From the Library of 
 Frank Simpson 
 
 79 
 
THE. 
 
 STRANGER'S GUIDE 
 
 TO | 
 
 IQ (DIL IE. ID A lb 
 
 CONTAINING 
 
 A description of the Paintings, Statues 8<c. 
 
 OF 
 
 HOLKHAM HOUSE, 
 
 In the County of Norfolk; 
 The magnificent Seat and Residence 
 
 OF 
 
 T. W. COKE, Esq. M. P. 
 
 ALSO 
 
 A brief account of the Park, Gardens &c. &c, w3 
 a short narrative of the Sheep- shearing, 
 annually held at Holkham. 
 
 Embellished with a View of the South Front. 
 
 COMPILED BY J. DAWSON, 
 
 Sftirnfjam: 
 
 Printed, Published and Sold by /. Dawson, 
 
 1817. 
 
@ntmtx at £tationer£ jpall, accord 
 ing to 3fltt of parliament. 
 
TO 
 
 T. W. COKE, Esq. M. P. 
 
 THE 
 
 Liberal and enlightened Patron of 
 whatever may henejit his 
 
 AND THE 
 
 Constitutional defender of her Liberties, 
 
 This work is most respectfully 
 inscribed, 
 
 By his most obedient, 
 and grateful Servant, 
 
 % 
 
 COUNTRY, 
 
ERRATA in some Copies. 
 
 Page 14 Line 20 for Morter, read Mortar. 
 
 15 10 — Cieling, Ceiling, 
 
 " 73 ■ 4 — resigned reigned, 
 
 85 • 14 — tho the 
 
 — 97 — — 14 — Appollo -— Apollo 
 
PREFACE. 
 
 ThE principal Design of the following 
 Work, is to give a faithful and compre- 
 hensive description of every object deserv- 
 ing the notice of Strangers, who may 
 hereof ter visit Holkham ; or of those who s 
 not having that opportunity, may be anxi- 
 ous to read an account of that justly 
 famed structure. To such it is hoped, 
 this publication will prove a pleasing and 
 instructive companion. 
 
 Tedious details will be avoided, and 
 although some accounts may appear trivi- 
 al in themselves, or perhaps only interest- 
 
 A 
 
PREFACE. 
 
 ing to a certain class of readers; it ought 
 to be held in recollection, that the object of 
 the writer is to render this work useful, 
 not only for particular, but for general 
 purposes. 
 
 It cannot but be observed that the seve- 
 ral publications, which have hitherto given 
 or pretended to give a description of this 
 place, are materially erroneous ; from 
 their having been successively copied, and 
 handed down by the different compilers to 
 the present time, without reference to those 
 changes which have taken place; hence no 
 correct information has hitherto been af- 
 forded to tlie public. 
 
 Preceding accounts are also extremely 
 defective in consequence of some highly es- 
 teemed Paintings, and other works of 
 Art, having been added by the present pos- 
 sessor of Holkham; which of course ha§ 
 
PREFACE 
 
 M some measure affected their arrange- 
 ment. Tin's circumstance must tend to 
 supersede as useless all former descripti- 
 ons of this valuable collection of the works 
 of the early Masters; combining within 
 itself many of the most perfect specimens, 
 both in Sculpture and in Painting. 
 
 Amongst many other omissions, it oc- 
 curs to the writer, that no notice has 
 hitherto been token of the Library, except 
 to point out tue dimensions of the room; 
 when, in fact, as will be more particular- 
 ly described in the proper place; it contains 
 the richest 'collection in England, of ma- 
 nuscripts and other Books of reference. 
 
 The Compiler of this work avails him- 
 self of this opportunity to inform his 
 readers, that he hopes to avoid the many 
 inaccuracies which his predecessors have 
 frequently committed in their works, to 
 a2 
 
if 
 
 PREFACE. 
 
 the no sm all disappointment of those wh® 
 have taken them for their Guides. This 
 pledge the writer feels confident of redeem- 
 ing, through the liberality and kindness 
 Of Mr. Coke, who has allowed I him free 
 access to evert/ object worthy of notice; 
 which favor he begs gratefully to ac- 
 knowledge. 
 
 Itis presumed, the occasional illustra- 
 tion of historical and other subjects con- 
 nected with the Paintings and Sculpture, 
 interspersed through the work, will prove 
 acceptable to many readers. To those 
 who have not leisure to study every object 
 for themselves, such assistance cannot but 
 he advantageous; as they otherwise would 
 he deprived of the gratification arising 
 from an enlarged idea of the subject. 
 Hence it has been justly observed, that, 
 the most brilliant efforts of the pencil re- 
 
PREFACE. 
 
 v 
 
 quire elucidation, to recall to memory, 
 events, the traces of which, may have im- 
 perceptibly faded from the mind. 
 
 In the course of the present work, it is 
 intended to give, a concise description of 
 whatever may be connected with the sub- 
 ject. To which will be added, an account 
 of the Sheep-shearing, held annually at 
 Holkh am, for the promotion of Agri- 
 culture; zvhenthe Doors o f Science and 
 Hospitality are thrown open, not to those 
 of Rank and Fortune only, but to all 
 those who are competent to receive or com- 
 municate improvements in Agriculture. 
 
 BumJiam, January, 1817, 
 
DESCRIPTION 
 
 OP 
 
 HOLKHAM HOUSE 
 <§f<\ 
 
 TlJE general ideas of the plans, ele- 
 vations &c. of Holkham . House in the 
 County of Norfolk, the magnificent 
 seat and residence of Thomas William 
 Coke, Esq. were given by the Earls of 
 Burlington and Leicester, assisted by 
 Mr. Kent, who had been encouraged 
 in his studies at Rome by the joint pa- 
 tronage of those two Noblemen, at that 
 tune making the tour of Italy. , 
 
 The Earl of Leicester, amidst his im- 
 provjuents in planting and agriculture 
 
(since continued in the true spirit of 
 his ancestor by its present possessor) 
 never lost sight of his main object, the 
 erection and embellishment of this Man- 
 sion. He matured his plans, which 
 were chiefly taken from designs by Pal- 
 ladio and Inigo Jones, during a seven 
 years residence in Italy; which he en- 
 tirely dedicated to this, his most anxi- 
 ous and favorite pursuit. The excellence 
 of his selection of the many different 
 works of art, shows how consummate 
 a master he was of all the various sub- 
 jects connected with them. Hence he 
 has been enabled to leave to his success- 
 ors, a building, the delight of the pre- 
 sent age, as it promises from the solidity 
 of its construction, to be that of poste- 
 rity ; while the love of Roman arts and 
 magnificence shall continue, it must be 
 considered indeed as a permanent mo- 
 a4 
 
8 
 
 nument of the elegance, and the refined 
 erudition of its illustrious, founder. 
 
 This magnificent and extensive build- 
 ing was begun in the year 1734 by the 
 Earl of Leicester,, but he dying in 1759 
 it was finished by the Countess of Lei- 
 cester,, in 1764. It may properly be 
 said to consist of five quadrangles, i e. 
 a large central building, and four wings ^ 
 consequently each side presents a per- 
 fect and regular front. The junction 
 of each wing to the main body, by 
 means of corridors, is a most admirable 
 contrivance, as they serve either to unite 
 the principal floors of the wings with 
 the state apartments, or to detach it 
 from them at pleasure ; communicating 
 either directly with the lawn, or with 
 the servants' offices below on the base- 
 ment story. This is one of the chief 
 advantages attending the plan of Hoik- 
 
4 
 
 ham, which seems to have been borrow* 
 ed from Palladio's plan of a Villa de- 
 signed for the Cavalier Leonardo Mo~ 
 cenigo upon the Brenta, with some 
 trifling deviations. 
 
 OF THE FRONTS. 
 
 The South Front, is so truly deserv- 
 ing attention, that, we know not which 
 to admire most, ifs lightness, elegance, 
 or proportion. The portico is in a fine 
 taste, and the corinthian pillars in ele- 
 gant proportion. The gilding of the 
 window frames and sashes, which has 
 been lately renewed by Mr. Core, gives 
 the whole a truly magnificent appear- 
 ance. The whole extent of this front 
 is 344 feet. 
 
 The North Front consists of a cen- 
 
5 
 
 fre and two wings, with a tier of Vene- 
 tian windows, over another of small 
 square sashes in the rustic basement. 
 The length of this front is also 344 feet. 
 
 The central part of this celebrated 
 House, the dimensions of which are 
 62 feet by 114; contains the principal, 
 or .grand apartments, which are joined 
 to the pavilions by galleries, or rectilin- 
 ear corridors. These apartments pre- 
 sent one regular suite of five rooms, 
 diminishing from the centre; which is 
 the largest and most splendid, com- 
 municating with facility, and receding 
 gradually to the extreme and lesser 
 apartments situated in the wings ; with 
 which on the south side, the corridors 
 included, it forms an enfilade of twelve 
 distm t sp ier s or rooms, terminated at 
 each end by a window, and produces 
 an extent of nearly 344 feet. 
 
6 
 
 OF THE WINGS. 
 
 There are four wings,, or pavilions * 
 each of which in dimension is 60 feet 
 by 70. 
 
 Each wing has its respective desti- 
 nation ; that called the stranger's wing, 
 is wholly calculated to accommodate 
 the visitors of Mr. Core, and is there- 
 fore very properly termed the 
 
 Stranger's Wing. 
 
 To answer this intention, it is di- 
 vided upon the ground floor into single 
 bed-chambers; and above, on the prin- 
 cipal floor it is again divided into bed* 
 
7 
 
 chambers, with single or double dress- 
 ing rooms, as may be occasionally requi- 
 site ; communicating by a corridor with 
 the grand apartments, at the north end 
 of the statue gallery. 
 
 The Family Wing. 
 
 This wing exclusive of the apart- 
 ments occupied by the family; contains 
 the Library, and two additional rooms 
 fitted up by Mr. Coke, the one for the 
 reception of his invaluable collection of 
 manuscripts, which have for many years 
 been deposited in the tower library, al- 
 most unnoticed; the other for the earli- 
 est editions of the classics. 
 
 The Chapel Wing. 
 The principal floor of this wing, con- 
 
8 
 
 tains the Chapel/ and two complete 
 sleeping apartments, over which, are 
 lodging rooms for some of the servants 
 of the family. The lower part is ap- 
 propriated to the laundry and dairy offi- 
 ces, with a drying yard and court 
 attached. 
 
 The Kitchen Wing. 
 
 This wing is allotted to the uses of 
 the kitchen, and its offices, with ser- 
 vants' hall, having bed-rooms over it ; 
 this has likewise its contiguous court. 
 These courts, although they contain a 
 number of smaller buildings, commo- 
 diously situated near the offices to which 
 they belong; are so judiciously conceal- 
 ed from outward observation, that their 
 boundary wall, which rises no higher 
 than to the plinth of the basement story, 
 
9 
 
 is not perceived on either side of the? 
 principal fronts. 
 
 Basement Story. 
 
 Under this story are the cellars, and 
 various other places, appropriated to 
 different uses, corresponding in size 
 with the rooms above, so that the par- 
 tition walls might have a safe foundati- 
 on, being carried up directly from the 
 cellar floor. Each room and passage 
 being entirely arched over with groined 
 brickwork, and executed in such a mas- 
 terly style, as to particularly attract the 
 notice of every person who has had an 
 opportunity of inspecting them. Such 
 is the strength of the foundation, and 
 of the arches ; that it is on record, 
 that there are as many bricks below the 
 
10 
 
 surface of the ground, as have been 
 used in the upper part of the structure. 
 
 In large extended country houses 
 where the chief apartments occupy the 
 plan of the ground floor, the offices 
 are frequently branched out at consider- 
 able distances in the neighbouring pa- 
 vilions; but conveniency was one of 
 the Earl of Leicester's leading maxims, 
 and this judicious principle is diffused 
 through every part of the plan; which 
 though extensive, and numerous in its 
 divisions, is nevertheless, constructed 
 with that beautiful simplicity, and with 
 that perfect symmetry and disposition, 
 from which comfort and commodious- 
 ness uniformly result. 
 
 To obtain these desirable objects^, 
 the plan of a rustic basement was adopt- 
 ed, being at that period of time, ap- 
 plied to many capital villas, erected ia 
 
11 
 
 different parts of this Kingdom; in, 
 imitation of Palladio's villas in the 
 Venetian territories. The peculiar ad- 
 vantage of this disposition, consists, 
 in having the servants' offices, to which 
 the basem nt story is appropriated, 
 placed under the principal apartments ; 
 consequently, nearer to the master and 
 his company. 
 
 It may not he deemed improper, to 
 add some account of the constructive 
 part, and of the materials employed in 
 building this admired villa; in which 
 the conceptions of so many eminent 
 Virtuosi, as well ancient as modern, 
 are assembled ; and which was deserved- 
 ly the delight of its noble founder # 
 who, during a period "of not less than 
 thirty years, co-operated, not only in 
 the choice and appropriation of every 
 member and ornament, before any part 
 
12 
 
 Was given out to the workmeii for ex* 
 ecution; but also with a diligent and 
 learned judgment, assisted in conduct- 
 ing each thought, to what the Italians 
 style its Merita Perfezzione. 
 
 Vitruvius, the Father of Architec- 
 ture, informs us, that brick edifices 
 were held in higher estimation by the 
 Romans, than even those of marble, for 
 duration and firmness; and it is certain 
 at this day, that the fragmented bricks 
 of ancient and dilapidated edifices are 
 still preferred by the modern Roman 
 builders for rough walling, and for 
 facades of houses intended to be stucco- 
 ed over. 
 
 The Holkham bricks resemble the 
 modern yellow brick of the Romans, 
 both in color and hardness : this simi- 
 larity was discovered by comparing the 
 former with one of the latter accident- 
 
 B 
 
13 
 
 ally sent from Rome,, in the .packing" 
 case of an antique statue. 
 
 Bath Stone, in deference to its fine 
 yellow tint, was first fixed on for the- 
 external surface of the intended Struc- 
 ture; but a brick earth was found in 
 the neighbouring parish of Burnham 
 Norton, which, with proper seasoning 
 and tempering, produced an excellent 
 well shaped brick, approaching nearly 
 to ther color of bath stone, full as pon- 
 derous, and of a much firmer texture. 
 
 As a proof of their durability, al- 
 though nearly sixty years are elapsed 
 since the completion of the work, 
 during which time they have been con 
 tinually exposed to the action of the 
 weather, yet they remain as sound and^ 
 perfect as when first laid. 
 
 It may be a matter worthy of remark 
 ia this place, that in the execution of a* 
 
14 
 
 single rustic, no less than thirty moulds^ 
 of different shapes and sizes were re- 
 quired. This was most judiciously 
 done to avoid cutting the bricks, which 
 would have caused a discoloration of 
 their surfaces and would have material- 
 ly increased the number of joints. 
 
 Throughout the execution of the work 
 bricks have been made of all the various 
 forms that were requisite. 
 
 The same diligence was used in pre- 
 paring the morter for the walls, which 
 being first mixed in due proportion of 
 lime and sand/ was afterwards (to ren- 
 der it of sufficient fineness for close 
 brick work) ground between a pair of 
 large mill stones, fitted to an engine 
 for that purpose. 
 
 All the inner joints of the vfalh were 
 carefully filled with this morter, made 
 up into grout, and poured, in a liquid 
 b2 
 
15 
 
 state^ upon every course, or every two 
 courses of the brick work. The floors 
 are entirely of wainscot oak. The 
 chimney pieces are in the finest style of 
 execution, those of the principal rooms 
 are of the purest statuary marble; the 
 others are composite, and in point of 
 beauty and variety of material, and 
 workmanship are not to be surpassed 
 The cielings to the principal floor are 
 well executed in white and gold by Mr. 
 Carter, and have a light and beautiful 
 effect. 
 
 The Architect took care, that no part 
 of the principal walls should be sup- 
 ported upon timber, lest in decaying it 
 might damage the fabric ; this judicious 
 plan cannot be too highly esteemed, it 
 being particularly worthy the attention 
 of all those concerned in building. So 
 little iadeed does the strength of this 
 
16 
 
 edifice depend upon the assistance of its 
 timbers,, that the girders of the principal 
 floors were not hoisted into their re- 
 spective situations, till after the roof 
 had been raised to the building, and the 
 walls of the house fully perfected. By 
 which management the timbers have a 
 free circulation of air about them, being 
 in contact with the wall anly on their 
 lower surfaces. 
 
 This superb edifice was erected under 
 the superintendance of the late Mr, 
 Brettingham, of Norwich, who in the 
 knowledge of sound building, was al- 
 lowed to equal, if not excel, all the 
 "professers of his time ; and in fact the 
 characteristic merit of Holkham is most 
 discernible in the accurate performance 
 «f its workmanship. 
 
Holkham House is open for general In- 
 spection, on Tuesdays only, except to Foreign- 
 ers and Artists. Strangers, or Travellers, who 
 wish to view the House, on other Days, can only 
 do so by particular application to Mr. Coke, who 
 ias never refused his jpermission. 
 
18 
 
 VESTIBULE, 
 
 UNDER THE PORTICO. 
 
 When the Person who shews the 
 House is engaged, the Company is 
 conducted into the Vestibule,, we shall 
 therefore, commence our Description 
 here; presuming, that, the curious Vi- 
 sitor, will not regret the time as mis- 
 pent, while contemplating the various 
 Subjects in this Room 
 
 In this Room a Book is kept, in 
 which, all Persons coining to view the 
 House, are requested to enter their 
 Names, fa Places of Residence, 
 b4 
 
19 
 
 BUSTOES & STATUES, 
 
 Tn the Vestibule, under the Portico, 
 
 OF THE 
 
 SOUTH FRONT. 
 
 Above the chimney,, is a medallion 
 in marble, of Carneades, the Cyrenean 
 Philosopher; who, being sent by the 
 Athenians upon an embassy to Rome, 
 with Diogenes the Stoic, and Critolaus 
 the Peripatetic, first taught the Ro- 
 mans to admire the Learning and Elo- 
 quence of the Greeks. 
 
 The bust of Carneades in the Farnese 
 Gallery, which is the only good one of 
 him, perfectly agrees with the features 
 of this medallion. 
 
 The work of the hair and face is 
 
20 
 
 Grecian,, and antique; the other parte 
 of the medallion were restored by 
 Cavaceppi. 
 
 Opposite the medallion, is a large antique 
 
 FIGURE of JUPITER, 
 
 holding in his hand a Patera. 
 
 This figure was purchased in Italy, 
 by the Earl of Leicester, whu h is entire, 
 except the arms and hands, restored by 
 Mr- Wilton. 
 
 Illustration. 
 
 When the Gauls besieged the Capitol, 
 Jupiter directed the garrison to make 
 all their corn into loaves of bread, and 
 throw them into the enem'ys camp, to 
 
make them believe that,, they had plenty 
 of provisions. The stratagem succeed- 
 ed, and the siege was raised ; after this 
 success, the Romans built a temple to 
 
 Jovi Pistori. 
 
 Against the jambs between the arches 
 which support the Portico, are four 
 Bustoes. 
 
 Begin with that nearest the Jupiter. 
 
 1. A marble Busto of Cicero, the 
 famous Roman Orator, copied after 
 that in the florence gallery. He was 
 put to death B. C. 43 years. 
 
 2. A ditto of Plato, he is always 
 represented with a protuberance of 
 beard, and his hair, which is plaited dis- 
 posed in regular curls, and tied round 
 the head with a fillet. This great 
 Philosopher, who was a disciple of 
 
Socrates, lived about 348 years B. G. 
 
 Likenesses of this great Philosopher 
 in Gems, as well as in Marbles, are fre- 
 quently to be met with. This was dug 
 up in a vineyard near the Church of St. 
 John Lateran, and purchased at Rome, 
 
 3. An antique Henna, (which has 
 been the head of a Therme) of Lysias^ 
 the Athenian Orator, he was the scholar 
 of Socrates. 
 
 There is a Bust of him in the Farnese 
 Gallery. 
 
 4. A Busto of Seneca, the Philoso- 
 pher and Tragic Poet, in marble. He 
 was put to death, A. D. 64. 
 
 In this room are six Plaster Casts, in 
 Niches, from Antique Statues. 
 
 Begin with that next the Jupiter. 
 
 1. A dancing Faun, in the Gallery 
 oT Florence. 
 
23 
 
 B. Apollo of the Belvidere.* A 
 cast of an original mouldy taken from 
 that Statue in 1750. This 4 is a cast of 
 peculiar merit. 
 
 * The following beautiful lines relative to tire 
 original statue, (which in form, attitude, and 
 countenance appears to be something superhuman,) 
 are founded on a story contained in Pinel on mad- 
 ness, and from the kindred and delightful associ- 
 ations, which exist between poetry and sculpture, 
 may prove interesting to the reader. 
 
 —"While on that form in wild delirious trance 
 With more than revVence gaz'd the Maid of Franca, 
 Day after day the love-sick dreamer stood 
 With him alone, nor thought it solitude ; 
 To cherish grief, her last her dearest care, 
 Her one fond hope-^-to perish of despair. 
 Oft as the shifting light her sight beguil'd, 
 Brushing she shrunk, and thought the marble smil'd S 
 Oft breathless list'ning heard, or seem'd to hear, 
 A voice of music melt upon her ear. 
 Slowly she wan'd, and cold and senseless grown^ 
 Clos'd her dim eyes, herself benum'd to stone : 
 Yet love in death a sickly strength supplied, 
 Qnce more she gaz'd, then feebly smil'd and fflbiff 
 
3. Ganymede, of Villa Medici; 
 
 4. Ptolemy, of the grand Duke^ 
 gallery at Florence. 
 
 5. Meleagar, of Pichini, 
 
 6. Venus di Belle Fesse. 
 
 On the left hand side of the doof^, 
 leading into the passage, is an Antique 
 Cinnerary Urn, in the form of an 
 Altar, inscribed to Petronio Hydechro, 
 ornamented with festoons, supported 
 at the angles, by Candelabra. Romu- 
 lus and Remus sucking- the Wolf, and 
 the sacred Chickens feeding, are deco- 
 rations on its front. On each side are 
 Griffins sitting. 
 
 The other is inscribed to C. Cai> 
 purnio. Boys in bas-relievo, bearing 
 up festoons of flowers and fruits, and 
 a genius transporting the soul of the 
 dead, to the regions of Pluto and Pro- 
 serpine, are its ornaments . 
 
9§ 
 
 On each side of the door is a side- 
 board slab of Mount Edgecumbe red 
 Granite, with Ormolu borders. 
 
 The following is the suite of Rooms 
 which are open for the inspection of the 
 Public, in the order which they are shewn 
 
 THE 
 
 GRAND HALL, 
 
 46 feet by 70 and 43 feet high. 
 
 The idea of this Hall was suggested 
 by the Earl himself, from the judicious 
 and learned Palladio's plan of a Basi- 
 lica, or Tribunal of Justice, exhibited 
 in his designs for Monsignor Barbaro's 
 translation of Vitruvius 
 
The tribunal part, or semicircular 
 niche at the upper end, contains the 
 flight of steps leading up to the Saloon* 
 The fluted Ionic columns, which 
 form the colonnade or gallery of com- 
 munication, leading to the apartments 
 on each side of the hall, and which i& 
 supported on a Basement of variegated 
 Alabaster, was taken from the Ionic 
 Temple of Fortuna Virilis at Rome,, 
 and well executed by the late Mr, Pick- 
 ford; who also performed the greater 
 part of the work of the Basement; 
 round the upper and lower parts of 
 which, is a border of black marble, 
 inlaid with white alabaster a la Grecque^ 
 The floor is of Portland stone, bordered 
 with another of a dark color, which 
 produces a good effect. 
 
 The quadrangular diminishing Mo* 
 saics in the cove, from the aforesaid are 
 
%7 
 
 taken from the same Pantheon, the 
 whole entablature and compartment 
 cielings, in stucco, and all other ciel- 
 ings, cornices* and entablatures, in the 
 numerous apartments of this villa, were 
 conducted, from their commencement, 
 by the ingenious M, T. Clark, of 
 Westminster. 
 
 Over the entrance door into the Hall, 
 which is particularly striking from its 
 simplicity, is the following inscription^ 
 illustrative of the appearance of this part 
 of the country, before the plastic hand of 
 the Earl of Leicester had beautified it. 
 
 cc This Seat on an open barren 
 Estate, was planned, planted, 
 built, decorated and inhabited 
 the middle of the eighteenth 
 Century. 
 BY THOMAS COKE, 
 
 EARL OF LEICESTER." 
 
28 
 
 Imagination can scarcely form an 
 idea more majestic, than that of this 
 Hall; which is one of the noblest de- 
 rived to us from the Ancients; nor 
 perhaps can any space be found of the 
 same magnitude, that will admit of a 
 grander display of Architecture. 
 
 Its stately range of fluted columns of 
 variegated Alabaster; the splendor of 
 its various ornaments in the Ceiling, in 
 the Cove, in the soffits of the Architrave, 
 and in the colonnades, all decorated 
 with such admirable propriety, from the 
 purest models of Antiquity; jointly 
 produce on the mind of the admiring 
 spectator, an effect every way corres- 
 ponding with the most exalted Ideas of 
 Vitruvian Magnificence, 
 
 Its fluted columns of the Ionic order, 
 were taken from Degodetz's measures 
 of the Temple of Fortuno Virilis at 
 c 
 
29 
 
 Renie ; the ornaments of the Cove, from 
 the Pantheon of Agrippa, and the 
 Ceiling from Inigo Jones. 
 
 The Hexagonal Mosaics in the head 
 of the great Niche leading to~the Saloon, 
 were copied from Degodetz's designs 
 of the Temple of Peace, given in hfa 
 book of Roman Antiquities. 
 
 STATUES 
 
 IN THE 
 
 NICHES of the COLONNADE 
 
 OF THE 
 
 GRAND HALL. 
 
 Begin with that on the left hand next 
 the Corridor, leading to the Stranger's 
 Wing. 
 
so 
 
 1 . Apollo. From an Antique in the 
 Stair case of Cardinal Alexander Al- 
 bani's Palace at Rome,, restored by 
 Carlos Monaldi, of whom this Cast was 
 purchased. 
 
 2. Flora. Or the Empress Sabina, in 
 that character; a Cast from a most 
 Antique drapery figure, found in the 
 Villa Adriana, preserved in the capitol. 
 
 3. Bacchus, of the Villa Medici, a 
 rare Cast. 
 
 4. Isis. or Priestess of Isis, a Cast 
 from the Statue in the capitol. 
 
 5. Septimus Severus. Emperor of 
 ftome^ a great Military conqueror, re- 
 markable for his avarice and ambition, 
 to gratify which passions he shed tor 
 rents of Blood. 
 
 6. A Faun, with the Naccliare, 
 (or Castanets J in marble, antique, 
 
 <2 
 
31 
 
 Over the door leading into the Saloon. 
 
 A Bust of the Earl of Leicester, the 
 noble Founder of this Mansion, 
 
 7. An antique Faun in marble, pur- 
 chased of Mr. Pond. 
 
 8. Agrippina Minora, (in Traver- 
 tine Stone,* an antique.) She was the 
 Mother of Nero, and without depicting 
 her cruel and licentious character, it is 
 sufficient to say; that, the times of the 
 Roman Empire, in which she lived, 
 furnished the worst samples of human 
 depravity in both sexes; the inevitable 
 result of unbounded power, when lodg- 
 ed in the hands of weak and wicked 
 characters. 
 
 9. Venus di Belle Fesse. Pal. 
 Farnese. A Cast. 
 
 * Few Statues remain of tbis Stone, which is 
 a Limestone deposited from the Waters of the 
 Anio, and which is hardened in a -remarkable 
 degree by exposure to the Air, 
 
3.2 
 
 10. A Faun, from the Antique, 
 A Cast. 
 
 11. Julia Mammea. (a Ditto) The 
 virtuous Mother of a virtuous Son, 
 Alexander Severus, to whose education 
 and morals she paid particular attention. 
 They were too good for the times in 
 which they lived, and were murdered by 
 die Pretorian Guards. 
 
 12. Antinous, of the capitol (ado.) 
 A handsome youth of Bithynia, to 
 whom at his death the Emperor Adrian 
 erected a Temple. His Statue was 
 placed in the capitol at Rome. 
 
 On the left hand side the door of the 
 Saloon, 
 
 Is a Bas-relief of excellent workman- 
 ship, executed by Nollekins; of the 
 
 DEATH OF GERMANICU8, 
 c3 
 
38 
 
 Illustration. 
 
 "Germanicus, the nephew of Tiberi- 
 us became the object of his jealousy,, on 
 account of the glory which he acquired 
 by his military exploits in Germany ; 
 and by the high favor with which he 
 was regarded by the Roman people. 
 He was therefore recalled bv Tiberius, 
 and appointed go vernor of all the pro- 
 vinces of Asia. Germanicus departed 
 from Rome on. his eastern expedition, 
 and was soon after poisoned by Cneius 
 Piso governor of Syria, whom Tiberius 
 had previously instructed to oppose him 
 oil every occasion, and even to procure 
 his death. 
 
 The whole Empire was groat iy dis- 
 tressed on hearing of the fate of Ger- 
 manicus: but the people of Rome set no 
 bounds to their sorrow, disregarding all 
 
public and private business, ami filling' 
 the streets with lamentations." He 
 died at Daphne, near Antioeh, aged 
 34. A. D. 19. 
 
 On the riglit hand side, 
 
 Is a Bas-relief, representing the de- 
 livering up the gates of Florence to 
 
 Cosmo the Great. 
 
 Purchased by the present Mr. Core., 
 during his tour in Italy. 
 
 At the bottom of the flight of steps leading 
 to the Saloon, 
 
 Is a small figure of the River Nile, 
 in white marble. 
 
 From the Colonnade of the Grand Hall 
 we enter, 
 
 THE NORTH 
 
 DINING ROOM. 
 
 A Cube of 27 feet, exclusive of the 
 c4 
 
35 
 
 Sideboard niche,, which is 9 feet by 10 
 in the clear of the opening. 
 
 The Ceiling of this magnificent room 
 was for the most part taken from Inigo 
 Jones; its Dome is 14 feet diameter, 
 and 8 feet perpendicular height. 
 
 The two Chimney pieces are of ex- 
 cellent workmanship, and of similar 
 design, diversified in the devices, of 
 their tablets. The Bear and Bee-hive 
 on the one; the Sow, with her litter, 
 and the Wolf the other, are truly de- \ 
 serving attention. They are composed 
 of Sicilian Jasper Trusses and Statuary 
 Marble mixed, executed by Mr. Carter; 
 who also executed the Foliage Scrolls 
 in the open Pilasters of the Archway 
 leading to the sideboard. The Scrolls 
 
$6 
 
 are carved in Lime-tree wood. 
 
 The Sideboard Table,, the frame and 
 legs of which are of Porphyry,, (a frag- 
 ment of an ancient Sarcophagus,) are 
 enriched with Ormolu Ornaments. 
 
 The Slab is of Egyptian green marble, 
 in which the Asbestos is said to be 
 found. 
 
 Beneath it stands a large bason of 
 Mount Edgecumbe Red Granite. The 
 Block was a present from Lord Edge- 
 cumbe. 
 
 On each side of the Niche are two 
 Antique Heads, or modern Bustoes, of 
 African, coloured marble, and placed 
 on Consoles. 
 
 On the left hand side of the Niche, 
 is Geta, who was stabbed by his Bro- 
 ther Caracalla that he might reign 
 alone. 
 
 Under this 
 
37 
 
 A table of antique oriental Alabaster 
 
 On the right hand side of the Niche, 
 
 That of Marcus Aurelius, Emper- 
 or of Rome, of a family descended from 
 Nmna. 
 
 Under this 
 
 A table of antique oriental Alabaster, 
 
 In eliptical Niches, above the Chim- 
 ney pieces, are two large Heads, (pro- 
 bably of Statues.) One of Juno, Queen 
 of the Gods. This for character, work- 
 manship and preservation, is truly 
 excellent. 
 
 Its Companion. 
 
 Lucius Verus. Emperor of Rome. 
 This was found in clearing the Port of 
 Nettuno. 
 
 The Mosaics in the head of the side- 
 board Niche, ornamented with roses, 
 
58 
 
 and richly gilt in leaf gold, were eo 
 pied from Degodetz. 
 
 After crossing the Tribune of the Sta- 
 tue gallery, zve enter, through the Cor- 
 ridor into the anti room belonging to 
 the Stranger's wing. 
 
 ANTI ROOM, 
 
 TO 
 
 STRANGER'S WING. 
 
 Chimney piece of veined marble, the 
 table and pateras, By PickforcL 
 
 Ceiling white and gold. Carter 
 The paintings in this Room, are 
 
 1 . A full length portrait of Lady 
 Anne Coke, and her Son, over the 
 chimney piece. Sir Godfrey Rnelter. 
 
59 
 
 2. A portrait of the Countess of 
 Salisbury. Jarvis, 
 
 3. A portrait of vMrs. Price. 
 
 Sir P. My. 
 
 4. Portrait of Richard Coke. 
 
 5. A ditto of Mary Rouse, his Wife. 
 
 6. A do. of Robert Coke, their Son, 
 
 7. A whole length portrait of 
 Lord Coke. 
 
 8. A whole length of the Earl of 
 Leicester. C. Casali. 
 
 9. A ditto of the Countess of Lei- 
 cester. By Ditto. 
 
 Over the door leading to the dressing 
 Room. 
 
 10 A Venetian Lady and her Son. 
 By Giorgione, being an early specimen 
 of that master. 
 
40 
 
 MED AND YELLOW 
 
 DRESSING ROOM. 
 
 A veined statuary marble chimney 
 piece, with a tablet of red Porphyry. 
 
 Pickford* 
 
 Ceiling, from Inigo Jones, and the 
 enrichment of its-soffit, from Dogodetz* 
 
 Begin over the Chimney Piece. 
 
 1 1 . The reconciliation of Jacob and 
 Esau. Pietro da Cortono. 
 
 Over the side doors are^ 
 
 12. & 13. Two pictures, represent- 
 ing the four Elements. 
 
 14, Lord Chief Justice Coke. 
 
 Chevalier Ca$alt< 
 
41 
 
 15. His first wife Mrs. Past on. 
 
 By Ditto, 
 
 Over the door. 
 
 16. Archbishop Laud. Vandyke. 
 
 Over the centre door. 
 
 17. Sir Thomas More. Holbein. 
 
 18. Henry Coke., of Torrington^ 
 fifth Son of Lord Chief Justice Coke. 
 
 Chevalier Casali. 
 
 19. Margaret Lovelace,, his Wife. 
 
 By Ditto. 
 
 RED AND YELLOW 
 
 BEDCHAMBER. 
 
 The tapestry hangings of this room, 
 are from designs by Watteau, and ex- 
 ecuted by Vanderhank 
 
42 
 
 Chimney piece, Plymouth and Sta- 
 tuary marbles. 
 
 Ceiling, after the manner of Inigo 
 Jones. 
 
 Over the Chimney. 
 
 20. Is a whole length portrait, of 
 the first Duke of Richmond. 
 
 Vandyke. 
 On the Chimney Cornice. 
 
 A small antique head: the Busto 
 part is modern. 
 
 SMALL DRESSING ROOM, 
 
 TO DITTO. 
 
 Chimney piece, Statuary and Giallo 
 Antico marbles, Pickford, 
 
43 
 
 Ceiling in the manner of Iniga 
 Jones, enriched with ornaments taken 
 out of Degodetz. 
 
 The pictures in this Room are. 
 
 21. A landscape and ruins, figure 
 of time, and two boys sitting on a 
 column, over the side door. Gisolfi, 
 
 22. Deborah and Barak. 
 
 Solimene, 
 
 Under the above. 
 
 23. A landscape. 
 
 Bout and Boudwin, 
 
 A ditto, By Ditto, 
 
 Over the centre door. 
 2b. Ruins. Vivianu 
 On the right. 
 26, Apollo and Daphne. C. Marattu 
 
44 
 
 And on the left. 
 
 27. Ruins and Figures. Viviani. 
 Over the Chimney Glass. 
 
 28. A Sea storm. Livi Mens. 
 
 Over the side door. 
 
 29. Figures and Ruins,, with a 
 Church. M. Angelo Carravaggio. 
 
 Below y on each side the door. 
 
 30. A view of Naples. OcchialL 
 
 31. A view of ditto. By Ditto. 
 
 On the Window side. 
 
 32. & 33, Are two small Paintings 
 of Fish and Fowls. Dupret. 
 
 Under those on the left. 
 34. A view of Naples. OcchialL 
 
45 
 
 On the'right. 
 
 35. Landscape and Figures. 
 
 Polenburg. 
 
 BLUE AND YELLOW 
 
 BEDCHAMBER. 
 
 Chimney Piece. 
 
 A Fior di Persica, Statuary marble 
 Frieze, enriched with a Goloss. Execu- 
 ted by Pickford. 
 
 Ceiling. 
 
 In the manner of Inigo Jones, orna^ 
 mented from Degodctz. 
 
 Above the Chimney Piece. 
 
 36. A Painting of Cupids sleeping* 
 
46 
 
 knd nymphs of Diana clipping their 
 "Wings. Cres^i. 
 
 Over the doors. 
 
 37. to 40. Are four Landscapes. 
 
 Luccatelli. 
 
 The other Pictures in this Room, are 
 
 41 . Lot and his daughters. 
 
 Dominichino. 
 
 42. St. J ohn preaching in the Desert 
 
 Luca Giordano. 
 
 43. St. Jerome, in a Landscape. 
 
 Dominichino, 
 
 44. The Virgin Mary reading. 
 
 Carlo Marattt 
 
 45. Diana and her Nymphs. 
 
 Dominichino. 
 
 46. An allegorical representation of 
 Youth and Age. Lanfranco. 
 
 d2 
 
47 
 
 YELLOW 
 
 DRESSING ROOM. 
 
 Chimney Piece. 
 
 Black and yellow, with Statuary mar- 
 ble ornaments. Pickford, 
 
 Ceiling. 
 
 In the style of Inigo Jones, enriched 
 from Begodetz's antiquities. 
 
 Begin the Pictures,, with that over the 
 Chimney Piece. 
 
 47. A portrait of T, W. Coke, Esq. 
 painted at Rome. P. BatonL 
 
48 
 
 48. Cincinnati^ at the plough. 
 
 Luigi Garzt 
 ILLUSTRATION. 
 
 The Roman deputies are delivering 
 to him the orders of the Senate ; he has 
 a spade in his hand,, shaped like one of 
 those still used about Rome; a damsel 
 stands by his side, ready to invest him 
 with the dictatorial robe, which she 
 holds extended. The scene is laid in a 
 field near the banks of the Tiber, where 
 the event happened: and the back- 
 ground is closed with a view of the mo- 
 dern buildings, upon the Capitol hill. 
 
 49. Its companion, Sophonisba. 
 
 Luigi Garzi. 
 
 50. The Elysian fields, Conca. 
 This picture was painted for the 
 
 Earl of Leicester, at Rome. It is a 
 large piece full of figures, amongst 
 d3 
 
49 
 
 which his Lordship is represented in the 
 character of Orpheus. 
 
 | Opposite to the above, is 
 
 5 1 . Galatea. Albana 
 
 Over the doors. 
 
 52. A Landscape. Claude, 
 
 53. Ditto N. Poussin 
 
 YELLOJV 
 
 BEDCHAMBER 
 
 The tapestry of this apartment, is 
 from designs by Watteau. 
 
 The ceiling and entablature are i» 
 the style of Inigo Jones, 
 
50 
 
 Chimney Piece. 
 
 Dove marble, an idea of Mr. Kent's, 
 executed by Pickford. 
 
 Over the doors, are 
 
 54. to 57. Four pieces of flowers 
 and fruit, are from the pencil of the 
 
 Miss Blackwells, and Mr. Reinagle. 
 
 BROWN 
 
 DRESSING ROOM, 
 
 Ceiling. 
 
 An Oval in an oblong square frame, 
 after the manner of Inigo Jones. 
 
 Chimney Piece. 
 
 Green and siena yellow marbles/ and 
 p4 
 
51 
 
 Derbyshire spar,, executed by Pickford, 
 Opposite the Fire place. 
 
 58. A large Chiaro-Ob&cum Paint- 
 ing upon board containing figures of 
 Men/ some bathing, some dressing in a 
 hurry, alarmed by the approach of the 
 Enemy. Being a part of the celebrated 
 Cartoon of Pirn, by Michael Angelo 
 Vasari, in the life of M. Angelo Buo- 
 naroti, gives the following account of 
 it. "At the time that Pietro Soderini 
 was Gonfaloniere of Florence, he em- 
 ployed Michael Angelo to paint part of 
 the Council Ha \% in concurrence with 
 Leonardo da Unci." 
 
 * "Perloche Michel Angelo ebbeuna 
 Stanza nello Spedale de Tintori a San 
 Onofrio; e quivi comincio un grandis^ 
 simo Cartone e lo empie di ignudi, che 
 bagnandosi per lo caldo, nel flume 
 * See note A, 
 
52 
 
 d* Arno in quello stante si dava al 5 arme 
 nel campo, fingendo, che gli inimici li 
 assalissero, e mentre che fuor delle 
 acque riscivono per vestirsi i Soldati si 
 vedeva, chi afFrettare lo armarsi per 
 dar aiuto a Compagni, altri affibbiarsi 
 la corazza, e molti mettersi altre Armi 
 indosso." 
 
 It was purchased out of the Barberini 
 collection. 
 
 This Cabinet is particularly worthy 
 the attention of Admirers of the fine 
 Arts,, as it contains a very rare and large 
 collection of original drawings by emi- 
 nent Masters., part of which were pur- 
 chased at Rome,, for the Earl of Leices» 
 ter, by Mr. G. Hamilton. 
 Begin over the door leading into the 
 Anti Room. 
 
 59. A Drawing of Hannibal passing 
 
 the Alps. 
 
53 
 
 60. Soldiers breaking down a bridge 
 in Bistre. Parmegiano, 
 
 By the Glass. 
 
 61. St. John baptizing our Saviour^ 
 Pen and Bistre. Carlo Maratti, 
 
 62. A Historical subject. 
 
 63. An Academy figure, — in black 
 and white chalk. Lanfranco, 
 
 64. A Study of a Man — iij red chalk. 
 
 Corregio* 
 
 65. An Academy figure, — in ditto. 
 
 Andrea Sacchi. 
 
 66. The Flight into Egypt, — with 
 
 the pen. Agostino Carracci, 
 
 67. Restoring sight to the blind. 
 
 Geovanni Bonati, 
 
 68. Christ with the Cross,— pen anc\ 
 wash. Gicusepi D' ArpinQ % 
 
54 
 
 69. Christ bearing his Cross, 
 
 Lucca D' Olanda; 
 
 70. A Study of a figure. Raphael, 
 
 71. The Salutation. Carlo MarattL 
 
 Left side of the door. 
 
 72. Jacob's Journey, — in red chalk. 
 
 Castiglione. 
 
 73. An Academy figure, — in ditto. 
 
 Andrea Sacohi. 
 
 74. A ditto.— in ditto. By Ditto. 
 
 75. The Madonna, — in ditto. 
 
 Carlo Maratti. 
 
 #6. The Annunciation, — in ditto. 
 
 By Ditto. 
 
 77. St. Francis healing the lame 
 Man. Andrea Sacchi. 
 
 78. The Virgin and Child,— in red 
 chalk . Carlo Maratti, 
 
55 
 
 79. The Infant St Johi*,_iu red 
 chalk* Guercino. 
 
 80. A female portrait, — in ditto. 
 
 Titian, 
 
 Over the door. 
 
 81 Virgin, Child and St. John. 
 
 Raphael* 
 
 Right side of the door. 
 
 82 An academy Figure, — in red 
 chalk Bernini. 
 
 83* Landscape— in ditto. Bolognese. 
 
 84. Its companion. By Ditto, 
 
 85. A Fox. Annibal Carrachi. 
 
 86. The assumption of the Virgin. 
 
 Pietro da Pietre, 
 
 87. A saint preaching. 
 
 Pietro da Cortona, 
 
56 
 
 88. Cupid and Psyche* 
 
 Julio Romano. 
 
 89. Study of an Apostle,*— ia pea 
 and ink, Titian, 
 
 90. An academy figure. Guercino. 
 Opposite the jive place* 
 
 Begin at the upper tier. 
 
 91. A figure from the antique,— i# 
 ?ed chalk. 
 
 92. An historical ditto,— in ditto. 
 
 93. Head of a Man — in black chalk. 
 
 Corregio. 
 
 94. An historical subject, — in red 
 thalk. 
 
 95. A figure of Elsculapius, from 
 the antique,— in red chalk. 
 
 96. An academy figure, — in red 
 thalk. Andrea SacchL 
 
67. A battle piece. M. Leandkr* 
 
 98. The marriage of Joseph and 
 the Virgin Mary. Agostino MasuCci, 
 
 99. An historical subject, — in black 
 and white chalk. 
 
 100. A Man's Head. Corregw. 
 
 101. Venus and Adonis. Gnercino. 
 
 102. Battle piece. Allegrini. 
 
 103. Wise Men's offering, — in bistre* 
 
 Pietro Perugino, 
 
 104. A female Head. 
 
 Carlo Maratti* 
 
 105. The martyrdom of St. Andrew. 
 
 Pietro da Cortona. 
 
 106. The ascension. Carlo Maratti. 
 
 On each side the window. 
 
 In the upper tier. 
 
 107. Two Girls' Heads, said to be 
 
58 
 
 Benedetto Lnti's daughters, drawn by 
 himself. 
 
 108. to 111. Circular drawings, — in 
 red chalk, from Dominichino's paint- 
 ings in the Church of St. Sylvester, 
 upon Monto Cavallo. 
 
 Giacomo Frey. 
 
 112. A female Head, — red chalk on 
 blue paper. Carlo MarattL 
 
 113. Two Heads, — in red and white 
 chalk. Mr. Kent, 
 
 114. A female Saint. Carlo Mar aiti. 
 
 115. A study of a Head,— black chalk 
 on blue paper. Guido. 
 
 116. Head of a Madonna. 
 
 Carlo Marattt 
 
 117. A female bathing. 
 
 Guisepi D' Arpmo, 
 
59 
 
 On the chimney piete. 
 A small Bust of the Duke of Bedford 
 
 We now take leave of this wing, to 
 enter upon a new scene of delight, and, 
 
 "Hail the great Artists, whose enchanting skill," 
 *'Can mould the passions, and controul the will." 
 
 CORRIDOR, 
 
 ZEADING TO THE STATUS GALLERY, 
 
 Over the Bookcase is placed a fine 
 antique Busto of the Emperor Salonius. 
 
 A plaster Cast of the little Apollo in 
 the Villa Medici. 
 
 A ditto of Camillus in the capitoL 
 A ditto of the /Venus di Medici, 
 
60 
 
 A Cast of the Muse Urania* 
 
 On the window side, 
 A Bust of Sir Joseph Banks. 
 
 Tribune of the Statue Gallery. 
 
 STATUES and BUSTS, 
 
 IN THE 
 
 TRIBUNE of the GALLERY. 
 
 Begin with that on the right hand. 
 
 I. The first that presents itself, is 
 a large statue of Lucius Verus, in a 
 consular habit,, which is very intire, 
 and alio an excellent likeness of that 
 
 £ 
 
61 
 
 Emperor,, so well known by his medals. 
 This antique statue was purchased at 
 Rome. 
 
 2. Lucius Antonius the orator, and 
 brother of Marc Antony. A very 
 capital antique figure, purchased at 
 Rome. 
 
 3. Agrippina, the virtuous and in- 
 trepid wife of Germanicus. An impe- 
 rial figure in the character of Ceres, 
 
 She has the diadem on her head, 
 which is antique, so is the whole fi- 
 gure, except the arms and hands, and 
 some few plaits in her drapery. This 
 was restored by CavaceppL 
 
 In Rome there are many statues of a 
 large size, such as the Sabini Matrons, 
 in the Loggia of the Villa Medici, Li- 
 via Mattei, and others, but none supe- 
 
62 
 
 iior to this in excellency of sculpture. 
 
 It was purchased of Belesario Ame~ 
 dei, who procured it from the Villa Gi- 
 netti at Veletri, in the Roman Territory. 
 
 4. A statue of Juno,, queen of the 
 Gods,, of a size nearly colossal: the 
 head., torso, and legs are antique, and 
 in a very high state of sculpture: her 
 drapery which is held up by her arm, 
 and disposed in large flowing folds, 
 not commonly to be met with in the 
 antique, adds much to the majesty of 
 the Goddess. 
 
 The late Mr. Roubiliac, when at 
 Holkham, prefered this statue to any 
 in the gallery, but held many others in 
 the highest estimation. 
 
 e2 
 
63 
 
 STATUE GALLERY 
 
 The Statue Gallery is the most com- 
 plete in this Kingdom,, for the manner 
 and style of finishing,, and is a grand 
 and distinguishing feature in the plan 
 of the House; it bears analogy to that 
 in the late Earl of Burlington's Vil- 
 la at Chiswick, undoubtedly taken, 
 though with many deviations, from the 
 Marchese Capris; built by Andrea Pal- 
 ladio near Vincenza. 
 
 Chimney Piece. 
 
 Of veined and statuary marble and 
 siena tablet, were taken from Inigo 
 Jones, and executed by Pickford. 
 
 The Ceiling 
 Of this room is plain, with only a 
 
6*4 
 
 single cornice under it, which is Pal* 
 ladio's Corinthian, but more enriched. 
 
 The heads of the niches at the end of 
 the gallery, are deeorated with the 
 Lozenge Mosaic, taken from the tem- 
 ple of the Sun and Moon, out of De« 
 godetz, and richly gilt. 
 
 ANTIQUE STATUES, 
 
 AND 
 
 BUSTOES 
 
 IN THE 
 
 GALLERY, 
 
 On each side the entrance into the 
 Gallery from the Vestibule, are two 
 Busts. 
 
 On the right hand, 
 A Bust of Cornelius Sylla, the 
 e3 
 
65 
 
 famous dictator, is the least in the gal- 
 lery, said to be the only one of him now 
 remaining. For the age in which he 
 flourished, the style of the sculpture 
 is very excellent. 
 
 On the lefty 
 
 A very rare Busto of Metredorus, 
 the philosopher and scholar of Epicu- 
 rus, upon a console near the angle; 
 remarkable for its fine execution. 
 
 Begin the Statues with that on the left 
 hand side of the entrance, into the Yes- 
 tibide. 
 
 A small Statue of Ceres,, of excel- 
 lent workmanship : crowned with wheat 
 ears and poppies; bearing a cornuco- 
 pia, one of the characteristic marks of 
 that Goddess. 
 
 A small Statue of Minerva, of 
 
66 
 
 excellent workmanship. The head, 
 breast-plate and toga of which are per- 
 fect. 
 
 A figure of a young Bacchus,, pur- 
 chased of Cavaceppi, who restored the 
 right hand and left arm : all the rest is 
 intirely antique, and in good preser- 
 vation. 
 
 In a large niche contiguous, that makes 
 u centre between the chimney piece and 
 that end , of the gallery, stands the cele- 
 brated 
 
 Figure of Diana, purchased and sent 
 t)ut of Rome by the Earl of Leicester, 
 for which offence his Lordship, (known 
 at that time by the name of Cavalier 
 Coke J was put under arrest, but re- 
 leased soon after at the solicitation of 
 the Grand Duke of Tuscany. 
 
 This statue, one of the most excellent 
 e4 
 
67 
 
 amongst the drapery figures of the an 
 cients, and perhaps the most beautiful 
 representation of that Goddess any 
 where to be met with,, is for the con- 
 veniency of removing it, composed of 
 two pieces of Parian marble; the up- 
 per piece is fitted to the lower, under 
 the folds of the garment, above the 
 cincture., which effectually conceals the 
 the joint : her right arm is raised, and 
 the hand bent backward, in the attitude 
 of reaching an arrow from her quiver, 
 which hangs on the same shoulder; 
 while the other hand holds the bow: 
 the left foot advances, and the right 
 falls gracefully back, to preserve the 
 equilibrium of the figure : by this move- 
 ment the limbs are gently contrasted. 
 
 The Cavalier Camillo Rusconi, an 
 eminent sculpture of great merit, whose 
 fame is well known in Italy, added the 
 
6*8 
 
 head and some of the fingers,, which are 
 (he only parts of it that are modern- 
 It is supposed, on very good autho- 
 rity, that this statue of Diana was for- 
 merly in the possession of that admira- 
 ble Roman orator and statesman, Cicero. 
 
 A Statue of Venus, in wet drapery, 
 almost entirely antique and of exqui- 
 site workmanship: her left hand in 
 which she holds a vase, is the only part 
 that is modern. 
 
 This statue and its companion the 
 Meleager, were purchased of Belisario 
 Amedei, the merchant in Piazza Novo- 
 na. It was restored by Cavaceppi. 
 
 In a Niche over the Chimney piece. 
 
 A Statue of the Pythian Apollo, 
 of Greek workmanship : the tripod on 
 
69 
 
 which he leans is antique : purchased 
 in Italy. 
 
 A Head of Cybeie, over the Apollo 
 in the open pediment of the chimney 
 frame,, is excellent ; the style is Greci- 
 an,, and intirely antique. 
 
 A Statue of Meleager, in Pariah 
 marble; the left arm, legs and boar's 
 head, were added by Cavaceppi. This 
 seems to be of Roman sculpture: the 
 proportions are very suitable to the 
 character. 
 
 A Statue of the God Faunus, in 
 Parian marble ; a very intire and capi- 
 tal antique figure ; he is crowned with 
 pampini. 
 
 1 1 may not be improper here, to re- 
 mark, that there were two kinds of the 
 Parian marble used by the ancients; 
 
70 
 
 one of the fine, the other of a larger 
 grain : this is of the latter sort, called 
 by the Romans, Marino Salino, from 
 its sparkling particles resembling salt. 
 This figure was dug up in the Campag- 
 na of Rome, and first purchased by 
 Cardinal Albani, from whom it was 
 bought soon after, in the condition in 
 which it was found, encrusted over with 
 the tartar of the earth. This statue 
 still bears the marks of the chisel, and 
 is supposed to be a rival in excellence, 
 to the famous statue of the Apollo 
 BelvicUre. 
 
 A Statue of Neptune, in Parian 
 marble, and well preserved. Statues 
 of that deity are extremely rare. This 
 was purchased of Carlo Monaldi. 
 
 On each side the entrance into the 
 Vestibule from the Gallery, are two 
 fine antique Busts, 
 
" 71 
 
 On the right, 
 
 That of the Elder Brutus,, the 
 founder of Roman liberty. 
 
 As the father of his country, he put 
 his sons to death for attempting to sub- 
 tert that republic, which he had es- 
 tablished. The conflict between his 
 duty as a magistrate, and his counte- 
 nance at the execution of his sons: has 
 furnished a fine subject for historical 
 painting. 
 
 On the left, its Companion, 
 
 Seneca, in Trivertine stone, remarks 
 able for the strong marks of age in the 
 face, for the likeness to his other 
 Bustoes, and for its fine preservation. 
 
 On each side the entrance into the 
 Vestibule, are 
 
 Two young Fauns, standing erect, 
 
n 
 
 with one leg across the other, playing 
 fistulas, of Parian marble; their atti- 
 tudes are the same as that in the Villa 
 Borghese, to which in character and 
 workmanship they are very little inferi- 
 or: one was purchased of Cardinal 
 Alexander Albania the other of Cava- 
 ceppi the sculptor. 
 
 On the cornice of the Chimney piece, 
 
 Are two marble Bustoes, both copies 
 from the antique, 
 
 Marcus Aurelius, Emperor of Rome 
 
 And CaracallAj who was also Em 
 peror of Rome. He was the son of 
 Severus, being ambitious of ruling a- 
 lone, he killed his brother Geta in hh 
 mothers' arms. He even exceeded Nero 
 and Domitian in cruelty. He killed 
 his wife Plautina. He once made hi^ 
 soldiers draw upon a crowded audience. 
 
73 
 
 and he murdered such crowds at an 
 amphitheatre at Alexandria^ that the 
 blood coloured the waters of the Nile, 
 He resigned six years^ and was assas- 
 sinated by MacrinuSy a centurion. 
 A. D. 217. 
 
 Under the window piers of the gallery. 
 
 Two very beautiful tables of Alabas- 
 tro Peccorella, purchased of Cavaceppi. 
 
 In the centre window, 
 
 A curious Mosaic marble table,, pur- 
 chased from the Villa Adrian, near 
 Tivoli. 
 
 VESTIBULE 
 
 TO 
 
 STATUE GALLERY. 
 
 An octagon, 21 feet diameter, and 
 32 feet high. 
 
74 
 
 This Vestibule is fitted up with four 
 hook cases, in large niches, contain- 
 ing a collection of maps and other va- 
 luable books. 
 
 Above the Doors and Bookcases, are 
 placed six antique marble Bustoes. 
 
 I. Adrian, Emperor of Rome and 
 nephew of Trajan, remarkable for the 
 urbanity of his manners joined to a 
 good understanding. He is said to 
 have spent thirteen years in visiting all 
 parts of the Empire like the sun in his 
 course, dispensing blessings. In Bri- 
 tain he built the famous wall called by 
 his name, to prevent the incursions of 
 the Picts and Scots. He rebuilt Car- 
 thage, calling it Adrianople. He also 
 rebuilt Jerusalem, and renewed and 
 beautified the tomb of Pompey. He 
 hailed death as a blessing, after a well 
 
75 
 
 spent life, and expired repeating some 
 beautiful verses, in the 62nd. year of 
 his age, and 22nd. of his reign. A. I>, 
 139. He was succeeded by Antoninus 
 Pius. 
 
 2 Julia Mammea, the mother of 
 
 Alexander Severus. 
 
 3. Julia of Titus, the wife of Sa~ 
 binus, famous only for her vices. 
 
 4. Marcus Aurelius, Emperor of 
 Rome, who was called the Great Aure- 
 lius, on account of his efforts for the 
 public good. 
 
 5. Gallienus Emperor of Rome. 
 He succeeded Valerian his father, who 
 was chosen in preference to Emilianus, 
 at the age of seventy, but falling into 
 the hands of Sapor King of Persia; 
 that cruel prince treated him in the 
 
76 
 
 most inhuman manner, using him as a 
 footstool, when he mounted his horse ; 
 and after seven years sufferings, order- 
 ed his eyes to be put out, and had him 
 flayed alive. 
 
 Gallienus promised to revenge his 
 father's wrongs, but alas! in the lap of 
 luxury he forgot his promise. He was 
 slain by his own soldiers, at the siege 
 of Milan, and left the character of 
 being a friend only to mimics, para- 
 sites and buffoons! He was slain in 
 the year 268, and was succeeded by 
 Flavius Claudius. 
 
 6. Get a. Caracalla. and Get a be- 
 ing left joint heirs to the Empire, (on 
 the death of their father Severus,) soon 
 shewed a mutual hatred to each other, 
 and Caracalla being resolved to govern 
 alone, Geta fell a victim to his hatred* 
 
77 
 
 The whole length of the Gallery in- 
 cluding the Tribune and Vestibule, k 
 105 feet. 
 
 CORRIDOR. 
 
 In the Corridor leading from the Tri- 
 bune of the Statue Gallery, to the Libra- 
 rieSj is a large picture of 
 
 118. The trial of Algernon Sidney, 
 painted by Solomon Williams, member 
 of the Clementine Academy Bologna 
 
 ILLUSTRATION 
 
 The historical fact which constitutes 
 the subject of this painting, is so uni- 
 versally known., that little more is 
 necessary than to retrace a few of the 
 leading circumstances, in order to re- 
 
78 
 
 call to memory,, the magnanimity firm- 
 ly displayed, in opposition to power 
 most shamefully abused. 
 
 Algernon Sidney was brought to trial 
 for a plot imputed to him. His judges 
 were the inhuman Jefferies, Witliins, 
 and Holloway : under whose direction 
 a verdict of guilt was found, by a par- 
 tial jury. 
 
 Algernon Sidney exclaimed against the 
 iniquity of the sentence; solemnly in- 
 voking heaven not to visit on his coun- 
 try the judgment of his innocent blood. 
 Jefferies immediately replied, "I pray 
 God work in you a temper fit to go into 
 the other world with, for I see you are 
 not fit for this/' Sidney answered with 
 a composed greatness of mind, ff My 
 Lord, feel my pulse, and see if I am 
 disordered: I bless God I never was in 
 a better temper than now/' This is 
 f2 
 
79 
 
 the affecting moment that has been 
 chosen by the artist. A representation 
 of the different degrees of sensibility 
 excited in the auditors, according to 
 their various characters, has been a 
 great object of his study. 
 
 The figures composing the principal 
 groups, are therefore portraits of the 
 persons on the memorable occasion. 
 
 The engraved key of references to 
 the principal characters, will be found 
 extremely useful in examining this 
 painting. 
 
 ANTI-ROOM, 
 
 Leading to the Manuscript Library. 
 
 18 feet square by 16^ which is the 
 height of the room. 
 Ceilirg by Mr. Kent, 
 
80 
 
 The chimney piece, of purple and 
 white Carrara Marble, was executed 
 by the same master. 
 
 On the chimney piece. 
 
 The Egyptian God Canopus, orien- 
 tal antique alabaster. 
 
 It is the intention of the present pos- 
 sessor of Holkham, to fit up this room 
 with bookcases, for the reception of a 
 large collection of some very early and 
 valuable editions of the classics, se- 
 lected from the north and south tower 
 libraries. 
 
 In this room are 'portraits of 
 
 119. The celebrated Mr. Roscoe. 
 
 Shee. 
 
 Long may Liverpool enjoy the plea- 
 sure of having produced the Scholar 
 without pedantry, — the Patriot with- 
 f3 
 
81 
 
 out reproach, — the Christian without 
 superstition,— the Man, who is an or- 
 nament to human nature. 
 
 120. Doctor Parr. Ojpie< 
 An excellent likeness of Dr. Parr 
 
 What Charles 5th. of Germany re- 
 marked of the propriety of speaking to 
 different persons in different languages, 
 may also be applied in speaking of per- 
 sons. To describe adequately Dr. Parr's 
 character in any other language than 
 the Grecian would be as unsuitable, as 
 it would be difficult. Suffice it here to 
 say of this celebrated scholar, that the 
 commanding energies of his mind are 
 tempered by great benevolence of dis- 
 position, and genuine goodness of 
 heart. ( 
 
 121. Mr. Rishton. Barber, 
 The lively intelligence expressed in 
 
S2 
 
 the countenance of this picture,, renders 
 it very interesting. Mr. Rishton is 
 one of Mr, Coke's earliest and most va- 
 lued friends,, and a gentleman no less 
 distinguished for the urbanity of his 
 manners, than for his shining talents^ 
 and general information. 
 
 MANUSCRIPT LIBRARY. 
 
 24 feet by 18, 
 
 The Dove marble Chimney piece, 
 ^nd Ceiling, are by Mr. Kent, 
 
 Over the Chimney piece. 
 
 122, A full length of Mr. Coke. 
 
 Reinagte, 
 
 f4 
 
83 
 
 Over the door on the left hand side of the 
 above. 
 
 123. A Portrait of Lady Andover. 
 
 On the right hand side. 
 
 124. A Portrait of Lady Anson, 
 Over the door yon enter by. 
 
 125. A Portrait of Mrs. Coke, 
 
 Over the Library door. 
 
 126. A Portrait of Miss Coke. 
 
 The last four Portraits were painted 
 by Barber. 
 
 This Room has lately been fitted up 
 by Mr. Col^e, for the reception of his 
 superb collection of Manuscripts, which 
 have recently, by the able assistance of 
 the liberal and enlightened Mr. Roscoe, 
 been inspected and restored. This ele- 
 gant Scholar and Historian, the boast 
 of Liverpool., and the ornament of th& 
 
84 
 
 Republic of letters has by the most in- 
 defatigable perusal of these manu- 
 scripts, been enabled to ascertain their 
 age and their value, and he has enrich- 
 ed them with Notes and Observations 
 of his own, which must prove enter- 
 taining to every man of Classical taste 
 and erudition.* 
 
 Where the collection is so extensive 
 a Catalogue of them would be too vol- 
 uminous for a work of the present de- 
 scription. It may not however be amiss 
 to particularize a few more generally 
 interesting to the Literary world from 
 their age, beauty and value. 
 
 The following may be specified in 
 this respect. 
 
 1. ,A magnificent illuminated Livy/ 
 
 * This room when completed will contain 800 
 Manuscripts a part of which are yet in the Binder's 
 hands. 
 
85 
 
 This venerable manuscript formerly 
 belonged to Alfonso the 1st. King of 
 Naples, and there is every reason for 
 believing it to be the very manuscript 
 sent to that Sovereign by Cosmo de 
 Medici (who was then at War with 
 him) as a peace offering, and which is 
 mentioned in the life of Lozenzo de 
 Medici. Vol. L p. 3. 4to. edit. 
 
 2. A splendid Petrarch beautifully 
 illuminated and whichcontains the lines 
 usually prefixed to the Trionfo della 
 Morte, and the Capitolo whifch pre- 
 cedes tho Trionfo della Fama, which 
 are omitted in some of the printed edi- 
 tions as apocryphal. 
 
 3. A very curious Dante, the designs 
 €>f which have great merit when consi- 
 dered with reference to the very early 
 period at which they were produced. 
 
86 
 
 4. A superb Illuminated copy of 
 Caesar's Commentaries. 
 
 5. A singularly rare and valuable 
 illuminated Manuscript of Bocaccio. 
 
 6. A most magnificent Biblia Sacra 
 of the beginning of the 14th. Century, 
 the miniatures it contains are by an 
 Italian Artist in the school of Giotto.* 
 
 Wc must not omit mentioning a 
 small volume in folio,, consisting pf 
 Friezes, Cornices, Capitals, and Bases, 
 designed by Raphael, from the ancient 
 Roman Temples. Baron Stosch, the 
 late Hanoverian resident at Florence, 
 had in his possession the elevations and 
 plans belonging to this book of de- 
 signs, done by the same great hand. 
 
 On each side the window are two 
 
 * This was purchased at Mr. Koscoe's Sale by 
 its present possessor. 
 
87 
 
 Marble Slabs of Mount Edgecumbe 
 j*ed Granite,, in gilt metal frames. 
 
 LIBRARY. 
 
 54 feet by 18. 
 
 The elegant ceiling, and pilaster 
 chimney piece, of siena marble, are 
 both designs of Mr. Kent. 
 
 Over the cliimney piece. 
 
 An exceeding rare and valuable piece 
 t)f antique mosaic, representing a com- 
 bat between a Lion and Leopard, pur- 
 chased in Rome by Mr. Coke. 
 
 This library is elegantly and com- 
 pletely fitted up with light open book- 
 cases, that contain a large number of 
 
88 
 
 choice works, and books of engravings 
 some of which are extremely rare. The 
 dado contains port-folios of valuable 
 original drawings and prints, by Ra- 
 phael, Julio Romano, Francesco, Pen- 
 ni, Polidoro, the Carraccis, Guido, 
 JDominichino, Guercino, Titian, Carlo 
 MarMi, and the Venetian and Flem- 
 ish Schools. 
 
 Also a valuable collection of ceil- 
 ings, pavements, vases,, and urns, de- 
 signed and colored from the antique^ 
 by Santo Bartolu 
 
89 
 
 MR. COKE'S 
 
 SITTING ROOM. 
 
 18 feet by 24. 
 
 The Statuary marble Chimney piece. 
 Ceiling, Sofas, Chairs, Tables, and two 
 Pier Glasses, were all executed from 
 designs of Mr. Kent. 
 
 Over the Chimney piece. 
 
 127. Milk Girl, from Gainsborough 
 Painted by Lady Anson. 
 
 On the left hand side, 
 
 128. Madone and St. Francis. 
 
 Lavadone, 
 
 On the right, its Companion. 
 129^ An Altar piece Solimenc 
 
90 
 
 Under the Madone. 
 
 130. A Head of Christ. F. Barocci, 
 
 Its Companion. 
 
 131. A fine head of the Virgin Mary. 
 
 C. Maratti 
 
 Over the doors* 
 
 132. & 133. Two pieces of Thistles 
 and Poppies. By a Flemish Master* 
 
 134. A large Picture of Lucretia. 
 
 Luca Giordano. 
 
 ILLUSTRATION. 
 
 Lucretia is in the act of stabbing 
 herself in the presence of Lucretius her 
 Father, her Husband Collatinus, and 
 their Friends; as related by Livy. 
 
 Over the door on the right hand. 
 
 135. A Moon light piece. Vanderneer* 
 
91 
 
 136. A Nest of Owls. Painted by 
 
 Lady Anson. 
 
 137. A copy of the Misers, by Miss 
 Coke. 
 
 138. The Infant Academy, a copy 
 from Sir J. Reynolds, by Lady Anson. 
 
 In the lower Tier. 
 
 139. to 142. Four Landscapes, by that 
 excellent and rare Flemish Master, 
 
 Livio Mens 
 
 He was first a designer of small 
 figures with the pen, in the manner of 
 Callot; but going to Florence, and ap- 
 plying to Painting by the advi e of his 
 friend, Stefano della Bella, who took 
 him to Rome, he became famous for 
 Landscapes. 
 
92 
 
 Mr. COKE'S 
 
 BED CHAMBER. 
 
 18 feet square. 
 
 Chimney piece. 
 Black and yellow Italian marble, 
 mask and drapery of statuary, from a 
 design by Inigo Jones. 
 
 The ceilings by Mr. Kent. 
 Over the Chimney. 
 143. A view of the palace, and place 
 of St. Mark, at Venice. Canaletti. 
 
 The preparation for the Doge's wed- 
 ding the sea upon ascension-day, is ex- 
 hibited on the fore part of the canvas; 
 where are assembled a prodigious num- 
 ber of Gondolas and Gondoliers, dis- 
 posed in a variety of attitudes; toge- 
 
93 
 
 tlier with the grand vessel called the 
 Bucentauro, in which the Doge per- 
 forms the ceremony; set off with that 
 gaiety of coloring, for which the Ve- 
 netian painters have been ever remark- 
 able. 
 
 Above it, 
 
 144. A beautiful head, in an oval, of 
 an Italian Girl, known by the name of 
 the (C Maid of the Inn." In crayons. 
 
 Rosalia. 
 
 Over the doors 
 
 145. & 146. Two fine pieces of fowls. 
 
 ImperialL 
 
 This room is hung with tapestry, ex- 
 ecuted by Vanderbank, from designs by 
 Albano, excepting the two door pieces, 
 Venus, Vulcan and Cupids, which ad- 
 ditions were manufactured by the late 
 Mr. JBradshaxVr 
 
94 
 
 Mb. COKE'S, 
 
 DRESSING ROOM. 
 
 In this room are bookcases,, contain- 
 ing many valuable editions of early 
 French authors. 
 
 The following drawings are ly eminent 
 Masters. 
 
 147. A waterfall. . Poussin. 
 
 148. Healing the lame in the temple. 
 
 CarraccU 
 
 149. Joseph and his brethren. 
 
 Polidor Carravagio. 
 
 150. Christ taken down from the cross. 
 
 D. da Volterra* 
 
 151. Our Saviour and his disciples. 
 
 Raphael, 
 
 152. Hermit; in a landscape. 
 
 Salvator Bosa, 
 
 ■fib 
 
 g2 
 
95 
 
 153. A pestilence.— in bistre. 
 
 JV. Poussin, 
 
 154. A holy family. Barocci. 
 
 155. Birth of St. John. — in bistre. 
 
 156. Two figures, in do. 
 
 157. Landscape and figures, — in pen 
 and bistre. Claude, 
 
 158. Ado. in do. By ditto. 
 
 159. A do. in do. By ditto. 
 
 The three last drawings are very capital. 
 
 160. A battle piece. Bourgione. 
 
 161 . Six miniatures, — in gilt frame. 
 
 162. Seven do. — in do. 
 
 163. Five do in do. 
 
 164. Head of Christ, after Guido. 
 
 165. Assumption of the Virgin,— on 
 agate. Rotenhamer. 
 
 166. A Diana, Ignatius, 
 
DRAWING ROOM. 
 
 30 feet by 22 and 22 in height 
 
 This Ceiling is from Inigo Jones, and 
 the standing Griffins in the Frieze of 
 the Entablature,, out of Degodetz. 
 
 The Statuary Marble Chimney piece, 
 is from a design by Inigo Jones, exe- 
 cuted by Pickford, 
 
 Two marble Bustoes upon the Cor- 
 nice of the Chimney piece: one of the 
 late Duke of Bedford, the other of the 
 Right Honourable Charles James Fox, 
 both bj Nollekens. 
 
 Over the Chimney piece. 
 
 167 Madonna in Gloria. 
 
 She is standing upon a Globe sur- 
 rounded with Angels: an Original, by 
 
 g3 
 
97 
 
 JPietro cle Pietri, pupil of Carlo Marattu 
 The colouring is much in the style of 
 that Master's. It was purchased of 
 Agostino Masucci. 
 
 168. & 169. Two large Bird pieces. 
 
 Hondikooter. 
 
 These Pictures are emblematical re- 
 presentations of King William's Wars. 
 
 ILLUSTRATION, 
 
 Goose,, England. Cockatrice, France, 
 Eagle, Austria. Stork, Holland. 
 Raven, Denmark. Serpent, Turkey. 
 Brown Eagle, Russia. 
 
 170. Appollo flaying Marsias. 
 
 Claude Lorrain. 
 
 This is a noble Landscape : a bright 
 Sunshine, and considered by the best 
 Judges, as one of the finest works of 
 that Master in this Country. 
 
^8 
 
 ILLUSTRATION 
 
 "'Apollo was challenged by Marsias 
 to a trial. of skill on the Flute, it was 
 agreed by the Parties, that the Con- 
 queror should be at liberty to flay the 
 Vanquished. The God of Music bore 
 away the Palm of victory, and immedi- 
 ately flayed him for his temerity and 
 afterwards converted him into a River/* 
 
 171. A Storm. Nicola Poussin. 
 
 This is the Companion of the above, 
 and is considered as a most capital Pic- 
 ture. It was purchased at the Earl of 
 Cholmondley's Sale. 
 
 172. Portrait of the Duke d' Arem- 
 berg. Vandyke. 
 
 This noble Picture, for its fine co- 
 loring, drawing 1 , and high state of pre- 
 servation, may challenge a competition 
 
 Git 
 
99 
 
 with any work of this Master extant. 
 
 It formerly belonged to the Grand 
 Duke of Bavaria. 
 
 Over the doors are four Plaster Casts 
 of Heads from the Antique. 
 
 Faustina. Wife of the Emperor 
 Antoninous, famous for her vices. 
 
 Pythagoras. A celebrated Philoso- 
 pher. 
 
 Zeno. The founder of the Stoic 
 Philosophy. 
 
 Carneades. A celebrated Philoso- 
 pher, of Cyrene n Africa. 
 
 The table which stands under the glass is, 
 
 Gf Alabastro Palombaro^ purchased 
 
 at Rome. 
 
 Opposite the Vandyke. 
 173. A copy from the celebrated 
 
100 
 
 picture of Belisarius, by Murillio, be- 
 longing to the Duke of Devonshire. 
 Painted by Lady Andover, at the age 
 of fifteen. 
 
 saloon; 
 
 28 feet by 40 and 32 feet high. 
 
 The whole entablature of this Room^ 
 which is of the composite order, is 
 taken from Palladio's proportions. The 
 Foliage in the Frieze, and Octagon 
 Mosaics in the Cove of the Ceiling, 
 from Degodetz. 
 
 Two Sicilian Marble Column Chim- 
 ney pieces, with Bas-reliefs in the 
 Tablets of the Friezes; by the late 
 Mr. Thomas Carter. 
 
101 
 
 Over the centre door, 
 
 Is a large Antique marble Busto of 
 Juno,, the Queen of the Gods, and wife 
 of Jupiter. This Busto was purchased 
 at Rome. 
 
 PICTURES IN THE SALOON. 
 
 174. The Continence of Scipio Afri- 
 canus* Giuseppe Chiari 
 
 This is a large Historical Compositi- 
 on, painted for the Earl of Leicester, 
 when at Rome. The Painter has intro- 
 duced the Earl who was then a youth 
 in the character of Allucins. 
 
 The Artist has represented Scipio. 
 when flushed with the conquest of new 
 carthage, in the act of restoring a cap- 
 tive lady of singular beauty to Allucius 
 a Celtiberian Prince, to whom she was 
 betrothed. 
 
102 
 
 At the other end of the saloon, is a large 
 historical picture of 
 
 174. Coriolanus in the camp of the 
 Volsci. Pietro Cortona. 
 
 The interesting scene, which the 
 painter has delineated, is too generally 
 known to need any illustration. A sig- 
 nal homage was paid to the force of 
 natural affection, and we find that the 
 heart, which the intercession of a Sen- 
 ate, and the adjuration of Priests could 
 not soften, was dissolved by the tears 
 of a mother. 
 
 Over the left hand chimney. 
 
 175. A full length portrait of Tho- 
 mas William Coke, Esq. 
 
 Gainsborough. 
 Over the fight hand chimney. 
 
 176. A full length portrait of the 
 
103 
 
 Right Honourable Charles James Fox, 
 
 Opie* 
 
 At the bottom of picture are the follow- 
 ing lines 
 
 A patriot's even course he steer' d 
 Mid' factions wildest storms unmovd, 
 By all, who mark'd his mind, reverd, 
 By all* who knew his heart, belov'd. 
 
 Over the door. 
 
 177. The portrait of Carlo Maratti's 
 daughter. C. MarattL 
 
 Its companion. 
 
 178. A lady playing on a harpsichord. 
 
 By ditto. 
 
 There are two fine antique mosaic 
 tables in this room, found in the Villa 
 Adriana near Tivoli, and purchased of 
 the Cardinal Furietti. 
 
 Also two Candelebras of exquisite 
 workmanship, the urns are of old Chel- 
 sea china. 
 
104 
 
 SOUTH 
 
 DINING ROOM. 
 
 lThe Ceiling of this Room is from a 
 design of Inigo Jones, ornamented in 
 the soffits of the beams with Vine 
 Branches, Leaves., and Bunches of 
 Grapes, exceeding rich and beautiful. 
 
 The Hangings are of Crimson flow- 
 ered Genoa Velvet 
 
 The Pictures in this room are well 
 deserving the attention of the enquiring 
 Traveller, or the Connoisseur ; who., 
 though their opinions respecting them 
 may not exactly coincide, they will 
 leave them, equally gratified. 
 
 On entering this Room the attention 
 w ill naturally be directed to the Paint- 
 ing over the Chimney piece, which is a 
 
105 
 
 truly valuable acquisition to the H6lk 
 ham collection. 
 
 179. Portrait of Leo the 10th. with 
 the Cardinals, Guilio de Medici, his 
 Cousin on his right hand, and his Ne- 
 phew the Cardinal de Rossi, who was 
 afterwards Clement 7th. on his left. 
 
 Raphael* 
 
 Purchased by the present Possessor 
 from the collection of W. Roscoe Esq. 
 the celebrated Author of the life of 
 Leo the 10th. and Lorenzo de Medici. 
 
 Between the doors, on the side towards 
 the Saloon, is a large capital Picture 
 representing. 
 
 180. The return of the Holy Family. 
 
 Rubens, 
 
 The figures in this celebrated Picture 
 are as large as life, the head of Joseph 
 is equal to any thing of that Master, 
 
106 
 
 the figure of the Child; the drapery of 
 the Virgin, which in this piece is red,* 
 the truly Picturesque head of the Ass, 
 composing the centre Group, are all 
 painted with admirable Force and bril- 
 liancy of colouring. 
 
 On the left hand of the chimney piece is, 
 
 181. A naked Venus. Titian. 
 
 She is reclining with a flute in her 
 hand, and a viol de gambo standing 
 by her. Cupid is crowning her with 
 flowers. A man playing on a guitar, 
 sits at her feet. 
 
 These are the portraits of Philip the 
 2nd. of Spain, and the Princess D'Obi- 
 lo, his mistress. 
 
 This picture was purchased out of 
 
 * There is a Painting at Blenheim, by the same 
 IV aster, in every respect similar to this, excepting 
 tie Drapery of the Virgin, which is blue. 
 
10? 
 
 Prince Pio's collection at Rdme, and 
 is an original in Titian's last manner. 
 
 Under it, 
 
 182. A landscape,, evening, in the 
 foreground is the portrait of the paint- 
 er, in the act of drawing. 
 
 Claude Lorrain, 
 
 On the right hand of the chimney piece is, 
 
 183. Susanna and the Elders. Copied 
 from a celebrated picture of Guido, in 
 the collection of Viscount Anson. 
 
 Painted by Viscountess Andover. 
 Under the above, 
 
 184. A landscape. Nicolo Poussin. 
 The subject, a storm, with gleams of 
 
 lightning striking upon a tower. 
 
 Opposite to the Holy Family, 
 
 185. Joseph and his Mistress. Guido. 
 In this picture the figures are as large 
 
108 
 
 as life, this is in Guido's first manner, 
 the folds of the drapery, which are re- 
 markable for their fine taste ; the atti- 
 tudes of the figures, and the airs of the 
 heads, are conceived with inimitable 
 gusto. 
 
 This picture was held in high esti- 
 mation, when it made part of the Cos- 
 taguta, from whence it was purchased, 
 
 Over the door, 
 
 186. A portrait of Julius 2nd. 
 
 Pomerancio. 
 
 On the right hand. 
 
 187. Sir Lionel Talmash. 
 
 Sir Peter Lely, 
 
 Over the door on the left hand side of 
 the Holy Family. 
 
 188o A portrait of Waller the poet. 
 
 Sir Peter Lely. 
 
 B 
 
109 
 
 On the right hand. 
 
 189c A Venetian Lady, being* the 
 portrait of Titian's Mistress, painted 
 by himself. 
 
 The chimney piece is an idea of Ini- 
 go Jones's, on its cornice are placed 
 two marble Busts of the Right Hon- 
 ourable William Windham, and the 
 JMarquis Hastings, both by Nollekens* 
 
 Under the pier glass, 
 
 A fine Slab of siena marble. 
 
 LANDSCAPE ROOM* 
 
 A Cube of 21 feet. 
 
 The Chimney piece and Ceiling* are 
 both by Inigo Jones. The Hangings 
 a A e Crimson Genoa Damask. 
 
110 
 
 This Room, which is magnificently 
 lighted by one of the large Venetian 
 Windows in the South Front, contains 
 a collection of choice Landscapes, by 
 the greatest Masters, particularly of 
 Claude Lorrairi's, who was the favorite 
 Painter of the Earl of Leicester. 
 Over the Chimney piece. 
 
 190. Landscape and figures. Claude. 
 
 191. A Landscape, by Poussin, a 
 companion to the Storm. 
 
 On each side of the above. 
 192 & 193. A Landscape. Horizonte. 
 Below them over the side doors. 
 
 194. & 195. Landscapes, in excellent 
 preservation. Caspar Poussin. 
 
 Over the door next the Anti Room, 
 196. The famous Landscape of Domi- 
 nichino, formerly in the Barberini 
 Palace, 
 
 h2 
 
Ill 
 
 The subject of this Piece is AbrahaM 
 preparing to sacrifice his Son Isaac 
 The fine design of the Figures, and 
 the beautiful design of the Landscape 
 (taken from the Banks of the Tibei% 
 near Ponte Molle,) the extreme rarity 
 of Dominichino's Works in this kind, 
 who, with Guercino and some others 
 of the Carracci's School, derived an 
 excellent Gusto of Landscape from 
 their Master Annibal; are Charms to 
 the Adepts in Painting, that have ren- 
 dered this Picture one of the most 
 celebrated of that Master, 
 
 Over it. 
 
 197 A fine Salvator Rosa. 
 
 198. & 199. The Pendents that hang 
 on each side of the Salvator Rosa, are 
 by Lucatelli. They are greatly superior 
 to the Horizonles in the same room, 
 
112 
 
 On the Window side 
 
 200. Of the Dominichino is a very 
 fine Landscape, of St. John baptizing 
 our Saviour. Francesco Bolognese* 
 
 Its Companion. 
 
 201. A capital Landscape,, by Gaspar 
 Poussin. This composition is distin- 
 guished by a group of Ruins, raised on 
 an Eminence near the centre of the 
 Picture. 
 
 In the Lower Tier. 
 
 •202. & 203. Two Pendents by tire 
 same Master, one on each side of the 
 door, they are finely composed, and in 
 excellent preservation. 
 
 On the other side of the Room, next the 
 Corridor, the first over the door is 
 
 204. A bright agreeable Landscape, 
 Figures* and Cattle. Claude Lorram, 
 H3 
 
113 
 
 Above it is 
 
 205. A large one by Claude. The 
 subject is taken out of Tasso. — "Ermc- 
 nia in discourse with the Old Man and 
 his two Sons." 
 
 206. & 207. The Pendents in the 
 same Tier, one a Sea piece,, the other a 
 Landscape particularly distinguished 
 by their bright tone of colouring, are 
 the productions of Mons. Verne fs. 
 Pencil. They were purchased of Signor 
 Amerani, the Pope's Medallist. 
 
 208. & 209. The pair of Landscapes 
 below the Vcrnet's, are both by the 
 hand of Claude Lorrain. 
 
 That which represents the Sun rising 
 behind a Cloud, reflected in a large ex- 
 tent of Sea, is particularly fine: the 
 stupendous pierced Rock, through 
 which is seen a continued Chain of 
 
114 
 
 Caverns stretching along the Sea shore, 
 gives the composition a romantic air. 
 
 Its companion. 
 
 210. A setting Sun,, in which repre- 
 sentation Claude is allowed to have ex- 
 celled all other Painters. 
 
 The pendents below the above described 
 pictures, are both by the same Master. 
 
 211. Apollo in his exiled state, at- 
 tending the Castle of Admetus. 
 
 Its companion. 
 
 212. Is a Sea view, not much unlike 
 the Bay of Naples seen from the port: 
 upon the fore ground is a figure sitting, 
 probably Claude himself, in the attitude 
 of sketching the ruins of an ancient 
 portico. 
 
 These two beautiful pictures of 
 Claude, that have hitherto escaped the 
 h4 
 
115 
 
 injuries of time with unfaded lustre, 
 hung in Cardinal Alexander Aidant's 
 bed chamber^ and were purchased of 
 his Eminence. 
 
 CORRIDOR, 
 
 LEADING TO THE CHAPEL. 
 
 213. Noma Pompilius giving laws to 
 Rome. This is a large historical com- 
 position, painted for the Earl of Lei- 
 cester. Procaccini, 
 
 The figure of Rome is kneeling: a 
 young Senator, on the right of the ve- 
 nerable law-giver, is drawn for the 
 Earl himself : a vestal Virgin, pouring 
 oil upon the holy fire, alludes to that 
 famous institution ; and the several or- 
 
lie? 
 
 ders of Priests,, the Salii, and the 
 Martii, form different groups that fill 
 up the picture. 
 
 CHAPEL. 
 
 63 feet by 18, and 27 feet high. 
 
 Over the Altar. 
 
 215. The assumption of the Virgin, 
 a masterly performance by the admira- 
 ble Guido lleni. 
 
 On the side payinels. 
 
 216. & 217. Two whole length fi- 
 gures of Santa Cecilia and St. Anne. 
 
 Cipriani. 
 
 Above in the attic part of the Chapel are, 
 218. Abraham, Hagar and Ismacl, by 
 
11/ 
 
 Andrea Sacclii, from the Barberini col- 
 lection. 
 
 219. The Angel appearing to Joseph, 
 
 Lanfranco. 
 
 220. Rebecca at the Well. 
 
 Benedetto Luti, 
 
 In the family seat, over a neat small 
 chimney piece, composed of Stafford- 
 shire Alabaster y and colored marbles is, 
 
 221. A picture of St. Mary Magdalen 
 and an Angel. Carlo Maratti. 
 
 The screen to the seat towards the 
 chapal is of cedar wood, inlaid with 
 ornaments carved in lime tree. The 
 basement of the chapel is encrusted 
 with Staffordshire alabaster: and the 
 columns are also of the same material. 
 
118 
 
 ST A TE 
 
 BED CHAMBER. 
 
 20 feet by 30 and 17 feet high, 
 
 Tapestry Hangings; Europe, Africa^ 
 and America: these three principal 
 Pieces are said to have been formerly 
 in possession of a Duke of Bavaria: 
 the Manufacturing is of Flanders, 
 Asia is represented by a Turkish Pro- 
 cession of Pilgrims to Mecca, done 
 from designs by Zuccarelli, by the late 
 Mr. Paul Saunders, as were also the 
 two smaller Pieces, Sleep and Vigi- 
 lance, on each side of the Bed, 
 
 Ov$r the Doors. 
 
 The four Seasons, are also by Zucca- 
 relit The Bed is of particularly 
 
119 
 
 beautiful flowered Genoa Velvet of 
 three colours,, ornamented with Earls' 
 Coronets and Pine Apples. 
 
 Over the Chimney piece. 
 
 222. A well executed Picture of Jupi- 
 ter caressing Juno. The subject from 
 Homer. Gavin Hamilton. 
 
 Tfie Chimney piece. 
 
 Statuary marble Thermes, with Heads 
 of the younger Empress Faustina, upon 
 a ground of Siena, executed by Carter. 
 
 On its Cornice, 
 
 Stands a very fine Antique Medallion 
 of Julius Caesar, in Bas-relief, purchas- 
 ed at the Sale of Dr. Mead's Antiquittez* 
 
120 
 
 STATE 
 
 BED CHAMBER 
 
 CLOSET. 
 
 ^his room is hung with green satin. 
 
 The chimney piece is composed of 
 antique pavonazzo, Derbyshire black 
 marble,, and white alabaster. 
 
 Over the Chimney Piece, 
 223, Is Polyphemus and Galatea, 
 painted in Fresco upon an antique tile, 
 less than two feet square: it has a glass 
 before it. 
 
 Polyphemus is represented sitting on 
 a rock by the sea side, in an attitude as 
 ii sounding his Sampogna; the music 
 of w hich he suspends, to behold his be- 
 loved Galatea, who passes by him at- 
 tended by Nereids, in a shell drawn by 
 
121 
 
 dolphins: her veil streaming to the 
 wind,, forms over her head a bow in the 
 air,, that gracefully fills up a void iu 
 the composition, 
 
 This admirable picture of Annibcd 
 Carracci, who exceeded all other paint- 
 ers in that kind of Imagery; was pur- 
 chased out of the Barberini collection,, 
 of which, it made one of its most cele- 
 brated ornaments . 
 
 Above it, 
 
 224. A very fine piece of Macaws 
 and Parrots. Rubens. 
 
 On the right hand of the foregoing is, 
 
 225. A design for an Altar piece. 
 
 Sebastian Conca. 
 
 226. A design for a ceiling. By ditto. 
 
 227. An Altar piece. By ditto, 
 
 228. A view of Vignola's Palace, at 
 Caprarola* G„ Occhialu 
 
192 
 
 229. A view of Rome from the Banks 
 
 230. A small whole length of Villiers 
 
 231. The marriage of Psyche, and 
 banquet of the Gods, two small paint- 
 ings in water colors,, from Raphael. 
 
 Ignatius. 
 
 232. A landscape, in water colors, 
 from Rubens. Goupy. 
 
 233. A small Holy Family, — in an 
 ovaL Albano. 
 
 234. A copy of his Majesty's fine 
 Claude Lorrain. Goupy. 
 
 235. A ditto from N. Poussin, with 
 the story of Pyramis and Thisbe. 
 
 By ditto 
 
 236. A view in Venice. 
 
 Gaspar OcchialL 
 
 of the Tiber. 
 
 By ditto. 
 
 Duke of Buckingham. 
 
 Vandyke. 
 
123 
 
 237. A landscape from Dominichino^ 
 our Saviour at the lake of Genesaret. 
 
 Gonpy* 
 
 238. A view of the Bay of Naples, 
 with the castle of St. Elmo. Occhiali, 
 
 239. Death of Cleopatra,— a drawing 
 in water colors. 
 
 240. Continence of Scipio, from Pie* 
 iro da Cortona. 
 
 241. Antony and Cleopatra, — a draw- 
 ing in water colors. 
 
 Over the doors. 
 
 242. Cupids with flowers. 
 
 JPhilipo Laura. 
 
 CLOSET to NORTH STATE 
 
 BED CHAMBER. 
 
 The chimney piece is composed of 
 
124 
 
 an antique marble, called, Setti Basi, 
 Italian red,, and Derbyshire white Ala- 
 baster, by Pickford. 
 
 Over the door leading into the Passage 
 
 243. A Cupid. Guido. 
 
 He is holding the point of an Arrow- 
 to the bill of a Dove, hovering above 
 his head ; another Cupid is seen flying 1 
 in the Distance, over the Elements of 
 Earth and Water; Emblematical of 
 the universal power given by the Poets 
 to that Deity. 
 
 244*. A large landscape, in the man- 
 ner of Francesco Bolognese. 
 
 Bartolomeo* 
 
 Over the doors of the suite, are two 
 perspective views. 
 
 245, The Doge's Palace, the Procu- 
 riatia Nuova, the Mint, the Jesuits 5 
 i 
 
125 
 
 College, and the Church of the Salute. 
 
 Gasparo Occhiali, 
 Its companion, 
 
 246. The famous one of the Bridge * 
 and Castle of St. Angelo, the front of 
 St. Peter's Church,, and part of the 
 Vatican Palace, the most magnificent 
 group of buildings in Italy. By ditto. 
 
 A front view of St. Peter's 
 Church, its Obelisk, Fountain, circu- 
 lar Colonnades, and of the Vatican 
 Palace. By ditto. 
 
 248. A view of the Coliseum, and 
 arch of Constantine. By ditto. 
 
 In the lower tier of pictures is, 
 
 249. A prospect of the canal at Milan. 
 
 By ditto. 
 
 The justness of Occhiali 9 s perspec- 
 tive views, and the fine glow of his 
 Flemish coloring are excellent, perhaps 
 
126 
 
 not to bo met with in the work of any 
 other painter. 
 
 250. Battle piece. Wouwerman. 
 
 251. A view of the Rialto at Venice, 
 
 Canaletth 
 
 252. Palace Cornaro, or the grand 
 canal. By ditto. 
 
 In the lower tier opposite the chimney. 
 
 253. A portrait of Ruben's daughter, 
 
 Rubens 
 
 On each side of the above, 
 
 25 \, & 255. Landscapes. 
 
 Caspar Pons sin 
 
 NORTH STATE 
 
 BED CHAMBER. 
 
 This room is a cube of 21 feet dia- 
 meter, hung with tapestry, truly ex- 
 
 i2 
 
cellent both for design and workman- 
 ship,, its several pieces exhibit the 
 various productions of the months, 
 caused by the Sun's annual progress 
 through the signs of the zodiac. 
 
 Pisces is represented under the form 
 of a winged genius, bearing two fine 
 pike, below his feet are fishermen's 
 nets, boys sporting with a large codfish; 
 and above are festoons, composed of 
 all the variety of fish that are to be 
 found in the northern regions, a boy 
 is fastening a large sturgeon to the ca- 
 pital of a column. 
 
 The dead game, fruits, flowers, and 
 animals, were most probably copied 
 from paintings of Snyders. 
 
 The chimney piece, Fior di Persica, 
 and antique marble. 
 
 The ornaments within the sunk pi- 
 
lasters (instruments of the Roman sa- 
 crifice) were copied from a very fine 
 ancient fragment of the same size,, in 
 the garden of the Villa Medici, by the 
 late Mr. T. Carter. On its tablet is 
 represented - the birth of the poet Lu- 
 can/' out of Montfaucon. 
 
 Over the chimney piece. 
 
 256. Picture of a musician playing on 
 a violincello, supposed to be the por- 
 trait of D. Rizziv, a dark, but most 
 excellent performance of Mold's. 
 
 Over the dressing room door. 
 
 257. Fine whole length portrait of 
 Henry Rich, Earl of Warwick. 
 
 Vandyke. 
 
 \3 
 
129 
 
 DRESSING ROOM, 
 
 TO NORTH STATE 
 
 bed chamber- 
 
 is 27 feet by 17 and 20 feet high. 
 
 The Ceiling is from Inigo Jones. 
 Above the door opening into the Hall. 
 
 258. Is a whole length of Mrs. New- 
 ton, Grandmother f to the Earl of 
 Leicester. 
 
 One of the principal Ornaments of this 
 Room, is the 
 
 259. Madonna and Infant Christ. An 
 undoubted Original, of Raphael D' 
 U rhino. 
 
 The Virgin is a three quarter Figure, 
 nearly the size of Life; the child Jesus 
 sitting on her knees, regards his Holy 
 
130 
 
 Mother with a look of ineffable sweet- 
 ness, mixed with rapture, for which 
 expressions Raphael, above all other 
 great Masters, merited the Appellation 
 so often given him by the Italian 
 Writers, of II di vino; since he onty, 
 could express, joined to gracefulness 
 and dignity of Character, those exalted 
 affections of the niind, 
 
 This Picture, which is painted upon 
 Board, was brought into England by 
 the Cavalier Casali, of whom the Earl 
 of Leicester obtained it. 
 
 From the Tints of the Chiaro Ob- 
 scuro, it is evident that Raphael paint- 
 ed it at the time when he imitated 
 Leonardi da Vinci, and the Florentine 
 manner; but the Airs and Ideas of the 
 Heads, particularly that of the Christ, 
 are far superior to any ever imagined 
 by that school. 
 
 i4 
 
131 
 
 The Robe of the Virgin is striped, 
 like that of the Madonna della Seggia 
 in the Palazzo Pitti. 
 
 260. Poultry. Hendikooter. 
 
 261. Fruit and flowers. 
 
 262. The adoration of the Magi. 
 
 Cavalier Calabrese. 
 
 This is a large composition, and is 
 the centre picture on that side of the 
 room. Purchased from the Barberini 
 collection. 
 
 This painter who was what the Itali- 
 ans style a machinista, or grand com- 
 poser, excelled also in the knowledge 
 of the Chiaro Obscuro. 
 
 263. A fine head of an Evangelist, 
 holding a book. Guiclo. 
 
 264. The Holy Family, with two 
 Saints. Purchased of Mr. Roscoe. 
 
 Loviiii. 
 
132 
 
 Mary Magdalen doing penance 
 in the desert. Parmegiano. 
 
 This is a graceful small whole length 
 figure, highly finished. The air of the 
 head very devout, three cherubims 
 group with the crown of glory to which 
 her eyes are directed. Her drapery, 
 in the style of an antique statue, is ex- 
 quisitely designed, and well colored. 
 
 266. Mary Magdalen anointing the 
 feet of Christ. Paul Veronese. 
 
 The painter of this piece, is sitting 
 between his grey-hounds, which he fre- 
 quently introduced into Ms pictures. 
 He is discoursing with a man in a red 
 garment: two boys are sitting on the 
 floor under the portico,, a man, with 
 his back turned to the spectators, seems 
 to be driving out some persons that are 
 entering: a droll face in a pink colored 
 
133 
 
 head dress appear over his shoulder 
 Figures in Jewish habits are viewing 1 
 the ceremony from the balcony of the 
 portico. This picture was purchased 
 from the Barberini collection. 
 
 The bearded figure in black, is sup- 
 posed to be the portrait of Titian. 
 
 267. Head of Christ. 
 
 Leonardi da Vinci. 
 
 A picture not excelled by any pro- 
 duction of that master, the character 
 is full of dignity and feeling, and ne- 
 ver fails to strike the spectator with 
 awe and admiration. Purchased at 
 Mr. Roscoe's Sale, by the present pos- 
 sessor. 
 
 268. Christ fallen under the cross, 
 the Virgin Mother weeping, and Santa 
 Veronica presenting the holy handker- 
 chief. Giacomo Bassano. 
 
134 
 
 This is a very bright picture, painted 
 with great force and brilliancy of co- 
 loring: and is one the best of this 
 master. 
 
 269. The Virgin and Infant Christ, 
 St- John and Joseph. 
 
 This is an old copy after Raphael, 
 from the fiarberini palace : the original 
 is in the Duke of Tuscany's collection. 
 
 270. The Holy Family. Purchased 
 from Mr. Roscoe's collection. 
 
 D. Ghirlandaio. 
 
 271. The deluge. Carlandrucci, a 
 pupil of C. Maratti's. 
 
 272. A landscape. Annihal Caracci. 
 To the right of the chimney, 
 
 273. A beautiful small landscape and 
 figures. A repose by Claude Lorrain, 
 and in line preservation. Purchased 
 at Rome. 
 
135 
 
 274. St. George, Santa Saba, and the 
 Dragon. 
 
 This picture was painted for a com- 
 panion to the foregoing by Van Lint, 
 called Studio. 
 
 Over the door leading to the bed room, 
 
 275. A whole length portrait of Nell 
 Gwynn, Dutchess of Richmond, mis- 
 tress to Charles the 2nd. 
 
 At the bottom of the room, on a pe- 
 destal, is an exquisite small drapery 
 figure of an Isis, with a cornucopia, 
 restored by Cavaceppi: the marble of 
 which is supposed to be the Parian, is 
 remarkably transparent. It was pur- 
 chased at Rome. 
 
 A most fare and costly Jewel cabinet, 
 superbly carved in ivory and amber, on 
 the top is a figure of Orpheus charm- 
 ing the beasts. 
 
136 
 
 PORTER'S HALL 
 
 OR 
 
 GUARD ROOM. 
 
 An excellent Bust in Plaster, and a 
 very good likeness of the Earl of Lei- 
 cester, by Roubiliac. 
 
 A good antique Busto of the Empress 
 Salonia, which, tho* of the latter Em- 
 pire, when Sculpture was on the de- 
 cline,, might well pass for the work of 
 a fine Age. 
 
 A Busto called by the name of Lucius 
 Lentulus: antique. 
 
 A fine Consular Bust and Pedestal 
 both of one piece of Marble. 
 
is; 
 
 AUDIT ROOM. 
 
 21 feet by 48. 
 
 Above the Chimney piece 
 
 Is an antique Medallion of a Faun,, 
 in the attitude of dancing,, as if inspired 
 by the God Bacchus; he holds the 
 Lituus in one hand^ and in the other a 
 bunch of Grapes. In Basso Relievo. 
 
 In this room there is a large collec- 
 tion of scarce Prints. 
 
 COURT, 
 
 Between the Kitchen and 
 Chapel Wings. 
 
 A large fluted antique Sarcophagus^ 
 without its Cover: the body of it is 
 very intire and in good preservation, 
 
138 
 
 On a Tablet in front is the following 
 Inscription. 
 
 D. M. 
 T. FLABIO. HERME 
 TI. COIVGI. DVL 
 CISSIMO. OCTA 
 BIA, POLLITTA 
 CYRIA CE. BENE 
 MERENTI. FECIT 
 ET. SIBI. 
 
 TRANSLATION. 
 
 Octavia Pollitta. *Cyriace hath 
 erected this monument dedicated to 
 Titus Flabius Hermes her most dear 
 well deserving husband,, and to herself. 
 
 * An appellation perhaps adopted in the decline 
 of the Roman Empire and signifying the same as 
 domina in Latin or Lady in English. 
 
Company who may wish to see the 
 Family Plate, are requested to make ap- 
 plication to the Plate Burnisher. The 
 Gardens will also on proper application 
 be shewn. 
 
140 
 
 PARK. 
 
 To give a full description of this ex- 
 tensive Domain would form a volume 
 of itself; suffice it to say, the Park 
 within the Paling contains about 3500 
 Acres, Its circumference is upwards 
 of ten miles. Within the Park, is a 
 most enchanting ride of seven miles, in 
 the midst of a belt of Fir and other 
 Trees, Evergreens and Shrubs, whose 
 Foliage exhibits a variety of Tints. 
 
 The interior presents all the Eye or 
 Imagination can wish. Clumps of 
 flourishing Trees, sketched with the 
 greatest taste, gentle Hills, and the 
 Corn waving Vales; the extensive 
 Lake, with its finely wooded Shore ; 
 the Church and other objects combine 
 to heighten the scene. 
 
 & 
 
141 
 
 One of the principal ornaments of the 
 Park, is the 
 
 OBELISK. 
 
 This Pillar which stands on an Emi- 
 nence, is seen with great advantage 
 from the South Front of the House; 
 Skirted on each side with Wood, with 
 such great uniformity, it cannot but 
 attract notice. 
 
 From the Base Line to the extremity 
 of its Point it measures eighty feet; it 
 is only cased with Bath Stone ashler, 
 fastened together with Iron Cramps, 
 and as the work advanced, filled up 
 with regular courses of Brick-work 
 laid dry, and cemented with Grout or 
 liquid Mortar. 
 
 The difficulty consisted in prevent- 
 ing the settlement of the inner nuejeus, 
 
142 
 
 or brick Core, from the outside courses 
 of Stone Ashler: which this method 
 effectually removed. 
 
 Inigo Jones was the first that intro- 
 duced the Diamond or flat point: but 
 the Architect of Holkham has followed 
 the rules of Antiquity, and given its 
 termination an equilateral Triangle, of 
 which alteration Lord Burlington 
 afterwards approved. This Obelisk, 
 the first work erected at Holkham, was 
 completed in the year 1729. 
 
 Near this stands 
 
 THE TEMPLE 
 
 The portico, of which all except the 
 crests and cyphers in the frieze, was 
 taken from an example of the doric or- 
 der, exhibited in the Parallele del 
 Architecture, which the author, M. de 
 k2 
 
143 
 
 Chanibray, gives as a design of that 
 excellent Italian artist Pirro Ligorio, 
 from an ancient fragment found at Al- 
 ba no near Rome. 
 
 The projection of the cornice is very 
 large,, more than equal to its height; 
 and Lord Burlington, who saw it soon 
 after its completion, pronounced it to 
 be the best executed piece of work he 
 had seen performed in his time. 
 
 A few r yards to the north of the obe- 
 lisk, is a peculiarly grand view of the 
 House, and of the Lake, which from 
 this situation appears to be only sepa- 
 rated from the Sea by the beautiful 
 wood which intervenes. It resembles 
 indeed an arm of the Sea, flowing up 
 amidst a sylvan scene; not unlike that 
 witnessed by JEneas on the river Tyber, 
 
144 
 
 as he proceeded to the hospitable man- 
 sion of Evander. The fine panoramic 
 land and sea view from the Church 
 Tower exceeds description. 
 
 ENTRANCES. 
 
 The grand and principal approach 
 to the House,, is by the triumphal arch, 
 on the Fakenham road, from which a 
 tine broad vista leads to the Obelisk, 
 which is distant from the arch a mile 
 and a half, Rising with the hill you 
 approach the Obelisk, which is situ- 
 ated in the midst of a fine plantation; 
 passing through the obelisk wood, the 
 road branches off to the left leaving a 
 fine expanse of lawn on the south front 
 k3 
 
145 
 
 of the House, which is here se^en to the 
 greatest advantage. 
 
 THE 
 
 WEST LODGE, 
 
 A very neat building by Mr. Wyatt. 
 On the left of the road to the House is 
 an interesting view of the New Inn,, 
 where company coming to see the house 
 may receive every accommodation. 
 
 THE 
 
 EAST LODGE. 
 
 A building of simple and elegant 
 Architecture, by Wyatt; from hence to 
 the N W. is an extensive view of the 
 
146 
 
 rich well wooded and highly cultivated 
 grounds of the Park 
 
 GARDENS* 
 
 The Kitchen Garden including the 
 outer Belt contains, eight Acres. The 
 principal part is divided into three 
 squares of one Acre each— the lesser 
 part contains two compartments of one 
 Acre each. The extent of Walling,, 
 comprises upwards of fourteen hundred 
 yards in length, and fourteen feet in 
 height, well covered with Fruit Trees. 
 In the middle square are two Mulberry 
 Trees, which, as they are so generally 
 admired, may be here mentioned. — The 
 extent of one is thirty yards and 
 the other twenty-seven, in a fine 
 
147 
 
 and healthy state. The Vinery, which 
 perhaps is the finest in England, is de- 
 serving the inspection of Strangers. 
 The Hot Houses and Forcing Frames 
 are also deserving notice, 
 
 THE 
 
 PLEASURE GROUNDS 
 
 To the East of the Mansion are 
 tastefully laid out, a fine Gravel walk 
 winding through clumps of Trees and 
 Shrubs of various kinds, interspersed 
 with many a lovely Flower, beguiles 
 the footsteps of the wandering Stran- 
 ger, while passing through this Wil- 
 derness of sweets. 
 
148 
 
 A BRIEF SKETCH OF 
 
 m <d a, si m a m 
 
 SHEEP SHEARING, 
 
 (Taken from the Farmer's Journal of July 181(3.) 
 
 FIRST DAY. 
 
 This great Agricultural Festival commenced on 
 Monday the 1st. Instant. The company began to 
 assemble about Ten o'clock., and having mounted 
 their Horses proceeded to Longlands to inspect the 
 Shearers* in Mr. Bullen's Barn. From the Barn 
 they proceeded to inspect a very useful and simple 
 Horse Hoe, which cleans two Furrows at once. 
 Hence the company proceeded to examine the 
 growing Crops of Mangel wurzel and Lucern. 
 After viewing the above, rode on to Mr. Denny's 
 Farm at Egmere. About three o'clock the com- 
 pany returned to the Hall to Dinner, when about 
 one hundred Noblemen. Gentlemen and Farmers 
 sat down to Dinner, Mr. Coke presided at one 
 Table, and the Duke of Bedford at the other. 
 
149 
 
 After the Cloth was removed, and the usual 
 Toasts drank, an animated discussion on Agricul- 
 tural subjects was carried on, and the health of 
 Mr. Coke proposed by the Duke of Bedford, the 
 company adjourned to the Sheep Pens, where seve- 
 ral Pens of South-down Hoggets where exhibited, 
 also a Model of a Stack Saddle, the Frame of 
 which was of Cast Iron, and covered over with 
 Boards. 
 
 SECOND DAY. 
 
 The company assembled this Morning in much 
 greater numbers than on the preceding day. The 
 whole of the Party proceeded to the Sheep Pens 
 and after inspecting the different lots exhibited, 
 rode to Mr. Bloomfield's of Warham to inspect his 
 method of Inoculating Meadow land. The party 
 next returned to the House and soon after three 
 o'clock about two hundred sat down to Dinner. 
 After the Cloth was removed, the usual Toasts 
 drank, and the discussions on different Topics con- 
 cluded. The company adjourned to the Sheep 
 Pens, where the Shearers were engaged in clipping. 
 After a pleasant day, the company dispersed to 
 their respective quarters for the night. 
 
150 
 
 THIRD DAY. 
 
 The morning was unfortunately rainy, which 
 prevented an excursion, that had been planned by 
 Mr. Coke, to the Farm of Mr. Overman of Burn- 
 ham. In the mean time the Carcases of the Prize 
 Sheep were exhibited. The company next went to 
 inspect a Ploughing match, seven Ploughs were at 
 work. About three o'clock the party returned to 
 the Hall, soon after which, Dinner was served up, 
 and on the removal of the Cloth, many appropriate 
 Toasts were given, and the Healths of Gentlemen, 
 from different parts of the Kingdom, who had been 
 attracted to this splendid and rational Fete, drank. 
 Mr. Coke then proceeded to the adjudication of the 
 Prizes consisting of pieces of Plate from twenty to 
 live Guineas value. Premiums were also given from 
 live Guineas to one; to Ploughmen, Shepherds 
 and for Implements of Agriculture. After this a 
 long discussion took place respecting Merino 
 Wool &c. A number of Toasts succeeded to the 
 above discussion, indeed, so numerous were the 
 Toasts and Speeches, that the Hospitality of 
 Holkham was protracted to a later Hour than had 
 ever been remembered on a similar occasion, The 
 
151 
 
 Judges closed their remarks by congratulating Mr, 
 Coke upon the very fine exhibition of Devon cattle^ 
 which his example and liberality have been the 
 means of bringing forward for public Inspection 
 on the present occasion. 
 Holkham, July, 2nd. 1816. 
 
 { GEORGE TOLLETT, 
 SIGNED. < GEORGE FORDHAM. 
 ( FRANCIS BLAIKIE, 
 
 Note A.-— Periodic For which purpose 
 
 Michael Angelo had assigned to him an apartment 
 in the Ospital of the Dyers of San Onofrio^ where 
 he begun a very large Cartoon filled with naked 
 Men bathing in the River Arno during the heat of 
 the day. In that very instant was heard towards 
 the Country a beating to arms under the pretence 
 of an attack from the Enemy. In the hurry and 
 confusion occasioned thereby may be observed 
 Soldiers getting out of the water to dress them- 
 selves, the great eagerness of others arming them- 
 selves in order to assist their Companions, some 
 employed in buttoning on their own dress and 
 others in putting on different parts of their armour. 
 
 FINIS. 
 
V 1 W; ;