THE 
 
 GROSVENOR GALLERY, 
 
 Sir COUTTS LINDSAY, Bart 
 
 Proprietor and Director. 
 
 j. W. BECK, 
 Secretary. 
 
LONDON : 
 HENRY GOOD AND SON, PRINTERS, 
 12, MOORGATE STREET AND SWAN BUILDIN 
 
THE 
 
 GROSVENOR GALLERY. 
 
 SiK COUTTS LINDSAY, Bart., 
 
 Propriclor and Director. 
 
 ^ 
 
 J. COMYNS CARR axd C. E. HAI.I.K, 
 
 Assistant Directors. 
 
 J. W. BECK, 
 Secretary. 
 
' LONDON : 
 HENRY GOOD AND SON, PRINTERS, 
 12, ]\100RGATE STREET AND SWAN BUILDINGS, E (' 
 
EXHIBITION OF THE WORKS 
 
 OF 
 
 Sir Anthony Van Dyck, 
 
 WITH NOTES 
 
 BY 
 
 F. G. STEPHENS, 
 
 AUTHOR OF "ENGLISH CHILDRKN AS PAIN'TEIJ BY 
 SIR JOSHL'A RF.VNOI.DS," 
 ETC. 
 

 Digitized by 
 
 the Internet Archive 
 
 
 
 
 in 2015 
 
 
 
 https://archive.org/details/exhibitionofworkOOgros_0 
 
NOTICE. 
 
 IR COUTTS LINDSAY and the Directors of the Grosvenor 
 Gallery desire to express their thanks to the owners of work.-s 
 by Sir Anthony Van Dyck for the readiness with which so many 
 of the master's most important pictures have been entrusted to them 
 for the present exhibition. 
 
 They likewise take this occasion of recording their indebtedness 
 to Mr. F. G. Stephens, who has supplied the illustrative notes 
 accompanying the catalogue. 
 
 SUMMER EXHIBITION, 1887. 
 Pictures and Drawings are admitted to the Gallery solely on Sir 
 Coutt's Lindsay's invitation. Every possible care will be taken of the 
 works sent for exhibition, but Sir Coutts Lindsay cannot hold himself 
 responsible for injury or loss. 
 
6 
 
 Notice. 
 
 Artists can insure their works at the Gallery at the rate of is. 6d. 
 per cent. The prices of works to disposed of should be communicated 
 to the Secretary. A deposit of 25 per cent, must be made at the 
 Gallery when a work is purchased. 
 
TO VAN DYCK. 
 
 Rare Artisan, whose pencil moves 
 
 Not our delights alone, but loves ! 
 
 From thy shop of beauty we 
 
 Slaves return, that entered free. 
 
 The heedless lover does not know 
 
 Whose eyes they are that wound him so; 
 
 But, confounded with thy art. 
 
 Inquires her name that has his heart. 
 « « « « 
 
 Strange I that thy hand should not inspire 
 
 The l)eauty only, but the fire ; 
 
 Not the form alone, and grace. 
 
 But act, and power, of a face. 
 
 May'st thou yet thyself as well, 
 
 As all the world besides, excel ! 
 
 S(> you th' unfeigned truth rehearse, 
 
 (That I may make it live in verse) 
 
 Why thou cou'dst not, at one assay, 
 
 The face to aftertimes convey. 
 
 Which this admires. Was it thy wit 
 
 To make her oft before thee sit ? 
 
 Confess, and we'll forgive thee this : 
 
 For who would not repeat that bliss 
 
 And frequent sight of such a dame 
 
 Bu)' with the hazard of his fame ? 
 v\i ■}(■ i:- ^' 
 
 But now 'tis done, O let me know 
 
 Where those immortal colours grow, 
 
 That could this deathless piece compose 1 
 
 In lilies ? or the fading rose ? 
 
 No ; for this theft thou hast climb'd high'r 
 
 Than did Prometheus for his fire. 
 
 Ffvm Sacharissa," by Edmujid Walter^ 
 Referring to a portrait of Lady Dorothy Sidney, by A'an Dyc?v, 
 
CATALOGUE 
 
 The Numhef's commence in the larger or West Gallery^ and continue from left to right. 
 
 The terms right'" and left'' in the descriptions of the pictures denote the right and left 
 of the spectator. 
 
 In describing the size of a picture^ the first measurement indicates the height, the second the 
 width, of the canvas or panel. 
 
 Portraits are described as of four sizes: — "■bust''' the head and shoulders; half- 
 length''' to the waist ; three-quarters length'' to the knee or a little below; '■''whole 
 length," the entire figure. 
 
 WEST GALLERY. 
 
 ^ FIRST ROOM. 
 
 I. Sir Anthony Van Dyck. j ^ 
 
 JLen^ by the Marquis of Bristol, 
 
 A half-length, life-size figure, showing the hands, with a large sunflower and a rose standing 
 in front. With his right fore-finger the artist points to the sunflower, and turns liis face as if to 
 call the spectator's attention to it. The face is in three-quarter's view to our right. Over the 
 shoulder is a thick gold chain, part of which Van Dyck draws between the fingers of his left hand, 
 
 For many of the names of the portraits it describes, the compiler of this Catalogue 
 
 is not responsible. 
 
 A 3 
 
IVest Gallery. 
 
 He appears to be about thirty years of age ; his curHng brown hair falls on his shoulders, his 
 moustaches are turned up at their ends. Probably the chain is that bestowed on Van Dyck, soon 
 after his arrival in England, by the King. 
 
 Anthony, seventh child of Fran9ois Van Dyclc, a merchant (according to some a glass- 
 painter, to others a woollen manufacturer), and his second wife, Maria Cuypers (or Cuperis), both 
 members of good burgher families of Antwerp, was born in that city on the 22nd March, 1599. 
 and baptized in the cathedral there on the following day. In 1609 we find him already a pupil 
 of Hendrick Van Balen, a good artist of Antwerp. He entered the atelier of Rubens in his 
 fifteenth year, and on February 11, 1618, was admitted franc-maitre'''' of the Painters' Guild 
 in the same city. On the i8th July following he paid fifteen florins for this privilege, and, soon 
 afterwards, entered the Benevolent Society of his craft. In 1620 he is found working under the 
 immediate direction of Rubens, and in this capacity was, according to the contract between the 
 parties concerned, allowed to assist that master in decorating the gi-eat church of the Jesuits at 
 Antwerp. Less than a year later his reputation must have reached England, for we find an agent 
 of Thomas, Earl of Arundel, whose portrait is here, writing to that nobleman on July 17, 1620, 
 and, after relating what Rubens was doing for the " Most Illustrious Lord and revered Patron," 
 telling him, " Van Dyck lives with Rubens; and his works are beginning to be scarcely less 
 esteemed than those of his master. He is a young man of one and twenty ; his parents are persons 
 of considerable property in this city ; and it will be difficult, therefore, to induce him to remove, 
 especially as he must perceive the rapid fortune which Rubens is amassing." It appears that the 
 earl had invited the young painter to visit this island, and it has been suggested that he 
 accompanied the Commissioners from the United Provinces who reached London in January, 
 1 62 1. It is certain that, on the 17th Februaiy of that year, an order was issued on the English 
 Exchequer to pay to "Anthony Vandike the some of one hundred pounds by way of 
 reward for special services by him pformed for his Matie." It may be supposed that this was a 
 gratuity, but there is at Windsor a whole-length portrait of King James, the head of which has 
 always been attributed to Van Dyck, for executing which this money may have been the fee. In 
 that case it was large payment for a single head. On the 28th of the last-named month there 
 was issued " A passe for Anthonie Van Dyck, gent his Maties servaunt to travaile for 8 months 
 he having obtained his Maties leave in that behalf As was signifyedby the E. of Arundell." It 
 is veiy likely that at the expiration of this leave of absence the artist returned to England and 
 was thus enabled to produce certain pictures which seem Avitnesses to that effect. He was not, 
 it appears, present at the interment of his father in Antwerp Cathedral a few days after December 
 I, 1622, nor did he attend that parent's death-bed. 
 
 In 1 62 1, warmly urged by Rubens to visit Italy, Van Dyck determined on this then consider- 
 able and laborious journey. Before parting with his master, the young painter gave him as 
 souvenirs a portrait of Isabella Brandt, Rubens' s first wife ; an *' Ecce Homo ! " and a night 
 scene of the Seizure of Christ in the Garden: as to the last, see The Betrayal of Christ in the 
 ■Garden," in this Gallery. Of the last of these gifts Rubens thought so highly, that " he assigned 
 
PVest Gallery. 
 
 to it the place of honour in the principal chamber of his dwelling, and constantly pointed out its 
 merits to his visitors. In return for these gifts, Rubens gave one of the finest horses in his own 
 stable." It seems likely that the famous picture of " St. Martin parting his garments," 
 which Van Dyck painted at Saventhem, near Brussels, vAi'Aq ejt route for Italy, comprises a 
 portrait of Rubens' s gift-horse. It is said that, while sojourning in this village, Van Dyck fell in 
 love with Anna Van Ophem, a country girl of great beauty, and that, while dallying with her, 
 he, to his master's disgust, wasted time, and, for her sake, gave two pictures to the parish 
 church of Saventhem. It is certain, however, that the discovery of a receipt for two hundred 
 florins paid to Van Dyck on account of the church and for paintings disproves no small portion 
 of this legend. The pictures were " St. Martin" and a "Holy Family." In the latter it is 
 said, are to be found likenesses of the fair Anna and her parents. " St. Martin" remains in 
 the church. When sold by the priest and other parish authorities, its removal was resisted 
 by the villagers, who armed in its defence. In 1806, it required a reinforcement of French 
 troops from Brussels to compel its removal to the Louvre, where it remained till 18 15. It 
 was then returned, and, with the "Holy Family" is still, or was lately, in the church at 
 Saventhem. 
 
 Arrived in Italy, our painter reached Venice, and studied by preference the works of 
 Giorgione, Titian and other masters of the city. He next proceeded to Genoa, where he 
 made some stay; and, then, if not at a later visit, produced, among other fine things, the portraits 
 of the children of the Balbi Family, and of the Marchesa Balbi, which are now in this Gallery. 
 They bear witness to the influence of Paolo Veronese on the artist, while an anonymous 
 Portrait of a Lady," lent by Mr. Holford, attests Van Dyck's deep admiration for Bronzino, 
 for whose handiwork it would not be difficult to mistake it. Van Dyck visited Florence, Rome, 
 Naples and Palermo. At Rome, he lived in the palace of Cardinal Bentivoglio, whom he had 
 already met in Brussels, while that distinguished prelate acted as Papal Nuncio. In this palace 
 was painted the whole-length portrait of the Cardinal, now at Florence, which is amongst Van 
 Dyck's greatest works, and he executed an almost equally fine picture of the Crucifixion. It was 
 during his sojourn in Italy, the artist, for the second time, encountered Alathea, Countess of 
 Arundel, then travelling with her two sons, one of whom appears here as Lord Mowbray ; this 
 lady in vain endeavoured to persuade Van Dyck to revisit England. He, having accompanied 
 these friends to Turin, returned to Genoa, and, during a stay of about two years in that city, 
 while he lived with Cornelius de Wael, produced nearly fifty portraits of nobles and ladies, the 
 majority of which remain in the Palazzos Rosso, Spinola, Cattaneo, Imperiali, Raggi, and else- 
 where. A considerable proportion of these superb paintings have been sold from the collections 
 of which they were once the greatest ornaments. These examples at large included the Doge 
 Pallavicino, the Marquis Spinola in white armour, and a picture of a youth of the Imperiali family 
 which long ago passed into the possession of Queen Christina of Sweden. 
 
 At the end of 1626 Van Dyck, it is said, was again in Antwerp. It is certain that in 1628 
 he undertook to paint for the Augustins of that place his celebrated " Ecstasy of St. Augustin." 
 
 A 4 
 
West Gallery. 
 
 In this year he produced for the Ceiibatan-es (Jesuits) of the same city, the "Mystical Marriage 
 ■ftfttp t]ie Blessed Hermann with the Virgin," the price of which was one hundred and fifty 
 floiias only, and, in i529, he painted for the same fraternity " St. Rosalie kneehng before the 
 Infant Christ, with SS. Paul and Peter," for which he was paid three hundred florins. These 
 famous pictures were, when the Monastic Orders were suppressed in 1776, removed to Vienna, 
 and they are now in the Gallery of the Belvedere, Nos. 2* and 8*. The Augustins contrived to 
 out-do themselves in respect to the chiaroscuro oi' their great possession ; they actually insisted 
 on the originally white vestment of St. Augustin being turned into black, and this completely 
 destroyed the effect designed by the artist. It was on the ruined picture that Reynolds 
 in his "Journal in Flanders and Holland" commented with lamentations that it "has no 
 effect." "A far better idea of the original," said AV. H. Carpenter, in "Pictorial Notices of 
 Vandyck," p. 17, "may be had from the sketch," which now belongs to Lord Northbrook, and is in 
 the Grosvenor Galleiy. Van Dyck produced in 1629 for Charles the First of England " Armida 
 and Rinaldo." See that title in this Catalogue, under which is an account of the payment for 
 the picture. The Canons of Courtray gave him a commission to paint " The Raising of the 
 Cross," and Van Dyck expended upon the picture the whole of his powers and skill. He 
 devoted himself to it a long time, and had the mortification of being told by his patrons that his 
 Saviour resembled a porter, while the faces of the other persons in the picture wore masks ; they 
 informed Van Dyck that he vras a mere dauber, turned on their heels, and left him. It seemed for 
 some days doubtful whether or not they would pay the artist for his work, and when the 
 money was given him at last, it was with insults. In the course of time, however, the worthy 
 canons, who were better accustomed to the stern devotional pictures of older days than to the 
 dramatic luxury of Rubens's great pupil, were taught to think more highly of their bargain and, 
 by way of amends^ asked the artist to paint two other pictures for their church. Van Dyck 
 declined these commissions, saying that there were already daubers enough in Courtray, with- 
 out summoning others from Antwerp. 
 
 At this period he produced the " Crucifixion " for St. Michael's Church in Ghent, and, for 
 the Church of the Recollets at Mechlin, " Christ crucified betv/een the Thieves," which Sir 
 Joshua P.eynolds declared to be one of the first pictures in the world. 
 
 At this stage of his labours Van Dyck gave us more than thirty pictures, besides a 
 considerable number of his best portraits, including those of the Archduchess Isabella (in which 
 he surpassed Rubens himself), the Queen-mother of France (Maria de Medici, widow of Flenri 
 IV., mother of Queen Henrietta Maria), and her son, Gaston d'Orleans, both of whom, dreading 
 , the anger of Richelieu, had taken refuge at Brussels. With these may be reckoned the por- 
 ;^traits of Prince Thomas of Savoy, the Duke of Aremberg, the then Duke of Alva (see that title 
 in this catalogue), A. Triest, and the Abbe Scaglia, and scores more, including many likenesses 
 of the commanders who were then in the field, the time being at the commencement of the 
 Thirty Years' War. These were Gustavus Adolphus, the Emperor Ferdinand, Wallenstein, 
 Tilly, Papenheim, and others. As to these, W. H. Carpenter — to whose " Pictorial Notices " 
 
13 
 
 this memoir is greatly indebted— remarked, that the painter must have visited the opposing 
 camps in order to sketch the generals. 
 
 Van Dyck went into Holland, painted many royal and noble personages there, and, no 
 doubt, then visited Franj^ Hals, when the artists, according to the v.-ell-known story, took 
 each other's portraits. About this time he made the beautiful studies in grisaille for the "Centum 
 Icones," of which work the first portion was published in 1632. It included etchings of 
 portraits of the greatest charm, some of which were due to his own etching-needle. There is no doubt 
 that Sir Kenelm Digby was instructed to induce our painter to return to England, and the influence 
 of the Earl of Arundel was invoked for the same end. Sir Peter Lely told iS.Irs. Beale that 
 the King was moved to invite Van Dyck to this countiy after he had seen a portrait of Nicholas 
 Laniere, which is nov/ in the possession of the Duke of Westminster. " Mr. Laniere, himself, 
 told me [Lety] he satt seaven entire dayes for it to Sr Anto, and that he painted upon it of all 
 these seven days, both morning and afternoon, and only intermitted the time they were at 
 dinner, and he said likewise that tho' Islr. Laniere satt so often and so long for his pictui-e, that 
 he was not permitted so much as once to see it, till he had perfectly finished the face to his own 
 satisfaction." This portrait was described in the catalogue of the rvtng's pictures as " Ye 
 Picture of Nicholas Laneer, master of his Maj^J 's Musick, half a figure in a carved all over gilded 
 frame." What has been said above on " Armida and Rinaldo" proves that the skill of Van 
 Dyck was not unknown to Charles at this time (1632). 
 
 About the end of March or the beginning of April, 1632, Van Dyck amved in England ; 
 he was almost immediately appointed Principal Painter in Ordinary to the King, knighted 
 and installed at Black'riars, v/ith apartments in Eltham Palace, which seems to have been what 
 Hampton Court is novv^, a residence for pensioners of the Crowii. A pension of £200 a year, 
 which was but ill-paid, was allotted to him by Charles ; and the King often visited him for 
 hours at Blackfriars, v/atching the painter at work and gossiping with him. The first pictiire 
 seems to have been the large group of the King, Queen, and two of their children, now at 
 Windsor. The next important instance of his skill was the curious portrait, still at Windsor, of 
 Venetia, Lady Digby. This is not that in v/hich she is represented on her death-bed, as in Lord 
 Spencer's version in this Gallery, but a larger example, including fanciful allegories refeiring to 
 calumnies then rife reflecting on the lady's chastity. It was painted at the instance of her 
 husband, who proposed in this manner to defy scandal-mongers. 
 
 Van Dyck's own reputation was affected by liasons with the handsome Margaret Lemon, 
 whom he frequently painted, v/ith Lady (Catherine) Stanhope, Governess of the Princess Mary, 
 and more than one other enchantress. At the King's instance he manied Maria Ruthven, see 
 the note in this Catalogue on her portrait. Although his health seems to have been severely 
 shaken, it was not until political troubles began to overwhelm his royal master that Van Dyck 
 ceased to svv^im on the tide of fortune. The ill time arrived in 1639, when the King's great debt 
 to the painter was ruthlessly diminished by Juxon, as related in the note on the "Three 
 Children of Charles the First." Befoi-e this date he had produced nearly all the portraits right, 
 
IFest Gallery. 
 
 fully ascribed to him in this Gallei}-. He had for patrons or friends most of the nobles,, 
 politicians and men of note in the country, from Strafford to "Tom Killigrew." There was 
 hardly a beautiful woman about the Court whom he had not painted, and among other doings of 
 his was the establishment, at the "Rose" in Fleet Street, of the Society of St. Luke, to 
 which all the best artists in England belonged, and which long survived its founders. It 
 is very probable that Van Dyck made more than one trip to the continent, including visits to 
 Antwerp and Brussels, where he bought some property, and Paris. Nothing definite is known 
 of his doings, until his health being much broken, alarmed his friends. Charles offered 
 three hundred pounds to the physician who could save him, and every effort was made in 
 his behalf. He died in his house in Blackfriars, on the 9th of December, 1641, aged 
 42 years, 8 months, and 17 days. Two days later his body was committed to the earth on 
 the north side of the choir in Old St. Paul's, near the tomb of John of Gaunt. Such, 
 is the statement of Nicholas Roussel, jeweller to the King, who was present at the funeral. No 
 trace of his remains has been disco\ ered. The Great Fire abolished every mortuary record of the 
 man to whom we owe so many pictorial records of other men. 
 
 A note from Evelyn's "Diary," October i6th, 1677, may have reference to a 
 picture now before us. The master of Wootton wrote : " My son and I dining at my 
 Lord Chamberlain's (Arlington's), he showed us among others that incomparable piece of 
 Raphael's, being a Minister of State dictating to Guicciardini," . . . "There was a 
 woman's head by Leonardo da Vinci, a Madonna of Old Palma, and two of Van Dyck's, of which 
 one was his own picture at length, when young, in a leaning posture, the other an Eunuch 
 singing. Rare pieces indeed ! " 
 
 Under this heading may be grouped a few important notes on the technical methods and 
 professional practice of Van Dyck. 
 
 Jabac, an amateur of good reputation, who knew much of the painters of his time and was 
 especially v/ell informed about Van Dyck, described to De Piles, who repeated the account in his 
 " Cours de Peinture," our artist's mode of dealing with his sitters. "Having made 
 appointments with them, he never worked more than an hour on each portrait," [this does not 
 agree with the account of the sittings of Nicholas Laniere, which is quoted under " Sir A. Van 
 Dyck" in this Catalogue], "whether sketching or finishing it, and, when the clock announced 
 that the hour had passed, he rose from his seat and made a reverence to the person sitting, to 
 inform him that enough had been done for that day, and agreed with him to come another 
 day at a certain hour ; after this the painter's valet-de-chambre cleaned his brushes, brought him 
 another palette, so that he might be ready for another sitter, who would arrive at an appointed 
 time. He worked in this manner upon many portraits in one day, and he painted with extreme 
 rapidity. Having made a slight sketch for a portrait [the face only, of course], he placed his sitter 
 in the attitude he had previously aiTanged, and upon grey paper, with black and white chalks, 
 he, in a quarter of an hour, drew the figure and costume, designing them in a grand style, and 
 with exquisite taste. This study he then gave to his able assistaiits, who copied it on a large 
 
15 
 
 scale, and, aided by the dresses of the sitter, which were at the master's request sent to them for the 
 purpose, worked out the draperies to the best of their abiUties. Van Dyck went dexterously over 
 the painting of his assistants, and very quickly produced, by his great skill, the art and the truth 
 which we all admire. For the hands, he employed many persons who sat to him as models for 
 that purpose." Mr. Carpenter, in his '* Pictorial Notices of Van Dyck," to which every one 
 writing about the master cannot but refer, suggested that the " 6 serva?ztes,^^ named as belonging 
 to the household of Van Dyck in 1634, were really his pupils or assistants from the Low 
 Countries, or, perhaps, his models. 
 
 Another note may be borrowed from Northcote's " Life of Re)Tiolds," 18 13, pp. 236-7 : 
 " When Richardson was a very young man, in the course of his practice he painted the portrait 
 of a very old lady, who, in conversation at the time of her sitting to him, happened to mention 
 that, when she was a girl, about sixteen years of age, she sat to Van Dyck for her portrait. This 
 immediately raised the curiosity of Richardson, who asked a hundred questions, many of them 
 unimportant ; however, the circumstance which seemed to him, as a painter, to be of the most 
 consequence in the information he gained was this : she said she well remembered that at the 
 time she sat to Van Dyck for her portrait, and saw the pictures in his gallery, they appeared 
 to have a white and raw look in comparison with the mellow and rich hue which we now see in 
 them, and which time alone must have given to them, adding much to their excellence." 
 
 It may be mentioned in this connexion that Sir Francis Grant painted a lady who had sat 
 to Sir Joshua Reynolds, the last survivor of whose sitters was probably the Earl of Westmore- 
 land, who died in 1869. 
 
 The King paid Van Dyck very small sums of money for very fine works, thus : the portrait 
 of " Monsieur, the French King's brother, and another of the Archdutchesse at length [were 
 paid for] at Twenty-five pounds apeece. One of our royall Consort, another of the Princesse of 
 Orange, and another of their sonne at half-length at Twenty pound apeace. One greate peace 
 of or royall selfe, Consort and children one hundred pounds. [This was the large group with 
 two children now at Windsor, of which there is a version at Chiswick.] One of the Emperour 
 Vitellius, Twenty pounds. And for mendinge the Picture of the Emperor Galbus five pounds.'* 
 Vide a Privy Seal Warrant quoted by Carpenter, and dated August 8, 1632. 
 
 It is difficult, by mentioning merely the number of his works, to afford an adequate idea of 
 the great fertility of Van Dyck, but the following summaries are interesting in this 
 connection. In the " Catalogue Raisonne of Smith " the works of this painter are given as 844 
 in all. In the catalogue appended to the " Antoine Van Dyck " of M. GuifTrey more than 1,500 
 examples are mentioned. Of these it has been said that in England alone there are 350 pictures ; 
 at Vienna, 67 ; at Munich, 31 ; at St. Petersburg, 38 ; in the Louvre, 24 ; at Madrid, 21 ; and at 
 Dresden, 19. These are the more important collections of Van Dyck's works. In private hands, 
 the number is much greater. Of course a large proportion of the latter class, if not very many 
 of those which are deposited in public galleries, are copies, and the repetitions are not few. 
 
 I4|- X 28^ inches. 
 
1 6 JVest Gallery. 
 
 2. The Genoese . General Ambrogio Spinola, Due de San 
 Severing, Commander of the Spanish Armies in the 
 
 "1 
 
 Low Countries. 
 
 26 X 2i| inches. 
 
 Lcjit by iJie Rcvd. W. H. Wayne, 
 
 Sir John Borlase, or Borlace, second Baronet, of 
 BocKMORE, Bucks. lc^/>- U^f^i 
 
 Lent by Walter Ralph Bankes^ Esq, 
 
 Three-quarters' length, Hfe-size figure, nearly in full view ; right hand resting on a pedestal, 
 left hand on the hip ; black coatj large white lace collar. 
 
 Father of Edmund Borlase, the Irish Historian ; engaged with Lord Moore in suppressing 
 the revolt in Ireland, 1642. Exhibited at the Academy, in 1881. Dr. Waagen, "Galleries 
 and Cabinets of Art," 1857, spoke of these works at Kingston-Lacy. Lady Borlase was 
 a Miss Bankes, of Kingston-Lacy. 
 
 He was the son of the Sir William Borlase who, with a portrait painted by himself, of the 
 poet, addressed to Ben Jonson some verses, beginning : — 
 
 "To paint thy worth, if rightly I did know it. 
 And were but painter half like thee, a poet, 
 Ben, I would show it." 
 
 " Ben " replied in : — 
 
 The Poet to the Painter. 
 " Why, though I seem of a prodigious waist 
 I am not so voluminous, and vast. 
 But there are lines, wherewith i might be embrac'd. 
 
 'Tis true, as my womb swells, so my back stoops. 
 
 And the whole lump grows round, deform' d, and droops; 
 
 But yet the Tun at Heidelberg had hoops. 
 
 * * * * 
 
 O, had I now your manner, mastery, might, 
 Your power of handling, shadow, air, and spright, 
 How I would draw, and take hold and delight ! 
 
 But you are he can paint, I can but write : 
 A poet hath no more but black and white, 
 Knows he flattering colours, or false light. 
 
West Gallery. 
 
 17 
 
 Yet when of friendship I would draw the face, 
 A letter' d mind, and a large heart would place 
 To all posterity ; I will write Burlase." 
 
 " Underwoods, consisting of divers Poems." 
 
 The second portrait of Sir John Borlase, lent by the Hon. W. B. W. Vernon, No. 91, was 
 painted by Van Dyck, according to a family tradition, during the lifetime of Sir John's father, 
 i.e., probably in 1640, he being then twenty years of age. The present proprietor of the picture 
 has portraits of the first Sir John Borlase, Governor of Flushing, and Lord Justice of Ireland, 
 painted by Cornelius Jansen, about 1638 ; of his wife, Alice, Lady Borlase, daughter of Lord 
 Chief Justice Bankes, 1640 (one by Dobson, in her youth ; the other by Lely, in her middle age, 
 about 1658); and of their son, afterwards Sir John Borlase III., by Cooper, c. 1658. 
 
 54 X 40 inches. 
 
 4. Philip Herbert, Fourth Earl of Pembroke and First 
 Earl of Montgomery, K.G. 
 
 Lejit by the Earl of Carnarvon. 
 
 Three-quarters-length, life-size figure ; standing nearly in front view, holding the white 
 staff of his office in his left hand, and with his ungloved right hand pointing downwards, as if 
 in the act of speaking. He wears a rich black dress, slashed with white ; badge of the Garter 
 is worked in silver on the black cloak. A jewel is suspended on the breast by a blue ribbon. 
 The gold key of the Lord Chamberlain hangs at his side. 
 
 The famous peer and extraordinary politician, probably the most abused man of his time, 
 was the second son of Henry, second Earl of Pembroke, and his third wife. Mar)-, daughter of 
 Sir Henry Sidney — the subject of Ben Jonson's famous epitaph, and " Sidney's sister, Pem- 
 broke's mother." He was educated at home and (for a short time only) at New College, 
 Oxford; he succeeded his brother William, third Earl of Pembroke, April loth, 1630, and in 
 January, 1605, with much Court rejoicing and amid splendid entertainments, mairied Susan de 
 Vere, daughter of the seventeenth Earl of Oxford. Of this event there is a very striking 
 account in Winwood's " Memorials," where it is stated that the ceremony took place at White- 
 hall in the presence of King James, who gave the bride away, when " she in her tresses and 
 trinkets brided and bridled it so handsomely, and indeed became herself so well, that the King 
 said, if he were unmanied, he would not give her, but keep her for himself." . . " At 
 night there was a masque in the hall, which, for conceit and fashion, was suitable to the 
 occasion." , . " There was no small loss that night of chaines and jewells, and many 
 great ladies were made shorter by the skirts, and were \cx\ well sei ved that they could 
 
i8 
 
 IVest Gallery. 
 
 keep cut no better." The young Earl was "a man caressed by King James for his hand- 
 some face, which kept him not long company, leaving little behind it so acceptable as to 
 render him fit society for anybody but himself." The King bestowed rich gifts on the bride- 
 groom, and, in 1605, made him Earl of Montgomery. In 1610 he had a violent quarrel 
 with the Earl of Southampton, "that fell out at tennis, where the rackets flew about their 
 eares ; but the matter was taken up, and compounded by the King ; later, he quarrelled with 
 "one Ramsay, a Scotchman, who, at Croydon horse-race, "switched him" across the 
 face; an insult the Earl did not return. Thus said "a scandalous writer," one Osborne. 
 Lord Clarendon wrote of the Earl that, " being a young man, scarce of age at the entrance of 
 King James, he had the good fortune, by the comeliness of his person, his "skill, and indefatigable 
 industry in hunting, to be the first who drew the King's eyes towards him with affection." 
 " He pretended to no other qualifications, than to understand horses and dogs veiy well." " He 
 had not sat many years in the sunshine, when a new comet appeared at Court, Robert Carr 
 (Earl of Somerset), a Scotchman, quickly after declared favourite." For him the Earl made 
 way with equanimity, "which the King received as so great an obligation, that he always after 
 loved him in the second place, and commended him to his son (Charles) at his death." He 
 succeeded his brother as Lord Chamberlain of the Household, and remained in office till 1641, 
 when he had a quarrel, approaching blows, with the Lord Mowbray, son of the Earl of Arundel, 
 whose portrait is here. The disputants were both sent to the Tower, and the King took the 
 white staff from Earl Philip, and gave it to the Earl of Essex. As Lord Warden of the 
 Stanneries, he, according to Clarendon, gave offence by "great passion and fury," so that the 
 King removed him. He was one of those who went to Charles at Oxford in 1C43, as mentioned 
 in the note on " Algernon Percy, tenth Earl of Northumberland," and he was among the twenty- 
 two peers who, remaining, at Westminster in the same year, sided with the House of 
 Commons. As Chancellor of the University of Oxford, he attempted to reform that 
 institution. He sat as M.P. for Berkshire in 1649, when Cromwell dissolved the 
 House of Lords, and, after a career of the most chequered kind, died January, 1650. 
 His second wife was the famous "Anne, Dorset, Pembroke and Montgomery," who wrote of 
 him that " he was no scholar at all to speak of, for he has not past three or four months at the 
 University of Oxford." "Yet he was of a very quick apprehension, voxy crafty withal, and of 
 a discerning spirit, but extremely choleric by nature, which was increased the more by the office 
 of Chamberlain to the King, which he held for many years." He broke his white staff over the 
 shoulders of May, the poet, for being out of his place during a masque at Court. 
 
 It was for this Earl Van Dyck painted the great picture at Wilton, which in this Catalogue 
 is described in the notes on the portraits of "Anna Sophia, Countess of Caernarvon," and 
 "Mary, Duchess of Richmond." He joined others in a scheme for " digging gold in Africa," 
 which, in October, 1660, Pepys did not admire. It was of him Charles the Second spoke to 
 the diarist of " the pretty notions my Lord of Pembroke hath of the first chapter of Genesis, 
 and a great deal of such fooleries, which the King made mighty mockery at." 
 
IVest Gallery. 19 
 
 He was satirized b)- Butler, and repeatedly mentioned by Evelyn. His son, by his first \dfe» 
 Charles, Lord Herbert, manied Mary, daughter of the first Duke of Buckingham ; his ^knr^^tbt^^ 
 ^ son by the same married Penelope, daughtC T^oF Paul, Viscount Banning ; his daughter Anna 
 
 flX-^l Sophia married Robert, Earl of Caernarvon. The portraits of these persons are here w^th that of 
 his son Philip, the fifth Earl of Pembroke, belonging to the Duke of Devonshire. The picture 
 before uswas exhibited as No. 35 at the British Institution in [S51, and as No. 112 at the 
 Academy in 1881. UjH^ttL 
 This pictrne was engraved by S de Pass, R. van Voerst, and Hollar, seveially. ' 
 54^ X 42 inches. 
 
 1 
 
 5. A Gentleman Playing the Lute. 
 
 Lent by tlic Earl of A^ortJibi ook, 
 
 A full length figure seated and playing a lute. t>-if"T i-ti^ 
 
 61 X 43 inches. A4aa-A 
 
 6. Portrait of a Lady. ^ -S4//Vv**i^. 
 
 Le7i/ by K. S. Ilo'/oni, Esq. 
 
 Three-quarters length life-size figure ; standing in nearly three-quarters view to our left, 
 holding a laced handkerchief in her left hand, which hangs in front, and with her right hand 
 holding a chain, which is suspended round her neck. Dark olive green dress richly laced viith "^^^^ 
 gold, the sleeves being lined with amber SAtin ; a wide and stiff lace ruff is about the neck ; 
 pearl necklace, bracelets, ear-rings, and hair-pin. Kr\^'.- ^' 
 
 Mr. Holford bought this picture through Mr. Spence, of BLome ; it came from the 
 Panciatichi Palace in that city. The name of the sitter was forgotten. 
 
 52 X 342 inches. 
 
 7. Lady Borlace, wife of Sir John Borlace, second Baronet. 
 
 Lent by Waller Kalpli JJankes, Esq. 
 
 Three-quarters-length figure, in tlncc-quarters view to our left ; with her left hand she holds 
 the skirt of her wdiite satin dress, and presses her right hand to her waist ; a green scarf floats 
 over her shoulders ; low dress, showing the bosom, i)earl necklace and earrings. A vase of roses 
 stands on a pedestal before the lady. 
 
 See No. 3, the portrait of her husband. 
 
 54 X 40 inches. 
 
20 
 
 PFest Gallery. 
 
 8. Thomas Howard, Earl of Arundel and Surrey, Earl 
 ^TarsHxVL, Lord Steward of the Household, K.G., 
 
 AND ONE OF HLS GrANDSONS. 
 
 I.cnf by the Duke of Nor/oik, K.G., E.M. 
 
 The Earl is represented in three-quarters view, seated in a chair turned to our right and 
 partly clad in armour ; he is holding a baton in his right hand, the left being placed on the 
 shoulder of his grandson, a youth of about seven years of age, who stands at the Earl's knee. 
 The boy is dressed in red silk, with a rosarj' suspended across his right shoulder ; in his right 
 hand is a drawing, the left hand is placed on his hip. 
 
 Thomas Howard, only son of Philip, Earl of Arundel (who died in the Tower, 1595), and 
 Anne, daughter of Thomas, Lord Dacre of Gillesland, was born July 7, 15^, and, by his 
 father's attainder, had (during the reign of Elizabeth) only the title of Lord Maltravers, by 
 courtesy. In 1603 he was, by James L, restored as Earl of Surrey; he married Lady Aletheia 
 Talbot, daughter of Gilbert, Earl of Shrewsbury; was made K.G, 161 1 ; travelled in Italy, 
 devoted himself to the study of antiquity, and about 1613 began to collect many works of art ; 
 he returned in 1614. It was he Avho, when conducting Count Gondomar (see his portrait in 
 this (ralleiy), to his first audience with James the First, narrowly escaped death through a 
 scaffold, which, being overcrowded with spectators of the ceremony, fell and half buried the Earl 
 and the Count. One day in heat of temper with Lord Spencer about a matter of state and 
 history, he said, " ]My Lord, when these things you speak of were doing your ancestors were 
 keeping sheep." Spencer instantly replied, "When my ancestors were, as you say, keeping 
 sheep, yom- ancestors were plotting treason." It was to him and three others that Lord 
 Bacon delivered the Great Seal in 1621. He was made Earl Marshal of England in 1623 ; was 
 sent to the Tower on account of the marriage of his son, Henry Frederick (see the portrait of 
 this nobleman in this Gallery), with the Lady Elizabeth, daughter of Esme Stuart, Duke of 
 Lennox. He was released on the remonstrances of the House of Peers, who resented the 
 commitment of one of their body without a cause being shown. Remarkable for the plainness of 
 his attire, he was described by the Earl of Carlisle (whose portrait is here) thus : — "Here comes 
 the Earl of Arundel in his plain stuff" and trunk hose, and his beard in his teeth, that looks 
 more like a gentleman than any of us." In this manner he attended the coronation of Charles 
 the First in Scotland, 1633. He was, notwithstanding his austerity and reserved demeanour, 
 employed in various embassies and offices of dignity and ceremony. In nine months, while 
 attending the Elector Palatine, he spent nearly ^20,000. He was appointed general 
 against the Scots in 1637 ; President of the Court for the trial of Strafford, 1641, and 
 was created Earl of Norfolk, 1644. He retired to the continent and resided in the Low 
 Countries, France and Italy, and died at Padua, uhere he had removed all his collections, 
 October 4, 1646 ; his son. Lord Mowbray, whose portrait is here, and his grandson, being 
 
IVest Gallery. 
 
 21 
 
 present. Among his collections were the Pomfret Marbles, now at Oxford. In addition to his 
 warm recognition of Van Dyck he was a great patron of Hollar (whom he found poor at Prague), 
 Inigo Jones and others, besides men of learning, such as Sir Robert Cotton, Selden, Spelman 
 and Camden. 
 
 Sir E. Walker, in his "Historical Discourses," described the Earl thus, "He was tall of 
 stature, and of shape and proportion rather goodly than neat ; his countenance was majestical 
 and grave ; his visage long ; his eyes large, black and piercing ; he had a hooked nose, and some 
 worts or moles on his cheeks ; his countenance was brown, his hair thin, both on his head and 
 beard; he was of stately presence and gait, so that any man that saw him, though in never so 
 ordinary a garb, could not but conclude him to be a great person, his garb and fashion drawing 
 more obsei-vations than did the rich apparel of others." . . . " He was more learned in 
 men and manners than in books, yet understood the Latin tongue veiy well. He was a great 
 master of order and ceremony, and knew and kept greater distance towards his sovereign than 
 any man I ever obser\ed, and he expected no less from his inferiors." . . . " He was the 
 greatest favourer of the arts, especially painting, sculpture, designs, car\'ing. building and the 
 like, that this age hath produced ; his collection of designs [drawings by the Old Masters] being 
 more than of any person living ; his statues equal in number, value and antiquity to those in the 
 houses of most princes, to gain which he had jiersons manv years employed, both in Italy, 
 Greece, and so generally in any part of Europe where rarities were to be had. His paintings 
 likewise were numerous and of the most excellent masters, being more of that exquisite 
 painter Hans Holbein than are in the world besides, and he had the honour to be the first person 
 of quality that set a value on them in our nation." After a magnificent panegyric on the Earl, 
 this author concludes, thus :— " If he were defective in anything it was that he could not bring 
 his mind to his fortime, which, though great, was far too little for the vastness of his noble 
 designs ; but it is pardonable, they being only for the gloiy and omamcnt of his country," — 
 vide Collins, '* Peerage," i. He was buried at Arundel. 
 
 His second son was Henry Fiedcnck, Lord Mowbray and Maltravers, who succeeded him, 
 see his portrait here. 
 
 Van Dyck painted the Earl, who was one of his special patrons, on many occasions, (i) 
 Standing, in armour, a picture belonging to the Earl of Clarendon ; engraved by L. Vosterman 
 and (twice) by Hollar. (2) Seated in a chair, holding a paper, now at Stafford House ; engraved 
 {a) by Tardieu, in the " Orleans Gallery ; " {h) by W. Sharp ; and {c) by Tomkins. (3) Seated, 
 with the Countess Aletheia (Smith, 627) ; engraved {a) by L. Vosterman ; and {h) by Hollar; 
 now at Arundel Castle. There are other portraits of him in various collections, some of 
 which have been engraved by divers hands : no doubt the majority of these are copies of one or 
 more of the above. Among the most interesting facts connected with the portraiture of this 
 great patron of the Arts is that he intended to have a family piece painted by Van Dyck, lilce 
 that of the Pembroke family, by this master, which is at Wilton, and he drew, it is said, a 
 design for it, which was never carried out. This is, no doubt, the origin of the dramng on 
 
IVest Gallery, 
 
 vellum, inscribed "An. Vandyke, in oil," and "Ph. Fruytiets, fecit, 1642," which was No. 712 
 at the National Portrait Exhibition, 1866, in which the Earl and Countess appear with their 
 eldest son James (who died young) in the act of presenting to his father the sword of James IV., 
 taken at Flodden Field ; near the group are the Earl's sons (i) Henry Frederick, mentioned 
 above, (2) William Howard, Viscount Stafford, who was unjustly executed in 1680, on account of 
 the Popish Plot. The younger sons hold the shield which was presented by the Grand Dulce of 
 Tuscany to Henry, Earl of Surrey (now in the possession of the Duke of Norfolk), and the helmet 
 of James lA''., taken as above. This drawing was engraved by Vertue. The Duke of Norfolk 
 owns a fine portrait, by Van Somer, of Thomas, Earl of Arundel, in Arundel House, Strand, 
 London, pointing with a staff to his galleiy of antique statues, which are ranged in rows. It 
 was to his example that Prince Henry, King Charles the First, and the Duke of Buckingham 
 owed their desire to collect works of Art. To him, said Peacham, " this angle of the world 
 oweth the first sight of Greek and Roman statues." The portrait with the Countess, mentioned 
 above as 3, represents the Earl pointing to a globe at " Madagascar,'''' on which island the Earl 
 proposed to found a new state, of which Prince Rupert, whose portrait is here exhibited, was 
 to be the Viceroy. Hollar did a plate after Cornelius Schub, representing the apotheosis of 
 Earl Thomas. 
 
 ]\Icre than one opinion exists as to which of the Earl's grandsons is represented in this 
 picture. Mr. Scharf, the greatest living authority on the subject, inclines to the belief that this 
 boy was Henry, the second son of Lord Mowbray and Maltravers, mentioned above, 
 who became the Sixth Duke of Norfolk, and was distinguished for his literary and classic 
 tastes. The opinions of some persons accept this as the portrait of Philip, aftei-wards 
 Cardinal, Howard, who was bom at Arundel House in 1629, third son of Henry PYederick, 
 Earl of Arundel (see his portrait here), and Ehzabeth, born Stuart, daughter of 
 Esme, Duke of Lennox, as above stated ; he was educated in England ; travelled with his 
 grandfather into Italy ; at ^Milan he was seduced by an Itahan Dominican friar and became one 
 of that order, notwithstanding all possible means used to prevent it. He remained some years 
 in Italy, and, on the marriage of Mary of Modena with James the Second, returned to England 
 as Lord Almoner to the Queen. He retired to Rome after the expulsion of King James and 
 was made a Cardinal in 1675, and, aged 65 years, died there June 16, 1694. He is 
 often mentioned by Burnet and others as the Cardinal of Norfolk, or the Cardinal of England. 
 Pepys took Lord Brounker to see the Lord Almoner at St. James's, at Lord Aubigny's. " So 
 he and I did see the organ, but I do not like it, it being but a bauble, with a virginal joining to 
 it : so I shall not meddle with it. The Almoner seems a good-natured gentleman." .... 
 " He speaks much of the great buildings that this Pope, whom in mirth to us he calls 
 Anti-Christ, hath done in his time." .... The Cardinal conducted Pepys over the 
 '* place for the priests and fryers " lately established by the queen, and Pepys was so much 
 pleased by its comfortableness that "I wished myself one of the Capuchins." "So away 
 with the Almoner in his coach, talking merrily about the difference in our religions, to White 
 
IVest Gallery. 
 
 23 
 
 Hall, and there left him." — Diary, Jan. 23, 1667. Evelyn, who knew Earl Thomas intimately, 
 
 called upon him in Padua on Easter Monday, 1646; "I took my leave of him in his bed, 
 
 where I left that great and excellent man in tears on some private discourse of crosses that had 
 befallen his illustrious family, particularly the undutifulness of his grandson Philip's turning 
 Dominican Friar, and the misery of his country now embroiled in civil war." — Diary, i. 218. 
 
 This picture is mentioned by Dr. Waagen in " Treasures of Art," 1854, iii. p. 31, as 
 " somewhat grand in the conception and brown tones." It has never been exhibited till now. 
 
 (Smith, 629.) 
 
 56 X 48 inches. 
 
 9. Portrait of a Gentleman. 
 
 Lent by the Right Hon. A. J. Mundella, M.P, 
 
 Half-length, life-size figure, in three-quarters view to our left ; the right hand placed upon 
 the breast, black dress and large falling white collar. 
 272 X 19I inches. 
 
 10. A Station of the Cross. 
 
 Lent by T. Humphry Ward^ Esq. 
 
 A gi-oup of figures, comprising Christ bearing the cross, and St. Veronica applying her 
 veil to his face. 
 
 25^ X 19 inches. 
 
 11. The Marquis Cattaneo of Genoa. 
 
 Lent t)y the Ma7'qiiis of Lothian, K. T. 
 
 Half-length, life-size figure, in three-quarters view to our left, in the act of putting a letter 
 into his doublet with his right hand. 
 32I X 25 inches. 
 
 12. Study of a White Horse. 
 
 Lent by the Earl Brownlow, 
 
 Full figure seen from the head, and very much foreshortened ; with a long flowing tail and 
 mane. This is evidently a study from the horse which was represented in many of Van Dyck's 
 pictures; see No. 13. 
 
 90 X 62 inches. 
 
24 IVest Gallery. 
 
 13. A Portrait, said to represent the Duke of Alva on 
 
 Horseback. 
 
 Lent by S. Kynaston Mainwarmg, Esq. 
 
 Life-size, whole length figures : the white horse is walking with his neck arched. The rider 
 I is seen nearly in front vie\\', holding a leading staff. For the horse, see No. 12. 
 
 See "A Portrait said to represent the Duke of Alva." Neither of these pictures can be 
 a portrait of the infamous Dulce of Alva, who died in 1582, aged 77, seventeen years before 
 Van Dyck was born. It may represent the son of this commaiKlei-. 
 90 X 62 inches. 
 
 14. Paul de Yos, Painter. 
 
 Lent by Captain Verney^ R.N. 
 
 A life-size standing figure, seen nearly to the knees, with the head turned in three-quarters 
 view to our right ; one hand holds his cloak in front, while the other hand, being open and 
 the arm extended downwards, suggests that the artist is in the act of speaking. 
 
 47 X 36 inches. 
 
 15. MouNTjoY Blount, First Earl of Newport. 
 
 Lent by the Earl of Northbrook. 
 
 A whole-length, life-size figure, walking towards our left, holding a leading staff in his right 
 hand and wdth his left hand placed upon his" hip. Dress of buff cloth, embroidered with silver 
 lace, and slashed \\dth white ; dark brow^n wig, large falling white collar of lace and lace boot 
 top. A breast-plate covers his body. 
 
 Mountjoy Blount, natural son of Charles Blount, Earl of Devonshire (and of Lady 
 Penelope Devereux, afterwards his Countess, divorced wife of Robert, Lord Rich, and sister 
 of Robert, Earl of Essex), was created by James the First, Lord Mountjoy-Fort, in Ireland ; 
 and in August, 1627, by Charles the First, Lord Mountjoy, of Thurveston, in Derbyshire, and 
 on August 3 in the next year Earl of Newport, in the Isle of Wight. He was Master of the 
 Ordnance, and one of the King's Council of War. He died 'at Oxford in 1665, and hes buried in 
 Christ Church. He was succeeded by his eldest son, George, who, dying in 1676, was succeeded 
 by his brother Charles, third Earl, whose brother Hemy, fourth Earl, dying without issue in 168 1 , 
 the title became extinct. Mountjoy Blount, the first Earl, appears Avith George, Lord Goring, 
 in a group by Van Dyck, at Petworth, No. 300. 
 
 The Earl was one of the twenty- two Peers who sided with the majority in the House 
 of Commons against the appointment of Sir Thomas Lunsford as Lieutenant of the Tower, in 
 place of Sir William Balfour, " the tried friend of the Parliament." King Charles desired this 
 appointment, in contemplation of the arrest of the Five Members, and in order that his own 
 
l-J^est Gallery. 
 
 25 
 
 creature should command the fortress which controlled the City (see " Portrait of Georj^e 
 Digby," etc., in this Gallery ; Clarendon's " Histoiy " ; " The Arrest of the Five Members," by 
 John Forster ; ''Memoirs of Sir Simons D'Ewes," his "Journal," etc.). AVhen the House 
 addressed the King to remove Lunsford, Lord Newport was requested to take charge of the 
 place " for the present." The King suddenly dismissed him from this post on a charge of 
 disloyal speaking and plotting. "Taxed with the words by the King himself. Lord Newport 
 indignantly denied them ; upon which, with insulting addition, the question was (by the King) 
 repeated ; " You can tell me nothing more thani know already ; therefore consider well what you 
 answer." Lord Newport answered with vehement repetition of his denial; and theKing, contemptu- 
 ously expressing sorrow for his lordship's memor}-, intimated that he was no longer Constable ofthe 
 Tower, and turned upon his heel. That was on the afternoon of Friday, the 24th December ( 164 1 ; . 
 On AVednesday, the 29th, the King informed the House of Lords that he had never believed the 
 charge against the Earl, and desired it to be withdrawn. Such was the wonderful, the almost 
 incredible levity of Charles the First, in matters of accusation the most grave. Vide "The 
 Arrest," as above, i860, p. 38. Oliver Cromwell, then M.P. for Cambridge, led the House in 
 an animated debate on the Earl's dismissal, in which he denounced the Earl of Bristol. 
 
 The Earl of Portarlington, to whom it then l^elongcd, exhibited this portrait at the Royal 
 Academy in 1878, as No. 147. 
 
 The Earl's portrait was engraved by Hollar, by Droeshout, and by Richardson. 
 
 84 X 51 inches. 
 
 16. Philip Herbert, Fifth Karl of Pembroke and Second 
 Earl of Montgomery, and his Sister Anna Sophlv, 
 Countess of Caernarvon. 
 
 J^cjif by tJic Duke of DcvonsJiire, K.G. 
 
 Life-size, three-quarters-length figures. The lady, who appears to be about twenty-live 
 years of age, sits on our left, nearly in full-face to the front, dressed in a white silk robe, which 
 is open at the bosom ; her hair is light and worn in little close curls ; she holds roses in each 
 hand. Behind her is a large rose tree full of blossoms, from which her companion, a youtli of 
 about seventeen years of age, is plucking flowers, in order to give them to her. He has liglu 
 brown, curled hair, and wears a deep rose-coloured coat. His figure is nearly in profile. 
 
 For the lady, see " Anna Sophia, born Herbert, Countess of Caernarvon," in this Galleiy. \>^[ 
 
 ^{1 For the Earl, see his portrait, lent by Viscount Gal way .'^ They were two of the children of 
 Philip Herbert, fourth Earl of Pembroke, two portraits of whom are here. For the fourth 
 
 ' Earl, see the portraits lent by the Earls of Carnarvon and Yarborough? The fifth Earl 
 
26 
 
 West Gallery. 
 
 married, first, Penelope, widow of Paul, second Viscount Banning, see the portrait of the 
 latter; secondly, Catherine, daughter of Sir AV. Villiers, Bart., of Brokesby, and died December 
 nth, 1669. A portrait of the Countess Penelope was at Blenheim. 
 Herrick, in " Hesperides," wrote the following : — 
 
 "To the Right Honourable Philip, Earl of Pembroke and Montgomery. 
 
 How dull and dead are books that cannot show 
 
 A Prince of Pembroke, and that Pembroke you ! 
 
 You, who are high-born, and a lord no lesse 
 
 Free by your fate then Fortune's mightinesse, 
 
 Tho' hung our poems, honoured Sir, and then 
 
 The paper gild, and laureat the pen. 
 
 We suffer you the poets to sit cold. 
 
 But warm their wits, and turn their lines to gold," &c. 
 5 1 X inches. 
 
 17. Sir Richard Levesox. 
 
 Lent by tJie Ditke of Sutherland^ K,G. 
 
 Life-size, three-quarters-length figure, standing, the right arm resting on a pedestal and the 
 right hand holding a glove. Black dress, with red scarf; white lace collar. 
 See Smith's " Catalogue Raisonne," No. 688. 
 48 X 39 inches. 
 
 ^ 18. The Marchesa de Brignole-Sala and her Son. 
 \l . ^ ^ Lent by the Earl of Warivick. 
 
 ( \{ Full-length figures. The lady is about twenty-three years of age, and seated to our right, 
 
 holding the left hand of the boy who stands beside her ; her dark hair is decked with pearls ; 
 she wears a high lace ruff, a black robe, her left hand rests on the arm of the chair. The 
 boy wears a red-flowered doublet and hose ; a dog is on the ground beside him ; architectural 
 background. 
 
 She was Pauline Adorno, Marchesa de Brignole-Sala, wife of Antonio Giulio, Marquis de 
 Brignole-Sala, son of a Doge of Genoa, and Ambassador to Philip IV. of Spain. His 
 equestrian portrait, one of the greatest works of Van Dyck, exists with another version 
 (Smith, 168) of his wife's likeness (without the child), and a portrait of Jeronima, her mother 
 (Smith, 170), with a little girl, all by Van Dyck, in the Bregnole-Sala Palace at Genoa. The 
 
West Gallery. 
 
 27 
 
 portrait of her husband is engraved in " Antoine Van Dyck," by M. Guiffrey, Paris, 1882. 
 The scandalous chronicles of Genoa continue to repeat a legend which asserts that an intrigue 
 subsisted between the painter and his beautiful sitter. 
 
 This picture was exhibited at the Royal Academy in 1871, No. 150, and at the same place 
 in 1878, No. 158. 
 
 80 X 54 inches. 
 
 19. Armida and the Sleeping Rinaldo. 
 
 Loit by the Duke of A\'iveas/h\ 
 
 An illustration of the "Jerusalem Delivered " of Tasso. According to the argument ol 
 this poem, the Crusaders had arrived at the holy city in order to -effect its release froni 
 Pagan domination. Urged by the Spirit of Evil, the beautiful sorceress, Armida, was employed 
 to ensnare Rinaldo and some of his companions. The hero was, by the enchantress, conducted 
 to a remote island, and there, amid the voluptuous inducements of the place, he forgot his 
 mission and Christian duty. He appears here sleeping upon a bank, overshadowed by trees and 
 lost in luxury, while Armida, bending over her sleeping lover, binds a wreath about his form 
 She is attended by ainoj-ini and a nymph, who sings from a scroll which she holds in her hand ; 
 on this scroll the music is legible. In the celebrated Van Dyck which is in the Louvre and 
 represents this subject, Ubaldo and Carlo, envoys despatched from the Crusading arm\ 
 to recall the champion to his duty, appear behind some foliage on our left. The romance 
 continues to relate that, by means of a talisman they brought with them, the messengers 
 succeeded in dissolving the enchantments of Armida, and rescued the knight, who returned 
 to the war. In this Armida followed him, and endeavoured to work his ruin by inducing 
 several warriors to assail him. They were defeated by Rinaldo, who, however, confessed 
 his love for Armida, persuaded her to become a Christian, and, as a good knight should^ 
 devoted himself to her service. 
 
 It appears by an extract from an Order Book of the Exchequer, quoted l^y Mr. W. H. 
 Carpenter in his " Pictorial Notices " of Van Dyck, 1844, p. 23, that in 1630 Charles the First 
 was in possession of an historical picture by this artist, thus: "23rd March, 1629-30, 
 Endymion Porter, Esq., for a picture bought of him. To Endymion Porter, Esq.. one of 
 the Grooms of His Majesty's Bedchamber, the some of ^78 for one picture of the Storie of 
 Reynaldo and Armida, bought by him of Monsieur Vandick of Antwerpe, and delivered to his 
 Ma*'° without accompt, as per letter of privy seal, 20th March, 1629." This was before \'an 
 Dyck's second and prolonged sojourn in England, beginning in March or April, 1632, and it was. 
 nine years later than the painter's first visit to this country, in the early days of 1620, prior tc^ 
 his going to Italy. 
 
 There are several pictures of this subject, the compositions of which are generally alike- 
 
28 
 
 I4^est Gallery. 
 
 An important version is in the Louvre, No. 141, (formerly called "Mai's and Venus "), in 
 which the head of the disarmed Rinaldo rests on the lap of his mistress, while an amorino holds 
 before him a mirror. This work was engraved by Pierre de Jode in 1644 ; a similar, or the 
 same, example was engraved by Baillu. The work before us was engraved by Conrad Waumans, 
 and exhibited as No. 653 with the Art Treasures at Manchester in 1857, and is now in this 
 Gallery. There is at Earl Fitzwillirm's a third example of the subject, which Dr. 
 Waagen, "Treasures of Art," 1854, iii. p. 338, surmised, without saying why, was 
 "perhaps the same (see Smith, 2791 that was sold for 1,000 florins with the Van Loo 
 Collection" at Amsterdam in 1712. This picture is mentioned in "Treasures of Art," as 
 above, iv, p. 511. There is another version in the Musee de Bourdeaux, No. 460. Smith's 
 "Catalogue Raisonne," iii. ]:>. 36, describes as No. 125 yet another example of this subject, 
 which belonged to the Due de Tallard, and was sold for 7,000 francs (;^28o) in 1756. 
 
 Van Dyck painted the portrait of the above-named (Sir) Endymion Porter and his family, 
 now in the Royal Collection; his portrait, by Dobson, is in the National Portrait Gallery. For 
 a smaller version of the design of this picture see No. 73, lent by Lady Eastlake, in the present 
 collection, entitled, "Rinaldo and Armida." 
 
 .See Smith's " Catalogue Raisonne," Nos. 125 and 279. 
 
 96 X 90 inches. 
 
 20. Charles the First, Henrietta Maria, and their two 
 
 This IS a version of the upper portion of the group of the royal family painted by Van 
 Dyck, and supposed to be the first of his works produced during his second visit to this country. 
 Two larger examples exist, one of these is at Windsor, the other at Chiswick. 
 
 The King is seated a little on the left of the picture, with his right hand on a table, the 
 other hand resting on the arm of his chair. The elder child stands at his knee on our left. 
 The Queen is seated on the King's left, holding the younger child, an infant, in her arms. All 
 the figures are nearly in full view, and seen to the knees only. The other versions comprise full- 
 length figures. 
 
 55 X 76 inches. 
 
 A full-length, life-size figure, in a white satin dress. The right hand rests on a table, on 
 which are a vase of flowers and the crown ; the left hand is holding back the skirt of her robe. 
 A richly jewelled chain hangs about her neck, and is knotted at her waist. 
 
 ELDER Children. 
 
 Lent by the Viscount Galway. 
 
 21. Henrietta Maria. 
 
 Lent by the Duke 0/ Graft on ^ K.G. 
 
IVest Gallery. 
 
 29 
 
 Here are Waller's verses to the Queen, written in 1640, when she was deli\ered of her 
 fourth son, the Duke of Gloucester : — 
 
 PUERPERIUM. 
 
 You gods that have the power 
 
 To trouble, and compose. 
 
 All that's beneath your bower, 
 
 Calm silence on the seas, on earth impose. 
 
 Fair Venus ! in thy soft arms 
 The God of Rage confine ; 
 For thy whispers are the charms 
 Which only can divert his fierce design. 
 
 What though he frown, and to tumult do incline ? 
 Thou the flame 
 
 Kindled in his breast canst tame 
 
 With that snow which unmelted lies on thine. 
 
 Great goddess ! give this thy sacred island rest ; 
 
 Make heaven smile, 
 
 That no storm disturb us while 
 
 Thy chief care, our halcyon, builds her nest. 
 
 Great Gloriana ! fair Gloriana I 
 
 Bright as high heaven is, and fertile as earth, 
 
 Whose beauty relieves us. 
 
 Whose royal bed gives us 
 
 Both glory and peace, 
 
 Our present joy, and all our hojies' increase. 
 
 It may have been by Van Dyck's hand that Her Majesty's picture was painted to which 
 Waller's famous verses refer : - 
 
 "Well fare the liand I which to our humble sight 
 Presents thai beauty which the daz/ding light 
 Of royal splendour hides from weaker eyes ; 
 And all access, save by this art, denies. 
 Here only we have courage to behold 
 This beam of glory ; here we dare unfold 
 In numbers thus the wonders we conceive ; 
 The gracious image, seeming to give leave. 
 Propitious stands, vouchsafing to be seen ; 
 
30 
 
 IVest Gallery. 
 
 And by our Muse saluted Mighty Queen, 
 
 In whom the extremes of power and beauty move, 
 
 The Queen of Britam, and the Queen of Love. 
 
 Both Alytens and Honthorst painted the Queen before Van Dyck's arrival in London and 
 engagement with the King, but neither of these artists seems capable of evoking the rapture of 
 the courtier poet. Van Dyck might have painted her in Paris in 1620, but Waller was not 
 there to see the picture, and we may be sure he referred to a new work. The Queen reached 
 London in 1625, and Waller was then in that metropohs. Van Dyck arrived there in 1632, and 
 one of his first tasks was to paint Henrietta Maria. After this date no one else took Her 
 ^lajesty's j^^ortrait. M^ens retired to his tent in the Low Countries, and Cornelius Jonson set 
 up his s^ffff in Kent. These considerations leave it more than probable that AValler's 
 animated peroration was due to a picture by A^an Dyck. 
 
 In another rhapsody entitled Of the Queen," Waller celebrates her beauty and wit, 
 beginning in a manner to which Leigh Hunt's address " To the Queen (Victoria) " owes not a 
 little :— 
 
 " The lark, that shuns on lofty boughs to build 
 Her humble nest, lies silent in the field ; 
 But if (the promise of a cloudless day) 
 Aurora smiling bids her rise and play, 
 Then straight she shows 'twas not for want of voice 
 Or power to climb she made so low a choice ; 
 Singing she mounts ; her airy' wings are stretched 
 Towards heaven, as if from heaven her note she fetched." 
 * * * * 
 
 Having commended himself to the Queen, Waller then sketched her portrait in the 
 xjuestion : — 
 
 " Could Nature, then, no private woman grace, 
 Whom we might dare to love, with such a face. 
 Such a complexion, and so radiant eyes, 
 Such lovely motion, and such sharp replies ? 
 Beyond our reach, and yet within our sight, 
 What envious power has placed this glorious light?" 
 It is more than probable that the first painted portraits of Charles and his Queen are those 
 grouped, with two of their children, on the large canvas of which the original is at Windsor 
 ^No. 2). One hundred pounds was paid for this work in July, 1632, arid the Queen holds in her 
 arms the baby, Princess Mary, who was born in the previous November. 
 
 Some writers have affirmed that Van Dyck continued for nine years, the period of his 
 sojourn in the King's service, to paint his royal patrons according to a type (ebaiiche) he had 
 adopted at an early date. This idea is quite untenable in face of the fact that the great 
 
IVest Gallery. 
 
 31 
 
 group of 1632 and the superb portrait, now at Dresden, to say nothing of the several specimens 
 before us here, differ in their traits as much as time's flight required they should differ, 
 while not a few of the pictures gain pathetic expression by clearly suggesting how much 
 trouble, contests, and anxiety had already told upon the royal pair. Waller's prai.-es are not 
 all hyperbolical and flattering ; he saw the Queen in the prime of her womanhood, and Van 
 Dyck began to paint her when she was but twenty-three years of age. Doubtless Waller's 
 verses, quoted above, were inspired by one of the earliest of the single figures of the royal lady. 
 *' Puerperium," quoted on another page, may have had its occasion in 1633, '5, '7, or '40, most 
 likely when, as in the last-named year, he was deprecating the King's combativeness. 
 
 The true character and position of Henrietta Maria, which were quite worthy of her mother 
 and the family from which she came by that lady's side, are well described by many of her 
 contemporaries, and they are distinct from such impressions as seem proper to the glowing 
 vision called up by the Royalist writers and courtier poets. In Mr. Forster's "Anest of the 
 Five Members," i860, p. 137, is the following striking piece of portraiture, ajit enough to Van 
 Dyck's pictures of the Queen, which are far indeed from suggesting to us another Queen 
 Elizabeth, oreven a Queen Caroline: — " Of a different complexion from his statement [Dr. Bates's], 
 though not necessarily at variance with it, is the scene that waits to be described from Coke's manu- 
 script, preserved by Archetil Grey. A very long and passionate delxate had passed in the royal 
 chamber on the night of the fruitless attemjH of the Attorney-General, the Queen taking a 
 ])rominent part therein ; and it had ended, according to this account, in the settled resolve that 
 Charles would himself demand the members [Haselrig, Pym, Hollis, Ham})den, and Strodes 
 in the morning. But his heart failed him when the morning came. He went to the Queen'] 
 apartments early, and finding Lady Carlisle [see ' James Hay, Earl of Carlisle '] with her, took 
 Her Majesty into her closet, and there, having put to her all the hazards of the attempt, and all 
 its probable consequences, declared that he must abandon it. Whereat the Queen, no longer 
 able to control her j^assion, violently burst out, ' Alh'z, poltron ! Go jiull these rogues out by the 
 ears, ou ne ?ne revoyez jamais /' Without rei)lying, the King left the room." He attempted 
 to arrest the members, and failed ruinously. The Queen was in dread lest the Commons, as it 
 was rumoured they intended, should imj^each lier as a false adviser of her husband ; she dreaded 
 for her husband, desired revenge for the stoj^page of lier journey to Sjia, and longed to get 
 away from England, taking with her not only jewels which were the jorojierty of Charles and 
 herself, but some of the Crown jewels. This, ere long, she contrived to do. 
 77 X 45 inches. 
 
 :22. Sir Anthony Van Dyck. 
 
 Lent by tJie Duke of Devonsliife, K. G, 
 
 A three-quarters-length figure, seated and leaning to our left, the right elbow rests upon a 
 table, with the wrist bent so that the back of the hand is seen, with the fingers parted in front. 
 
PVest Gallery. 
 
 The lin^'crs of the left hand touch the ed<;e of the table. The face is in thiee-quaileis view to 
 our left, the eyes are turned, with a smilinfj expression, towards the spectator. He ap})ears to 
 he about twenty years of age, brown hair curls about his face. Black dress. 
 
 There are several versions of tliis, one of which is in the East Gallery. 
 
 48 X 38 inches. 
 
 SXYDERS AND HIS WiFE. 
 
 Lent by tJie Duke of Cleveland^ K.G^ 
 
 Life-size fi<:[ures, seen to the knees, sittin^i; side by side in separate chairs. He is on our left ; 
 his ri^ht hand placed on his thi<^h, his left hand resting on the arm of his chair. Face nearly in 
 full view; short dark hair ; brown moustache and small peaked beard. Black dress, open at the 
 breast, showing under-vest, his puce-coloured sleeves are spotted with black. She is in three- 
 quarters view, to our left ; one hand lies on the arm of her chair, the other hand is in her lap. 
 Black close-fitting dress, embroidered with gold ; large white ruff. 
 
 50 X 5^>^ inches. 
 
 Gforge, Viscount Grandison. 
 
 Lent by the Duke of Grafton^ K,G. 
 
 Full length figure, standing ; the right hand resting on his hip, and holding a plumed hat. 
 The left arm, with a mantle rolled about it, hangs by the side ; red dress, embroidered with gold; 
 large white collar of lace, and buff boots with laced tops. 
 
 84 X 51 inches. 
 
 Charles the First taking Wreath from Henrietta Maria, 
 
 Life-size, three-quarters-length ligures. The King is represented in a nearly profile view, 
 wearing a silk vest with slashed sleeves, a ruff of rich lace spreading wide on his shoulders, and 
 the George suspended upon his breast. This is, doubtless, the jewel which the King, when on 
 the scaffold before Whitehall, took from his neck, and, with the single word "Remember!" 
 gave to Bishop Juxon. Charles's left hand is on the hilt of his sword, and his right hand is. 
 advanced to take a laurel wreath presented to him by the Queen, who is on the opposite side of 
 the picture in a position similar to her husband's and attired in that white satin robe which, till 
 her naturally brilliant and clear complexion faded, she so often affected, and in which Van D\ ck, 
 
 the Duke 
 
IVesf Gallery. 
 
 33 
 
 more frequently than otherwise, as in the best portraits at Windsor, Berlin, and elsewhere, painted 
 her. Henrietta Maria has a rich white lace kerchief and ruffles. The crown, orb of soverei^jnty, 
 and sceptre lie on a table covered with carpe, which is near the King. 
 
 This appears to resemble the picture referred to in the " Catalogue of the King's Collection of 
 Limnings," published by Bathoe, as follows : — " No. 15. Done by Hoskins after Sir Anthony 
 Vandyke. Item. The King and Queen's picture together in one piece, his ]Majesty in 
 carnation, and the Queen in a white habit, she presenting the King, in her right hand, a 
 garland of laurels ; and her left hand holding an olive branch ; in a little black ebonv frame, and 
 a crystal over it, with a cover ; copied by Hoskins, after Sir Anthony Vandyke's picture which is 
 now at Denmark-house above the chimney, in oil-colours. This I have seen itt possession of the 
 Countess of Hertford., since Dutchess of Somerset^ The last sentence is bv Vertue. 
 
 Walpole's "Anecdotes of Painting," 1849, p. 331, mentions a Van Dyck of this description 
 as in the Royal Collection, and Smith, in his " Catalogue Raisonne," confirms that statement. 
 No such example is now in the Queen's possession. That at Buckingham Palace has marked 
 differences. The picture before us, or a similar one, was engraved by R. Van Voerst, C. J. 
 Visscher, and by G. Vertue. It must have been painted before 1634, ^vhich is the date on Van 
 Voerst's print. (See Smith, 209.) 
 
 The work referred to by Walpole, whom Smith probabh- copied, seems to have been the 
 picture, of which Pepys said, vide " Diary," April 26, 1667 : — To White Hall, and there saw the 
 Duke of Albemarle [Monk], who is not well, and do grow crazy. While I was waiting in the Matted 
 Galler} , a young man was working in Indian Inke the great picture of the King and Queen, 
 sitting by Van Dyke, and did it ver>- finely." The " young man " was, doubtless, an engraver 
 or engraver's draughtsman. As Pepys does not mention other figures than those of Charles 
 and his Queen, the number of paintings in the Royal Collection which could be in question 
 here is much reduced. 
 
 64 X 36 inches. 
 
 26. Portrait of a Gentleman 
 
 Lent by tlii Earl Coivpcr^ K.G. 
 
 Life-size, standing figure, in a black dress and white falling ruff; right hand is extended 
 downwards ; the other hand is at his hij) ; l)are headed. 
 86 X 51 inches. 
 
 ^ I V 
 
 ^ 27. Duchess of Buckingham. 
 
 Lent by tJic Lord Ly ft el ton, 
 
 A half-length figure turned to our right in three-quarters view, and about twenty-four 
 years of age. Her dark hair is decked with pearls, and her dress of light blue silk, with full open 
 
 B 
 
34 
 
 West Gallery, 
 
 sleeves, is supported by clasps of pearls and other jewels ; in the hands is a basket of flowers, 
 which rests on a pedestal before her. 
 
 This picture was No. 902 at the National Portrait Exhibition, 1866, as a portrait of Mary, 
 bom Fairfax, Duchess of Buckingham, wife of the second Duke. As this lady was born in 
 1639, and was not three years old when A^'an Dyck died, Dec. 9, 1641, that description must have 
 erred. The form and face are unlike those of that lady, who was not good-looking, but " low and 
 fat," " a short, fat body, like her Majesty [Katherine of Braganza]," as Grammont described 
 her, and again, in equal terms, by Madame Dunois in her "Memoirs;" she was otherwise said 
 to be " a little, brown, crumpled woman." Compare the face with that of Catherine, first 
 Duchess of Buckingham, as represented in this Gallery with her children. 
 
 (Smith, 492.) 
 
 48 X 37 inches. 
 
 ' 28. Henri Liberti of Groningen, Organist of the Cathedral 
 AT Antwerp. 
 
 )C^dj , Lent by the Duke of G7^afton^ K,G, 
 
 About thirty years of age, nearly in front view, with auburn bushy hair ; wearing a black 
 silk vest and mantle, leaving the neck open ; a triple gold chain crosses the body ; the right 
 arm leans on a pedestal, and the left hand, holding a paper, is placed on the right wrist. 
 
 Engraved by P. de Jode, No, 172 of Dr. F. AVibiral's " Iconographic d'Antoine Van 
 Dyck," 1877. 
 
 There are versions of this portrait at Munich, No. 193; at Madrid, No. 1,447; and 
 elsewhere. 
 
 This picture was exhibited by the then Duke of Grafton at the British Institution in 1843, 
 No. 112. 
 
 (Smith, 49.) 
 
 44 X 33 inches. 
 
 The Children of the Balbi Family of Genoa. 
 
 Lent by the Eai4 Coajper^ K, 
 
 This picture was exliibited by the late Dowager Countess Cowper at the Royal Academy in 
 1871, No. 148, 
 
 It is supposed that Van Dyck painted this group during his sojourn in Genoa; 162 1-2 see 
 in the present collection " Portrait of the Marchesa Balbi." No. 77. 
 86 X 60 inches. 
 
West Gallery. 
 
 35 
 
 30. Lady Morton; 
 
 Le)it by the Earl Spencer^ G, 
 
 A life-size three-quarter length figure, standing and turned a little to our left, with her left 
 hand on the parapet of a balustrade (?) which is in front ; with her right hand she prevents a large 
 rose-coloured silk scarf from faUing off her shoulders. Light brown ringlets fall about her 
 face, which is seen nearly in three-quarters view to oui" left. 
 41 X 31 inches. 
 
 31. Sir Endymion Porter, Groom of the Bedchamber. 
 
 Le7it by the Earl of Mexboroiigh, 
 
 Seen to the knees and turned towards our left, in three-quarters view of the face and figure 
 pointing downwards vdth his left hand. 
 
 Van Dyck's "The Family of Endymion Porter" was in Sir Peter Lely's collection. 
 No. 112. 
 44 X 35 inches. 
 
 32. James Stuart, Fourth Duke of Lennox, and Third Duke 
 OF Richmond, as ''Paris." 
 
 Lent by the Marquis of Bristol, 
 
 Three-quarters length, life-size figure, in three-quarters \-iew to our left, standing in his 
 white sliirt and light brown hair, and holding a pear in his left hand. There are many repetitions 
 of this design by Van Dyck. 
 
 40 X 30 inches. 
 
 33. John, Lord Finch of Fordwich. 
 
 Lent by the Duke of Cleveland^ K,G, 
 
 Three-quarters-length, life-size figure, seated in a chair before a curtain, and seen nearly in 
 full view with both hands on the arms of his chair. Wearing a black robe, laced with gold, 
 white collar and strings with tassels hanging in front. Bare-headed, the face being in three- 
 quarters view to our right. 
 
 50 X 42 inches. 
 
 B 2 
 
West Gallery. 
 
 Richard Boyle, Second Viscount' Dungarv an, First Earl 
 OF Burlington, Second Earl of Cork 
 
 Lc?it by tJie Duke of Devonshire, K. G, 
 
 A life-size, three-quarters-length hgure, about thirty years of age, and seen nearly in full- 
 face, with the right hand on the hip, the left hand showing the back placed against the breast. 
 He wears a yellow satin doublet under a dark blue cloak which nearly coveis the body, white 
 shirt, brown full wig, and is bare-headed. An oi:)ening, showing the sky, is in the wall, on our 
 right behind the figure. 
 
 This nobleman was born at Youghal, October 20th, 161 2 ; he was the second son of 
 Richard, first Viscount Dungarvan and Earl of Cork (called the " Great Earl of Cork," died 
 1643) ; travelled on the continent, 1632 ; married, July 5th, 1635, the Lady Elizabeth Chfford, 
 sole daughter and heir of Heniy, fifth and last Earl of Cumberland, see her portrait in this 
 Gallery; was engaged with Lord Inchiquin in the war in Ireland, 1642; joined the King in 
 Dorsetshire, 1644; was created Lord Clifford of Lanesborough, November 4th, 1644; com- 
 pounded for his estate ; assisted in the Restoration ; was created Earl of Burlington, ]March 
 20th, 1664, and Lord High Treasurer of Ireland, 1660 and 1662; he died January 15th, 1698, 
 aged 85. 
 
 This picture was No. 264 at the Royal Academy in 1876, and then erroneously named 
 "Robert Boyle." His brother, the fourteenth child of his father, was the Hon. Robert Boyle, 
 F.R.S., the great experimental philosopher, who died in 1691. His third son, Richard, was 
 killed at the battle of Sole Bay by the same cannon shot which slew the Earl of Falmouth 
 (Charles the Second's son) and Lord ]\Iuskerry, June 3rd, 1C65, 
 
 (Smith, 619.) 
 
 46 X 36 inches. 
 
 Henrietta Maria, and Her Dwarf, Sir Jeffrey Hudson, 
 WITH A Monkey. 
 
 Lent by the Earl of North brook. 
 
 Full-length figures, standing, life-size. The Queen's dress is composed of a large hat, 
 decked with feathers ; a blue silk robe, embroidered with gold ; a muslin kerchief, striped with 
 ^old ; a white lace ruff, and ruffles. With her left hand she is raising the skirt of her robe ; 
 the right hand is extended to caress a monkey carried by Sir Jeffrey Hudson. 
 
 For the Queen, see a picture No. 21, lent to this Galleiy by the Duke of Grafton. 
 Sir Jeffrey Hudson, "the most exquisite epitome of Nature," was born at Oakham 
 in 1619 or 1620, and when seven years old and but thirty inches high was served up in a pie at 
 
IVesl Gallery. 
 
 37 
 
 Burleigh-on-the-Hill, and presented by the Duke of Buckingham to the Queen. " From seven 
 to thirty years he never grew taller, but after thirty he shot up to three feet nine inches, and 
 there fixed." He shot Mr. Crofts in a duel, and served as a captain in the royal army during 
 the Civil War. He accompanied the Queen to France in 1644. He returned to England after 
 the Restoration, and was imj^risoned on suspicion of being concerned in the Popish Plot. He 
 died in 1682. 
 
 At Hampton Court there is a full-length portrait of Sir J. Hudson, in a red dress, dated 
 1650 (?), attributed to Mytens. 
 
 Davenant wrote " Jeffreidos " or a combat between this dwarf and a turkey-cock. He 
 was sent, in 1630, on a mission to France, to fetch a midwife for Henrietta Maria. When he 
 quarrelled with Mr. Crofts, that gentleman appeared on the ground with a squirt ; but Hudson, 
 more enraged than before, insisted on the use of pistols, with one of which, at the first fire, he 
 killed his antagonist. He was taken prisoner by a Turkish rover, taken to Algiers, and, 
 Buckingham said of him, employed by his caj^tors to lie in bed and hatch eggs. Scott 
 introduced him in " Peveril of the Peak." 
 
 This picture came from the galler\ of the Earl of Portarlingtoii in 1881, to the present 
 owner, by exchange. Earl Fitzwilliam exhibited at the British Institution in 1846, No. 187, a 
 similar picture to that before us ; this work is still at Wentworlh-Woodhouse. Tli€ same 
 picture was in the Art Treasures Exhibition at Manchester, 1857, as No. loS, and described as 
 "Queen Henrietta Maria {in blue), and Sir Jeffrey Hudson with an ape on his shoulder. Full 
 length ; given by King Charles the First to the great Earl of StralVord. Windyck received ;<"40 
 for it." There is no doubt of the authenticity of this note. Lord Porta: linglon's jiicture was 
 No. 166 at the Royal Academy in 1878. 
 
 8fj X 52 inches. 
 
 36. Philip Herbert, Fifth Karl of Pemp.R()Ke and Second 
 Earl of Montgomery. 
 
 Le}it by the Viscount Galway. 
 
 Three-quarters-length, life-size li„'ure, standing with his left wrist against his hip, and 
 gloved ; his bare right hand holds a crimson sash, which extends diagonally athwart his body, 
 Seen nearly in full view, wearing light brown hair, a bieastplate, red coat, opened at the sleeve 
 to show the shirt. 
 
 There are many versions of this design, which has been repeatedly engraved. 
 For this nobleman see the notes on his portrait, lent by the Duke of Devonshire, No. l6» 
 and the Earl of Carnarvon's portrait of his father, N(\ ^. 
 
 41 X 33 inches. 
 
38 
 
 JVest Gallery. 
 
 Don Livio Odescalchi. 
 
 Z.e7it by Sir Hugh Hume Campbell^ Bart. 
 
 Life-size, standing, in a black dress and a full white ruif ; his right hand rests on a gorget, 
 which lies on a table ; his left hand holds his sword below the hilt. 
 
 He was one of the nephews of Pope Innocent XI. (Benedict Odescalchi). 
 
 A picture named thus was sold with the Earl of Ashburnham's collection in 1850 for 
 
 This picture was at the British Institution in 1856, No. 10 ; and at the Academy in 1877, 
 No. 56. 
 
 M\ X 35 inches. 
 
 38. Elizabeth, born Clifford, Lady Dungarvan, afterwards 
 Countess of Burlington. 
 
 Lent by the Duke of Devonshire^ K.G, 
 
 Life-size, three-quarters-length, about twenty-two years of age, standing with her body 
 nearly in profile to our left ; the face, being turned to the front of the picture, looks at us. She 
 holds her scarf, which flutters in the wind, between the finger and thumb of her left hand, and 
 with the right hand extended, plucks an orange from a tree growing before her. Bare-headed, 
 with her dark hair disposed in curls,'wearing an orange or dead-leaf colour silk robe, and a blue scarf. 
 
 She was the sole daughter and heir of Heniy Clifford, fifth and last Earl of Cumberland, 
 by Lady Frances Cecil, only daughter of Robert Cecil, Earl of Salisbuiy. On the picture is 
 written " Eliz, Lady Dungarvan, afterwards Countess of Burlington, grand-child of Francis, 
 Earl of Cumberland, brother of Frances, Lady Wharton, grandmother of Philip, now Lord 
 Wharton, 1639, about ye age of 22. P. S'' Ant. Vandike." At St. Petersburg, part of the 
 collection of Lord Wharton, are five Van Dyck portraits of the Wharton family. This lady 
 married Richard Boyle, first Earl of Burlington, second Earl of Cork, whose portrait, the 
 .companion to this one, is in the present Gallery, which see. She died January 6th, 1690. Pepys 
 met her September 28th, 1668, at Burhngton House, Piccadilly, and recorded the following : — 
 "Here I first saw and saluted my Lady Burlington, a very fine-speaking lady, and a good 
 woman, but old and not handsome ; but a brave woman." It was on this occasion that Pepys, 
 seaUng a letter, " do sett my perriwig a-fire, which made such an odd noise nobody could tell 
 what it was till they saw the flame, my back being to the candle." 
 
 (Smith, 620.) 
 
 47 X 36 inches. 
 
IVest Gallery. 
 
 39 
 
 39. Charles the First. 
 
 Lent by the Duke of Norfolk, K.G., E.M. 
 
 A three-quarters-length life-size in armour, bare-headed, seen in front view ; holding a 
 leading-staff in his hand, and resting his left hand on a helmet which, with the royal crown 
 stands on a table at his side. The face is in full view. The badge of the Garter is suspended 
 about his neck by a double gold chain. 
 
 Charles Stuart, third son of James the First, by Anne of Denmark, was bom at Dunferm- 
 line, November 19, 1600, and became heir to the throne on the death of his brother Henry, 
 November 6, 1612; he was created Prince of Wales November, 1616; in 1623, he \isited ^Madrid 
 with the Duke of Buckingham, Sir End)anion Porter, Sir Francis Cottington, and Sir Edmund 
 Verney, whose portraits are in this Gallery, and others, in order to promote a match for himself 
 with the Infanta Maria ; disappointed in this, his attention was directed to a French, instead of 
 a Spanish alliance. He ascended the throne on the death of his father, March 27, 1625; married 
 by proxy in Paris the Princess Henrietta Maria, daughter of Henry IV., May ii, 1625 ; his first 
 Parliament was dissolved August 12, 1625, his second June 15, 1626, the third March 10, 1629. 
 He ruled without a Parliament till April, 1640. Disturbances had, however, been frequent in the 
 interval, beginning at Edinburgh, in July, 1637. Parliament was dissolved May 5, 1640; 
 Scottish Army entered England, August 20, 1640, Long Parliament met November, 1640. 
 Laud sent to the Tower, Strafford executed ; the Militia Bill was refused, Februar}-, 1642 ; the 
 first combat at Edgehill, Sunday, October , 1642 ; the King's party obtained frequent successes 
 till the Battle of Marston Moor, July 2, 1643. Naseby Fight, when the King was defeated, took 
 .place June 14, 1645 ; Charles delivered himself, on the 5th of May, 1646, to the Scottish 
 Army, which had crossed the Border in Februar}-, 1644. The Scotch surrendered him to the 
 Parliament January 30, 1647 ; he was captured by Comet Joyce, at Holmby, on the 3rd of June, 
 1647, and taken to the Army, then in open rebellion against the Parliament ; brought to 
 Hampton Court, August 6, 1647 ; escaped to the Isle of Wight, and surrendered himself to 
 Colonel Hammond ; kept prisoner at Carisbrooke. The Duke of Hamilton was defeated by 
 Cromwell, August 17, and the House of Commons "purged" by Colonel Pride, December 6. 
 The King's trial began January 20, 1649, and he was executed on the 30th, at two o'clock 
 in the afternoon. 
 
 For the King's dealings with, and patronage of. Van Dyck, see the notice of a portrait of 
 the Artist, No. i ; their relations began by means of Thomas, Earl of Amndel, about November, 
 1620, when the painter first visited England for a short time. In Februaiy, iC2i,heleft the 
 •country ; he returned in 1629, and was received at Court in 1632. 
 
 This picture was No. 183 in the Royal Academy, 1885. 
 
 40 X 31 inches. 
 
40 
 
 H^esf Gallery. 
 
 40. Monsieur Francois Langlois, called de Chartres, or 
 
 ClARTRES, A CELEBRATED PLAYER ON THE BaGPIPES, AND 
 
 FRIEND OF Van Dyck, sometimes called Le Joueur de 
 "Kax/ . Musette." 
 
 A three-quarters -length, life-size figure, with bagpipes under his arm; about thirty-five or 
 forty years of age ; his face is in full view, with dark hair, beard and moustache ; a large grey 
 slouch hat is set sideways on the head, and the dress consists of a red doublet and cloak ; the 
 hands are deftly applied to the bagpipes. This is said to be the portrait of the boon companion 
 and scholar whose name it bears, and it was probably painted in 1625, shortly after the artist 
 quitted Italy. This picture bears traces of the influence of Italian art. M. Guiffrey, in his 
 " AntoineA^an Dyck," p. 71, gives a very curious and complete account of the portrait of F. 
 Langlois. After belonging to the subject, a bookseller of some note, it was owned by the 
 Marquise de Ruflec, from whom it passed successively to M. Dutrevoux, M. de Lautrec, 
 the Chevalier de La Ferriere, and the Prince de Conti. At the sale in 1777 of the collection of 
 the last the Duke de Praslin paid 8,000 francs for it, and he retained it till his death in 1793, 
 when it was bought for the same price as before by M. Paillet ; it is next found in the 
 Choiseul-Praslin Collection, whence it was sold in 1808 for 6,003 fi'^^i^cs or ^240. It was next in 
 the possession of J. Hoppner, R.A., and in 1823 was bought by J. Smith, of the " Catalogue 
 Raisonne," for 112 guineas. From the hands of this expert it reached those of Miss Tait. 
 Before this it was akeady ** much disguised by dirt and varnish," so said John Smith in 183 1. 
 
 Van Dyck's picture was engraved by P. G. Langlois, with whom originated the name 
 *' Joueur de Musette," by Jean Pesne in 1C45, Poilley. 
 
 (Smith, 305.) 
 
 41 X 32 inches. 
 
 41. Three Children of Charles the First. 
 
 Lejit by Her Majesty the Queen, 
 
 Three full-length, nearly life-size standing figures, with two spaniels. The Prince 
 of Wales, aftenvards King Charles the Second, about eight years of age, stands on our left, 
 dressed in an amber-brown coloured silk jacket, breeches and hose, and a broad white lace collar ; 
 he leans his right arm on the base of a column, and holds the left hand of his brother James, Duke- 
 
 Lent by W. Garnett^ Esq, 
 
JVest Gallery. 
 
 41 
 
 of York, afterwards James the Second, who, according to the custom of the time, is 
 dressed in petticoats and a white lace skull-cap. Their sister Mary, Princess Royal, afterwards 
 Princess of Orange, and mother of William the Third, is on our right, nearly in front view, 
 with her hands crossed on her waist. Prince James looks at her. On each side of the 
 group is a small spaniel of the kind named after King Charles. It has been supposed that to 
 this picture referred the entry in the " Memoire pour Sa Maj^"-'- Le Roy," containing the sums 
 claimed by Van Dyck from the King, which in 1639 seems to have been placed in the hands 
 of Bishop Juxon, as Lord Treasurer of the Household, in order to the debt being settled 
 by the then direfuUy impecunious King. The entry itself, however, distinctly indicated 
 the group of five children, before mentioned, and runs thus : "Le Prince Carles avecq le ducq 
 de Jarc Princesse Maria, P^f- Ehzabet, P^- Anna." For this superb masterpiece the unhappy 
 artist, hoping no doubt, by the moderation of his demand, to escape being very severely mulcted, 
 actually as^ked but £200. The Treasurer, however, struck out "_;^2oo"and wrote ''£100.'' 
 It is very doubtful indeed if even this outrageous act really ended in payment ; Van Dyck's 
 " pention of £200 per annum was five years in arrear. 
 
 This group is mentioned as No. 155 in the Catalogue of " The King's (James the Second's) 
 Collection of Pictures," as published by Bathoe, 1758, "By Vandyck, a piece of three of King 
 Charles the First's children, at length." It was at Buckingham Palace and Kensington before 
 being removed to Windsor. There is a duplicate of the greatest merit at Dresden, No. 987, 
 which, as it was bought in Paris in 1774, probably came from the Orleans Gallery. There is 
 another (varying) at Turin, No. 338 ; and there is a fourth at Wilton House (Smith, 842) 
 dated 1635, when Prince Charles was only five years old. This date is eridently 
 wrong, and not original. The other group by Van Dyck, comprising five of 
 the children of King Charles the First, now at Windsor, is signed and dated " 1637," about 
 which there can be no doubt. Prince Charles was bom May 29, 1630 ; the Princess Mar)- 
 November 4, 1631 ; the Duke of York October 14, 1633. It thus appears that both groups 
 were painted at nearly the same time, the more numerous group before the other. There is a 
 small sketch of the group before us in the Louvre, No. 143, which has been etched by M. C. 
 Waltner. In this the colours of the dresses differ from those before us, the Prince Charles 
 being in a yellow jacket, and there is but one dog. 
 
 This design was engraved by Sir R. Strange in 1757, and his plate seems to have been 
 taken from a version in the possession of the Duke of Hamilton {}), see "Memoirs of Sir R. 
 Strange," by J. Dennistoun, 1855, i. 259. It was likewise engraved by J. Burnet, Le Blond, and 
 Purcel severally, and etched by Muxel. 
 
 "The Children of Charles the First" : various pictures, including both groups as above, 
 have been exhibited as follows. At the British Institution in 182 1, No. 21, the work before 
 us, and again in 1834 ; at Manchester in 1857, and at the British Institution in 1865, by Lord 
 Bayning ; and at Leeds in 1868, two pictures respectively the property of Lord Lyttclton and Sir 
 
 B 3 
 
42 IVesf Gallery. 
 
 G. N. Broke Isliddleton, Bart. The Queen has a group of the King, Queen and two 
 of their children (Brit. Inst. 1820), of which there is an admirable repetition at Chiswick 
 House. The picture now before us was No. 556 in the National Portrait Exhibition in 1866. 
 
 (Smith, 211.) 
 
 59 X 52 inches. 
 
 42. Rachel de Rouvigny, Countess of Southampton, Painted 
 AS Fortune. 
 
 Lent by the Earl Cowper, K. G. 
 
 A full-length, rather more than life-size figure, seated on clouds and in full view ; her head 
 ''^^'^is turned to our left, nearly in three-quarters view ; her right foot is on a human skull ; her right 
 hand rests in her lap, and her left hand is placed on a large ciystal sphere, which reflects the 
 sky and clouds. Her head and bust are bare ; her blue robe and scarf partly conceal her figure. 
 Behind, the light of a setting sun glows upon clouds. 
 
 There are several differing versions of this design, two of which are in this gallery ; one 
 of these belongs to Earl Spencer, the other, which is the finished sketch for the picture, 
 belongs to the Duke of Devonshire. See the Note on Earl Spencer's example, No. 124. 
 87 X 51 inches. 
 
 43. Thomas Wentworth, first Earl of Strafford. 
 
 Lent by Sir Philip le Behmrd Grey Egerton^ Bart. 
 
 A three-quarters-length, life-size, standing figure, seen nearly in three-quarters view to our 
 left ; the right hand, holding a leading-staff, is placed at his side ; the left hand, holding the 
 sword-hilt, is close to his hip. Bareheaded ; fully clad in black annour. 
 
 50 X 40 inches. 
 
 44. Martin Ryckaert, Painter. 
 
 Lent by the Earl of Warwick. 
 
 Three-quarters-length figure, about fifty years of age, seated in arm-chair, nearly in front 
 view, in a fur caj) and fun-ed dress, and red waistcoat ; the face, with very marked features and 
 large moustaches, is in a strongly contrasting effect of light and shade. The whole reminds us 
 of Rembrandt. The single hand is on the elbow of the seat. 
 
 There were several painters of this family, (i) Da\id L, born 1560, died c. 1607 ; (2) 
 Da\id IL, bom 1586, died 1642; (3) Martin, born 1587, died 163 1 ; (4) Paul, bom 1592, 
 
IVcst Gallery. 
 
 43 
 
 died — ; (5) Catherine, who married Gonzales Coques; (6) David III., born 1612, died 1661 ; 
 David IV., born 1649, died April, 1698. David II., Martin, and Paul were sons of David I. 
 Catherine and David III. were children of David II. David IV. was a son of David III. 
 
 The picture before us is supposed to represent David III., but as the name Martinvs 
 Rychart, Vnimanvs, Pictor Rvalivm Prospectivni Antverpiae," is below a print — one of the 
 " Centum Icones," — of this person engraved by J. Neeffs, there can be no doubt of the right title 
 this picture. In the Dresden Gallery, No. 990, there is a good version of it ; at Madrid (where 
 it is called David Rickaert), No. 1233, is a much better example. Other specimens are in the 
 Lichtenstein Gallery at Vienna, in the possession of tlie Earl of Hardwick (a bust), and in that 
 of the Earl of Radnor. 
 
 As the inscription below Neeffs's print indicates, Martin Ryckaert had but one hand 
 at birth. He was born at Antwerp, became a pupil of T. Verhaecht, went to Italy, 
 remained there during several years, and returned home with many \iews taken near Rome. 
 These materials he employed for pictures, introducing architecture and other elements, such as 
 rocks, mountains, and waterfalls. Jan Breughel occasionally added figures to these works. He 
 was very intimate with Van Dyck, who painted at least one of the versions of his portrait. 
 He died at Antwerp. 
 
 The portrait of this painter was engraved by Boulonnois, Rasp, and J. R. Smilli. It was 
 lithographed in the "Dresden Gallery." J, R. Smith's plate was made from the example before 
 us, and it bears the name " Martin Rychart." 
 
 Lord Warwick's version was at the British Institution in 1862, No. 52 ; and at Leeds, as 
 No. 799, in 1868. 
 
 (Smith, 741.) 
 
 43 X 33 inches. 
 
 45. Sir Edmund Verne i', Knight Marshal and Standard 
 Bearer to Charles the First. 
 
 Loit by the Right Hon, Sir Harry Vcr)Lcy\ Bart. 
 
 Three-qearters length, life-size figure, standing and leaning slightly on a pedestal on our left, 
 while holding in his right hand a leading staff; his left hand rests on a helmet placed at his 
 side. He is bare-headed, and clad in full black armour. The face is in three-quarters view to 
 our right. Behind is an opening in the wall, showing the sky. 
 
 This portrait was given to Sir Edmund Verncy by Charles the First, at the same time that 
 the latter gave Sir Edmund his own picture, a head, which is in this collection. 
 
 53 X 42 inches. 
 
 B 4 
 
44 
 
 West Gallery. 
 
 46. Thomas Wentworth, First Earl of Strafford. 
 
 Lent by the Duke of Graft 071.^ K. G, 
 
 Three-quarters length, hfe-size figure, standing behind a parapet, on which the right elbow 
 rests, near a helmet, on this^ the left hand is placed. Bare-headed, wearing a white collar 
 and lull armour. The face in three-quarters view to our right, 
 r 41 X 31 inches. 
 
 47. Lord John and Lord Bernard Stuart. 
 
 Lent by the Earl Cowper, K. G. 
 
 AVhole length figures, life-size, standing near to each other, one of the young men wears 
 a maroon vest and breeches and a yellow cloak. He is leaning on the base of a column, and is, 
 like his brother, looking to our left. The latter is erect, at his side. The brother's dress com- 
 prises a blue cloak, a white jerkin, breeches of white satin or sillv, and white shoes and stockings 
 
 See other version of this gi'ouj-), lent by the Earl of Darnlcy, No. 105. 
 
 87 X 51 inches. 
 
 48. Mrs. Mary Howard. 
 
 , Life-size, three-quarters-length figure, 
 
 depending in front of the figure ; the left 
 white sleeve ; bust uncovered ^ head bare. 
 42 X 32 inches. 
 
 Lent by the Earl of Home. 
 
 standing, slightly turned to our left ; the right hand 
 hand is at the side ; wearing an orange robe over a 
 
 49. Margaret, born Russell, Countess of Carlisle, and her 
 Infant Daughter. 
 
 Lent by the Duke of Devonshire, K, G. 
 
 The Countess is represented life-size, and seated in an arm-chair, with her left hand on the 
 elbow of the seat, her right hand round the neck of the child. She is about thirty years of age, 
 fair, seen nearly in front view, with light hair disposed in curls. She wears a red silk robe with full 
 sleeves, attached by clasps of jewels ; a row of large pearls, adorning the bosom, is fastened to 
 
IVest Gallery. 
 
 45 
 
 a brooch at her side ; she has a girdle of jewels. Her daughter, of about two years of age, 
 with flaxen hair, wears a white satin frock, and stands by her mother's side, with both hands 
 upon her lap. 
 
 The Countess was the daughter of Francis, fourth Earl of Bedford, and married to James 
 Hay, second Earl of Carlisle of that creation, who died in 1660, when his titles became extinct ; 
 he was the only son of James Hay, King James's favourite. Earl of Carlisle and Viscount 
 Doncaster (see "Portrait of James Hay" in this Galler)). She was one of the sisters of 
 Anne, Countess of Bristol, whose portrait is here. After the death of the Earl of Carlisle 
 she married, secondly, Edward ^Montague, Earl of Manchester, and thirdly, Robert Rich, Earl 
 of Warwick and Holland. Her sister, Diana, married Francis, Lord Newport, ancestor of 
 the Earls of Bradford. 
 
 " The Countess of Carlisle and her Children," by Van Dyck, was in Sir Peter Lely's collec- 
 tion. No. 119. This picture was engraved by P. Lombart, as one of the " Countesses.'' 
 (Smith, 565). 
 50 X 42 inches. 
 
 50. Thomas Killigrew. 
 
 Lejit by the Duke of Devonshire^ K. G. 
 
 A life-size, three-quarters-length figure, seen nearly in full face, slightly turned to our 
 right, wearing a a breast-plate, a deep rose-coloured coat and scarf ; his sleeves being cut, reveal 
 the shirt within ; his right hand is placed on the head of a ver)' large mastifT, of the breed repre- 
 sented in Van Dyck's portraits of five children of Charles the First, now at Windsor. On the 
 dog's collar is written " KiUigri." On his master's left wrist is a black ribbon. In a portrait 
 of KiUigrew, lent by Sir J. BuUer East to the National Portrait Exhibition, No. 923; a dog 
 appeared on the right. 
 
 Thomas Killigrew, son of Sir Robert and brother of Sir William, who appears here in the 
 Queen's picture with Thomas Carew, was bom at Hanworth, near Hampton Court, in February, 
 161 1 ; he was educated in London and early in life appointed one of the King's pages ; he was 
 among the most faithful adherents of the Court in war, exile and after the Restoration. 
 During the Commonwealth he was envoy from Charles at Venice, and lived there without 
 honour to his office or himself. The Venetian Ambassador at Paris complained to Charles, 
 and Killigiew was recalled. After the Restoration he was made Groom of the Bed- 
 chamber, and continued in high favour with the King, to whom his caustic ami free wit, keen 
 sense of humour, and quick repartees were ver)' welcome. Some of his jokes seem of an 
 elaborate Icind ; thus, one day he appeared before Charles in travelling costume as if intent on a 
 journey; the King asked where he was going in such haste. "To hell," replied the "Jester," 
 " to fetch back Oliver to attend to the affairs of England, which his successor neglects." He is 
 mentioned in Grammont's "Memoirs" on m«re than one occasion, as having intrigued A\ith 
 
46 
 
 IVest Gallery. 
 
 ISIiss Hyde and Lady Shrewsbury, and as having a share in a frolic of Miss Hobart and Miss 
 Temple with the Earl of Rochester ; it was supposed that Lady Shrewsbury, to revenge his 
 betraving of her confidence, employed bravoes to wound Killigrew while crossing the park in 
 his chair. He married Miss Cecilia Croft, one of the Maids of Honour, and Thomas Carew 
 wrote a sort oi Epithalamium on this occasion. Denham satirized him. Later he was appointed 
 Master of the Revels, an office which brought him into relationship with all the poets, poetasters, 
 and play-wrights of the time. He opened a theatre and thus became still more widely known ; 
 he brought foreign singers and players on to the London stage. Pepys mentions him several 
 times in relationship with Mrs. Knipp and others. He wrote plays, including "Prisoners," 
 *« Claricilla," "The Parson's Wedding," and " Bellamira." He died at Whitehall, March 19th, 1682. 
 
 See on this subject, " Sir WiUiam Killigrew and Thomas Carew," in this Gallery, the 
 property of Her Majesty. 
 
 This picture was formerly in the collection of Sir Peter Lely, and numbered 121 in his 
 Catalogue, and named "Mr. Tho. Killigrew, with a Mastiff Dog." 
 
 That Thomas Killigrew was a trusted as well as'an outspoken sei^ant of Charles the Second, 
 is affirmed by many testimonies, e.g., Sir Richard Browne wrote from Nantes, December 20th, 
 1653, to Sir Edward Hyde, concerning some "vessels of sacke " which had arrived at Orleans 
 and thus commended Killigrew, who had charge of the wine, " I desire your Honi- to give 
 credit to hhn in many things w'ith which hee will acquaint you, for hee is much a man of honour 
 and integrity," nevertheless grave complaints were made of him as envoy to Venice, where he 
 was sent nominally to represent the exiled King, but really "in order that he might borrow 
 money for his ownc subsistence, which he did, and nothing to the honour of his master." 
 See "Diaiy of John Evelyn," iv. 249, edit. 1854. In the same volume are many warm com- 
 mendations of Killigrew from the Queen of Bohemia, the King's sister. In the " Diary " 
 of Pepys, the "Memoirs" of Graramont, and other memoirs of the time, Thomas Killigrew 
 is frequently mentioned. Killigrew sat to Van Dyck in 1638. At Wilton is a portrait of 
 Mrs. Killigrew. Walpole, in his list of Van Dycks, mentioned the picture before us, and 
 described Killigrew as wearing " a fur cap." 
 
 (Smith, 571.) 
 
 39 X 31 inches. 
 
 51. The Virgin and St. Catherine. 
 
 Lent by the Duke of Westminster^ K,G, 
 
 The Virgin sits in the centre of the picture with the Child extended naked in her lap, and 
 looking at his mother, who is looking down at Him. An angel with her hands crossed upon her 
 breast, contemplates the infant. The Virgin's dress is yellow, a blue scarf lies across her 
 knees ; the angel's robe is red. 
 
 44 X 46 inches. 
 
PVest Gallery. 
 
 47 
 
 52. Frederick V., Elector Palatine and King of Bohemia, K.G. 
 
 Lent by C, E, Edmo7idstoune Cranstoun, Esq. 
 
 A life-size, three-quarters length, standing figure, turned slightly to our right, and clad in 
 aimour and rich white lace collar ; the badge of the Garter is suspended about the neck by 
 a double gold chain ; the left hand is on the hip, and the right hand rests on a leading staff. 
 Bare-headed. 
 
 ''The Winter King," and husband of Elizabeth, daughter of James the First and Anne 
 of Denmark, called "The Queen of Hearts." He was bom in 1610, married in 1613 ; 
 elected King of Bohemia 1619 ; totally defeated at the Battle of Prague, and lost not only his 
 Kingdom but his Palatinate ; taken refuge in Guelderland ; attempts to recover his hereditary 
 dominions, which Tilly ruthlessly devastated 1622 ; his Palatinate is transferred to Maximillian 
 of Bavaria, 1623 ; he dies 1631 
 
 40 X 32 inches. 
 
 53. James Stuart, Fourth Duke of Lennox and Third Duke 
 
 OF Richmond. Cm-rr^rWU Cb^ 
 
 Lent by the Hon. Mrs. Trollopc. 
 
 Three-quarters length, life-size figure, in three-quarters view to our left ; seated, with the 
 right arm resting on a table ; the gloved left hand rests on the arm of the chair ; wearing a red 
 mantle and white collar. 
 
 There are several versions of this picture, one is in the Louvre, and Mr. W. H. Pole- 
 Carew has another, the Marquis of Bristol a third. 
 
 This peer was the son of Esme Stuart, tliird Duke of Lennox, and second Duke of 
 Richmond, born in 161 2 ; became a distinguished and faithful ser\ant of King Charles, and 
 having vainly offered his life to ransom that of his master, attended him on the scaffold ; he 
 retired abroad and died in 1655; not,considering that six years elapsed between the events .of a 
 broken heart on account of the death of the King^.Van Dyck painted a fine whole-length portrait 
 of the duke with a dog whose intelligence saved his master's life while they were travelling. 
 Lord Methuen has a similar figiu-e by Van Dyck, in black, and with the dog. It is probable 
 that one of the versions of " Paris " was seen by Evelyn, May 8, 1654, when he 
 visited " one Mr. Tomb's house " near Hackney, and " saw some good pictures, especially one 
 of Vandyke's, being a man in his shirt, also one of Steenwyck." Duke James married Mary, 
 daughter of the first Duke of Buclcingham, whose portrait is here. The Earl of Darnley has a 
 noble full-length by Van Dyck of Duke James in black, with the dog, who draws his giaceful 
 form close to his master's knees, with an expression of the profoundest sympathy, thus forming 
 
48 
 
 IVest Gallery. 
 
 a beautiful and pathetic design, quite in keeping with the history of the duke, whose portrait 
 was engraved by Fry (for Lodge's "Portraits"), Earlom, Hollar, Faithorne and Vaughan. 
 The Duke of Buccleugh, Lord Clarendon, and the Hon. Mrs. Trollope have portraits of Duke 
 
 40 X 34 inches. ' - v 
 
 54. C^SAR Alexandre Scaglia, Abbe de Staffarde, Politician 
 AND Scholar. 
 
 Lent by R. S. Hol/ord, Esq. 
 
 Life-size, standing, bareheaded, dressed in a black cassock and a cloak of the same 
 colour, which is held lightly by the left hand, Mdiile the other arm is sustained on the pedestal 
 of a column, which is on our left ; on our right is a curtain. 
 
 This prelate was for a long time in the sersdce of the Duke of Savoy, his sovereign, and the 
 King of Spain, employed in negotiations. Desiring repose, he established himself in the Convent 
 of the Recollets, at Antwerp, where the inmates followed the Order of St. Francis ; with them he 
 made his profession and lived as one of the community. He gave to the fraternity a fine picture by 
 Van Dyck, representing " Christ Entombed," and comprising life-size figures. There is a sketch 
 of it, Munich, No. 932. It was engraved by Bolswert in a well-known print, and, for many 
 years, served as an altar-piece in the Chapelle de N. D. des Sept Douleurs, in the Church of the 
 Recollets, before the altar of which the Abbe was interred, without any inscription. This altar- 
 piece is now No. 404 in the Musce at Antwerp, where, in No. 405, there is likewise another 
 version of the portrait before us, inscribed with the name and services of the Abbe. Part of the 
 inscription gives a note on the history of the portrait and, inferentially, of the altar-piece: 
 Fratribus pro ceterna ?nemoria hoc altare erexit. Ohiit xxi. Maii, MDCXLI.^^ 
 
 Scaglia was one of the negotiators for Spain of the Peace of Munster ; but his likeness has 
 not been recognised in Terburg's picture now in the National Gallery, representing the Congress 
 of Munster. Several letters of his and many allusions to his deahngs with Rubens appear in 
 Mr. Sainsbury's "Papers relating to Rubens." 
 
 Van Dyck's portrait of the Abb6 Scaglia was engraved by Paul Pontius in the " Centum 
 Icones," and impressions from the plate are scarce, ranging from "of the highest rarity" to 
 " rare." The print is No. 64 in Dr. F. Wibiral's " L' Iconographie d'Antoine Van Dyck," 1877. 
 The Antwerp version is Smith's No.^^. 
 
 Scaglia appears as the donor in the votive picture of the Duchesse d'Aremberg and her 
 infant son, in the characters of the Virgin and Child, which was engraved by C. Wowmans, and 
 last sold with the collection of Mr. J. Knight, 1821, for 380 guineas. See Smith's "Catalogue 
 Raisonne," 1831, iii.. No. 362. Van Dyck's portrait of this lady and her child was lent to the 
 Royal Academy in 1886, No. 148, by Mr. Ayscough Fawkes. 
 
IVest Gallery. 
 
 49 
 
 This picture was fonnerly at Stratton, and was lent by Sir Thomas Baring to the British 
 Institution in 1815, 1839, and 1851. Mr. Holford, its next and present possessor, lent it to the 
 same gallery in 1862. Another version was sold in 1766 with the collection of Madame Backer 
 at Leyden. A sketch in brown is at Munich, No. 928. 
 
 (Smith, 295.) 
 
 80 X 49 inches. 
 
 55. D^DALUS AND ICARUS. TAttvO 
 
 Lc?it by the Earl Spencer^ K.G. 
 
 Nearly life-size figures, seen just below the knees. The youth stands in front view, naked 
 except his loins, round which is cast a red mantle suspended by a blue ribbon and held up by the 
 left hand, while the other hand is extended in the attitude of speaking. Behind him is his 
 father, who has attached his son's wings, and is giving counsel as to the use of them. 
 
 Smith, in the "Catalogue Raisonne," No. 365, describes a picture of this subject, which, 
 as No. 125, Mr. Knight contributed to the British Institution in 1815; it was engraved in 
 mezzotint by Watts. Lord Spencer's picture, now before us, was lent as No. 90 to the British 
 Institution in 1854; to the Manchester Art Treasures Exhibition, 1857, as No. 603, and to the 
 South Kensington Museum in 1876, No. 25. 
 
 (Smith, 437.) 
 
 44 X 33 inches. 
 
 56. Henry Frederick Howard, Baron Mowbray and Mal- 
 
 TRAVERS, AFTERWARDS EaRL OF ArUNDEL. 
 
 Lent by the Duke of Norfolk, K.G., E.M. 
 
 In a black dress, with a cloak over the shoulder ; half-length, full face ; the left hand is on the 
 breast. 
 
 This nobleman was born in 1G08, the second son of Thomas Howard, Earl of Arundell (see 
 his portrait in this Galleiy), by Lady Alathea Talbot, daughter of Gilbert, Earl of Shrewsbur)\ 
 He married the Lady Elizabeth Stuart, daughter of Esme, Earl of March, afterwards Duke of 
 Lennox ; but this being done without the consent of the King, the young couple were confined 
 at Lambeth Palace, in charge of Archbishop Abbot. " The match interfered with a project of 
 the CroA\m for a matrimonial alliance between this lady and Lord Lome, son of the Earl of 
 Argyle, and there seems little doubt that the enmity of the royal favourite, Buckingham, 
 towards Arundel, must have strongly influenced the King's neglect." See " Pictorial Notices of 
 Van Dyck," by W, H. Carpenter. 1844, p. 27. After the restoration of his father to the 
 
50 
 
 JVest Gallery. 
 
 royal favour, Henry Frederick was in 1639 called to the House of Lords as Lord Mowbray. 
 Under his father's presidency, he sat on the trial of the Earl of Strafford, and voted in favour of 
 the accused. Taking further part with the King, he joined the Royal Army until 1646, when, 
 he suddenly went to Italy, and was present at the death of his father, August 6, 1646. Suc- 
 ceeding to the Earldom of Arundel, he found his title barren, because the Parliament had 
 seized the whole of his great estate, so that, says Collins, "he found it hard to subsist 
 till admitted to a composition." He afterwards lived retired, and died at Arundel House 
 April 7, 1652. His third son was Philip, known as Cardinal Howard, who probably 
 appears in the picture with Earl Thomas, lent by the Duke of Norfolk to this Gallery. 
 
 Evelyn met this nobleman at Venice, September 29, 1645. " Michaelmas Day I went with 
 my Lord Mowbray (eldest son to the Earl of Arundel, and a most worthy person) to see the 
 collection of a noble Venetian, (Signor Rugini," in which they saw a great many curious things 
 including a petrified hedgehog, a salamander, &c. 
 
 See Smith's " Catalogue Raisonne," No. 347, for a note on a Van Dyck sold in 18 14, with 
 the pictures of General Craig, for 85 guineas, and said to represent this nobleman. 
 
 41 X 33 inches. 
 
 57. Algernon Percy, Tenth Earl of Northumberland, Lord 
 High Admiral, K.G. 
 
 Standing, life-size ; the figure nearly in profile to our right, with the left foot placed on the 
 stock of an anchor. He looks over his right shoulder at the spectator, and holds a leading-staff in 
 his right hand, while his left hand clasps the hilt of his sword. Bare-headed ; wearing a 
 narrow white collar, gorget, breastplate, vest of yellow satin, opened sleeves showing the shirt 
 within, blue ribbon of the Garter ; dark cinnamon breeches and buff boots. In the back ground 
 a naval engagement is represented. 
 
 This nobleman was the third son of the ninth Earl of Northumberland, known as Henry 
 the Wizard," and Dorothy, sister of Robert Devereux, Earl of Essex, Queen Elizabeth's 
 favourite. Earl Algernon was born in 1602 ; educated at Christ Church, Oxford ; made Knight 
 of the Bath 161 6, being second in precedency to James, Lord Mowbray, whose portrait is here. 
 On the accession of Charles the First, he was called by writ to the House of Lords as Lord Percy, 
 and in 1632, he succeeded his father as Earl of Northumberland. He attended the Coro- 
 nation of the King in Scotland, in 1633, and, in 1635, was made Knight of the Garter; in 1636, 
 he commanded a fleet of sixty sail against the Dutch busses, then illegally fishing on the English 
 coast ; the Dutch, to escape destruction by his means, agreed to pay ;^3o,ooo for Liberty to fish 
 
IVest Gallery. 
 
 51 
 
 during the then current year. In 1637, Earl Algernon was appointed Lord High Admiral of 
 England. He was described by Clarendon as the " ornamental " Member of the Government, 
 wliich was then in power, and called the "Junto." He was appointed to command the army 
 employed against the Scots in 1639, but " being suddenly taken ill," he was replaced in authority 
 by the King himself, and in 1643, he, with the Earls of Pembroke, Holland and Salisbury, and 
 eight M.P.'s, acted as a Commission from the Parliament to confer with Charles at Oxford. 
 Being spokesman on this occasion, and while he w^as reading aloud the petitions of the Houses, 
 the King interrupted him, whereupon the Earl said, " Yom- Majesty will give me leave to 
 proceed?" "Ay, ay," replied Charles, and heard the whole document. The Earl strongly 
 opposed the execution of Charles, whose children were committed to his charge. After the 
 death of the King, the Earl lived retired at Petworth until the Restoration in 1660, when he 
 conferred at Northumberland House with Monk, and was a member of the Committee then in office. 
 After the accession of Charles the Second, he was not prominent. He married first, Anne, 
 born Cecil, daughter of William, second Earl of Salisbury ; and, secondly, Elizabeth, born 
 Howard, daughter of Theophilus, second Earl of Suffolk, and died October 13, 1668. By his 
 second wife he became possessed of Northumberland House in the Strand, which was previously 
 called Northampton House. 
 
 There are several versions of this portrait, which was No. 102, at the British Institution in 
 
 1820; at the National Portrait Exhibition in 1866, No. 760; and No. 143 at the Academy in 
 
 1878. 
 
 Van Dyck painted the Earl with the Countess Elizabeth and one of their children ; this 
 picture belongs to the Marquis of Salisbury. 
 
 Waller, in a characteristic and splendid hyperbole, addressed "My Lord of Northumberland 
 upon the Death of his Lady, the Countess Anne." 
 
 To this great loss a sea of tears is due ; 
 But the whole debt not to be paid by you. 
 Charge not yourself with all, nor render vain 
 Those showers the eyes of us, your servants, rain. 
 The poet again addressed his friend " On his late sickness and recovery." 
 85 X 50 inches. 
 
 58. Madam Kirk. f 
 
 Le?it by the Earl Coivpcr, KxG. 
 
 Whole-length, standing, life-size figure, turned in three-quarters view to our left, and look- 
 ing in the same direction, with her right hand^she is pointing to our left ; with her left hand she 
 holds back the skirt of her gown, which is of amber satin ; a brown scarf crosses her body 
 diagonally. A little dog leaps up in front of the lady. 
 
 87 X 51 inches. 
 
52 
 
 JVest Gallery. 
 
 59. Venus and Vulcan. 
 
 Lent by Walter Ralph Bankes, Esq. 
 
 Vulcan is seated on our left, to him approaches Venus, attended by amorini. Small figures. 
 48 X 54 inches. 
 
 60. MouxTjoY Blount, First Earl of Newport. 
 
 Lent by the Duke of Hamilton, 
 
 A small u hole-length standing figure, of which the left hand hangs at the side, holding a glove ; 
 the right wrist is doubled back upon the hip. Bare-headed, in a grey suit, and large white ruff. 
 
 See the entiy concerning another portrait of this peer, now in the Galleiy. 
 
 Van Dyck painted this nobleman's wife as "The Countess of Newport," a picture which 
 was in Sir Peter Lely's collection. No. 127, and sold in 1680. Another portrait of this lady 
 w-as No. 131 in the same collection. 
 
 22 X 16 inches. 
 
 61. The Assumption of the Virgin. 
 
 Lent by Arthur Hugh Smith Barry Esq., M.P, 
 
 Ascending and attended by cherubs, the Virgin appears in the air, while a group of Saints, 
 including S.S. James of Compostella, George of Cappadocia, John the Baptist, Nicholas of Myra, 
 Sebastian, Francis of Assisi, Paul, and Jerome, and a Pope, are gathered below. 
 
 27 X 17 inches. 
 
 62. Inigo Jones. 
 
 Lent by S. K, Afaimvaring, Esq. 
 
 Bust, life-size, in a black cap and coat ; face turned to our right, and placed sideways, while 
 looldng up in the same direction. 
 24 X 20 inches. 
 
 63; Charles the First, attended by the Marquis of Hamilton 
 AND A Page. 
 
 Lent by the Duke of Grafton, K. G. 
 
 This is a full-size duphcate of the great portrait in the Louvre, No. 142, of the King 
 just dismounted from his horse, with his equery, the Marquis of Hamilton, holding the bridle, 
 
IVest Gallery. 
 
 53 
 
 and followed by a page carrying the King's cloak. Charles wears a wide-brimmed black hat 
 with a white plume, a large white lace collar, a pearl grey doublet, red breeches, white hose, 
 gold spurs and buff boots ; the George is suspended by a blue ribbon about his neck ; his sword 
 is sustained at his side by a gold baldric. He rests his right hand upon a long stick ; his left 
 hand is placed against his hip. The horse is dark grey, with orange housings. For the ^Marquis 
 of Hamilton, see his portraits in this Gallery, lent by the present Duke of Hamilton. 
 This picture was exhibited at the British Institution in 1832, No. i. 
 
 The original, painted about 1635, was engraved by Sir R. Strange, Bonnefoy, Duparc, 
 and Filhol. 
 
 (Smith, 12.) 
 104 X 81 inches. 
 
 64. Sketch of the Portrait of Philip Herbert, Fourth Earl 
 OF Pembroke, Lord High Chamberlain, etc. 
 
 Small whole-length figure, standing on the step of a portal on which his right foot is raised, 
 nearly in profile to our left, the face being turned over the left shoulder and looking at the 
 spectator. The Earl holds his hat in one hand, his official white wand is in the other hand. He 
 is bare headed, and wears a large lace collar, an ample cloak on which the star of the Garter is 
 embroidered, black breeches, with very large garters of white strijied with red, white hose and 
 black shoes, with'immense roses. See No. 4. 
 
 Exhibited at the British Institution in 1850, and at the National Portrait Exhibition in 1866. 
 
 20 X 15 inches. 
 
 A nun in black and white robes stands and embraces the feet of Christ, while a monk placed 
 on the other side, looks in the face of the sufferer. In front a winged boy-genius sits near his 
 inverted torch. 
 
 "A Crucifix with Angels " is mentioned among " Sir Anthony Vandyck's best pictures " 
 in the collection of Sir Peter Lely, No, 1 10. 
 26 X 18 inches. 
 
 Yarbo rough. 
 
 65. The Crucifixion. 
 
 Le)it by the Earl of Dartrcy. 
 
54 
 
 West Gallery. 
 
 66. Le Clerc. 
 
 Lent by the Earl Brownlow. 
 
 The half-length, life-size figure of a gentleman of about twenty-five year? of age, standing 
 in profile to our left, with his right hand raised to his breast ; he has a thin and thoughtful 
 countenance, looking steadfastly to our left ; his dark hair is parted at the side, and he wears a 
 dark grey silk vest, a black cloak over his left shoulder, and a plain white collar. This portrait 
 is supposed to have been painted in Venice, and formerly belonged to Algarotti, from whom it 
 was bought by Sir Abraham Hume. 
 
 Engraved by W. Vaillant. 
 
 Not before exhibited. 
 
 24 X 19 inches. 
 
 67. Mary, born Fielding, Duchess of Hamilton." 
 
 Lent by the Earl of Denbigh. 
 
 A standing, life-size, whole-length figure, in three-quarters view to our right ; the eyes 
 look to the front ; the left hand holds part of a string of pearls which encircles her shoulders ; 
 the right hand holds her skirt ; bare-headed ; blueish-gieen dress, white lace collar and cuffs ; 
 brown fur tippet ; pearl ornaments. 
 
 83 X 48 inches. 
 
 68. Portrait of a Spanish Officer. 
 
 Lent by R. S. Holford, Esq. 
 
 A life-size, whole-length figure, standing and seen in nearly full view, the face looking to 
 our left ; the left hand rests on a helmet which is placed on a rock at the side of the figure, 
 while, in the right hand, is a long baton. He is bareheaded and wears a black cloak over half 
 araiour of the same colour, and red breeches ; his white hose are revealed by the tumed-down 
 boots, the open tops of which are white. Landscape background. 
 
 Engraved in the catalogue of a collection belonging to Lebrun. 
 
 82 X 49 inches. 
 
 6g. Charles the First and Henrietta Maria. 
 
 Lent by the Marquis of Bristol. 
 
 Life-size busts, placed side by side, and both turned nearly in three-quarters' view to our left, 
 bareheaded. 
 
 22 X 31 inches. 
 
IVesi Gallery. 
 
 55 
 
 70, Sir Anthony Van Dyck on Horseback. 
 
 Lent by the Lord Egerton of Tatton. 
 
 A full-length figure, moving towards our right on a white horse. 
 
 This picture was bought at Mechlin in 182 1 from the descendants of Rubens, who stated 
 that it was painted by Van Dyck as a present to his master, who had given him the white horse 
 when he left Antwerp for Italy. See a similar tradition concerning Lord Methuen's " Betraya 
 of Christ," now in this Gallery. 
 
 "We have the following note on the descendants of Van Dyck, supplementing that offered 
 under "Maria Ruthven": — The pedigree of Mr. Alan Stepney Gulston, born May i6th, 
 1844, Captain in the Caermarthen Artillery MiUtia, living in 1875, been traced to Van 
 Dyck, through Mr. Gulston' s father, Mr. Alan James Gulston, of Dirleton and Derwydd, 
 Caermarthenshire, from Elizabetha Bridgetta Stepney, daughter of Sir Thomas Stepney, sixth 
 Baronet, whose ancestor Sir John Stepney, third Baronet, married Justiniana Van Dyck, 
 daughter of Sir Anthony Van Dyck himself and Lady Mary, born Ruthven. 
 
 Panel, 23 X 18 inches. 
 
 71. Colonel Charles Cavendish, Lieutenant-General of 
 Horse. 
 
 This bust portrait represents the soldier as of about 20 years of age, in three-quarters 
 view to our left, with dark, thick and curling hair. He wears a black silk vest the slashed 
 sleeves of which shew the white linen and a broad, rich lace collar. 
 
 He was the second son of William Cavendish, second Earl of Devonshire, by Christian, 
 (who, being born on Christmas Day, was thus named), daughter of Edward, Lord Bruce of 
 Kinrosse, who was, because he had been largely instrumental in securing for that monarch the 
 English crown, a great favourite of James the First. His mother, whose life was written by W 
 Pomfret, was one of the most intelHgent and distinguished women of her time. She increased 
 the estate of the Cavendishes and more than repaired the effects of her husband's profusion. 
 After ardent services to the royal cause, including secret intrigues with Monk in promoting the 
 Restoration, she died Jan. 16, 1674. Col. Cavendish's father wasthe pupil and protector of Hobbes 
 of Malmesbury, and a great encourager of the liberal arts. Charles Cavendish, bom in London, 
 May 20, 1620, was godson of the King, who gave the boy his own name ; at eighteen he went 
 to Paris, and ran away from his governor to see the great camp at Luxembourg ; he travelled 
 in Italy, thence to Constantinople, through Anatolia, to Egypt, Malta, Spain and France, and 
 returned home in 1641. " The sun beheld not a youth of more manly figure, and more winning 
 presence. His inclinations determined him to arms, and his mother, the Countess, designed to 
 
56 
 
 West Gallery. 
 
 have bought for him Col. Goring' s regiment of foot in Holland ; so he went over to be trained 
 there in the Prince of Orange's army, the most eminent school of war." Returning in 1642, 
 he joined the King's party, and " those brave gentlemen of the Temple, who offered themselves 
 as a guard for the King's person, chose him for their captain, knowing he would thither lead them 
 where law, honour, and conscience would oblige them to follow. ' ' . . . He made it his choice 
 to ride with the King's Own troop, commanded by my Lord Bernard Stuart [see the portraits of 
 this captain now in the Gallery], his kinsman, brother to the Duke of Richmond, and among 
 so many considerable persons for qualities and fortunes, that the King was heard to say, "The 
 revenues of those in that single troop would buy the estates of my Lord of Essex, and of all the 
 officers in his army." . . . " He marched with this troop till the Battle of Edgehill, Oct. 23, 1642, 
 when the King, in respect and tenderness to those gallant men, would not expose them to 
 equal hazard with the rest of the cavalry, but reserved them for a guard for his own person. 
 Mr. Cavendish, supposing this to be no post of danger, prevailed on my Lord Bernard 
 Stuart that they should wait upon the King, and intreat his leave to be drawn up 
 on the right hand of the right wing of the horse, as the most open and most 
 honourable plaee in the battle ; to which his Majesty, upon their importunity, consented. 
 And this, indeed, proved to be the post of hottest service, and greatest success ; wherein Mr. 
 CavencUsh so distinguished himself by a personal valour, that the Lord Aubigny (who 
 commanded the Duke of York's troop) being slain, he was preferred to that charge, before any other 
 pretenders of eminent birth and merit." . . . " This troop was, soon after, put into the Prince 
 of "Wales' regiment, wherein the superior officer put something on Captain Cavendish, which he 
 thought an indignity; and, therefore, he desired his Majesty to assign him ^1,000 (which his own 
 brother, the Earl of Devonshire, had presented to the King), promising, that if his Majesty would 
 be pleased to let him have the Duke of York's troop out of the Prince of Wales' regiment, he 
 would go into the North, and raise the Duke a complete regiment of horse, before the army 
 could take the field; to which the King consented, assuring him the honour of being Colonel of 
 his new regiment.". . ."After many glorious actions, being Lieutenant-General of the Horse to 
 his kinsman, the Marquis of Newcastle, he had the honour to receive the Queen in her march to 
 Newark, who immediately took notice, that she saw him last in Holland, and was very glad now 
 to meet him again in England. The Countess of Derby, sitting at the end of the Queen's 
 coach, entertained her Majesty with great commendations of the General, and when the Queen 
 was to give the word to Major Tuke, she gave that of ' Cavendish.' The copy of his life breaks 
 off" with his conveying the Queen to Newark ; but from thence, with a noble guard, he waited 
 on her Majesty towards Oxford, and in his way, with her consent, took Burton-upon-Trent by 
 storm, on July 2nd, 1643 ; encouraging his soldiers, by his own example, to swim over the river 
 and scale the works, and enter under showers of bullets, defying all the most dreadful images of 
 death, as if his life had been as immortal as he hath made his honour." 
 
 *■ * * * * * 
 
 "The royal cause declining, made him only the more daring and desperate. In his last 
 
West Gallery. 
 
 57 
 
 action he is said to have been murdered in cold blood, after quarter given by Colonel Buiy, who 
 made himself dear to Cromwell by this and some other acts of cruelty." Another writer tells 
 us, " That his horse sticking in the mud, he died magnanimously, refusing quarter, and throwing 
 the blood that ran from his wounds in their faces that shed it, with a spirit as great as his blood. 
 And that his goodness was as eminent as his valour, and was as much beloved by his friends as 
 feared by his enemies." Cromwell was in this action, and valued himself so much on 
 the success of it, that he gave a particular account to the Committee for the Association, 
 sitting at Cambridge, in a letter dated on "July 31st, 1643. Gentlemen, it hath pleased the 
 Lord to give your servant and soldiers a notable victory now at Gainsborough. In the last 
 reserve unbroken stood General Cavendish, who one while faced me, another while faced four 
 of the Lincoln troops, which was all of ours that stood upon the place, the rest being engaged 
 in the chase ; at last General Cavendish charged the Lincolners, and routed them. Imme- 
 diately I fell upon his rear with my three troops, which did so astonish him, that he gave over 
 the chase, and would fain have delivered himself from me ; but I pressing on, forced him down 
 a hill, having a good execution of them, and below the hill drove the general, with some of his 
 soldiers, into a quagmire, where my captain-lieutenant slew him, with a thrust under his short 
 ribs; the rest of the body were wholly routed, not one man staying on the place." Colonel 
 Cavendish was reported to have excelled in arts not less than in arms. He was buried at Derby 
 in the tomb of the Cavendishes. 
 
 AValler's "Epitaph on Colonel Charles Cavendish" is not so well known as its occasion and 
 many of its passages deserve. It begins : — 
 
 Here lies Charles Ca'ndish ; let the marble stone, 
 
 That hides his ashes, make his virtue known. 
 
 Beauty and valour did his short life grace, 
 
 The grief and glory of his noble race ! 
 
 Early abroad he did the world sur\'ey, 
 
 As if he knew he had nothing to stay ; 
 
 Saw what great Alexander in the East, 
 
 And mighty Julius conquered in the West ; 
 
 Then, with a mind as great as theirs, he came 
 
 To find at home occasion for his fame, 
 
 Where dark confusion did the nations hide, 
 
 And where the juster was the weaker side. 
 * * * * 
 
 Cromwell, wiith odds of number and of fate, 
 Removed this bidwark of the Church and State ; 
 Which the sad issue of the war declared. 
 And made his task, to ruin both, less hard. 
 So, when the bank, neglected, is o'erthrown, 
 
58 
 
 West Gallery. 
 
 The boundless torrent does the country drown. 
 Thus fell the young, the lovely, and the brave ; 
 Strew bays and flowers on his honoured grave. 
 
 At the time of his death Colonel Cavendish was only twenty-three years of age. 
 (Smith, 486.) 
 28 X 24 inches. 
 
 72. Study for a Pieta (painted in Grisaille). 
 
 Lent by the Lord Roland Gower, 
 
 In a brown monochrome. A design resembling in most respects the large picture in the 
 East Room, No. 90, 
 
 On the subject and history of this picture, see, No. 19, the other version of the design, now in 
 this Gallery, entitled " Armida andRinaldo." 
 
 See Smith's "Catalogue Raisonne," Nos. 125 and 279. 
 22 X 16 inches. 
 
 74. Charles Dormer, third Baron Dormer and second Earl 
 OF Caernarvon, a Boy. 
 
 Lent by the Earl of Carnarvon, 
 
 A whole-length figure, bare-headed, about half the size of life, of a boy, standing at the 
 entrance of a house, on the step of which he has just placed his left foot. In his right hand is a 
 slender walldng stick ; in his left hand, he holds a black hat. He wears a rose-coloured mantle 
 and jerldn, and buff boots. 
 
 This peer was the eldest son of the first Earl of Caernarvon, who was killed at the Battle of 
 Newbury, 1643, and Ann Sophia, Countess of Caernarvon, whose portrait is in this GaUery. 
 He was twice married ; i, to Elizabeth, daughter of Arthur, Lord Capel, and 2, to Mary, 
 daughter of Montague Bertie, Earl of Lindsey. By his first wife he had Ehzabeth, who married 
 Philip Stanhope, Earl of Chesterfield, whose grandson was the celebrated Earl of Chesterfield. 
 
 10 X 13 inches. 
 
 73. RiNALDO AND ArMIDA (pAINTED IN GrISAILLe). 
 
IVest Gallery. 
 
 59 
 
 By his second wife be had no issue. The second Earl of Caernarvon died November 29, 1709, 
 when his earldom became extinct, and his barony devolved on the second son of the first Lord 
 Dormer. 
 
 Evelyn, travelling in Switzerland in company with Edmund Waller, in 1646, met this 
 nobleman : "After dinner, came one Monsieur Saladine, with his little pupil, the Earl of Caernar- 
 •von, to visit us, offering to carry us to the principal places of the town, but being now no more 
 .able to hold up, I was constrained to keep my chamber." Evelyn was sickening of small-pox. 
 
 The Earl of Chesterfield contributed to the Leeds Exhibition, 1868, a portrait ascribed to 
 Van Dyck, of "The Earl of Caernarvon, when young," No. 613, and to the British Institution, 
 1862, " 24, Charles Dormer, Earl of Carnarvon," by Van Dyck, probably the same picture. 
 
 57 X 45 inches. 
 
 75. Prince Rupert, K.G. 
 
 Le?it by the Marquis of Bristol, 
 
 A three-quarters-length, bare-headed, life-size figure, standing in three-quarters view to our 
 left ; his right hand is supported on a leading-staff ; his left hand holds the hilt of his sword 
 hanging at his side. He wears a large falling collar and cuffs of rich lace ; a rose-coloured 
 jerkin open at the sleeves to show the white shirt, breast-plate, with, under it, a bufT-coat, and 
 red breeches. Daik brown hair; landscape back-ground. 
 
 50 X 40 inches. 
 
 76. Moses Saved from the River. 
 
 JLeiit by tJic Duke of Devonshire^ K.G, 
 
 A life-size, naked figure of a boy, lying on a piece of white linen, and looking up eagerly 
 towards two women who, on our right, stoop over him from between the rushes of a river. 
 Engraved by M'^Ardell. 
 
 57 X 43 inches. 
 
 77. The Marchesa Balbi of Genoa. Mt'ljyi 
 
 Lent by R. S. Hoi ford, Esq. ' ^' 
 
 The life-size, full-length figure of a lady of about twenty-five years of age ; seated in an arm- 
 chair, holding a closed fan in her right hand ; the left hand is placed upon her waist ; h«r 
 dress is composed of a dark-green velvet, tlie sleeves of which l)eing reversed show a rich 
 
6o 
 
 IVest Gallery. 
 
 brocade of gold on a dark-green gown, and a full plaited rufi". Behind is a dark curtain.. 
 She is in three-quarters view to our right. jNIentioned by Dr. Waagen in " Treasures 
 of Art," ii,, p. 200. It was painted at Genoa during the artist's sojourn in that 
 city, either in 162 1-2, or in 1625, when he produced at least four other portraits of 
 members of the same family, some of whicli remain in their palace. This example was at the 
 British Institution in 1836, as the property of J. B. Heath, Esq. Smith, in his " Catalogue 
 Raisonne," ix., 395, [842, mentioned it as then belonging to Mr. Heath. In 1862 the present 
 owner lent it to the British Institution. 
 
 Earl Cowper has a group of portraits of the Balbi Children, now No. 29 in this Gallery. 
 
 This picture came from Genoa, and was imported here by Baron Heath, from whom 
 Islr. Holford !. ought it. 
 
 (Smith, 96.) 
 
 73 X 48 inches. 
 
 78. Sir John Byron, first Lord Byi^on, Field-Marshal, M.P. 
 
 . ''(ji-i \)irY\i^ CjJ- . Lent by Alge-nioi Graves, Esq^ 
 
 A life-size, three-cjuarters-length figure of a lean, elderly man in complete armour, standing, 
 in three-quarters view to our right, leaning with his right elbow on a pedestal ; his left hand 
 J hangs at his side. Bare-headed ; wearing a broad white falling collar of lace over his 'breast- 
 
 '^"'^ ' plate. The face is in three-quarters view to our right. His lank hair is cut close over his 
 foi ehead. Yellow brocaded curtain in the background, near an open w indow. 
 
 John Byron, the eldest son of Sir John Byron, and Anne, born Molyneux, was M.P. for 
 Nottingham, Knight of the Bath, Gentleman of the Bedchamber to Charles the First, and by 
 that monarch appointed Lieutenant of the Tower in 1641, in the room of Sir Thomas Lunsford, 
 against whom the Commons protested (see " Portrait of George Digby," etc., in this collection). 
 ) ^'^s citizens declared against Byron, and the Commons, observing that he was victualling the 
 fortress, desired the King to remove him as a person they could not trust ; they sent for him 
 to the bar of the House, and c^uestioned him as to their own power to remove him from his 
 
 ^ office. After further discussion, says Clarendon, " the Kmg being surprised, and desired 
 
 likewise by Sir John Byron to free him from the agony and vexation of that place, which 
 exposed his person and reputation to the rage and fury of the people, and compelled him 
 to submit to such reproaches as a generous spirit could not brook without much regret — for he 
 had, upon frivolous surmises, been sent for as a delinquent, and thus brought upon his knees at 
 the bar of both Houses — His Majesty consented to that alteration, and made Sir John Corners 
 Lieutenant of the Tower." Byron served in the Low Countries as General of the Ordnance for the 
 States General; joined the King at Nottingham with arms, ammunition and money ; defended 
 Worcester against N. Fiennes ; commanded the reserve at Edgehill, Oct. 23rd, 1642 ; at 
 
IVest Gallery. 
 
 Roundway Down, July 5th, 1643, when Waller was defeated, and at Newbury, Sept. 19th ; he 
 was created Baron Byron of Rochdale, Lancashire, Oct. 24th in the same year ; Field-Marshal 
 ^General and Governor of Chester ; defeated Middleton and Sir W. Fairfax in Oct., 1644 ; held 
 .Chester for a long time ; commanded in North Wales ; was appointed Governor of the Duke of 
 York, and with his charge lived in Paris, and died there in 1652. His six brothers were all 
 distinguished in the King's service. His portrait, by Jonson, was at the National Portrait 
 Exhibition 1866, No. 688. Lord de Tabley has a three-quarters-length portrait (Smith, 637) of 
 this commander, with his horse and a page ; it was No. 141 at Manchester in 1857. 
 
 Lord Byron met with no honour from the son of the man he served so well. In 1644 he 
 married Eleanor, daughter of Robert Needham, Viscount Kilmurrey, and widow of Peter 
 Warburton, Esq. Charles the Second's relations with her are made distinct in the following 
 note from Pepys's " Diar}-," April 26, 1667. The writer Avent to A^'hitehall and met a fellow- 
 , diarist : — " I took a turn with Mr. Evelyn, -with wliom I walked two hours, till almost one of the 
 , clock : talking of the badness of the Government, where nothing but wickedness and wicked 
 men and women command the King." * * * " He [<"harles] gives way to the young rogues; 
 and then, from the negligence of the clergy, a Bishoj:) shall never be seen about him, as the 
 King of France hath always ; the King would fain have some of the same gang to be Lord 
 - Treasurer, which would be yet worse, for now some delays are put to the getting gifts of the 
 King, as Lady Byron, who had been, as he [Evelyn] called it, the King's seventeenth mistress 
 . abroad, did not leave him till she got him to give her an order for ;i<,"4,ooo wtjrtli of plate to be 
 made for her ; but by delays, thanks be to God ! she died before she had it." Lady Bvron died 
 in 1663. Her second husband died more than ten years previously. Her portrait, by Lelv, is at 
 Hami)ton Court, in the character of St. Catherine, and shows a volu];)tuous face, distinguished by 
 its lurid beauty. 
 
 The Col. Lunsford here mentioned as having so important a relationship with the subject of 
 this picture was a special object of the abhorence and fears of the Puritans, He is named 
 in Cleveland's poem, " A Zealous Discourse between the Parson of the Parish and Tabitha " : — 
 The fust that came from Banbury, 
 
 Riding in a blue rocket, 
 He swore he saw, when Lunsford fell, 
 A child's arm in his pocket. 
 Again, in " Rujiertismus " : 
 
 " They fear the giblets of his train, they fear 
 Even his dog, that four-legged cavalier ; 
 He that devours the scraps that Lunsford makes, 
 Whose picture feeds upon a child in steaks." 
 S. Butler wrote in " Hudibras," iii., xi., 11 12. 
 
 " As bad as Bloody-bones, or Lunsford." 
 
 51 X 41 inches. 
 
62 
 
 IVesf Gallery. 
 
 79. The Wife of Snyders. 
 
 Lent by the Earl of Warimck.. 
 
 A life-size figure, seated, and seen below the knees. She is in an arm-chair, and turned in 
 three-quarters view to our left, with her right hand lying on the arm of the chair ; her left hand 
 lies in her lap. On her head is a white coif. She wears a large, plaited ruff and lace cuffs, 
 a close-fitting black gown, richly embroidered in the front. A glass vase of roses stands on a 
 bracket on her right. She has bracelets of gold, and two finger rings. Except some details, 
 of the costume, this figure repeats that of the same lady in No. 23. 
 
 50 X 40 inches. 
 
 80. James, Third Marquis and First Duke of Hamilton, K.G.. 
 
 Le7it by the Duke of Cleveland^ K. G. 
 
 A rather more than half-length, life-size figure, standing, and in three-quarters view to our 
 left. The face is in three-quarters view in the same direction ; the eyes are turned to the front 
 the right hand is placed against the waist ; the left arm liangs at the side of the figure. The 
 Duke wears thick, rather roughly massed dark brown hair, a moustache and a peaked beard ; a 
 broad white lace collar falls on his shoulders over a cream-white coat. An embroidered belt, 
 slung across his body, sustains a hunting-sword, the handle of which is shown in the picture. 
 
 30 X 25 inches. 
 
 81. Anna Sophia, born Herbert, Countess of Caernarvon. 
 
 Lent by the Earl of Carnarvoii,, 
 
 A half-length figure, turned to our left, wearing a low-cut sky blue dress, with jewels at 
 the shoulders and at the breast, heavy pearl earrings and necklace, and flower, hair in close, 
 short ringlets. 
 
 This lady was the eldest of the three daughters of Philip Herbert, fourth Earl of 
 Pembroke and first Earl of Montgomeiy of that creation, by his first wife, Susan, daughter of 
 Edward de Vere, Earl of Oxford. His second wife was the famous " Anne, Dorset, Pembroke, 
 and Montgomeiy," daughter of George, Earl of Cumberland. Of the wedding of the Earl and 
 his first wife there is an extraordinaiy account in AVinwood's "Memorials." See the 
 note on the portrait of this nobleman, which is in this Galleiy, No. 4. The eldest 
 brother of Lady Anna Sophia was Philip, who succeeded his father in both earldoms, and 
 maiTied Penelope, daughter of Sir Robert Naunton, widow of Paul, Viscount Banning, or 
 Bayning, whose portrait is in this Galleiy. The Lady Anna Sophia married Robert Dormer, 
 second Lord Dormer and first Earl of Caernan'on (created Earl in 1628). Of this nobleman's 
 family, including the lady before us, her father, her mother, etc., the Rev, G. Musgrave 
 
IVest Gallery. 
 
 63 
 
 contributed to the National Portrait Exhibition, 1866, a very curious picture (numbered 654). 
 Her husband joined the King's party at Edgehill under Prince Rupert ; he fought at Stretton, 
 and served as a volunteer under John, Lord Byron (m^hose portrait is here). He quarrelled 
 with Prince Maurice, and returned to the King at Gloucester ; acted as general of horse at the 
 Battle of Newbury, September 20th, 1643, Avhere, after the victory of his party, he was slain. 
 Clarendon left an admirable sketch of his character ; in him the King lost one of his best and 
 ablest officers. This peer's eldest son was Charles Dormer, whose portrait is in tliis Galleiy. 
 
 A portrait of this lady was engraved by P. Lombart, as one of the " Coimtesses ; " by W. 
 Hollar, on a small plate ; by Baren (the head only) ; and by Marin. Smith says, '* A portrait of the 
 lady was sold with Sir P. Lely's collection in 1680, and that a portrait of her, \vith the hands 
 crossed in front, was in the possession of the then Lord Verulam. She appears Nvith her husband 
 in a group, " after Van Dyck," at Longleat, and Van Dyck included both of them in the great 
 family picture, which is at Wilton, with the above-named Countess Susan, Earl Philip, Charles, 
 Lord Herbert, and others, ten whole-length, hfe-size figures in all. She appears with her 
 brother Philip, Fifth Earl of Pembroke, in a group lent to this Galleiy by the Duke of 
 Devonshire (which see). 
 
 (Smith, 558). 
 
 26 X 21 inches. 
 
EAST GALLERY. 
 
 SECOND ROOM. 
 
 82. Anne, born Russell, Countess of Bristol. 
 
 Lent by Captain Verney, R,N, 
 
 A half-length figure, half-life size, in three-quarters view to our left. Bare-headed and 
 * wearing light flaxen ringlets ; a dead-leaf brocaded silk robe is held on the shoulders by a 
 jewelled band over her white linen chemisette ; pearl ornaments are in the hair and on the 
 breast, and she wears a pearl necklace. 
 
 This lady, wife of George Digby, second Earl of Bristol, was the second daughter of 
 Francis, fomth Earl of Bedford, by Catherine, born Bridges, daughter of the third Lord 
 Chandos. She died January 26th, 1696, and was buried at Chenies. Her husband's portrait 
 appears in this Gallery with that of his brother-in-law, William, Earl and Duke of Bedford 
 She was a friend of Evelyn, and it was in her house that, after her husband's death, the master 
 of Wooton saw Van Dyck's group of her husband and his brother-in-law. 
 
 This picture was purchased at the sale of jNIr, W. Douglas, of Gyrn. A full-length 
 portrait of the lady is in the possession of the Duke of Bedford. 
 
 On June 15th, 1645, Sir Samuel Luke, the original of "Hudibras " as described by S. Butler, 
 who was then Governor of Newport-Pagnell for the Parliament, wrote to Bulstrode Whitlocke 
 and referred to this lady, then Lady Digby, as "a most desperate, dangerous woman, animating 
 both her neighbours and the soldiers against the Parliament." He, being much in want of 
 bullets, sent to her house for lead, " When they came to her, and shewed her the warrant 
 shee gave both you and the soldiers such language as was not fitt to be indured, and told them 
 shee had noo lead, and none they should have there. Walking up and downe the house they 
 
East Gallery. 
 
 65 
 
 found spouts which they told her they must have. Then shee intreated them to forbeare, and 
 promised that shee would furnish them otherwayes, and thereupon sent her servant to digg in 
 a muck-hill, where shee found seven or eight hundred of lead, and sent it hither." Ellis's 
 " Original Letters," Third Series, 1846, vol. iv., p. 256. 
 15 X 13 inches. 
 
 83. Virgin and Child (small). 
 
 Lent by W. Agneiu, Esq. 
 
 A repetition of the well-known composition. The child stands on his mother's knee and 
 looks to the front. She sustains Him with both hands. The Virgin looks upwards. Her dress 
 is red, under a dark olive-green mantle, lined with brown. 
 
 17 X 14 inches. 
 
 84. Charles the First. A Head. 
 
 Lent by the Earl of Yarborough. 
 
 In an Oval. The face is in three-quarters view to our right ; over the shoiilders 
 is a rich lace collar ; red dress, embroidered with silver ; blue ribbon of the Garter 
 
 This is one of the minor portraits of the King, the number of which attests the wide-spread 
 interest of his contemporaries in him. Van Dyck sold many more than he actually painted. It is 
 unquestionable that, as with Reynolds and Hogarth, his successors in the Royal employment, a 
 number of royal portraits were kept in stock, ready for distribution to ambassadors, favourites and 
 friends. What the number was we may conceive by the record quoted by W. H. Carpenter, in his 
 Pictorial Notices of Van Dyck," 1844, p. 72, ordering to be paid " vnto our trustie and wel- 
 beloved Sir Anthony Vandicke, Knt., or his assignes the some of fowre hundred fortie 
 fowre pounds, the same to be taken to him in full satisfaccon for Nine pictures of o»'- Royall 
 self and most dearest Consort the Queene lately by him made without accompt, May 9, 1633." 
 In the unfortunate " bill " sent by Van Dyck for payment from the King, mentioned in the 
 note on Her present Majesty's group of "Three Children of Charles the First," and dated only six 
 years later than the above, not fewer than nineteen portraits of the King and Queen are named 
 as then unpaid for. Another order was given in October, 1633, on the Treasury for payment 
 to the artist of " Fourty pounds of lawfull money of England, for the picture of Or- dearest 
 Consort the Queene by him made," and given to the Lord Viscount VVentwortb, aftenvards 
 the Earl of Strafford. This picture, in perfect condition, remains in the gallery of Earl 
 Fitzwilliam, at Wentworth-Woodhouse. 
 
 Of one of the minor portraits here in question, no record is more striking than that of 
 
 C 
 
66 
 
 East Gallery, 
 
 Bulstrode's "Memoirs," in reference to the statue of the King by Bernini, one of the greatest 
 ornaments of the Palace at Greenwich, and for which the famous three -fold portraits of Charles 
 on one canvas, now at Windsor, were painted by Van Dyck. " I will not omit one passage at 
 Greenwich, before the King left it, which was somewhat strange and ominous. The King 
 commanded his statue to be carried from Greenwich garden into the magazine." This was done, 
 no doubt, in order that this costly work of art might escape insult, if not injury, the times being 
 so threatening that not only had the Queen sailed to the Low Countries, taking with her a 
 large mass of the royal jewels, in order to buy arms with the money to be had by selling or 
 pledging them, but Prince Charles and his brother James were brought to Greenwich from 
 Richmond, with a view to their removal from danger. The Parliament was bitterly incensed, 
 because Charles had, according to the advice of Lord Digby, whose portrait is here, attempted 
 to seize the Five Members, and been most ignorainiously defeated in the act. The bronze 
 figure was moved, and "in the carriage of it, the face being upwards, a swallow or some other 
 bird, flying over, dunged in the face of the King's statue, which was wiped off immediately, 
 but, notwithstanding all endeavours, it could not be got off, but turned into blood. This 
 statue was made at Rome, by the famous statuary, Signor Bernini ; and when the King's 
 picture [the above-named triple portraits by Van Dyck] was brought to him, by which he was 
 to make the statue, with positive directions to conceal whose picture it was, the Signor said he 
 had never seen any picture whose face showed so much greatness, yet withal such marks of 
 sadness and misfortune." " Ecco ! il volto funesto I " he exclaimed. 
 
 This picture was No. 73 at the British Institution in 1850, and No. 96 in the Art Treasures 
 Exhibition at Manchester, 1857. 
 
 Oval, 19 X 15 inches. 
 
 85. The Crucifixion. 
 
 Lent by the Lord Ariindell of Wardour. 
 
 A full-length figure, represented at the moment of death. 
 
 This picture is said to have been captured in a Spanish vessel by the late Admiral Roger 
 at the beginning of the present century. 
 
 Smith, in "Catalogue Raisonne," iii., 115, under his No. 412, says, "A picture of the 
 above subject ['The Crucifixion'] is in the collection of Lord Arundell of Wardom-." 
 Paintings representing Christ on the Cross, ascribed to Van Dyck, are veiy nearly as numerous 
 as "Portraits of Charles the First." See the examples lent to this Gallery by the Earl of 
 Dartrey and the Earl of Yarborough. 
 40 X 28 inches. 
 
East Gallery. 
 
 67 
 
 86. Portrait of Lady Tufton. 
 
 Lent by the Marquis of Lothian., K. T. 
 
 A three-quarters-length, Hfe-size figure, seated in a chair, turned in three-quarters vie\\- to our 
 left, resting her right arm on the arm of the chair ; her left hand holding some roses, lies in her 
 lap. Bare headed, the face in three-quarters view to our left ; she wears brown ringlets, hanging 
 loose about her face, a black satin gown, with large sleeves, open to shew the white linen, and 
 held by a jewelled clasp ; the dress is cut low and straight at the bust. The jewelled gold buttons 
 on her sleeves and down the front of her dress are designed in the form of cherubs, and similar to 
 ^ those frequently seen in portraits of Henrietta Maria. 
 47 X 35 inches. 
 
 A life-size figure, standing, seen to the knees and nearly in fuU-front view, bare headed, and 
 wearing brown curHng hair which falls on each side of his face, a white collar and tassels, and a 
 black coat, open at the sleeves, showing the white shirt. In his left hand, which is placed before 
 him, is a brown glove ; his right \\'rist is doubled back at his hip ; a hat stands on a table at 
 his left. 
 
 It was he who, according to Welwood in his " iSIemorials," (although Aubrey tells the 
 tale differently) made with King Charles a strange experiment. The King himself, being at 
 Oxford in 1646, and in the Bodleian Library, was shown a magnificent Virgil, and, induced 
 by Lord Falldand to make a trial of his fortune by the sortes Virgiliance, having pricked at 
 random between its pages with a pin, the ominous verses in the fourth book of the .^neid 
 presented themselves : — 
 
 Weldon added, " It is said the King seemed disconcerted at this accident; and that the 
 Lord Falldand observing it, would likewise try his own fortune in the same manner, hoping he 
 
 But vex'd with rebels and a stubborn race, 
 His countiy banish'd, and his son's embrace. 
 Some foreign prince for fruitless succours tiy, 
 And see his friends ingloriously die ; 
 Nor, when he shall to faithless tenns submit, 
 His throne enjoy, nor comfortable light ; 
 But, immature, a shameful death receive. 
 And in the ground th' unbuiied body leave. 
 
 C 2 
 
East Gallery. 
 
 might fall upon some passage that could have no relation to his case, and thereby divert the King's 
 thoughts from any impression that the other might have made upon him ; but the place 
 Falkland stumbled upon was yet more suited to his destiny than the other had been to the 
 King's; being the following expressions of Evander upon the untimely death of his son Pallas, 
 as they are translated by Dryden : — 
 
 0 Pallas ! thou hast fail'd thy plighted word 
 To fight with caution, not to tempt the sword ; 
 
 1 warned thee, but in vain ; for Avell I knew 
 What perils youthful ardour would pursue ; 
 
 That boiling blood would carry thee too far, * 
 
 Young as thou wer't to dangers, raw to wai' ! 
 
 O curst essay of arms, disastrous doom. 
 
 Prelude of bloody fields, and deaths to come. 
 It is said by Aubrey that Cowley was present on this or a similar occasion, and that when 
 Charles had made his ominous experiment, the King, "who understood not Latin well [the 
 Virgil being in the original], desired Mr. (Rowley to translate the verses, which he did admirably 
 well, and Mr. George Ent (who lived at his house in Chertsey during the great plague) showed 
 me in Mr. Cowley's own writing certain verses." Aubrey quoted a very striking line of Ogilvy's 
 translation, instead of the last line above quoted from that of Dryden, one referring to the 
 " Medidque hihiimatis arena.'' ^ 
 
 But die before his day, the sa?id his grave. 
 Aubrey, who was nothing if not well frightened, went on to relate that he had been assured by 
 "officers of the army and grandees that the body of Charles was privately putt into the sand 
 .about White-hall," so that thus the unavertable omen was literally fulfilled. 
 
 Ihis statesman, soldier, and author was born in i6io, the son of Henry, first Viscount 
 Falkland, by Elizabeth, daughter of Sir L. Tanfield ; educated at Dublin and Oxford, married 
 Lsetitia, daughter of Richard Momson, Esq. ; was elected M.P. for Newport in 1640 ; appointed 
 Secretary of State in 1642 ; fought at Edgehill in the same year, and at Gloucester; mortally 
 wounded in front of Lord Byron's regiment at Newbury, September 20, 1643. 
 
 This painting was lent to the National Portrait Exhibition, No. 619, in 1866. Lord 
 Clarendon has a portrait (Smith, 623) of undoubted authenticity, by Van Dyck, which he lent, 
 .as No. 72, to the British Institution in 1846. The Duke of Devonshire has another portrait of the 
 patriot. 
 
 His contemporaries of both sides, and nearly with one voice, politicians, statesmen, soldiers 
 and poets, admired Lucius Cary, Viscount Falkland, and they said he sealed his life with his 
 blood. Mr. Forster, who averred that he deserted the Parhament because he opposed those who 
 >were led to destroy the King's office, accused him of forsaking those whose bread he had eaten. 
 .Mr. Forster forgot that the Parhament was not a man to be grateful to. 
 
 Clarendon wrote of him: — "Thus fell that incomparable young man, in the four-and- 
 
East Gallery. 
 
 69 
 
 thirtieth year of his age, having so much dispatched the business 0/ life, that the oldest rarely 
 attain to that immense knowledge, and the youngest enter not into the world with more 
 innocence. Whosoever leads such a life, need not care upon how short a warning it is taken 
 away." 
 
 Ben Jonson, Suckling, Waller, and Cowley addressed Lord FaMand. To all of them he 
 was a friend and a companion in learning and gentleness. One of Macaulay's best " Essays " 
 is appropriated to him : " He did not perceive that in such times as those on which his lot had 
 fallen, the duty of a statesman is to choose the better cause and to stand by it, in spite of those 
 excesses by which every cause, however good in itself, will be disgi'aced. The present evil 
 always seemed to him the worst. He was always going backwards and forwards ; but it should 
 be remembered to his honour that it was always from the stronger to the w^eaker side that he 
 deserted. While Charles was oppressing the people, Falkland was a resolute champion of 
 liberty. He attacked Strafford. He even concurred in strong measures against Episcopacy. 
 But the violence of his party annoyed him, and drove him to the other party, to be equally 
 annoyed there. Dreading the success of the cause he had espoused, disgusted by the courtiers 
 at Oxford, as he had been disgusted by the patriots at Westminster, yet bound by honour not to 
 abandon the cause for which he was in arms, he pined away, neglected his person, went about 
 moaning for peace, and at last rushed desperately on death as the best refuge in such miserable 
 tirnes. If he had lived through the scenes that followed, we have little doubt that he would 
 have condemned himself to share the exile and beggary of the royal family ; that he would then 
 have returned to oppose all their measures ; that he would have been sent to the Tower by the 
 Commons as a stifler of the Popish Plot, and by the King as an accomplice of the R} e House 
 Plot ; and that if he had escaped being hanged, first by Scroggs and then by Jeffries, he would, 
 after manfully opposing James the Second through years of tyranny, have been seized with a fit 
 of compassion at the very moment of the Revolution, have voted for a Regency, and died a 
 Nonjuror." 
 
 Viscount Falkland, four years previous to his death, was sent into Scotland with the Earl of 
 Holland in the expedition on the King's behalf under Thomas, Earl of Arundel, as noted in 
 the account of that peer's portrait in this Gallery. Waller, a close friend of Falkland, wrote 
 some parting verses on this occasion, beginning : — 
 
 " Brave Holland leads, and with him Falkland goes. 
 ***** 
 
 Ah, noble friend ! with what impatience all 
 That know thy worth, and know how prodigal 
 Of thy great soul thou art (longing to twist 
 Bays with that ivy which so early kissed 
 Thy youthful temples), with what horror we 
 Think on the blind events of war and thee ! 
 To fate exposing that all-knowing breast 
 
70 
 
 East Gallery. 
 
 Among the throng, as cheaply as the rest ; 
 Where oaks and brambles (if the copse be burned) 
 Confounded lie, to the same ashes turned." 
 
 48 X 39 inches. 
 
 88. WiLLiAAi Howard, Viscount Stafford (?). 
 
 Lent by the Marquis of Bute ^ K,T, 
 
 s ■ « See the portrait of Henry Frederick Howard, Lord Mowbray, lent by the Duke of Norfolk, 
 
 p^w*^ A three-quarters-length, life-size figure, standing, seen in three-quarters view to our right, 
 
 with his left arm placed at his hip, and his right hand pressed upon his breast. Bareheaded ; 
 wearing a white falling collar, and a black satin coat, open at the sleeve ; a red sash crosses the 
 breast ; gold-handled sword is at the side. 
 38 X 32 inches. 
 
 89. A Pieta. 
 
 Lent by the Duke of Newcastle, 
 
 Life-size figures, including the naked Christ extended on the earth at the entrance of a cave, 
 and supported at the shoulders by the weeping Virgin, who looks up to heaven. The Magdalen 
 kneels on our left ; two angels and a boy genius are on our right. 
 
 This picture was No. 648 at Manchester in 1857. 
 
 62 X 102 inches. 
 
 90. Love of the Arts. 
 
 Lent by the Earl of De^^by^ K, G, 
 
 This large canvas represents, on our right, a young Genius, naked, and reclining under a 
 tree, the boughs of which extend in the air. He looks calmly at the spectator. At the foot 
 of the tree, in the centre, is a suit of armour, with, near it, a large drum ; close to these 
 • are more pieces of armour, a gun and a sword. On our right below, are gauntlets and a helmet ; 
 near the Genius are a quiver and some drapery. These martial emblems refer to the arts of war. 
 'On our left of the picture, emblems of the arts of peace appear, including musical instruments, a 
 celestial globe, pieces of sculpture, and the portrait of a lady, which, as Mr. Scharf, in his 
 Catalogue of Pictures at Knowsley, stated, remiads us of Rubens's portrait of Isabella 
 
East Gallery. 
 
 71 
 
 Forment, his second wife ; with these things are artists' implements, books and a horn. 
 On a palette is the signature " G. S." of Gerard Seghers, an eminent assistant of Rubens, and 
 brother of Daniel Seghers, the flower painter, who lived at Antwerp, and died in 165 1. 
 This picture was bought of Sir John Lowther for ^200, and then called Large Cupid and Still 
 Life." It was engraved for the " Knowsley Gallery" by Winstanley, and ascribed to Van Dyck 
 and Snyders. 
 
 This picture, which was long ascribed to Van Dyck and G. Seghers, is now frequently sup- 
 posed to have been largely the work of the latter artist. 
 78 X 102 inches. 
 
 91. Sir John Borlase, or Borlace, second Baronet, of 
 BocKMORE, Bucks. 
 
 Le7it by the Hon. William Bo^dase Warren Vernon, 
 
 a standing, life-size three-quarters-length figure, nearly in fuU view, leaning with his right 
 elbow on a pedestal, his left arm being doubled at his hip. Bare-headed, and wearing a large 
 white lace collar, falling over his shoulders, and a black silk doublet, open at the sleeves to show 
 the shirt. Brown hair. About twenty years of age. On tlie pedestal are written the names of 
 the sitter and the painter. See No. 3. 
 50 X 40 inches. 
 
 92. A Portrait -sAiB-4e--it«f4tE^€^f5^-rWHt--D^i^^ 
 
 If this picture is rightly named at all, it may represent the son of the infamous Duke of 
 Alva, whom Van Dyck may have encountered at Brussels. 
 
 A life-size iigure, dressed in black, a mantle of that colour being ilirown over the left 
 shoulder. It is seen in three-quarters view to our left, the face being turned in the same 
 direction. Very dark brown hair, moustache and a small beard. Florid complexion, thin face 
 and bright eyes. The left hand, wearing a brown embroidered glove, is open, and seems to 
 indicate that the owner is in the act of speaking. 
 
 93. Sir Anthony Van Dyck. 
 
 Lent by the Duke of Grafton^ K.G. 
 
 This is another version, with minor variations, of No. 22, lent by the Duke of Devonshire. 
 47 X 34 inches. 
 
 Warwick, 
 
 43 X 33 inches. 
 
72 
 
 East Gallery. 
 
 94. Henrietta Maria. 
 
 Lent by tJie Lord Wantage, 
 
 A half-length, life-size figure, in three-quarters view to our left, the eyes to the front. The 
 right hand takes roses from off a table placed on our left. White dress, red ribbons, pearl ear- 
 rings and necklace. On her right wrist is a black bracelet, with a diamond clasp, from which 
 is suspended a man's finger-ring. Behind the figure are a yellow curtain, the crown, and 
 an o])ening showing the sky. 
 
 42 X 32 mches. 
 
 A whole-length, life-size figure, seen in three-quarters view, in the act of walldng towards 
 our left, and using a stick held by the right hand ; the left M'rist is doubled back on the 
 hip. Bareheaded ; wearing brown hair, a white collar, a breastplate, coat and breeches of 
 Vermillion, striped with gold lace, and buff boots. A helmet stands on a pedestal on our left. 
 
 84 X 49 inches. 
 
 Three-quarters-length, life-size figures, standing side by side, with, in front of them, a table 
 covered with a red cloth. On the table is a helmet, on which the left hand of the King is 
 resting ; he canies a leading staff in his right hand, and is, except the head, completely clothed 
 in dark armour. He is seen nearly in full \iew. The Queen, who is on her husband's left, is in 
 three-quarters view to our left, and one of her hands lies in its fellow. She wears a white lace 
 collar, a necklace of pearls, a string of large pearls over her shoulders, a red gown and a black 
 waistband. The Queen appears to be not more than twenty-three years of age. 
 
 42 X 53 inches. 
 
 97. James, first Duke and third Marquis of Hamilton, K.G- 
 
 Lent by the Earl of Denbigh. 
 
 A life-size, full-length, standing figure, seen slightly turned to our right, the face in three- 
 quarters view, and looking to the front. In his right hand, which hangs at his side, is 
 
 95. The Earl of Holland. 
 
 Lent by Richard Booths Esq, 
 
 96. Charles the First and Henrietta Maria. 
 
East Gallery. 
 
 73 
 
 a black felt hat, with a band of jewels and a badge. The left hand is placed against 
 the hip. The arm on that side is covered by a short black cloalc, on which the Star of the 
 Garter is embroidered in silver. He wears dark brown hair, falling over a large white lace 
 collar which covers his shoulders, a black satin jerkin and breeches, black hose, and black shoes 
 with large rosettes of the same colour, and red heels. Round his neck the George is suspended 
 by its blue ribbon. A large-leaved plant is on our left of the figure ; sky and architecture in the 
 background. 
 
 Below the feet is written James, \st Duke of Hamilton, beh'^ (beheaded) 1649, Vattdyck 
 81 X 50 inches. 
 
 98. Penelope, born Wriothesley, Wife of William, Second 
 
 Lord Spencer. 
 
 Lc7it by tJic Earl Spencer, K. G. 
 
 A life-size, full-length, standing figure, seen nearly in full \aew, the head turned slightly to 
 our left, to which direction the eyes are moved. She is about twenty-eight years of age ; bare- 
 headed ; her left hand is placed before her waist ; her right hand lightly holds the skirt of her 
 dress. She wears a pale blue silk gown, cut open and straight at the bust ; a white lace collar 
 and a red waistband, and a breast knot of the same colour, A dog leaps up at her side. 
 Behind, a large vase, with foliage in it, stands on a pedestal, and a column is on the opposite 
 side, with a dark red curtain. 
 
 She was one of the daughters of T-iromnV, Earl of Southampton, and Elizabeth his wife, 
 whose portrait is here. ' 
 
 81 X 50 inches. 
 
 99. Charles the First on Horseback, passing under an Arch. 
 
 Lent by the Hon, William Borlase Warren Vernon. 
 
 This is a full-size repetition of the picture at Windsor, and it shoM s Charles in full armour, 
 except the head and legs, mounted on a white horse, which walks slowly under an arch. The 
 King carries a leading staff, one end of which rests against the horse's shoulder. Besides his 
 armour Charles wears long brown hair, a large falling lace collar, the blue ribbon of the Garter, 
 and buff boots. His attendant, the Due d'Eperon, clad in red, walks at the King's side and 
 carries his helmet. The King's shield, surmounted by the crown, leans against the wall on our 
 left. Landscape background, life-si/.e figures. 
 
74 
 
 East Gallery. 
 
 This portrait was, according to a tradition, presented by Charles the First to John, Lord 
 Byron, Governor of the Duke of York, whose likeness is No. 78 in this Gallery. It remained at 
 Newstead Abbey until Lord Byron, the poet, sold many of his pictures, when Admiral Sir John 
 Borlase Warren bought it for 9c guineas ; Stapleford Hall, his own place, being only seven 
 miles from Newstead, The present possessor, who is a great-grandson of Sir John, inherited it. 
 He likewise possesses a portrait of " Lady John Byron," by Lely, let into a looking-glass, and 
 on a smaller scale than that at Hampton Court. In a description of Newstead Abbey, pubHshed 
 in 1776, an equestrian portrait of the* King, painted by Van Dyck, is mentioned. See the 
 Duke of Grafton's picture of a similar subject, now No. 63, in this Gallery. 
 
 See Smith's "Catalogue Raisonng," 1831, iii., p. 59, where this picture is mentioned. 
 
 120 X 90 inches. 
 
 100. William Feilding, First Earl of Denbigh, ri^^^- 
 
 Lent by the Duke of Hamilton, 
 
 A hfe-size, full-length iigure, walking to the front, with a staff in his right hand, and 
 ^ *t" looking upwards to our right, as if at a palm-tree which grows there. The Earl is seen nearly in 
 ^ - front view ; he is bare-headed, and wears a suit of red. Over his shoulder a belt is slung. 
 
 On his left, and seeming to be in the act of saluting his master, stands an Indian, w^earing a 
 turban striped with red, and a yellow dress. Landscape background . 
 84 X 57 inches. 
 
 loi. Elizabeth, born Vernon, Countess of Southampton. 
 
 Lent by the Earl Cowper^ K, G, 
 
 A life-size, full-length, seated figure, turned slightly towards our left ; the right elbow 
 resting on a pedestal at the side and the right hand placed before the waist ; the left 
 hand depends at the side. Bare-headed, with thin brown tresses falling towards her shoulders. 
 The white satin gown is very much open at the bosom, and has full sleeves. A light blue 
 satin scarf extends across the lady's knees. A curtain and landscape, with architecture, form 
 the background. 
 
 This lady, styled the fair Miss Vernon and celebrated for her beauty, was the daughter of 
 John Vernon of Hodnet, Shropshire. She married Henry, Earl of Southampton, distinguished 
 for his sufferings in adhering to Robert Devereux, Earl of Essex, the favounte of Queen 
 Elizabeth, having taken part with him in the insurrection in London, Februarys, 1601. Her 
 second son, Thomas, became Earl of Southampton, and Lord High Treasurer of England. Her 
 
East Gallery. 
 
 75 
 
 daughters Penelope, Ainne and Elizabeth married, the first, William, Lord Spencer of 
 Wormleighton ; the second, Robert Wallop of Farley ; the third. Sir Thomas Estcourt, one of 
 the Masters in Chancery. See Granger's " Biographical History," iii., 210. 
 
 This picture was engraved by R. Thompson, while it bdonged to the Earl of Kent. 
 86 X 50 inches. 
 
 102. An Equestrian Portrait. 
 
 Le7Lt by the Duke of Sutherland, K,G. 
 
 The full-size figures of a gentleman, apparently a Genoese, and his grey horse. Both 
 appear in full view, and the horse is very much foreshortened ; his head arching towards our right. 
 The rider is bare-headed, and canies a hat in his right hand extended, as if to salute a friend. 
 His hair dark is cut close, and lie wears a white collar and cuffs and a red coat, with bars of 
 gold lace athwart the breast, under a short cloak of red plush. A dog, running near the horse's 
 right forefoot, looks at the rider. 
 
 103 X 65 inches. 
 
 103. James Hay, first Earl of Carlisle, K.G. 
 
 Lent by the Lord Lyttelton, 
 
 About thirty-five years of age, standing in three-quarters view to our right, with auburn hair 
 and moustaches. Dress of black silk, broad white lace collar, open sleeves showing the white 
 linings over blue hose, his black gloved right hand hangs at his side ; the left hand is concealed 
 in the mantle ; background of architecture and a landscape. 
 
 James Hay was the second son of Sir Peter Hay, of Melginch ; educated partly in France ; 
 Gentleman of the King's Bedchamber; Comptroller of Scotland, 1608, Lord Bewlie, 1609, 
 Viscount Doncaster, and Earl of Carlisle, K.G. It is said that, being on an embassy in Paris, 
 he had his horse shod with silver, and that he "made the most sumptuous feast at Essex House 
 that ever was seen before, never equalled since, in which was such plenty, and Fish of that 
 immensity, brought out of Muscovia [sturgeon ?], that dishes were made to contain them (no 
 dishes in all England before could ne're hold them), and after that a costly Voydee, and after 
 that a Mask, of choyse Noblemen, and Gentlemen, and after that a most costly and magnificent 
 Banquet, the King, Lords, and all the prime Gentlemen about London being invited thither." 
 * * * " He was termed by many the King's Juggler," z'/V^t' " The Court and Character of 
 King James," by Sir A. W(eldon), He succeeded Philip Herbert, the Earl of Montgomery, in 
 the good graces of King James, and was himself succeeded by Robert Carr, afterwards Earl of 
 Somerset, whom Buckingham followed. 
 
76 
 
 East Gallery, 
 
 " The Earl of Carlisle " (said Lord Clarendon), "a younger brother of a noble family in 
 Scotland, came into the kingdom with King James, as a Gentleman, under no other character 
 than a person well qualified by his breeding in France, and by study in human learning, in 
 which he bore a good part in the entertainment of the King, who much delighted in that 
 •exercise : and by these means, ajjd notable gracefulness in his behaviour, and affability, in which 
 he excelled, he had wrought himself into a particular interest with his master, and 
 into greater affection and esteem with the whole English nation than any other of 
 that country, by choosing their friendships and conversation, and really preferring it to 
 any of his own : insomuch, as upon the King's mfildng him Gentleman of his Bed- 
 chamber, and Viscount Doncaster, by his royal mediation, in which office he was a 
 most prevalent prince, he obtained Honora, the sole daughter and heir of the Lord Denny, 
 to be given him in marriage, by which he had a fair fortune in land provided for any 
 issue he should raise, and which his son by tlKit lady lived to enjoy. He ascended 
 afterwards, and with the expedition he desired, to the other conveniences of the Court. 
 He was Groom of the Stole, and an Earl and Knight of the Garter ; and married a beautiful 
 young lady, daughter to the Earl of Northumberland, without any other approbation of her 
 father's [see a letter from Sherburn to Dudley Carleton, printed in " Papers relating to Rubens," 
 by Mr. Sainsbury, p. 117, note], or concernment in it, than suffering him and her to come into his 
 presence after they were married. He lived rather in a fair intelligence than any friendship 
 with the favourites ; having credit enough with his master to provide for his own interest, and 
 he troubled not himself for that of other men ; and had no other consideration of money than 
 for the support of his lustre ; and whilst he could do that, he cared not for money, having no 
 bowels in this point of running in debt, or borrowing all he could. He v as surely a man of the 
 greatest expense in his own person of any in the age he lived, and introduced more of that expense 
 in the excess of clothes and diet than any other man; and was indeed the original of all those in- 
 ventions from which others did but transcribe copies. He had a great universal understanding, 
 and could have taken as much delight in any other way, if he had thought any other as pleasant 
 and worth his care. But he found business was attended with more rivals and vexations, and he 
 thought, with much less pleasure, and not more innocence. He left behind him the reputation 
 of a very fine gentleman, and most accomplished courtier ; and after having spent, in a very 
 jovial life, above four hundred thousand pounds, which, upon a strict computation, he received 
 from the Crown, he left not a house, nor an acre of land to be remembered by. And when he had 
 in his prospect (for he was very sharp sighted, and saw as far before him as most men) the gathering 
 together of that cloud in Scotland, which shortly after covered both Kingdoms, he died with 
 as much tranquillity of mind, to all appearance, as used to attend a man of more severe exercise of 
 virtue, and with as Httle apprehension of death, which he expected many days." He died at 
 Whitehall April 5, 1636. 
 
 Of Van Dyck's portrait or portraits of the Earl's second wife Lucy, born Percy, there are 
 many versions, including masterpieces at Windsor, which was engraved by Van Gunst ; and at 
 
East Gallery. 
 
 11 
 
 Petwortli, engraved by P. Lombart among the " Countesses," and again in Lodg's *' Portraits.'' 
 She was " the busy stateswoman," certainly one of the busiest intriguers of her time, reputed 
 by Sir P. Warwick to be the mistress of both Strafford and Pym ; she is said to have warned 
 the latter of King Charles's intention to arrest the Five Members of Parliament ; Waller and 
 Voiture celebrated her beauty and abilities ; she occupies a distinguished place in Mr. Browning's 
 tragedy of" Strafford." Van Dyck painted her in a group \vith her sister Dorothy, Countess of 
 Leicester (the mother of " Saccharissa " and Algernon Sidney), which belonged to the 
 Earl of Waldegrave. She died in 1660 and was buried at Petworth, near her father, Henry 
 Percy, Earl of Northumberland, called " Henry the Wizard." In Mr. Forster's " Arrest of the 
 Five Members," p. 124, there is much about this lady, a ^dndication of her having betrayed the 
 King's counsels, notwithstanding that she was of the household, in revenge for the abandon- 
 ment of Strafford. 
 
 It was on account of the death of her husband that Waller wrote the famous address to 
 
 The Countess of Carlisle in Mourning. 
 
 When from black clouds no part of sky is clear. 
 But just so much as lets the sun appear. 
 Heaven then would seem thy image, and reflect 
 Those sable vestments, and that bright aspect. 
 A spark of virtue by the deepest shade 
 Of sad adversity is fairer made ; 
 Not less advantage does thy beauty get ; 
 A Venus rising from a sea of jet ! 
 
 This address continues with ornate reference to the share taken by the deceased Earl in the 
 marriage," on a stage erected opposite the west end of Notre Dame in Paris," of Henrietta 
 Maria and Charles the First. The English proxies were Earl James and Henry Rich, Earl of 
 Holland, whose portrait is in this Gallery. The Countess is bidden :— 
 
 If thou lament, thou must do so alone ; 
 
 Grief in thy presence can lay hold on none. 
 
 Yet still persist the memory to love 
 
 Of that great Mercury of our mighty Jove, 
 
 Who by the power of his enchanting tongue 
 
 Swords from the hands of threatening monarchs wrung. 
 
 War he prevented, or soon made it cease. 
 
 Instructing princes in the arts of peace ; 1 
 Such as made Sheba's curious queen resort 
 To the large-hearted Hebrew's famous court. 
 
78 
 
 East Gallery. 
 
 The following alludes to the profuse hospitality of Earl James : — • 
 
 Had Homer sat amongst his wondering guests, 
 He might have learned at those stupendous feasts, 
 With greater bounty and more sacred state, 
 The banquets of the gods to celebrate. 
 
 Waller repeatedly addressed the Countess Lucy, especially with regard to " One who writ 
 a libel against the Coimtess of CarHsle," and " On her Chamber." 
 
 Herrick, in " Hesperides," addressed the beautiful Countess Lucy, and was brilliant 
 " Upon a black twist, rounding the arme of the Countesse of Carlisle : " 
 
 I saw about her spotlesse wrist, 
 Of blackest silk, a curious twist ; 
 W^hich, circumvolving gently, there 
 Enthrall' d her arme, as piisoner, etc. 
 
 It was at the intercession of Earl James that his wife's father, who, for alleged complicity 
 with the Gunpowder Plot conspirators, had been committed to the Tower, was released. Earl 
 James and Lady Lucy had been married against her father's will. Her elder brother was 
 Algernon Percy, tenth Earl of Northumberland, the distinguished sea-commander, whose por- 
 trait is in this Gallery. 
 
 This picture was No. 538 at the National Portrait Exhibition in 1866. In the same place 
 appeared No. 49Q, another portrait of the Earl, attributed to Van Dyck, and representing him 
 at half-length, in a cuirass, and holding a baton. There are prints of the Earl by S. Pass and 
 Thane. 
 
 81 X 50 inches. 
 
 104. Achilles discovered among the Daughters of Lycomedes. 
 
 Lent by the Earl of Listowel, K.P, 
 
 A composition of nine female and four male figures. Achilles, son of Peleus and 
 Thetis, was by his mother, who knew that going to the Siege of Troy would be fatal to 
 him, privately sent to the Court of Lycomedes, King of Scyros, disguised as a 
 female, and placed with that monarch's daughters. As Tioy could not be taken without 
 the aid of Achilles, Ulysses, in the habit of a merchant, travelled to Scyros and exposed for sale 
 certain arms and jewels. Achilles, called on to choose the merchandise he preferred, selected 
 weapons, and thus revealed his sex. He had been already distinguished by his golden hair, on 
 account of which he received the name of Pynha, and, by Deidamia, daughter of Lycomedes, 
 had become the father of Neoptolemus, or Pyrrhus. 
 
East Gallery. 
 
 79 
 
 This is evidently an early work of Van Dyck. It, with other pieces of his, was formerly in the 
 Van Loo Collection, and sold in 17 12 at Amsterdam from that famous gathering for the then great 
 price of 3,100 florins, or £2'jq. A sketch of it was in the possession of Sir William Beechey, 
 R. A. There is another version in the Musee de Toulouse, No. 85. A drawing of the design, in 
 the collection of M. B. Fillon, and was engraved in the " Antoine Van Dyck " of M. Guiffrey, 
 Paris, 1882, p. 40. 
 
 A picture of this subject, described as of the School of Van Dyck, is mentioned in the 
 Blenheim Catalogue, p. 172. In general, it resembles that before us. 
 
 This picture was exhibited with the Art Treasures at Manchester, in 1857, as No, 929. It is 
 mentioned by Dr. Waagen, in " Treasures of Art," 1854, ii., p. 312, and was engraved by 
 Fran(,'ois Van den Wyngaerde, and, in the Maniere Noire by J. Thomas. 
 
 (Smith, 276.) 
 
 53 X 43 inches. 
 
 105. Lord John and Lord Bernard Stuart. 
 
 JLciil by the Earl of Darnley, 
 
 Lord John and Lord Bernard Stuart, were sons of Esme, third Duke of Lennox. The 
 former was born October 23rd, 1621 ; he was General of Horse in the service of Charles the 
 First, and was killed at the Battle of Alresford, March 29th, 1644. The latter, who appears to 
 have been born in 1622 or 1623, commanded the King's troop, which consisted of one hundred 
 and twenty persons of rank and fortune ; he was created Earl of Lichfield, and is so named by 
 Clarendon, but the patent was never signed. He was slain at a skirmish on Rownton Heath, 
 near Chester, September 26th, 1645. Both brothers were buried in Christ Church, Oxford. 
 ^ t/ Their eldest brother George, Lord D'Aubigny, was killed at Edgehill, October 23rd, 1642, and 
 buried as above. 
 . 93 X 57 inches. 
 
 rh 
 
 106, Portrait of a Lady. 
 
 Lent by the Earl of Denbigh, 
 
 A three-quarters-length, life-size figure, seated, nearly in full view ; one hand is in her lap, 
 the other on the arm of the chair ; she wears a coif, large white plaited ruff, and a tight-fitting 
 black dress embroidered on the front with gold ; a red curtain is behind the figure. 
 
 58 X 42 inches. 
 
8o 
 
 East Gallery. 
 
 107. Charity, with Three Infants. 
 
 Lent by the Lord Jllethuen. 
 
 The AUegory of Charity appears as a beautiful life-size female figure, clad in a white robe 
 and a blue scarf, and wearing a red mantle over her knees; the face is in front view and look- 
 ing up. A naked child with its arms extended, is seated in her lap in front ; a second child 
 is on the right of Charity, embracing her arm, while a third child is behind ; architectural 
 and landscape background. Engraved by C. Caukerk en and W. W. Ryland. Smith's " Cata- 
 logue Raisonne," iii. 1 18, described this picture and valued it at 800 guineas. That author 
 mentioned a duplicate in the collection of ISIr. T. Hope, a third version in the possession of the 
 Earl of Lonsdale, and a fourth in the Duhvich Gallery. Lord Lonsdale's example, which was 
 at the British Institution in 1823, is said to have been painted as a companion to a "Holy 
 Family," by Rubens, which was also at Lowther Castle; the two pictures were sold to 
 Sir James Lowther in 1763 for ^1,887. See Dr. AVaagen's " Treasures of Art," iii. 261 ; it is 
 Smith's No. 125. 
 
 (Smith, 425.) 
 
 57 X 45 inches. 
 
 i^- 108. Major-General Edward Massey. 
 
 ^3.:(.(V3^)iSul:>^Wv, - ^ejU by G. L, Basset, Esq, 
 
 A life-size, full-length figure, standing, and turned slightly to our left. The gloved 
 right hand rests on a stick ; the bare left hand grasps the hilt of his sword. The face is 
 in three-quarters-view to our left, the eyes are to the front. The head is bare. The General 
 , wears a M^hite falling collar, breastplate, buff coat, and dark brown boots which have been pulled 
 up almost to the hips. Landscape background. 
 77 X 51 inches. 
 
 109. Sir William Killigrew and Thomas Carew, 
 
 Le7it by Her Majesty the Queen, 
 
 Three-quarters-length, life-size, seated figures, each nearly in three-quarters-view. On our 
 left is Sir William Killigrew, brother of Thomas the " Jester," whose portrait is here as 
 as No. 50. He is a fair-haired young man, who holds a paper with a drawing in one hand, 
 and leans his head on the other hand, the elbow of which is supported on the rail behind the 
 group ; on his le'^t wrist is a black ribbon threaded through a finger-ring, as in No. 94, a 
 portrait of Henrietta Maria. Thomas Carew is seen nearly in profile, in the act of reading from 
 a paper which he holds before him. 
 
East Gallery. 
 
 8i 
 
 Sir William Killigi-ew, Knight, eldest of the five sons of Sir Robert Kilhgrew, Chamberlain 
 to the Queen, was born in 1605, at Hanworth, near Hampton Comt; entered St. John's College^ 
 Cambridge, at Midsummer, 1622 ; set out on his travels in 1625, and made the tour of Europe ; 
 was made Governor of Pendennis Castle; he commanded two troops of the King's Guards 
 during the whole of the Civil War; was at Oxford in 1642, when he was made D.C.L. ; he 
 compounded for his estate, and, during the Commonwealth, lived at home ; at the Restoration 
 was appointed Gentleman-Usher, and, on the King's marriage, Vice-Chamberlain to the Queen, 
 an office he held during twenty-two years, when he, being advanced in life, retired from service 
 and, "from some books he published about that time, seems to have devoted the remainder of 
 his life to a due preparation for his being called to another world." He died in 1693 
 As a dramatist he was held in higher estimation by his contemporaries than by posterity. 
 Waller commended him warmly with regard to the play of " Pandora," which was altered from 
 a tragedy to a comedy, "because not approved on the stage." 
 
 " Sir, you should rather teach our age the way 
 
 Of judging well, than thus have changed your play ; 
 
 You had obliged us by employing wit, 
 
 Not to re-foi-m Pandora, but the pit ; 
 
 For as the nightingale, without the throng 
 
 Of other birds, alone attends her song, 
 
 While the loud daw, his throat displaying, draws 
 
 The whole assemblage of his fellow-daws ; 
 
 So must the writer, whose productions should 
 
 Pake with the vulgar, be of vulgar mould ; 
 
 Whilst nobler fancies make a flight too high 
 
 For common view, and lessen as they fly." 
 Among his plays are "Pandora," 1664; "Ormasdes," and " Selindra." Sir William, 
 having been employed by Charles to seize and seal up the papers of the Five Members of 
 Parliament, 1 642, came to conspicuous grief by means of the House of Commons, which issued 
 an order for his apprehension ; he was not to be found. In Mr. Forster's " An-est of the Five 
 Members" there is a curious note, p. 125, quoting an acknowledgment of Sir William's, that 
 he had "borrowed" of " Mastr Robert Longe, of London, a diamond hatband and diamond 
 ring, which he had pawned in the Strand, for one hundred pounds, and which he bound himself 
 to pay for, ' in or before Michaelmas Terme next,' " 1640. 
 
 Sir William Killigrew had among his brothers Thomas, the " Jester," whose portrait this 
 picture was long supposed to contain, and who is represented in another Van Dyck in this 
 Gallery. Thomas Killigrew was born in 1611 ; died 1682. Another brother was Dr. Henry 
 Killigrew, fifth and youngest son of Sir Robert Killigrew, born in 161 2 at his father's house at 
 Hanworth. He became Master of the Savoy Chapel, and, among other things, wote, for the 
 nuptials of Charles, Lord Herbert and Lady Mary Villiers (see her portrait here), a play called 
 
82 
 
 East Gallery, 
 
 " The Conspiracy," which Ben Jonson warmly commended. Dr. Killigrew was the father of 
 Mrs. Anne Kilhgrew, a clever painter, on wdiom Dryden wrote an elegy. 
 
 Thomas Carew, who was born in Gloucestershire in 1589 and died in 1639, was descended 
 from a famous Devonshire family ; he entered Corpus Christi College, Cambridge, left 
 without taking a degree, travelled abroad, and returned to England with a reputation as a wit and 
 poet ; was made Gentleman of the Privy Chamber of the King, in which capacity he associated 
 with Sir W. Killigrew; by the King's command, he, 1634, wrote a Masque called Ccelum 
 Britannicum. He is mentioned by Clarendon as "a person of pleasant and facetious wit 
 (especially in the amorous way), and made many poems which, for the sharpness of the fancy, 
 and the elegancy of the language in which that fancy was spread, were at least equal, if not 
 superior, to any at that time ; but his glory was that, after fifty years of his life, spent with less 
 severity and exactness than it ought to have been, he died with the gi-eatest remorse for that 
 license, and with the greatest manifestation of Christianity that his best friends could desire." 
 He was much praised by Ben Jonson, and is included in Suckling's " Session of the Poets." He 
 wrote an admirable epitaph on Lady Mary Villiers, whose portrait is here, and his poems are 
 among the most interesting of their kind in our language. His address to Ben Jonson in 
 reference to the reception vouchsafed to that poet's play, "The New Inn," is inspired by 
 friendly candour and has a double interest ; it begins : — 
 
 " 'Tis true, dear Ben, thy just, chastizing hand 
 Hath fix'd upon the sotted age a brand 
 To their swoln pride and empty scribbling due ; 
 It cannot judge, nor write : and yet 'tis true 
 Thy comic muse from the exalted line 
 Touch'd by the Alchemist, does since decline 
 From that her Zenith, and foretels a red 
 And blushing evening, when she goes to bed ; 
 Yet such as shall outshine the glimmering light 
 With which all stars shall gild the following night." 
 Thomas Carew's place in Englisli literature will be maintained by the beautiful sonnet : — 
 " Hee, that a rosie cheeke 
 Or a coral lip admires. 
 Or from star-like eyes doth seeke 
 
 Fuel to maintain his fires. 
 As old time makes these decay 
 So his flames must waste away. 
 
 But a smooth and steadfast mind, 
 
 Gentle thoughts and calm desires. 
 Hearts with equal love combin'd, 
 
 Kindle never-dying fires. 
 
East Gallery. 
 
 83 
 
 Where these are not, I despise 
 Lovely cheekes, or lips, or eyes," etc. 
 Among many beautiful verses, the following, which is found in'^the first edition of Carew's 
 poems, gives some measure of his powers. 
 
 The Primrose. 
 Ask me why I send you here. 
 This firstling of the infant year ; 
 Ask me why I send to you 
 This Primrose all bepearled with dew ; 
 I straight will whisper in your ears, 
 The sweets of love are washed with tears. 
 Ask me why this flower doth show 
 So yellow, green, and sicldy too ; 
 Ask me why the stalk is weak. 
 And bending, yet it doth not break ; 
 I must tell you, these discover 
 What doubts and fears are in a lover. 
 The next magnificent hyperbole is even more characteristic of the' poet whose " counterpart 
 presentment " is before us : — 
 
 Song. 
 
 Ask me no more where Jove bestows. 
 When June is past, the fading rose ; 
 For in your beauty's orient deep, 
 
 These flowers, as in their courses sleep. 
 
 * * * 
 
 Ask me no more whither doth stray 
 The golden atoms of the day : 
 For, in pure love, heaven did prepare 
 Those powders to enrich your hair. 
 » * * * 
 
 Ask me no more whither doth haste 
 The nightingale when May is past ; 
 For, in your sweet dividing throat, 
 She winters and keeps warm her note. 
 
 * * * 
 
 Ask me no more where those stars light, 
 That downwards fall in dead of night ; 
 For in your eyes they sit, and there 
 Fixed become as in their sphere. 
 
84 
 
 East Gallery, 
 
 Ask me no more if east or west 
 
 The Phoenix builds her spicy nest ; 
 
 For unto you at last she flies, 
 
 And in your fragrant bosom dies. 
 Of the *' Ccelicm Britannicum,''^ a masque, which is mentioned above as having been written 
 by Carew, it will interest the reader to know that now again, more than two centuries and a-half 
 having past away, a considerable number of those noble actors who took part in it when "Per- 
 formed at White -hall, in the Banquetting Room, on Shrove Tuesday night, i8th February, 1633," 
 meet in their pictures on these walls. Carew, the author of the "Masque," and Inigo Jones, 
 who built that noblest of all stages, the Banquetting House, for such a performance, and who, as 
 at other times, designed the scenery, as well as the costumes, apparatus, engines, and illumina- 
 tions for that sumptuous occasion, are, face to ;''ace once more. 01 twenty-five masquers, 
 more than half of whom owe their immortality to Van Dyck's hand, we are in presence 
 of all that remains of the following, some of whom it must be remembered bear changed titles ; 
 **The Kings's Majesty," the Earl of Holland, the Earl of Newport, Viscount Grandison, 
 Lord Rich, Lord Feilding, Lord Digby, Lord Dungarvan, Mr. Charles Cavendish, Mr. 
 William Herbert, Mr. Thomas Howard, and Mr. Henry Spencer, No less a person than 
 "Mr. Henry Lawes," Gentleman of the Chapel Royal, who was very dear to Milton, 
 Waller, Ben Jonson, Inigo Jones, Carew, Van Dyck, and all the brilliant English of 
 his time, set the songs and dialogues of Ccelum Britannicum,''^ with what he called "apt 
 tunes." The Queen and most of the ladies of the Court, whose pictures are here, attended this 
 performance, and the masque which now taxes the student to read was performed with eclat 
 before the most splendid assembly in England. 
 
 The Duke of Newcastle has a portrait by Van Dyck of Sir William Killigrew, which was 
 No. 105 at the Art Treasures Exhibition, Manchester, 1857, and is now here; to the same 
 exhibition the Earl of Warwick lent No. 667, a version of the group before us, entitled, as until 
 lately the latter was, " Thomas Carew and Thomas Killigrew." Her Majesty's picture was 
 No. 91 at the British Institution in 1820, and No. 2 in 1834; it was No. 754 in the National 
 Portrait Exhibition of 1866, and No. 169 in the Royal Academy, 1871. It did not belong 
 to the collection of King Charles or that of King James, but it was bought by Frederick^ 
 Prince of Wales, of Mr. Bagnols, a person whom he employed to collect pictures. It is signed 
 by Van Dyck, and dated 1638. 
 (Smith, 214.) 
 50 X 56 inches 
 
 110. Charles the First. 
 
 Lent by the Right Hon, Sir Harry Verney, Bart. 
 
 A life-size figure, seen to the knees, and turned in three-quarters-view to our left, the 
 face turned in the same manner, vidth the eyes towards the front. The right hand rests on 
 
85 
 
 the rim of a hat, which is placed on a table at the King's side. In his left hand the King 
 holds his gloves near his waist. He is bare headed and wears a large falling collar of lace, 
 a black mantle embroidered with the Star of the Garter in silver, and black breeches. 
 
 There is a tradition that this picture, with the portrait of Sir Edmmid Verney lent by the 
 same owner to this Gallery, was given by Charles the First to Sir Edmund; the King is 
 further said to have been so much pleased with this likeness of himself that he had several 
 replicas of it painted. One of these was, it is stated, burnt at Whitehall; one was given to an 
 ancestor of Lord Yarborough (see "Sketch of Charles the First, a head," lent by the present 
 lord) ; another is supposed to be at Dresden. 
 51 X 42 inches. 
 
 II. The Virgin, Child, and St. John. 
 
 Lent by Arthur Hugh Siniih Barry ^ Esq.^ M.P. 
 
 Life-size figures. The Virgin is seated on a sculptured stone bench, looking down and 
 holding the Infant Christ between both her hands. He stands upon the bench, and is seen 
 nearly in full view, naked, and looking to the front. The Virgin wears a brown veil and red 
 dress, and a blue mantle lies across her knees. The infant St. John approaches on our left and 
 offers his scroll to Christ. 
 
 12. George Digby, second Earl of Bristol, and William 
 Russell, fifth Earl, and first Duke of Bedford 
 
 These peers were brothers-in-law and very close friends. The former, dressed in black silk, 
 with a wide white collar, light hair and a fair complexion, is in front view and standing with his 
 right arm resting on the base of a column ; the left hand holds his cloak. He appears 
 to be about 22 years of age. The latter, who seems to be about 20 years old, is seen in 
 three-quarters-view, wdtli dark brown hair, wearing a red figiu-ed vest embroidered with gold, 
 scarlet-cloth breeches, buff boots, and a gold sword-belt crossing his body ; his left hand holds a 
 black felt hat and hangs at his side ; the right hand is placed at his hip, with a red mantle 
 slung across the arm. A breast-plate, some books, and an armillary sphere are in front. 
 
 George Digby was born at Madrid, October, 161 2, where his father, John, first Earl of Bristol, 
 was then ambassador ; educated at Magdalen.CoUege, Oxford, he travelled in France, and, retum- 
 
 56 X 43 inches. 
 
86 
 
 East Gallery. 
 
 ing, was, in 1640, elected M.P. for Dorsetshire. In this capacity, he is often mentioned in the 
 memoirs and diaries of the time. After distinguishing himself in the House of Commons as a 
 member of the Opposition, he suddenly joined the Court in the middle of Strafford's trial, and, 
 to be out of harm's way, was called to the House of Lords by writ, June 9th, 1641 ; afterwards, 
 he advised the seizure of the Five Members, in which Clarendon averred he stood alone, and 
 he offered to drag them, dead or alive, out of the house in Coleman Street, City (where the 
 members were known to be lodging), with " the aid of such gentlemen as Sir Thomas Lunsford," 
 for whose appointment as Lieutenant of the Tower he seems to have been the responsible agent 
 of the king. Vigorously attacked in the House by Denzil Hollis and Oliver Cromwell, he was 
 impeached (see " Portrait of Mountjoy Blount, Earl of Newport," in this Gallery). Compelled 
 to leave England in 1648, because the Parliament exempted him from pardon, he served in the 
 French Wars of the Fronde, where he gained high reputation, but behaved so intriguingly as to be 
 cashiered, and, next, seeking service with the King of Spain, he embraced the Roman Catholic 
 religion, against which he had formerly written a treatise. After the Restoration, he returned 
 to England, and sat in the House of Lords, where he, a Roman Catholic, spoke and voted in 
 favour of the Test Act. Another of his most prominent appearances was his impeachment of 
 Lord Clarendon in 1663. H orace Walpole, in "Royal and Noble Authors," ii., 25, said of 
 him: — "His life was one contradiction. He wrote against Popery, and embraced it; he 
 was a zealous opposer of the Court, and a sacrifice to it ; was conscientiously converted in the 
 midst of his persecutions of Lord Strafford [see "Portrait of the Earl of Strafford "], and was 
 most unconscientiously a prosecutor of Lord Clarendon. With great parts, he always hurt 
 himself and his friends ; with romantic braver}'^, he was always an unsuccessful commander 
 He spoke for the Test Act, though a Roman Catholic — and addicted himself to astrology on the 
 birthday of true philosophy." Swift styled him "the prototype of Lord Bolingbroke." He 
 married Anne, second daughter of Francis, fourth Earl of Bedford (whose portrait is 
 here) ; died at Chelsea, March 20, 1676, and was buried in the church of that place. He 
 is mentioned by Bussy in his "Annals," by Grammont in his "Memoirs," by Evelyn, Pepys, 
 and many others, his contemporaries. He was the 452nd Knight of the Garter. See on Digby 
 " The Fairfax Correspondence , Charles the First," ii., 82 and 331. 
 
 William Russell, eldest son of Francis, fourth Earl of Bedford, married 1637, Anne, born 
 Carr, (see her portrait in this Gallery), succeeded his father in i64i,and became commander 
 of the cavalry in the ser\ace of the Parliament, joined the Earl of Essex, and, at the battle of 
 Edgehill, led the resei-ve of horse which saved the whole army from defeat. In 1643 he 
 joined the Earls of Holland, Clare and Essex in endeavouring to put an end to the civil war ; 
 failing in this, he went to the King at Oxford and fought at Newbury, September 20th, 1643. 
 He was taken into custody by order of the Parliament and his estate sequestrated ; released, he 
 refused to sit in the House of Peers during the Commonwealth. After the Restoration he 
 attended the coronation of the King and was made a Knight of the Garter. William the Third 
 made him first Marquis of Tavistock and Duke of Bedford, 1694; September 7th, 
 
East Gallery. 
 
 87 
 
 1700, and was buried at Chenies. See the "Portrait of Anne, born Carr, Countess of 
 Bedford," in this collection. He was the father of Lord William Russell, executed in 1683. 
 
 This is the picture which Evelyn saw in the Earl of Britsol's mansion, January 15th, 1679, " I 
 went with my Lady Sunderland to Chelsea, and dined with the Countess of Bristol [her mother, 
 in the great house, formerly the Duke of Buckingham's, a spacious and excellent place for the 
 extent of ground and situation in a good air." [It stood at the north end of Beaufort Row]. 
 "There were divers pictures by Titian and Vandyke and some of Bassano, ver)^ excellent, 
 especially a Venus and Adonis, a Duke of Venice, a butcher in his shambles selling meat to a 
 Swiss ; and of Vandyke, my Lord of Bristol's picture, with the Earl of Bedford's at length in 
 the same table." On the 27th January, 1685, he saw the picture again in the same place. 
 "There was in the room where we dined, and in his [Lord Sunderland's] bed-chamber, those 
 incomparable pieces of Columbus, a Flagellation, the Grammar-School, the Venus and Adonif 
 of Titian's ; and, of Vandyke's, that picture of the late Earl of Digby [father of the Countess of 
 Sunderland] and the Earl of Bedford, Sir Kenelm Digby, and two ladies, of incomparable 
 performance." 
 
 Houbraken engraved for the "Illustrious Heads," and singly, both these portraits ; T. Wright 
 engraved the Earl of Bristol's likeness for Lodge's " Portraits," and C. Picart engraved the like- 
 ness of the Earl of Bedford. The picture was at the British Institution in 1856, No. 18 ; at 
 Manchester in 1857, No. 123 ; at the National Portrait Exhibition in 1866, No. 728 ; at Leeds 
 in 1868, and at South Kensington in 1876, No. 31. 
 
 The catalogue of the Madrid Gallery erroneously describes a noble group by Van Dyck, in 
 that place, as " 1407, Retratos de Medio cuerpo de Vandyck y del Conde de Bristol. The 
 picture has been said to represent Van Dyck and Sir Endymion Porter, but the latter description 
 is open to challenge. 
 
 See No. 120, in the Third Room. 
 
 (Smith, 515.) 
 
 98 X 62 inches. 
 
 113. The Third Marquis and First Duke of Hamilton, K.G. 
 
 Li lit by tlic Duke of Hajnilion, 
 
 A life-size, full-length, standing figure, in three-quarters view to our left ; the left arm rests 
 on a helmet placed on a rock at the left of the Duke ; in his right hand he grasps a 
 leading- staff, and holds it athwart his body. He is bare-headed, and wears dark brown, close 
 cut hair, a wide white collar, breast-plate, brassarts and cuisses of black steel. His boots are buff. 
 
 This nobleman was known in France as the fourth Duke of Chatelherault. 
 
 See the "Finished Study" for this picture, which is No. 147 in this collection, and 
 the other " Portrait," No. 97, of the same peer, and No. 67, wliere he attends the King. 
 
 84 X 50 inches. 
 
88 
 
 East Gallery, 
 
 114. Mary, born Ruthven, Van Dyck's wife, as Herminia 
 { putting on Clarinda's Armour, with Cupid. 
 
 Life-size and rather more than half-length figures. The lady is turned nearly in three- 
 quarters view to our left, looking at the spectator and with her left hand on a helmet ; her dress is 
 of red and white, worn under a cuirass ; green drapery is on her right shoulder. Next to her is 
 Cupid, pointing out of the picture ; the background is a landscape. Dr. Waagen thought this was 
 not a portrait of Marian Ruthveii, the wife of Van Dyck, but of some unknown lady, whom, 
 according to Bellori, he painted for Sir Kenelm Digby. The doctor erred about Sir Kenelm 
 Digby, and the description of the picture Bellori referred to (relying, no doubt, on hearsay) is not 
 exactly applicable to the work before us. Bellori wrote :— " He likewise painted a portrait of a 
 dark female in the dress of Pallas, armed, with a plume in her helmet ; a most beautiful and 
 animated head." This statement follows an enumeration of pictures painted for Sir Kenelm, 
 but it may not mean that the picture thus described was painted for him. See " Pictorial 
 Notices of Van Dyck," by W. H. Carpenter, 1841, pp. 37 and 38. Dr. Waagen likewise 
 declined to recognise Mary Ruthven in the face of the figure ; in his doubts some will share 
 when they remember that this is a character-picture, not a portrait. On the other hand 
 there is a considerable resemblance between this face and that of Van Dyck's mistress, 
 Margaret Lemon ; see her portrait at Hampton Court. For the subject of the painting see 
 Tasso's " Gerusalemme Liberata," vi., 92, etc. 
 
 Van Dyck painted his wife as the Virgin holding an infant, a picture which belongs to Lord 
 Lyttelton ; again, as holding a violin and a bow, a work which is at Munich ; and, without 
 avowing her name, in other characters. All these examples resemble the face before us. This 
 picture was engraved by Benedetti. 
 
 Mary Ruthven was the wife provided, it is said, for Van Dyck, by Charles the First ; she 
 was a woman of considerable charms, as is manifest in the picture at Munich, which was 
 engraved by Bolswert (Wibiral, loi). They were married in 1639 or 1640 ; the exact date has 
 not been ascertained, and she had no dowry beyond that " which the liberality of the King 
 bestowed." Considering his Majesty's dire impecuniosity at this time, and that Van 
 Dyck's own pension was much in arrear, it is not probable Charles did much for his 
 proteges. The lady's family was noble, and she belonged to the household of the Queen. Her 
 father was Dr. Patrick Ruthven (a physician of good reputation, who was more likely than the 
 King to be able to endow his daughter), the fifth son of William Ruthven, fourth Baron 
 Ruthven and Dirleton, who, with his father, had taken part in the murder of David Rizzio. 
 The fourth Baron was pardoned, and at a later date appointed Treasurer for Scotland, and created 
 Earl of Gowrie. As a promoter of the Gowrie Conspiracy," he was executed in 1584. He 
 manied Dorothea, daughter of Henry, Lord Methuen. His sons were, besides Patrick, the 
 
 1 . A . ' 
 
East Gallery. 
 
 89 
 
 physician, James and John, second and third Earls of Gowrie, and Alexander, who was killed in 
 the outbreak attending the Gowrie Conspiracy at Perth, August 5, 1600. Patrick, who was 
 supposed to have shared in the same treason, was confined for many years in the Tower, 
 One of Mary Ruthven's aunts was Margaret, Countess of Montrose, and mother of the 
 famous Marquis of Montrose ; Mary, another aunt, married, first, John, fifth Earl of Athole^ 
 and second, another John, sixth Earl of that name ; Sophia, a third aunt, married Ludovick 
 Stuart, Duke of Lennox and Richmond, whose third wife was Frances, born Howard 
 of Bindon ; a fourth aunt, Jean, married James, Lord Ogilvy ; and Isabel, a fifth 
 aunt, having been divorced from Sir Robert Gordon of Lochinvar, married George, Lord' 
 Loudon. 
 
 Even the favour of the King could not suffice to prolong the life of Van Dyck. He 
 died December 9, 1641. His sole legitimate daughter, Justiniana Anna, having come into the 
 world eight days sooner. She was christened on the day of his death. The will of Van Dyck, 
 which is printed in W. H. Carpenter's "Pictorial Notices," p. 75, after pro\iding for 
 Maria Teresa, his illegitimate child, benefits " my lawfull daughtei borne here in London," and 
 makes his wife and her daughter joint residuary legatees of " all the rest of my estate, 
 moneys, debts, pictures and goods, bonds, bills and writings whatsoever left behind mee" in 
 England; with further contingent benefits to Lady Van Dyck, who was appointed as an executrix 
 of the will. When the executors tried to collect the debts due to the painter they were but 
 slightly successful. Lady Van Dyck, before March, 1645, married, secondly, Sir Richard Pryse,. 
 of Gogerddan, near Aberystwith, first Baronet of the name ; she had no issue by him. Van 
 Dyck's daughter married, first, at twelve years of age, Sir John Stepney, of Prendergast 
 Pembrokeshire, third Baronet ; one of their grandsons was George Stepney, a small poet. 
 Justiniana, who had become a Roman Catholic, married, secondly, Martin de Carbonell, Esq.. 
 On the further descent of the Van Dyck blood see another entry in this Catalogue referring to 
 Lord Egerton of Tatton's portrait of "Van Dyck on Horseback." From a petition presented 
 by Sir R. Pryse to Parliament in 1645, when the ci-devant Lady Van Dyck was dead, it appears 
 that a collection of pictures and other objects of value remained at Blackfriars after Van Dyck's 
 death. In these goods Justiniana was interested. But one Richard Andrew, " without right 
 or authority," carried them off to the Continent, and endeavoured to sell them for a totally inade- 
 quate sum. Another petition, presented in 1647, attests how little good had attended the 
 first memorial ; we have no record of the result of the second. On the restoration of 
 royalty in England, Justiniana obtained, June 10, 1662, a pension of two hundred 
 pounds a year for life. This, after some irregularity of the payments, was (she having 
 represented her poverty duly paid. Justiniana died in i69o,';Or, according to other authorities, 
 in 1703. 
 
 This picture was No. 130 at the Royal Academy in 1880. 
 41 X 51I inches. 
 
90 
 
 East Gallery. 
 
 .115. Catherine, born Manners, first Duchess of Buckingham, 
 AND HER Three Children. 
 
 ' Full-length, life-size figures. She is in a black dress, seated, holding in her left hand a 
 medallion and portrait of her husband (see his portrait in this Collection), which hangs round her 
 neck. On our left, next his mother, is her younger son. Lord Francis Vilhers ; on our right is 
 her elder son, George, Second Dulce of Buckingham, holding his mother's right hand \vith both 
 his own, and looking round at his elder sister, Mary, created Duchess of Buckingham 
 in default of male issue of her father. She married (i) Charles, Lord Herbert ; (2) James Stuart, 
 Duke of Richmond and Lennox ; and (3) Thomas Howard, brother of the Earl of Carlisle. 
 In the background of the picture now before us are an oval portrait, a curtain, and the sky. 
 
 Catherine, Duchess of Buckingham, who married the Duke in 1620, was daughter and sole 
 heir of Francis Manners, Lord Roos, afterwards Earl of Rutland. She was described by Clarendon, 
 who knew her, as a lady of great wit and spirit. She married, secondly, Randal Macdonald, 
 Marquis of Antrim. Lord Francis Villiers was born, after his father's death, April 2, 1629, and 
 having joined the royal party, was at the storming of the Close at Lichfield, and while engaged 
 with the Earl of Holland in a rising on behalf of the King, killed in the following manner, as 
 related by Aubrey in the " History of Surrey." " In a lane between Kingston and Saythbyton 
 [Surbiton] Common, was slain the beautiful Francis ViUiers, at an elm in a hedge on 
 the east side of the lane, when, his horse being killed under him, he turned his back to 
 the elm, and fought most valiantly with half a dozen ; the enemy coming on the 
 other side of the hedge, pushed off his helmet and killed him, July 7, 1648, about 
 six o'clock in the afternoon ; on this elm (which was cut down in 1680) was cut an ill-shaped 
 V in memory of him." Brian Fairfax, the faithful follower of his family, gave a similar 
 account of the death of this young soldier. " My Lord Francis, at the head of his troop 
 having his horse slain under him, got to an oak tree on the highway, about two miles from 
 Kingston, where he stood with his back against it, defending himself, scorning to ask quarter 
 and they barbarously refusing to give it, till, with nine wounds in his beautiful face and body, 
 he was slain. The oak tree is his monument, and has the two first letters of his name, F. V. 
 cut in it to this day. Thus died this noble, valiant, and beautiful youth, in the twentieh, 
 year of his age." His body was buried in Henry VII. 's Chapel, Clarendon relates the same 
 facts. Lord Francis was after celebrated for his beauty. 
 
 There are several versions of this group ; one, the property of the Earl of Warwick, 
 was in the National Portrait Exhibition, 1866, No. 623. Smith, 4 in "Catalogue 
 Raisonne," describes one (p. 47), probably that before us, as in the possession of 
 Lady Antrim ; there was another at Blenheim (Smith, 261), which was No. 145 at the Academy 
 
 Gahmy. 
 
East Gallery. 
 
 91 
 
 in 1885 ; a fourth has lately been added to the National Portrait Gallery. Mrs. Culling Hanbury 
 lent another to the Academy in 187 1, No. 3. The two boys were painted by VanDyck in a famous 
 group of full-length standing figures, now at Windsor, and which was No. 749 in King James's 
 Collection, Dr. Waagen's "Galleries and Cabinets of Art," 277, described a group of a lady 
 and four children, said to represent this Duchess, in the collection of Sir Culling Eardley. See 
 the portrait in this Gallery, belonging to Lord Lyttelton, of Mary, born Fairfax, second 
 Duchess of Buckingham. 
 
 It is very probable that this is one of the paintings referred to by Brian Fairfax when 
 writing of George, second Duke of Buckingham, after his flight from England. "All that he 
 had to live on beyond sea was the money he got at Antwerp for his pictures, which were part of 
 that costly and curious collection his father had got together from Italy, by the help of Sir 
 Henry Wooton and others [including Rubens], wdiich adorned York House, to the admiration 
 of all men of judgment in pictures." A note of their names and dimensions is all that is now 
 left of these pictures. The " Ecce Homo ! " of Titian was valued at ;!^5,ooo, it containing all 
 " the figures of all the great persons of his time." 
 
 Painted 1636. 
 
 91 X 71 inches. * 
 
 116. Count Gondomar. 
 
 Lent by the Earl of Warimck, 
 
 A three-quarters-length, life-size standing, figure, leaning the left arm on the plinth of a 
 column, with the right arm depending at the side. The face is in three-quarters view to our 
 right ; the eyes are turned to the front. He ajipears about sixty-five years of age, and wears 
 short-cut grey hair, small moustaches, a small, ])ointed beard, and a large ruff. His jacket is 
 black, and worn under a cloak lined with brown fur. On his breast is the red cross of the Order 
 of St. Jago. 
 
 43 X 36 inches. 
 
 117. A Bacchanal. ^ 9 
 
 ^ ^ Lent by the Lord BelperJ 
 
 Nearly life-size figures of naked infants gambolling in a landscaiic. 
 
 Among the subjects Van Dyck painted for King Charles about 1 63 2 -5 was, according to 
 Bellori's life of the artist, a paity of Bacchanals. The i)icture before us may be connected with 
 this work. . I / » ^ 
 
 55 X 74 inches. fVAt^ Lfw- , \4(i j bfvA^ 
 
92 
 
 East Gallery. 
 
 118. A Lady and Child. 
 
 Leiit by the Earl Brownlow, 
 
 Life size, three-quarters-length of a lady seated ; she holds a child in her lap with her left 
 hand ; the lady is dressed in black satin over a yellow bodice, large stiff ruff and lace frills on 
 the arms ; the child is in purple silk with grey hat. 
 
 50 X 41 inches. 
 
 119. Sir William Killigrew. 
 
 Lent by the Duke of Newcastle, 
 
 A three-quarters length, life-size figure, leaning with the right elbow on the plinth of a 
 column, while the left arm is concealed by a black mantle ; the hand being against the hip. 
 The face is in three-quarters view to our right : the eyes look forwards and downwards. Sir 
 William wears long brown hair, a white lace falling collar and a black doublet cut at the sleeves 
 to show the shirt. Behind the figure an opening in the wall reveals a landscape. On a, 
 moulding, part of the plinth of the column, is written: Svr Willhmi Killigrw ; A. Van 
 Dyck, pinxit. 1638." 
 
 See the Queen's portrait of this gentleman grouped with Thomas Carew, the poet, No. 109, 
 and the portrait of the brother of the former, lent by the Duke of Devonshire, No. 50. 
 41 X 33 inches. 
 
THIRD ROOM. 
 
 120. William Russell, First Duke of Bedford, and Francis, 
 Fourth Earl of Bedford." 
 
 JLent by f/ie Viscpicnt Galway^ 
 
 Whole-length, standmg, life-si'/e figures. This picture closely resembles that lent by Earl 
 Spencer, No. 112 in the East Gallery. 
 
 The title of the work now before us is placed in the catalogue, being inscribed on the 
 picture, but the names of the persons represented are preserved in No. 112. 
 98 X 66 inches. 
 
 121. Henrietta Maria. 
 
 Lent by the Hon, Mrs. Trollope. 
 
 A life-size, whole-length, standing figure, in three-quarters view to our left ; mth her right 
 hand the queen is taking a rose from a glass vase on a table before her ; with her 
 left hand, she holds back the skirt of her gown. Bare-headed, wearing light brown hair in 
 ringlets, a necldace and earrings of pearl, a gown of deep rose-coloured satin, which is cut low 
 and open at the breast, and is enriched with pearls and cr}-stals set in gold in the 
 manner of Holbein. The table is covered with an olive-green cloth ; on it, at the side of the vase 
 is the queen's crown. The features of the queen are unusually fresh and youthful. 
 
 92 X 56 inches. 
 
94 
 
 Third Rooju. 
 
 122. Paul, second Viscount BANNiN(^r, ok Baynixg. 
 
 . . Lent by iJie Earl of Home., 
 
 A life-si/e, whole-length figure, in a black dress, with a falling white collar ; standing with 
 his left hand on his hip, in his right hand a hat decked with jewels. A vestibule forms the 
 * ^ background on our right ; on our left a landscape is seen. Dr.Waagen, " Galleries and Cabinets 
 
 of Art," 1857, p. 463, thought the landscape and architecture were not by Van Dyck. Paul, 
 second Viscount Banning, or Bayning, married Penelope, only daughter of Sir Robert Naunton,. 
 Jn\. >*l«^Master of the Court of Wards, and Secretary of State to James the First. After the 
 5^^ (^Viscount's death she married Philip, fifth Earl of Pembroke and second Earl of Montgomery.. 
 See the portrait of Earl Philip in this Gallery. 
 
 Paul Banning, or Bayning, of Bentley Parva, Essex, son of Paul Bayning, Sheriff of 
 London, 1593, was created a Baronet, Sept. 24, 1612 ; Baron Bayning, of Horkesley, Essex, 
 Feb. 27, 1627, and Viscount Bayning, March 8, following. He died in 1629, leaving Paul, his 
 son, second Viscount Bayning, who died June ii, 1638, having married as above. The 
 viscounty thus became extinct. The title of Bayning was revived in the person] of Anne 
 Bayning, aunt and heir of the second Viscount, who was created Viscountess Bayning for her 
 own life. By her means the title was carried into the Townshend family, and Charles Towns- 
 hend, son of the Hon. William Townshend and Henrietta, born Poulett, was, ist Oct., 1797, 
 created the first Baron Bayning, of Foxley, Berkshire, and held many political offices of note ; 
 his grand-nephew, Henry, third Lord Bayning, Viscount of Honningham, dying without issue 
 in 1866, the title became extinct. 
 (Smith, 84.) 
 85 X 50 inches. 
 
 123. Rachel de Rouvigny, Countess of Southampton, painted 
 AS Fortune. 
 
 Lent by the Earl Spencer^ K, G, 
 
 A life-size, full-length figure, seated on clouds, and with the left arm resting on a large 
 ciystal sphere, the right foot on a human skull. The design of this picture is similar to that 
 of the portrait pf the same lady, No. 42. In the example before us now the right foot is 
 exposed, the blue robe not covering it, and the foot touches the skull which appears in both 
 pictures. In Earl Spencer's version the Countess holds in her right hand a golden sceptre 
 surmounted by an eagle with its wings displayed. There is no sceptre in No. 42. Both 
 pictures are intended to represent Lady Southampton as Juno. 
 ' In the study for this lady's portrait, lent by the DuJi£_ji£JQevonshir/, and now No. 148, 
 
 she holds no sceptre, and her right foot is shown. It thus combines characteristic of both 
 the larger versions. 
 
Third Room. 
 
 95 
 
 Wife of Thomas Wriothesley, Earl of Southampton, Lord High Treasurer of England. 
 This lady is said to have been mad, and her portrait is supposed to represent Fortune, with her 
 hand upon the world in the form of a crystal sphere, which reflects the ever-changing clouds, 
 illuminated with factitious gold, and with one of her feet upon a human skull. She was of 
 French extraction ; married first, to Daniel du Massen, Baron de Ruvigny ; secondly, Thomas 
 AVriothesley, son of Henry, third Earl of Southampton, the friend of Shakespeare, who died 
 November lo, 1 624. Earl Thomas was a friend of Clarendon, and died 1667. His second 
 daughter, named after the lady before us, was Lady Rachel, whose second husband was Lord 
 AVilliam Russell, executed in 1683. From this picture Petitot made a magnificent enamel. 
 McArdell engraved it finely. See the portraits engraved lent by Earl Cowper and the Duke of 
 Devonshire. 
 
 83 X 50 inches. 
 
 24. A Portrait^ formerly supposed to represent Sir Peter 
 Paul Rubens. 
 
 This gentleman appears at about forty-five years of age, a life-size, full-length figure, nearly 
 in front view, with dark brown hair, long moustaches, and a short beard. He stands in a dig- 
 nified, erect attitude, with the right hand hanging negligently down, and with the left hand, 
 holding his gloves, placed near the hilt of his sword. He wears a black vest with small gold 
 buttons, a plain white collar, a black cloak hanging behind, black silk stockings, and large black 
 bows in his shoes ; a gold chain crosses the breast from the right shoulder, and a large gold 
 key, indicating his office as Chamberlain, is tacked in the belt. On the base of a pillar, which 
 forms part of the background, is written "Ant. Van Dyck, Eques. Pt." Van Dyck was not 
 Icnighted till 1632, when Rubens was fifty-five years of age. Van Dyck might have produced 
 this picture about 1623, when he started for Italy, and Rubens was forty-six years old. This 
 picture was No. 591 at the Art Treasures Exhibition, Manchester, 1857. The Duke of Buccleuch 
 has two portraits of Rubens by Van Dyck (R.A. 1872), and the Earl of Radnor has a portrait 
 (R.A. 1873) by the same, where the master is riding on a horse said to have been one of Van 
 Dyck's parting gifts to Rubens when he went to Italy in 1623. It was engraved in colour by 
 J. C. Le Blond. 
 
 (Smith, 500.) 
 
 83 X 50 inches. 
 
 125. The Betrayal of Christ in the Garden. 
 
 Lait by [J It Lotd Mcf/uioi. 
 
 Large life-size figures. The Saviour, clothed in a black robe and carrying a red mantle on 
 his arm, is advancing, accompanied by a soldier on his left ; while Judas, who is on his right, 
 
96 
 
 Third Room. 
 
 dressed in a tawny mantle, is approaching to embrace his master. Behind the Saviour are 
 several men, some of whom have spears, others cords, and one of them bears a blazing torch 
 on a pole. The confusion of a crowd following them is indicated by the figures pressing 
 against each other. 
 
 Van Dyck is supposed to have painted this subject not less than thrice. When he set out 
 for Italy he gave to his master Rubens, at the moment of their parting, one version of it, 
 together with a portrait of Isabella Brandt, the master's first wife. The former of these 
 pictures was in the collection of Rubens at his death, and is thus described in the catalogue or 
 register of "ye late Sr. Peeter Ruben's rarityes," enclosed July 14, 1640, by Sir Balthazar 
 Gerbierto William MuiTay, on behalf of Charles the First, that he might be induced to buy some 
 of them : Lot " 332, The Apprehendinge of Christ; by the same (Van Dyck) uppon cloth." 
 According to this tradition this parting gift, as cited by Miechel in his Life of Rubens, was 
 then in the possession of Monsieur Dierixsens, at Antwerp, and it is thus described : "The 
 picture is high, the figures are of the natural size ; the heads, as those of Christ and some 
 soldiers, are strikingly beautiful, the colouring vigorous, and the drapery free, without being 
 affected. It is only by the figure of Malchus, who, with his lantern, is thrown down in the 
 foreground of the picture, that this picture can be perceived to have been painted immediately 
 after the artist had left the school of his master." — See *' Original Papers relating to Rubens," 
 by W. N. Sainsbury, 1859, p. 242. The tradition appears to be incorrect, see " Sir Anthony 
 Van Dyck on Horseback," in this Gallery. 
 
 There is a drawing generally answering to this description in the Louvre, engraved by M. 
 Guiffrey in his " Antoine Van Dyck," Paris, 1882, p. 25. Another drawing, now in the 
 Albertina at Vienna, is engi-aved on page 27 of the same work. A similar picture was bought by 
 Philip IV. of Spain, removed to the Escurial, and thence to the Prado, where, being No. 
 .1607, it is now known as ** // Prendinicentoy It was engi-aved by G. Donck. It is Smith's 203. 
 
 Lord Methuen's picture was mentioned by Dr. Waagen, " Galleries and Cabinets of Art," 
 1857, p. 395, who said that it appeared to be the companion to the " Crowning of Thorns " in 
 the Berlin Museum, No. 770. It was exhibited as No. 12 at the British Institution in 1857, 
 and as No. 109 at the Royal Academy in 1877 ; a sketch for it was sold in 1829 for 69 guineas. 
 
 A picture of this subject was in the collection of M. Erard in 1830, and mentioned by 
 Smith in his "Catalogue Raisonne " as No. 17. 
 
 (Smith, 16.) 
 
 Canvas, 88 X 108 inches. 
 
FOURTH ROOM. 
 
 o^o. 
 
 126. Study of the Portrait of the Due d'Epernon. 
 
 Lent by the Earl of Dartrey, 
 
 A life-size bust, the face looking upwards towards our left, wearing a cap. 
 24 X 20 inches. 
 
 127. Study of a Head. 
 
 Five nearly life-size heads of men, painted in monochrome, and evidently studies for 
 portraits. 
 
 These sketches were formerly in the collection of Sir Thomas La\NTence, P.R.A. 
 23 X 18 inches. 
 
 Head turned to right, in an oval. 
 Oval. 23 X 19 inches. 
 
 128. Sketches of Heads. 
 
 Lent by H. G, Hewlett , Esq, 
 
98 
 
 Fourth Room. 
 
 129. Lady Poulett. 
 
 Lent by the Earl of Home, 
 
 A life-size, standing figure of about twenty-five years of age, in the act of raising, with her 
 left arm, the skirt of her white satin robe ; her right hand is placed on her bodice, and holds a 
 rose. The face in three-quarters view, the hair in curls ; red curtain. 
 
 This lady was probably Elizabeth, daughter of Christopher Ken, of Ken Court, Somerset, 
 who married, firstly, John, son and heir of Sir Anthony Poulett, Governor of Jersey, and 
 Captain of the Guard to Queen Ehzabeth, descended from Sir Amias Poulett, ambassador, &c. 
 John Poulett was, in 1627, created Lord Poulett, of Hinton St. George, and knighted in 1635. 
 In 1640 he was one of a council assembled at York on the King's affairs, and appointed a 
 Commissioner for the Treaty of Ripon ; raised a regiment of horse, 1,500 strong, to support the 
 King ; was compelled by the Earl of Essex to raise the siege of Lyme-Regis in 1644 ; with the 
 King at Exeter in the same year; compounded for his estate in 1647 ; died March 20th, 1649. 
 His widow married John Ashburnham, of Ashbumham, Sussex, Esquire, ancestor to the Earls 
 of Ashbumham. Her son John, second Baron Poulett, married Catherine, daughter of the 
 famous Sir Horace Vere, Governor of Flushing, and widow of Oliver St. John, Esquire. 
 
 (Smith, 87.) 
 
 X inches. 
 
 130. William Cavendish, First Earl, and afterwards Mar- 
 
 quis AND Duke of Newcastle, K.G. 
 
 Lent by the Earl Spencer^ K.G. 
 
 a life-size, whole-length figure, seen nearly in full front view, and standing with the gloved 
 left wrist doubled back upon the hip ; the bare right hand hangs easily at the side, and holds a 
 black felt hat. Bare headed, and wearing hght brown hair, a large white lace collar falling over 
 all the shoulders, and white lace ruffs. The rest of the costume is black. 
 
 83 X 49 inches. 
 
 131. Portrait of Isabella, Lady De la Warr. 
 
 Lent by the Earl De la Warr. 
 
 a life-size, full-length figure, standing, in nearly three-quarters view to our left, pointing 
 with her right hand to some roses at her side, and, with her left hand holding the sldrt of her 
 white satin dress. Bareheaded ; wearing her dark brown hair in close curls, a pearl necklace 
 
Fourth Room. 
 
 99 
 
 and earrings, a rich white lace collar falling over her shoulders, and a white satin dress, the 
 sleeves of which are edged with very broad lace. A star-shaped jewel, set witli dark crystals is 
 at the breast ; the girdle of the lady matches this ornament. Architectural background, with an 
 opening showing the sky. 
 
 X inches. 
 
 132. DUCHESSE DE CrOYE. 
 
 Ilytvw U^-yC Lent by the Marquis 0/ Lot/iian, K. T 
 
 A three-quarters-length, life-size figure, seated in a chair, on one arm of which her left arm 
 rests. Her right hand holds part of a string of large pearls which crosses her breast and 
 shoulders. She has a black coif, a large white lace standing collar rises about her shoulders, and 
 she wears deep cuffs of white lace. Her gown is black, puffed at the shoulders and slashed to 
 show a grey lining. Her hair is rolled off her forehead. The costume is that of the Coiu-t at 
 Brussels and different from that which Van Dyck found in vogue in England and in Italy. 
 
 45 X 36 inches. 
 
 133. Portrait of Edward Sutton, Lord Dudley. 1\^Ac^U(J^ 
 PKfAi; ^ . 1 Lc?it by Henry Horn Ahnaek, Esq. 
 
 A three-quarters-length, life-size, seated figure, turned in three-quarters view to our right, 
 with the left hand open and extended as if the owner were in the act of speaking ; the right 
 hand holds a thick staff and is placed near the breast. Bare-headed, long dark hair, and dark 
 dress. The face is in three-quarters view to our right. The eyes are towards the front. 
 
 50 X 42 inches. ^ UvT»vr 5#s^ \^ 
 
 134. St. Martin Dividing his Cloak. 
 
 Lent by R. S. Holford, Esq. 
 
 The Saint, mounted on a white horse, is in the act of issuing through a gateway, while he 
 divides his cloak for the benefit of the poor grouped on our right. 
 13 X 10 inches. 
 
lOO 
 
 Fourth Room. 
 
 135. Adam de Coster, painter of night effects, assemblies, &c. 
 (A Sketch.) 
 
 Lent by the Earl of Ahirthbrook, 
 
 The body is seen sideways, with the left hand on the hip, the right hand leaning on the 
 base of a pillar. He wears a silk vest and a rufl . 
 
 This seems to be the sketch made in grisaille for the nse of P. de Jode, the younger, when 
 he engraved Van Dyck's portrait of A. de Coster. Adam de Coster of Mechlin, a pupil of 
 Rombouts, painted historical subjects, assemblies, night effects, and portraits. This work if 
 one of a category- of portraits of artists of Antwerp, executed by Van Dyck, and reproduced 
 in etching by various hands ; the sitters included the De Voses, C. Schut, G. de Crayer, Pepin, 
 Rombouts, four Snyders, Rubens, Jordaens, Seghers, and others. 
 
 This picture came from Sir Thomas Baring's Collection in 1874. The print by P. de Jode 
 is No. 31 in Dr. "Wibiral's " Iconographie d'Antoine Van Dyck"; the inscription under the 
 portrait is " Adam de Coster, Pictor noctium, Mechliniensis." 
 
 See Smith's "Catalogue Raisonne," No. 775, describing a picture of this artist in the 
 collection of the Duke of Buccleuch. 
 
 lo^X 7 inches. 
 
 136. St. Sebastian. 
 
 Lent by the Earl of Warwick. 
 
 Study for the jMcture. 
 14 X 10 inches. 
 
 137. Christ giving the Keys to Peter. 
 
 Len t by the Earl of Derby ^ K, 
 
 A Rubens-like picture, consisting of three-quarters-length figures, standing or stooping, 
 clad in classic draperies, of rich strong colours ; Peter bends forward and salutes with a 
 Idss the hand that gives the keys. The other Apostles look on composedly. 
 
 This picture is No. 58 in the Knowsley Catalogue, compiled by Mr. Scharf, which states 
 that it first appeared in the earlier Knowsley Catalogue of 1729, and was purchased of Mr, 
 Casteel for £200. It was engraved by H. Winstanley, at Knowsley. in 1728. 
 
 542 X 46 inches. 
 
Fourth Room. 
 
 lOI 
 
 138. James Howard, Baron Mowbray and Maltravers. (?) 
 
 Le7it by tJie Duke 0/ Norfolk., K,G,, E.M. 
 
 Life-size, three-quarters-length figure ; standing with dark drapery about his left shoulder, 
 a red sash across his body and chest ; a black dress, open at the sleeves to show the shirt ; 
 the right hand is pressed against the breast. (See No. 88). 
 
 This nobleman was the eldest son of Thomas, Earl of Arundel (see his portrait in this 
 Gallery), and the Lady Alathea Talbot, third daughter of Gilbert, Earl of Shrewsbury, 
 He was a godson of James the First, baptized July 17, 1607 ; made a Knight of the 
 Bath in 1616; died unmarried at Ghent in 1624, that is, in the life-time of his father. His 
 second brother, Henry Frederick, whose portrait is here, succeeded to the titles and estates of 
 Baron James, and was known as Lord Mowbray until the death of Thomas, Earl of Arundel, 
 when he became Earl of that name. 
 
 This picture, on the back of which is written " James, Lord Mowbray and Maltravers, 
 •eldest son of Thomas, Earl of Arundel, died at Ghent," answers to the description given in 
 Smith's "Catalogue Raisonne " of his No. 631, named ''Henrj-, Count of Arundel." 
 Engraved by P. Lombart. 
 
 44 X 37 inches. 
 
 J39. Sir Thomas Arundell, first Baron Arundell of 
 Wardour, Count ok ihe Holy Roman Empire, 
 
 SURNAMED '* ThE VaLIAXT.'' 
 
 I.Liif ly tlic Lord Aniuitll of IWirdour, 
 
 This life-size figure is shown to the waist, wearing a black dress and a white falling ruff, 
 a silver-headed stick leans against the right arm o' the chair at his side. On the silver head of 
 the stick are the letters " H.S.L." in capitals. 
 
 Sir Thomas Arundell, son of Sir ALitthew An.mlcll, of Wardour, and Margaret, bom 
 Willoughby, of Wollaton, Kent, "though but a yoimg man (his lather then living), wciU over 
 into Germany and served as a volunteer in the Imperial army ; in HiMigaiy he behaved himself 
 valiantly against the Turks, and in an engagement at Grau in 1595, tock their ^lar.dartl with 
 his own hands ; on which account Rudolph IL, Emperor of Gcnnany, created him Count of the 
 Sacred Roman Empire, by patent, dated Prague, 14th December, 1595, for th«t he had behaved 
 himself manfully in the field, as also in assaulting divers cities and castles, shewed great proof of 
 his valour, and that in forcing tlic Water Tower at Grau, in Hungan,-, he took from the Turkf, 
 
I02 
 
 Fourth Room. 
 
 with his own hands, their banners (as are the words of that Emperor's charter), so that every of 
 his children, and their descendants for ever, of both sexes, should enjoy that title, have place 
 and vote in all Imperial Diets, purchase lands in the dominions of the Empire, list any voluntary 
 soldiers, and not be put to any trial but in the Imperial Chamber. The year after, on his 
 return home, a dispute arose among the [English] Peers whether that dignity, so conferred by 
 a foreign potentate, should be allowed here as to place and precedence, or any other privilege ; 
 this occasioned a warm dispute, which Camden mentions in his history of Queen Elizabeth ; 
 
 and that Queen being asked her opinion answered," " that she, for her own part, did 
 
 not care her sheep should wear a stranger's marks, nor dance after the whistle of every 
 foreigner ; whereby it passed in the negative, and the Queen wrote the same year to the 
 Emperor, acquainting him that she forbad her subjects giving him place or precedence in 
 England." James the First created Sir Thomas a Baron of England, May 4th, 1605. This 
 TYiomTis, Jirst Lord Arundell of Wardoiir, called the Valiant, departed this life at Wardour 
 Castle [November 7th, 1639, aged 79 years], which he had decorated at great expense, and lies 
 buried at Tisbury, in Wilts." The lord's monument of marble remains in the church at Tisbury. 
 His first wife was Maria, born Wriothesley, daughter of Henry, Earl of Southampton, 
 Shakespeare's patron. See Collins's " Peerage of England," 1812, vii., p. 45. 
 
 This picture was at the National Portrait Exhibition, 1866, No. 465. It was engraved for 
 Sir R. Colt Hoare's " History of Wiltshire." 
 
 (Smith, 624.) 
 
 32 X 26 inches. 
 
 This lady was Catherine, the only daughter of Gei-vais Clifton, Lord Clifton of Leighton 
 Bromswold, who married, first, Esme Stuart, second Duke of Richmond and third Duke of 
 Lennox (died July 30th, 1624), by whom she had, beside three daughters, five sons : (i) James, 
 third Duke of Richmond and fourth Duke of Lennox, whose portraits are in this Gallery ; (2) 
 George, Lord Aubigny, killed at Edgehill, October 23rd, 1642 ; (3) Ludovick, who died in 
 France, 1685 ; (4) Bernard, killed at Rownton Heath, 1645 ; and (5) John, killed at Alresford, 
 March 29th, 1644. The Lords John and Bernard Stuart are represented in two pictures in this 
 Exhibition, the property respectively of the Earl of Darnley and Viscount Galway. The 
 Duchess Catherine manied, secondly, James, second Earl of Abercorn, by whom she had three 
 sons : (i) James, Loi'd Paisley; (2) William ; (3) George, third Earl of Abercorn. 
 
 80 X 50 inches. 
 
 140. Catherine^ Duchess of Richmond. 
 
Fourth Room. 
 
 103 
 
 141. Richard Weston, Earl of PeWrok^ o(><fi'h^, 
 
 Loit by Walter Ralph Bankcs, Esq, 
 
 A life-size, wholelength, standing ftgure, seen nearly in full-face, and leaning the right, 
 elbow on the plinth of a column ; and, in the right hand, holding an open letter ; in his left 
 hand, the earl carries the long white staff" of his office as Lord Qhamberlain. His right hand is 
 bare ; his left hand is in a loose white glove. Bare-headed. Wearing a white plaited ruff and 
 lace cuffs, a blue ribbon and gold badge ; the rest of his dress is black. He appears to be 
 about fifty-five years of age. 
 84 X 52 inches. 
 
 142. James Stuart, Fourth Duke of Lennox and Third 
 
 Duke of Richmond (full-length). 
 
 Lent by the Hon. Mrs» Trollope, 
 
 A whole-length, lifes-ize, standing figure, the cloak over the left arm, the right arm hung at 
 the side holding a brown glove ; black dress, white folding collar. 
 80 X 50 inches. 
 
 143. Venetia, Lady Digby, born Stanley. 
 
 Lent by the Earl Spencer^ K, G. 
 
 A bust, representing her resting on her right hand, as if asleep ; as she was found dead in 
 her bed ; white and blue drapery. 
 
 Anastasia Venetia Lady Digby was the youngest daughter of Sir Edward Stanley, of Tong 
 Castle, Shropshire, where she was born in 1600. Her mother was Lady Lucy Percy. She was 
 renowned for beauty, eccentricity, and many accomplishments. Scandal was busy with, her 
 name, and several men of note defended her. 
 
 Here is a poem of Ben Jonson, anent this famous lady. It is part of his " Eupheme, 
 or the fair Fame left to Posterity of that truly noble Lady, the Lady Venetia Digby " : — 
 The Song of her Descent. 
 
 "I sing the just and uncontrolled descent 
 
 Of dame Venetia Digbv, styled the fair : 
 For mind and body the most excellent 
 
 That ever nature, or the later air, 
 Gave two such houses as Northumberland 
 
 And Stanley, to the which she was co-heir." 
 
I04 
 
 Fourth Room. 
 
 The poet proceeded to advise the painter about 
 
 The Picture ok her Body. 
 
 " Sitting, and ready to be drawn, 
 
 What make these velvets, silks, and lawn, 
 Embroideries, feathers, fringes, lace. 
 Where eveiy limb takes like a face ? 
 
 Send these suspected helps to aid 
 Some form defective or decay'd ; 
 This beauty, without falsehood fair. 
 Needs nought to clothe it but the air. 
 
 Yet something to the painter's view 
 Were fitly interposed ; so now 
 He shall, if he can understand. 
 Work by my fancy, with his hand. 
 
 Draw first a cloud, all save her neck, 
 
 And, out of that, make day to break; 
 
 Till like her face it do appear, 
 
 And men may think all light rose there. 
 
 Then let the beams of that disperse 
 The cloud, and show the universe ; 
 But at such distance, as the eye 
 May rather yet adore than spy. 
 
 The heaven design' d, draw next a spring. 
 With all that youth, or it can bring : 
 Four rivers branching forth like seas, 
 And Paradise confining these. 
 
 Last, draw the circles of this globe. 
 And let there be a starry robe 
 Of constellations 'bout her hurl'd ; 
 And thou hast painted Beauty's world. 
 
 But, painter, see thou do not sell 
 A copy of this piece ; nor tell 
 Whose 'tis; but if it favour find, 
 Next sitting m c will draw her mind. 
 
Fourth Room. 
 
 Addressing the lady as his Muse, Ben Jonson, thus again commended her, after a splenditl 
 paneg)'rtc. 
 
 She had a mind as cahii as she was fair ; 
 
 Not tost or troubled with light lady-air, 
 
 But kept an even gait, as some straight tree 
 
 Moved by the wind, so comely moved she. 
 
 And by the awful manage of her eye 
 
 She sway'd all business in the family. 
 
 To one she said, " Do this,"Jie did it ; so 
 
 To another, " Move," he went ; to a third, " Go," 
 
 He ran ; and all did strive with diligence 
 
 T' obey, and serve her sweet commandements. 
 
 " I have lost the faythfullest shee friend, as by letters from my Lord of Corke 1 am loo well 
 assured, that ever I had or ever look to meet with. My Lady Digby is dead, whom neither the 
 teares of her father, nor the sighes of her husband, nor the j^raj ers of the poore, nor the moans 
 of her friends, nor, in a word, the petitions and desires of all that ever knewe or heard of her, 
 could withhold from thejawcs of death. By death she has gone unto an endless life." — Letter 
 from Mr. Dillon to Mr. Ralph Verney, printed in the " Vemey Papers," p. 153. She was buried 
 in Christ Church, Newgate Street, in the, for such a woman, strange neighbourhood of Richard 
 Baxter, of the " Saints' Everlasting Rest." Her husband, whose cosmetics and chemicals had 
 failed to preserve her beauty and probably hastened her death, strove to immortalise her features in 
 a bust of copper-gilt, and with many passionate lamentations, set it up in the above-named churchy 
 where it was much injured by the great fire of 1666. The bust was,, ten years later, seen by the 
 Editor of "Stow," at a metal-broker's stall in Newgate Street, to be sold for old brass. Sir 
 Kenelm had casts taken from his wife's face, hands and feet, rehcs which are all lost, so that on 
 the poet's verses and Van Dyck's pictures the beautiful, much-abused, and much-loved lady's 
 immortality now rests. There is a repetition of this work at Dulwich. The picture before us 
 was at the National Portrait E.xhibition in 1866, No. 570. The gueen's portrait of the lady has 
 frequently been before the public. 
 
 Of Sir Kenelm Digby himself, the memoirs, diaries, and letters of the time contain many 
 notices. See the " Diary " of Evelyn, ii., p. 47, and the " Memoirs of Lady Fanshawe," p. 7Z. 
 The most valuable records of him, which abound in references to his wife, are his autobiographical 
 "Memoirs," pubhshed by Sir H. Nicolas, in 1827, and Clarendon's "Life," cxiii. He 
 discussed " Religion " in a series of letters addressed to George Digby, the second Earl of 
 Biistol, whose portrait is here. He died of stone in 1OO5. 
 
 ' r ' 
 
Fourth Room. 
 
 Christ taken down from the Cross. 
 
 Le7it by the Lord LyticUon. 
 
 (Jompiises four figures ; on our right the Saviour recumbent on white linen, with the 
 Virgin, in a gray vest and blue mantle, seated at the head, which she supports on her knees ; on 
 her left the Magdalen, prostrate, embraces the hand of Christ, and, a little beyond, St. John is 
 seen approaching. 
 
 This is a repetition of the famous often-engraved picture painted for the Church of the 
 Beguius at Antwerp, and*now No. 403 in the Musee of that city, and comprises life-size 
 figures of the highest quality. At Madrid there is another version, No, 1546, a very fine 
 sketch indeed, entitled, " La Yirgen de las Angustias." 
 
 Among the oest engravings of the subject before us are the productions of Paul Pontius, H. 
 Snyers, F. Van den Wyngaerde, Roumart, and Rymsdyck. Van Dyck dedicated Pontius's 
 print to his sister Anne. An etching is in " Antoine Van Dyck," by M. Guiffrey, p. 104. 
 
 Smith, in his " Catalogue Raisonne," iii., mentions the example before us as a repetition of 
 " The Entombment," which is not, of course, the subject of the design. A drawdng in 
 grisaille of the design is said by Smith, as above, to have been sold with the collection of Randon 
 de Boisset, in 1776. It realized 147 francs. 
 
 45 X 39 inches. 
 
FIFTH ROOM. 
 
 o4o 
 
 145. A Cavalier Taking a Lady's Hand. 
 
 Lent by yames Knowles, Esq, 
 
 An outline sketch in oil. The man is seated in a chair, and turned to our right. 
 
 146. Sir Peter Paul Rubens. (A Sketch in Brown.) 
 
 Lent by G. E. Martin, Esq, 
 
 This appears to have been executed for the use of an engraver. 
 
 147. Finished Study for the Portrait of the First Duke of 
 
 Hamilton, K.G. 
 
 Le?it by t/ie Duke of Hamilton, 
 
 A very highly- finished study for the portrait, No. 113. 
 
 148. Rachel de Rouvigny, Countess of Southampton. 
 
 Lent by the Earl Spencer, K.G, 
 
 This is a study in colour for the portraits lent by the Earls Cowper and Spencer, 
 respectively, which are in this Gallery, Nos. 42 and 123. It differs from them severaUy ; it 
 resembles the first in the absence of the sceptre, and the second in tlie foot being uncovered. 
 X inches. 
 
io8 
 
 Fifth Room. 
 
 t 
 
 149. Endymion Porter and His Family. 
 
 Le?it by Edward Ernest Leggatt, Esq. 
 
 Five half-lcii<,nh figures, sketched in black and w hite, upon a dark ground, and oil. 
 
 150. Henrietta Maria. 
 
 Lcut by Sir j^ai/ics Gibson Craig, Barf. 
 
 A small, highly finished jiortrait, at whole length, standing, with the right arm before the 
 body, the left hand holding the skirt of the dress, which is of a rose colour. Found in thiee- 
 quarters view to our left. 
 
 152. Jean de Montfort, Master of the Household to the 
 Archduke Ferdinand and his Duchess Isabella^ 
 Governors of the Netherlands. 
 
 Eent by J. C. Robinson, Esq* 
 
 A three-quarters -length figure, standing. His head turned to our left ; both hands are 
 shown, ^lade foi the use of an engraver. 
 
 156. The Ecstasy of St. Augustin. (A Sketch in Grisaille.) 
 
 Eent by the Earl oj Northbrook, 
 
 He appears standing rapt in an ecstasy at the miraculous appearance of the Holy Trinity^ 
 surrounded by refulgent hght, and attended by angels. The Saint, clothed in a black robe and 
 a rich chasuble, is seen in a front view, looking upwards. He is supported on one side by an 
 angel in a blue vest, while a second angel is directing his attention to the First Person of the 
 Trinity. On our right kneels St. ^Monica; on our left is a prostrate monk. "Whole-length figures* 
 
 151. The Holy Family, with St. John. 
 
 Oil btud) in gri>aille. 
 
Fifth Room. 
 
 The finished picture, pamted in 1628, and one of Van Dyck's most admired works, of 
 which this is the sketch in grisaille, is now over the altar in the south chapel in the Church of 
 St. Augustin, at Antwerp, and was engraved by P. de Jode (a renowned masterpiece, for wliicli 
 this sketch was made), C. Wormand and G. Edelinck. 
 
 This sketch was foniierly the property of Mr. P. Methuen. The Due d'Aumale has a 
 <3raAving of the design, which is copied in M. Guiffrey's " Antoine Van Dyck," 1882, p. 94. 
 The price of the finished picture, as stated in an official document discovered by M. Mols and 
 quoted by M. Guiffrey, was 600 florins. It then passed into the hands of Sir F. Baring, 
 1848, and Mr. T. Baring, 1874. On the picture in St. Augustin's Church, see the remarks 
 •of Sir Joshua Reynolds in ** A Journey to Flanders and Holland in 1781." Painted in 1628. 
 
 See Smith's "Catalogue," 5; and "Pictorial Notices of Van Dyck," by W. H, 
 
 Carpenter, 1844, pp. 18 and 179. 
 
 154. A Sketch for the Crucifixion. 
 
 I.oit by tJie Earl Brovonloiv, 
 
 In outline, made with a brush in brown oil-colour. A panel. 
 
 155. The Angels appearing to Abraham. 
 
 Lent hy yai)ies K/ion^/cs, Esq, 
 
 An oil btiid) in <^Mi>aille. 
 
 156. Johannes Waverius. 
 
 Lent h\ Sir Ilui^li /lithh Ca)}ipl)ell. 
 
 This is an original sketch made with a pen in brown ink for th • etching. The portraii in 
 oil is in the collection of the Duke of Bedford, at Woburn. 
 The half-length figure wears a cloak and is bare-headed. 
 
 157. Studies of Heads. 
 
 LliU by //. G. Hadett, Esq. 
 
 Ten sketches of male and female heads, made in red challi. 
 
I lO 
 
 Fifth Roo7n. 
 
 158. RiNALDO AND ArMIDA. 
 
 Lent by jf antes Knowles, Esq, 
 
 In bistre, washed with Indian ink. ^ 
 
 159. Christ on His way to Calvary. 
 
 Lent by jfames ICnowles^ Esq, 
 
 A nearl}' whole-length figure, sketched with black chalk on blue pa]-)er. 
 
 160. Sketch in Sepia. — A Hunting Scene 
 
 Lent by L, jf, Graham- Clarke^ Esq, 
 
 161. Vosterman. — Study for the Etching. 
 
 Lent by jf, P. Hcseltine, Esq, 
 
 162. Sampson and Delilah. — Study in colours for the picture 
 
 IN THE Belvedere, Vienna. 
 
 Lent by jf, P, Heseltine, Esq, 
 
 163. Landscape Study. — Water Colour. 
 
 Lent by jf , P. Heseltine^ Esq, 
 
 164. The Due d'Aremberg. 
 
 Lent by jf. P, Heseltine^ Esq. 
 
 165. A Bacchanalian Scene. 
 
 Lent by y. P, Heseltine^ Esq, 
 
 166. Three studies for a picture of the Holy Family. 
 
 Lent by jf , P, Heseltine, Esq,. 
 
 Engravings after Van Dyck. 
 
 Lent by S. T. Smithy Esq. 
 
LIST OF CONTRIBUTORS. 
 
 X3»< 
 
 Agnew, W., Esq. 83. 
 Almack, Henry Horn, Esq. 133. 
 Ari'ndell of Wardour, Lord. 85, 87, 139. 
 Bagot, Lord. 127. 
 
 Bankes, Walter Ralph, Esq. 3, 7, 59, 141. 
 Basset, G. L. JI.sq. 108. 
 
 Barry, Arthi r Hugh Smith, E.sq , M.P. 61, iii. 
 
 Belper. Lord. 117. 
 
 Booth, Richard. 95. 
 
 Bristol, Marquis of. i, 32, 69, 75. 
 
 Brownlow, Earl. 12, 66, 118, 154. 
 
 Bute, Marquis of, K.T. 88. 
 
 Camphell, Sir Hugh Hume, Bart. 37, 156. 
 
 Carnarvon, Earl of. 4, 74 81. 
 
 Cleveland, Duke of, K.G. 23, 33, So. 
 
 CowPER, Earl, K.G. 26, 29, 42, 47, 58, roi. 
 
 Craig, Sir James II. Giijson, Bari. 150. 
 
 Cranstoun, C. E. Edmondstoune, Esq. 52. 
 
 Darnlev, Earl of. 105. 
 
 Dartrey, Earl of. 65, 126. 
 
 De la Warr, Earl. 131. 
 
 Denbigh, Earl of. 67, 97, 106. 
 
I 12 
 
 List of Co)itribtitors. 
 
 Derby, Earl of, K.G. 90, 137. 
 
 Dexonshire, Duke of, K.G. 16, 22, 34, 38, 49, 50, 71, 76. 
 
 Eastlake, Lady. 73. 
 
 Egerton of Tatton, Lord. 70. 
 
 Egerton, Sir Philip le Belward Grey, Bart. 43. 
 
 Essex, Earl of. 57. 
 
 Galway, Viscount. 20, 36, 115, 120. 
 
 Garnett, W., Esq. 40. 
 
 GowER, Lord Ronald, 72. 
 
 Grafton, Duke of, K.G. 21, 24, 25, 28, 46, 63, 93. 
 Graham-Clarke, L. J., Esq. 160. 
 Hamilton, Duke of. 60, 100, 113, 147 
 Harford, John C, Esq. 114. 
 
 Heseltine, J. p., Esq. 161, 162, 163, 164, 165, 166. 
 
 Hewlett, H. G., Esq. 128, 157. 
 
 Holford, R. S., Esq. 6, 54, 68, 77, 134. 
 
 Home, Earl of. 48, 122, 129. 
 
 Knowles, Ja.afes, Esq. 145, 155, 158, 159. 
 
 Leggatt, Edward Ernest, Esq. 149. 
 
 Listoavel, Earl of, K.P. 104. 
 
 Loihlan, AFarquis of, K.T. ii, 8^, 132. 
 
 Lyttklton, Lord. 27, 103, 144. 
 
 Mainwaring, S. Kynaston, Esq. 13, 62. 
 
 Martin, G. E., Esq. 146. 
 
 Methuex, Lord. 107, 125. 
 
 Mexhorou(;h, Earl of. 31. 
 
 MuNDELLA, Right Hon. A. J., ]\LP. 9. 
 
 Nkavcastle, Duke of. 19, 89, 119. 
 
 Norfolk, Duke of, K.G., E.M. 8, 39, 56, 138. 
 
 Northp.rook, Earl of. 5, 15, 35, 135, 153. 
 
 Queen, Hkk Majesjv the. 41, 109. 
 
 RoHi>^S()N, J. C., Esq., 152. 
 
 Rohde, loKN, Esq. 151. 
 
 SmitHj S. Esq. 161. 
 
List of Contributors. 
 
 113 
 
 Spencer, Earl, K.G. 30, 55, 98, 112, 123, 124, 130, 143, 148. 
 
 Sutherland, Duke of, K.G. 17, 102. 
 
 Thompson, Sir Henr\'. 96. 
 
 Trollope, Hon. Mrs. 53, 121, 140, 142. 
 
 Wantage, Lord. 94. 
 
 Ward, T. Humphry, Esq. 10, 78. 
 
 Warwick, Karl of. 18, 44, 79, 92, 116, 136. 
 
 Wayne, Rev. W. H. 2. 
 
 Wesj minster, J)uke of, K.G. 51. 
 
 Verne\% Right Hon. Sir Harry, Bart. 45, no. 
 
 Verney, Captain, R.N. 14, 82. 
 
 Vernon, Hon. William Borlase Warrkn. 91, 99. 
 
 Yarhorough, Earl of. 64, 84. 
 
ALPHABETICAL LIST OF PAINTINGS, 
 DRAWINGS, ETC. 
 
 PAINTINGS. 
 
 Achilles discovered among ihe Daughters of Lycomedes. 104. 
 
 Lent by the Earl of Lis towel, K.P. 
 
 Alva, Duke of, A Portrait said to represent the. 92. 
 
 Lent by ihe Karl of Wanvkk* 
 
 Alva, Duke of, a Portrait, said to represent the, on Horseback. 13.. 
 
 Lent by S. Kynaston JMaimvaring^ Esq^ 
 
 Angels appearing to Abraham. 155. 
 
 Lejti hy fames Knoivles, Esq. 
 
 Armida and the Sleeping Rinaldo. 19. 
 
 Lent by the Duke of Newcastle.. 
 
 Arundel and Surrey, Thomas Howard, Earl of. Earl Marshal, Lord 
 Steward of the Household, K.G., and one of his Grandsons. 8. 
 
 Lent by the Duke of No? folk, E.G., E.M, 
 
Alphabetical List of Paintings. 115 
 
 Arundell OF Wardour, Sir Thomas Arundell, First Baron, Colnt of the 
 Holy Roman Empire, surnamed "The Valiant." 139. 
 
 Lent hv the Lord Arundell of Wardoiit 
 
 Assumption of the Virgin. 61. 
 
 Lent by Arthur Hugh Smith Barry^ Esq., J\[.P 
 
 Bacchanal, A. 117. 
 
 Lent by the L.ord Belper.. 
 
 Bacchanalian Scene, A. 165. 
 
 Lent by J. P. Heseltine, Esq^ 
 
 Balbi of Genoa, The Marchesa. 77. 
 
 Lent by R. S. Hoi ford, Esq. 
 
 Banning, Paul, second Viscount, or Bayning. 122. 
 
 Lent by the Earl of Home. 
 
 Bedford, William Russell, First Duke of, and Francis, Fourth Earl 
 OF Bedford. 120. 
 
 Lent by the Viscount Galway. 
 
 Betrayal of Christ in the Garden, The. 125. 
 
 Lent by the L.ord Methucn. 
 
 Borlase, Lady, wife of Sir John Borlace, second Baronet. 7. 
 
 L.ent by Walter Ralph Bankes, Esq. 
 
 Borlase, Sir John, or Borlace, second Baronet, of Bockmore, Bucks. 3. 
 
 Lent by Matter Ralph Bankes, Esq. 
 
 Borlase, Sir John, or Borlace, second Baronet, of Bockmore, Bucks. 
 91. 
 
 Lent by the Hon. William, Borlase Warren J'ernon. 
 
ii6 AlpJiabetical List of Paintings. 
 
 Brignole-Sala, The Marchesa de, and her Son. i8. 
 
 Lent by the Earl of Warwick. 
 
 Bristol, Anne, born Russell, Countess of. 82. 
 
 Lcjit by Captain Vcrmy. 
 
 Bristol, George Digby, Second Earl of, and William Russell, Fifth 
 Earl, and First Duke of Bedford. 112. 
 
 Lent by the Earl Spencer, K. G. 
 
 Buckingham, Catherine, born Manners, first Duchess of, and her 
 Three Children. 115. 
 
 Lent by the Viscount Galway. 
 
 Buckingham, Duchess of. 27. 
 
 Lent by the Lord L^yttclton. 
 
 Byron, Sir John Byron, first Lord, Field-Marshall, M.P. 78. 
 
 Lent by Algernon Graves^ Esq. 
 
 Caernarvon, Anna Sophia, born Herbert, Countess of. 81. 
 
 Le?it by the Earl 0/ Carnarvon 
 
 Carlisle, James Hay, first Earl of, K.G. 
 
 Lent by the Lord Lyttclton. 
 
 Carlisle, Margaret, born Russell, Countess of, and her Infant 
 Daughter. 49. 
 
 Lent by the Duke of Devonshire, K.G. 
 
 Cattaneo of Genoa, The Marquis, u. 
 
 L.ent by the Marquis of L.othian, K.T. 
 
 Cavendish, Colonel Charles, Lieutenant-General of Horse. 71. 
 
 Le7it by the Duke of Devonshire, K.G. 
 
A Iphabetical List of Paintings. 1 1 7 
 
 Cavalier Taking a Lady's Hand. 145. 
 
 Lent by James Knowles^ Esq. 
 
 Charity, with Three Infants. 107. 
 
 Lent by the Lord Methuen. 
 
 Charles the First, attended by the Marquis of Hamilton and a 
 Page. 63. 
 
 Lent by the Duke of Grafton, K.G. 
 
 Charles the First. 39 
 
 Lent by the Dide of Norfolk, K.G., E.M. 
 
 Charles the First taking Wreath from Henrietta Maria. 25. 
 
 Lent by the Duke of Grafton., K. G. 
 
 Charles the First, Henrietta Maria, and their two elder 
 Children. 20. 
 
 Lent by the Viscount Galway 
 
 Charles the First. A Head. 84. 
 
 L.ent by the Earl of Varborough. 
 Charles the First and Henrietta Maria. 96. 
 
 Lent by Sir Henry Thompson, 
 
 Charles the First on Horseback, passing under an Arch. 99. 
 
 Lent by the Hon. William Borlasc Warren Vernon. 
 
 Charles the First and Henrietta Maria. 69. 
 
 Lent by the i\Lirquis of Bristol. 
 
 Charles the First, iio. 
 
 Lent by the Right Hon. Sir Harry ]\'rney, Bart. 
 
ii8 Alphabetical List of Pamtings. 
 
 Children of the Balbi Family of Genoa. 29. 
 
 Lent by the Earl Coivper, K. G. 
 
 Christ giving the Keys to Peter. 137. 
 
 Lent by the Earl of Derby. 
 
 Christ taken down from the Cross. 144. 
 
 Lent by the Lord Lyttelton. 
 
 Christ on His way to Calvary. 159. 
 
 Lent by James Knowles, Esq. 
 
 Coster, Adam de, painter of night effects, assemblies, &c. (A 
 Sketch.) 135. 
 
 Lent by the Earl of Northhrook. 
 
 Croye, Duchesse de. 132. 
 
 Le7it by the Marquis of Lothian, K.T. 
 
 Crucifixion, the. 85. 
 
 Lent by the Lord Arundell of Wardour, 
 
 Crucifixion, the. 65. 
 
 Lent by the Earl of Dartrey. 
 
 D^DALus AND Icarus. 55. 
 
 Lent by the Earl Spencer, K.G. 
 
 Denbigh, William Feilding, First Earl of. 100. 
 
 Lent by the Duke of Hamilton, 
 
 D'Areimberg, The Due. 164. 
 
 Lent by f. P. ILeseltine, Esq. 
 
Alphabetical List of Paintings. 119 
 
 D'Epernon, Study of the Portrait of the Due. 126. 
 
 Lent by the Earl of Dartrey. 
 
 De la Warr, PoRTRArr of Isabella, Lady. 131. 
 
 Lent by the Earl De la Warr. 
 
 DiGBY, Venetia, Lady, born Stanley. 143. 
 
 Lent by the Earl Spencer ^ K. G. 
 
 Dormer, Charles Dormer, third Baron and Second Earl of Caernarvon. 
 A Boy. 74. 
 
 Lent by the Earl of Carnarvon. 
 
 Dungarvan, Richard Boyle, second Viscount, first Earl of Burlington, 
 SECOND Earl of Cork. 34. 
 
 L.ent by the Duke of Devonshire, K.G. 
 
 DUNGARVAN, EliZAI'.ETH, BORN CLIFFORD, LaDY, AFTERWARDS CoUNTESS OF 
 
 Burlington. 38. 
 
 L^ent by the Duke of Devonshire, K.G. 
 
 Dudley, Portrait of Edward Sutton, Lord. 133. 
 
 L.ent by Henry Horn Abnack, Esq. 
 
 Ecstacy of Sr. Augustine, The. (A Sketch in Grisaille). 153. 
 
 Lent by the Earl of Northbrook. 
 
 f^NGKAVINGS AFTER VaN DyCK. 
 
 Lent by S. T. Smith, Esq. 
 
 Falkland, Lucius Cary, Second Viscount. 87. 
 
 Lent by the Lord Arimdell of Wardour. 
 
 Finch of Fordwich, John, Lord. 33. 
 
 LiUt by tht Duke of Cleveland, K.G. 
 
I20 
 
 Alphabetical List of Pain tings. 
 
 Frederick V., Elector 1\\laiink and Kinc; of Bohk.mia, K.G. 52, 
 
 /ah/ by C. E. Iid/iiondsfjNiii' Ciaiisfouii^ Es(]x 
 
 Gknileman Playing ihe Lite. 5. 
 
 Li'/i/ by tJic Earl of Norlhhrook.. 
 
 GoNDOMAR, Count. 116. 
 
 Lent by the Earl of Warivick. 
 
 Grandison, George, Viscount. 24. 
 
 Lent by the Duke of Grafton, K.G: 
 
 Hamilton, James, Third Marquis and First Di ke of, K.G. 80. 
 
 Lent by the Duke of Cleveland^ K.G. 
 
 Hamilton, James, first Duke and third Marquis of, K.G. 97. 
 
 Lent by the Earl of Denbigh. 
 
 Hamilton, The Third Marquis a^d First Duke of, K.G. 113. 
 
 L.e7it by the Duke of Hamilton. 
 
 Ha^^iilton, Mary, j'.orn Feilding, First Duchess of. 129. 
 
 Lent by the Duke of Hamilton. 
 
 Hamilton, Finished Study for the Portrait of the First Duke of, K.G. 
 
 Lent bA the Duke of Hamilton. 
 
 Henrietta Maria. 150. 
 
 Lent by Sir fames H. Gibson Craig, Baii. 
 
 Henrietta Maria. 94. 
 
 L.ent by the Lord Wantage. 
 
A Iphabetical List of Paintings. 121 
 
 Henrietta Maria. 21. 
 
 Lejil hy the Duke of Grafton, K.G. 
 
 Henrietta Maria. 121. 
 
 Lent hy the Hon. Mrs. TroUope. 
 
 Henrietta Maria, and her Dwarf, Sir Jeffrey Hudson, with a 
 Monkey. 3 5 . 
 
 Lent hy the Earl of Northhrook. 
 
 Holland, The Earl of. 95, 
 
 Le7it hy Richard Booth, Esq 
 
 Holy Family, The, with St. John. 151. 
 
 Lejit hy fohti Rohde, Esq. 
 
 Holy Family, Three Studies for a Picture of the. 166. 
 
 Lent hy f. P. Heseltine, Esq. 
 
 Howard, Mrs. Mary. 48. 
 
 Lent hy the Earl of Home. 
 
 Jones, Inigo. 62. 
 
 f^c?it hy S. K. Mai'fjwan'ng, Esq. 
 
 Killigrew, Sir William, mq. 
 
 Zf/// hy the Duke of Newcastle. 
 
 Killigreav, Sir \Villl\m and Thomas Carew. 109. 
 
 LeJit hy Her Majesty the Queen. 
 
 Killigrew, Thomas. 50. 
 
 T.cnt hy the Duke of Devonshire, K.G. 
 
 Kirk, Madam. 58. 
 
 Leiit hy the Earl Coivper, K.G. 
 
122 
 
 Alphabetical List of Paiutijigs. 
 
 Lady and Child. ii8. 
 
 Lent hy the Earl Brownlow, 
 
 Landscape Study— Water Colour. 163. 
 
 Lent by J. P. Hesettine, Esq^ 
 Langlois, Monsieur Francois, called de Chartres, or Ciartres, a 
 
 CELEBRATED PLAYER ON THE BaGPIPES, AND FRIEND OF VaN DyCK^ 
 SOMETIMES CALLED " Le JoUEUR DE IMuSETTE." 40. 
 
 Lent by W. Gantett, Esq.. 
 
 Le Clerc. 66. 
 
 Lent hv the Earl Brownlow. 
 
 Lennox, James Stuart, Fourth Duke of, and Third l)i ke of Richmond- 
 (full-length) 142. 
 
 Lent by the Hon. Mrs. Trollope.. 
 
 Lennox, James Stuart, fourth Duke o^'', and Thikd Duke of Richmond,, 
 AS "Paris." 32. 
 
 L.ent by the Marquis of Bristol. 
 Lennox, James Stuart, fourth Duke of, and third Duke of 
 
 RiCHMOMD. 53. 
 
 L.ent by the Hon. Mrs. Trollope. 
 
 Leveson, Sir Richard. 17. 
 
 Lent by the Duke of Sutherland, K.G^ 
 
 LiRERTi, Henri, of Groningen, Organist of the Cathedral at 
 Antwerp. 28. 
 
 Lent by the Duke of Grafton., K. G, 
 
 Love of the Arts. 90. 
 
 Lent by the Earl of Derby, K.G. 
 
Alphabetical List of Paintings. 123 
 
 Mary, horn Ruthven, Van Dyck's Wife, as Herminia putting on Clarinda's 
 Armour, with Cupid. 114. 
 
 Lent by John C. Harford^ Esq. 
 
 Massey, Major-General Edward. 108. 
 
 Lent by G. L. Basset, Esq. 
 
 Montfort, Jean de, Master of the Household to the Archduke Ferdinand 
 and His Duchess Isabella, Governors of the Netherlands. 152. 
 
 Le7tt bj' J. C. Robinson, Esq. 
 
 Morton, Lady. 30. 
 
 Leiit by the Eart Spencer., K. G. 
 
 Moses Saved from the River. 76. 
 
 Lent by the Duke of Devonshire, E.G. 
 
 Mowbray and IMaltravers, Henry Frederick Howard, Baron, after- 
 wards Earl of Arundel. 56. 
 
 Lent by the Duke of NorfotJ^, E.G., E.M. 
 
 Mowbray and Maltravers (?) James Howard, Baron. 138. 
 
 Lent by the Duke 0/ Nor/otk, E.G., E.jlf. 
 
 Newport, Mountjoy Blount, first Earl of. 15. 
 
 Lent by the Earl oj Northbrook, 
 
 Newport, Mountjoy Blount, First Earl of. 60. 
 
 Lent by the Duke of Hamilton. 
 
 Newcastle, William Cavendish, First Earl, and afterwards Marquis 
 and Duke of, K.G. 130. 
 
 Lent by the Earl Spencer, E. G. 
 
124 
 
 A Iphabetical List of Paintings, 
 
 Northumberland, Algernon Percy, Tenth Earl of, Lord High 
 Admiral, K.G. 57. 
 
 Lent by the Earl of Essex. 
 
 Odescalchi, Don Livio. 37. 
 
 Lent by Sir Hugh Hume Campbell^ Bart. 
 
 Pembroke, Philip Herbert, fifth Earl of, and second Earl of 
 Montgomery. 3 b. 
 
 Lent by the Viscount Galway. 
 
 Pembroke, Philip Herbert, fourth Earl of, and First Earl of 
 Montgomery, K.G. 4. 
 
 Lent by the Earl of Carnarvon. 
 
 Pembroke, Philip Herbert, fifth Earl of, and second Earl of Mont- 
 gomery, and his Sister Anna Sophia, Countess of Caernarvon. 16. 
 
 Lent by the Duke of Devonshire^ K.G. 
 
 Pembroke, Richard Weston, Earl of. 141. 
 
 Lejit by Walter Ralph Bankes, Esq. 
 
 Pembroke, Sketch of the Portrait of Philip Herbert, Fourth Earl 
 of, L9RD High Chamberlain, etc. 64. 
 
 Lent by the Earl of Yarborough. 
 
 Penelope, born Wriothesley, Wife of William, Second Lord Spencer. 98. 
 
 Lent by the Earl Speneer, K.G. 
 
 PlETA, A. 89. 
 
 Lent by the Duke of Newcastle. 
 
 Porter, Sir Endymion, Groom of the Bedchamber. 31. 
 
 Lent by the Earl of Mexborough. 
 
Alphabetical List of Paintings. 
 
 125 
 
 Porter, Endymion, and His Family. 149. 
 
 Lent hy Edward Ernest Leggatt, Esq. 
 
 Portrait, an Equestrian. 102. 
 
 Lent by the DuJie of Sutherland, K.G. 
 
 Portrait of a Gentleman. 26. 
 
 Lent hy the Earl Cow per, K.G. 
 
 Portrait of a Gentleman. 9. 
 
 Lent by the Right Hon. A. J. Mundella, M.P. 
 
 Portrait of a Lady. 6. 
 
 Lent by R. S. Hol/ord, Esq. 
 
 Portrait of a Lady. 106 
 
 Lent by the Earl of Denbigh, 
 
 Portrait of a Spanish Officer. 68. 
 
 Lent by R. S. Holford, Esq. 
 
 Poulett, Lady. 129. 
 
 L.ent by the Earl of Ho?ne. 
 
 Rinaldo and Armida (painted in Grisaille). 73. 
 
 Le?it by Lady East lake. 
 
 Rinaldo and Armida. 158. 
 
 Lent by James Knowles^ Esq. 
 
 Richmond, Catherine, Duchess of. 140. r 
 
 Lent by the Hon. Mrs. Trollope. 
 
 Rubens, Sir Peter Paul. (A Sketch in Brown). 146. 
 
 Lent by G. E. Ma} tin, Esq, 
 
 Rubens, Sir Peter Paul, a Portrait, foraierly supposed to represent. 
 1 24. 
 
 Lent by the Earl Spejiccr, K.G. 
 
126 
 
 Alphabetical List of Paintings. 
 
 Rupert, Prince, K.G. 75. 
 
 Lent by the Marquis of Bristol. 
 
 Ryckaert, Martin, Painter. 44. 
 
 Lent by the Earl of Warwick. 
 
 Sampson and Delilah — Study in Colour for the Picture in the Belevdere, 
 Vienna. 162. 
 
 Lent by f. P. Hcseltine^ Esq. 
 
 SCAGLIA, C.^SAR ALEXANDRE, AbBE DE StAFFARDE, POLITICIAN AND 
 
 Scholar. 54. 
 
 Lent by R. S. Solford, Esq. 
 
 Sketch for the Crucifixion. 154. 
 
 Lent by the Earl Brownlow. 
 
 Sketches of Heads. 128. 
 
 Lent by LI. G. Hewlett, Esq. 
 
 Sketch in Sepia. — A Hunting Scene. 160. 
 
 Lent by L. f. Graham- Clarke^ Esq. 
 
 Snyders and his Wife. 23. 
 
 Lent by the Duke of Cleveland^ K.G. 
 
 Snyders, the wife of. 79. 
 
 Lent by the Earl of Warwick, 
 
 Southampton, Elizabeth, born Vernon, Countess of. ioi. 
 
 Lent by the Earl Cowper, K.G. 
 
 Southampton, Rachel de Rouvigny, Countess of, painted as Fortune. 42. 
 
 Lent by the Earl Cowper, K.G. 
 
 Southampton, Rachel de Rouvigny, Countess of. 148. 
 
 Le?it by the Earl Spencer, K. G, 
 
 Southampton, Rachel de Rouvigny, Countess of. painted as Fortune. 
 123. 
 
 Lent by the Earl Spencer, K.G. 
 
Alphabetical List of Paintings. 
 
 127 
 
 .Spinola, Ambrogio, Genoese General, Due de San Severing, Commander 
 OF THE Spanish Armies in the Low Countries. 2. 
 
 Lent by the Revd. W. H. Wayne. 
 
 'Stafford (?), William Howard, Viscount. 88. 
 
 Lent by the Marquis of Bute, K.T. 
 
 Station of the Cross. 10. 
 
 Lent by T. Humphry Ward, Esq. 
 
 .Strafford, Thomas Wenthworth, first Earl of. 43. 
 
 Lefit by Sir Philip le Belivard Grey Egerton, Bart. 
 
 ■.Strafford, Thomas Wentworth, first Earl of. 46. 
 
 Lent by the Duke of Grafton, K.G. 
 
 St. Sebastian. 136. 
 
 Lent by the Earl of Warwick. 
 
 St. Martin Dividing his Cloak. 134. 
 
 Lent by R. S. Holford, Esq. 
 
 Stuart, Lord John and Lord Bernard. 47. 
 
 Lent by the Earl Coivper, K. G. 
 
 Stuart, Lord John and Lord Bernard. 105. 
 
 Lent by the Earl of Darfiley. 
 
 Study of a White Horse. 12. 
 
 Lent by the Earl Brownlow. 
 
 Study of a Head. 127. 
 
 Lent by Lord Bagot. 
 
 Study for a Pieta (painted in Grisaille). 72. 
 
 Lent by the Lord Ronald Gower. 
 
 Studies of Heads. 157. 
 
 Lent by LI. G. Hewlett, Esq. 
 
 Three Children of Charles the First. 41. 
 
 Lent by Her Majesty the Queen. 
 
128 Alphabetical List of Paintings. 
 
 TuFTON, Portrait of Lady. 86. 
 
 Lent by the Mcwquis of Lofhian, K.l\. 
 
 Van Dyck, Sir Anthony, i. 
 
 Ltnt by the Marquis of Bristol,, 
 
 Van Dyck, Sir Anthony. 22. 
 
 Lent by the Duke of Devonshire^ K.G, 
 
 Van Dyck, Sir Anthony. 93. 
 
 Lent by the Duke of Grafton^ E.G. 
 
 Van Dyck, Sir Anthony on Horseback. 70. 
 
 Lent by the Lord Egerton of Tatton. 
 
 Venus and Vulcan 59. 
 
 Lent by Walter Ralph Bankes, Esq. 
 
 Verney, Sir Edmund, Knight, Marshal and Standard Bearer to 
 Charles the First. 45. 
 
 Lent by the Right LLon. Sir Harry Verney, Bart. 
 
 Virgin and St. Catherine. 51. 
 
 Lent by the Duke of Westminster^ E. G. 
 
 Virgin and Child (small). 83. 
 
 Lent by W. Agnew, Esq.. 
 
 Virgin, Child, and St. John. hi. 
 
 Lent by Arthur LLugh Smith Barry^ Esq., M.P. 
 
 Vos, Paul de, Painter. 118. 
 
 Lent by Captain Verney, R.N» 
 
 VosTERMAN, Study FOR Etching. 161. 
 
 Leitt by f. P. Lleseltine, Esq. 
 
 Waverius, Johannes. 156. 
 
 Lent ly Sir LLugh LLume CampbelL 
 
 0 / r> j