
 
 Farm Yard Mrs ; Garlc - 
 
 Stag in the Pass of Glencoe ... . Ditto. 
 
 Oxen and Hay-stack Win. Smith, Esq. 
 
 Knowle Park and Stags Ditto. 
 
 Cows in a Landscape ?• Garle, Esq. 
 
 Sheep in a Landscape Thos. Griffith, Esq. 
 
 Cows in a Landscape Ditto. 
 
 ■ BRANDART. 
 
 Landscape E. Griffiths, Esq. 
 
 Sea Coast • mtto - 
 
 HILLS AND ROBSON. 
 Asses in a Landscape 
 
 HILLS AND COX. 
 
 Stags in a Landscape 
 
 WILLIAM JOHN MULLER, 1812- 
 
 My Room — Macri 
 
 At Xanthus 
 
 A Winter Scene 
 
 Arab Sheick 
 
 The Parthenon • 
 
 First Sketch in Asia Minor John Dillon, Esq. 
 
 Xanthus, No. 2, mto - 
 
 Xanthus, No. 3, BlUo - 
 
 Xanthus, No. 4, Buto - 
 
 Tombs in Syria 
 
 Bornt Pines on the Road to Pinaka 
 
 Camels, Smyrna 
 
 A Group of Trees, Stapleton, near Bristol 
 
 FRANCIS NICHOLSON, d. 1846. 
 
 Ripon Minster. Distant view Wm. Smith, Esq 
 
 The Cobbler Mountain, Loch Long ....... S. Crompton, Esq 
 
 Cotter Force, Wensleydale . ... . Thos. Griffith, Esq 
 
 [185] 
 
 . Thos. Griffith, Esq. 
 
 H. A. J. Monro, Esq. 
 
 -1S45. 
 
 . E. G. Midler, Esq. 
 
 Robert Munn, Esq. 
 
 . Thos. Birchall, Esq, 
 
 Frank Dillon, Esq 
 
 Ditto. 
 
 W. T. Maud, Esq. 
 Ditto. 
 Ditto. 
 
DRAWINGS IN WATER COLOURS. 
 
 247 
 
 248 
 249 
 250 
 251 
 252 
 
 253 
 254 
 255 
 
 256 
 258 
 
 259 
 260 
 
 260* 
 
 2604 
 260, 
 260,/ 
 260, 
 
 n ■ Morgan, Enq. 
 
 JOSHUA CRISTA!!, 1847 
 
 Woxkn at a Door with Km Lawmaking'' . JoJm AUnutt 7 , 
 
 HIGHLANDERS NEAR INVERARY Tr r c. • 
 
 Boats drying Nets Wm.Smxth,E^ 
 
 The Well at Inverary **• .**•«* A* 
 
 Cynthia Jfm, ' s - ^™- 
 
 T/JO*. tfnjTM, Esq. 
 
 * WI!!IAM C0U-INS, b 1788 
 
 Scalloway Castle and Bay. ' ^ „ . 7 
 
 BrendaTryl **»■ «««,.»* 
 
 Coast Scene . Tkah Birchal ^ ** 
 
 Dd. Eodgett, Esq. 
 
 JOHN G!0VER. Last Exhibition in 1817. 
 
 River Brathay 
 
 River Scene, with Cows 
 
 schaffhausen 
 Hurst Castle 
 
 A Turkish Lady . 
 
 Incipient Affection 
 Group of Figures 
 Sheep Shearing . 
 The Prize Fighters 
 
 VICKERS, 1848. 
 
 DRUMM0ND. 
 JOCK. 
 
 Win. Leaf, Esq. 
 . Thos. Griffith, Esq. 
 
 Henry Vaughan, Esq. 
 . Thos. Griffith, Esq. 
 
 . if. Johnstone, Esq. 
 
 261 
 283 
 284 
 265 
 266 
 267 
 268 
 269 
 270 
 271 
 272 
 273 
 
 276 
 277 
 
 279 
 
 EOOM No. 2. 
 
 n P - DEWINT, 3 849 
 
 Cathedral, Canterbury 
 
 Lowther Castle . 
 
 Hay Barge Loading Hay on a Canal 
 
 Putney Bridge 
 
 Black Combe 
 
 Lincoln Cathedral 
 
 Snow Scene . 
 
 Neath Abbey, S. Wales 
 
 Sketch on the Wye. Drawn ou the spot 
 
 Blackfriars Bridge, Summer Evening 
 
 Bampton Water-mill, near Lowther Castle 
 
 View of Tooksey Castle, on the Trent, Lin 
 
 WI1LIAM NESFIRLD, d 
 Falls of the Tummell 
 
 Schehallion . 
 
 View of Eton 
 
 [186] 
 
 colnshire 
 1851. 
 
 Major -Gen. Angerstein. 
 Ditto. 
 
 Lady JFalcott. 
 Ditto. 
 
 Miss Ashton. 
 T. Ashton, Esq. 
 John Henderson, Esq. 
 D. R. Davies, Esq. 
 John Barratt, Esq. 
 H. Cheney, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ed. Ellison, Esq. 
 Ditto. 
 
 U'm. Leaf, Esq. 
 Ditto. 
 The Provost of Eton. 
 


DRAWINGS IN WATER-COLOURS. 
 
 280a 
 
 281 
 282 
 283 
 
 284 
 
 285 I 
 
 286 
 
 287 
 
 288 
 
 289 
 
 290 
 
 292 
 
 293 
 
 293a 
 
 294 
 
 294« 
 
 2946 
 
 294 c 
 
 296 
 
 297 
 
 299 
 
 300 
 
 301 
 
 301« 
 
 302 
 
 303 
 
 303« 
 
 305 
 
 306 
 
 307 
 
 308 
 
 308« 
 
 309 
 
 310 
 
 311 
 
 312 
 
 313 
 
 314 
 
 315 
 
 BOILER. 
 
 Landscape William Leaf, Esq. 
 
 R. DADD. 
 
 Vale of Rocks 
 
 Dead Camel .... 
 
 Artists Halt in the Desert 
 
 T. BirchaU, Esq. 
 Ditto. 
 
 Ditto. 
 
 SAMUEL PR0UT, d. 1852. 
 
 Strasbourg Cathedral ■*»' Ashton. 
 
 Venice. Moncenigo Palace, Lord Byron's Residence C. Langton, Esq. 
 
 Ruins of Temple of Pallas at Rome . . . James Bland, Esq. 
 
 Indiaman Ashore TJH Lees, Esq. 
 
 Venice EC. TF. Capes, Esq. 
 
 An Interior F. D. P. AstUy, Esq. 
 
 Indiaman Driving Ashore SH Lees, Esq. 
 
 Staircase, Zwinger Palace, Dresden (now destroyed) Wm. Smith, Esq. 
 View in Venice ... . . . . C. Femberton, Esq. 
 
 Tomb of the Scaligers at Verona .... G. Soman, Esq. 
 
 Ruins of Temple of Pallas at Rome . . . T. Avison, Esq. 
 
 The Cross at Ulm F. B. Freston, Esq. 
 
 Cathedral Gate— Burgos Ditto. 
 
 Canal Scene T. Ashton, Esq. 
 
 JOSEPH MALLARD WILLIAM TURNER, d. 1854. 
 
 Ruins of Malmesbury Abbey. First Exhibited Drawing Mrs. Cooper. 
 
 Tintern Abbey ... Miss Miller. 
 
 Tintern Abbey • John Henderson, Esq. 
 
 Christchurch, Oxford Ditto. 
 
 Browsholme Hall, Lancashire F. Munn, Esq. 
 
 A Study of Nature James Serfs, Esq. 
 
 Beech Trees, Norbury Park .... Senry Vaughan, Esq. 
 
 South Porch of Lincoln Cathedral . . . . F. Clutter buck, Esq. 
 
 Landscape J- Seywood Sawkins, Esq. 
 
 Walton Bridge ^ Thos. Ashton, Esq. 
 
 St. Donat's Castle, Glamorganshire .... Ditto. 
 
 The First Steamer on the Thames .... Titos. BirchaU, Esq. 
 
 I Bridge at Abergavenny John Allnutt, Esq. 
 
 Distant View of London W. Wilson, Esq. 
 
 Tivoli. A Composition Ditto. 
 
 Old Castle in Yorkshire John Dillon, Esq. 
 
 Mont Blanc, from Aosta Ditto. 
 
 View of Leeds J° hn Allnutt, Esq. 
 
 Pigs and Poultry. Sketch for the Liber Studioruni . Thos. BirchaU, Esq. 
 
 Sketch in Sepia, for Leader's Marine in Liber Studiorum 
 
 Frank Dillon, Esq. 
 
 Eton. Drawing on unpublished etching of the Liber Studiorum 
 
 T. Lupton, Esq. 
 
 [187] 
 
DRAWINGS IN WATER-COLOURS. 
 
 316 
 
 319 
 
 320 
 
 321 
 
 322 
 
 323 
 
 324 
 
 325 
 
 326 
 
 327 
 
 328 
 
 329 
 
 330 
 
 330« 
 
 331 
 
 332 
 
 333 
 
 334 
 
 335 
 
 336 
 
 337 
 
 338 
 
 339 
 
 340 
 
 341 
 
 342 
 
 343 
 
 344 
 
 345 
 
 346 
 
 347 
 
 348 
 
 349 
 
 350 
 
 351 
 
 352 
 
 353 
 
 355 
 
 356 
 
 357 
 
 358 
 
 359 
 
 Town 
 
 JOSEPH MALLARD WILLIAM 
 
 Temple of Minerva, Cape Colonna 
 
 Vesuvius in Eruption . 
 
 Vesuvius in Repose 
 
 Virginia Water. Two Drawings 
 
 Roman Bridge at Avignon 
 
 Edinburgh 
 
 Plymouth with a Rainbow 
 
 The Mewstone 
 
 Dartmouth Cove 
 
 Bridport 
 
 Portsmouth . 
 
 Plymouth 
 
 Wreckers 
 
 Landscape 
 
 Bamborough Castle 
 
 Hastings, from the Sea 
 
 Herring Boats off Scarborouc; 
 
 Llanberris Lake . 
 Durham . 
 
 Lancaster Castle and 
 Saltash . 
 Holy Island . 
 Carew Castle 
 Launceston, Cornwall 
 Scene in Wales . 
 Cowes, Isle of Wight 
 j Dunstanborocgh Castle 
 Hampton Court 
 Tamworth Castle . 
 Ely Cathedral 
 On the Rhine 
 Welsh Scene— Bridge 
 Pendennis Castle . 
 Poole 
 
 Okehampton . 
 Eddystone Lighthousk 
 Rivaulx Abbey 
 Arundel Castle . 
 Dover, from the Sea 
 The Bass Rock 
 Santa Saba' . 
 Florence 
 
 [188] 
 
 AND 
 
 Cow 
 
 TURNER — continued. 
 
 H Woodd, Esq. 
 John Dillon, Esq. 
 
 Ditto. 
 
 C. Pembcrton, Esq. 
 
 P. Erceland, Esq. 
 
 . T. Todd, Esq. 
 
 C. Langton, Esq. 
 
 Henry Vaughan, Esq. 
 
 E. Podgett, Esq. 
 
 John Pilkington, Esq. 
 
 E. Podgett, Esq. 
 
 John Miller, Esq. 
 
 Zeivis Logd, Esq. 
 
 J. Dillon, Esq. 
 
 Pev. E. Coleridge. 
 
 Henry Yaughan, Esq. 
 
 Edward Holmes, Esq. 
 
 Henry Yauglwn, Esq. 
 
 Ditto. 
 
 C. Langton, Esq. 
 
 . D. P. Davies, Esq. 
 
 Ditto. 
 . 77/0* Birchall, Esq. 
 Ditto. 
 Ditto. 
 . J. H Hawkins, Esq. 
 . TJws. Birchall, Esq. 
 E. Podgett, Esq. 
 Lewis Logd, Esq. 
 Ditto. 
 Sir J. S. Hippisleg, Part. 
 Ditto. 
 . Frank Dillon, Esq. 
 Ditto. 
 Ditto. 
 John Dillon, Esq. 
 
 Ditto. 
 
 John Pender, Esq. 
 
 Sir J. S. Hippisleg, Part. 
 
 . P. M. Miller, Esq. 
 
 . P. P. Preston, Esq, 
 
 Sir IV. E. James, Port. 
 
3 (. •_, ' )SW^f -ti . t% /• /J 67(^cJ 0%\$\\Vl UcLca 
 
 374. &* >-n.(^4(/^^, %k1 o^kbx [oJji\. 
 
 
DRAWINGS IN WATER-COLOURS. 
 
 The Bungalow 
 
 JOSEPH MALLARD WILLIAM TURNER 
 
 Granville 
 
 Sketch in the Himalatahs. 
 Colosseum at Verona . 
 Quai di Conti 
 Bemerside 
 hougodmont . 
 Cathedral at Milan 
 Kelso .... 
 Rokeby .... 
 St. Florent . 
 Chateau Hamelin . 
 Tours .... 
 Saumur .... 
 
 Tours .... 
 [ Yarmouth Fishing Boats 
 
 Harboro Sands 
 
 Marathon 
 
 Lucerne bt Moonlight 
 
 Kussnucht, Lake of Lucerne 
 
 An Alpine Pass. His last Drawing 
 
 CHARLES BENTLEY 
 The Shipwreck .... 
 Dunluce Castle, Giant's Causeway 
 Harvest in Wales 
 j Donegal Bat .... 
 
 J Pont Hoogen .... 
 
 I The Lock 
 
 Fishing Boats off the Isle of Wight 
 387a Shipwreck off St. Michael's Mount 
 3876 
 
 380 
 
 361 
 
 362 
 
 363 
 
 364 
 
 365 
 
 366 
 
 367 
 
 368 
 
 369 
 
 370 
 
 371 
 372 
 373 
 374 
 375 
 376 
 378 
 379 
 380 
 
 381 
 382 
 383 
 384 
 385 
 386 
 387 
 
 jr. 
 
 continued. 
 
 R. Freeland, Esq. 
 
 Ditto. 
 John Miller, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Lewis Loyd, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Ditto. 
 Sir J. S. Hippisley, Bart. 
 . J. Munro of Kovar, Esq. 
 Ditto. 
 Ditto. 
 
 Rt. Johnstone, Esq. 
 Ditto. 
 John Pender, Esq. 
 Win. Smith, Esq. 
 Ditto. 
 Ditto. 
 Win. Smith, Esq. 
 Thomas Armstrong, Esq. 
 
 383 
 
 389 
 
 390 
 
 391 
 
 392 
 
 393 
 
 394 
 
 395 
 
 396 
 
 397 
 
 399 
 
 400 
 
 401 
 
 Gibraltar Leicis Lo 'J d i Jm -> Es d- 
 
 COPLEY VANDYKE FIELDING, 1854. 
 
 Naworth Castle J° hn Hiek, Esq. 
 
 Vale of Irthing. Between Newcastle and Carlisle Richard Ellison, Esq. 
 The Downs nbar Worthing . . . . Ditto. 
 
 Ben Cruachan Jo1tn Aikin > Es i- ' 
 
 Pilot Boat Ditto. 
 
 Loch Etive ■*"■ ■»• Wilson, Esq. 
 
 Stonehenge (Sunset) L. B. Mozhy, Esq. 
 
 Dark Stormy Heath Scene #■ Freeland, Esq. 
 
 Vessels at Spithead T - Eirchall, Esq. 
 
 Landscape . ' R. Alexander, E.sq. 
 
 Arundel Castle Leuis Lo V^ Es 1- 
 
 Sunset-Hastings John Allnutt, Esq. 
 
 Park Scene" John Pender, Esq. 
 
 [189] 
 
DRAWINGS IN WATER-COLOURS. 
 
 404 
 405 
 406 
 407 
 408 
 
 M L v T C0PLEY VANDYKE FIELDING-™,,W. 
 
 402 Sea View-Loch Fyne. Inverary in the distance 
 
 403 | Staffa .... 
 Distant View of a Castle through Treks 
 The Ferry 
 
 Waterfall and Trees. Early 
 Keswick Lake 
 Shore Scene at Bembridge, Isle of Wight 
 
 408tf Helvelltn 
 
 4aq L tt THALES FIELDING. 
 
 409 Cattle on a Heath 
 
 411 Cattle in a Pool 
 
 412 Cows in Water A distant view of Rye 
 
 4io a t, „. P - WILLIAMS. 
 
 **-«<* A Roman Woman and Bot 
 
 WILLIAM DELAMOTTE 
 
 414 Salleville, Savoy .... 
 
 aia\t LEITCH. 
 
 414« Landscape .... 
 
 414* View in the Isle of Man 
 
 R C. LEWIS (deceased). 
 
 415 »> aterfall in Devonshire 
 
 JOHN MARTIN, d. 1854. 
 
 416 VENCS APPEAR!NG to ^neas . ... . . M . Frcel.nd, Esq. 
 
 417 Diogenes and the Rustic T. Birchall, Esq 
 
 418 Harlech Castle-Dawn of Day mw(l Hol * 
 
 419 Scotch Scenery OW,,,,, imtt^r, Esq. 
 
 Col. Rogers. 
 
 . James Fallout, Esq. 
 
 W. Barter, Esq. 
 
 . John Allnutt, Esq. 
 
 T. Tee, Esq. 
 
 E. Cheney, Esq. 
 
 Arthur Yardon, Esq. 
 
 G. W. Moss, Esq. 
 
 Wm. Leaf, Esq. 
 
 W. J. Brodtrip, Esq. 
 
 Thos. Griffith, Esq. 
 
 Wm. Smith, Esq. 
 
 Mrs. Cooper. 
 
 Wm. Smith, Esq. 
 Geo. Smith, Esq. 
 
 T. Griffith, Esq. 
 
 423 
 424 
 425 
 426 
 427 
 .428 
 429 
 430 
 431 
 
 43L/ 
 
 432 
 
 LONG GALLEKY. 
 
 JOHN ABSOLON. 
 
 Miss Burdetl Coutts. 
 
 Ditto. 
 
 Wm. leaf, Esq. 
 
 F. D. P. Astley, Esq. 
 
 Sir Charles Price, Bart. 
 
 . /. F. Batcman, Esq. 
 Harvest-Home z ,„., w . 
 
 Green Jacket James Piatt, Esq. 
 
 Samuel H. TJtnmpson, Esq. 
 T. UWINS. 
 
 Wm. Smith, Esq. 
 H. BRIGHT. 
 
 J- P. Xeilson, Esq. 
 
 [190] 
 
 Saturday Night . 
 Sunday Morning . 
 Evangeline .... 
 The First Night in a Convent 
 The Stile .... 
 Joan of Arc in Prison 
 
 Rustic Dance 
 
 Haymakers 
 
 Coast of Scotland 
 
433 
 434 
 436 
 437 
 
 438 
 
 439 
 440 
 441 
 442 
 
 443 
 
 444 
 
 C. Langton, Esq. 
 
 T. S. Cafe, Esq. 
 
 W. Duncan, Esq. 
 
 J. Mollctt, Esq. 
 
 445 
 
 446 
 
 447 
 
 448 
 
 449 
 
 450 
 
 451 
 
 452 
 
 453 
 
 454 
 
 455 
 
 456 
 
 457 
 
 458 
 
 459 
 
 460 
 1461 
 
 462 
 462« 
 463 
 464 
 464« 
 465 
 467 
 I 468 
 468« 
 
 GEORGE DODGSON, 1848 
 
 Frost Scene 
 
 Terrace of Baronial Hall .... 
 Fete Champ£tre . . . . 
 
 An Avenue 
 
 T. BOYS. 
 
 View in Ghent *•■#"• XMfa Lsq. 
 
 W. F. BURTON. 
 
 Helen Faucit . J - Martin, Esq. 
 
 MICHAEL BOUQUET. 
 
 River Scene 
 
 AUGUSTUS BOUVIER. 
 A Daughter of the Mist .... 
 ROBERT TONGE. 
 
 Corn-field 
 
 F. W. BURTON. 
 
 Beggars at Ober Franken 
 
 Peasants of Upper Franconia waiting for Confession 
 
 GEORGE CATTERMOLE. 
 Amy Robsart and Janet Forster . 
 Christ Healing the Sick .... 
 
 The Senator 
 
 Cromwell's Troopers pursuing the Scots 
 
 Distribution of Alms 
 
 Salvator Rosa in the hands of Banditti 
 
 Benson Rathbone, Esq m 
 
 jr. T. Maudsley, Esq. 
 
 John Miller, Esq. 
 
 J. J. Jenkins, Esq. 
 . T. Schunck, Esq. 
 
 . R. B. Preston, Esq. 
 Mrs. Preston. 
 
 J. Henderson, Esq. 
 James Piatt, Esq. 
 
 JJ. R. Davies, Esq. 
 . John Barratt, Esq. 
 
 The Last Council of Charles I Co1 - Rogers. 
 
 Macbeth and the Witches J«*" V iUon , Es $- 
 
 Christ Preaching on the Steps of the Temple . John Pender, Esq. 
 
 The Conspirators F. D.P. Astley, Esq. 
 
 Boisguilbert Carrying off Rebecca . . . . R. S. Greg, Esq. 
 
 The Refectory George Smith, Esq. 
 
 Power of Music 0ldham ^taJcer, Esq. 
 
 Salvator Rosa among the Brigands . . . . G. W. Moss, Esq. 
 Macbeth and the Three Witches ....<?• Langton, Esq. 
 
 Italian Brigands 
 
 Lane Scene 
 
 Sacking of Basing House 
 
 Banditti ..••••• 
 
 Macbeth and the Three Witches 
 
 R. B. Preston, Esq. 
 
 Ditto. 
 
 EC. Burton, Esq. 
 
 R. B. Preston, Esq. 
 
 Ditto. 
 Macbeth 
 
 The Betrayer and Betrayed .... 
 
 Christ Healing the Sick 
 
 Macbeth and the Murderers . 
 
 The Giant of the Forest 
 
 S. Burton, Esq. 
 
 [191 ] 
 
 Mis* Ashton. 
 ft PembertoH, Esq. 
 Ditto. 
 
 Castle, with Figures 
 
DRAWINGS IN WATER-COLOURS. 
 
 480 
 481 
 482 
 483 
 484 
 485 
 486 
 487 
 488 
 489 
 490 
 491 
 492 
 493 
 494 
 495 
 496 
 4£6« 
 
 497 
 
 497ff 
 4974 
 
 498 
 499 
 500 
 501 
 502 
 503* 
 
 GEORGE CATTERMOLE— continued. 
 
 Nawarth Castle . . . . J. F. Bateman, Esq. 
 
 The Vesper Bell John Henderson, Esq. 
 
 Sir Biorn surrounded by the Armour op his 
 
 Ancestors Richard Ellison, Esq. 
 
 Macbeth and the Murderers of Banquo .... Ditto. 
 Battle of Nasebt /. Whitivorth, Esq. 
 
 JOHN GILBERT 
 
 The Violin H.R.H. the Prince Albert. 
 
 The Drug Market, Constantinople . ' . . . TJ'm. Kay, Esq. 
 
 Richard II. resigning his Crown O. Stiff, Esq. 
 
 R. CRAEYRAENGER, Amsterdam. 
 The Concert Geo. Smith, Esq. 
 
 C. B0SS0LI. 
 
 Bazaar at Batchi Sebai . . . . • . Robert Chadwich, Esq. 
 
 DAVID COX. 
 
 The Weald of Kent R. B. Preston, Esq. 
 
 Lancaster Sands John Aikin, Esq. 
 
 On the Wye E. Rodgett, Esq. 
 
 Hop Gatherers R. Freehold, Esq. 
 
 Harvest- time in Wales D. R. Davies, Esq. 
 
 Old Welsh Church at Bettwys .... E. Rodgett, Esq. 
 
 Hat Time Ditto. 
 
 Crossing Lancaster Sands Joseph Bull, Esq. 
 
 Lancastbr Sands Richard Ellison, Esq. 
 
 Windsor Castle Ditto. 
 
 Junction of the Severn and the Wye . . . Ditto. 
 
 Chat Moss — Besom Makers S. Mayou, Esq. 
 
 Windsor Park Ditto. 
 
 Bolsover Castle Ditto. 
 
 Vale of Clwyd . Ditto. 
 
 Lancaster Sands J. H. Hollingsworth, Esq. 
 
 Welch Funeral F. jr. Topham, Esq. 
 
 Landscape and Cattle John Pender, Esq. 
 
 D. COX, JUN. 
 
 On the Thames Thomas Griffiths, Esq. 
 
 Welch River Scene W. Sottint, Esq. 
 
 Vale of Clwyd Hon. R. Cavendish. 
 
 CARL HAAG. 
 
 Italian Peasant T. G. Livingstone, Esq. 
 
 Sabine Peasant Woman Carl Haag, Esq. 
 
 Un Campagnole 'P. Avison, Esq. 
 
 Italian Peasant Girl with Flowers .... T. S. Cafe, Esq. 
 
 Tyrolese Bride T, Sehunch, Esq. 
 
 Capuchin, collecting Alms .... . Ditto. 
 [192] 
 

DRAWINGS IN WATER-COLOURS. 
 
 504 
 
 | 505 
 
 505f' 
 505b 
 505c 
 
 506 
 
 507 
 
 509 
 510 
 
 511 
 
 512 
 
 513 
 
 ■ 514 
 
 E 515 
 
 -516 
 
 518 
 519 
 520 
 521 
 522 
 523 
 
 ,'524 
 525 
 526 
 527 
 528 
 529 
 530 
 531 
 532 
 533 
 534 
 535 
 536 
 537 
 538 
 
 ;;539 
 540 
 
 ,'541 
 542 
 
 CARL HAAG— continued. 
 Morning in the Mountains of Scotland. The Royal Party 
 
 ascending Lochnagarr Her Majesty the Queen. 
 
 Evening Scene at Balmoral .... H.P.H. Prince Albert. 
 The Ruins of Salona, Dalmatia (Verboeckhoven) . Carl Haag, Esq. 
 
 Thi 
 
 W. H. KEARNEY 
 
 Courtship of Quentin Matsts 
 
 2ESCAMPS. 
 Italian Boy and Dog . 
 
 HUNT 
 
 LOUIS HAGHE 
 
 Town Hall at Courtrai 
 
 Interior of Brewers' Hall, Antwerp 
 
 Oath of Vargas . 
 
 The Happy Trio . 
 
 St. Peter"s Day, at Rome . 
 
 Interior of Hall at Bruges 
 
 Brewers' Hall, Antwerp 
 
 The Benitier, in St. Peter's at Rome 
 
 WILLIAM 
 
 Fruit 
 
 Mulatto Girl 
 
 Interior at Hastings . 
 
 Preparing for the Soiree . 
 
 The Ballad Singer 
 
 Consulting the League 
 
 The Orphans 
 
 The Laboratory . 
 
 The Attack .... 
 
 The Defeat .... 
 
 Fruit — Grapes, Apricots, &c. 
 
 Too Hot .... 
 
 Girl with Pitcher . . . 
 
 Devotion ^^^\^J\j^) 
 
 Apple-Blossoms, Cowslips, and Bird's 
 
 Grapes, Peaches, &c. 
 
 Lady in a Corridor 
 
 Girl at Work in a Chamber 
 
 Too Much Play . 
 
 Too Much Work . o, . 
 
 Devotion i f. tf.CV\S C S) 
 
 Good Dog . . . 
 
 Devotion .... 
 
 Grandfather's Boots 
 
 Plums % . » 
 
 [193] 
 
 Nest 
 
 C. Prater, Esq. 
 J. H. Hawkins, Esq. 
 
 S. Ashton, Esq. 
 
 C. Pembertcm, Esq. 
 
 Wm. Leaf, Esq. 
 
 B. Liebert, Esq. 
 
 David Harrison, Esq. 
 
 R. Napier, Esq. 
 
 Sir B. H. Wilson. 
 
 H>/. Vaughan, Esq. 
 
 E. Gambart. 
 Wm. Leaf, Esq. 
 Ditto. 
 Albert Hall, Esq. 
 James Fallows, Esq. 
 Ditto. 
 John Hick, Esq. 
 Jacob Bell, Esq. 
 G. W. Moss, Esq. 
 Ditto. 
 Ditto. 
 C. Langton, Esq. 
 Ditto. 
 J. J. Jenkins, Esq. 
 James Piatt, Esq. 
 P. Freeland, Esq. 
 Thos. Birchall, Esq. 
 P. Freeland, Esq. 
 Hon. Edmund Phipps. 
 Ditto. 
 . J. Dillon, Esq. 
 Ditto. 
 F. D. P. Astley, Esq. 
 Thomas Griffith, Esq. 
 Thos. Wrigley, Esq. 
 
DRAWINGS IN WATER-COLOURS. 
 
 543 
 
 , 544 
 
 545 
 
 548 
 
 549 
 
 : 550 
 
 551 
 
 552 
 
 553 
 554 
 555 
 556 
 557 
 558 
 
 559 
 560 
 
 562 
 563 
 
 564 
 565 
 566 
 
 567 
 
 568 
 
 569 
 
 '570 
 
 571 
 
 :. 571,7 
 
 572 
 
 573 
 575 
 576 
 577 
 578 
 579 
 580 
 581 
 
 WILLIAM HUNT— continued. 
 Fruit 
 
 Stable Boy 
 
 An Itinerant .... 
 
 HARDY. 
 Dead Pheasant 
 
 PAUL J. NAFTEL. 
 Lovers' Lane, in Guernsey .... 
 
 The Fox Glove 
 
 Water Lilies 
 
 An Old Gateway, Guernsey 
 
 THE CHEVALIER HILDEBRANDT. 
 
 The Raft jr rilkington, Esq. 
 
 View in Madeira Sir J. 8. Hippisley, Bart. 
 
 A Plantain Tree at Madeira John Dillon, Esq 
 
 The Peak at Teneriffe Ditto. 
 
 ■ Thos. JRoMnson, Esq. 
 , Charles Oddic, Esq. 
 . F. W. Topham, Esq. 
 
 T. Tee, Esq. 
 
 John Pender, Esq. 
 
 Octavius Oakley, Esq. 
 
 k, Esq. 
 
 Dr. Max get. 
 
 B. liebert, Esq. 
 J. H. Hawkins, Esq. 
 
 B. B. Green, Esq. 
 Ditto. 
 
 Alexandria ( 
 
 French Fisherman and Fish .... 
 
 B. B. GREEN. 
 Portrait op Dr. Major, King's College 
 Portrait of E. Hawkins, Esq., British Museum . 
 
 SCARLETT DAVIS. 
 
 The Tribune at Florence John Dillon, Esq: 
 
 Interior of a Church Frank Dillon, Esq. 
 
 MRS. MARGETTS. 
 Fruit and Flowers William Delafield, Esq. 
 
 Mrs. JIorisrDi. 
 
 0. Prater, Esq. 
 
 J. Burgess, Esq. 
 . Ditto. 
 
 K. Houhlsworth, Esq. 
 
 Dr. Ba tenia n. 
 
 Thomas Belle, Esq. 
 
 JV. P. Sime, Esq. 
 
 Fruit 
 
 Bird's Nest 
 
 J. BURGESS. 
 Roodloft under Repair 
 
 Cathedral of Chartres .... 
 
 MISS MARGARET GILLIES 
 From the old ballad of Sir Patrick Spens 
 
 Morning Dreams 
 
 Fisherman's Daughter 
 
 Scene from Auld Robln Gray .... 
 
 J. D. HARDING. 
 
 Falls of the Tummell John Ban-ait, Esq. 
 
 Sunrise on the Bernese Alps Lewis Loyd, Esq. 
 
 Fisher Boy Wm. Leaf, Esq. 
 
 CHATELGUION Wm. Smiti,. 
 
 On the Coast near Marseilles .... Oldham Whittaker, Esq. 
 Landscape, Harvest, at Munden . . . Nathaniel Kibbcrt, Esq. 
 
 Viaduct and Landscape, Llangollen . Thomas Robinson, Esq. 
 
 Cirque of Gavarne .... . Mrt, lit/lands. 
 
 Falls of the Tummell William Leaf, Esq. 
 
 [194] 
 
DRAWINGS IN WATER-COLOURS. 
 
 582 
 583 
 
 583« 
 
 584 
 585 
 586 
 587 
 588 
 
 •' 589 
 590 
 591 
 592 
 
 593 
 
 594 
 
 .'.'.' 596 
 :; 597 
 
 .'598 
 
 ,599 
 
 600 
 
 .'601 
 602 
 
 .'' 603 
 
 604 
 
 .■,605 
 
 ;;: 606 
 
 607 
 
 .I 608 
 
 610 
 611 
 612 
 
 613 
 614 
 615 
 
 SOLOMON ALEXANDER HART. 
 Othello and Iago • Wm. Smith, Esq. 
 
 MRS. PICKERSGILL. 
 The Satin Gown. After Terburg . . H. H. Picker sgill, Esq., R.A. 
 
 F. R. PICKERSGILL, A.R.A. 
 
 Marino Faliero . . . D. R. Davies, Esq. 
 
 WILLIAM EVANS, of Eton. 
 
 Felling Timber . . Wm. Leaf, Esq. 
 
 View on Lake Ogwen The Provost of Eton. 
 
 SCHEHALLION FROM THE BRUAR Mrs. Wilson. 
 
 View of Eton College from the Oak Tree . . Rev. E. Coleridge. 
 View of Windsor from the Brocas .... Ditto. 
 
 VALENTINE BARTHOLOMEW. 
 
 Convolvuli John Allmctl, Esq. 
 
 Flower and Birds V. Bartholomew, Esq. 
 
 Poppies and Fruit 
 Holyoaks . . 
 
 Arden Hall . 
 A Rocky Stream 
 
 C. H. MITCHELL. 
 T. LINDSAY. 
 
 Ditto. 
 . . H. Cheney, Esq. 
 
 Albert Hall, Esq. 
 
 . . T. Lindsay, Esq. 
 WILLIAM BENNETT. 
 
 Glen Tilt W. Bennett, Esq. 
 
 Landscape Ditto. 
 
 WILLIAM HULL. 
 
 River Scene in Westmoreland John Barratt, Esq. 
 
 Rocky Stream John Pender, Esq. 
 
 Harvest Time Ditto. 
 
 CHARLES BRANWHITE. 
 
 Man in a Boat on a Canal 
 
 Church and Village among Pines . 
 
 A Dull Day in January .... 
 
 A Pool on the Conway .... 
 
 Sunset (Winter) 
 
 Winter Scene 
 
 SAMUEL PALMER. 
 
 Windmill 
 
 The Brothers (Comus) .... 
 
 H. COOK. 
 
 Isle of Arran 
 
 A Bay, Isle of Arran . ... 
 
 Temple of Jupiter, Athens . 
 
 JAMES FAHEY. 
 
 Coniston Lake Alexander Morison, Esq. 
 
 The Hopgatherers E. C. Section, Esq. 
 
 Bourn near Farnham . Ditto. 
 
 [195] o2 
 
 . James FaUoivs, Esq. 
 
 Ditto. 
 
 Rev. James Heyworth. 
 
 The Duchess of Sutherland. 
 
 Joseph Robinson, Esq. 
 
 . F. Fuller, Esq. 
 
 . Frank Dillon, Esq. 
 . S. Palmer, Esq. 
 
 . /. Hertz, Esq. 
 Ditto. 
 Lord Ward. 
 
DRAWINGS IN WATER-COLOURS. 
 
 616 
 617 
 
 618 
 to 
 623 
 624 
 624a 
 6245 
 624c 
 624tf 
 624 e 
 
 625 
 626 
 
 627 
 
 628 
 
 630 
 
 631 
 
 632 
 
 633 
 
 634 
 
 635 
 
 636 
 
 636a 
 
 637 
 
 637a 
 
 638 
 639 
 640 
 641 
 642 
 643 
 644 
 645 
 646 
 647 
 
 649 
 650 
 651 
 
 652 
 
 RAYNER. 
 
 AvENUE James Fallows, Esq. 
 
 Haddon Hall jr m i c 
 
 W, MITLREADY, R.A. 
 
 Six Academical Studies . 
 
 Artist's Studio 
 
 «/, Esq. 
 (See Room No. 2.) 
 
 The School of Design, Kensington. 
 
 Chalk Drawing. 
 
 The Last in 
 
 Choosing The Wedding Gown 
 
 The Sonnet 
 
 The First Voyage 
 
 Four Studies from Life .... 
 JOSEPH NASH. 
 
 Interior of Crewe Hall Ed. Rodgett, Esq 
 
 Inlaid Chamber, Sizergh, Westmoreland. Queen Katharine 
 
 Parr's Chamber Thos. Birehall, Esq 
 
 Thomas Birehall, Esq. 
 
 . W. Mulrcady, Esq. 
 
 Ditto. 
 
 Ditto. 
 
 . Thomas Miller, Esq. 
 
 Ditto. 
 
 Knowle, Kent 
 
 Shrine at Eton 
 
 Boxgrove Priory 
 
 Windsor Castle 
 
 Abbaye St. Amande, Rouen .... 
 
 Jesuits' Church at Antwerp. Interior 
 
 The Staircase, Rouen Cathedral 
 
 Interior of Speke Hall, Lancashire . ■ . 
 
 Interior of the Cartoon Gallery, Knowle, Kent 
 
 An Interior 
 
 Interior of Lincoln's Inn . 
 
 An Interior 
 
 J. F. LEWIS. 
 Frank Encampment in the Desert 
 Camels in the Desert .... 
 
 Chamois Dying 
 
 Roman Pilgrims at a Shrine 
 
 Fox and Drake 
 
 Dead Game and Keepers 
 
 A Roman Boy 
 
 Spanish Girl on a Mule 
 Murillo Painting the Virgin 
 
 R. Johnstone, Esq. 
 
 Wm. Leaf, Esq. 
 
 Wm. Smith, Esq. 
 
 Albert Hall, Esq. 
 
 . Wm. Kay, Esq. 
 
 . E. Cheney, Esq. 
 
 Ditto. 
 
 Richard Ellison, Esq. 
 
 Ditto. 
 
 . T. Griffiths, Esq. 
 
 The Benchers of Lincoln s-Inn. 
 C. Emberton, Esq. 
 
 H. Wallis, Esq. 
 
 C. Lar.gtov, Esq. 
 
 Ditto. 
 
 E. W. Capes, Esq. 
 
 T. Birehall, Esq. 
 
 Ditto. 
 
 John Dillon, Esq. 
 
 Ditto. 
 
 Wm. 1'iif, Esq. 
 
 Easter Day at Rome Ditto. 
 
 WILLIAM C0LLINGW00D. 
 
 Levens House Wm. Colling wood, i . 
 
 The Absent T. B. Tomalin, Esq. 
 
 The Yung Frau F. Fuller, Esq. 
 
 VAN HOVE. Amsterdam. 
 Interior, in the Style of De Hooge . . . Geo. Smith, Esq. 
 
 UN] 
 
DRAWINGS IN WATER-COLOURS. 
 
 653 
 
 654 
 ,655 
 
 656 
 
 657 
 
 658 
 
 659 
 
 660 
 .661 
 
 661rt 
 
 662 
 663 
 
 664 
 665 
 666 
 667 
 668 
 669 
 
 670 
 
 671 
 
 672 
 
 |j 673 
 
 674 
 
 675 
 676 
 . 677 
 678 
 679 
 680 
 681 
 682 
 683 
 684 
 
 685 
 J 686 
 
 ' 687 
 
 688 
 689 
 
 Ser Majesty the Queen. 
 
 . Wm. Fairbairn, Esq. 
 
 C. Bushell, Esq. 
 
 James Piatt, Esq. 
 
 B. Liebert, Esq. 
 
 , Joseph Tarratt, Esq. 
 
 J. J. JENKINS. 
 
 Love, All Adoration, Duty, and Observance 
 
 Shrimper 
 
 The Happy Time 
 
 Going with the Stream .... 
 Normandy Peasant Girls .... 
 
 A Calm — Brittany 
 
 A Storm— Ditto J- Labouchere, Esq. 
 
 Hopes and Fears Messrs. Fullers and Co. 
 
 Devotion F. T. Rufford, Esq. 
 
 Affection . R. S. Grundy, Esq. 
 
 WILLIAM EVANS, of London. 
 
 The Sea-gull's Nest S.R.S. Prince Albert. 
 
 Old Post Road, Carnarvon Wm. Evans, Esq. • 
 
 WILLIAM CALLOW. 
 
 Windsor Castle R- Freeland, Esq. 
 
 Exeter Wm. leaf, Esq. 
 
 Sketch for Venice Ditto. 
 
 Reichenbach Ditto. 
 
 Rue St. Pierre, Caen W. Callow, Esq. 
 
 Nieuekerche J- Labouchere, Esq. 
 
 JOHN CALLOW. 
 
 The Emigrant Ship T. E. Moss, Esq. ■ 
 
 Sea View— Shipping . J. F. Bateman, Esq. 
 
 Homeward Bound T- Tee -> Fsq. 
 
 An East Indiaman, Hove Down .... William Sobson, Esq. 
 
 LANDGREN (Swede). 
 "Don't Wake the Child" Son. Edmund Phipps. 
 
 OCTAVIUS OAKLEY. 
 
 Girl at a Well John Pender, Esq. 
 
 The Dairy Door . J- Gosling, Esq. 
 
 A New Song Hercules Scott, Esq. 
 
 Leaving the Fair . . . ....... John Aird, Esq. 
 
 A Day Dream 8. T. Carnagie, Esq. 
 
 Fresh from the Garden Sir T. D. Aclanu. 
 
 Italian Image Boy F. T. Rufford, Esq. 
 
 Italian Fantoccini Boy R- Johnstone, Esq. 
 
 Glossopdale Peasant Children J- F. Bateman, Esq. 
 
 Boy with a Hurdy-gurdy J- Sick, Esq. 
 
 G. ROSENBERG. 
 
 Flowers and Fruit . C. J. Maud, Esq. 
 
 Nature and Art Francis Fuller, Esq. 
 
 Still Life James Beaumont, Esq. 
 
 C. PEARSON. 
 View on the Lakes at Killarney ... W. J. Broderip, Esq. 
 
 View on the Lakes at Killarney . . Ditto. 
 
 [197] 
 
DRAWINGS IN WATER-COLOURS. 
 
 
 690 
 
 691 
 692 
 693 
 693fl 
 
 694 
 
 695 
 
 696 
 
 698 
 699 
 700 
 
 701 
 702 
 703 
 704 
 
 . 705 
 706 
 707 
 
 707rt 
 707£ 
 707 c 
 707rf 
 707 e 
 
 MISS FANNY CORBAUX. 
 
 The Stranger 
 
 F. 0. FINCH. 
 Composition Pastoral 
 
 Pleasure Grounds — Moonlight 
 
 Landscape and Cattle — Evening 
 
 Composition Pastoral .... 
 
 HARTMAN. 
 Le Benitieb .... 
 
 nuijoit. 
 
 The Porch 
 
 EDWARD H. C0RB0ULD. 
 
 Scene from the Prophete 
 
 PRITCHETT. 
 Market Place .... 
 
 View in Venice 
 
 View in Venice 
 
 I. R. HERBERT, R.A. 
 
 Faliero and Foscari 
 
 Abduction op the Brides op Venice . 
 
 The Two Foscari 
 
 The Outcast 
 
 D. MACLISE, R.A. 
 Spirit of Chivalry .... 
 Marriage of Stbongbow with Eva . 
 The Disenchantment of Bottom 
 
 BR0CKED0N. 
 
 . Thomas Kibble. Esq 
 
 Thomas Griffiths] Esq. 
 
 George BZanbnrg, Esq. 
 
 Lord Haddo. 
 
 Miss Griffiths. 
 
 . CarlHaag, Esq. 
 
 . J. B. Havlhis, Esq. 
 
 Her Majesty the Queen. 
 
 John Fender, Esq. 
 
 . J. F. Buteman, Esq. 
 
 T. Schunek, Esq. 
 
 G. F. Kenworthy, Esq. 
 FL. W. Capes, Esq. 
 Bitto. 
 Charles Pemberton, Esq. 
 
 Bitto. 
 W. Ti'nwr, Esq. 
 T. BirchaU. Esq. 
 
 Messrs. Broclcdon. 
 
 Como .... 
 
 Civita Castellana jj itt0 
 
 Amalfi '. Bitto 
 
 Bassano 
 
 Assisi 
 
 707/; Tebbacina 
 709 
 
 Bitto. 
 Bitto. 
 LHtto. 
 
 710 
 711 
 712 
 
 CHARLES LANDSEER, R.A. 
 An Old Baronial Hall 
 
 E. Ereelatid, Esq. 
 
 J. B. PYNE. 
 Lago Maggiore Miss Ashton 
 
 Lago Maggiore John Pe))d<)% ^ 
 
 The Dhachenfels John Barrat ^ Esq . 
 
 713 \ The Lower End of the Campagna .... Messrs. Agnew. 
 
 714 j Heidelberg on the Neckar Bitto. 
 
 715 Castle of Ischia i2. Freeland, Esq. 
 
 715a Venice Charles Emberton, Esq. 
 
 j GEORGE BOWLES. 
 
 716 j Part of Crumlin Viaduct . . . . e. W. Kmncard. Esq. 
 
 717 I The Avenue, Southampton if. j. Frcviice, Esq. 
 
 [198] 
 

 
DRAWINGS IN WATER-COLOURS. 
 
 718 
 
 719 
 720 
 720a 
 
 721 
 '722 
 
 723 
 724 
 725 
 
 ) 726 
 
 727 
 
 728 
 
 729 
 730 
 731 
 732 
 733 
 
 734 
 
 735 
 
 736 
 
 737 
 
 738 
 
 739 
 
 741 
 
 742 
 
 743 
 
 745 
 
 746 
 
 747 
 
 748 
 
 749 
 
 750 
 
 751 
 
 752 
 
 752« 
 
 752 
 
 J. ROBERTS. 
 
 Woman and Child sleeping, in a Church . . T. S. Cafe, Esq. 
 
 B0ST0CK. 
 
 The Invalid James Piatt, Esq. 
 
 The Antiquary's Daughter .... B. Liebert, Esq. 
 
 A Portrait Earl of Ellesmere. 
 
 H. J. JOHNSON. 
 
 Via Mala John Dillon, Fsq. 
 
 Sketch in South op France Frank Dillon, Esq. 
 
 VIDAL. 
 
 Autumn L. G. Livingstone, Esq. 
 
 KEELING. 
 
 Gurth and Wamba Thomas Bobinson, Esq. 
 
 HARPER 
 
 Coast Scene "... Thomm Tee, Esq. 
 
 MARY ANN CRLDDLE. 
 
 Spring -^ iss Dicrdett Gou ^ s - 
 
 The Little Culprit * Walker ' ^' 
 
 C. A. DUVAL. 
 
 Gulnare • J. Bellhouse, Esq. 
 
 W. COLLLNGWOOD SMITH. 
 William Tell's Chapel, Bat of Uri . . . Alexander Morison, Esq. 
 Constantinople and the Golden Horn ... F. Fuller, Esq. 
 
 A Still Pool, Linton Captain Lewis, B.N. 
 
 Castle of Chillon, Genoa s - Carter > Es V- 
 
 Pass of the Furca G.J. Barker, Esq. 
 
 DAVID ROBERTS, R.A. 
 
 Gata, Upper Egypt G. W. Moss, Esq. 
 
 Tower of London Ditto. 
 
 Terrace-Heidelberg • • C. Langton, Esq. 
 
 Cordova B. B. Breston, Esq. 
 
 Burgos mto - 
 
 Melrose Abbey John Pilkington, Esq. 
 
 Philce on the Nile Lames B<gtt > Es V' 
 
 Bull Fight, Seville -- Thomas Birchall, Esq. 
 
 The Approach of the Simoom Ditto. 
 
 The Memnons Messrs - A 9 new - 
 
 Great Square at Cadiz Col. Bogers. 
 
 Granada— the Alhambra Ditto. 
 
 ToLEDO William Leaf, Esq. 
 
 Fountain on the Prado, Madrid .... Ditto. 
 
 Staircase at Cathedral of Burgos .... Ditto. 
 
 St Pierre, Caen William Smith, Esq. 
 
 View in Antwerp G - Bemberton, Esq. 
 
 Interior of a Church WOKmn Smith, Esq. 
 
 Interior of a Church 
 
 Ditto. 
 
 [199] 
 
DRAWINGS IN WATER-COLOURS. 
 
 753 
 
 754 
 755 
 756 
 
 757 
 758 
 
 759 
 760 
 761 
 762 
 763 
 764 
 765 
 766 
 767 
 768 
 769 
 770 
 
 771 
 
 772 
 
 773 
 
 774 
 
 775 
 776 
 
 777 
 
 778 
 779 
 780 
 
 781 
 782 
 783 
 
 784 
 
 785 
 
 DAVID ROBERTS, BJL— continued. 
 . (From his Views in the Holy Land.) 
 
 i. Chapel op the Convent op St. Catherine, Mount Sinai. 
 9 Mmv „ ™ A The dowager Countess of Ellcsmere, 
 
 2. Mount Tabor, prom the Plain op Esdraelon . Ditto 
 
 3. Summit of Mount Sinai . . . j) i((o 
 
 4. Lower Portico op the Temple at Pet'ra, called 
 
 iiL Kasne .... 
 
 5. Summit op Mount Hor 
 
 6. Petra, looking South . 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
 (From his Sketches in Syria 
 Calvary, Jerusalem 
 
 Jerusalem prom the Mount op Olives 
 
 Jerusalem prom the South 
 
 Greek Chobch op the Holt Sepulchre 
 
 Shrine op the Holy Sepulchre 
 
 Sidon — Lebanon in the Distance 
 
 Site of Canaan in Galilee . 
 
 Church op the Annunciation at Nazareth 
 
 15. Shrine of the Annunciation at Nazareth 
 
 16. The Dead Sea, looking towards Moab 
 
 17. Bethlehem 
 
 18. Ascent to the Summit of Sinai 
 
 GEO. PETRIE, LL.D, P.R.H.A 
 
 A Scene in the Highlands .... 
 Lake and Mountains . 
 
 A. PENLEY. 
 Lowes Water Lake .... 
 
 Keswick Lake from the Vale of Newlands . 
 
 VAN OS. 
 
 I'ruit, Flowers, and Game 
 
 Fruit, Flowers, and Game .... 
 
 GEORGE LANCE. 
 Fruit 
 
 _ „ H. P. RIVIERE. 
 
 St. Patrick s Day in the Morning 
 St. Patrick's Day in the Evening 
 Interview between Jacob and Rachel 
 
 P. G00DALL. 
 
 The Grandfather 
 
 The Grandfather's Visit . 
 
 EnsoDE in the Hafpier Days of Charles I. . 
 
 SLR E. LANDSEER, R.A. 
 Blackbird Singing .... 
 Huntsman and Dogs .... 
 
 [200] 
 
 . Ditto. - 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 . Ditto. 
 
 Dr. Stokes. 
 
 Bobcrt Caldwell, Esq. 
 
 W. Hartcr, Esq. 
 Ditto. 
 
 J. H. Hawkins, Esq. 
 . Ditto. 
 
 Henry Start, Esq. 
 
 Joseph Ball, Esq. 
 Ditto. 
 H. P. Itiviirc, Esq. 
 
 B. Licbcrt, Esq. 
 
 James Duydalc, Esq. 
 
 C. Pemberton, Esq. 
 
 Bobt. Munn, Esq. 
 T. Birchall, Esq. 
 


1 
 

DRAWINGS IN WATER-COLOURS. 
 
 1 786 
 
 787 
 
 788 
 789 
 
 789« 
 
 790 
 791 
 
 792 
 
 793 
 794 
 795 
 
 797 
 
 , 798 
 799 
 800 
 801 
 802 
 803 
 804 
 805 
 
 ;:;807 
 ;;8io 
 
 812 
 813 
 814 
 815 
 815a 
 
 816 
 
 817 
 818 
 819 
 .^820 
 821 
 822 
 
 WALTER G00DALL. 
 
 The Grandfather's Watch 
 
 MADOU. 
 E. W. COOKE, A.R.A. 
 
 An Interior 
 
 Weir near Oxford 
 
 Entrance to Dover Harbour 
 
 Boats off Greenwich 
 
 R0WB0THAM. 
 
 Pallanza on the Lago Maggiore 
 
 Fall near Bettwys t Coed 
 
 Landscape 
 
 H. E. RICHARDSON. 
 
 Sea Coast, North Devon 
 
 Derwentwater 
 
 Stockley Bridge, on the Road to Wastwater . 
 
 S. READ. 
 
 Interior of St. Paul's, Antwerp . ■ . 
 
 T. M. RICHARDSON. 
 
 Loch Katrine 
 
 Returning from the Moors .... 
 
 Lake of Como 
 
 Lake of Como . . .... 
 
 Lago Maggiore 
 
 Loch Katrine 
 
 Scotch Lake 
 
 On the Spet 
 
 Gate Crag, Borrowdale . . . . . 
 Ken Beg 
 
 J. H. MOLE. 
 Scotch Peasant Women and Children waiting for 
 On the Coast of Tynemouth, Northumberland 
 
 Reading a Destiny 
 
 Highland Fireside 
 
 In Glen Bain 
 
 J. S. RAVEN. 
 Hurstmonceaux Castle . . ' . 
 
 C. Pemberton, Esq. 
 
 J. H. Hawkins. 
 
 W. Smith, Esq. 
 Henry Yaughan, Esq. 
 
 Thos. Birchail, Esq. 
 
 T. Schunch, Esq. 
 Thomas Tee, Esq. 
 Ditto. 
 
 T. Tec, Esq. 
 Ditto. 
 Ditto. 
 
 T. Parry, Esq. 
 
 T. S. COOPER, A.RA. 
 
 Sheep 
 Sheep 
 Sheep 
 Cows and Sheep 
 
 Sheep (£'M*C, f-1*. *" s/J 
 
 Cattle 
 
 P. Fairbairn, Esq. 
 
 Miss AsKton. 
 
 C. Langton, Esq. 
 
 J. P. G. Smith, Esq. 
 
 P. Frccland, Esq. 
 
 J. F. Bateman, Esq. 
 
 W. Langton, Esq. 
 
 Ditto. 
 
 John Gott, Esq. 
 
 A. Harris, Esq. 
 
 Ferry Messrs. Agucw- 
 
 W. Kay, Esq. 
 
 Chas. Prater, Esq. 
 
 J. H. Mole, Esq. 
 
 W. J. DuffPioper, Esq. 
 
 J. S. Pavcn, Esq. 
 
 John Pillcington, Esq. 
 
 S. Ashton, Esq. 
 
 Thomas Birch all, Esq. 
 
 Albert Hall, Esq. 
 Henry Yaughan, Esq. 
 
 G. IF. Moss, Esq t 
 
 [201] 
 
DRAWINGS IN WATER-COLOURS. 
 
 823 
 824 
 
 F. S. ROSINS. 
 
 view in Holland 
 
 Shipping 
 
 JAMES HOLLA] 
 London from Blackheath . 
 
 Trees and a Pool op Water 
 
 Devonshire Coast . 
 
 Canal in Venice, with the Campanile 
 
 C. DAVIDSON. 
 
 Autumn Afternoon 
 
 Galton, near Eeiqate . 
 
 Haymaking 
 
 Galton Park, Surrey 
 
 A Corn Field 
 
 CLARKSON 
 
 Sleepers' Bay 
 
 The Old Bridge at Lyons 
 
 The Wreck . 
 
 Off Leith 
 
 Portsmouth Harbour . 
 
 Treport .... 
 
 Lago Maggiore 
 
 St. Michael's Mount 
 
 Cape Leucadia 
 
 Sea View, Teneriffe 
 
 Midnight— Isle of Wight 
 
 Landech 
 
 Venice .... 
 
 On the Medway 
 
 stanfield, 
 
 langlois. 
 
 Norman Fishwoman . 
 
 ARY £ 
 
 Group saved from Shipwreck 
 
 HY. GASTTNEAU. 
 Kynaner Cove, Cornwall 
 Near Birchennal, in the Tyrol 
 
 YVON. 
 A Farrier's Shop .... 
 
 EDWARD DUNC 
 Fair at Lewes .... 
 
 Crossing the Ford 
 
 Gathering Sea-weed — Douglas Bay 
 
 Sands at Calais .... 
 
 Sketch near Swansea . 
 
 Sunset. — A Pastoral Scene . 
 
 Harvest Moon .... 
 
 [202] 
 
 R.A. 
 
 C. Langton, Esq. 
 J. Ditgdale, Esq, 
 
 Lewis Loyd, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 
 Lt. H. Greg, Esq. 
 
 G. W. Field, Esq. 
 
 C. Davidson, Esq. 
 
 W. Herbert, Esq. 
 
 C. Langton, Esq. 
 
 G. Soman, Esq. 
 
 J. F. Bateman, Esq. 
 
 T. Birchall, Esq. 
 
 Thos. Ashton, Esq. 
 
 G. Ecmberton, Esq. 
 
 Lewis Loyd, Esq. 
 
 . [Ditto. 
 
 Lewis Loyd, Esq.' 
 
 . Ditto. 
 
 Col. Rogers. 
 
 Ditto. 
 
 Win. Leaf, Esq. 
 
 Hy. Voughan, Esq. 
 
 G. W. Moss, Esq. 
 
 Hon. Edmund Fhipps. 
 
 . John Barratt, Esq. 
 
 H. Gasti>teau, Esq. 
 Ditto. 
 
 . G. W. Field, Esq. 
 
 C. Langton, Esq. 
 J. Dugdale, Esq. 
 . Jos. Bull, Esq. 
 
 J. Pender, Esq. 
 
 T. Avison, Esq. 
 
 H. Brooks, Esq. 
 
 William Little, Esq. 
 

 ! 
 
 
1 
 
 
 
DRAWINGS IN WATER-COLOURS. 
 
 862« 
 
 863 
 
 867a 
 
 869 
 870 
 871 
 
 871a 
 
 872 
 873 
 
 .874 
 £77 
 
 878 
 J 879 
 
 880 
 
 881 
 
 882 
 
 883 
 
 884 
 
 885 
 
 886 
 
 836- 
 
 887 
 
 888 
 
 889 
 
 890 
 
 891 
 
 893 
 
 894 
 
 895 
 
 896 
 
 897 
 
 897a 
 
 8976 
 
 J. DODD. 
 
 The Old Dining-Room at Speke Hall 
 
 J. Pender, Esq. 
 
 899 
 900 
 
 J. LINNELL. 
 
 Landscape — Sunset Albert Hall, Esq. 
 
 JONES. 
 
 Composition * Irs - Cooper. 
 
 WM. LAKE PRICE. 
 
 Court of a House at Naples James Piatt, Esq. 
 
 Venice by Moonlight Et. Johnstone, Esq. 
 
 Hall op the Ambassadors .... . Ditto. 
 
 WEIR. 
 Fowls Chas. Sick, Esq. 
 
 FREDERICK TAYXER. 
 
 Weighing the Deer G. W. Moss, Esq. 
 
 Hunting in the Olden Time John Sick, Esq. 
 
 The Morning op the Hunt Ditto. 
 
 Festival of the Popinjay f.r\ .Q .yA.*.*-/} . Oldham Wliittaher, Esq. 
 Sir Roger de Coverley and the Gipsies . . . Albert Sail, Esq. 
 
 The Queen's Buckhounds E. Podgett, Esq. 
 
 A Boy Lewis Loyd, Esq % 
 
 Fete Champetre . ... . . . W. Penshaw, Esq. 
 
 In the Highlands— Dogs Waiting B. S. Greg, Esq. 
 
 Terrace at Haddon Hall . . . . . . William Leaf, Esq. 
 
 Hanging Up the Game . • %■ H. Grundy, Esq. 
 
 Highland Shepherdess .... . Ditto. 
 
 Highland Scene . . . Joseph Whitworth, Esq. 
 
 Cavaliers Hunting Chm. Pemberton, Esq. 
 
 F. W. TOPHAM. 
 
 Ballinasloe, Irish Peasants ..... Albert Sail, Esq. 
 
 Children— Wild Flowers C. Lan-gton, Esq. 
 
 Welsh Cabin E. Eodgett, Esq. 
 
 Irish Girl at a Spring C. Bushell, Esq. 
 
 The Holy Well . D. P. Davies, Esq. 
 
 Italian Peasants . • J**® Elatt, Esq. 
 
 Barnaby Rudge and his Mother .... John Mollctt, Esq. 
 
 Spanish Children, with Grapes Ditto. 
 
 Spanish Mendicants £ Dugdale, Esq. 
 
 " Gaugers are coming " S. Carter, Esq. 
 
 Reading the Bible John Pender, Esq. 
 
 Spanish Gipsies . .... Oldham Whittaher, Esq. 
 
 P. F. POOLE, A.R.A. 
 
 The Spring G - Langton, Esq. 
 
 Girl with Pitcher Et. Mwn, Esq. 
 
 Crossing the Heath Thos. Birchall, Esq. 
 
 [203] 
 
DR AWINGS IN WATER-COLOURS. 
 
 P. F. POOLE, A.H.A.— continued. 
 
 901 
 902 
 902« 
 
 903 
 
 904 
 
 905 
 
 906 
 
 907 
 
 908 
 
 908« 
 
 9086 
 
 909 
 
 . 909« 
 
 910 
 911 
 
 912 
 
 913 
 
 913a 
 
 914 
 915 
 916 
 
 916« 
 
 917 
 918 
 919 
 920 
 921 
 922 
 
 922« 
 9226 
 922c 
 
 922cf 
 
 S23 
 
 A Bit of Fun 
 
 Dorothea .....". '. \ ' ^ *A 
 
 The Gleaners . . , ' JM 
 
 • ■ ' a. Ashlon, Esq, 
 
 WILLIAM TURNER, of Oxford. 
 Kingly Bottom, Goodwood 
 
 Wm. Leaf, Esq. 
 Ditto, 
 e Duke of Sutherland. 
 Lord Milton. 
 
 Windmill, near Gravesend 
 
 Cherwell Water-Lilies .... Th 
 
 View from Shanklin Down, Isle of Wight 
 
 Landscape 
 
 T >> ■ 1 toner, Esq, 
 
 Landscape . -,-.. 
 
 t, _ Ditto. 
 
 Distant View of Loch Muree . 
 
 View from Ryde, Isle of Wight 
 
 Ditto. 
 Lord Portman. 
 
 WILLIAM SIMPSON. 
 
 I 1 all of Sebastopol— Retreat of the Russians 
 
 0. W. BRIERLY. 
 
 Burning of Sebastopol 
 
 W. LEE. 
 
 Female Peasants telling their Beads 
 Sunday Morning 
 The Loiterers 
 
 Grace 
 Edphrosyne 
 
 Sea Coast 
 Barmouth Sand 
 Sea Piece 
 
 W. 
 
 Messrs. Colnaghi % Co, 
 
 O. IF. Brierly, Esq. 
 
 Albert Hall, Esq. 
 Alexander Morison, Esq. 
 Ditto. 
 
 E. FROST, A.R.A. 
 
 J. JACKSON. 
 
 Composition 
 
 BR0CKY. 
 
 TV. T. Maudsley, Esq. 
 Ed. Jiodgctt, Esq. 
 
 li. H. Greg, Esq. 
 
 . Mrs. C. J. Rendek 
 
 Eev. H. Sibthorpc. 
 
 F. Dillon, Esq.' 
 
 CHARLES VACHER. 
 
 Bay of Naples . r i r i -r. 
 
 James Maelaren, Esq. 
 
 The Carrara Mountains . .... . j); tlo 
 
 ^Etna, from the Theatre Iannina, Sicily . 
 View in Sicily .... 
 
 View in Sicily .... 
 
 Three Views in Venice 
 
 Mrs. dough Taylor. 
 . Ditto. 
 . Ditto. 
 C. Vachcr, E>q. 
 
 FRANK DILLON. 
 Sackina, Nubia .... 
 
 Korn Hombo .... 
 
 Turkish Bazaar, Cairo .... 
 
 The Great Hall, Karnac . 
 
 J. SHEPPARD, of Bath. 
 
 Frank Dillon, Esq. 
 Ditto. 
 Ditto. 
 Ditto. 
 
 Eel-Pots 
 
 [204] 
 
 /. Sheppard, Erq. 
 

1 
 
1 
 
iiRAWINGS IN WATER-COLOURS. 
 
 924 
 
 925 
 
 !926 
 
 E. H. WEHNERT. 
 
 Caxton's Printing Press in Westminster Abbey . John Cropp, Esq. 
 
 The Prisoner op Gisors Lewis Pococh, Esq. 
 
 Sir Thomas Gresham. Presented by the Exchange to 
 
 928 
 929 
 930 
 931 
 932 
 932« 
 
 933 
 c934 
 
 936 
 937 
 
 .938 
 
 938a 
 938£ 
 
 939 
 940 
 
 940<, 
 940i 
 
 941 
 942 
 943 
 944 
 945 
 
 945* 
 
 946 
 
 947 
 
 948 
 
 the Corporation of London 
 
 E. CROMEK. 
 
 (All painted on the spot.) 
 
 Porch of Church at Toscanella . • . • 
 
 Cathedral of Sienna . . . 
 
 The Crypt at Toscanella . ...... 
 
 The Choir of the Cathedral at Sienna . 
 Terrace at the Villa Conti, Frascati 
 Gallery of the Ducal Palace 
 
 WERNER. 
 Artist's Studio (single figure) . ' . . 
 Artist's Studio (several figures) 
 
 E. M. WARD, E.A. 
 
 The Last Sleep of Argyle 
 
 The Royal Family of France in Prison . 
 
 E. EC. Wehnert, Esq. 
 
 Sir C. Price, Bart. 
 
 E. Cheney, Esq. 
 
 H. Cheney, Esq. 
 
 E. Cheney, Esq. 
 Ditto. 
 Sir C. Price, Part. 
 
 Wm. Leaf, Esq. 
 Ditto. 
 
 Messrs. Agncw. 
 . Messrs. Lloyd. 
 
 E. WAEREN. 
 
 Sis Royal Highness Prince Albert. 
 
 The Magi on their way . . . 
 
 W. CARPENTER, JUN 
 
 East India Costume 
 
 View of a Palace in India 
 
 SAEAH SETCHELIi. 
 
 The Momentous Question 
 
 "Ye shall walk in Silk Attire " 
 
 UNKNOWN. 
 
 The Wreckers 
 
 Landscape 
 
 J. WHICHELO. 
 
 Scene on Barnes Common 
 
 Shipping of Amsterdam .... 
 
 The Victory firing a Salute 
 
 Peninly Wood, Windsor .... 
 
 Dortrecht 
 
 HAMMEESLY. 
 
 Scene on the Lakes 
 
 EDGAR E. WEST. 
 
 Coast of Normandy W- Smith, Esq, 
 
 WHIMPER. 
 
 A Shady Pond, Essex -»«*«? °f Winchester 
 
 W. W. WILLIAMS, of Plymouth 
 On the Avon, Somersetshire .... 
 [ 205 ] 
 
 . W. Carpenter, Esq. 
 
 Ditto. ' 
 
 Henry Yavghan, Esq. 
 Ditto. 
 
 , William Smith, Esq. 
 . Ditto. 
 
 J. Whichelo, Esq. 
 Ditto. 
 P. M. JJHiichelo, Esq. 
 
 Ditto. 
 , C. Jellicoe, Esq. 
 
 . Ed. Potter, Esq. 
 
 T. Tee, Esq. 
 
DRAWINGS IN WATER-COLOURS. 
 
 949 
 950 
 951 
 952 
 953 
 
 954 
 955 
 956 
 957 
 
 ! 957« 
 
 958 
 959 
 960 
 961 
 962 
 963 
 
 964 
 965 
 966 
 
 967 
 968 
 969 
 
 „, _ J- M. WRIGHT. 
 
 The Song .... 
 
 The Dance Al Fresco . 
 
 Seven Illustrations to Chaucer 
 
 The Flitch op Bacon . 
 
 Landscape with Figukes 
 
 The Provost of E 
 Messrs. Agn 
 
 . Mrs. Coo) 
 LT>/. Brooks, 1 
 Ditto. 
 
 Venice . 
 
 Mosque at Algiers 
 Bat op Naples . 
 Milan Cathedral 
 Flight into Egypt 
 
 WYID. 
 
 John Bar rat 'f, Esq. 
 
 ' It. H. Grey, Esi 
 
 • • Lewis Loy 
 
 J. C. Barter, Esq., ,T>, n . 
 
 Thomas Wright/, Esq, 
 
 _, ■ G- a. rarpp. 
 
 Boro Bridge .... 
 
 Falls op Tivoli .... 
 
 On the edge op Durdham Downs, near Bristol 
 
 A Showery Day .... 
 
 Mill at Taplow on Thames 
 
 Lake of Geneva, prom Clarens, the Pic du Midi in the 
 
 a DISTANCE E. Aeroyt, Esq. 
 
 Sunrise in the Highlands T Aviso)h %1 
 
 Head op a Scotch Glen ^ iY m7l>< E ^ 
 
 Near Chatillon, Val dAosta 7/- J. Clement' 
 
 ARTHUR GLENNI. 
 Temple of Neptune at P^estum .... Robt. Holland, Esq 
 
 View in the Forum at Rome Am GUnnie , E J 
 
 The Porta Aurea at Pola, in Istria . Ditto. 
 
 John Barratt, E*q. 
 
 J. Langton, Esq. 
 
 T. Schunek, Esq. 
 
 Ditto. 
 
 J. Mollett, Esq. 
 
 [206] 
 
13 
 
 14 
 15 
 
 MINIATURES, ENAMELS, Etc. 
 
 CHIEFLY ENGLISH. 
 *** The Miniatures are hung in the Transept Gallery, near Saloon A. 
 
 Frame of Tudor Miniatures, chiefly by Nicholas Hilliard 
 and Isaac Oliver. Observe the fine Henry VIII. ; the 
 three miniatures of Queen Elizabeth ; Sir Philip Sidney, an 
 oval, signed " I. 0." (Isaac Oliver) ; Isaac Oliver's Wife and 
 Son; Hilliard himself at the age of 13. . . . Duke of Portland. 
 
 Frame chiefly of the reigns of James I. and Charles I. 
 Observe Anne of Denmark, queen of James I. (signed " N. H.," 
 Nicholas Hilliard) ; Charles I. at the age of 12; Waller the 
 poet (signed " P. 0.", Peter Oliver) ; Inigo Jones, by Gibson 
 the dwarf; Holies, second Earl of Clare (signed "S. O, 
 1656," Samuel Cooper) 
 
 Frame of Miniatures by Isaac Oliver, Cooper, _ Peter 
 Oliver, Flatman, &c. Observe Figure of Resignation, by 
 Isaac Oliver; Oliver Cromwell, by Bernard Lens (see the 
 Inscription) ; and Cromwell in profile, after the Cooper in 
 the Duke of Devonshire's possession 
 
 Frame of Miniatures by Cooper, Lewis Cross, IIoskins, &c. 
 Observe the large and very fine oval miniature, in the centre, 
 of the Countess of Arran (temp. Charles II.) daughter of the 
 Duke of Hamilton killed at the battle of Worcester . 
 
 Frame of Enamels, by Petitot, Zincke, &c. The five at the 
 top are by Petitot ; the row at the bottom chiefly by Zincke. 
 Observe Lady Mary Wortley Montagu, by Zincke; George 
 Vertue, by himself 
 
 Frame of Miniatures, chiefly by Bernard Lens. Observe 
 
 Lens himself, in a hat. Dated 1718 ..... 
 
 *** The Portland Collection, commenced by Harley, Earl of Oxford, 
 
 and his son, the second Earl, was enlarged and catalogued by George 
 
 Vertue for the widow of the second Earl. 
 
 Frame of Miniatures. Observe (in a richly carved frame of 
 
 the time) King Henry VII Duke of Bucclcuch. 
 
 Frame of Miniatures. Observe Sir Henry Vane, by Flatman Ditto. 
 
 Frame of Miscellaneous Miniatures. Observe five miniatures 
 of the Regent Murray ... ... 
 
 Frame of Miniatures by Hoskins, Peter Oliver, &c. 
 
 Frame of Miscellaneous Miniatures 
 
 Frame of Miscellaneous Miniatures. 
 Butlei-, author of " Hudibras," &c. . 
 
 Frame of Miscellaneous Miniatures. 
 
 (Oliver Cromwell's daughter) ; the Duke of Buckingham's 
 Countess of Shrewsbury 
 
 Frame of Miscellaneous Miniatures. Observe the great Duke 
 of Marlborough ; Mrs. Howard, the Countess of Suffolk . Ditto. 
 
 Frame of Miscellaneous Miniatures — Napoleon and others, 
 
 chiefly French ...... . Ditto. 
 
 [ 207] 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto 
 
 Ditto. 
 
 Observe Charles II. ; 
 Observe Mrs. Claypole 
 
 Ditto. 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto, 
 
MINIATURES, ENAMELS, ETC. 
 
 16 
 17 
 
 18 
 
 19 
 20 
 
 21 
 22 
 23 
 
 24 
 
 25 
 
 26 
 27 
 
 28 
 
 29 
 30 
 31 
 32 
 33 
 34 
 35 
 36 
 37 
 38 
 39 
 40 
 41 
 42 
 43 
 
 44 
 
 45 
 
 Frame of Miscellaneous Miniatures . . . Duke of Buecleu, 
 Frame of Miscellaneous Miniatures. Erasmus: Queen 
 Marys Duke of Norfolk, « iEtatis 25, 1562." 
 
 Duke of Bucclcuch a , . 7%//,); J/. Howard, Es? 
 The Queen Mary engraved in Iloubrakeii from the Richardson 
 and strawberry Hill Collections. 
 
 V The Bucdeuch Collection contains the best portions of the 
 Cabinets of the Dukes of Montagu and Buccleuch ; with others once 
 the property of the Duke of Monmouth. 
 
 LUCI be S rr^Hiil' L ° RD FALKLAND ' &0< Bt HOSKINS. Prom Straw- 
 
 eiry ' Right. Son. Henry Labouehert 
 
 Robert Dudley, Earl of Leicester, full length . . Lord de LiM 
 
 Edward, Lord Herbert of Cherburt, by Isaac Oliver Earl of Towis. 
 
 Engraved for Lord Herbert of Cherbury's Life. ^ ' 
 
 Robert Dudley, Earl of Leicester .... Lulce of Buccleicchl 
 
 Charles II., by Cooper Duke of Richmond. 
 
 Three Miniatures : Henry VIII., Anne Boleyn, and Charles V 
 
 < when 19 > William Mosclcy, Esq. 
 
 Miscellaneous. Observe, Hilliard and his father when youn<* 
 (sent by Lord de Lisle) ; Devereux, Earl of Essex (sent by 
 Sir Walter C. Trevelyan) ; Henry, Earl of Northumberland 
 by Hoskins; Algernon Percy, Earl of Northumberland, by 
 Hoskms, frame by Bordier (sent by Rev. Heneage Finch) ■ 
 others from Mr. Finch's Collection, very fine. 
 
 Four Miniatures : Sir Henry Smith, Sir Fitzroy Kelly, &c , by 
 
 Gullick and Thorbcrn 
 
 John Wesley, by J. Barry. Engraved in 1791 by 
 
 Rev. 
 
 Mrs. Siddons, a Drawing by Harlowe . 
 Drawn for Cecilia Siddons. 
 
 Miniature after Greuze 
 
 Lord Churchill, by William Egley . 
 
 Charles Halle, Esq., by Emily Seymour 
 
 Miniature, by Mrs. C. A. Seymour 
 
 Lord John Russell, by Carrick 
 
 Kosciusko 
 
 Boy with White Mice, by Alfred Tidey 
 
 John Timbs, Esq., F.S.A., by Gullick . 
 
 Sir Francis Burdett, by Sir W. C. Ross 
 
 Miss Cushman, by Carrick . 
 
 Children of Thomas Miller, Esq., by Sir W. C Ros 
 
 George Moore, Esq., by Carrick 
 
 Rogers the Poet, by Carrick 
 
 Sir Harry Smith 
 
 Sig. Lablache, by Carrick . 
 
 The Marriage of Queen Victoria, by Sir W. J 
 
 Fittler. 
 Charles Girdlestone.i 
 George Combe, Esq. 
 
 . J. Mayer, Esq. 
 Lord Churchill. 
 Mrs. Seymour A 
 Ditto. 
 Lady John Russell. 
 J. Mayer, Esq. 
 . A. Tidey, Esq. 
 John Timbs, Esq. 
 Miss B. Ccutta. 
 Miss Cushman. 
 'Thomas Miller, Esq. 
 T. Carrick, Esq. 
 Ditto. 
 
 T. Carrick, Esq. 
 Newton. 
 
 Sir IT. J. Newton. 
 The Christening of the Prince of Wales, by Sir W J 
 
 Newton . ' . Ditto. 
 
 The Coronation of Queen Victoria . . . ZHtto. 
 
 [208 ] 
 
, 
 
IINIATURES, ENAMELS, ETC. 
 
 46 
 47 
 48 
 
 49 
 
 50 
 51 
 52 
 53 
 54 
 55 
 56 
 
 67 
 58 
 59 
 
 Frame of Enamels, by Essex w. Essex, Esq. 
 
 Frame of Enamels, by Esses Ditto. 
 
 Nymph and Cupid, by Henry Bone, R.A. 
 Mr. Bone's Diploma Picture. 
 
 Captain Sir William Hoste, Bart., R.N., 
 
 Bone, R.A 
 
 Frame of Enamels, by Henry Bone, R.A. . 
 Ldcas Van Leyden, by Lucas Van Leyden 
 Thomas Howard, Duke of Norfolk, by Holbein 
 
 by 
 
 Royal Academy. 
 
 Henry 
 
 . Lorel Radstock. 
 . A. C. Billings, Esq. 
 Pliilij) H. Howard, Esq. 
 Ditto. 
 
 Unknown Earl Spencer. 
 
 Unknown . ... Ditto. 
 
 Unknown . . . Abraham Darby, Esq, 
 distant view of Welbeck. Temp. 
 
 Duke of Portland. 
 
 *** After Diepenbeke's print in the Duke of Newcastle's book on 
 Horsemanship. This picture is hung over the Portrait Gallery, back 
 of Saloon B. 
 
 Henry VIII., ey Holbein Colonel Ifeyriek. 
 
 Anne of Cleves, by Holbein Ditto. 
 
 Observe tbe contemporary ivory boxes — tbe original setting. 
 Walpole calls the Anne of Cleves "tbe most exquisitely 
 perfect of all Holbein's works." 
 
 These fine Miniatures are in a glass case, L, containing the Douce 
 Collection of Ivories near the Stairs leading to Transept Gallery 
 (North). 
 
 Mary Queen of Scots. 
 Francis II. of France. 
 Mary Queen of Scots. 
 Welbeck Horse, with 
 Cbarles I. . 
 
 [209] 
 
INDEX AND BIOGRAPHICAL NOTICES OF 
 ANCIENT MASTERS. 
 
 BY GEORGE SCHARF, Jun. 
 
 The n/crences are to tin Blue numbers on the pictures in Saloons A. B. C. H., and south portion: of Clock 
 Gallery. The Hertford Pictures are distinguished by M. H. 
 
 Ahlst Van, or Aalst Paul. An eminent flower-painter. Dates uncertain. 941. 
 Albani, Francesco, b. at Bologna, 1578; d. 1660. Son of a silk-merchant. Scholar of 
 
 Denis Calvart and friend of Guido ; with the latter he entered the school of the Carracci. 
 
 Went to Home with Annibale Carracci about 1602, and assisted him in the frescoes of the 
 
 Famese Palace. Visited Rome again in 1625, when he executed the frescoes of the Verospi 
 
 (now Torlonia) Palace. (School of Bologna.) 31S, 330. 
 Albertinelli, Mariotto, b. at Florence, about 1475; d. about 1520, at the age of 45. 
 
 Scholar of Cosimo Roselli, and friend of Fra Bartolommeo, in conjunction with whom, he 
 
 minted Several pictures. (Tuscan School.) His most celebrated work ift a " Visitation," in the 
 
 Ducal GaUery at. Florence. J12. . 
 Altjnno, Niccolo, b. at Foligno ; painted from 1458 to 1499. Influenced by Pietro 
 
 Perugino. Rumohr suggests that he was the teacher of Perugino. (Umbrian School.) 115. 
 Amerighi, Michelangelo, called, from his birth- place, Carayaggio, b. 1569 ; d. at 
 
 Porto Ercole, 1609. Commenced life as a mason's labourer, and in that capacity prepared the 
 
 walls for fresco painters. He was very irascible, and had to leave Rome on account of a 
 
 murder he committed there. A great advocate of naturalism. (Roman School.) 336. 
 Ancient Classic Art. Fresco and Encaustic Paintings. 1, 3, 16. 
 Angelico, see Fiesole. 
 Anguisciola, or Angtjssola, Sofonisba, b. at Cremona, 1533 ; d. at Genoa, about 1620". 
 
 Distinguished as a portrait painter. Invited to Madrid by Philip II. (Lombard School.) 
 Antolinez, Josef, b. at Seville, 1639 ; d. at Madrid, 1676. Scholar of Francisco Rizi, 
 
 one of the painters to Philip IV. He painted liistory and portraits, and is distinguished for 
 
 the landscapes introduced in his works. (Spanish School.) 747. 
 Antonello da Messina, b. at Messina, 1426. Visited Rome, and afterwards proceeded 
 
 to Flanders, where he became possessed of Van Eyck's new process of painting. The first 
 
 who introduced oil painting into Italy. 398. 
 Arezzo, Makgaritone d', see Margaritone. 
 Arpino, see Cesari. 
 Artois, Jacob van, b. at Brussels, 1613 ; d. 1665. Scholar of John Wildens. Hia 
 
 landscapes sometimes contain figures by Teniers. 664, 1004. 
 
 Bacchiacca, see Ubertini. 
 
 Bakhcizen, Lddolph, painter and engraver, b. at Embden, 1631 ; d. at Amsterdam, 
 1709. He was originally intended for mercantile pursuits, but became a scholar of Alert van 
 Everdingen. In order to render the effects of the sea more perfectly, he often exposed himself 
 to great danger by venturing out during rough weather in a small boat. 
 
 Bale, School of. 483. 
 
 Bandinelli, Baccio, painter and sculptor, b. at Florence, 1487 ; d. 1559. The son of a 
 goldsmith. Most distinguished as a sculptor ; cxceedinglv jealous of Michel Angellfl 
 Knighted by Clement VII. 1S2. 
 
 Baptiste : Jean Baptiste Monnoyer, called Baptiste, b. at Lisle, 1635; d. 1699. Studied 
 at Antwerp. Went when young to Paris, received into the Academy, 1663, employed at the 
 palaces of Versailles, Trianon, Marly, and Meudon. Remained in England nearly 2'.> yean 
 942, 944. 
 
 Barbarelli, Giorgio, called, from his large stature, Giorgione, b. at Castelfranco, 1477; 
 d. 1511. Scholar of Giovanni Bellini, and contemporary of Titian and Raphael. Is said never 
 to have worked without a model. Died, at the age of 33, of the plague. 24 J, 246, 251, 252, 253* 
 
 Barnaba, see Modena. 
 
 Barocci, Federigo, b. at Urbino, 1528; d. same place, 1612. Scholar of Battista Franco, 
 and imitator of Correggio. (Roman School.) 859. 
 
 1210] 
 
BIOGRAPHICAL NOTICES OF ANCIENT MASTERS. 
 
 Bartolo da Fredi, see Fredi. 
 
 Bartolo, Taddeo di, b. at Siena, 1363 ; d. September, 1422. A painter in fresco and 
 distemper. (Tuscan School.) 15, 40, 45. 
 
 Bartolomheo, Fra, called also Baccio della Porta, b. at Savignano, 1469 ; d. in the 
 convent of San Marco, at Florence, 1517. When young, he studied the works of Leonardo da 
 Vinci. At the instigation of Savonarola, he burnt most of his studies from the nude figure. Took 
 the habit of a Domiuican friar iu 1500. Became acquainted with Raphael in 1506. Raphael 
 taught him the rales of perspective, in exchange for lessons in colour. Latterly he inclined to 
 the style of Michel Angelo. (Tuscan School.) 118, 147, 157. 
 
 Bassano, see Ponte. 
 
 Battaglie, see Cerqttozzi. 
 
 Battoni, Pompeo, b. at Lucca, 1702 ; d. at Rome, 1787. The contemporary and rival 
 of Mengs. He executed mauy portraits of distinguished Englishmen when iu Italy. 732. 
 
 Bernazzano. 482. 
 
 Beerestraaten, A. van, d. 1687. A. Dutch painter of marine subjects. The character 
 of his harbours is Italian, and the style of his painting betrays great affinity to De 
 Vlieger. 1026. 
 
 Bellini, Giovanni, b. at Venice, 1426 ; d. 1516. Friend of Albert Diirer, and instructor 
 of Giorgione and Titian. (Venetian School.) Connected by marriage with Andrea Mantegna Ins 
 sister's husband. A joint work of Titian and Bellini—" The Gods feasting on the Earth " 
 belongs to the Duke of Northumberland. 76, S9, 90, 114, 116. 
 
 Beltraffio, Giovanni Antonio, b. 1467; d. 1516. A Milanese gentleman, scholar of 
 Leonardo da Vinci, and an Amateur. (Lombard School.) 92, 143. 
 
 Berchem, Nicholas, b. 1624; d. 1683. Scholar of Van Goyen and J. B. Weenix. 979 
 982, 991, 999. ' 
 
 Bles, Herri de, called Civetta, from his mark, an Owl, b. at Bovines, 14S0 ; d. 1550. 
 Painted after the style of Joachim Patenier. 44 V, 475, 504. 
 
 Bloemaert, Abraham, b. at Gorcnm, in 1564 ; d. at Utrecht, 1647. Painter and 
 engraver. Studied under Franz Floris, better colourist than designer. Chiefly occupied on 
 classical subjects. (Flemish School.) 
 
 Bol, Ferdinand, painter and engraver, b. at Dort, 1611 ; d. 1681. Scholar and imitator 
 of Rembrandt. Distinguished for his portraits. 665, 674. 
 
 Bonifazio, called Veneziano, b. at Verona, 1491 ; d. 1533. Scholar of Titian. (Venetian 
 School.) 270, 293. 
 
 Bonvicino, Allessandro, called II Moretto, b. 1500 ; still living, 1556. School of 
 Titian. (Venetian School.) 190, 198, 23». 
 
 Bordone, Paris, b. at Trevigi, 1500 ; d. 1570. Pupil of Titian, and imitator of the works 
 of Giorgione. He visited France. (Venetian School.) 290. 
 
 Borgognone, Ambrogio, painted 1490 — 1535. Pupil of Vincenzio Foppa. 122, 156. 
 
 Both, Jan, painter and engraver, b. at Utrecht, 1610 ; d. 1656. He and his brother 
 Andries learnt the rudiments of their art from their father, a glass painter, afterwards scholar 
 of Abraham Bloemart. They visited France and Italv together, and spent considerable time 
 in Rome. 718, 719, 902, 1033. 
 
 Botticelli, Sandro, painter and engraver, b. at Florence 1447. Scholar of Filippo 
 Lippi. Engraved some illustrations to Dante. (Tuscan School.) 74, 77, 7S, 100. 
 
 Bourdon, Sebastien, b. at Montpellier, 1616 ; d. at Paris, 1671. Instructed by his 
 father, a painter on glass. Studied both at Paris and Rome. Was appointed principal painte" 
 to Christina of Sweden, in 1652. After her abdication he returned to Paris, and was at his 
 death Rector of the Academy. (French School.) 604, 613,617. 
 
 Breughel, John, called Velvet Breughel, b. at Brussels, 1568 ; d. 1625. Visited 
 Italy. On his return, Rubens and others often employed him to paint the landscape back- 
 grounds to then- pictures. 543 to 557. 
 
 Brill, Paul, b. at Antwerp, 1554 ; d. at Rome, 1626. Originally a painter of harp- 
 sichords, but hearing of the success of his brother, Matthew Brill, at Rome, he went there, and 
 studied under him. Employed by Gregory XIII., for whom he executed his principal work 
 a landscape in fresco 68 feet long. 719. 
 
 Bronzino, Angelo, b. near Florence, about 1502 ; d. 1572. Pupil of Pontormo, some 
 of whose works he completed after his death. An admirer of Michel Angelo. Distinguish^" 
 for his portraits, and painted, among others, Dante, Petrarch, and Boccaccio. (Tuscan School.) 
 
 Brouwer, Adrian, painter and engraver, b. at Haarlem, 1608 ; d. at Antwerp, 1640. 
 
 Scholar of Frank Hals. Visited France. He was of dissolute habits. 1042. 
 Brusasorci. See Riccio. 
 
 Brutn, Bartolmeus de, nourished about 1550. A scholar of Hemskerk, who died 1573 
 
 459. ' 
 
 [ 211 ] P 2 
 
BIOGRAPHICAL NOTICES 
 
 Buffalmacco, or Buonamico, di Cristofano, born at Florence, about 1273 ; living 
 1351. Buffalmacco is a nickname given to tbis artist by Boccaccio. (Tuscan School.) 13. 
 
 Buonarotti, Michel Angelo, painter, sculptor, engineer, architect, and poet, b. at 
 Castel Caprese, in Tuscany, 1474 ; A 1564. Pupil of Domenico Ghirlandajo. Worked exclu- 
 sively as a sculptor up to 1500. He executed, in competition witb Leonardo da Vinci, the 
 cartoon of Pisa, at Florence. Completed the ceiling of the Sistine Chapel in 1512, his 'first 
 attempt and greatest achievement in fresco- painting. During the pontificate of Leo X. he 
 was chiefly employed at the quarries of Pietra Santa, procuring marble for the facade of 
 the Church of San Lorenzo, at Florence. In 1533, thirteen years after the death of Raphael, 
 he commenced his cartoons for the Last Judgment, on the altar wall of the Sistine Chapel. In 
 1529 he was called to defend Florence, and maintained it for nine months. In 1546 he 
 succeeded Antonio di San Gallo as architect of St. Peter's, and retained that office to his death, 
 at the ase of 88. He left the building completed to the base of the cupola. His poems' 
 though few, occupy a high rank in literature. (Tuscan School.) 107, 184. 
 
 Burckmair, Hans, painter and engraver, b. at Augsbourg, 1472 ; d. 1559. Scholar 
 of his father, Thomas Burckmair, and friend of Albert DUrer. He executed numerous wood 
 engravings, a great many being illustrations of the Life of the Emperor Maximilian I. 
 (Suabian School). 473. 
 
 Byzantine School. 4, 5, 6, 8, 9. 
 
 CagIiari, called Paolo Veronese, b. at Verona, 1528 ; d. 1583, son of Gabriel 
 Cagliari, a sculptor. Employed, in conjunction with other Veronese artists, by Cardinal 
 Gonzaga to paint the dome of the Cathedral at Mantua. Not finding .sufficient employment 
 on his return to Verona, he went to Venice, where he established himself. He competed 
 successfully with other artists for the decoration of the library ceiling of St. Marc at Venice. 
 The Procurator Grimani, being appointed Ambassador, took him to Rome, where he became 
 acquainted with the works of Raphael, Michel Angelo, and others. On his return to Venice 
 he was overwhelmed with work. He was distinguished for his scenes of crowded assemblies 
 and festivals. He would never receive from convents more than the cost of his materials 
 (Venetian School.) 273, 2S0, 2S2, 285, 2S6, 287, 288, 294, 295, 304, 306. 
 
 Calabrese, see Preti. 
 
 Calvart Denis, b. at Antwerp, 1555; d. at Bologna, 1619. The pupil of Prospero 
 Fontaua and Sabbatini. He himself established an academy, in which Albani, Guido and 
 Domenichino studied before entering that of the Carracci. 
 
 Campana, Pedro, b. at Brussels, 1503 ; d. 1570, Went when young to Italy, and 
 studied the works of Raffaelle. Invited by Charles V., when at Bologna in 1530, to visit Spain. 
 He resided there many years, and his most celebrated picture, the Purification, is in Seville 
 Cathedral. 208. 
 
 Campi, Giulio, b, at Cremona, 1500 ; d. 1572. Scholar of Giulio Romano. (Lombard 
 School.) 349. Having acquired power under Giulio, he learnt a judicious use of it by studying 
 the works of Raphael at Rome. He founded a most important Academy of Paintings. 
 
 Canal, Antonio, commonly called Canaletto, b. at Venice, 1697; d. in same place, 1768. 
 Son and scholar of Bernardo Canal, a scene painter. Visited Rome in 1719, where he chiefly 
 occupied himself in the study of architecture and antiquities. On his return to Venice, made 
 many views of that city. He came to England hi 1746. For the perspective of his pictures he 
 made use of the camera obscura. (Venetian School.) 821, 823 to 831, S50, 867. 
 
 Cano, Alonso, sculptor and painter, b. at Grenada, 1601 ; d. at Madrid, 1667. Studied 
 sculpture under Juan Martinez Montaiies, and frequented the schools of Pacheco and Castillo. 
 In 1051 he was appointed minor canon in the Cathedral of Grenada. He was of a singular and 
 violent character, and had a violent horror of Jews. (Spanish School.) 74S, 762, 923. 
 
 Capanna, or Campana, Puccio, painted about 1334. A follower of Giotto. (Tuscan 
 School.) 
 
 Cardi, Lodovico, b. in Tuscany, at Cigoli, 1559 ; d. 1613. Studied under Alessandro 
 Allori and Santo di Titi. His works are principally at Rome. 
 
 Carducho, Vincenzo, painter and author, b. at Florence, 1568 ; d. at Madrid, 163S. 
 Instructed in art by his brother, Bartolomco Carducho, and joined him in employment by 
 Philip HI. Appointed painter also to Philip IV. The author of a work entitled '*' Dialogos 
 de las excelencias de la pintura," printed at Madrid, 1633, and pronounced by Bcrmudez 
 the best work in the Castilian language on the subject. (Spanish School.) 516. 
 
 Cabracci, Agostino, b. at Bologna, 1558 ; d. 1601. Excelled in engraving, an art at that 
 
 time connected with the business of a goldsmith, for which his father intended him ; 
 
 distinguished also for his proficiency in the sciences and poetry. Studied the works of Cor- 
 reggio, with his brother Aunibale, at Parma, and afterwards became one of the most learned 
 artists of Italy. 30S, 317. 
 
 Oakracci, Annibale, b. at Bologna, 1560; d. at Rome, 1609. The son of a tailor, 
 from whose shop he was taken by his cousin, Lodovico. Is said to have died from vexation at 
 I ho miserable pay awarded to him by the Cardinal Farnese, for the decoration of his Palace 
 at Rome ; eight hundred crowns for a labour of eight vears. (School of Bologna ) °42 310, 
 315,322,327,329,331,335 342. ' 
 
 [212] 
 
OP ANCIENT MASTERS 
 
 Carraoci, Lodovico, b. at Bologna, 1555 ; d. 1619. Was, in the commencement of 
 his career, advised both by Fontana and Tintoretto to forsake art. He nevertheless persevered, 
 and was invited to Rome by Cardinal Farnese. In 1589, in conjunction with his cousius, 
 Annibale and Agostino, he opened the celebrated school that produced Domenichino, Guido 
 and F. Albani. (School of Bologna.) 309, 316, 325, 326, 328. 
 
 Caravaggio, see Amerighi. 
 
 Carreno, see Miranda. 
 
 Carrucci, see Pontormo. 
 
 Castiglione, Giovanni Benedetto, called II Grechetto, painter and engraver, b. at 
 Genoa, 1016 ; d. at Mantua, 1670. Scholar of G. B. Paggi and Gio. Andrea de Ferrari, 
 and also received lessons of Van F/yck during that artist's stay in Genoa. He excelled iu 
 landscapes and animals, and is distinguished for some etchings remarkable for their light 
 and shade. (School of Genoa.) 834. 
 
 Catena, Vincenzio, painted 1500 ; died 1530. Supposed to be a disciple of Giovanni 
 Bellini, but decidedly influenced by Giorgione. (Venetian School.) 67. 
 
 Cerquozzi, Michel Angelo, called M. A. da Battaglia, b. at Rome, 1602 ; d. 1660. 
 A celebrated genre and battle painter. (Roman School.) 790. 
 
 Cesari, Giuseppe, called, from his birth-place, D'Arpino, b. about 1568 ; d. 1640. Made 
 a Knight by Clement VIII. (Roman School.) 214, 515, 921. 
 
 Champagne, Philip de, b. at Brussels, 1602 ; d. at Paris, 1674. Scholar of Fouquires. 
 Went to Paris, 1621, and was shortly afterwards appointed superintendent of the works to the 
 Queen. Friend of Nicholas Poussiu. (French School.) 584,37. M. H. 
 
 Cigoli, see Cardi. 
 
 Cimabue, Giovanni, b. of the noble family of Gualtieri, at Florence, in 1240 ; living in 
 1302. Master of Giotto. He adhered in bis paintings to the manner of the Greeks. (Tuscan 
 School.) 7, 19, 36. 
 
 Civetta, see Bles. 
 
 Claude Gelee, called Le Lorrain or De Lorraine, painter and engraver, b. at Chamagne, 
 in Lorraine, 1600 ; d. at Rome, 16S2. Bom of poor parents, and first apprenticed to a baker and 
 pastrycook. Went when young to Rome in search of employment, and became servant to an 
 artist of the name of Agostino Tassi. He was first taught to paint from nature by Saudrart. 
 Finding that many spurious imitations of his works were sold, he made drawings of every 
 picture he painted, and recorded the names of the persons for whom they were done, and the 
 places to which they were sent ; this collection has been published under the title of " Liber 
 Veritatis." (French School.) 649 to 652, 654, 655, 659, 819, 836, SS6, S92, 901. 
 
 Cleef, or Cleve, Joost Van, b. at Antwerp, 1500 ; d. 1536. Instructed in art by his 
 father, William Van Cleef. Visited England in the reign of Queen Mary. Is said to have gone 
 mad from vanity. 500, 507. 
 
 Clouet, Francois, called Jeannet, or Janet, painted, 1540-1560. Painted the portraits of 
 Catherine de' Medici, Henry II., Charles IX., Mary Queen of Scots, &c. (French School.) 4S0, 
 510. 
 
 Cologne School (Early), 3S2. 
 
 Conegliano, Giambattista Cima da, b. about 1460 ; still living, 1517. Scholar of 
 of G. Bellini. (Venetian School.) 101, 120. 
 
 Coques, Gonzales, b. at Antwerp, 161S ; d. 1684. Pupil of David Ryckaert the Elder. 
 Imitator of Van Dyck. A painter of conversation pieces. His pictures were highly finished, and 
 were in such great demand that he was unable to supply all who desired them. 948, 968, 
 1004. 
 
 Cornelitz, Lucas, the son of Cornelius Engelbrechtsen, b. at Leyden, 1493 ; d. 1552. 
 Visited England in the reign of Henry VIII. Followed the occupation of a cook for some 
 time. He was appointed painter to the king, and many pictures in this country called 
 Holbeins are very probably from his hand. 478, 479. 
 
 Correggio : Antonio Allegri, called from his birthplace, Correggio, b. 1494; d. at Cor- 
 reggio, 1534. The name of his master is uncertain. Employed at the age of 20 to paint an altar- 
 piece for the church of the Convent of San Francesco, now in the Dresden Gallery. Finished 
 his great work, the Assumption of the Virgin, in the Cathedral at Parma, in 1530. (Lombard 
 School.) 152, 165, 166, 167, 168. 
 
 Cortona, Pietro Berretini da, b. 1596 ; d. at Rome, 1669. Distinguished for his 
 great facility of execution. His chief painting is the ceiling of the Grand Saloon, in the 
 Palazzo Bai-berini. (Tuscan School.) 367. 
 
 Costa, Lorenzo, b. at Ferrara, 1460 ; d. at Mantua, 1535. Scholar and assistant of 
 Francesco Francia. (School of Ferrara.) 
 
 Cotignola, Girolamo, Marchesi da, b. about 1480 ; d. 1550. A scholar of Francesco 
 Francia. (Bolognese School.) 
 
 Courtois, Jacques, called Borgognone, or Bourguignon, and by the Italians, Cortese, 
 b. at St. Hyppolyte, 1628; d. at Rome, 1676. Received his earliest insti-uction from his father, 
 
 [213] 
 
BIOGRAPHICAL NOTICES 
 
 an obscure painter. Went to Milan at the age of 15. Served in the army for three years, at the 
 end of which time he returned to painting. Became acquainted with Guide- and Albaui at 
 Bologna. Studied the works of Giulio Romano at Rome. Is said to have joined the Jesuits 
 in fear of a malicious prosecution for the murder of his wife. (French School.) 515. 
 
 Cranach, see Sunder. 
 
 Crater, Casper de, b. at Antwerp, 1582 • d. at Ghent, 1669. A historical portrait 
 painter. Friend of Rubens and Van Dyck. 
 
 Credi, Lorenzo di, called Sciarpklloni, b. at Florence, 1454 ; still living, 1536. 
 Fellow pupil, with Pietro Pcrugino and Leonardo da Vinci, of Andrea Verrocchio. He 
 painted a great number of portraits. Paid great attention to the preservation of his works, 
 grinding colours and preparing the oils himself. (Tuscan School.) 58, 113. 
 
 Cristoph, or Cristophsen, Meister, flourished at Cologne, 1510—1530. (Early German.) 
 
 441. 
 
 Crivklli, Carlo, painted at Venice from 1476 to 1486. His pictures are sometimes 
 
 attributed to Pietro Perugino. (Venetian School.) SO, 94, 103. 
 Croce, see Santa Croce. 
 Cuyp, Albert, b. at Dort, 1605 ; still living, 1683. Taught painting by his father, Jacob 
 
 GerritzCuyp. Is said to have been by trade a brewer. Vol, 710, 712, 714, 717, 721, 704, 917, 
 
 1000, 1035. 
 
 Daniele da Volterra, see Ricciarelli. 
 
 Denner, Balthazar, b. at Hamburgh, 1685 ; d. 1747. Visited England in the reign of 
 George I. His works are characterised by a most laborious finish. S94, 1037. 
 
 Dietrich, Christian William Ernest, h. at Weimar in 1712. Established himself at 
 Dresden ; sent by the Court to Italy in 1742. He executed several engravings. 1063, 1009. 
 
 Dobson, William, b. at London, 1610 ; d. 1646. Apprenticed to Sir R. Peake, a painter 
 and dealer in pictures. Student of the works of Titian and Van Dyck. Recommended to 
 Charles I., by Van Dyck, and on his death appointed serjeant-painter and groom of the privy 
 chamber. He painted history as well as portrait. Owing to the fall of Charles I. he fell into 
 distress, and died shortly after his release from a debtors' prison. (English School.) 
 
 Does, Simon tan der, painter and engraver, b. at Amsterdam, 1653; d. 1717. Son and 
 scholar of Jacob van dor Does the Elder. 774, 1001. 
 
 Dolci, Carlo, b. at Florence, 1616 ; d. 1686. His large pictures are rare. He confined 
 himself almost exclusively to Madonnas and single Saints. (Tuscan School.) 355, 356, 36S, 
 372, S07, 811, 925. / > , , 
 
 Domenichino, see Zampieri. ; 
 
 Dossr, Dosso, b. at Dosso, near Ferrara, about 1490 ; d. about 1560. Scholar of Lorenzo 
 Costa. _ He and his brother, Giambattista, worked mostly together, DosfiO painting the figures, 
 and Giambattista the landscapes. They were, however, "always quarrelling, and on one 
 occasion, when employed by the Duke of Ferrara, their only communication was by writing. 
 (School of Ferrara.) 203, 223. 
 
 Dow, Gerard, b. at Leyden, 1613; d. 1680. Brought up to be a painter on glass, but 
 became a scholar of Rembrandt iu 102S. Distinguished for his high finish. 908, 1039, 1045, 1075 
 
 Due, Jan Le, b. at the Hague, 1636 ; d. 1695. Said to have been a scholar of Paul 
 Potter. After studying the art for some years he entered the armv, and obtained the rank of 
 captain ; he, however, resumed the palette, and became President of the Academy at the 
 Hague. 874. 
 
 Duccio di Buoninsegna, commonly called Duccio da Siena ; painted from 1282 ; d. 
 about 1340. Designed and wrought in mosaic the pavement of the Duomo of Siena, part of 
 which remains perfect, and represents the Death of Absalom. (School of Siena.) 11, 13. 
 
 Durer, Albert, painter and engraver, b. 1471 ; and d. at Nuremberg, 1528. The son 
 of a goldsmith, who intended him to follow the same trade. At an early age he adopted 
 painting and became a scholar of Martin Sehongauer and Michael Wohlgemuth; lie then 
 travelled for four years. Married in 1494. Visited Italy, 1606. Was appointed Court painter 
 by tho Kmperors Maximilian and Charles V. Exchanged drawings with Raphael in 1515. 
 Visited the Netherlands in 1020. Author of several works on art, fortification, geometry, &c. 
 The friend of Melancthon and Luther, whose party he joined. Distinguished ravings 
 
 <>n copper and wood, and for the closeness with which he studied nature. The journal of his 
 visit to the Netherlands is still in existence. 440, 462, 4S4. 
 
 Dick, Sir Antony Van, painter and engraver, b. at Antwerp, 1599 ; d. at Black- 
 friars, London. 1641. Scholar of Rubens. Went to [taly, 1621. Returned to Antwerp, by way 
 ot Paris, 1625. Visited England first in 1627, but nqt being very well received he went bark. 
 lie returned, at the request of Charles I., in 1682, who knighted him, and appointed him his 
 first painter. The boheading of Strafford and tho dispersion of the Royal Family seriously 
 affected the spirits of Van Dyck. His health failed and he died at Blackfriars, December 9th, 
 1641. Buried in old St. Paul's. The king offered a reward of £300 to the physician who 
 M.uld preserve the painter's life. 585, 591, 593 to 596, 599, 603, 605, 648, 053, 660 to 
 
 663, 667, 070, 68:;, 1W, 929. 6(M. II.), 7 (M. II.), s (M. H.), 9 (M. H.). 
 
 [214] 
 
OF ANCIENT MASTERS. 
 
 Eeckhotjt Gerbrandt van den, painter and engraver, b. at Amsterdam, 1621 ; d. 
 
 1074 gchoLar of Rembrandt, whose style he imitated 676, t>91. ,,-,,• •,, 
 
 ■Flzheimek Adam, b. at Frankfort, 1574 ; d. 1620. Son of a tailor, who placed him with 
 E pS Offenbach. He visited Rome, and studied the works of the great masters. 520, 523, S09 
 Empoli, Jacopo Chimenti da, b. at Empoli, 1554 ; d. at Florence 1640 A copyist of 
 
 the works of Andrea del Sarto. He painted almost exclusively m oil, having had a fall from a 
 
 scaflold whilst painting in fresco when young. (Tuscan School.) 22A 
 Engelbretschen Cornel.s, b.atLeyden, 1468; d 1533. One of the earliest Germans 
 
 who employed oil in painting, wrought principally at Leyden. See Cornelitz. 
 
 fsZll^AoLoll t 2 °at Yatncia, 1600 ; d. at sameplac, 1680. Studied 
 under Ribalta, an industrious and prolific painter. 924 , 1M1 , , 1W ir 
 
 Everdingen, Aldert van, painter and engraver, b. at Alkmaart, 1621 , d. lb7o. 
 Scholar of Roelant Savery and Peter Molyn. 955,995. 
 
 Eyck Hubert and John van, from their birth-place, Maas-Eyck. The discoverers (or 
 impro"- Sof oil-painting. They resided chiefly at Ghent and Bruges where HU*s r founded a 
 SEchooL Hubert wis b. about 1366, and d. 1426. John was b. about 1390, and d. 1441. 
 381, 3S3, 384, 385, 394. 
 
 Eyck, Van, School of, 375, 391, 392. 
 
 Ferrara, Mazzolino di, see Mazzolino. 
 
 Ferrari Gaudenzxo, painter, sculptor, and architect, b. 1484; d. at Milan, 1549 
 
 F JFB^-^s^. «ss« as ?a* -« -» 
 
 of the works of Giulio Romano. (Roman School) 3o4 . - , ,,„ tt- 
 
 Eiesole Fra Giovanni da, called Angelico, b. at Mugello, 13S7 ; d. 1455. His 
 nime before takin- ordei, was Guido or GuidoUno. He belonged to the order of the 
 Dominical and always painted the Madonna on his knees ;. he also never altered any of his 
 worS beheXg tnem to be the result of inspiration. He painted a chapd : for Nicholas ^ at 
 Rome' and refused the Bishopric of Florence, which was offered him by the pontiff. (Tuscan 
 School.) 52, 5S, 59, 63. 
 
 Flemish School, 408, 481. m t 
 
 WTnBPTJTTNT? School A Triptvch from Kensington Talace. zu. 
 
 ?orTpaTm ezzano M A tco "painted, 1503 f still living, 1537. Scholar of Melozzo da 
 
 Forll. (School of Bologna.) 177,19,. ..... 109 -, ,- fl 
 
 Fossano, Ambrogio, called II Borgognone, pamted about loOO. 1A4, loo. 
 FrTncSca Pietro della, called also Pietro Borghese, from his birth-place, Borgo san 
 ifRANCESCA r imk J » , ished for Ms perspective, on which subject and geometry 
 
 Krote somf trkatiset Towai d^he close of his P hTe hi became blind (Umbnan School) 50 
 FranceIchini, Marc Antonio, b. at Bologna, 1648 ; d. 1729. Scholar and assistant of 
 
 S Cignani. He was possessed of great facility of execution, and pamted much m the style 
 
 of the Macckinisti. (School of Bologna.) 800. , . - 1 R 
 
 •c^^Vta Francesco Raibolini, caUed Francia, b. at Bologna, about 1450 , d. 1018. 
 
 F^cTooTtaooS™^ from lis birth-place, Da I«om b !*££- 
 ■JETfi^jHff&ffaBi. 1409. (SieneseScbo.1). 35. 
 
 Florence, after a design by Giotto. (Tuscan School.) 17, 28, 43, 4,. 
 
 [215 J 
 
BIOGRAPHICAL NOTICES 
 
 Gaetano, Somo. 142. See Poxzone 
 
 * , «2LjEEZ "^fiftr^Sn!^"^ ^^ Antonio Ca.npi and 
 
 (xArofalo, Benevenuto Tisio, b. at Ferrara, 1481 • d 1559 ftinil nf r, 
 
 Panett!, and afterwards in the school of Raphael ■ cXd nLZfc , ! , ° f Dome mco 
 
 !*!? ' a 01 " Gt7EIURD > Mark . Painter, architect, and engraver flourished l SAfl 
 
 of an Instruction to the General Art nfTaS "" *° * BP S * "*** and was the * ut ^ 
 IjAudenzio, see Ferrari. 
 
 German School (Old). 428, 455, 466 
 
 d RL tw J ?4os D °Th NICO:Bl f GORDI , J I)EL ' calIed also CoRRA ™> b. at Florence 1449- 
 
 Giordano, Ltjca, b. at NaDles Ifi^o . ,i i~nz %\ I . 
 
 Scht^ofB^-a^aSS^lrli'^iX The son of a painter of no note. 
 studied the works of al 1 tl c 7% w i h Cortona whom he assisted in his works. He 
 
 adjoining the Duomo of Florence hunt f™ ht V J™ ** I*"? W0 K ks - The Campanile 
 chisel. Wf^patatooftto^eriodw^^.S 9 ^' aud adorMd by statues ft^his 
 nature. (Tuscan Sol) 10 24 P 2fi o<> faW W ^^ ° f 8tudyin * directI y fr ™ 
 Giottino : Tommaso Stepano, called Giottino, b. 'at Florence 1324- rl 1^6 &>, 
 ac^re-^na^^crsXl? 10 ^ *» "* to - — «^ « 2* aft 
 
 Greek Painting (Modern). 188 
 
 GRE ford\a J ne1?, If*™* K at T0UrnUS > in 1726 I d " at **™> 1805. 959-961 ; Iiert- 
 
 Grunewald Mathias, b. at Aschaffenburg about 1450 ; d. 1510. 386 
 
 iS"°d SToS^rT *"???' C ^ edlh GuERCIN0 from h ^™*, b. at Cento. 
 
 too fa^^^ufLr'SffiBteSS F*7&& H^tudied'thc works of Ag£. 
 
 333, 346, 350, 351, 353 358 363 ,365 370 373 *«quented. (School of Bologna.) 320, 382, 
 
 Goido, see Reni. 
 Guttierez, Juan Simon, 646. 
 
 L 216 ] 
 
OF ANCIENT MASTERS. 
 
 Hagen, John van, b. at the Hague ; painted 1650. A clever landscape painter, but owin^ 
 to his having used a colour then in vogue, "Haarlem blue," his pictures are now much 
 deteriorated. Contemporary of Berchem and Adrian van der Velde. 733. 
 
 Hals, Frank, b. at Malines, 1584 ; d. at Haarlem, 1666. Scholar of Carl van Mander. 
 Very distinguished as a portrait painter, but of dissipated habits. Van Dyck had a high 
 opinion of his talent. 071, 681. 
 
 Hanneman, Adrian, b. at the Hague, 1611 ; d. 1C80. Visted England soon after the arrival 
 of Van Dyck, and remained here sixteen years. He returned to Holland on the commencement 
 of the Civil War, and resided at the Hague. S02. 
 
 Heem, Jan Davidsz de, b. at Utrecht, 1600 ; d. at Antwerp, 1674. Son and scholar of 
 David de Heem, a flower painter. 726. 
 
 Heemsen, Jan Van, b. at Antwerp about 1500. One of his pictures, at Kensington 
 Palace is dated 1534. 430, 491. 
 
 Heemskerk, Egbert, the Younger, b. at Haarlem, 1645 ; d. at London, 1704. Scholar 
 of his father, P. Grebber, and Brauwer. Imitator of Teniers. 843. 
 
 Hemling, see Memling. 
 
 Hemskerk, Martin. 455. 
 
 Herrera, Francisco, the Elder, b. at Seville, 1576 ; d. 1656. Scholar of Luis Fernandez. 
 Being charged with coining, he fled into sanctuary, and was pardoned by Philip IV., when at 
 Seville, in 1(524. Master of Velasquez. (Spanish School.) 238,965. 
 
 Helst, Bartholomew van der, b. at Haarlem, 1613 ; d. at Amsterdam, 1670. Eminent 
 for his portraits, which he painted after the style of Van Dyck. 697, 930. 
 
 Heusch, William de, b. at Utrecht, 1638 ; d. about 1712. Went to Italy when young, 
 and became there a scholar of Jan Both, whose style he followed. 731. 
 
 Heyden, Jan van der, painter and engraver, b. at Gorcum, 1637 ; d. at Amsterdam, 
 1712. Had for his master a painter on glass. He is remarkable for the details and accuracy of 
 his works ; is said to have used the camera obscura. To facilitate the production of his 
 pictures, he prepared engraved stamps, with which he printed on parchment and canvas, 
 finishing them afterwards by hand, and, by a clever combination, producing an immense 
 variety. Adrian Vauder Velde and Lingelbach painted figures for him. 734, 741. 
 
 Hilliard, Nicholas, b. at Exeter, 1547 ; d. 1619. Brought up to the business of a gold- 
 smith and jeweller, to which he added that of painting in miniature. Studied the works of 
 Holbein. He was appointed goldsmith, carver, and portrait painter to Queen Elizabeth, and 
 continued in favour by James I. 
 
 Hobbema, Mindert, painted 1660. Friend and companion of Jacob Ruysdael. No 
 particulars of his life are known. The figures in his landscapes are sometimes done by 
 Berchem, A. van der Velde, J. Lingelbach, Wouwerman, &c. 700, 722, 767, 857, 23 M. H., 
 24 M. H. 
 
 Holbein, Hans, the Younger, painter, sculptor, engraver, and architect, b. at Augsburg, 
 1498 ; d. of the plague at London, 15.34. He received the title of Citizen of Bale in 1520, at 
 which place it has been thought he was born. His father and other members of his family 
 being artists, he learned painting of them. He came to England by the invitation of the Earl 
 of Arundel, and brought letters of introduction from his friend Erasmus to Sir Thomas More, 
 who presented him to Henry VIII., bv whom he was named his painter, and loaded with 
 honours. 36&7461, 469, 471, 48S, 489, 49fl 
 
 Hondekoeter, Melchior de, b. at Utrecht, 1636 ; d. 1695. Scholar of his father 
 Gysbert de Hondekoeter and J. B. Weenix. 66S, 863, 918. 
 
 Honthorst, Gerard, painter and engraver, b. at Utrecht, 1592 ; d. 1660. Scholar of 
 Abraham Bloemaert. Visited Rome, and was called by the Italians Gherardo deli.a Nottf. 
 from the frequency of his fire-light scenes. Came to England, and was appointed painter to 
 the Queen of Bohemia, daughter of James I. Finally settled at the Hague, where he was 
 employed by the Prince of Orange in the decoration of the palaces of Ryswick and the Hcusj 
 in the "Wood. 612. 
 
 Hooge, Pieter de, painted 1658 — 1670. A painter of interiors, with effects of dayligh; 
 and sunshine. 945, 950, 953, 1060. 
 
 Horeboct, Gerard Lucas, b. at Ghent, 1498 ; d. at London, 1558. A painter of 
 portraits in the manner of Holbein. Some time in England in the service of Henry VIII., 
 and court painter to Philip and Mary. 493. 
 
 Huysum, Jan van, b. at Amsterdam, 1682 ; d. 1749. Son and scholar of Justus van 
 Huysum the Elder. Studied the works of De Heem and Abraham Mignon. 940, 943, 1009, 1010. 
 
 Imola, Innocenzio da, see Francucci. 
 
 Iriarte, Ignacio, b. in Biscaye, 1620 ; d. 1685. Scholar of Francesco Hen-era the Elder. 
 
 He is distinguished for his landscapes ; the figures in them are sometimes by Murillo. 630. 
 Italian School (Early). 2. 
 
 [217] 
 
BIOGRAPHICAL NOTICES 
 
 Janet, see Clotjet. 
 
 J ansen, Abraham b. at Antwerp, 1569; d. 1631-1650. A very distinguished 
 Flemish painter who enjoyed a brilliant reputation previous to the time that the talents of 
 Rubens began to display themselves. He became Rubens's bitter enemy, and offered to 
 paint a picture m competition with him, but it was declined onerea to 
 
 jAN t SE ^ Cornelius, b at Amsterdam, 1590; d. 1665. Resided in England from 1618 
 to 1048. Employed by James I., whose portrait he painted. 522 
 
 ?™I ? T A . R 1 EL D ?' P ainter and engraver, b. at Amsterdam, 1635 ; d. at Venice, 1678 
 Visited Italy, where he studied the works of the great masters. He returned to Holland and 
 97] U»?S, !To3S cture8werem ^eat demand there, he went back to Italy, where he died. ' 720, 
 
 Joannes, Vicente b. at Fuente de Higuera, 1523 ; d. 1579. Is said to have visited 
 
 EJXLl r C T Y aS < a V t ry , dev ? ut ^position, and Panted sacred subjects exclusively. (Spanish 
 bchool.) The Spanish Angehco da Fiesole. 215. v 
 
 Jordaens, Jacob, painter and engraver, b. at Antwerp, 1593 ; d. 1678. Scholar of 
 
 assistant ?"m r oU** * andfriend of Ruben3 > h y **» he was sometimes employed as 
 
 Justus of Padua, see Padua. 
 
 Kapelle, Jan van de painted 1650. A Dutch painter of marine subjects and river 
 
 views. Supposed to have studied the works of William van der Velde 86 I 
 Karel du Jardin, see Jardin. 
 Kessel John van, b. at Antwerp, 1626 ; d. at Madrid, 1708; imitated Breughel; 
 
 ffi&^MffiSSL? Phmp IV - Paiufced portrait8 of Phaip v - -* Queen * 
 
 Ketel Cornells , b. 1548 ; still living, 1604. Scholar of Antony Blockland. Came 
 
 and sf ver-VoVthP VnKl-f ma v ed , h "! f 1 15Sh He painted thc Portraits of Queen Elizabeth 
 ana se\eialot the Mobility. Nagler, vol. 0, p. 568. 
 
 Keyser, Theodohe de, a Dutch artist, who painted 1638 
 
 Kierings, or Keirincx, James, b. at Utrecht, 1590 ; d. 1646. Came to England in 
 the reign of Charles I by whom he was employed to draw views. The figures in the land- 
 scapes he painted in Holland are generally by Poelembur" ^ 
 
 Kneller, Sir Godfrey, b. at Lubeck, 1648; d. in England, 1723. Scholar of F. Bol, 
 and received some instruction from Rembrandt. Visited Italy, and came to En-land 1074. Was 
 lT P /o y n d in7 SfSij Jan x eS IL V^ d knightcd by ™" nh 8ent to France by Chords 
 %£&S£2^$£S& ™' Se - d --iginal drawings, No. 168, in Gallery 
 
 Koning, Philip de, b. at Amsterdam, 1619 ; d. 1689. Scholar of Rembrandt. 
 Distinguished for his landscapes with long horizon. 703, 846, 868 
 
 Koning Solomon, painter and engraver, b. at Amsterdam," 1609 ; still living, 1663. 
 A student of the works of Rembrandt, whose style he followed (373 601 
 
 Krug, Lucas, d. about 1535. A follower of Lucas van Leyden 460 
 
 Kulmbach, Hans von, painted 1509 ; d. 1540. Follower of Albert Durer. 442. 
 
 LAK ?m'i? IC ° LAS ' b ' at PariS ' 169 ° ; d> 1745 ' An imitator of Watt eau. (French School.) 
 
 Lanfranco, Giovanni b. at Parma, 1581 ; d. at Rome, 1647. In early life he was 
 
 page to Count Scott i, who placed him with Agostino Carracci. He had great power 
 
 H.wf 7° "' ^° th re ? c ;V lud 0il ; . His chief work is the cupola of Sant' Andrea ,W a Vale 
 He was a special rival ot Domeniehino at Naples. (School of Bologna > 364 
 
 Laurati Pietro, or Pietro Lorentii, (the son of Lorenzo) ; known by his paintings of 
 l;,ff m J f ', their temptations, especially by the fresco in the Campo Santo at Pisa! A 
 of SLowu a°lone S ^1% Ambrogio Lorenzetti is dated 1886. The date 1342 is on one 
 
 Lebrun, Charles, b. 1619 ; d. 1690. Visited Italy with N. Poussin in 1643. Under 
 School V 5^592* Lcbnm bec:lm e the great painter of the court of Louis XIV. (French 
 
 Legnant, Stefano b. at Milan, 1660; d. 1715. The son of a portrait painter, and 
 scholar of Carlo Cignam and Carlo Maratti. His principal work is the cupola of San Gau- 
 deuzio, at Novara. (Lombard School.) :«u; ' 
 
 Lkl T> SiR Jeter, b. at Westphalia, 1618 ; d. at London, 1680. Son of a captain of 
 "" : ° thl r uamc ° f V ¥* i C1 ' Vt f , Rcceivcd llis &rst instructions from one De Grabber. Came 
 ygtei5 , U ' 41 > "J adopted the style of Van l.yck. Employed by Charles I., Charles II., 
 who knighted him, and James II. Is also said to have painted the portrait of Oliver Cromwell! 
 He died of apoplexy, whilst painting the portrait of the Duchess of Somerset. (English School.) 
 
 [218] 
 
OF ANCIENT MASTERS. 
 
 Lenain, Louis, b. at Laon ; d. 1648. He painted portraits, and was particularly suc- 
 cessful in his delineation of peasant subjects. (French School ) 1046. . 
 Leyden : Locas, Jacobs, called Lucas van Leyden, from his birthplace, b. 1494 ; u. 15d*. 
 Scholar of Cornelius Engebrechtsen, contemporary and Mend of Albert Durer. Especially 
 known as an engraver. His pictures are very rare. Was only 12 years old when he painted 
 the St. Hubert, and 14, the Mahomet Drunk. His largest painting, a Last Judgment, at 
 Leyden. 422,452,456,458. -i<o<> j -iron 
 Licinio, Giovanni Antonio, called, from his birthplace, Pordenone, b. 1483 ; d. 1 539. 
 Contemporary with Titian, to whom his works are sometimes attributed. (\ enetian School.; m . 
 Lievens, Jan, painter and engraver, b. at Leyden, 1607; date of his death uncertain, 
 some say 1663. Scholar of G. van Schooten, and P. Lastmau. Visited England in 0.0 where 
 he painted portraits of the royal family, and remained three years. He then established him- 
 self at Antwerp. Friend of Van Dyck and Rembrandt. 6S8. 
 Lingelbach, Jan, painter and engraver, b. at Frankfort-on-the-Maine, lblo ; d. at 
 Amsterdam, 1687 He visited Paris in 1642, and after a residence there ot two years, went to 
 Rome where he remained eight years. He was distinguished for his landscapes &c, m 
 wCch arc rfntroduced a great number of figures and animals. He often painted the hgures n 
 the landscapes of many Dutch artists. 8T4, 947. _ c„ mQ 
 Lint, Henry van, painter and engraver. Son and scholar of Peter van Lint. borne 
 plates of landscapes he etched are dated 16S0. He visited Rome, and, Irom his assiduity, was 
 there called Studio. 962. . . . , .,, 
 Lippi, Filippino, b. at Florence, 1460 ; d. 1505. Son of Fra Fibppo Lippi, placed with 
 Sandro Boticelli, as he was very young when his father died. He finished the frescoes in the 
 
 Brancacci Chapel. 61, 105. " ,,,,,, tt „ j. i, 
 
 Lippi, Fra Filippo, b. at Florence, about 1412; d. at Spoleto, 1469. He was taken 
 Prisoner when young by the Moors, and gained his liberation by the practice of his art. He 
 succeeded SB fn decorating the Carmine Chapel at Florence. His chief work is the decora- 
 tion of the Duomoat Spoleto. Fatherof Filippino Lippi. (Tuscan School.) 02 6o 69, 70, J1.T3. 
 Lombard, Lambert, b. 1506 ; d. 1560. Scholar of Arnold Beer and Jan Gossaert. 
 Went to Italy in the suite of Cardinal Pole. ,.,.,. . , , , ,• „+..„;+o 
 
 Longhi, Luca, b. at Ravenna, 1507 ; d. 1580. He is distinguished for his portraits. 
 
 (School of Bologna.) 8S4. r . , „ . ,. „, 
 
 Lorenzo, Don, a Camaldolese monk of the convent of Santa Maria degli Angeli, Florence, 
 
 living in 1410. He assisted Don Silvestro in many of his summations. 
 LoRMe, A. Db, painted about 1660. Excelled in interiors of churches and other public 
 
 edifices. Terburg painted the figures in some of them. 794. 
 Lorraine, Claude de, see Claude. .,,.„* i ,ac i aki aiw+ 
 
 Lothener, Stephen, called Meister Stephan, flourished m Cologne, 1442—1451. Albeit 
 Durer in bis " Journal in the Netherlands," says that he gave the keeper of the Town House 
 Chapel at Cologne two silver pennies to see Master Stephen's pictures. (Early German.) 380. 
 Luini, Bernardino, b. at Luino, on the Lago Maggiore, about 1460 ; still living 
 1530. Supposed to have been a scholar of Leonardo da Vinci for _whose ^ Jiaa« ^ e- 
 times mistaken. In his later works he appears to have studied Raphael. (Lombaid School.) 
 119,204,209. 
 "Lyversberg Passion," the Master op. 379, 410. 
 
 Mabuse, see Gossaert. 1 _ A 1nK1 
 
 Maes, Nicolas, b. atDort, 1632 ; d. 1693. Scholarof Rembrandt 657, 658, 682, 1050, 10, 1. 
 
 Mans F H. , an imitator of Molinaer in winter scenes especially. 1012. 
 
 Mantegna, Andrea, b. near Padua, 1431 ; d. at Mantua, 1506. Is said to have .been 
 like Giotto originally a shepherd boy. Scholar of Francesco Squarcione. Cal led to Rome by 
 Innocent Vlfi ! One of the earliest engravers. Worked from his own designs. (Paduan 
 
 MAR'ATTfcARLoN^n^ABCona, 1625 ; d. at Rome, 1713. Scholar of Andrea Sacchi 
 and studerft of the works of Raphael, some of which, in the Vatican, he cleaned and restored. 
 
 MARG!rT n oNE, 10 paint 3 ert'sculptor, and architect, b. at Arezzo about 1286 ; d about ,1313. 
 
 One of the earliest painters of whom there is any account. Executed the statue of Gregory X. 
 
 at Arezzo. (Tuscan School.) 14,16. , ; n/r. a ,„,,™ <Wn hia 
 
 Masaccio b 1402- d. 1443. Tommaso Guidi, commonly called Masaccio iiom his 
 
 stovenline;s Studied the works of Donatello, Ghiberti, and Brunelleschi. He did much to 
 
 free art from conventionalism. 48,51,53. _,.,„ ;, 
 
 Matsys Ouentin b. at Antwerp, about 1460 ; d. 1530. The name of his master is 
 
 Sown Hfe style is a transition between that of Van Eyck and Rubens. A friend of 
 
 Erasmus and Sir Thomas More. 416, 445, 448, 451. 
 Matteo da siena, painted 1462-91. 95. 
 
 [ 219 ] 
 
BIOGRAPHICAL NOTICES 
 
 Mazzolino Lodovico, b. at Ferrara, about 1481 ; d about 1530 P„r,il of t 
 
 Costa. He was less successful in laiw ti,™ ;„ «™»i i • I. , / . ' i U pil of Lorenzo 
 
 MazZUOLI, GlROLAMO ^S^^^^Zf^T' ^ Ch ° ol « f *™»0 U8, 191. 
 
 he studied the works of Hap "' nd m£ d K 1 '" \? vve ^ >fK ,7** to Ronle - U*. where 
 of some frescoes in the Ch^ehoV feSSS^effstee^S !" d,lat( ^" es * j » "«> exectk* 
 breach of contract. On his release ins lad o fi is Mt«? fC i ho !™ * h ">wn into prison for 
 he shortly afterwards died. (Lo^baril^c^ft^ feWS - Magffi ° re ' W H 
 AlEIRE, GAERAERT VAN DER minted in 1417 A ~ "' • l r "f t' , 
 
 who mentions him in his works. ?sffi tfStaS ™" WaS a friend ° f Pet ™cV 
 
 "^iK^Bfc is -> jassm- 165 ?- A student ° f the -*» ° f 
 
 small dimensi, «ns 1059 Distinguished for his portraits, interiors, and pictures of 
 
 Michel Angelo, see Cerqtozzi and Caravaggio 
 
 Mignard, Pierre, b. at Troves 1G10 • rl ifiQf; ffiTS . . , . ,. . 
 
 fession of physic. He Sed under L I , HlS father lntended Mm for the pro- 
 he entered 'the school of Shnc^CS afterward °f "S ™ "£* °, f Bouww - Wc,lt tr ' ***»» 
 Returned to France at the taSffiitSB*" fech ScwT^sT^^ ^ 
 
 Mirevelt, Michael Janson, b. at Deft 1 ^fifl ■ ,1 inn wi ± j 
 
 having attracted the attentin „m!5 J '„ lb41 - Edu cated as an engraver, but 
 undeAnn, ^i^S^^^SSSS J"**** called Bloeklandt, studied painting 
 
 ^BASSSit SSLfJS?) ,? e is considered t0 be the eldest **>«*»« 
 
 ^SB'XES t Soli S ^JS"' ■ ^ ° f » arC, ' iteCt > »'l ■*** 
 Molpnafr Tonv A n Vi * r -)"i est, °-Vlbani and Gueremo. (School of Bologna.) W 
 
 7 S^^^JS&^SS^^ ^^ ^ n ° ^ 8h ' en - * P-teci some. 
 Monnoyer, see Baptists. 
 
 MONREALESE, See NoVELLI 
 
 ^Dow^Sc^u "VStSiSS »■ ^ ^ %P* 1738 ' Studied Und * r «-* 
 Eugene and ttaDuke JfMrtbJSS iStt "^ f ° r the Emporor portraits of ***» 
 
 M0I S £ra £ na^feX'ELt 1 ^ l nvited t0 Madrid by Phii; p IJ " 
 
 More, Sir Aktonio, b. at Utrecht, 1512- d in FlamW* 11S8 a i;„+- • t. j 
 
 ^d aata ffirrtS^v^^^surs 
 
 Moroki, Giovanni Batista KuS ' d S'lS'" gfit f"* 6 °" : - 0;) ' "W n 
 Moretto. Distinguished for his norti a ts n„. If ■ « scholar of Bonvicino, called II 
 the Duke of SuSSSSdL (Venetian Sd.ool s-f ^ fin ° St r ° rtrnUs ta in the CoUection of 
 
 Mosaic Painting. 23 a. 
 
 "taSt."'^ ^ ^ Haar ' em ' UU ; d - 1555 ' Scholar of J*«>b Janssen, of 
 Moucheron, Frederick, b. at Embden, 1633- d at Am,t^™ ir<5« c t. i <• 
 
 [220] 
 
OF ANCIENT MASTERS. 
 
 Mota Pedro de, b. at Grenada, 1610 ; died 1666. Fellow pupil of Munllo in the 
 school of Juan del Castillo. Entered the army, and served in Flanders, but the sight of the 
 works of the Flemish painters caused him to return to painting. Came to London, to study 
 under Van Dyck, but that master dying six months after his arrival, he returned to Grenada, 
 where he resided until his death. (Spanish School.) 751. 
 
 \Iudo El, see Navarrete. 
 
 Munari, called Pellegrino, Da Modena, b. about 1480; d. 1523. Went to Rome 
 in 1509. Scholar and assistant of Raphael. Killed when young m a street fray. (Lombard 
 
 Muei^^Irtolkib Estkbak, b. at Seville, 1618; d. 1682 Scholar of Juan del 
 Castillo and afterwards of Velasquez. Student of the works of Titian, Rubens and Van 
 Dvck Married in 164S, and was of a very devout disposition. His death was caused by a fall 
 from a scaffold whilst painting in the church of the Capuchins at Cadiz. (Spanish School.) 
 020 622, 623, 629, 631 to 645, 647, 900. M. H. 1, 2, 3, 4, 5. 
 
 Musscher, Michael van, b. at Rotterdam, 1615 ; d. at Amsterdam, 170o. Scholar of 
 Gabriel' Metzu and Adrian van Ostade. 949, 952. ,.,,,.. .,,,_,. . f „ f 
 
 Mytens Dakiel, the Elder, b. at the Hague, 1590 ; still hv.n ? , lbob. A follower of 
 Rubens. He came to England in the reign of James I., and was appointed painter to 
 Charles I., in 1625. 618. 
 
 Nain, see Lenain. _ „ . 
 
 Navarrete Juan Fernandez, called El Mudo, or the Dumb, b. at Logrono, lo26 ; 
 A at- Toledo 1579 Visited Italy, and became a scholar of Titian. On his return to Spain, in 
 1568 employed by Philip H. in the decoration of the Escurial. (Spanish School.) 210 
 
 Neep aTrt van der, b. at Amsterdam, about 1613; d. 1683. A painter of Dutch 
 views, with various bold effects, especially moonlight and wmter 716, SIS 91 , • 
 
 Neer, Eglon van der, b. at Amsterdam, 1643; d. Dusseldorf, 1703. Scholar of his 
 father \ van der Neer. Visited Paris in 1663. 951, 1048. 
 
 Netscher" Caspar, b. at Heidelberg, 1639 ; d. at La Haye, 1684. Adopted when young 
 bv a physician, who intended him to have followed his profession but on his exhibiting 
 determination for the arts, he placed him with an artist of the name of Roster, and afterwards 
 
 Nov^LLifpiET^aS'lLMoNREALESE, b. about 1603 ; still living, 1660. Influenced 
 by Caravaggio. (Neapolitan School.) 753. 
 
 Ochterveldt, Jan, flourished about 1670. A Dutch genre painter Contemporary of 
 Pieter de Hooge, whose style and that of Metzu his works greatly resemble. 1064. 
 
 Oggione or Uggione, Marco da, b. about 1470; d. 1530. Scholar of Leonardo da 
 Vinci! whose works he has copied with great fidelity. He is also distinguished for his frescoes. 
 
 Oliver? Pme^ bf'it London, 1601 ; d. 1660. Instructed in miniature-painting by his 
 
 oJe^KSSSho Turchx, b. at Yerona in 1582; d at Rome 1648. Called 
 
 Orbetto from having originally acted as guide to a blind man. Brusasorci hrst perceived his 
 
 talent and assisted him. He painted much at Rome. S9S. j 
 
 Orcagna or L'Arcagnuolo, Andrea di Cione, painter, sculptor, and architect, b. about 
 
 U l 3 ir ' d about 1376. Built the celebrated "Loggia dei Lanzi," m the Piazza Granduca at 
 
 0J£^^%*™*^™*™ A * 1490 ! stU1 ^ 1550. A pupil 
 rf RaphaeFs, and superintended the execution in tapestry of Raphael's Cartoons. 453, 472, 
 
 Orrente 9 Pedro? b. at Montealegre, in Murcia, about 1560 ; d. at Toledo, 1644 Sup- 
 posed' to be a scholar of El Greco, and to have studied the works of Bassano. (Spanish 
 
 Os S J C A°N° 1: vAN 80 b. at Middlehamis in Holland, in 1744 ; d. in 1808. Painted both 
 ' floter and marine pieces, but excelled in the former. His son, probably still living, also 
 
 Os^t^rT^ ^^^, b. at Lubeck, 1610 ; d at Amsterdam, 
 USTADE, ADRIA^ Qf .^ Halgj and feUow £tudent ^ Brouwer. Distmguished for his 
 
 O-Sf ^^EffifiM iS-Tabtt 1654. Instructed by his brother 
 Vdrian He Afterwards painted landscapes with figures, village scenes, &c, with effects 
 of winter. 1011,1016,1025,1034. 
 
 Ostendorfer, Michael. Nagler, vol. x., p. 41 d. 
 
 [ 221 J 
 
BIOGRAPHICAL NOTICES 
 
 Paochiaboito, Jaoopo, painted at Siena, 1535, whence, being concerned in a consnir™ 
 
 Pacheco Francesco, b. at Seville, 1571 ; d. 1654. Scholar of Luis Fernandez Went 
 to Madrid in 1611; on his return to Seville, he opened a school amonAhV^mfuin i ■ i 
 were Alonso Cano una his son-in-law, Diego Velasquez He * ™*,hXr? 1 IT "\ vlucl j 
 Pictures to the Inquisition. (Spanish School.) appointed Inspector of Sacred 
 
 Padua, Justus op, b. at Florence, painted, 1367 ; d. 1400 A scholir of ftintt„ v„, • 
 Bonn's Translation, v. ii. p. 386. (Paduan School ) 38 ° tt0, VaSan » 
 
 Paoahi, Vincenzo, painted in 1533. Scholar of Kaphael. (Tuscan School.) 
 
 Palma Jacopo, called II Vecchio, or the Elder, to distinguish him from his trrand 
 nephew of the same name, with whom he has heen confounded b about 1480 d ahonff "i< 
 Contemporary of Titian and Giorgione. (Venetian School ) 2» 305 ' Ut 1548 " 
 
 Pannini, G. P Cavaliere, b. at Piacenza, 1691., d. 1764. Schoiar of Pietro Lucatelli 
 A famous painter of views and ideal ruins. The figures which he introduced are excellent ml 
 pictures are numerous in England ; d. 1764. 83-2 !S33 are excellent. His 
 
 Palma Jacopo, called II Giovane, to distinguish him from his great-uncle II Vermin 
 
 Paris, see Bordone. 
 
 Parmigianino, see Mazzuoli. 
 
 Passeris, Andrea, a native of Como. Flourished about 1505 111 
 
 PA """£rf°^r"'4?i 4tT* fl ° UriShed 1515 ~ 1535 - A Palnterof'landscapes. Friend 
 
 Pater, Jean Baptiste,c- . at Valenciennes, 1695 ; d. 1736 Went when vm,™ in P<,.;=, 
 
 Scholar of Watteau. (Trench School.) M. H. 29 vt ent wnen 3 oung to Pans. 
 
 Pellegrino, see Munasi. 
 Penni, Gianfrancesco b at Florence, about 1488 ; d. at Naples, 1528. Pupil of 
 
 Raphael, whom he assisted in the Vatican frescoes. (Roman School ) 153 P 
 
 r^'^tv' £ ab ^ U *. J 50 , ; d - 155 °- Scholar of Albert Durer-'and afterwards of 
 Raphael. Distmgmshed for his portraits. 492. «"«w«ua w 
 
 Perugino, Pietro, properly Pietro Vannucci, b. near Perugia, 1446 • d Wi TTp 
 executed several paintings in the Sistine Chapel for Sixtus IV Contemporary of\i,w 
 
 85 8? 8?, I a 09? nTllT rePeat " S com P° sitious «y °ften. (Umbrian School ) Ssfs? 
 
 Peruzzt/Baldassare, b. at Siena, 1481 ; d. at Pome, 1537. Studied with Raphael 
 
 in the School of Bramante. He built the Farnesina Palace for the Chi~i family in thedeS? 
 
 taon of which he was assisted by Raphael, whom he succeeded as architect' of SfpeS 
 
 He engraved on wood. (School of Siena.) 194. ™™ n ' 1 °* °** -retere. 
 
 Pesellino, Francesco Pesello, b. at Florence, 1426 : d 1457 Scholar of pv„ 
 
 Filippo Lippi. (Tuscan School.) 72. ' ftcliolar oi *ra 
 
 Pesello, Giuliano, called Peselli Pesello, b. at Florence, 1380 ; d. 1457 He excelled 
 
 SchooU m 88 a . 1UD,alS ' and 1S Sald *° haVe k6pt a COlkCtion °* Wild beaste hl Ws h °^ Scan 
 
 Peters Bonaventur, b. at Antwerp, 1614 ; d. 1671. One of the most distinguished 
 
 Dutch painters of marines and sea-storms. The name of his master is unknown 1013 
 rE ";on'avc J n A tu;.pirs tAntWerP ' 1625 ' i mi ' A *"*** of sea-pieces, brother to 
 Pietro, Sano di flourished at Siena in the first half of the 15th century. A picture bv 
 representing the Coronation of the Virgin, exists upon the Porta Romana/at Siena • it is in 
 the style of Simone Memmi, and is of the date 1422 54 60 64 ' 
 
 Pinturicchio, or Bernardino di Betto, b. at Perugia\ 1454- d at Siena. 1 »>n 
 Pmturicchio signifies the "little painter." Scholar of Pietro Perugino. Assisted Periicino at 
 Rome about 1484. Commenced the frescoes of the library at Siena. I*."- tatSfflEbM 
 assisted bun. In Ins last illness he was deserted by bis wife. (Umbrian School ) ! . ' 
 Piombo, Sebastiano del, b. at Venice, 1485 ; d. at Rome, 1547. His family name was 
 ^"!( but 1,e w . as called Del Piombo, from his office of Keeper of the Leaden Seals He was 
 originally a mus.c.an. but having a taste for painting, became {he pupil of Giovann :,11 , , an , 
 afterwards of Giorgione. Michel Angelo availed himself of bis superior colour ZS 
 \cneban and employed him on the fusing of Lazarus, now in the Nat,™ !G Her -for t ' 
 
 ^^^^^^^U^T^A^^ ^ *"« «» Xransfigmition for 
 Platzer, J. G., b. atEpan, in the Tyrol, in 1702. Studied under Keder Went to . 
 \ icma m 1721. Painted in concert with Jannek numerous small historic pictures, eape 
 
 [222] 
 
OF ANCIENT MASTERS. 
 
 festivals in gaud}- colours. His bright tints are attributable to his connection with porcelain 
 painting. 815, S16. 
 Poelemburg, CoRNELis,b. at Utrecht, 1586 ; d. 1666. Scholar of Abraham Bloemart. Visited 
 Italy, where he met with much success, and was employed by several Cardinals. On his 
 return to the Netherlands he was invited to England by Charles I., but notwithstanding his 
 success here, he returned to Utrecht, where he remained until his death. 521, 969, 1040, 1041. 
 
 Pollajuolo, Antonio, painter, sculptor, and engraver, b. at Florence, 1427 ; d. at Rome, 
 149S. Scholar of Lorenzo Ghiberti, whom he assisted in completing the second series of gates 
 for the Baptistry of San Giovanni. Distinguished for his study of anatomy, and the careful- 
 ness of his drawings from the nude figure. (Tuscan School.) 55. 
 
 Ponte, Giacomo da, called Bassano, from his birthplace, b. 1510 ; d. 1592. Scholar 
 of Bonifazio, and student of the works of Parmegiano and Titian. (Venetian School.) 276, 284, 
 291. 
 
 Pontormo, Jacopo Carrucci da, b. at Pontormo, 1493 ; d. 1558. Studied successively 
 under Leonardo da Vinci, Mariotto Albertinelli, Pietro di Cosimo and Andrea del Sarto. In 
 his youth, some of his works were much praised by Raphael and Michel Angelo. He became 
 afterwards a servile imitator of Albert DUrer. (Tuscan School.) 170. 
 
 PORDENONE, See LlCINIO. 
 
 Potter, Paul, painter and engraver, b. at Enhuysen, 1625 ; d. at Amsterdam, 1654. 
 Son and scholar of Peter Potter, a painter of still life. Distinguished for his cattle. Died of 
 consumption at 29. 996,997,998,1002,1006,1007. ,-«.„„ 
 
 Pobbus or Pourbus, Franz, the Elder, b. at Bruges, lo40 ; d. 1580. bcholar of his 
 father and Francis Floris. He resided chiefly at Antwerp, where he was received into the 
 
 Porbus, or Pourbus, Franz, the Younger, b. at Antwerp, 1570 ; d. at Paris, 1622. Son 
 and scholar of Franz Porbus the Elder. He settled in Paris, where he painted the portraits of 
 the royal familv, and the most distinguished persons at the Court. 514. 
 
 Poussin, GasparDughet, called Gaspar Poussin, b. at Rome, 1613 ; d. 1675. Of French 
 parents, and brother-in-law to Nicholas Poussin, whose scholar he became. Is supposed to 
 have been influenced by Claude Lorraine. (French School.) 5S1, 583, 615, 963, 36. 
 
 Poussin Nicolas, b. at Andely, in Normandy, 1594 ; d. at Rome, 1665. Scholar of an 
 artist of the name of Quintin Varin Studied the works of Raphael and Giulio Romano. 
 Vent to Rome, 1624, where he studied the works of Titian and Domenichino. Invited to 
 return to France, in 1639, by Louis XIII., who named him his first painter in ordinary, 1641. 
 He returned to Rome in 1642, and, as Louis XIII. died soon after, he remained there until his 
 death. (French School.) 5S2, 587, 5SS, 597, 5..S, 600, 601, 606, 607, 614, 616, 619, 890. 
 
 Pozzo Isabella del, painted, 1666. Mentioned by Lanzi as having painted a Virgin 
 and Child with Saints, which could not have been better executed by many of her con- 
 temporaries. (Neapolitan School.) S75. «,.L n n- 
 
 Preti Mattia, called II Calabrese, b. 1613 ; d. at Malta, 1699. Scholar of Giovanni 
 La'nfranco and Guercino. He visited Malta, where he executed some frescoes in the Cathedral, 
 and received knighthood of the order. On his return to Naples, is said to have been so dis- 
 gusted with the preference given to Luca Giordano that he returned to Malta. (Neapolitan 
 
 Pulzone, Scipione, called Gaetano, b. at Gaeta, 1562 ; d. 1600. Scholar of Jacopino 
 del Conte. He painted the portraits of Gregory XIII., Cardinal de' Medici, and many distin- 
 guished persons. 142. t\ ir i^-o 
 
 Pynacker, Adah, b. at Pynacker, between Schiedam and Delft, 1621 ; d. at Delft, 16/3. 
 The name of his master is unknown. When young he visited Rome. He painted many large 
 landscapes in the decorative style then in vogue, but scarcely any except his smaller pro- 
 ductions have come down to us. 725, 759. 
 
 Primaticcio, Francesco, b. at Bologna, 1504; d. at Paris, 1570. Scholar of Innocenzio 
 da Imola/and afterwards an assistant of Giulio Romano. Invited to France by Francis I., 
 where he' succeeded II Rosso as superintendent of the buildings. He founded a school, known 
 as the School of Foutainbleau. (School of Bologna.) ISO. 
 
 Procaccini, Giulio Cesare, b. at Bologna, 1548 ; d. at Milan, 1626. Taught the 
 rudiments of his art by his father, Ercole Procaccini, and for some time applied himself to 
 sculpture. Influenced by Correggio. (Lombard School.) 228,229. _ 
 
 Procaccini, Ercole, called II Vecchio, b. at Bologna, 1520 ; still living, 1591. His 
 chief model was Correggio. (Lombard School.) 
 
 Qcellinus, Erasmus, painter and engraver, b. at Antwerp, 1607 ; d. 1678. Originally 
 devoted to the study of belles lettres. Friend and scholar of Rubens. 590. 
 
 Raphael. Sanzio, or Sakti, or Santo, painter, architect, and sculptor, b. at Urbino, 
 1483; d. at Rome, 1520. He received his earliest instruction in art from his father Giovanni 
 Santi, who was both painter and poet, but his father dying when he was 11, he was placed 
 
 L 223 ] 
 
BIOGRAPHICAL NOTICES 
 
 with Pietro Perugino. Went to Florence in 1.504 where he m ,^ H™ n ■ i 
 Bartolommeo, Ghirlandajo, and others. In 15. « lie was invited to *L23S?? t v U *^ t *? 
 
 Boon afterwards commenced his frescoes i„ thc't'an cm della 4^,t ,^ r Y. v'? S n """ 1 
 finished them about 1611. He succeeded Bm^teS^ffit^l^t^ 6 ^^ , , '"' 
 consulted him upon the mode of excavating and restoring the ™ ,ul «• \ ,, X - 
 
 Modelled the statue of Jonah in the Chigi Chapel at R n,/t™ 1 Ancient K. ,,,,,,. 
 
 and dolphin in this Exhibition. He had „ any up 1^ u'uhed * Hi!' "'■ C '" y 
 
 materials and works of art to two of them, Gianfrances Jo Pemii m Cn b \< Pamting 
 
 school.) g mi I26| 12 a, 129) m, 133 , xk, 130, 1,7;^,^;^^ m! m! nr^, l^ 
 
 Rembrandt, Gerritz painter and engraver, called Van Rhyn, from bis being born on 
 the banks of the Rhine, near Leyden, 1606; d at Amsterdam i,v„ ti ? ,, 
 
 Scholar of Jacob van Swanenburg Pieter Lastman t 1 U l t>\ « T e /° n °. f a mlller - 
 
 in 1630, married there 1634, and 3S5l£S Kl8?iu£*l * "£ Jt^K^hh 
 pictures, but died in poverty owing to his great nissiou for enllX-H, /,,?■■!• P °. b ? hl ? 
 art He had numerous scholars, and still inorc M35£ .^f 00 S ^ Wm ^.'^ 
 689 to 691, 693 to 696, 69S, 838, S42, 844. 913, 919, 922, ]043. ' ' CS0, ° S4 to6S '' 
 
 Reni, Guido, commonly called Guido, b. near"~BoIogna. 1675 • d 164-2 S™ «f « 
 musician, who placed him under Denis Calvart Hi> liwim/,^™,,! ' i 7 , . 
 
 of the Carracci but was driven by i ealo sy to lea ve SheT &S ? * u '" ,lar T l "sistanf 
 passion for gambling. (School of pTolgnT f 31^319,^339^ ^.^TslW * * 
 
 Rhenish School, Lower. 376, 377. ' 
 
 Ribalta, Francisco de, b. at Ca-stellon de la Plana, a town on the Valencian coast about 
 
 which is termed a Museum of Ribultas. (S] |£*B W525 "'f & *' ' ^^ ! 
 
 Ricci, Sebastian, b. 1659 ; d. 1734, at Venice. 282 b. (Venetian School ) 
 Ricciarelli, Daniele, painter and sculptor, called Da Volterra from his Wrfch-nW 
 b. 1509 ; d. at Rome 1566. Scholar of G^ A. Razzi, afterwards of Ba d ssSc " u2 /i a rt£S£ 
 quentyot Pernio del Vaga He also painted under the te*Ba££^m"™'a£i™^ 
 Micnel Angelo, who is said to have assisted him in his meat ff U- Yi n \ „, *\ \. 
 Cross, in the Trinita de Monte at Rome. According to Vasai?^ a nt w s o^ e rc'ul of 
 continued application than of natural ability. (Tuscan School ) 179 201 
 Riccio Domenico, called Brtjsasorci, b. at Verona, 1494 ; d. 1607. "Scholar of Giolfino 
 and student of the works of Giorgione and Titian 190 ocnoiai 01 Uioiftno, 
 
 nih V f 'J 0n n'J^ at LO f? a ' \ U i '' £ 1691> Instru <*ed by Isaac Fuller and Gerard 
 \oust. Had the misfortune to be the contemporary of Sir Godfrey Kneller and Sir Peter 
 Lely. Painted the portents of Charles II., James II., and William and Marv" he 1* 
 appointed him their painter. ««*jr > iue iat>i 
 
 Robusti, Jacopo, called Tintoretto, b. at Venice, 1512; d. at same place 1594 
 He entered the School of Titian, and was expelled his studio. Ho was a (Treat admirer of 
 Michel Angelo in design, and was gifted with remarkable rapidity of execution Tlcmnber 
 of his works is immense. (Venetian School.) 274, 283, 296, 298 300 S02V307 312 313^14 
 
 Roelas, Juan be las, b. 1560; d. at Olivares, 1625. Is supposed to have studied in 
 Italy His finest pictures were executed for the churches of Seville. (Spanish School ) 529 530 
 
 Roman Art (Ancient). 16. • 
 
 Romano Giulio Giulio Pippi de Giannuzzi, painter and architect, b. at Rome, 1492 • 
 d. at Mantua, 1546. He became early the pupil of Raphael, who employed him in the Vatican 
 mul whose works there he, conjointly with Gianfrancesco Penni, finished at Raphael's death 
 IchSf 176 y i85 fi 200 J 23r t0 ™ ""* decorate the P; ^zzo de Tc. (Roman 
 
 Roos, Philip, called Rosa da Tivoli, b. at Frankfort, 1655 ; d. at Rome 1705 Son 
 and scholar of John Henry Roos. He was sent to Italy by the Landgrave of Hesse' Cassel. 
 m°milci 7S1 mS whence mm6 ' ^™ g iUt " ***** " dissi l iati "» h " ^ 
 
 Rosa da Tivoli, see Roos. 
 
 Rosa, Salvator, painter, engraver, poet, and musician, b. near Naples, 1615- d at 
 Rome, 1673. Scholar of Ribera. In 1630 he was engaged by the Cardinal Brancacci on some 
 pamtmgs „, the Chiesa della Morte, at Viterb,, i„ 1047 he was implicated in the insurrection 
 of Masan.ell,,, at Naples, on whose defeat he took refuge in Rome. At the request of the 
 Grand Duke oi lu-cany lie went to Florence, where he remained nine veal's !; he then 
 returned to Rome, where he remained till his death. He made many enemies by his satires, 
 
 t ^ \ -l ^ e iy'Mr^^ C i^L-V^ neal "'- V rift yy««-s afte/his death.' (Neapolitan 
 Schoolj 723, (44, ,50, ,5,, <oo, 7.0, ,72, 775 to 777, 805. 926. 25 M. II. 
 
 [224] 
 
OF ANCIENT MASTERS. 
 
 Roselli, Cosmo, b. at Florence, 1439 ; living in 1506. Called by SLxtus IV. to Rome, 
 he executed three paintings in the Cbapel of the Vatican. He died in poverty, having wasted aa 
 an alchemist that which he had gained as an artist. (Tuscan School.) 68,93. 
 
 Rottenhamer, John, b. at Munich, 1564 ; d. at Augsburg, 1004. Visited Venice, 
 where he studied the works of Tintoretto, whom he sometimes imitated. 528, 554 to 557. 
 
 Rubers, Sir Peter Paul, b. at Cologne, 1577 ; d. at Antwerp, 1640. Scholar of 
 idam van Oort and Otto van Veen. Went to Italy in 1600. Sent on a diplomatic missi n to 
 Philip III of Spain by the Duke of Mantua. Returned to Antwerp on tne death of his 
 mother, in 160S ; employed there bv the Archduke Albert. Invited to Paris by Marie de 
 Medieis, in 1620, for whose palace of the Luxembourg he painted twenty-one pictures illustra- 
 tive of the most important events of her life. Sent as Ambassador to England by Philip IV. ; 
 knighted by Charles I. 534, 536 to 542, 544, 546 to 551, 553, 55S to 563, 506 to oGi>, 574 to 5.9. 
 
 Ruysijaei" SoLOHOir, d. 1670. The elder brother of Jacob Ruysdaelby about 20 years. 
 
 He imitated the style of his brother and Van Goyen. 1008. 
 Ruysdael, Jacob, b. at Haarlem about 1630 ; d. 1681. The friend and supposed to be 
 
 the scholar of Berchem and Everdingen. 699, 702, 706, 70S, 711, 756, 766, 771, S47, 954, 9£7, 
 
 958, 970, 973. 41. M. H. 
 Russian Art (Modern). 11a, 22, 31a. 
 
 Sabbatini, Andrea, called Andrea da Salerno, b. at Salerno, 14S0 ; d. at Naples, 
 about 1545. A scholar and assistant of Raphael. (Neapolitan School.) 205. 
 
 Sacchi, Andrea, b. near Rome, 1598 ; d at Rome, 1661. Scholar of Francesco Albam, 
 and' student of the works of Raphael. (Roman School.) 915. , 
 
 Sachtleven, Cornelius, painter and engraver, b. at Rotterdam, 1606 ; still living, 
 1061. A painter of interiors after the style of David Teniers. 768, 
 
 Salerno, see Sabbatini. 
 
 Salvator, see Rosa. ^ 
 
 Salvi, called, from his birth-place, Sassoferrato, b. 160o ; d. at Rome, 1680. sup- 
 posed to have studied under Domenichino. (Roman School.) 357, 371, 802. 
 
 Sano, see Pietro. 
 
 Santa-Croce, Girolauo Rizzo da, painted from 1520 to lo48. Scholar of Giovanni 
 Bellini, and influenced in his latter works by Giorgione and Titian. (Venetian School.) 82, 145. 
 
 Sarto, Andrea del, b. at Florence, 1488 ; d. in same city, 1550. His real name 
 was V usnooohi, but was called Del Sarto from the trade of his father, who was a tailor. An 
 imitator of Michel Angelo in design. Invited to France in 1518 by Francis I. ; but having 
 squandered away some money with which he was intrusted at Florence m 1519, he did not 
 venture to return. He died of the plague. (Tuscan School.) .162, 108, lb4, 1-4, 206, 21-, 231. 
 
 Sassoferrato, see Salvi. 
 
 Savert, Roelant, b. at Courtray, 1576 ; d. at Utrecht, 1639. Scholar of his father, 
 James Savery. Visited France in the reign of Henry IV., for whom he painted several land- 
 scapes. Soon after his return to the Netherlands, he was invited to Prague by Rodolphus II., 
 in whose service he passed a great part of his life. 570, 571. 
 
 Scarsella, Ippolito, called II Scarsellino, to distinguish him from his lather, b. at 
 Fen-ara 1551 ; d. 1621. Scholar first of his father, then of Giacomo Bassano, and afterwards 
 student of the works of Paul Veronese and others. (School of Ferrara.) 904. 
 
 Scarsellino, see Scarsella. _ . 
 
 Schaffner, Martin, flourished in ULm from 1502 to 1539. A painter of historical sub- 
 jects and portraits. (School of Dim and Colmar.) 427. 
 
 Schalken, Godfried, b. at Dort, 1643 ; d. at La Haye, 1706. Son of the rector of the 
 college of Dort, who intended him for literary pursuits, but finding his disposition tor pamting, 
 placed him with Solomon van Hoog&txaten ; he afterwards became a scholar ot Gerard Dow. 1052. 
 
 Schkllikcks, William, b. at Amsterdam, 1632 ; d. 1678. Is supposed to have been a 
 scholar of J. Lingeibach. Visited England in the reign of Charles II 101 7. 
 
 Schfuffelein, Hans, d. at Nordlingen about 1540. Follower of Albert Durer. 446, 464. 
 
 Schiavone Andrea, b. 1522 ; d. 15S2. Began as assistant to a house painter, and after- 
 wards a'student of Titian, who much respected him. He painted a picture ot the \ isitation 
 of the Virgin in competition with Tintoretto. Though he could scarcely hve by his works, they 
 have since become very valuable. (Venetian School.) 258,270. 
 
 Schidone or Schedone, Bartolommeo, b. at Modena, about 1580; d. 1615. A student oi 
 the works of Correggio, whose style he followed. Was principal painter to Duke Ranuccio of 
 Parma. Is said to have died at the age of thirty-six, from vexation, at having lost a consider- 
 able sum at plav. i Lombard School. , 
 
 Schongauer, Martin, d. 14b8. Scholar of Roger van der Weyden the Elder, (bchool 
 of Ulm and Colmar. ) 421, 437. 
 
 [225] Q 
 
BIOGRAPHICAL NOTICES 
 
 Schuppen, Peter van, the Younger, b. at Paris, 1669 ; d. 1751. Invited to Vienna, where 
 
 he was appointed painter to the Emperor and director of the academy. 904. 
 Schwann, Heinrtch, painting by. 490. 
 Sebastiano del Piombo, see Pjombo. 
 Semolei, see Franco. 
 Sesto, Cesare da, b. near Milan ; d. about 1524. Scholar of Leonardo da Vinci, and a 
 
 friend of Raphael. (School of Milan.) 
 Siena, Uoolino pa, d. at an advanced age, at Siena, 1339. (School of Siena. ) 25,25a 
 
 256. 25c, 25J, 25c, 25/, 27. • 
 
 Siena, Matteo di Giovanni da, painted from 1462 to 1491. He was very careful in the 
 
 disposing of the drapery, and the indication of the muscles and veins of ins figures. His 
 
 favourite subject was the Massacre of the Innocents, which he introduced in a portion of the 
 
 marble pavement in the Cathedral at Siena. (School of Siena.) 95. 
 Signorelli, Luca, b. at Cortona in 1440 ; still living, 1524. His greatest work, the Last 
 
 Judgment, in the Cathedral at Orvieto, is said to have been so much admired by Michel 
 
 Angelo BuonaiTotti, as to have been imitated by him in his own great work in the Sistine 
 
 Chapel. (Tuscan School.) 
 Silvestro, Don, a Camaldolese monk of the convent of Santa Maria degli Angeli, 
 
 Florence, living in 1410. A minhdore, a red-letter writer, or illuminator of missals. (Tuscan 
 >1.) 41,44. 
 
 Simo, Juan Bautista da Simo. 810. 
 
 Snyders, or Sneyders, Franz, b. at Antwerp, 1579 ; d. 1657. Scholar of Henrik van 
 Baleu. Friend of Rubens, in conjunction with whom he painted several pictures. Employed 
 by Philip III. ofSdain, and the Archduke Albert. 535, 545, 548, 504, 565, 572, 573. 
 
 Solario, Andrea, called Del Gobbo, b. 1458 ; still living, 1509. A follower, and 
 probably scholar, of Leonardo da Vinci. Engaged from 1507 to 1500 by Charles D'Amboise, 
 to paint his chateau at Gaillon, in Normandy. (Lombard School.) 239, 243, 891. 
 
 Solario, Antonio, called Lo Zingaro, his father being a travelling smith, b. about 
 1382; d. at Naples, 145.5. He appears, like Qucntin Matsys, to have been originally a smith, 
 but falling in love with the daughter of Colantonio del Fiorc, an artist, he became a painter 
 in order to win her. He was a scholar of Lippo Dalmasis, and studied the works of different 
 artists at Venice, Ferrara, Florence, and Rome. 
 
 Somfu, Paul van, b. 1576 ; d. 1621. After residing some time in Paris he came to 
 England, and settled in London. 
 
 Spagna : Giovanni di Pietro, called Lo Spagna, painted, 1507 ; still living, 1530. Scholar 
 of Pietro Perugino. Influenced by Raphael. (Umbrian School.) 106,126,129. 
 
 Spagnoletto, see Pubera. 
 
 ^peranza, Giovanni di, painted about 1500. Follower and supposed to be a scholar of 
 Mantegna. (Paduau School.) 207. 
 
 Spinello Aretino, b. at Arezzo, about 1318 ; still living, 1408. He painted the Fall of 
 the Rebel Angels, in Santa Maria degli Angeli, at Arcz/.o, lately destroyed. Hi- d 
 to have been caused by the appearance to him in a dream of the devil asking why hi 
 painted him so ugly. (Tuscan School.) 31, 39. 
 
 Steen, Jan, b. at Leytlen, 1636; d. at Delft, 1689. Scholar of Nicholas Kunfter, a 
 painter of historical subjects at Utrecht, and afterwards of Van Goyen, a landscape painter. 
 lie was established in a 1 >!•( wery, but, becoming bankrupt, was assisted i rn; is 
 
 said to have been addicted to great excesses, which often plunged him into poverty and 
 distress. He relieved himself from them by the exercise of his art. 982 .1019. 
 
 1051, 1053. 
 
 Stephen, see Lothenaer. 
 
 Storch, Abraham, b. at Amsterdam, about 1650 ; still living, 16S9. A 
 marine subjects. 
 
 Stretf.s, Guillim, painter to King Edward VI., 1551. 509. 
 
 Sunder, Lucas, called Cranacii, from his birthplace, b. 1472 ; d. at W 
 
 Painter and engraver. lie was at the age of 23 attached as painter to the court of 
 the electoral house of Saxony. In 1493 lie followed Prince Frederick the I tine. 
 
 On Ids return in 150S he received a patent of nobility. He was one of the first to adopt the 
 doctrine of Luther, his friend, and suffered five years' imprisonment with Frederick the 
 Magnanimous, his protector. After residing forty six years, where he was burgomaster for 
 forty-four years, he settled at Weimar, where he died. Contemporary <>f Albert Durer. His 
 mark was generally a winged dragon. His woodcuts are especially celebrated. 
 
 Suster, Lambert. Said to have been a pupil of Titian and Christopher Schwartz. Died 
 at Munich in 1600. 262. 
 
 Swaneveld, Herman, b. nt Woerden, 1620; d. at Rome, 1690. Scholar of (. 
 Dow, and afterwards of Clan le Lorraine. 8SS. 
 
 [226] 
 
OF ANCIENT MASTERS. 
 
 Swart, Jan, of Groningen, called Vredeman, flourished before and after 1520. Pupil of 
 Sehoorel. Nagler, vol. xviii., p. 54. 423. 
 
 Taddeo, see Bartolo. 
 
 Teniers, David, the Younger, b. at Antwerp, 1610 ; d. 1694. Scholar of his father, 
 then of Adrian Brauwer, and lastly of Rubens. The Archduke Leopold was his first protector ; 
 he named him painter to the court, and director of his picture gallery. The King of Spain 
 thought so much of Teniers' paintings, that he constructed a gallery for their reception. He 
 built a chateau at a village near Antwerp and Mechlin, which became the resort of the distin- 
 guished men of Belgium. 531 to 533, 9i>3, 1018, 1021, 1022, 102S to 1031, 1054, 1055. 
 
 Terburg, Gerard, b. at Zwoll, in the province of Over Yssell, 1608 ; d. at Devinter, in 
 Holland, 16S1. Travelled when young through Germany and Italy. Was at Minister in 164S, 
 at the meeting of the Congress there, several of the members of which he painted. Visited 
 Madrid, where he was employed b3 r Philip IV. 524, 1049. 
 
 Theoiocupoli, Domenico, called El Greco, painter, sculptor, and architect, born, 
 according to Palomino, in 154S ; d. at Toledo, 1625. He began his picture of " Parting of our 
 Lord's Raiment," in the Cathedral of Toledo, in 1577. Was of a very eccentric character, and some- 
 times painted very indifferently, owing, it is said, to his trying to avoid a resemblance to Titian. 
 234, 518. 
 
 Thornhill, Sir James, b. at Melcombe Eegis, 1676; d. 1734. Knighted by George I., 
 and was elected to represent his native town in Parliament. Father-in-law of Hogarth. His 
 chief works were the dome of St. Paul's, the Great Hall at Greenwich Hospital, an apartment 
 at Hampton Court, the Hall at Blenheim, &c. 
 
 Tiarini, Alessandro, b. at Bologna, 1577 ; d. in same place, 1668. Scholar of Prospero 
 Fontana, and friend of Lodovico Carraeci. (School of Bologna.) 324. 
 
 Tibaldi, Pellegrino, painter and architect, b. at Bologna, 1527; d. at Milan, 1600. 
 Son of a bricklayer or mason. Scholar of Bagnacavallo. Went to Rome in 1547. There he 
 studied the works of Michel Angelo. He was much employed by Cardinal Poggi in the Palazzo 
 del' Instituto at Bologna, and upou other works. Invited to Spain by Philip II., in 15S6, and 
 employed by him in the Escurial. (School of Bologna.) 
 
 Tilburg, Egidius van, the Younger, b. at Brussels, 1625; painted, 1658. Scholar of the 
 younger Teniers. 1024, 1067. 
 
 Tintoretto, see Robusti. 
 
 Tisio, Garofalo Benvenuto, see Garofalo. 
 
 Titian, Vecellio, b. at Cadore, 1477 ; d. 1576. Scholar of Giovanni Bellini. Contem- 
 porary with Giorgione, whose pictures in the ducal palace he finished at his death, in 1511. 
 Inviied to Bologna, in 1530, by the Emperor Charles V., at whose desire, it is said by some, he 
 visited Spain. Invited to Bologna, in 1543, by Pope Paul III. He visited Rome, in 1545, when 
 he made the acquaintance of Michel Angelo, and is said to have refused the office held by 
 Sebastian del Piombo at that artist's death, in 1547. Died of the plague in Venice, at the 
 advanced age of 99. 247, 250, 254, 255, 256, 257, 25S, 259, 260, 261, 262, 263, 264, 265, 266, 267, 
 26S, 209, 271, 272, 277, 278, 279, 2S1, 2S9, 292, 301, 303. 
 
 Trevisani, Francesco, b. 1656 ; d. 1746. Son of an architect, by whom he was first 
 instructed. Remarkable for his versatility in styles, and great power as a copyist. He is 
 said to have painted a pendant to a Guido. (Roman School.) 788. 
 
 Titian, School of. 297. 
 
 Tivoli, Rosa, da, see Roos. 
 
 Turchi, see Orbetto. 
 
 Ubertini Francesco, flourished from 1530 till 1557. Executed in the latter part of his 
 life, while in the service of the Grand Duke Cosimo, several Cartoons for tapestry. Imitator of 
 Andrea del Sarto. (Tuscan School.) 151. 
 
 Ugolino da Siena, see Siena, Ugolino, da. 
 
 Utrecht, Adrian van, b. at Antwerp, 1599 ; d. 1651. A painter of fowls, game, and 
 still life. Went to Spain, where he was much employed by Philip IV. The fruit in the picture 
 of Pythagoras and his Disciples, by Rubens, now in the royal collection, is painted by him and 
 not by Snyders, as has been supposed. 920. 
 
 Yaccaro, Andrea, b. at Naples, 1598 ; d. 1670. His early works are influenced by 
 Caravaggio, but, following the advice of Stanzione, he afterwards took Guido as a model. He 
 was considered the first painter of his time at Naples, until the arrival of Luca Giordano. 
 (Neapolitan School.) 359. 
 
 Vaga, Perino del, family name Buonaccorsi, b. at Florence, 1500 ; d. at Rome, 
 1547. Scholar of Ridolfo Ghirlandajo, and afterwards of Raphael. (Roman School.) 1S8, 19? 
 
 [227] 
 
BIOGRAFHICAL NOTICES 
 
 Valentin, MoXse, b. at Coalommiers, in Brie, 1000 ; d. 1632. Scholar of Simon Vouet. 
 Went to Rome when young, and remained there until his death. Influenced by Caravaggio. 
 (French School) 
 
 Van Aelst, or Aalst, see Aelst. 
 
 Van der Helst, see Helst. 
 
 Van der Neek, see Neer. 
 
 Van der Werff, see Werff. 
 
 Van der Velde, see Velde. 
 
 Van Dyck, see Dyck. 
 
 Van PJyck, see Eyck. 
 
 Van Os, see Os. 
 
 Vanni, Francesco, b. at Siena, 1565; d. 1609. Scholar of his father, and Aichangelo 
 Salimbeni, at Siena, and of Giovanni de Vecchi, at Rome. Studied the works of Correggia 
 and Parmigianino, at Parma. Invited to Rome by Clement VIII. He painted so much like 
 Bai'occi, that their works are frequently mistaken. (School of Siena.) 
 
 Vargas, Luis de, b. at Seville, 1502 ; d. 1568. Visited Italy, and remained there 
 ' some years. Most of his works were painted in fresco, and little of them now remains. He 
 was of a very religious disposition. (Spanish School.) 240. 
 
 Vasari, Giorgio, painter, architect, and historian, b. at Arezzo, 1512 ; d. at Florence, 
 1574. Studied under Michel Angelo and Andrea del Sarto. Chiefly known as the biographer 
 of Italian artists. (Tuscan School.) 172, 195, 2-7. 
 
 Velasco, Antonio Falomino, b. at Bujalance, 1653 ; d. 1725. Of good family, and 
 destined for the Church. Scholar of Juan de Valdes, and was appointed painter to Charles 
 II. He wrote a history of the Spanish painters, entitled "Muses f'ictorico," and published it 
 in 1724. (Spanish School.) 
 
 Velasquez de Silva, Don Diego, b. at Seville, 1599 ; d. 1660. Scholar of Francisco 
 Herrera the Elder, afterwards of Francisco Pachcco. Introduced to riiilip IV. by Conde de 
 Olivarez, in 1622. Went to Italy, 1620. Returned to Madrid after an absence of a year and a 
 half. Sent to Italy in 1648 by Philip on an embassy to Pope Innocent X., and at the same 
 time commissioned to purchase works of art. He was a friend of Rubens. (Spanish School.) 
 727, 728, 782, 7S3, 7S5 to 7S7, 789, 705, 804, M. H. 10, 11, 12, 13. 
 
 Velde, Adrian van der, painter and engraver, b. at Amsterdam, 1693; d. 1672. 
 Scholar of Wynants, and fellow-student of Wouwerman. He was very assiduous iu his study 
 of nature. He often painted figures and animals in the landscapes of Wyuants, Van der 
 Heydcn, Moueheron, Hobbema, Arc. 760, 773, 1003. M. H. 31. 
 
 Velde, William van der, the Elder, b. at Leyden, 1610 ; d. at London, 1693. Is 
 said to have passed the early part of his life in the sea service. The States- General of Holland 
 placed a vessel at his disposal, by which he could witness particular engagements, and secure 
 a most graphic record of every detail. Invited to England iu 1674. by Charles II. His son, 
 called William van der Velde, the Younger, b. at Amsterdam, 1633 ; died at Greenwich, 1707. 
 Son and scholar of William van der Velde the Elder. Came to London at the invitation of 
 Charles II.; he was also employed by James II. 669,705,724, 754,755,812,967,984,1032. M.H.30. 
 
 Venusti, Marcello, b. at Mantua, about 1515 ; d. 1576. Scholar of Ferino del Vaga, 
 and of Michel Angelo, from whose designs and compositions he executed several works. He 
 preferred small to large pictures. (Tuscan School.) 1S6, 187, 224. 
 
 Veronese, Faolo, see Cagliari. 
 
 Verrocciiio, Andrea, painter and sculptor, b. at Florence, 1432; d. 1488. Scholar of 
 Donatcllo, and master of Leonardo da Vinci. One of the first to take plaster casts from human 
 bodies for the purposes of Art. (Tuscan School.) 57. 
 
 Vinci, Leonardo da, painter, sculptor, architect, engineer, author of works on painting, 
 anatomy, mathematics, physic, &c, b. at the Oastel da Vinci, near Florence, 1452 ; d. in France, 
 1510. Scholar of Andrea Verrocchio. Michel Angelo Buonarrotti painted in competition with 
 him in the same hall al Florence, Some of his sketchbooks are in the possession of her 
 Majesty. He always wrote with his left hand, from right to left. Employed by the Duke of 
 Milau to conduct the waters of the Adda to that place, a distance of nearly 200 miles. Invited 
 to France, where he died, by Francis I., but was prevented from executing anything there by 
 illness. His greatest work is the Last Supper, painted iu oil, on the wail of the refectory of 
 S. M. delle Grazie, and now nearly effaced. 104, 135 143, 144, 1S3. 
 
 Vite, Timoteo della, b. at Urbino, 1469 ; d. 1523. Originally a jeweller, and scholar 
 of Francia. Painted first about 1503, afterwards au assistant of Raphael. (Umbrian School.) 
 
 Vivarini, Antonio, called Da Murano, painted, 1444 — 1451. He occasionally painted 
 in conjunction with his brother Bartolommeo, and Giovanni Alainauno, at Venice, where some 
 altar-pieces, their joint productions, still exist. 125. 
 
 Vmegeii, Simon de, painter and engraver, painted at Amsterdam, 1640. He was em- 
 ploye I by Marie de Medicis. when at Amsterdam, in 1638, to design the fetes that then took 
 ■'jlace on the river Y. 
 
 [ 228 ] 
 
OF ANCIENT MASTERS. 
 
 Vol's, Art de, b. at Leyden, 1641 ; d. 1698. The son of an organist, who intended him 
 
 for the profession of music. A follower of the style of Gerard Dow. 
 VOLTERRA, see RlCCIARELLI. 
 
 Walker, Robert, painted 1650. An English portrait-painter contemporary with Van. 
 
 Dyck. Remarkable for being the principal painter employed by Oliver Cromwell 
 Waterloo, Antony, painter and engraver, b. at Utrecht, about 1618 ; d. 1662. A 
 
 winter of landscapes, and particularly distinguished for his engravings. 
 WiS ANTOiNsfb at Valenciennes, 1684; d. 1721. Went to Paris when young 
 
 where he assisted' in the decorations of the Opera House, and afterwards became the pupd of 
 
 an artist of the name of Gillot. He visited England in the reign of Geoige I. (Fiencli 
 
 WEENi^JANfb. at Amsterdam, 1644; d. 1719. Son and scholar of Jan Baptist 
 
 Weenix. Invited by John William, the Elector Palatine, to Ms court. 
 Werff, Adrian van der, painter and architect, b. near Rotterdam 16^9 cL 17A4. 
 
 Scholar of Comil Picolett and Eglon van der Neer. Much employed by the Elector Palatine, 
 
 We^T^er^an der, b. at Brussels, abont 1401; d. 1464. Sent early -tc , ft» 
 school of Hubert and John' van Eyck, at Bruges where he remamed ^untd the death rf John 
 Was appointed salaried painter to the city ot Brussels. Visited Italy in 1450. I he master or 
 Mending. 378, 388, 409, 412, 415, 424. . , 
 
 Weyden, van der, the younger, was dean of the confraternity of St. Luke in 1514 and 
 1530 ; he painted as late as 1535. 3S7, 389, 407, 414. . „, ,„ , 
 
 Wit oi-Witte, Emanuel de, b. at Alkmaer, 1607; d. at Haarlem, 1692. Scholar oi 
 Evert van Aelst. He commenced as a portrait-painter, but not meeting wi h sufficient 
 e^ourllement, he studied perspective and architecture, in which he became eminent. Of a 
 morose and depreciating disposition. He died in poverty iava.a 1K1Q 
 
 Wohlgemuth, Michael, painter and wood carver, b. at Nuremberg, 1434 , d. 1519. 
 Master of Albert Dlirer. (Nuremburg School.) 405, 406^ 417, 418. S„ 1in1 „ r 
 
 Wouwerman, Philip, painter and engraver, b. at Haarlem, 1620 ; d. 1668. kcnolar 
 of John Wynants, in many of whose landscapes he painted the figures and animals. ,42, 912, 
 
 W^'fokl^^ten^ev, b. at Haarlem, about 1640; d. at Mortlake, 1702 
 Son and scholar of Thomas Wyck, whom he accompanied to England Chiefly distinguished 
 as a painter of battles and sieges', in which he appears to have imitated the style of Phihp 
 
 WycTthomTs, painter and engraver, b. at Haarlem, 1616 ; d. 1686 Is supposed to 
 
 have visited Italy, as his pictures frequently represented ports in the Mediterranean. He 
 
 came to England about the time of the Restoration. 
 WynInts, JaI, b. at Haarlem about 1600 ; died 1677. Master of P. Wouwerman and 
 
 Adrian van der Velde, who sometimes painted the figures in his landscapes, in which he was 
 
 also assisted by J. Lingelbach. 
 
 Zurba\an Francisco, b. at Fuente de Cantos, in Estremadura, 1598 ; d at Madrid, 
 1 1602 'scholaiofRoelas. Velasquez caused him to be summoned to M« dnd. Made painter to 
 the king by Philip IV. (Spanish School.) 7/8, 790, 79b, 808. 
 
 [ 2291 
 
INDEX TO WORKS BY MODERN ARTISTS. 
 
 SALOONS D, E, F, akd CLOCK GALLERY, NORTH. 
 
 N.B, 
 
 -A dash (_) joining two numbers signifies that all the pictures of the intervening 
 numbers are by the same artist. 
 
 Airman, William, 2 
 Allan, Sir William, 414, 420 
 Ansdell, R., 38S, 440, 5 13 
 Anthony, Mark, 332, 462, 03 C 
 
 B. 
 
 BAIiANTINE, J., R.S A., 598 
 Barker, Thomas, 1S9, 416 
 Barry, James, 158 
 Battoni, Pompeo, 615 
 Baxter, 494, 599 
 Beechey, Sir William, 222 
 Bird, E, R.A., 185 
 Bonheur, Auguste, 652 
 Bonhcur, Rosa, 002, 666 
 Bonington, R. P., 283 
 Boxall, 317 
 Boucher, 653 
 Brackeleer, 649 
 Bradley, 450 
 Briggs, H. P.,1SS, 190 
 Bright, H.,513, ;',.i3 
 Brown, F. AI., 319, 554 
 Buss, 3S9 
 
 c. 
 
 Calame, A., (107, 070 
 
 Callcott, Sir A. W., R.A., 207, 223, 233, 242, 270, 
 278, 3ys, 311, 006 
 Carpenter, Mrs., 478 
 Chalon, A. E., R.A., 218 
 Chambers, George, 607 
 Chavet, 641, 648 
 
 Christie, Alexander, A.R.S.A., 615 
 Claxton, M., 523 
 Clint, Alfred, 473 
 
 Constable, John, R.A., 195, 243, 251, 257, 877, 
 
 298 
 Collins, C. A., 325 
 
 Coluus, William, R.A., 227, 237, 238, 246, 279, 
 „ , 2S0, 293, 299, 300, 611 
 
 Cooke, E. W., A.R.A., 322, 323, 324, 409, 411, 
 
 508, 53 
 
 [230 
 
 Cooper, T. S., A.R.A., 383, 459 
 
 Cooper, A., 399 
 
 Copley, John Singleton, 108 112 
 
 Cope, C. W., R.A., 316, 368, 558, 560, 567 
 
 Creswick, Thomas, R.A., 321, 393, 467, 548 
 
 Cradock, Luke, 5 
 
 Crome, John, 210 
 
 D. 
 
 Dadd, R., 335, 477, 603 
 
 Dahl, M., 1 
 
 Danby, P., A.R.A., 197, 395, 559, 578 
 
 Danby, T., 546 
 
 Dauby, James, 456 
 
 Daniell, T., R.A., 144 
 
 Daniell, W., R.A., 134 
 
 Da we, G., R.A., 135 
 
 Davis, E , 428 
 
 Delaroche, Paul, 642, 659 
 
 De Keyser, 678 
 
 Dobson, «, 433, UK '"' - /flV) wl 
 
 Drumtnond, James, R.S A., 603 
 
 Duval, C. A., 429, 450 
 
 Duncan, T., R.S.A., 301 
 
 Dyce, W., R.A., 341, 623 
 
 E. 
 
 Eastlake, Sir C, P.R.A.. 351, 359, SW 
 Eddis, E. U., 442, 511 
 Egg, A. L , A.R.A., 398, 437, 526, 596 
 Elmore, Alfred, A.R.A., 500, 501, 502 
 Esquival, 134 
 
 Etty, William, R.A., 205, 211, 226, 234, 240, 249 
 255, 263, 273, 281, 349, 360, 372, 005 
 
 Paed, T., 448, 509, 562, 613 
 
 Farington, Joseph, R.A., 97, 688 
 
 Pichel, 640 
 
 Frith, W. P., R.A., 313, 320, 374, 3S6, 394, 529, 540 
 
 Frost, W. E., A.R.A., 203, 4S6, 507 
 
 Fuseli, Henry, R.A., 102, 104, 105 
 
INDEX TO MODERN ARTISTS. 
 
 Gainsborough, T., 43, 50, 70, 74 76, 90, 92, 96, 
 150, 153, 156, 15f, 161, 194, 201 
 Gale, William, 3S1, 396 
 Gervas, Charles, 4 
 Gilbert, J. G., R.S.A., 461, 472 
 Gill, E. W.,314 
 Gilpin, 91 
 Glover, 415 
 
 Goodall, F., A.R.A., 312, 453, 457, 45S, 563, 619, 
 
 622 
 Giant, Francis, R.A., 315, 539, 580 
 Grant, W. J.. 547 
 Granet, 635 
 
 Gordon, Sir J. W., P.R.S. A., R.A., 449, 455, 49S, 
 552, 57$ 595 
 
 Hamilton, Win., R.A., 99,106 
 Harding, J. D., 366 
 
 Harlow, G. H., 150a, 150&, 166, 1S4, 192, 199 
 Hart, S. A., R.A., 384, 410, 604 
 Harvey, Geo , R S.A., 426 
 Havdon, B. R, 241. 2S0, 303, 421, 636a 
 Hainan, F., 11, 27 
 Hemsley, 5S6 
 Herbert, A. J., 600 
 
 Herbert, J. R., R.A., 318, 329, 333, 385, 468, 
 
 525, 625 
 Herring, G. E , 630 
 Herring, J. F., 561, 564 
 Hess, 681 
 
 Hilton, Wm., R.A., 230, 231, 636 
 Hodges, Wm, 110 
 
 Hogarth, William, 12, 15—26, 30, 31, OSS- 
 Holland, James, 439, 443 
 Hook, J. C, A.R.A., 33ft 
 Horsley, J. C, A.R.A., 404, 549, 5" 
 Hottenroth, 656 
 Hudson, Thomas, 35 
 Hughes, 572 
 
 Hunt, W. H, 424, 470, 4S8, 550, 565 
 Hurlstone, T. T., 427, 490 
 
 Inskipp, J., 327, 569 
 
 0. 
 
 Jackson, J., R.A., 209 
 Jones, George, R.A., 541, 683 
 Johnson, H., 576 
 Johnstone, A., 510 
 Jordan, Rudolf, 675 
 
 Kaufmann, M. A., R.A., 78, 80 
 Knight, J. P., R.A., 441, 527 
 
 LiNCE, George, 206. 400, 401, 54- 
 
 J.andseer. Sir Edwin, R.A., 204, 242, 307,331, 
 336, 337, 339, 342, 345, 348, 354, 379, 382, 
 391, 402, 405, 406, 407, 431, 435, 491, 495, 
 497 
 
 Landseer, Charles, R.A., 465, 545 
 
 Lawrence, Sir Thomas, P.R.A., 175, 183, 202, 
 212, 214, 217, 219, 221 
 
 Lear, Edward, 590 
 
 Lee, Frederick R., R.A., 373, 544, 602 
 Leighton, Frederick, 520 
 
 Leslie, C. R., R.A., 365, 369, 37S, 380, 390, 392, 
 
 425 
 LinneU, John, 471, 475, 4S1, 5S4 
 Linnell, John, Jun., 556, 566, 610 
 Linton, William, 518, 524 
 Liverseege, Henry, 412, 413, 417, 41S, 419, 423 
 
 M, 
 
 Macxise, D., R.A., 346, 522, 534, 579, 5S5, 591, 
 
 012 
 Macnee, D., R.S.A., 466 
 Martin, John, 289, 422, 632 
 Martineau, 52S 
 Masquerier, 617 
 M'Culloch, R.S.A., 463 
 M'Innes, R., 53S 
 Meissonier, 651 
 Mignard, 62S 
 Millais, J. E., A.R.A., 543 
 
 Morland, George, 127, 12S, 129, 132, 136, 139, 
 140, 142, 143, 145 
 Mortimer, 88 
 
 Muller, Wm. J., 225, 250, 271, 290, 296, 302, 305, 
 
 309, 310 
 Mulready, Wm., R.A., 347, 355— 35S, 361—364 
 Mutrie, Miss, 438, 446 
 Mutrie, Miss M., 444, 451 
 
 N. 
 
 Nasmyth. Alexander, 14S 
 
 Nasmyth, Patrick, 130, 131, 137. 138, 141, 169, 
 170, 176, 177, 2V' 
 Newenham, 519 
 
 Newton, G. S., R.A., 236, 276, 2S5, 291 
 Nicol, Erskine, A.R.S.A., 530, 594 
 Northcote, James, R.A., 117, 122, 215 
 
 O'Connor, 512 
 
 O'Neill, G. B., 454, 4S0 
 
 O'Neill, Henr - 
 
 Opie, John, R.A., 124, 133 
 
 Overbeck, B. Van, 674 
 
 Owen, William, R.A., 
 
 Petfrs, William, R.A., 146 
 Philip, John, 514, 571, 573 
 Phillips, Hy. W., 474, 593 
 Phillips. Thomas, R.A., 213, 304, 300 
 Pickersgill, F. R, A.R.A., 460, 496 
 Pierce, Stephen, 484, 485, 521 
 Plassan, 650 
 
 Poole, P. F., A.R.A., 326, 555 
 Pyne, J. B., 344, 503, 506 
 
 R. 
 
 Raeburn, Sir Hy., R.A., IS2, 252, 616 
 Ramsay, Allan, 8, 33 
 Redgrave, Richard, 397, 516 
 Regemorter, 654 
 
 [231] 
 
INDEX TO MODERN ARTISTS. 
 
 Reinagle, Philip, It. A., 120 
 
 Reynolds, Sir Josb.ua, P.H.A., 28, 42, 44 — 49, 
 
 51—^7, 68—68, 71—70, 75, 107, US, 162. 154, 
 
 155, 169, 160, 16S 
 Rohdc:;, (17:', 6i i 
 Richter, 40S 
 Rigaud, H., R.A. Ill 
 Rippingille, E. V.. 577,624 
 Roberts, David, It. A., 1S7, 434, 535, 5S8 
 Roumey, George, 78, 83, 100, 125, 631 
 
 Sant, J., 375, 445 
 
 Scheffer, Ary, 043—647, 661, 665, 668, 6S0 
 Scheudel, Van, 071 
 Scott, Samuel, 6, 7 
 Seitz, 677, 685 
 Severn, Joseph, 020 
 Shaver, W.,581, 5S2 
 Shee, Sir jr. A., R.A., 145 
 Singleton, John, 147 
 Smirke, Richard, R.A., 170, 181, 186 
 Smith, George, 482 
 
 Stanfield, C, K.A., 313, 353, 377, 387, 483, 490, 
 
 504, 574 
 Stanley, II. J., 532 
 Stone, Frank, A.R.A., 430 
 
 Stothard, Thomas, K.A., 10S, 171—174, 178, 6S6 
 Stubbs, George, 89, 9S 
 
 Tennant, John, 531 
 
 Thomas, W. C, 568 
 
 Thompson, Henry, R. A., 121, 126 
 
 Tidemand, 676 
 
 Town, 20S 
 
 Tresham, Henry, R.A., 180 
 
 Troyoii, 030, 004 
 
 Turner, J. M. \\ r .. It. A., 191, 198, 203, 224 228' 
 229, 282, 289, 245, 248, 258, 254, 256, 264, 
 266, 272. 2S2, 2SS, 292, 294, 295, 297, 609, 621 
 
 "W. 
 
 Wali.i*. Henry, 371 
 Ward, E. M., R.A., 404, 597 
 Ward, James, It. A.. 196, 070, 493 
 Webster, Thomas, R.A., 32S, 33 1, 359, 852, 417, 
 452, 470, 482, 4S7 
 Westall, Richard, R.A.,46, 626 
 Westcott, Philip, 505 
 
 West, Benjamin, P.R.A., 103, 100, 113—116 
 West, William, 553 
 Wheatley, 85, SO 
 Wilkiu, Sir David, 1! a.., 235,244, 247, 25S— 202, 
 
 205, 267, 200, 274, 275, 284, 2S7, 001, 618, 
 
 659a 
 Williams, Penry, 479, 489, 575, 629 
 Williamson, 589 
 
 Wilson, Richard, R.A., 29, 32, 24, 36—41, 149, 
 151, 102, 104, 165, 167 
 Windus, W. L., 403 
 Witherington, W. P., 81,, 469 
 Woodforde, S., R.A., 87 
 Wootton, John, 9 
 
 Wright, Joseph (of Derby), 79, 81, 82, 84, 84a 
 Wyld, 669 
 
 Z. 
 
 Ziem, 660 
 Zoffany, 93, 95, 101 
 
 BRADBURY AND EVANS, 
 
 PRINTERS TO THE MANCHESTER ART TREASURES EXHIBITION, 
 
 WHITEFRIARS, LONDON. 
 


 
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 ftttfcfc 
 
 LIBRARY 
 

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