Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/aedespembrochianOOrich 
 
A NEW 
 
 ACCOUNT AND DESCRIPTION 
 
 OF THE 
 
 ANTIQUITIES AND CURIOSITIES 
 
 IN 
 
 WILTON-HOUSE 
 
^DES PEMBROCHIAN^: 
 
 A NEW 
 
 ACCOUNT AND DESCRIPTION 
 
 OF THE 
 
 Statues^ Bujios, Relievosy PaintingSy Medals^ 
 
 AND OTHER 
 
 ANTIQJU'ITIES AND CURIOSITIES 
 
 IN 
 
 WILTON-HOUSE. 
 
 IN WHICH THE ANCIENT POETS ARE MADE MUTUALLY TO 
 EXPLAIN AND ILLUSTRATE EACH OTHER. 
 
 T-O WHICH IS PREFIXED, 
 
 A DilTertation on the Origin, Progrefs, and Decay 
 
 OF 
 
 .Sculpture 
 
 AMONG THE GREEKS AND ROMANS. 
 
 WITH 
 
 A COMPLETE INDEX; 
 
 BY WHICH ANY PARTICULAR 
 
 'Statue y Bujioy Taintingy c. and the Places or Rooms tuhere dijpofedy 
 
 MAY BE IMMEDIATELY TURNED TO. 
 
 In the Antiquities of this ColleRion are contained, 
 
 THE WHOLE OF 
 
 CARDINAL Richelieu’s, and cardinal mazarine’s. 
 
 And the greatejl Part of the Earl of ArundeW s ; 
 
 BESIDES SEVERAL PARTICULAR PIECES PURCHASED AT DIFFERENT TIMES. 
 
 , THE TWELFTH EDITION. 
 
 Printed at the Salifbury Prefs ; 
 
 AND SOLD BY W. MORRIS, AT WILTON-HOUSE J 
 AND 
 
 B. C, COLLINS, BOOKSELLER, SALISBURY. 
 
 ^LDCC.XCV. 
 
m 
 
 i: 
 
 •' *1 Tf-'- ^ ” 
 
 » .... ‘ <>V‘ 
 
 
 
 
 mit^^ 
 
 fs(i 
 
 
 , V 
 
 rf 
 
 
 vUtH * ; A- 
 
 '-■ . ■ ^ - 1! 
 
 .lint, " .-t %T '■ ■ ' , J 
 
 
 , ^ \ ^ ^ ^ ' • i ■ ■ * ' ' i *'r * 5 ► 
 
 - ’'i [.. 
 
 ‘; - :| 
 
 '■': r--.r'"-. ;K ^v'' . ■-. .J.- . ;'4 
 
 - a 
 
 
 ty 
 
 
 « 
 
 
 .' iWjv ,'4, : v'iv li's'Uv V K . ■ .' ■^■’■’ ‘. A''^- ■■'•^> 
 
 f/^5 V .. ." ' . ■ ■ ' tit i] ’ vr . .| •; AJx . - . ' • ' 
 
 ■"'■‘■4 >, i r'^ > *:': VI - 4,v- ; > 
 
 ■A /;s> ^ 1; i. 
 
 44; ,..,'-4¥^ •■.\H';' ‘- ^ 'V’r 
 
 i- • ': i , ; /'V-, 4 ? ' ' ' :4-4v' 
 
 \ X ', V • f ' ‘ }■ K ' ■ '■ 
 
 ■ ' .-. ' '-‘C4rt ■■■'•‘. ' ^^..r f 
 
 4'4 ,'■ .//<\U''',C.Mv 
 
 .■.'■ir.cA’'"' ,:■ ;;v;''''': 
 
 
 
 
 . .»V'/ •■!.: ■ 
 
 • . >i' ■ . ; i.>' “* ' 4 / jt • 
 
 ^'43 
 
 1 
 
 .1 
 
 ■'U; '■ ' '■ 
 
 , . <‘i- y:f:,.*\.i^ 
 
 
 •I 
 
 
PREFACE. 
 
 HEN we recolledl how great is the adoration 
 paid by the fons of Virtu to the moft trifling dif- 
 coveries made among the ruins of Herculaneum, 
 we cannot but fuppofe that the’ curiofities of 
 Wilton-Houfe mufl: claim the moft ferious atten- 
 tion of every antiquarian. If the bare perufal of 
 defcriptions, without the pofTibility of comparing 
 them with the fubjedls defcribed, affords fb much 
 pleafure and fatisfadlion, to what a pitch muft the 
 inquifftive mind be raifed, when at Wilton-Houfe, 
 it beholds the works of the moft eminent artifts, 
 Egyptians, Greeks, and Romans, who have many 
 years ceafed to exift, but whofe names will be 
 immortal, and continue proof againft even the 
 invidious hand of time. 
 
 It muft indeed be confeffed, that Wilton-Houfe 
 is frequently vifited by thofe who have neither 
 leifure nor inclination to travel over the craggy 
 roads of antiquity without a clue to guide them, 
 
 without 
 
PREFACE. 
 
 without fome book to dired; them, or fome perfon 
 to inform them. It is no wonder if trifles attrad; 
 their attention and amazement, whilft the greatefl: 
 beauties are paffed over unnoticed. Even the 
 mofl: experienced antiquary will always find an 
 afliflant of this nature agreeable. He will here 
 fee the opinions of others, and will compare them 
 with his own. By thus dwelling on each fubjed, 
 he will fix the figures of them in his mind, which 
 he will at any period of time prefently recoiled; ' 
 oh reading the account of them in this volume, 
 how diflant foever he may be from Wilton-Houfe. 
 
 The pleafures w'e receive from viewing the 
 w'orks of antiquity are encreafed in proportion 
 as wc become more intimately acquainted with 
 them. 
 
 The advantages that were derived from in- 
 formation and literature, however valuable in 
 themfelves, could not fatisfy the inquifitive pur- 
 fuit of the editors, whofe ardent wifl:ies w ere to 
 give a juft and impartial account of this grand 
 colledion. With this view they repeatedly and 
 accurately furveyed the whole, and, by uniting and 
 
 exerting 
 
PREFACE. 
 
 exerting all the powers of their judgments, they 
 flatter themfelves that they have, in a great mea- 
 fure, been able to fix, with fome degree of cer- 
 tainty, their merit and originality. 
 
 The firfl: fketch of an account of this colledion, 
 was drawn up by Earl Thomas, with the affifl:- 
 ance of one or two of his friends. On this ground- 
 work, Nicola Haym, an Italian antiquary, was 
 employed to labour; and after him. Sir Andrew' 
 Fountaine, Martin Folke, Efq. prefident of the 
 Royal Society, and Dr. Pocock, communicated 
 their remarks. 
 
 The method followed in illuftrating the flatues, 
 relievos, and other pieces of curiofity and anti- 
 quity, is that which Mr. Spence has adopted in 
 his Polymetis. We have endeavoured to compare 
 the remains of ancient artifts and poets, and to 
 make them mutually refledl a light on each other. 
 
 Though this work is principally defigned as an 
 V interpreter to thofe who vifit Wilton-Houfe, yet 
 we apprehend it will be in a great meafure amu4 
 fing and interefting to thofe who may not have 
 
 that 
 
P R E F A C £• 
 
 that opportunity. They will here find an intro- 
 dudlion to the fludy of antiquities, in which are 
 many hiftorical and claflical remarks on fome fub- 
 jeils generally confidered as doubtful, fuch as relate 
 not only to an elucidation of the various pieces at 
 Wilton-Houfe, but fuch as may be found in many 
 other colledlions. The writings of the greateft 
 men have been coiifulted, and the whole is inter- 
 fperfed with notes from the Greek, Roman, and 
 French authors. In fhort, we have endeavoured 
 to make it worthy of being confidered as the an- 
 tiquary’s Fade Me cum. 
 
 A DIS- 
 
DISSERTATION 
 
 ON THE 
 
 ORIGIN, PROGRESS, AND DECAY 
 
 OF .. 
 
 - SCULPTURE, 
 
 AMONG THE GREEKS AND ROMANS. 
 
 The arts and fciences are intimately connec'ded 
 with the improvement and civilization of man- 
 kind. While men fed on acorns and the fpon- 
 taneous produce of the earth, and were fheltered 
 by caves from the inclemency of the feafons; and 
 while they worlhipped one great invifible Being, 
 without any limilitude or reprefentation of him; 
 agriculture, architecture, and fculpture, were ufe- 
 lefs and unknown. But when the human fpecies 
 had multiplied, and fodeties had been formed, 
 tillage was found expedient and needfary, houfes 
 were built, and thefandions of religion and there- 
 flraints of government were employed to promote 
 thehappinefs and fecuriry of individuals. It is in 
 fuch a period of fociety that the arts are invented 
 
 B and 
 
11 
 
 A DISSERTATION 
 
 and become objects of attention. That of fculp- 
 * tufe, in particular, is to be deduced, from the grofs 
 and licentious notions which men, refting on their 
 own refledions, are found, in early times, to en- 
 tertain of the Divine Being. They afcribe to him 
 their own weaknefTes and pafiions, and his figure 
 and attributes they diverfify, as their terrors and 
 their whims didatc. 
 
 The art of fculpture pafTed from the Egyptians, 
 together with their religion, to the Greeks. The 
 latter were the defcendants of the former; and 
 the fimilarity of their religious fentiments, and of 
 their earlier fculptures, offer convincing proofs of 
 their connexion. Paufanias, in the antiquities of 
 Arcadia, has made mention of ftatues, which pre- 
 fent us with the idea of Egyptian figures; as the 
 feet were almoft joined, and the hands dependent. 
 
 The interior parts of Greece arrived flowly at 
 refinement. From plain pillars of fionc, they 
 firfi: advanced to fafhion a head ; and this repre- 
 fentation or fiatue they termed Hermes. Daedalus 
 then difiinguifhed the fexes, and feparated the 
 feet. Hitherto the materials of fculpture were 
 wood and argillacious earth : the latter they ufed 
 to bake in the fun, and to colour with red paint. 
 
 The mofi: ancient fiyle of fculpture is known 
 by contours, which are exprefiive, but are fre- 
 quently hard and outre, and have fiiarp angles. — 
 
 They 
 
ON SCULPTURE. 
 
 Ill 
 
 They have nothing of that roundnefs and foftnefs 
 fo agreeable, and fo difcernible in the works of 
 fubfequent artifts. The actions too, and attitudes, 
 are violent, and fuitable to the genius of heroic 
 times. When we reflec^l: on the flow degrees, by 
 which every thing human approaches to maturity 
 and excellence, let us not be furprifed, that feven 
 hundred and thirty years elapfed before the art of 
 fculpture attained to its perfedion. 
 
 In the Perfian invafion, Greece fuffered a total 
 devaftation. Her temples and her cities, and al« 
 moft every remain of ancient art, were deflroyed. 
 Like the phoenix, however, fhe arofe more refplen- 
 dent from her allies. The fpoils of the Perfians 
 enriched the Athenians, and engaged them to re- 
 build their city with greater magnificence. Ar- 
 tifls rofe up to execute their defigns. The fiatues 
 of thofe gallant men, who had fallen in defence 
 of their country, they accounted as the moft 
 precious ornaments ; and thefe were erecfled at the 
 public expence, in the moft confpicuous places. 
 
 The encouragement given to fculpture haftencd 
 its progrefs. It approached to that fublimity, 
 which it attained under Phidias, Parrhafius, and 
 other artifts. Nature was no longer copied with 
 too clofe an attention ; and fculptors improved on 
 the ancient ftyle, which, though energetic and 
 cxaft, was difagreeable and ungraceful. 
 
 B 2 
 
 The 
 
IV 
 
 A DISSERTATION 
 
 The Gymnafia, and places of public excrcifc, 
 were the great fchools of the artids. From the 
 naked forms, which they obferved in thefe, they 
 chiefly derived their excellence and fkill. There 
 was alfo a circumftance, introduced by Afiatic 
 luxury, which confiderably contributed to their 
 improvement. The pracftice of caftrating boys 
 prolonged their youthfulnefs and beauty, and 
 made them exhibit an equivocal mixture of the 
 fexes. Female delicacy was feen united with 
 mafeuline juvenility; and models were given for 
 an Apollo, a Bacchus, or a mercury. With re- 
 gard to GoddelTes, it was not from one beautiful 
 female, but from many, that their reprefentations 
 were taken. It was in this manner that the artifl 
 formed what is termed divine, or ideal beauty. 
 
 But notwithftanding that Phidias, Polycletes, 
 Scopas, Alcamenes, and Myron, acquired a de- 
 ferved reputation in the befl: ftyle of fculpture, yet 
 Pliny found fomething difagreeable in their out- 
 lines ; and Lucian, when he deferibes a compleat 
 beauty, aferibes to her all the graces and perfedlions, 
 which the different artifls'had mofl: beautifully ex- 
 preffed in their choiceft figures. The graceful 
 flyle, or what is termed beautiful nature, continued 
 to be exhibited till the age of Alexander the Great. 
 
 Having reached the utmoft point of excellence 
 of which it is capable, fculpture neceffarily dege- 
 
 rated 
 
ON SCULPTURE. 
 
 V 
 
 nerated and declined. The Gods and heroes, and 
 the other fubjedls of reprefentation, having been 
 difplayed to view under every fuitable form, and 
 in every proper attitude, the love of novelty in- ' 
 troduced an extravagant and unnatural tafle.— 
 Deviations were made from perfection and nature, 
 and a vitious refinement opened the way to de- 
 cline and barbarifm. 
 
 The diftraClions which befel Greece from the 
 rife of the Macedonian power, the ftarting up of 
 numberlefs tyrants in its cities, and the indolence 
 and corruption which had debafed its inhabitants, 
 were fatal to the Arts. They fled for refuge to 
 the courts of the Seleucidae in Afia, and to the 
 Ptolemies in Egypt. Apelles, Euclid, Theocritus, 
 and Callimachus, fought proteClion and encourage- 
 ment at Alexandria. Great numbers of ftatues 
 ■ were carried into that city, in the train of Ptolemy 
 Philadelphus, and his magnificent tent was adorned 
 with an hundred different animals in marble, by 
 the beft artifls. The wars too, between the Eto- 
 lians and Acheans, were deftruClive to architec- 
 ture and to ancient ftatues. But the interference 
 of the Romans, it may be faid, put an end to their 
 diffentions, and occafioned the revival of fculp- 
 ture and painting. It was not long, however, 
 before the arts retreated weftward to Sicily; and 
 there they flouriflied for a fhort time. 
 
 B 3 
 
 No 
 
VI 
 
 A DISSERTATION 
 
 No meniion is made of any artifl, from the 
 period that Greece became a Roman province, to 
 the age of the Triumvirs. The imprudence of the 
 chiefs of the Achean league, or the jealoufy enter- 
 tained by the Romans of its power, induced that 
 people to declare war againfl: the Acheans. The 
 Greeks were defeated near Corinth by Mummius ; 
 and, advancing into that city, this commander 
 carried off all the flatues and paintings with which 
 it was adorned, to grace his triumph. The inge- 
 nious Comte de Caylus has remarked on this oc- 
 cafion, that the Romans were much fonder of 
 painting than of fculpture; and he founds his 
 opinion on the number of ffatutes which remained 
 in Greece in the age of Paufanias, and the com- 
 parative fcarcity of paintings in that period. 
 This preference of the Romans he might have il- 
 lullratcd by other examples : Marcus Scaurus, 
 when Edile, ordered all the paintings in the tem- 
 ples and public edifices of Sycion to be brought 
 to Rom.c, for arrears due from that city; and Pliny 
 informs us, that whole walls w’cre tranfported thi- 
 ther, for the fake of their paintings. 
 
 Rome having become the feat of empire, was 
 alfo that of arts. Before, however, we examine 
 the progrefs of fculpture under the emperors, it 
 may be proper to take a view of its previous fiatc 
 and condition among this people. 
 
 It 
 
ON SCULPTURE. 
 
 Vil 
 
 It has been alTerted by fome writers, that there 
 was an ancient Roman ftyle of fculpture ; but this 
 polition they have not been able to fupport by any 
 good authority. We know from Plutarch and 
 Varro, that the laws of Numa admitted not of 
 .reprefentations of the Deity under a human form ; 
 and that, for one hundred and fixty years after 
 that king, there were neither temple nor ftatues at 
 Rome. Tarquin the Proud fent for an artift 
 from the country of the Volfci, to fabricate a 
 flatue of the Olympian Jove and other figures ; 
 and, we are informed, that the wife of the Elder 
 Tarquin made her own ftatue of bronze, and 
 placed it in the temple of the god Sanga. 
 
 In the times of the Republic, it has been ob- 
 ferved by Pliny, that it was a great honour for 
 a citizen to have a column erecffed to him; and 
 that, when ftatues were fubftituted in the room 
 of thefe, they were confined to the height of three 
 feet. 
 
 During the fecond Punic war, painting was 
 cultivated at Rome. Fabius Pidfor is mentioned 
 
 as one of the patrons of this art ; and we are 
 
 ; 
 
 told, that Tiberius Gracchus ordered the temple 
 of Liberty to be painted, to perpetuate the remem- 
 brance of his vidtory over Hanno, the Cartha- 
 ginian. About this time too, the Romans form- 
 
 B + . ing 
 
Vlll 
 
 A DISSERTATION 
 
 ing alliances with the Greeks, had opportunities 
 of improving their tafle for the fine arts. Mar- - 
 cellus, on the reduction of Syracufe, fent many 
 fiatues to Rome, which were difpofed of in the 
 Capitol; and the conquefis of Antiochus and Per- 
 feus, giving to the Romans the riches of Afia and 
 Greece, filled Rome with the mofl: valuable pro- 
 dudlions of art. 
 
 We muft not omit to obferve, that their neigh- 
 bours, the Hetrufeans, appear, from a very early 
 period, to have pra6lifed fculpture, and to have 
 brought it to a tolerable degree of perfection. — 
 The genius of this people was gloomy and me- 
 lancholy, and their worfhip and religious ufages 
 partook of their character. Of their priefis we 
 may form fome idea, when we remember, that 
 arming themfelves with ferpents and lighted 
 torches, they advanced to attack the Romans. — 
 The fepulchral urns among this people ufually re- 
 prefented bloody combats ,• and their bilious tem- 
 perament is fufficiently confpicuous, from . the 
 wars which they w’aged with Rome. When their 
 capital was reduced by Flavius Flaccus, he carried 
 off from it no lefs than two thoufand fiatues. — ^ 
 Many particulars, relating to the works of their 
 artifis, may be feen in Dempfier, Caylus, and 
 Abbe Winckelman ; and to thefe authors we re- 
 fer 
 
ON SCULPTURE. iX 
 
 fer our readers, and proceed to conlider the pro- 
 grefs of fculpture under the emperors. 
 
 Pliny mentions Strongylion as a celebrated 
 fculptor under Julius Caefar. At the fame time 
 flourifhed Timoachus, who excelled in painting; 
 and it is faid of this emperor, that he paid him 
 twenty-four talents for a piece reprefenting Ajax 
 and Medea. Archeiilaus’s defigns were then alfo 
 in the highefl eflimation, and purchafed at im- 
 menfe prices. 
 
 Auguftus, who embellillied Rome at the ex- 
 pence of the whole empire, caufed the flatues of 
 the founders of the city, and of thofe celebrated 
 men who had contributed to the glory of the 
 nation, to be eredled in the portico of the Forum. 
 Of this age, there are many pretended flatues ; 
 thofe in particular of Auguflus, Livia, and Cleo- 
 patra. The tyranny of Tiberius was not favoura- 
 ble to die arts ; and of Caligula, we are told, that 
 he ordered all the flatues fet up by Auguflus, to 
 be thrown down, and made his own head to be 
 placed on the finefl flatues of the gods. Nero 
 was infatiable in colledling flatues : From the 
 {ingle temple of Delphos, he took away five hun- 
 dred in bronze. It is probable, that the Apollo 
 Belvedere and the Borghefe Gladiator were 
 brought to Rome about this time. Vefpafian 
 loved merit, and encouraged it. He adorned the 
 
 temple 
 
X 
 
 A DISSERTATION 
 
 temple of Peace, which he had built, with the beft 
 paintings he could procure. Under his reign 
 Cornelius Pinus, and Accius Prifcus, are men- 
 tioned as celebrated painters. 
 
 The fpirit and good tahe of the Romans revived 
 under Trajan. Arifleas and Papias, who enjoyed 
 the advantages of his adminiliration, were excel- 
 lent fculptors. Plis column, executed by Apollo- 
 dorus, is a monument that would have done ho- 
 nour to any age ; nor is his arch at Ancona Icfs 
 deferving of admiration. Hadrian, who was him- 
 felf an artift, gave the higheft encouragement to 
 fculpture. He rebuilt and adorned Athens, and 
 almoft all the Grecian cities, and gave them back 
 their liberty : but no influence or encouragement 
 could reftore to them the fublime manner of for- 
 mer ages. The produdlions of the chifTel, like 
 thofe of the pen, were filled with minutiae and 
 prettinefTes, and fhone with the glare of falfe or- 
 naments. 
 
 About this time Paufanias travelled through 
 many of the principal cities of Greece; and, from 
 his works, which are a very valuable remain of 
 antiquity, we may colledl: fome curious fadfs with 
 regard to the Rate of fculpture in this country. — 
 He mentions 2827 ftatues, befidcs others not par- 
 ticularly enumerated : fome were lefs than the life. 
 There were thirty-three coIolTal, of which three 
 
 were 
 
ON SCULPTURE. 
 
 XI 
 
 were of wood, and the reft of bronze; and there 
 were thirty-two equeftrian figures. Of wood, 
 there were feventy-four ; one of plaifter, two or 
 three of ftone, two of iron, one of gold, a few of 
 ftlver, fome of ivory, fome of brafs, and the reft 
 of marble. There w'ere fifty bafs-reliefs, twenty- 
 four chariots, drawn by two or four horfes, of 
 bronze ; above forty bronze tygers, lions, horfes> 
 and oxen ; with a peacock of gold, and feathers 
 of precious ftones, which was a prefent from 
 Hadrian. 
 
 What is remarkable, in fuch a number of fta- 
 tues, this author mentions but one as a copy, and 
 that was a Cupid by Menodorus, after Praxiteles. 
 However furprifing this may appear, we have no 
 reafon to queftion his veracity. Greece might 
 well be called the temple of the Arts, and every 
 part of it a moft fuperb gallery. Who would 
 have thought, that a country fo often pillaged, 
 could ftill contain fuch a number of original per- 
 form.ances ? Befide the foregoing account, Pau- 
 fanias gives a relation of feven hundred and thir- 
 teen temples, without reckoning altars, chapels, 
 treafuries of provinces, porticos, and tropViies, 
 with which the cities of Greece were embellifhed. 
 
 From this period the arts declined rapidly. 
 Pliny, Suetonius, and Lampridius inform us, that 
 the Romans, in refentment of the tyranny and 
 
 cruelty 
 
xli A DISSERTATION 
 
 cruelty of their bad princes, took off the heads 
 from their ftatues after their deceafe, and fet up 
 thofe of their fucceflbrs ; and this, by the way, 
 we may remark with Cay I us, is the reafon why a 
 greater number of bufts than flatues and other 
 Roman antiques have come down to us. 
 
 To the foregoing Iketch of the hiftory of fculp- 
 ture, we fhall fubjoin a few obfervations on the 
 fubje6i: of collecting antiques. 
 
 A previous knowledge of the rudiments, or 
 firft principles of any art or fcience, is thought 
 abfolutely neceflary to our arriving at perfection 
 in it; but every one who is able to purchafe an- 
 tiques, fancies that he is a judge of them. A few 
 terms of virtii are acquired, and confidence or 
 rank fupplies the deficiency of tafie and of 
 knowledge. 
 
 The connoilTeur, however, fiiould found his 
 reputation on reading, defigning, and experience. 
 The firfl: will inform him of the ufages, opinions, 
 and manner of ancient nations: an ability to de- 
 fign with tolerable accuracy, will enable him to 
 difcover the ftyle of each people, and the varia- 
 tions of it : and an acquaintance with the befi: 
 productions of art, will firengthen and confirm 
 his acquifitions from reading and defigning. How’ 
 fhamefully collectors have been defective in 
 thefe particulars, may be fcen from the follow^- 
 
ON SCULPTURE, 
 
 xni 
 
 ing inflances, which are remarked by Winckel- 
 man. 
 
 Pinaroli, when he .would difcover the country 
 of the artift who made the equeftrian ftatue of 
 Marcus Aurelius, finds a hint of it in the tuft of 
 the hair that adorns the horfe’s head : as that 
 fcemed to bear fome refemblance to an owl, he 
 concluded that he muft have been an Athenian. 
 In the villa Borghefe there is a famous marble 
 ffatue, which many have' fuppofed to be Egyptian 
 from the' air of the head : it was made, however, 
 by Bernini. Maffei and Montfaucon call the 
 Mars, in the villa Medici, an antique; but it is 
 know n to be the w^ork of John of Bologna. The 
 fame antiquaries afcribc to Polycletes a very in- 
 different flatue in the palace Pitti at Florence, 
 which is more than half repaired. Montfauco.n 
 pronounces a fmall hgure of Sleep, in the villa 
 Borghefe, of great antiquity, though done by 
 Algardi ; and, what is very extraordinary, he 
 makes the tw'o vafes by its fide have a reference to 
 the figure, and fuppofes that they contained a 
 foporific liquor ; whereas Silvio de Veletri made 
 them merely for ornaments. In the fame villa, 
 Caftor or Pollux holds a flick or roller, which 
 Montfaucon fuppofes has an allufion to horfe- 
 races. Mercury, in the villa Ludovici, holds 
 fuch another roller ; but this the learned Bene- 
 
 didine 
 
■ XIV A DISSERTATION 
 
 didline confefTes himfelf unable to explain. He 
 did not perceive that thefe were modern additions. 
 Wright is certain that the mufical inflrument in 
 the hand of Apollo, in the villa Negroni, is a real 
 antique ; and to corroborate his opinion he ad- 
 duces the teftimony of Mr. Addifon, who men- 
 tions fuch an inflrument in the hands of a little 
 ancient figure in the Florentine gallery. Thefe 
 authors are, however, both miflaken : Bernini 
 made the former inflrument, and the latter was 
 cafl from it. In like manner, the head of Apollo 
 crowned with laurel, and thofe of Narcifius, the 
 Phrygian Priefl, the Sitting Matron, Venus Geni- 
 trix, Diana, and Bacchus, in the Grand Duke’s 
 colledlion, and exhibited by Gori in the Mufeum 
 Florentinum, are known to be modern. Pinaroli 
 gives us two ftatues : the one he calls Herfilla, 
 the wife of Romulus, and the other Venus ; and 
 thefe, it is fingular, are faid in the catalogue of 
 the Cardinal Polignac, to belong to Lucretia and 
 Caefar, and to have been made ad vivum. It 
 would feem, that there is no abfurdity too grofs 
 for colledlors, and that there is no truth to be 
 expected from catalogues. Winckelman gives uS 
 the following anecdote : Cardinal Polignac found 
 ten ftatues without heads at a country-houfe near 
 Frefcati ; and it was fuggefted to his eminence, 
 that they made a group which reprefented Lyco- 
 
 medes* 
 
ON SCULPTURE. 
 
 XV 
 
 medes’ family and Achilles, who was drefled in 
 women’s clothes. The fancy was ftriking, arid 
 was immediately adopted. The Eleves of the 
 French fchool were employed to make heads for 
 the flatties, which they did, and gave them fmart 
 countenances too, fays the Abbe : leur donnerent 
 des vifages a la mode, felon leur coutume. The 
 head of the pretended Lycomedes was made after 
 that of the celebrated Baron Stofche. This group 
 fold at a great price, and was extolled as a piece of 
 admirable fculpture. 
 
 If connoiffeurs make fuch unpardonable mis- 
 takes with regard to the flyle and country of 
 flatues and buds, what are we to expecft when 
 they come to affix names to them ? I have left, 
 fays Winckelman, in his preface to Stofche’s.ca- 
 “ binet, many heads without a name, not being 
 difpofed to imitate Fulvius Urfinus and Bellori, 
 who call every meagre old head an Antiflhenes, 
 becaufe that philofopher died of a confumption. 
 What the apoflle faid upon another occafion is 
 applicable here : Let us not Jeek to.he too wife. 
 If we are ignorant of the names of many por- 
 traits of Titian and Vandyke, and other emi^ 
 nent painters, cotemporary with our fathers, 
 '' how is it poffible to know fo many antique 
 heads, the originals of which are removed from 
 us fo many centuries ? And yet it is too great 
 
xvi A DISSERTATION, SiC. 
 
 ” an inftance of felf-denial, for a colledlor not to 
 give a name to every paltry fragment !*' This 
 filly humour occafioned that fenfible and arch ob- 
 fervation of Mr. Walpole, in his Anecdotes of 
 Painting : Many a prince and philofopher have been 
 metamorphofed into divinities. 
 
 .TDES 
 
^DES PEMBROCHIAN^: 
 
 OR, 
 
 A NEW ACCOUNT AND DESCRIPTION 
 
 OF THE 
 
 STATUES, BUSTOS, RELIEFOS, PAINTINGS, MEDALS, 
 
 AND OTHER 
 
 CURIOSITIES AND ANTIQUITIES 
 
 AT 
 
 WILTON-HOUSE. 
 
 ILTON is a town of great antiquity, and is 
 fituated at the conflux of the Nadder and Willy. 
 Prom the latter it received the name of Willy- 
 town, or Wilton. In Latin, it is called El- 
 landunum. 
 
 Not long after the fettlement of the Saxons in 
 England, Cerdic, one of their princes, made it 
 the capital of his dominions. But its chief or- 
 nament was its abbey; which was of the Bene- 
 dieftine order; and which was founded by Edgar, 
 Egbert, or Alfred : for to each of thefe it is 
 aferibed by records in the Monafticon Anglica- 
 num, and in Willis’s Mitred Abbeys. 
 
 C 
 
 The 
 
2 A DESCRIPTION OF THE 
 
 The firfl: eftablifliment of the monaftery was 
 for twelve nuns ; but grants of land and other do- 
 nations having confiderably increafed its wealth, 
 the number was augmented to twenty-fix, by 
 Edwina, the confort of King Alfred. It continued 
 
 to flourifli in its ftate and condition till the Refor- 
 mation ; at which period the ecclefiaftical com- 
 mifiioners, on the furrendry of Cicely Bodenham, 
 laft lady Abbefs,* beftowed its revenue on Henry 
 
 VIII. 
 
 Wilton, according to Leland, had once twelve 
 parochial churches, though it has now but one ; 
 and Hollingfhed has dated its decay from the 
 building of Harnham-bridge, by Bifhop Bing- 
 ham ; as travellers were then induced’ to go to 
 New Sarum, as the nearefl; way to the weft. 
 
 Henry VIII. on the dilTolution of the monaf- 
 terles, beftowed on Sir William Herbert, firft 
 Earl of Pembroke, the houfe and feite of Wilton- 
 Abbey, and the lands belonging to it. This mo- 
 narch w as fond of pomp and magnificence ; and 
 his nobility having imbibed his expenfive tafte, 
 the fpoils of the church enabled them to imitate 
 his example. Lord Pembroke engaged Hans 
 Holbein to defign a palace for him ; and the ele-, 
 gant porch leading into the great hall was executed 
 
 ♦ March 25, 1539. 
 
 under 
 
CURIOSITIES IN WILTON-HOUSE. 3 
 
 under the infpcclion of this eminent artifl. It is 
 ornamented at the top with emblematical figures ; 
 and in the niches round it are the heads of Ed- 
 ward VI. of Lord and Lady Pembroke, and fome 
 of their children. Thefe decorations, it is alfo 
 probable, were the work of Holbein,f who did 
 not die till the year 1554. 
 
 The fide, of which the hall makes a part, haV-^ 
 ing been confumed by fire, was fumptuoufly re- 
 built, from a defign of Inigo Jones ; and is re- 
 markable for the fine difpofition and elegant pro- 
 portion of the rooms. The garden front is adorn- 
 ed at the top with a variety of ornamental figures ; 
 in the centre is a Vidlory, fitting on a globe with 
 her fyrnbols ; and at equal diftances, Cupids and 
 other fiatues. The gardens, buildings, and parks 
 are laid out in the finefi: tafle, and feveral ftatues, 
 bufts, and other antiquities are interfperfed in 
 them ; the bridge, from Palladio’s defign, is a 
 model of the fineft Italian architecflure. The 
 piazza, making the front of the fbables, and the 
 ftable-bridge, were defigned by Inigo Jones. On 
 the hill which rifes from the river, is a triumphal 
 
 f It has been remarked of this eminent painter, that he 
 ufed generally to handle the pencil with his lefc hand. The 
 fame thing has been laid of Mozzo of Antvverp ; and it has 
 been obferved of Amico Afpertino and Ludovico Cangiagio, 
 that they worked equally well with both hands. It is alfo to 
 be obferved of Holbein, that he was the firft reformer of the 
 Gothic ftyle of architedure in England. 
 
 C 2 arch. 
 
4 
 
 A DESCRIPTION OF THE 
 
 arch, and a CafTina, of elegant taftc, by Sir Wil- 
 liam Chambers ; upon the arch is an cquellrian 
 ftatue of Marcus Aurelius. Not far from thence 
 is an arcade, from the model of Inigo Jones, and 
 the engine-houfe, which has an ornamental front. 
 From the window of Jones’s front are fine views 
 of Salifbury Cathedral, and part of the city, Cla- 
 rendon Park, and other contiguous places. 
 
 In the Palladian Lodge. 
 
 Bull of Labienus Parthicus. 
 
 The ftatue of Clio the Mufe. 
 
 Buft of Meflalina. 
 
 Buft of Semiramis. 
 
 An Arundelian marble, a prefent from the pre- 
 fent Lord Onflow to the late Earl of Pembroke.^ 
 
 Buft 
 
 * Mr. Spence, author of Polymetls, gives the following 
 explanation of an Arundelian marble : — Among the ancient 
 heathens, it was a general thing to reprefent the genius’s whom 
 they fuppofed to prefide over every nation or city, under the 
 forms of men or women ; only of a larger, as nobler fize. 
 They were much the fame with the Guardian Angels, that are 
 hill ibmetimes fuppofed to prefide over cities and kingdoms. 
 
 “ In this marble the principal figure may be the genius of 
 fome Grecian city or republic. He is remarkably tall, and 
 feems to be receiving fDme ftranger into the freedom or friend- 
 Ihip of their community. A column rifes between them (which 
 is an ufual emblem of firmnefs and ftability) and their hands 
 are joined juil before the middle of it. On this column hands 
 a naked figure (probably of fome deity) with one leg croffing 
 the other ; the upper part of it is much defaced j but if I wa» 
 
 obliged 
 
CURIOSITIES IN WILTON-HOUSE. £ 
 
 Biifl: of Didia Clara, daughter of Didius Julia- 
 nus and Manila Scintilla. ^ 
 
 Bull of Vibius Varus, a Roman Senator. 
 
 The flatue of the father of Julius Caefar. 
 
 Bull of Caligula. 
 
 Lt the Court. . 
 
 Before the grand front of this fuperb manfion, is 
 a Granite column, with a ftatue of Venus on the 
 top of it ; both purchafed from the Arundel col- 
 ledion. 
 
 obliged to guefs at it, I fhould guefs it to be Apollo, rather 
 than any other. The taller figure holds a volume (or roll) in 
 his left hand ; and there is a horfe’s head appears (in the cor- 
 ner to the right) a little above his: it may therefore be the 
 genius of the city of Argos, (in Peloponnefus) ; a place Co 
 particularly famous for horfes ; and who knows but the little 
 man may be a horfe jockey? Both the receiver and the re- 
 ceived have lliort curled heads of hair, and are both clothed, 
 except their heads, legs, and arms. The two fmall figures 
 under them, may be the Camilli, or lads that attended their 
 ceremonies and facrifices. That between them, Handing juft 
 before the column, holds up fomething like a roll too, but 
 much defaced ; and that in the right hand corner below refts 
 his head a little on his left hand, and fupports his left elbow 
 with his right hand, as filent, or thoughtful. Above the in- 
 dented fquare, in which thefe are reprefented in mezzo relievo, 
 is the name of the perfon received, Dionyfius, the fon of 
 Dionyflus, and grandfon of Metrodorus and above that, a 
 laurel (or olive) crown, with the name of the receiver in it, 
 the people, or community. It muft be owned, that there is 
 no chara< 3 :eriftic to point out the receiver to be the genius of 
 any people, except his height. If not the genius, it may be 
 feme public officer doing the fame thing. 
 
 The whole is about 3 feet by 2.” 
 
 C3 Mr, 
 
6 
 
 A DESCRIPTION OF THE 
 
 Mr. Evelyn, who bought them at Rome for 
 Lord Arundel, was allured by the Italian anti- 
 quaries, that this column fupported anciently the 
 Ratue of Venus Genitrix, and had been fet up by 
 Julius Caefar before the temple of that Goddcfs, 
 from w^hom he claimed to be defcended. That 
 Caefar had brought them from Egypt, where they 
 had been ereded to the oriental Deity Aflarte, the 
 fame with the Grecian Venus ; there are five letters 
 upon the upper fillet of the column, which, being 
 read from the right hand to the left, and having 
 the proper vowels fupplied, make Aflarte. 
 
 This column is extremely elegant. It is thir- 
 teen feet and an half high, twenty-two inches in 
 diameter, and diminifhes fcarce two inches at the 
 top. It is here fet up with a Corinthian capital 
 and bafe. The ftatue of Venus is on it, and the 
 Goddefs appears in an inclined modefi attitude. 
 
 In a Gothic Alcove, 
 
 Is the bufl of Perfius the poet, and under the 
 pavement of it is buried a favourite dog of the 
 late Earl’s, called Negro, with the following in- 
 fcription by Thomas Hill, Ef^. 
 
 Negroni ^ hlando comitiy fidoque minijiro 
 Hoc poni jiijfit mcirmor herilis amcr ; 
 
 ^licunque ip as <edes fociuSy fervufve fuhihis^ 
 
 A blandoy et fido dijce placere ccpne. 
 
 u 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 7 
 
 In the Front of the House, 
 
 There appear in niches, two Egyptian ftatues, 
 of black marble. The garments on their fhoulders 
 are of a different colour, their toes ar^feen at the 
 bottom, and their hands are concealed in their 
 drefs. On the fubjed: of Egyptian figures, the 
 ingenious Comte de Caylus has given us the 
 following very ufeful remark; When the feet 
 appear, no matter whether joined or feparated, the 
 perfons reprefented are priefts ; and when the 
 feet are concealed, or enveloped, they are 
 divinities*.” 
 
 On Cardinal Wolfey’s tower, in the eafi: front, 
 and in the inner court, are feveral niches painted 
 in frefco, by Van Reiffehoot. 
 
 In the Middle of the Inner Court, 
 
 Is a pedefial, on which there is a horfe rampant 
 as large as life. In four niches round the pedefial 
 are four fiatues. The firfi is Diana. The figure 
 
 * Les figures qui out les pleds nuds, joints ou fepares, il 
 n’importe, doivent etre des pretres ; & par la-meme raifon, 
 cette figure, dont les pieds font envelopes & reunis, etant 
 une divinite.’* Recueil, tom. 4. pag. 7. 
 
 C4 
 
 is 
 
8 
 
 A DESCRIPTION OF THE 
 
 is clothed, and in her right hand holds a tym- 
 panum, with a broad border, in which there are 
 holes,for the purpofe of faftening wires. On her 
 left lide (lands a vafe. From thefe particulars it 
 would fecm, that the ftatue was rather intended 
 to reprefent a J3acchanal, or the wife of Faunus, 
 as defcribed by Spon,"^ than a Diana. 
 
 In the next niche, Venus is picking a thorn out 
 of her foot. This alludes to the following fable : 
 
 Venus, it is faid, tenderly loved the fhepherd 
 Adonis from his infancy. As he grew up, the 
 chace became his delight, and he ufed to engage- 
 with the (ierceft animals. The goddefs, alarmed 
 for his fafety, endeavoured, but in vain, to divert 
 his thoughts to milder amufements. Mars, who 
 was no (Iranger to his paffion for hunting, refolved 
 to rid himfelf of fo formidable a rival ; one day, 
 therefore, while Adonis purfued with e^gernefs 
 his favourite fport, this jealous deity fent out a 
 huge boar, which deftroyed him. Venus, per- 
 ceiving his danger, haftened to his relief ; and, as 
 fhe pa(Ted through the thickets, a rofe thorn 
 wounded her foot : flie picked it out, (in which 
 action fhe is here reprefented) and the blood that 
 
 * Mifcellan. Erud. Antiq. pag. 25, 
 
 dropped 
 
CURIOSITIES IN WILTON-HOUSE. 9 
 
 dropped on the rofe from the wound, changed 
 it from a pale to its prefent beautiful tint. 
 
 In the Grand Duke of Tufcany’s gallery ac 
 Florence f there is a ftatue of Venus in the fame 
 adlion, but in a different attitude : flie is there 
 fitting. This is neither fo natural, nor fo agree- 
 able to the ftory, as the pofture of our flatuc. 
 The expreflion of pain in the countenance of the 
 goddefs is admirable. 
 
 The next flatue is Venus holding a fliell in her 
 right hand, and in her left the tail of a dolphin. 
 Statius;]: has told us, that this goddefs failed to 
 her beloved Cyprus in a conch-fhell. The dol- 
 phin was fuppofed to be the moft intelligent of 
 fifh, and on that account w^as employed by Nep- 
 
 Aay.^vcv »n»(piy] rocrov oacrov’'A^u)viq 
 
 Al(Jt.oe, p^eei’ fSTuvra, <wot) ylyvirccB uv^'/)' 
 
 AI[a.c6 ^o^ov) rlyJsi' t « ran unsy.MVCCv. 
 
 Ver. 63. Idyl. 1. Bion. 
 
 The lamentation of Venus for Adonis is well defcribed by- 
 Ovid : 
 
 Pariterque fmus, pariterque capillos 
 
 Rupity indignis percujjtt peCtcra palmis. 
 
 Met. lib. io.‘ 
 
 f See Richardfon’s account of the ftatues in Italy and 
 France, pag. 53. 
 
 j- Ifj c^eruleisy mecum confurgere digna 
 
 Fludpibus, rioftra potuit conjidere concha. 
 
 Sylv. lib. r. 
 
 tunc 
 
lO A DESCRIPTION OF THE 
 
 tune in his amours with Amphytrite.* For the 
 fame reafon, perhaps, it was an attendant on 
 Venus ; or it might be employed as a fymbol, to 
 fhew the extent of her power, which pervades the 
 watry element. 
 
 The laft flatue is Venus and Cupid. He is 
 begging for his quiver, which Ihe keeps from 
 him. The expreflion is natural and delicate. 
 
 On one Side of the Gateway, 
 
 Is the bull of the Roman conful i^lnobarbus, 
 placed on an altar of Bacchus ; aronnd v.^hich 
 there are feveral things worthy of attention. The 
 prieft holds a pine apple in his hand, and a pan- 
 ther follows him, and two priehefles with diflie- 
 velled hair, and their garments flying. The 
 apple and f panther are fymbols of this god’s 
 Indian expedition and conquefts. Round^the altar 
 is an X infeription in old Greek charadlers, being 
 
 * Banier’s Mythology, vol. ii. p. 497. 
 
 4 Ipfe racemiferis frontem circundatus u^is 
 Pampineis agitat *velatam frondibus haftam : 
 
 ^em circa tigres, Jimulacraque inania lyticum, 
 
 Piciarumque jacent fera corpora panther arum. 
 
 Ovid. Metam. lib. 3. 
 
 J MeXito/i/ev Aioyy^ov, BocxKsropat ^av^oxapyivor. 
 
 Canamus Dionyfum, pulchri formem, Bacchatorem, Jlavi-comum. 
 
 part 
 
CURIOSITIES IN WILTON-HOUSE. ' 
 
 II 
 
 part of an hymn to that deity, which- bears 
 evident marks of a very diflant antiquity. The 
 letters, as their form indicates, are antique ; and 
 the god is not called Bacchus, but Dionyfus, 
 under which appellation we find him mentioned 
 by the moft ancient authors.* It fuppofes him 
 beautiful, and f fo he is always reprefented. The 
 epithet Bacchator, marks his prefiding over 
 ebriety and intemperance ; which formerly, as 
 well as at prefent, were too often the caufes of 
 divifion and violence. He is called yellow or 
 auburne haired. This was elleemed as a mark 
 
 * KtffCOKOfJL’/iV AlOVV^OV tptQpO{XOV 
 
 Orpheus, 
 
 Aioj TTotiq rnv h ©viQouuv p^Sovee 
 
 Aiovv^oq, Euripid. irk Bacchis, 
 
 'I' . ■■I..- . ‘ " 'Tihi inconfumpta juuentas ; 
 
 puer /^ternus ; tu formojijjimui alto 
 Confpkeris ccelo, 
 
 Ovid. Metam. lib, 4. 
 
 In like manner the moderns have conceived for him, as 
 Winckelman moft beautifully exprefies it : — ‘‘ La^ face de 
 Bacchus eft celle d’un jeune homnie qui atteint les- limites 
 du printemps de la vie & de I’adolefcencc, dans qui la fen- 
 fation de la volupte commence a germer comme le tendre 
 “ bouton d’une plante, qui enfin moitie endormi et moitie 
 eveille fort doucement d^un fonge flatteur dont il raftemble 
 ‘‘ les images en commen^ant a fe reconnoitre : fes traits font 
 pleins de douceur, mais fon ame rejouie ne fe repand pas 
 fur tout fon vifage,’* Hift, de PArt chez les Anciens, 
 ? 73 » 
 
 of 
 
 I 
 
12 
 
 A DESCRIPTION OF THE 
 
 of particular beauty* among the ancient Greeks. 
 Even among the Romans it was fo much ad- 
 mired, that the emperor Verus,j* we are told, 
 fcattered fprigs of gold through his hair^ to give 
 it a yellower brilliancy. 
 
 In two niches are twoftatues. The firft is Atys 
 clad as a woman. Of this deity, there is, perhaps, 
 no better account, than that which is given by 
 Lucian. This author has obferved, that he was 
 an Indian by birth, and that he firfl; inftituted the 
 rites to Rhea or Cybele; that thefe he eftablifhed 
 in Lydia, Samothrace, and Phrygia ; and that 
 Rhea, the more firmly to fecure him, caflrated 
 him ; after which, he afTumed a female form and 
 drefs.J The other ftatue is Autumn, with the 
 proper fymbols. 
 
 * Pallas, in Homer, feizes Achilles by his yellow hair: 
 
 — — ' Hai<0)35 xo/xijj eAe Ilij^Etafva. II. I. 
 
 Cornelius Gallus has an elegant turn to our purpofe : 
 
 coma ex auro Jia^a eft tihi Gentia ? an auri 
 Ex ipfa magis eft bra5iea flava coma ? 
 
 In the hymn of Orpheus to Bacchus, before cited, the 
 nymphs that educated him are faid to be Hujto/x,o*, 
 
 f Dicitur tantum habuljfe cur am capillorum fta'vorum, ut et capiti 
 auri r ament a infpergerety quo magis coma illuminata fta'vefceret, Ca- 
 pitol. in Vero, 
 
 J De Dea Syria, and Banier’s Mythology, book iii. ch. 3. 
 
 her 
 
CURIOSITIES IN WILTON-ROUSE. 
 
 13 
 
 In the Porch (built by Hans Holbein), are 
 the Busts of 
 
 Hannibal, the famous Carthaginian general. 
 The emperor Pefcennius Niger. 
 
 Albinus, the conful. 
 
 Miltiades, the Athenian captain. 
 
 In the Vestibule are the Busts of 
 
 Mercia, the wife of Septimius Severus, 
 
 Brutus, who killed Cicfar. 
 
 Julia, daughter of Auguflus and Scubonia. She 
 was firft married to Marcellus, afterwards tq 
 Agrippa, and laftly to Tiberius. Her condu(5t 
 w as fo extremely immodeft that her father banifhed 
 her to the I He of Pandataria, where (he died the 
 fame year as her Father. The marble is Parian, 
 the fcLilpture very good. 
 
 Odlavia, the wdfe of Nero. She was the daugh- 
 ter of Claudius and MelTalina. Her virtue could 
 not prevent her being murdered by her barbarous 
 hufband. 
 
 Marcia, 
 
H 
 
 A DESCRIPTIOxV OF THE 
 
 Marcia Oflacilia, wife of the Emperor Philip, 
 and mother of the younger Philip. She furvived 
 her hufband and fon, and is faid to have em- 
 brac/ed the Chriflian faith. 
 
 Domitia. 
 
 Claudius, of jafper marble. On the death of 
 Caligula, he was created Emperor, at a time 
 when he was confiderably advanced in years ; he 
 was of a cruel difpofition, but pufillanimous, and 
 governed by his fervants. He was poifoned in 
 the fourteenth vear of his reiorn. 
 
 » o 
 
 The Statue of Cupid,* with wings, breaking 
 his bow ; this is the w’ork of Cleomenes. 
 
 Bufl of Pladrian. 
 
 BufI: of Theophraftus the naturalid. 
 
 The Statue of Faunus, looking over his fhoulder 
 at a leopard ; the work of Cleomenes. 
 
 Flerearc likewife two columns of peacock mar- 
 ble ; they have a white ground, with purple fpots, 
 and are fluted. Each is nine feet and feven inches 
 high ; and they appear to have been taken from an 
 ancient Columbarium. At the top there are holes 
 to put aflies in ; and they had urns, which ferved 
 for capitals. 
 
 * Orpheus, amongfl other epithets, gives him that of >7rrtfoinix. 
 Zeuxis painted him with wings, and crowned with rofes. 
 
 /;/ 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 IS 
 
 In the Middle of the Vesitbule, 
 
 Is a colofTal Apollo, from the Juiliniani Gallery. 
 He is reding on a laurel, which is adorned with 
 elegant fculpture. 
 
 IN 
 
i6 
 
 A DESCRIPTION OF THE 
 
 I N 
 
 THE GREAT HALL. 
 
 A PIECE of fculpture, which has hitherto been 
 defcribed in thefe terms : ** A pantheon, having 
 “ the fymbols of three divinities : a cornucopia, 
 with fruit for Vertumnus ; out of it, grapes for 
 “ Bacchus, and ears of corn for Ceres. The figure 
 is a comely man, in the prime of his age and 
 flrengch, without any beard, and therefore is 
 probably an Apollo, larger than life.'’ 
 
 We muft obferve, however, that we think it im- 
 proper to confider this piece as a pantheon, or as 
 relating to feveral deities : for the cornucopia with 
 fruit, grapes, and ears of corn, applies very well to 
 Vertumnus, who, though it was his general province 
 to prefide over gardens, ufed fometimes to alTume 
 the form of a reaper or mower, and fometimes of 
 a vine drefler*. It is obfervable too, that this di- 
 
 ^ Banier’s Mythol. book iii. ch. 6. 
 
 vinity 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 17 
 
 vinity is commonly reprefented as beautiful, and 
 without a beard. 
 
 The. flatueof Didia Clara, daughter to the em- 
 peror Didius Julianus ; this prince piirchafed the 
 empire from the foldiery when he was old, and 
 was flain by them in the fecond month of his 
 reign. Lampridius* informs us, that his wife, 
 Manlia Scantilla, and his daugher, Didia Clara_, 
 were honoured with the appellation of Augufla?. 
 Hence this figure holds a fenatorial roll, which was 
 a mark of high rank and dignity. 
 
 The bufi: of Marcus Aurelius. 
 
 The fiatue of Antinous, the favourite of Hadrian. 
 He w^as extremely beautiful, and died in Egypt, 
 going up the Nile wiih that emperor. He was 
 deified under the name of Antinous Jacchus, as 
 may be feen in a fine medal in Elaym.f 
 
 The next bufi: has been called Cleopatra, the 
 fifier of Alexander the Great; but if w'e remem- 
 ber right, that monarch had no fifier of that name. 
 The CleopatraJ here meant, v/as the daughter of 
 Ptolemy Philometer, king of Egypt, w'hogave her 
 
 * Uxor ejus Manlia Sc ant ilia ^ ^ filia Didia Clara, Augujlce 
 funt appellatce, 
 
 f Tefor. Brit. vol. 2. p. 214. 
 
 t Jofeph, Antiquit. lib. 13. cap. 7. 
 
 D 
 
 m 
 
A DESCRIPTION OF THE 
 
 1 $ 
 
 in marriage to Alexander the Firft, king of Syria, 
 Alexander, however, having fecretly endeavoured 
 to betray Ptolemy, that prince took from him his 
 daughter, and beftovved her on Demetrius Nicanor. 
 Cleopatra afterwards married Antiochus, the bro- 
 ther of Nicanor. She was the daughter of a king, 
 the wife of three kings, and the mother of two. 
 
 A Sarcophagus, adorned with two Cupids in 
 alto relievo, feftoons of flowers, and animals.^ 
 Euterpe, the mufe, fits on it in a very curious 
 antique feat, holding a flute, to fiiew that fhe in- 
 vented wind mufic.* 
 
 The buft of Portia, the wife of Brutus. She 
 was the daughter of Portius Cato, who gave her 
 in marriage to that celebrated republican. After 
 the battle of Philippi, Brutus, that he might not 
 fall into the hands of his enemies, prevailed on 
 Strato, his friend, to difpatch him ; and Portia, 
 as foon as fhe received intelligence of his fate, put 
 an end to her life. 
 
 A fmall antique fiatue of ^Efculapius, in an ex- 
 cellent tafie. The God has a large beard and 
 head of hair, and a mild countenance. The two 
 laft particulars, if, in place of the natural hair, 
 we fubfiitute a full-bottomed periwig, feem cha- 
 
 * Dulciloguis calamos Euterpe Jlatihus urget. Aufon. Idyl. 20. 
 She is feen with two flutes on a gem, in Stofehe’s colledion, 
 
 p. 210. 
 
 raflerifiic 
 
CURIOSITIES IN WILTON-HOUSE. I9 
 
 rafterlftic of the modern pradlitioners of medi- 
 cine. This reverend appearance, and the igno- 
 rance too often concealed under it, could not 
 efcape the fatirical pen of Lucian."^ Our deity- 
 holds in his left hand a flick, with a ferpent 
 twifted round it.f When Ogulnius went to 
 Epidaurus to bring this god to Rome, he appeared, 
 it is faid, under this fhape. Pliny gives another 
 reafon, why the ferpent is the attribute of this 
 deity. The ancient phyficians, he has obferved, 
 made great ufe of this animal in their pradlice. 
 But it feems to have been referved for the in- 
 genuity of the Compte de CaylusJ, to give a fa- 
 tisfadory folution of this matter. It is well 
 
 known, fays he, that the phyficians, in early 
 
 * M») (xyini'^ uv, ^-/iixviyo^rjO-etq. y.ut TauT«. ^cc&vttu- 
 
 yOVCCy KOt,\ BVySVSlQV UTUq VIOV TOV AaK^r,7TiQV. Lucian, p. 1/^2, 
 
 f The peculiarities of ^fculapius arc thus mentioned by 
 Ovid, in his account of the firfi: introduilion of this deity into 
 Rome : 
 
 - ■■ ‘ Deus in fomnis opifer conjijiere <vi/ns ; 
 
 - qualis in eede 
 
 EJJe folety baculumque tenens agrejie JtniJird : 
 
 Ca^fariem longue dextra dedncere barbcey 
 Et placido tales emittere peBore <voces. 
 
 Pone tnetus : ^eniam ; Jimidacraque nojlra relinquam : 
 
 Hunc modi} ferpentem, baadum qui next bus ambit y 
 Per/pice, ufque nota ; <vifu ut cognojcere pojjis : 
 
 V ertar in hunc ; fed major ero : tantufque ^idebor 
 In quantum njerti caleJUa corpora debent. Met. 15. 
 
 J Recuell. tom, 2. p. 277. 
 
 D2 
 
 ages, 
 
20 
 
 A DESCRIPTION OF THE 
 
 ages, compofed the medicines they prefcribed : 
 hence they were obliged to apply to chemiftry ; 
 and having difcovered, by many experiments, 
 “ that liquors feparated by heat muft necelTarity 
 circulate many times, before they can depofit 
 “ their phlegm and groffer parts, nature, as it 
 were, prefented to them an animal, whofe figure 
 was emblematical of fuch an operation. Whe- 
 ther then ^fculapius was the inventor of the 
 “ alembic, or rather employed it with fuccefs, (for 
 " I am apt to think it was in ufe before his time) 
 ‘‘ I am perfuaded that the ferpent is attributed 
 to him as a pofitive fymbol drawn from thefe 
 operations. In the courfe of time, the figure 
 taken from the animal, was made the animal 
 ** itfelf.” 
 
 The bull of Julia Mamsea. She was the 
 daughter of Julia Msefa, lifter of Soemias, the 
 mother of Heliogabalus, wife of Varius, and 
 the mother of Alexander Severus. During the 
 minority of her fon, ftie adminiftered public af- 
 fairs with great applaufe ; and Eufebiusljl has 
 fpoken of her as a woman of fignal piety and virtue. 
 
 A fmall ftatue of Meleager. The other ftatues 
 of this hero, and the coins, in which he is repre- 
 fented, have fome particular attribute which dif- 
 
 * Ma:rura muUery Jl. qua alia., <viriuts $5’ fictate fpe^latijjtmat 
 ‘viia mcribiis co7?ip^imis religioja. Lib. 6 . cap. 15 . 
 
 tinguifiies 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 21 
 
 tinguifhes him. Here he appears in the attitude 
 and with the ilrength of an athleta> or boxer. 
 The fculpture is good. 
 
 The bull of Nero. The little Cupids at the 
 bottom are highly efteemed. 
 
 A Sarcophagus. In front are a man and a wo- 
 man, half lengths. At one end are a lion and an 
 unicorn j at the other, a lion and a boar. There 
 are two mafks at the bottom ; the one with hair ; 
 the other with a veil over the upper part. There 
 is alfo reprefented, a female warrior, kneeling, 
 and as defending herfelf in battle. 
 
 The bull of Lucilla, the daughter of Antoni- 
 nus, and the wife of Lucius Verus. 
 
 The ftatue of Mercury, with his purfe and 
 petafus. 
 
 The bud: of Apollo. 
 
 ~ A copy of the Medicean Venus, by Wilton. 
 It is not eafy to allign a reafon, why Gori,* and the 
 other Italian connoifleurs, fhould call the original 
 flatue, in the Grand Duke’s gallery, Venus Ana- 
 duomenc, or riling from the fea, when the ancient 
 waiters have reprefented her in a different attitude, 
 as we {liall fliew when we come to the Stone Half 
 The hair of the goddefs is elegantly tied up.f 
 
 * Gori in Muf. Florentin. 
 
 ^ibus noduntur in atirum 
 
 CrineSf reticulufnjue legit capitis decus ingens. 
 
 Homer. Hym. in Ven. 
 
 D 3 Silenus 
 
< 
 
 22 , A DESCRIPTION OF THE 
 
 Silemis and Bacchus, a group. The God is on 
 the fhoLilders of Silenus : they are crowned with 
 grapes. 
 
 The (latue of Flora, or rather of Pomona, as 
 it reprefents apples and other fruits. 
 
 This ftatiie, with the Silenus and Bacchus, were 
 prefents from the Duke of Tufeany to the fird: 
 Philip, earl of Pembroke, and are of Parian mar- 
 ble. The excellence of this marble lies in the 
 finenefs of its grain ; or rather, it may be faid to 
 appear as if melted or worked into a milky mafs 
 without any grain. It has two other qualities, 
 which diftinguifli it. The one is its foftnefs, in 
 confequence of which it can be worked almofl; as 
 eafily as wax: hence hair, feathers, and fuch things 
 can be formed of it with all imaginable llrength 
 and delicacy. Its other quality is, that in colour 
 it approaches to that of human flefli, while all 
 
 * On trouve des ftatues, dont le marbre paroit conime 
 “ fondu ou paitri d’une mafie laiteufe, fans aucune apparence 
 de grain. C’eil-la, fans doute, le plus beau : et tel etolt 
 apparemment le marbre de Paros, le plus rare et le plus 
 ellime de tons. Cette forte de marbre a de plus deux 
 autres qualites qui manquent au plus beau marbre Carra- 
 rien. La premiere eft fa molelfe, ou pour mleux dire fa 
 douceur : il fe lailfe travailler comme de la cire, et on eii 
 peut faire des ouvrages de la plus grande fineffe, comme 
 des cneveux, des plumes, &c. Celui de Carrare, au con- 
 trairc, eft dur, et s’ecaille lorfqu’on le tourmente trop. Sa 
 feconde qualitc eft fa couleur, qui approche de la couleur 
 “■ de chair, au lieu que le Carrarien a une blanchcur eblcuif- 
 fante.” Winckel. Hift. de PArt, vol. 2. 61. 
 
 0th cf 
 
CURIOSITIES IN WILTON-HOUSE. 23 
 
 Other marbles have either a dazzling whitenefs^ or 
 a cloudy darknefs. 
 
 The ftatue of the Belvidere Apollo, a copy, by 
 Wilton. The accomplifhed Abbe Winckelman j* 
 gives us the following defeription of this Apollo: 
 It prefents to us, he obferves, the mod; fublime 
 idea that art is capable of conveying. One may 
 ” fay, that the artift has made an intellectual 
 ** ftatue ; for he docs not feem to have taken 
 his ideas from any thing corporeal. It as much 
 furpades the other datues of this deity, as the 
 ‘‘ Apollo of Homer does that of other poets. He 
 is larger than the life, and his attitude fpeaks 
 ** celedial grandeur. The elegant diape and turn 
 ** of his limbs feem to have been formed under 
 a climate, bleffed with Elydan plains. His 
 youth is the dower of eternal fpring ; a Rower, 
 as incapable of acquiring, as it is of lodng any 
 thing ; perfect, tender, and fweet. Here we fee 
 nothing common to humanity ; no nerves, no 
 veins : a divine air diffufes itfelf over the fur- 
 face of the figure.’' The enthufiafm of the 
 Abbe difeovers the mod exquifite fenfibility, and 
 how perceptible the mod delicate touches of art 
 are to the real connoideur. 
 
 The copy conveys a perfeCt notion of the ori- 
 ginal. The fandals on the feet of this Apollo are 
 
 * Hiftoire de I’Art, vol. 2. 285, 286. 
 
 U4 
 
 fimilar 
 
24 
 
 A DLSCRIPTION OF THE 
 
 fimilar to thofe called Solecc amono; the Romans, 
 \vhich arofc round the foot an inch hio;h, and 
 were bound with many bandages. At his right 
 hand is a laurel, with a fcrpent twifvcd round it : 
 his garment rchs on his left, which is hretched 
 out. 
 
 The bufl; of Philemon, a Greek comic poet. 
 He was contemporary with Menander, and fre- 
 quently got the better of him in poetical contefts ; 
 infomuch, that the latter ufed to Pty, Art thou 
 not adiamed to conquer me fo often 
 The buft of Lepidus, triumvir with Mark 
 Antony and Auguflus. 
 
 A Sarcophagus, with a Corinthian column 
 at each end, and a double door in the middle. 
 Hercules leans on PhilobLetes. When this hero 
 put on the poifoned Ihirt which had been fent him 
 by the jealous Dejanira, his body became filled 
 with pudules, and he was tortured with the mofl: 
 excruciating pain. In compliance with the ad- 
 vice of the oracle, which he confulted about his 
 diftemper, he went to Mount Oeta, and there 
 creciled a funeral pile, upon which he was burnt. 
 It was lighted by Philoddctes, to whom, as the 
 
 * Prcdit.rr. Co mice's Menander, quum centum cBo fcripjlifet 
 fahulas, in cert amine comer cicr /cm, licet ejjet Jiiperior, ta/nen a/nbiiti 
 iff faStione a Phitemone aeiSlus renunciafus. Alex. ab. Alex, 
 jib. 6. cap. 1^* 
 
 rev/ard 
 
CURIOSITIES IN WILTON-HOUSE. 2^ 
 
 reward of his fidelity, he had given his arrows."^ 
 His afl'ies were buried by his friend near the river 
 Dyra. 
 
 It has been fuppofed that the hero leans on 
 Paean, 'and not on Philodletes ; and it has alfo been 
 thought, that his friend here alluded to is Lycus. 
 But it is uniformly obferved by ancient authors, 
 that Philodletes attended him in his laft moments:, 
 and did the laft offices to him. The lion’s fkin 
 is lying down ; and he holds his club in his right 
 hand. The magnitude of the hero is well con- 
 trafted with the diminutive fize of his friend. 
 
 The buft of Conflantine the Great. 
 
 Over the Door. 
 
 The buft of Pindar. 
 
 The buft of Sophocles, the excellent tragic 
 poet ; whofe works fupplied Ariflotlc with rules 
 for that fpecies of compofition. 
 
 A Sarcophagus. Meleager is reprefented as 
 returning thanks for his victory over the Caly- 
 donian boar. At his feet lies the head of 
 the animal ; on each fide Hand Atalanta and 
 Thefeus ; and at the extremities are fcen Caftor 
 
 * Sophoc, in Philodtet. vcr. 1461, 
 
 and 
 
N 
 
 26 A DESCRIPTION OF THE 
 
 and Pollux. The ftory to which this monument 
 alludes, will be the belt explanation that can be 
 given of it. 
 
 Oeneus, king of Oetolia and Calydon, offered 
 ufually the firlt fruits of his corn and domeftic 
 animals to Diana ; but, prompted by avarice, he 
 refolved to difcontinue this practice. The god- 
 defs, enraged at his negledt, fent a boar of im- 
 menfe fize to ravage* Calydon. The Itoutelt 
 warriors alfembled from all parts to attack and 
 deltroy it ; Meleager the fon of Oeneus, Jafon, 
 Thefeus, Caftor, Pollux, Atalanta, the daughter 
 of Schaeneus, and a famous huntrefs, and many 
 more. After the boar had flain many of its pur- 
 fuers, Atalanta had the good fortune to wound 
 him with an arrow ; and he was then difpatched 
 by Meleager. The hero, to reward her bravery, 
 beftowed on her the head and fkin of the animal. 
 This mark of attention offended the other hunters ; 
 particularly Plexippus and Toxcus, his mother’s 
 brothers. Thefe therefore Meleager put to 
 death. When his mother, Althea, was informed 
 that he w^as the murderer of his uncles, fhe en- 
 tered into a fecret refolution to revenge their 
 death. At the delivery of this prince, the Parcae 
 gave her a brand, to which his delliny was an- 
 
 Homer, Iliad r. Ovid. Metamorph. lib. 8. 
 
 nexed. 
 
' CURIOSITIES IN WILTON-HOUSE. 'I'J 
 
 ncxed. He was to die, when this piece of wood was 
 to be confumed. Althea, who had hitherto pre- 
 fer ved it with great care, now threw it into the 
 fire, and put a period to his life. 
 
 A fine antique Group ; Hercules engaging the 
 river Achelous. Dejanira, the daughter of 
 Ocneus, was demanded in marriage by Achelous. 
 Hercules made his fuit to her at the fame time ; 
 and a combat w as to decide, to whom Ihe fliould 
 belong. Achelous changed himfelf into various 
 forms, and among the reft into that in which he 
 is here reprefented ; his upper part a man, and 
 lower parts, fnakes. He embraces Hercules 
 about the middle, and looks on him as begging 
 mercy : the ferpents are afeending the hero’s 
 thighs. 
 
 The buft of Pompey. 
 
 The buft of Brutus, who expelled the Tarquins. 
 
 The ftatue of Livia, third wife to Auguftus : 
 her hand refls on a patera, to fiievv her piety. She 
 w^as worfliipped as Juno. 
 
 The ftatue of Fauftina, larger than life. She 
 was married to Antoninus Pius ; and dying, in the 
 third year of his reign, was deified by the fenate."*^ 
 
 * ^ Tertio anno imperii Jui uxorem Faujiinatn perdidit, qiire a 
 Senatu confecrata eft^ delatis Circenjibus atque Templo ^ Flami- 
 nicisy dff Statuis aureis atque argmteisj cu?n etiam ipfe hoc con- 
 cejjerity uf Imago ejus cundlis Circenjibus poneretur, Capitol, in 
 yio, 
 
 ALTO 
 
28 
 
 A DESCRIPTION OF THE 
 
 ALTO AND BASSO RELIEVOS, 
 
 IN THE 
 
 GREAT HALL. 
 
 Begin wilh ihe,upp^rmoJi on the Left-Hand. 
 
 A BASSO RELIEVO. Niobc’s children flain by 
 Apollo and Diana ; who are reprefented as (hoot- 
 ing them with darts. There are twelve figures 
 befides the deities, and fix horfes. From thefe 
 Jafl it may be conjedtured, that they had been 
 hunting in the forefl Cythseron. Niobe was 
 imprudent enough to boaft of the number and 
 beauty of her children, above thofe of Latona ; 
 ^nd this brought upon her the anger of Diana * 
 and Apollo. The number of them flain cannot 
 be well afeertained from ancient writers. The 
 
 * U tin am fupsrh^e turha tantalictos meo 
 Exijjet uteroy bifque feptenos parens 
 V, i^atos tulijfetn. Senec. in Medea, ver. 955. 
 
 prefent 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 29 
 
 prefent relievo feems to follow Homer,* who 
 makes it twelve. She bore this deflru6lion of her 
 offspring with fo much refignation, that the gods 
 turned her f by degrees into a ftonc. 
 
 Two' Cupids, one of them has broken the other’s 
 bow. 
 
 A relievo, which refers to fome of the Grecian 
 games. There are two figures with tridents, and 
 oppofite to them are men with their arms tied, 
 who appear to be wreftlers. Here alfo are other 
 figures, and a piece of architecflure. The whole 
 is fuppofed to reprefent the Athenian game of 
 Lampadedromia, or running by lights. 
 
 Curtius, leaping into the gulph : the flame 
 Tippears to afcend from it. The ftory is told by 
 Livy, and is well known. 
 
 * II. 2 . V. 6c6. Propertius has alfo made them twelve : 
 
 ISec tantu/n hiobe his fex ad hujia fuperba 
 
 Solicito lachrymans depluit a Sipylo. Lib. 2 , El. 20. 
 
 f Hkuctiz. Sv) Xvy^orxrav oAscSat 
 Ta,v (pfvyiav b-vcx,y 
 Tccirec?^, TittvTuj Trpoc 
 Ta-v, y.iaa-oq arcV7i<;^ 
 nsTpcctx iSXxca oxy.otcrc>. 
 
 Sophoc. in Antigen. 
 
 From this chorus Seneca has copied a part of his : 
 
 ■ ■ ' — tantalidos 
 
 Fumra mafris njiSrix numeras ; 
 
 Stat nunc Sipyli ‘vertice Jummo 
 Flebile faxu7ny 
 
 . Ft adhuc lacrymas marmoi'a frdant 
 uintiqua nc<vas ■ ■ ■ ■ - 
 
 In Agamem, v, 974. 
 
 Saturn 
 
A DESCRIPTION OF THE 
 
 30 
 
 Saturn with his Scythe. This relievo is very 
 ancient. The god exhibits the exadl pidlure of 
 old age. His limbs are unnerved, and therefore 
 appear longer than they really are; his face carries 
 marks of the moh; venerable antiquity; and every 
 part of him is expreflive of weaknefs and decre- 
 pitude. Mr. Spence fuppofes the feythe to have 
 been an inhrument of hufbandry, and to allude to 
 his firft introducing an improved manner of cul- 
 tivatingr the earth. 
 
 O 
 
 A Faunefs dancing a child on her foot. Thefe 
 were ideal beings, and conftantly engaged in rural 
 fports. It is for this reafon, perhaps, that they 
 are generally reprefented as attendants on Bacchus. 
 Our Faunefs evinces how much flie is interefted' 
 in her innocent amufement, by the pleafure dif- 
 fufed over her countenance. She has a tail,* 
 which is a mark of her being a woodland divinity. 
 The relievo is of red Egyptian jafper; it is on a 
 ground of oriental tranfparent alabafler, and has 
 a frame of ancient marble. 
 
 Four boys eating grapes. 
 
 • Ovpotq fays Lucian in Bacch. 
 
 “ Cet attribut (une queue) m’a determine a la regarder 
 “ comme une divinite champetre.” Cayl. tom. 3. p. 77. — 
 Quant a Panciennete de la reprefentation des Faunes, dont 
 Pefpece ne’ft defignee que par une queue terminee par des 
 ** grands polls,’’ Cayl. tom. 5, p. 165. 
 
 En- 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 31 
 
 Endymion afleep, and Luna defcending to 
 him. By him is a belt, a horn, and a hunting 
 fpcar. Luna or Diana in a chariot appears above 
 in a cloud : in her left hand fhe holds a bow, and 
 her right is llretched out to the fhepherd. En- 
 dymion was extremely fond of hunting; and it 
 was from this circumftance that he became the 
 favourite of Diana. f On a fine cornelian, in the 
 cabinet of Baron Stofehe, J we fee him holding 
 in one hand a bow and arrows, and the other 
 rdling on a hind. 
 
 A Bafs Relief, fuppofed to exhibit the cave 
 where Calypfo entertained Ulyffes. Homer § 
 gives the following account of this tranfadtion : 
 
 * The learned Palmerius obferves a contradidion in Paufa- 
 nias’s account of Endymion ; as that hiftorian mentions him 
 fometim.es as the fame perfon, and at others as different ; Eliac. 
 Sylburg, 287, 288. He therefore conjectures there were two 
 of that name, Dicendmn ejly ut puto cum <veritate, alium fuifft 
 Endyinioncm regem Elidis, alium 'vet'o pajioremy illwn celebratum la 
 Latmo monte, 
 
 Exercit p. 392, 
 
 f Seneca alludes to this amour : 
 
 Jlrfit obfcitri dea clara mundi 
 Nodte dejerta, nitidofjue fratri 
 Tradidit currus aliter regendos. 
 
 Hippolit, ver. 31 1, 
 
 I Deferip. p. 83. 
 
 ^ n? ufct (puytir^x<d r,yvi^ctr(i Dsfltwy 
 
 Kctf7T£X.?^l/A,CtJ;. 
 
 i^sy oi y7\x^v^ny Ssoj rloe nai anvjp. 
 
 OdyfT. 5. ver, 11, & fequent. 
 
 Ulyffes, 
 
32 
 
 A DESCRIPTION OF THE 
 
 Ulyffes, conducted by the goddefs, came to a 
 cave hollowed* by art, and was there placed on 
 a feat from whence Mercury had arifen. The 
 nymphs then laid fuch victuals before them, as 
 mortals are not ac'cu domed to eat. She fat op- 
 pofite to him, and her attendants ferved them with 
 needar and ambrofia. 
 
 Saturnf crowning Arts and Sciences. There 
 arc three children as Genii, who affiO; with the 
 fy mbols of Aflronomy, Sculpture, Painting, and 
 Mulic. 
 
 * TXoctpvfov, hollowed by art, in oppofition to thofe which are 
 natural, and colder and more humid, and confequently not fo 
 habitable. How any perfon who ever read Homer’s account of 
 the limplicity of ancient times, could dream that architeflure 
 was then advanced to a date of perfection, is amazing. Yet 
 an old catalogue deferibes this cave as a mofi beautiful ruin of 
 archifeSlure, In thofe ages a goddefs had no other dwelling 
 than a grotto, probably made by herfelf or her companions. 
 
 * f Tibullus, in the following verfes, alludes to the civiliza- 
 tion introduced by Saturn : 
 
 bene Saturno nji^ebant rege prius, quam 
 ‘Tellus in longas ejl patefada -vias. 
 
 Kondum caruleas pinus conte?npferat undaSf 
 Effufutn njcntis pra:hueratque fnum, 
 
 Elec <vagus ignotis repete?zs compendia terris 
 Prefjerat externa naajita mcrce ratem ; 
 llJo non n)alidus fubiit juga tempore taurus^ 
 
 Non domito freenos ore momordit equus^ 
 
 Non do?nus ulla fores habuity non fixus in agris 
 i^i regerit cert is fnibus arua lapis. 
 
 Ipfa; mella dabunt quercuSy ultroque ferebant 
 Obuia fecuris ubera lad is O'-ves, 
 
 Noti aciesy ?icn ira fuit, non bell a nec enfeSy 
 Immiii fee^us prefer at arte faber. 
 
 Jupiter 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 33 
 
 Jupiter holding Bacchus to fuck Juno. The 
 god appears diffident of his jealous confort; and 
 it is for this reafon that he holds the child himfelf. 
 
 Britannicus, the fon of Claudius by Meffalina. 
 It is of red Egyptian jafper, on a ground of green 
 marble. This unfortunate Prince was born to 
 empire; but, by the craft of Agrippina his mo- 
 ther-in-law, was difinherited, and Nero fubftituted 
 in his place. Yet, not contented with taking 
 away his patrimony, his enemies alfo deprived 
 him of his life.'*^ 
 
 Cupid fucking Venus, and Mars fitting by richly 
 dreffed. At the bottom is a dog attacking a cat, 
 and two doves. 
 
 Silenus held on anAfsf by drunken Baccha- 
 nals. At a diffance Venus lies afleep, and Cupid 
 is covering her with part of her garment. There 
 are alfo a number of boys in different poffures. 
 
 * Non puo farji a meno di compajjionar queflo infelicijjimo prin- 
 cipe : ejjend'* egli nato all impero ; per t* injidie d^ Agrippina moglie 
 di Claudio, gli ne fu tolto il diritto e data ingiujiamente a Nerone ; 
 cui non contento di anjernelo fpogliato, ‘nolle anche torgli con il ‘veleno 
 la '-vita, Tef. Brit, p. 185, 186. 
 
 f Thus the poets reprefent him : 
 
 — Bacch^e fatyrique fequuntur, 
 
 ^uique fenex ferula titubantes ebrius artus 
 
 Su/iinet, et pando non fortiter haret afello, Ovid. 
 
 See Orph. Hymn, in Silen. and Lucian, in Confii. Deor, 
 who gives an accurate defcription of this grotefque deity. . 
 
 E 
 
 Britan- 
 
J4 
 
 A DESCRIPTION OF THE 
 
 Britannicus’s Junia. It is of red Egyptian 
 jafper. 
 
 A mofaic, reprefenting the gardens of the Hef- 
 perides,* which were lituated in the extreme parts 
 of Ethiopia. The precious fruit f produced 
 there, was not only guarded by the daughters of 
 Hefperus, but by a dragon or ferpent alfo. One 
 of the labours impofed on Hercules, was the pro- 
 curing fome of this fruit; and he is here repre- 
 fented as having accompliflied it. J He is feated 
 
 * Thus Virgil defcribes them : 
 
 Oceani finem juxta^ folemque cadentem, 
 
 Ultimus jEthiopum locus eji : iibi maximus Atlas 
 Axem htimero torquet Jiellis ardentibus aptum, 
 
 Hinc mihi Majfylce gentis monjirata facerdos 
 Hefperidum templi cujlos, epulafque draconi 
 
 dab at y et facros fer<vabat in arhore frudlus, 
 
 lib. 4. 
 
 rifipai7;v Bv- yunji, ‘TrpoTtxp ^iyv(puyuv, 
 
 Dionyfii Perieg. 
 
 -}- Pojl hcecy ndortiLS nemoris opulenti domos 
 A ur if era vigilis fpolia ferpent is tulit, 
 
 Senec. Her. Fur. 
 
 BVQCfxa, uxA AthenjEi. lib. 3. cap. 7. Apples 
 
 of an agreeable flavour, but not to be eaten, 
 
 t Lucian has given a full defeription of this flory : 
 
 , , . — Fuit aurea fl<vay 
 
 Di^itiifque gratis et fid^o germme rami : 
 
 Virgineifque chorus, nitidi cujlodia luci ; 
 
 Et nunqua?n fomno damn at us lu?nina ferpens, 
 
 Robora complexus rutilo curuata ?netallo. 
 
 Abftulit arboribus pretium, nc7norique labore?n, 
 
 Alcides ; pajjufque inopes fne pondere ramos. 
 
 Ret tulit Argolico fulgent ia poma tjranno. 
 
 Lib, 9. V. 367. 
 
 on 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 35 
 
 on a ftock of one of thofe trees on which were the 
 golden apples ; the ferpent is twifted round it, 
 and his head touches that of the hero. Hercules, 
 in one hand, holds his club ; in the other a quiver ; 
 and the lion’s fkin appears at one fide. Oppofite 
 to him {lands ^gle, one of the Hefperides. She 
 is very beautiful, and has a becoming head-drefs. 
 Her cloathing is graceful, and her breafts half 
 naked. In one hand flie holds an apple, and in 
 the other a branch of the tree, with three apples 
 on it. She looks at the hero with a countenance 
 exprefiive of love and admiration. 
 
 There is fomething extremely beautiful in this 
 mofaic ; and it accords perfedlly with the repre- 
 fentations of ancient writers. 
 
 A Bacchanal, filling a bafket with grapes. 
 
 Remitalces, king of Thrace. 
 
 A relievo, fuppofed to be taken from a temple 
 of Bacchus. The Thyrfus has the ufual addition 
 of grapes, and a vine flioots from the bottom. 
 
 Venus on the fea, drawn by two dolphins : two 
 Cupids attend her. Above is her chariot drawn 
 by two doves.* 
 
 The three Graces, cloathed : Aglaia, Euphrofyne, 
 and Thalia. 
 
 Perque le-ves auras junSHs in've^a columhis 
 Lift us adit ludrens, 
 
 Ovid.^Metam. lib. 15. 
 
 E 2 
 
 Clelia. 
 
3 ^ 
 
 A DESCRIPTION OF THE 
 
 Clelia. In this relievo there are thirteen wo- 
 men and four horfes. They are in different 
 adlions : fome are waffling themfelves, and others 
 are wading in the river. Romulus and Remus, 
 with the wolf, are on the banks of the Tiber, 
 which is the river here reprefented. It has been 
 conjectured, and with great .probability, that this 
 relievo refers to the efcape of the Roman virgins 
 from Porfenna's camp; which they effected by 
 fvvimrning acrofs the Tiber. 
 
 Silenus drunk upon an afs. There are alfo a 
 variety of other figures. 
 
 The rape of Europa.'’^' She is on a bull, which 
 is fwimming in the fea ; his legs end in fins. — 
 There are dolphins and fea-deities about them. 
 
 Galataea, the nereid, riding on the fea in a 
 fliell drawn by dolphins. She was, according to 
 Homer,t the daughter of Nereus and Doris. — 
 It may appear doubtful, whether this relievo may 
 not relate to Venus as well as to Galataea. 
 
 Two Cupids and four boys at play. 
 
 Cupid, on a fea-horfe, blowing a trumpet. 
 
 * 'Jamque deus pojita fallacis imagine tauri 
 confejjiis eraty didiaaque rura tenebat, 
 
 Ovid. Met. lib. 3. 
 
 See an elegant account of this amour in one of Lucian’s 
 Dialoguesr 
 
 f Iliad 3. 
 
 Diana, 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 37 
 
 Diana, with a flag,* and two dogs. She is 
 fitting ; the flag is clofe to her, and has a collar. 
 
 1 Bacchanals. There are eight figures, befides 
 a dog and a goat. 
 
 Ariadne and Thefeus. She appears reclined 
 under the fhadow of a tree. Oppofite are fome 
 men on foot, and one on horfeback. 
 
 Sella Guru) is ; or, the chair in which the Roman 
 magiftrates fat, when carried in a chariot. It is 
 all of iron, except the feat and back, and weighs 
 1 50 pounds. 
 
 Lt the Gallery of the Great Hall, 
 
 There are feveral fuits of armour, difpofed in 
 niches. One of them belonged to William, Earl 
 of Pembroke, who commanded the Englifli forces 
 at the battle of St. Quintin; another to the Con- 
 ftable Montmorency, taken prifoner there ; and 
 another .to^the Duke of Montpenfier, alfo taken 
 prifoner there. 
 
 Queen Mary, having declared war againfl 
 France, Philip, her hufband, paffed over to Calais, 
 
 * Kca ya^ ts cch ro|a, kch sptztpsn'. 
 
 Horn. hymn, in Dian. 
 
 Montium cujlos nemoriimq^ue n)irgo. Horat. Car. 1. 3 . 
 
 Calimaclius reprefents her drawn by flags. 
 
 £3 
 
 and 
 
38 A DESCRIPTION OF THE 
 
 and from thence into Flanders, where he com- 
 menced hoflilities. Lord Pembroke was ap- 
 pointed captain general, Vifcount Montacute 
 lieutenant general, the Earl of Rutland marfhal, 
 and the Earl of Leicefter mafter of the ordnance. 
 The Englifli army joined the Dukes of Savoy and 
 Brunfwick, and the Earls of Egmont, Horn, and 
 Mansfield, who were laying fiege to St. Quintin.* 
 Admiral Coligny defended the fortrefs, but with 
 a fmall garrifon. The Confiable Montmorency 
 haftened to throw fuccours into it, contrary to 
 the advice of the Marfiial St. Andre. In this at- 
 tempt he was prevented, and a battle enfuing, 
 the French received a total defeat. Among the 
 prifoners were Montmorency and St. Andre, the 
 Dukes of Montpenfier and Longueville, Admiral 
 Coligny, and many officers of inferior quality.— 
 The Duke of Anguien, and Count Turreine were 
 among the number of the flain. 
 
 Here are alfo fome fpears, and bows and arrows, 
 which were taken from the French on this oc- 
 cafion. 
 
 A whole length of the above-mentioned Earl of 
 Pembroke, by Hans Holbein. This picture mufi: 
 
 * Hollingfhed, p. 1768, Henault, Hift. Cliron. de France, 
 tom. 2, 
 
 have 
 
CURIOSITIES IN WILTON-HOUSE. 39 
 
 have been executed before the French expedition, 
 as that painter died in 1554. 
 
 A pid:ure of Capt. Bernard, by J. E. Eccard. 
 
 jit the Bottom of the Stair-Case^ 
 
 (PAINTED BY VAN REISSCHOOT), 
 
 There is a cololTal flatue of Hercules. In one 
 hand he holds his club, and in the other the 
 golden apples. Over his flioulders is the lion’s 
 pAin. The exprefRon of the mufcles is very great. 
 It is feven feet ten inches high."^ 
 
 Near this ftatue is a tomb of white marble, fix 
 feet four inches long, and two feet broad : the 
 height is two feet, including the cover, which is 
 two inches and a half thick. The whole is or- 
 namented with relievos. It was found, it is faid, 
 near Athens, by fome travellers, who brought it 
 into France, as a prefent to Cardinal Richlieu ; 
 but the Cardinal dying in the mean time, it came 
 into the family of Rofiains, and from that into 
 Monf. Foucault’s. For thefe particulars we are 
 indebted to Father Montfaucon ; and as this au- 
 thor has alfo given an explanation of the figures 
 
 * The Irifh Giant, lately Ihewnin London, was full four 
 inches taller. 
 
 E 4 
 
 on 
 
40 A DESCRIPTION OF THE 
 
 on the monument, we fliall extradl from him what 
 is moft interefting in it. 
 
 Ceres, being in fearch of her daughter Profer- 
 pine, came to Eleufis : and her difconfolate con- 
 dition being obferved by Celeus, king of the Eleu- 
 linians, he invited her to his houfe. At this time 
 his fon Triptolemus was reduced by licknefs to 
 the laft extremity; and the goddefs having re- 
 ftored him to health by a kifs, took upon her the 
 care of his education. She is reprefented as fit- 
 ting; her head-drefs ends in a peak, and half her 
 head is covered with a veil : file holds a crooked 
 flaff, and a ferpent is near her. The four perfons 
 about her are of Celeus 's family. Triptolemus is 
 in a chariot, which is drawn by two dragons a- 
 breafi; : beyond him are women with torches, as 
 they are ufed in the myfieries of Ceres. The 
 perfon near the goddefs is Eumolpus, whofe de- 
 fcendants were Hierophants* for above twelve 
 hundred years. A woman holds a fickle, and a 
 child ears of corn, to fiiew that Ceres firfl: in- 
 firu(£led mankind in the art of agriculture. Be- 
 hind is Bacchus with grapes and a crown of vine- 
 leaves ; a man holding a whip ; and Proferpine 
 driving a chariot, under which lies a bacchanal. 
 
 * See Earner’s Mythol, book iv.'ch, xi. 
 
 On 
 
CURIOSITIES IN WILTON-HOUSE. 4I 
 
 On the lid of the monument are reprefented 
 the four feafons, by as many women, attended by 
 children or genius’s, and proper fymbols. At 
 each end are two griffins and a tripos, the fym- 
 bols of Apollo, denoting that he was the tutelar 
 god of Epaphroditus. The infeription is in 
 Greek. 
 
 Upon the tomb there (lands a cololTal bull of 
 Alexander the Great. 
 
 A little flatue of a crouched Bacchus, with a 
 lion’s fkin. 
 
 When Ariftophanes, in his comedy of the 
 Frogs, makes Bacchus defeend into the i.ifernal 
 regions, he gives him the club and lion’s (kin 
 of Hercules. It is not, however, from this 
 idea that the prefent figure is taken. It appears 
 to be rather in the Egyptian fiyle. The artills* 
 of that country, either from the groifnefs of their 
 conceptions, or to render their works immortal, 
 aimed confiantly at folidity; and, for this reafor, 
 joined their fiatues to blocks, or gave them Inch 
 a pofition, as fecured them from injuries. 
 
 A fmall Tomb for Children, wita Cupids and 
 ba(kets of flowers. ' 
 
 * C’eft en confequence de ce principe, qa’lls ont toujoars 
 
 reprefente accroupis les I'phinxes et les aacres aniruaux.” 
 Cay I. tom. i.^pag. 5, 
 
 In 
 
42 
 
 A DESCRIPTION OF THE 
 
 In the FIRST W IN DOW. 
 
 A ftatue of Mercury. He has his petafus, 
 talaria, caduceus, and purfe. The two firft mark 
 his fwiftnefs, as the meffenger of the gods : with 
 his caduceus he conduced departed fpirits to the 
 infernal regions : his purfe f was a fymbol of his 
 thievifli difpofition. 
 
 Saturn with a Child : he looks flernly at it. 
 The notion of Saturn’s inhumanity of devouring 
 children, is derived from the remoteft antiquity. f 
 
 '{tto e^ti;cc7o kixXoc, TTEOkAa 
 
 EtAero pocQ^ov. IfoiTl. OdylT. 
 
 Ei primuyn pedihus talaria Jiediit 
 
 Aurea, Virg. 4. 
 
 ^um njirgam capit ; hac animas ilk e'vocat orco 
 Pallentesy alia fub trijiia Tartara mittit. Virgil ib. 
 
 •J- Koii tot’ eysivccro ttcoi^cc, TroXurpoTrov cc.i[/.v7v3{/,rir^Vf 
 
 Av}\<;vp, Eha, 7 Y,po(, Cofcjy;— — Hoin, Hym. in Merc, 
 
 Some afcribe thefe hymns to Orpheus. 
 
 J We fhall begin with the teftimony of Heliod, 
 
 T&J oye UK aAao?Ko7rt>jv «AAa ^oasvcov 
 
 £8? y.uruTrms, Per^v wevOo^ aAajov. TheOg. 
 
 2. Lycophron. 
 
 — Toy avTt TTonov eytXcc^uq Trsrpov 
 Ev T'MOKoAAot? c'Tra.p'/ocvoiq EiAs/^si/oy, 
 
 Tvfdooq ysyui; yevTOivpog U[xo(ppuv gTTopoic. CafTand, 
 
 3. The Sybilline verfes. 
 
 flTTore K£v Pea, tjhtev , vapa rr)v ^\y.aOeyTo 
 Tiraveg, y.ai rey.va ^ieg'7r0v appeva •navra. 
 
 4. Lucretius. 
 
 Ne Saturnus eum malis mandaret adeptuSy 
 jEternumque darety mairi fub pedtore njulnus. 
 
 Seneca, Macrobius, and many other authors might be cited 
 to the fame purpofe. 
 
 Hefiod, 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 43 
 
 Hcfiod, the oldefc Greek writer, has obferved, 
 that Saturn, fearing to be dethroned by his 
 fbns, devoured them. Lycophron, a man mold 
 attentive to ancient traditions, mentions a (lone 
 given to him inftead of a child. Whatever 
 might have been the origin of this fable, that 
 Saturn devoured his children, the matter is doubt- 
 lefs as clearly exprefled as any other circumftance 
 in ancient mythology. 
 
 A flatue of Jupiter, with ram's horns, and a 
 ram on his fhoulders. When Typhon purfued 
 the gods, they affumed various fhapes, in order 
 to conceal themfelves: Jupiter, it is faid, alTumed 
 that of a ram. Paufanias f intimates, that the 
 worfhip of Jupiter Ammon was very ancient in 
 Greece; and it was certainly derived from the 
 Egyptians. 
 
 In the SECOND Window. 
 
 The flatue of Bacchus, clad with an entire 
 fkin, the head of which appears on his breafl. — 
 This is the Nebris with which he is ufually 
 clad. 
 
 * Diod. Sic. lib. i. f Eliac. 
 
 J YlfUTCcq ©'/jCa? TV)q ^B yviq 
 
 Ai/uMXv^oc., NtCftv B^cx,-^a,q 
 
 &vf>qov TE Biq y.ic 7 < 7 ivov Qs^oq. Eurip. in Bacch. 
 
 So he is deferibed by Lucian in Bacch. and by Seneca ; 
 
 Nebride facra pracindia latus. In Oedip. ver. 442, 
 
 A Shep* 
 
44 
 
 A DESCRIPTION OF THE 
 
 A Shepherd playing on a flute ; and a Goat 
 (landing by him. 
 
 The flatue of the Fofter-Father of Paris, with 
 a Phrygian bonnet, and a coat of (kins. 
 
 When Hecuba had conceived Paris, (he dreamed 
 that fhe would bring forth a torch, whereby Eu- 
 rope and Afla would be fet in flames. To prevent 
 this, (he refolved to expofe the child, and for this 
 purpofe gave him to the (hepherd Archelaus ; 
 who brought the boy home,_and educated him as 
 his own fon. This is the fofter-father of Paris. 
 The Phrygian bonnet fell down the neck a con- 
 fiderable way, and enveloped it, and the chin to 
 the lower lip. So Virgil deferibes it.* 
 
 * 
 
 Mcponla fnentum mitra crinemque jnadentem 
 
 Suhnixus* Virg, iEneid. 4. 
 
 LORD 
 
•CURIOSITIES IN WILTON-HOUSE. 
 
 45 
 
 LORD HERBERT'S 
 
 DRESSING-ROOM and CLOSET. 
 
 (very fine), by Snyder. 
 
 The Woman taken in adultery, by Jennari. 
 
 A Flanders Nobleman hawking, by Vanfomer. 
 
 Thefe three pidlures were left to the late Earl 
 by the Prince of Hefpeinfieir. 
 
 Lord Chatham, by Brompton. 
 
 Three equefirian pidlures of the late Earl, and 
 feveral of his fcholars on horfeback, viz. Lieute- 
 nant Colonel Floyd, Captain Kinfey, with the 
 prefent Earl, when a fchool-boy, on horfeback 
 alfo. By Morier. 
 
 A portrait of General di Paoli, by Vincenzino. 
 
 General di Paoli fitting, w ith Corfican foldiers 
 flanding round him, and his favourite dog Cofacco. 
 
 Santo Copertini, a modern miracle, by Vin- 
 cenzino. 
 
 The bufl: of Annius Verus. 
 
 I// Closet, 
 
 The buft of Plautilla. 
 
 LADY 
 
46 
 
 A DESCRIPTION OF THE 
 
 LADY PEMBROKE’S 
 
 SUMMER DRESSING-ROOM. 
 
 T'he painted glafs in the Gothic window is by 
 Price, to whom parliament had granted five thou- 
 fand pounds, for having difcovered the ancient 
 method of ftaining glafs ; but he did not live to 
 receive the reward, dying a very fhort time before 
 the intended day of payment. 
 
 Over the Door, 
 The buft of a young Cupid. 
 
 LORD 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 47 
 
 LORD PEMBROKE’S 
 
 DRESSING-ROOM and BED-CHAMBER. 
 
 Over the Chimney, in ^ Niche. 
 
 A STATUE of Ceres ; fhe holds a cornucopia 
 in her right hand, in her left a poppy, and fome 
 cars of corn ; hie invented agriculture, and firft 
 introduced the ufe of wheat. Before her mankind 
 lived on acorns, and the fpontaneous produce of 
 the earth. 
 
 The buft of Caldus. 
 
 A piece by Humlkirk. 
 
 A portrait of Childers, from the life. 
 
 Duke Ferdinand of Brunfwick. 
 
 Lord Herbert, by Creufe. 
 
 Lady Charlotte Herbert, by Mr. P. Hoare, 
 
 Captain Auguftus Montgomery, by Spec. 
 
 Mr. Garrick and Voltaire, Bougelat and Rouf- 
 feau, &c. 
 
 In this room is an Arch, fupported by two fine 
 blue marble columns in one piece. 
 
 PAS- 
 
48 
 
 A DESCRIPTION OF THE 
 
 PASSAGE 
 
 TO THE 
 
 LIBRARY. 
 
 T he bull: of Ptolemy, king of Syria, and the 
 brotner ot -Cleopatra. 
 
 The ftatiie of Marcus Antonius the orator. 
 Cicero* fpeaks highly of him, and exprefTes the 
 vehemence of his eloquence by a beautiful fimi- 
 litude. 
 
 f' The ftatue of a Boy, holding the golden apple 
 in his right hand. 
 
 The buft of Phocian, the famous Athenian 
 general. 
 
 The buft of Dollabella. 
 
 Hercules killing the ferpents, a group. 
 
 ♦ Genu mehercule M. Antonium <vidty cum contente pro fe ip/e 
 lege n)aria dicerety terram tangere : ut enim baliftce lapidum ^ 
 reliqua turmenia leloruniy eo gra^iores emijjones habent, quofunt 
 content a atque adduct a ^oehementiuSy 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. 49 
 
 The buft of Afinius Pollio. The merit of 
 this Roman raifed him to the firft offices of the 
 Rate. He was conful with Domitius Calvinus, 
 and enjoyed the honor of a triumph for the con- 
 queft of Dalmatia. If his reputation in arms was 
 great, in letters it was greater. Horace alTures 
 us he wrote orations and tragedies with fuccefs. 
 Virgil has infcribed an eclogue to him, and other 
 writers have mentioned him with applaufe. 
 
 The buft of Coriolanus. 
 
 .F 
 
 THE 
 
£o 
 
 A DESCRIPTION OF THE 
 
 THE LIBRARY. 
 
 On a Pedestal. 
 
 A YOUNG Bacchus fmiling, and grapes growing 
 up a tree. 
 
 The ftatue of Adonis. 
 
 Over the Doors, 
 
 The buft of Nerva. The Romans, wearied 
 with the tyranny, and difgufled with the wicked- 
 nefs of Domitian, bellowed the empire on Cocceius 
 Nerva, who was admirably qualified for that im- 
 portant trufl;.'^ 
 
 The buft of Gryphinas, wife of Ptolemy 
 Euergetes. 
 
 In Window, 
 
 The ftatue of Ifis, with Ofiris, of Theban iron- 
 ftone, which is much heavier than marble. 
 Plutarch t has informed us, that when Ifis found 
 
 * Se nihil commijijfe toto principatu, quo minus pojjet pri^atusy 
 imperio depofito tuto ui^ere, was a faying of his, and is worthy 
 of a great prince. 
 
 f De Ifide & Ofiride. 
 
 the 
 
CURIOSITIES IN WILTON-HOUSE. £l 
 
 the body of Ofiris floating in a coffin on the fliores 
 of Phoenicia, fhe drew it to land with a net and a 
 grappling iron. 
 
 The buft of Heflod. 
 
 The buff: of Phoedra. 
 
 A beautiful white marble table, ten feet eight 
 inches long, four feet fix inches wide, and four 
 inches thick. There is upon it a dying Gladiator. 
 He is fitting, and refting on his right hand. The 
 wound appears, and his approaching dilTolution 
 is perceivable in his countenance. It is a copy 
 by Verepoil, from a celebratd figure at Rome. 
 
 An alto relievo of a veftal Virgin. The follow- 
 ing infcription is on the relief ; 
 
 Veflse Sacrum. 
 
 C. Pupius Firminus et 
 " Mudafena Trophime 
 Jani Parthici 
 " Divi Nervae. Pronep. 
 
 " T. iTllio. Hadriano. 
 
 ** Antonino. Aug. Pio. 
 
 Pont. Max. Trib. Poteft. VIL 
 Imp. II. Cof. III. P. P.’' 
 
 She holds in her right hand a fimpulum, and 
 a fpear in her left ; the former is the fymbol of 
 her prieflhood. 
 
 Fa 
 
 PIC- 
 
52 
 
 A DESCRIPTION OF THE 
 
 PICTURES. 
 
 The late Sir Charles Hotham, by Richardfon. 
 
 Barbara, fecond wife to Thomas, Earl of 
 Pembroke. She was daughter of Sir Henry 
 Slingfby, Bart, and widow of~Lord Arundell 
 of Trerice, by whom fhe had a daughter. Lady 
 Barbara, married to William Dudley North, Efq. 
 who is here with her mother. By Sir Godfrey 
 Kneller. 
 
 The late Duke of Montague, by Dahl. 
 
 Lady Rockingham, daughter of Sir George 
 Manners, and lifter to the Earl of Rutland. She 
 was married to Lewis Watfon, firft Lord Rock- 
 ingham. By Sir Peter Lely. 
 
 Four of the Royal Family by Zimmen. 
 
 Mary, laft wife of Thomas, Earl of Pembroke, 
 by Jervoife. 
 
 Buildings perfpedlive, and figures, by Marco, 
 and Sebaftian Ricci. 
 
 An Old Woman teaching fchool, by Oftade. 
 
 A Fair, by Cafteels. 
 
 Venus leading Cupid and the Graces, to fee 
 Vulcan forging arrows for Cupid ; Vulcan, who 
 is lame, refts his knee on a wooden leg. There 
 are ten figures ; the drawing and colouring arc 
 admirable. By AlefiT. Turco Veronefte. 
 
 Drawing 
 
CURIOSITIES IN WILTON-HOUSE. 53 
 
 Drawing of a Young Woman, by Ludovico 
 Caracci. 
 
 Drawing of St. Andrew going to the crofs, by 
 Guido Rheni. . 
 
 A Saint, by Carlo Dolci. 
 
 A drawing of the Molten Calf, with a number 
 of figures, by Tintoretto. 
 
 Drawing of St. Stephen ftoned, by Barocci. 
 
 Drawing of Leo X. by Raphael. 
 
 Lord Cromwell, by Holbein. 
 
 A favourite Dog of the late Earl of Pembroke’s, 
 called Negro, by Wotton. 
 
 Perfpeclive Views of Lincoln’s Inn Fields and 
 Covent Garden, by Inigo Jones. 
 
 Pidlure of Vandyke, by himfelf. 
 
 Broughton, in the adlion of boxing ; an original 
 picture from the life. 
 
 On a table, faid to be a petrifaeftion of Ihells, is 
 a bufl: of Ifocrates, the orator. 
 
 The bufi: of Livy, the Roman hiflorian. 
 
 A Greek Ratue of a River, reprefented by a 
 Naiad Beeping on the bank. A bird holds a 
 lizard by the tail : another lizard is going away, 
 and a fnail is near it, exacT:ly like the fnail of Pa- 
 leftine. A bird like a duck has a ferpent in its 
 mouth. The river alluded to is the Rhinocolura. 
 The fiatue, we fhould imagine, reprefents the 
 Nile, and was the work of a Greek artifl. The 
 fymbols have a relation to Egypt, and will not 
 
 F 3 apply 
 
54 A DESCRIPTION OF THE 
 
 apply to any other country. The bird, that has 
 the ferpent in its mouth, is not a duck, as we 
 may perceive from the fliape of its beak. It is 
 probably the Ardea Ibis of Haflelquift, or the 
 Ibis of the ancient Egyptians. 
 
 This ingenious* traveller gives us the following 
 account of it : — It is of the fize of a raven hen. 
 It is found in the Lower Egypt, and is frequently 
 feen during the overflowing of the Nile, in 
 thofe places which the water does not reach, and 
 afterwards in places which the water has de- 
 ferted. It feeds on infedls and f ogs, which 
 abound in Egypt during the inundation of the 
 Nile, and for fome time after; and, on this 
 “ account, it is of great fervice to the country. 
 “ I am inclined to believe this bird to be the 
 ** Ibis of the ancient Egyptians, rather than any 
 other : i . Becaufe it is very common in Egypt, 
 and alrnofl peculiar to that country. 2. Be- 
 caufe it eats and deflroys ferpents, 3. Becaufe 
 “ the urns found in the fepulchres contain a bird 
 “ of this iize.*' 
 
 On a Porphery Table, (lands an eqiieftrian 
 (latue of Marcus Aurelius. This ftatue was erected 
 on a place before the church of St. John de La- 
 teran, becaufe the emperor was born in a houfe 
 near that fpot. It w^as allowed, however, to fal^ 
 down, and was afterwards fet up in the Capitol ; 
 and a public office has been eredlcd under the 
 
CURIOSITIES IN WILTON-HOUSE. 55 
 
 name of Cuftode del Cavallo. The fenate of 
 Rome gave to the chapter of St. John de Lateran 
 a nofegay, as a kind of homage or acknowledg- 
 ment of their ancient right to the ftatue. 
 
 A figure commonly fuppofed to reprefent the 
 river Meander, but it appears to us to be a 
 drunken Silenus ; he leans one hand on a panther, 
 the other holds a cup. 
 
 Buft of Anacharfis the Scythian philofopher. 
 
 Buft of Seneca. 
 
 Bull of Socrates. 
 
 In the FIRST Window, 
 
 A triangular altar, dedicated to Bacchus, re- 
 prefenting Bacchanals in different attitudes. Bac- 
 chus is there with grapes and a fnake. The fer- 
 pcnt is an attribute of many other deities. The 
 Bacchanals wore them as fillets round their 
 heads.* 
 
 The buft of Martin Foulkes, Efq. by Roubi- 
 liac. He fucceeded Sir Ifaac Newton in the Pre- 
 fidentfnip of the Royal Society; and publiftied a 
 curious book on coins. 
 
 The buft of Ariftophanes, the comic poet. 
 
 * Bacchus angues hahehant pro zonis cotnis implicatos. Natal. 
 Com. Mythol. lib. 5. 
 
 F4 
 
 The 
 
56 
 
 A DESCRIPTION OF THE 
 
 Thebuft of Sir Andrew Fountain, by Roubiliac. 
 This gentleman was particularly fkilled in Eng- 
 lifh antiquities. 
 
 A Square Altar. It is fuch a one as the Hea- 
 thens had for domeftic ufe. On the four lidcs 
 are four deities ; Jupiter, Juno, Diana, and Mars. 
 Upon it is the ftatue of a Pricft holding a hog, 
 and about to facrifice to Ills. We fliould rather 
 imagine, that the priefl and hog belong to the 
 Etrufeans. In that part of Cifalpine Gaul 
 called Etruria, fays the Comte de Ca} lus, the 
 earth, according to Strabo, produces fruits of 
 “ all forts, and particularly acorns in great abun- 
 dance : hence we every where behold large herds 
 ‘‘ of fwine ; and from thefe Rome draws much of 
 her fubfiftence. An animal, fo common and 
 profitable, naturally engaged the Etrufeans to 
 place it on their monuments. In religious 
 matters they likewife made ufe of it. With its 
 blood they fealed the treaties into which they 
 entered with neighbouring nations. It was alfo 
 “ facrificed on occafionsof marriage, being efbeem- 
 ed a proper fymbol of fecundity.*' This ac- 
 count is fo natural and well fupported, that it is 
 very probable the ftatue and hog refer to the re- 
 ligious tenets of the Etrufeans. The bonnet too, 
 it is to be remarked, is Etrufean. 
 
 The buff of Plato. 
 
 Thq 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 57 
 
 The buft of Homer. 
 
 ' The buft of Ariftotle. 
 
 The buft of Anacreon, the elegant Teian 
 poet, whofe compofttions will be ever admired 
 for delicacy of fentiment, and tendernefs of 
 palfton. 
 
 An Oriental Alabafter Table. There is upon 
 it, Cupid with wings, and Ganymede, a group. 
 The latter is playing on an inftrument with feven 
 pipes. Cupid liftens with attention : his arrows 
 and bow are under him. They reft againft a 
 laurel tree. 
 
 Over the Doors, 
 
 The buft of Sulpitia, a poetefs in the reign of 
 Domitian. 
 
 The buft of Libertas. 
 
 The buft of Domitia. 
 
 A ftatue of Pomona fitting with fymbols. 
 
 An urn of the emperor Probus, and his fifter 
 Claudia. 
 
 A fmall ftatue of Apollo. He leans on the 
 lyre, or cithara, of which he was the inventor.* 
 The lyre is placed in a tripod, round which a 
 ferpcnt had been twifted. This animal always 
 
 * Eh9 xtSapi? Ts (piXvi %cn K.xfjt,7tv><ee. 
 
 Xp>]iu r Aio{ wj/xerpa 
 
 Homer. Hymn, in Apoll. 
 
 appeared 
 
A DESCRIPTION OF THE 
 
 58 
 
 appeared, when the refponfes were made from 
 the Delphic oracle.^ On the baiTo relievo of 
 Condantine’s arch at Home; there is a ferpent in 
 the fame 'podure. The quiver of the god hangs 
 by him on a laurel, and his head is adorned with 
 a laurel crown. 
 
 A fmall datue of Orpheus. 
 
 The datue of Andromeda chained to a rock. 
 She was the daughter of Cepheus and CalTiopeia ; 
 and becaufe her mother beaded that die was more 
 beautiful than any of the inhabitants of the watry 
 element, the Nereids bound her in refentment to 
 a rock, to be devoured by a fea monder. Per- 
 feus, adided by the head of Medufa, dew the 
 moder,and after delivering the maid, married her. 
 The monder ’s head appears here.* 
 
 * Among Baron Stofehe’s gems is one reprefenting '' letre- 
 pkd d’ Apollo, avec un ferpent entortille autour.” Deferip. 
 
 f Ovid. Met. I. 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 59 
 
 THE CHAPEL. 
 
 On the Window are paint ed^ 
 
 ILLIAM, firft Earl of Pembroke, and his two 
 fons, Henry and Edward. In another pannel is 
 Lady Anne Parr, filler to Queen Catherine, fixth 
 wife of Henry VIII. Her daughter Anne is with 
 her, who was married to Francis Lord Talbot, 
 fon to George fixth Earl of Shrewlbury. 
 
 The bull of Libera. 
 
 Over the Chimney, 
 
 The bull of Mary Fitzwilliam, Countefs of 
 Pembroke. She was the eldelt daughter of Vif- 
 count Fitzwilliam, and one of the Maids of Honour 
 to her late Majefiy. Augufl 28, 1733, Ibe was 
 married to Henry, Earl of Pembroke, and was 
 mother to the late Earl. 
 
 THE 
 
6o 
 
 A DESCRIPTION OF THE 
 
 THE NEW DINING-ROOM. 
 
 A FRIAR and Nun, by Aldegraaf, as large as the 
 life; from the Arundelian colle(ftion. 
 
 A Nativity, by Triga. 
 
 The late Duke of Marlborough, by Reynolds. 
 
 A Fruit-Piece, by Mich. Angelo, called di 
 Battaglia.* We here fee none of the brilliant 
 tints, fo admired in the fruit and flower pieces of 
 the Flemifh fchool. 
 
 A Landfcape, by Zuccarelli- 
 
 Jupiter, Cupid, and Pfyche, by Giofeppe 
 Arigoni. Cupid complains to Jupiter, that 
 Pfyche would have killed him. This picfl;ure is 
 on copper. 
 
 The late Earl and Countefs of Pembroke, by 
 Hoare. 
 
 lA copy of Michael Angelo’s celebrated Bacchus 
 in the Grand Duke’s gallery; a compofition, 
 called Scaliola ; by Gori. 
 
 • He had this name from the excellence of his ftyle in 
 painting battles. 
 
 A Land- 
 
CURIOSITIES IN WILTON-HOUSE. 6l 
 
 A Landfcape, by Wilfon. 
 
 Three Nymphs bathing. Adlaeon is looking 
 at them. By Giofeppe dal Sole. 
 
 The portrait of Commodore Hervey, the late 
 Earl of Briftol, by Reynolds. 
 
 A Boy gathering Fruit ; called di Campidoglio, 
 by Mich. Angelo."^ 
 
 A Flower Piece, by Mrs. Cerjat. 
 
 Chrift in the Temple, bySalviati. 
 
 An old Woman, reading with fpedtacles, by 
 Rembrandt. 
 
 A Herdfman with Cattle, by Rofa di Tivoli. 
 
 A beautiful Landfcape, by Vernet. 
 
 A Winter-Piece, by J. Brueghel Velvet. 
 
 A Landfcape, with Hagar, Ifhmael, and the 
 Angel. Nicholas Pouflin executed the figures, 
 and Gafpar the landfcape. Judgement and force 
 of expreffion are the characSleriftics of the former 
 artifl ; richnefs of invention, and rapidity of 
 execution, thofe of the latter. 
 
 Two whole-lengths of Francis II. and Charles 
 IX. Kings of France ; by Fred. Zucchero. The 
 firfl: is dated 1559, thefecond 1560. 
 
 Fifh, and an old Woman giving a cat milk, by 
 Snyder. 
 
 * He was particularized by the name of Campidoglio, on 
 account of an office which he held in the Capitol at Rome. 
 
 A Car- 
 
62 
 
 A DESCRIPTION OF THE 
 
 I 
 
 A Carpet, and a large Boar’s Head, by Maltefe. 
 A Winter-Piece, with fnow, and many little 
 figures, and carriages going on the ice, by 
 Mumper. The figures are done by Brueghel, 
 the fon of Velvet. 
 
 A Fair, by J. Brueghel Velvet. 
 
 Chrift in the Virgin’s arms in the inn: the 
 draw appears below. There are three angels 
 looking on. By Carlo Maratti. 
 
 The Children of Henry VII. Arthur, Prince 
 of Wales; Henry, when three years old; and 
 Margaret, who married the king of Scotland. By 
 Hans Holbein, the father. 
 
 A Country Boy with a bird’s neft in his hand ; 
 and at a dillance a cow bemoaning her calf. By 
 Antonio Amorofi. 
 
 Cupid giving a boy fome fruit and flowers, by 
 Carlo di Fiori. 
 
 A Flower-Piece, by Mrs. Cerjat. 
 
 The Duke of Epernon on horfeback, by Van- 
 dyke."*" 
 
 * The moft capital of the works of Vandyke are in Eng- 
 land. At Blenheim, the portrait of King Charles I. in ar- 
 ** mour, on a dun horfe. At Houghton, a whole length in 
 armour. At Hampton-Court, the King in armour, on a 
 white horfe; his equerry holding his helmet. At Kenling- 
 ton, George Villiers, lecond Duke of- Buckingham, and 
 ** Lord Francis his brother. And at Wilton, the Pembroke 
 Family, a moft capital performance. Alfo, at the Marquis 
 of Rockingham’s, the celebrated pidure of Lord Strafford, 
 and his Secretary.’^ Pilkington’s Di»St. of Painters. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. 6j 
 
 The Reverend Mr. Woodroffe, by Hoare. 
 
 Bacchus on an altar in a wood ; there are feve- 
 ral inferior figures. The whole pi^ure is executed 
 with great fpirit, by Salvator Rofa. 
 
 Sir Andrew Fountaine, by Hoare. 
 
 A Holy Family, by Guercino. It belonged 
 once to Charles I. A copy was made from it by 
 old Remi. This pi(5lure is well executed ; but 
 the great art of Guercino confifted in exciting 
 terror. He was of a retired and melancholy dif- 
 pofition, and delighted to paint whatever was 
 gloomy and tremendous. 
 
 Bacchus and Ariadne, arguing earnefUy toge- 
 ther, by Fran. Mola. 
 
 A Landfcape, with many figures, fome dancing, 
 fome finging, by Watteux. He generally painted 
 his figures finely drefTed, and gave them loofe 
 genteel airs. 
 
 Thirty of the chief Reformers, by a difciple of 
 Carlo Maratti. Their names are on a flone in the 
 bottom of the landfcape. The attitude of Wickliff, 
 who preaches to them, is taken from a defign of 
 Raphael Urban, where Chrifl is preaching in the 
 defart. The bifliops here are in purple, the priefls 
 in black, and the martyrs in white, diftinguifhed 
 by purple and black about their necks. The 
 foreigners w^re rnoflly copied from pi(5fures be- 
 longing to the Eledor of Saxony; the reft 
 
 from 
 
A DESCRIPTION OF THE 
 
 64 
 
 from pictures in England. Copies of the origi- 
 nal pidlures at home and abroad were taken by a 
 German Proteftant painter, who was employed 
 for that purpofe by Thomas, Earl of Pembroke. 
 
 Two red Egyptian Granite Tables. 
 
 Over the Glasses, 
 
 The bull of Curius Dentatus, who, having ob- 
 tained a triumph for his vidiories over the Sabines 
 and other adjoining nations, retired to the 
 country to lead a private life. 
 
 The bull of the Emperor Otho ; who was the 
 firfl: that wore a peruke. 
 
 Over the y are the of 
 
 Thomas Earl of Pembroke, the collecftor of 
 thefe antiquities. 
 
 Lord Chancellor Bacon, who opened the paths 
 to the true method of philofophizing. 
 
 Sir Ifaac Newton, who, purfuing his deps, 
 made the mod; aftonilhing difcoveries concerning 
 nature, and her operations. 
 
 THE' 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 6s 
 
 THE HUNTING-ROOM. 
 
 TThe buft of Vibius Volutianus. 
 
 The buft of Antonia, the wife of Drufus Nero. 
 She was honoured by Caligula with the title of 
 Augufta. 
 
 The buft of Alexander Severus. On the death 
 of Marcinus, he was faluted Caefar by the fenate, 
 and afterwards was adopted by Heliogabalus. 
 When that prince was flain, Severus was faluted 
 emperor by the joint confent of the fenate and 
 people. He (hewed himfelf worthy of the em- 
 pire ; but was at laft murdered by the arts and 
 contrivance of Maximinus. 
 
 The bufts of Berenice, the wife of Ptolemy firft 
 king of Egypt, and of Berenice her daughter. 
 
 The buft of Julia, the daughter of Titus by 
 Marcia. She was married to Sabinus, but was 
 taken from him by Domitian, her uncle. 
 
 The buft of Fauftina, the third wife of Helio- 
 gabalus. 
 
 G 
 
 Over 
 
66 
 
 A DESCRIPTION OF THE 
 
 Over the Chimney, in a Niche, 
 
 A fine antique ftatue of Bacchus, with poppies 
 hanging from both fhoulders to the knees. It 
 does not appear to us that this circumftance has 
 been obferved by any antiquarian. It probably al- 
 ludes to that part of his ftory mentioned by Or- 
 pheus, which fuppofes his being* afleep with Pro- 
 ferpine for three yeaTs, and his being at laft 
 awakened by the noife made by her nymphs in 
 dancing. The poppy was facred to Ceres and her 
 daughter, and may very well exprefs the company 
 he was fo long in, and his fleep. There is a cup 
 in his hand. 
 
 The bud: of Sappho, of the fined: marble. This 
 celebrated poetefs was of Lefbos, and was called 
 the tenth mufe. She lived about the forty-fifth 
 olympiad. Longinus has preferved an ode of her 
 compodtion, which has been trandated into Eng- 
 lifh with great fpirit: and Dionydus Halicarnaffusf 
 
 * A^<pnry) KohiU BocKp^oy, p(^dovtoy Atovv^op, 
 
 Eypof/.£yov y.3fca<; Nv[jt.(pocK; ev7rXo)icx.fji.oii;iy 
 
 .O5 “Trapa YlsfieCpopyi^ upoiqi iuvciJp, 
 
 TfUTVjfioc pQovoPj Bocx.p^viiov duyvap, 
 
 I Tuvmg %< VI evsTTBioc y.ca vi Tvj eyaTreta xoti 
 
 .‘‘^.£yov£ rcov oif(xoytuy. De Strudl. Oration, pag. 206. edit. Upton. 
 
 Toutes ces graces, toutes ces beautez, cet art fecret et 
 “ admirable d'^entrer dans les coeurs, de parler et de vaincre 
 en meme tems, de toucher les paflions Ics plus tendres (car 
 c’eft par la, qu’clle s’acquit une finguliere eftime) tout cela, 
 “ dis je, font des bien, qui ne font point venus jufques a 
 nous.’’ Tan Faber. Abrege des Vies des Poetes Grecs, 
 pag. 21. 
 
CURIOSITIES IN WILTON-HOUSE. 67 
 
 has given us another fragment of hers, which he 
 greatly admires for its elegance. It is faid, that 
 Ihe threw herfelf into the fea, from the love fhe 
 bore to Phaon, who flighted her. 
 
 The buft of Titus, the fon ofVefpafian. Hje 
 was celebrated for beauty and courage, was fkilled 
 in literature, and eloquent. But the good wifhes 
 of the Roman people could not protrad: his life 
 beyond the fecond year of his reign. 
 
 The buft of Faunus, the rural deity. 
 
 The buft of Jupiter. 
 
 The buft of Tullia. 
 
 The pannels of the wainfcot are painted, and 
 reprefent eighteen different forts of hunting. The 
 painter was Tempefta, junior, who came over to 
 England from Italy, to paint pannels, and cielings. 
 
 A Marble Chimney-Piece, by Inigo Jones. 
 
 G 2 
 
 THE 
 
68 
 
 A DESCRIPTION OF THE 
 
 THE CUBE ROOM. 
 
 Th E buft of MaflinifTa', king of Numidia. The 
 head of Medufa and the upper parts of two dra- 
 gons appear on the breafbplate, and from thefe cir- 
 cumftances one might be induced to think it the 
 bull of fome Grecian general. 
 
 The bufi: of Aventinus, the fon of Hercules, 
 generally fo called. In afligning this name to 
 the prefent buff, people have been guided by the 
 limilarity of the hero’s drefs to the defcription 
 that Virgil ^ has given of him. If the palTage, 
 however, is accurately examined, there will be 
 found in it no fimilarity to the buft. The figure 
 reprefented feems to be Hercules himfelf. 
 
 The buft of Trajan. He was created Caefar by 
 Nerva ; and on the death of that prince, he haf- 
 tened to Rome, where he was received with ap- 
 
 * PoJI hos infignem palma per gramma currum^ 
 
 ViSiorefque ojientat equos, fatus Hercule pulchrOy 
 Fulcher A-uentinus, clypeoque injigtie paternum 
 Centum angues cmStamque gerit ferpentibus Hydrarn. 
 
 Lib. 7. ver. 654. 
 
 plaufe» 
 
CURIOSITIES IN WILTON-HOUSE. 69 
 
 plaufe, and where he governed during twenty- 
 years with great clemency and prudence. 
 
 The buft of Matidia. She was the mother of 
 Sabina, the wife of Hadrian. The fenate decreed 
 her the name of Augulla ; and the emperor,"*^ 
 after her deceafe, deified her. 
 
 The buft of Metellus ; with a chain and breaft- 
 plate. On the latter is an elephant, in memory 
 of his conqueft of Jugurtha, king of Numidia. 
 The buft of Marcellus, junior. 
 
 On a beautiful Jasper Agate Table, are 
 the three following : 
 
 A beautiful ftatue of Bacchus. 
 
 A fiatue of the Ephefian Diana. Diana of 
 Ephefus,” fays the Comte de Caylus, may be 
 regarded as a pantheon, reprcfenting at the 
 fame time the attributes or fymbols of nature, 
 ‘‘ the earth, the moon, night, and Ifis, Ceres, and 
 Diana. The firft reprefentations of this god- 
 defs came certainly • from Egypt ; but the 
 Greeks having added attributes to thofe of the 
 Egyptians, their reprefentations became inex- 
 
 * Socrui fu<^ honor es pracipuos impenditj ludis gladiatoriis, 
 CfCteri/que officiist Spartian. 
 
 G 3 
 
 plicable. 
 
70 
 
 A DESCRIPTION OF THE 
 
 plicable. Stags, bees, rofes, and fifh, are Grecian 
 ** attributes. It is not wonderful, that fo com- 
 " pounded and heterogeneous a figure, fhould, in 
 the revolution of fo many ages, puzzle the 
 learned to give a fatis factory account of it. — 
 Thofe are but indifferently employed who wafle 
 their time in fuch enquiries.” * 
 
 A ffatuc of an ancient Priefl. 
 
 An alto relievo of Pyrrhus, fon of Achilles, of 
 porphyry. 
 
 The bufl ofVefpafian. He was proclaimed 
 emperor by the Syrian army, and took his fon 
 Titus as partner in the empire ; thinking thereby 
 to perpetuate the throne in his family This 
 defign, however, was defeated; for both Titus 
 and Domitian died without ilTue. 
 
 The buft of Pyrrhus, king of Epirus. Caylus 
 exhibits fome cafques lately dug up at Hercula- 
 neum, and preferved at Portici, in his Neapolitan 
 majefty’s cabinet, which very much refemble this 
 buff. From this circumftance, it may be thought 
 that it is improperly faid to be Pyrrhus, and that, 
 it reprefents fome Roman general. 
 
 * Comment en effet, apres la revolution de tant de fiecles 
 pourroit-on rendre raifon d’un attribut donne en confe- 
 quenced’une allegoire originairement Egyptienne, jointefuc- 
 “ celTivement aux idees de la Grece, avec une fi grande pro- 
 fufion, que la divinite' primitive reunilToit plufieurs divinitez. 
 ‘‘ (^es obfeuritez me paroill'ent inuliles a difeuter.’^ Recueil, 
 tom. 4. pag, 152. 
 
 PIC- 
 
CURIOSITIES IN WILTON-HOUSE, 
 
 71 
 
 PICTURES* 
 
 The portraits of Mrs. Killigrew, who has fair 
 hair, and Mrs. Morton, with brown, by Van- 
 dyck. The Ikill of the painter here is truly ad- 
 mirable. He makes the lovely brilliancy of Mrs. 
 Killigrew’s fkin ferve inftead of colours to illu- 
 minate one part of the pidure; while the brunette 
 beauty of Mrs. Morton forms a moft fweet (hade. 
 
 Mr. James Herbert and his Wife, by Sir Peter 
 Lely. He was date painter to Charles II. His 
 colouring was beautiful, his attitudes eafy and 
 various, his draperies genteel and negligent, and 
 the air of his heads remarkably graceful. 
 
 The Earl and Countefs of Bedford, by Vandyck. 
 
 The Countefs of Pembroke, and her Sifter. 
 This lady was the mother of Earl Thomas, and 
 the daughter of Sir William Villiers. By Sir 
 Peter Lely. 
 
 Henry Earl of Pembroke, (father to the late 
 Earl) when he was feventeen years of age. By 
 Kneller. 
 
 William Earl of Pembroke, elder brother of 
 Earl Thomas. He died unmarried in 1674. By 
 Lely. 
 
 Lady Catherine, eldeft daughter of Earl 
 Thomas. She was married to Sir Nicholas Mor- 
 
 G 4 
 
 ncc. 
 
72 
 
 A DESCRIPTION OF THE 
 
 rice, of Werrington, in the County of Devon, Bart, 
 and died in 1716. By Kneller. 
 
 Thomas Earl of Pembroke, Lord High Admi- 
 ral. Willing, who is the painter, has introduced 
 a Ihip at fea. This artift wrought under Sir Peter 
 Lely, and imitated his manner. 
 
 Chrift and the woman of Samaria, by Giofeppe 
 Chiari. Nine feet high by feven feet wide. 
 
 Margaret Sawyer, firft wife of Earl Thomas ; by 
 Wining. She has a lamb with her. 
 
 The Virgin, Chrift, and Jofeph, reading, with 
 other figures, by Gennari. 
 
 In the cieling, Daedalus and Icarus, by Giofeppe 
 Arpino. It was brought out of a villa near Florence/ 
 by the firft Sir Charles Cottrell, for Earl Philip. 
 There was a print engraved from it in 1600. 
 
 A Table inlaid with one hundred and thirty- 
 five different fpecimens of Agates and Marbles. 
 On it, the rape of the Sabines, a very curious and 
 beautiful groupe of eleven figures, all of one piece 
 of marble. The pannels at the bottom of the 
 room are painted by the brother of Signor To- 
 mafo, who only painted fmall figures. They 
 contain the hiftory of the Countefs of Pembroke’s 
 Arcadia, written by her brother Sir Philip Sidney. 
 This Countefs was Mary, daughter to Sir Henry 
 Sidney; a lady of great learning and virtue. She 
 .was the third wife of Henry Earl of Pembroke, 
 
 whom 
 
CURIOSITIES IN WILTON-HOUSE. 73 
 
 whom (he furvived, and lived to a great age. She 
 was interred in the Cathedral of Salifbuiy. The 
 infcription to her memory has been much admired. 
 “ Underneath this marble hearfe 
 Lies the fubjed: of all verfe : 
 
 “ Sidney’s lifter, Pembroke’s mother, 
 
 ' Death, ere thou haft ftain another 
 Wife and fair and good as fhe. 
 
 Time lhall throw a dart at thee.” 
 
 Tx4E 
 
74 
 
 A DESCRIPTION OF THE 
 
 THE GREAT HALL. 
 
 All the Figures in this Room are by Vandyck. 
 
 T HE celebrated Family Picflure, by Vandyck; 
 twenty feet in length by twelve high. It confifts 
 of ten whole lengths. The two principal figures are 
 Philip Earl of Pembroke, and Sufan, daughter of 
 Edward Earl of Oxford: they are fitting. On the 
 right hand ftand their five fons : Charles Lord 
 
 Herbert, who married the daughter of the Duke of 
 Buckingham, but died before cohabitation; Phi- 
 lip, who fucceeded his father ; William, who died 
 unmarried; James, anceftor to the Herberts of 
 Kingfey in Oxfordfhire ; and John, who married 
 the co-heir of Vifcount Banning. On their left 
 is their daughter Anna Sophia, and her hulband, 
 Robert Earl of Carnarvon. Before them Lady 
 Mary, Charles Lord Herbert's wife; and above, 
 in the clouds, the ladies Catherine and Mary, who 
 died young. 
 
 This fingle pidurc, which is ineftimable, is ac- 
 counted a perfed fchool of Vandyck. 
 
 On 
 
CURIOSITIES IN WILTON-HOUSE. 75 
 
 Over two doors are half-lengths of Charles I. 
 and his Queen. 
 
 A whole-length of William Earl of Pembroke, 
 commonly faid to be Lord Steward, but Collins 
 fays that he was Lord Chamberlain to James I. 
 Vandyck painted the face from the br’afs ftatuc 
 after Rubens’s deiign, and now in the founder’s 
 gallery at Oxford. 
 
 A whole-length of Penelope, the daughter of 
 Sir Philip Naunton, and the wife of Earl Philip. 
 
 Three children of Charles I. 
 
 A whole-length of Lady Mary Herbert, after- 
 w^ards Duchefs of Richmond ; and of Mrs. Gib- 
 fon, the dwarf. 
 
 A whole-length of the Duke of Richmond and 
 Lennox. 
 
 A half-length of the Countefs of Cafllehaven. 
 
 A half-length of Philip, fecond Earl of Pembroke. 
 
 Two large Pier GlalTes. 
 
 A red Egyptian Granite Table; upon it a fine 
 antique vafe, exhibiting a Grecian wedding, from 
 the facrifice to the wafhing the bride’s feet. 
 
 A Lapis Lazuli Table, and on it a very fine an- 
 tique urn, with birds, flowers, and foliages round it. 
 
 The cieling painted by Signor Tomafo, a dif- 
 ciple of Caracci, whom Sir Charles Cottrel brought 
 from Italy. It reprefents Perfeus cutting off 
 Medufa’s head, and the relieving Andromeda. 
 
 nf 
 
76 
 
 A DESCRIPTION OF THE 
 
 following Busts : They Jland on Termini^ 
 veneered with different^coloiired Marble. 
 
 Marcellus, the conful. 
 
 Drufus, the brother of Tiberius, and the father 
 of Claudius. 
 
 Lucius Verus, partner in the empire* with 
 Marcus Aurelius. 
 
 Marcus Brutus. 
 
 Didius Julianus, the emperor. 
 
 Lucius Verus. 
 
 Lucius Caefar, the fon of Julia, the daughter 
 of Auguftus. He died at Marfeilles in the 
 eighteenth year of his age. On an agate table. 
 
 Julius Caefar. This bull was brought out of 
 Valetta’s colledlion, and is yery curious, of ori- 
 ental alabafter. 
 
 Antinous. 
 
 Septimius Severus. He was faluted emperor 
 by the army in Pannonia. From thence he haft- 
 cned to Rome to oppofe Didius Julianus; on 
 whofe death he marched againft Pefcennius Niger, 
 and then againfl; Albinus. He reigned alone, and 
 
 * Defun^o Pio Marcus in eum omnia contulit, Principatum 
 etiam imperatorice potejiatis indultOy Jibique confortem fecit y cum illi 
 foli fenatus detulijfet imperiiim^ Data igitur imperio ^ indulta 
 tribunitia potefiate proconfulatus etiam honore delatOy Verum <vocari 
 pracepity fuum in eum transferens nomen, eum antea Commodus 
 ^ocaretur* Capitolin. in Pio. 
 
 dying 
 
CURIOSITIES IN WILTON-HOUSE. 7*7 
 
 dying at York, declared by will his fons Geta 
 and Caracalla emperors. 
 
 Horace, in porphyry. 
 
 - Marcus Aurelius. 
 
 Antoninus Pius. 
 
 Cicero, of touchftone, with the vetch on his 
 fiice. 
 
 Artemis, or Diana. 
 
 Lucan the poet. A Pegafus at the bottom ex- - 
 prefles the eccentricity of his genius. 
 
 Caflandra, the daughter of Priam. Apollo 
 endowed her with the gift of prophecy, upon cer- 
 tain conditions, which fhe not fulfilling, he made 
 every thing fhe predidled to be difregarded.* 
 Her head-drefs has many bandages. 
 
 Ammonius. The olympiad 229, marked on 
 it, anfwers to the year of Chrift 137. 
 
 Auguflus, of Parian marble. 
 
 Germanicus, the fon of Auguflus. 
 
 Prufias, king of Bythinia, who bafely betrayed 
 the illuftrious Hannibal, who fled to him for pro- 
 tedlion. 
 
 Scipio Afiaticus. This celebrated Roman, after 
 having defeated Antiochus, and fubdued Afia, 
 was accufed of extortion by the feditious tribunes ; 
 but was defended by Tiberius Gracchus. 
 
 * Et n^ana 'vafes ante Cajjandram fui. Senec. inTroade. 
 ver. 38. 
 
 Caracalla, 
 
78 
 
 A DESCRIPTION OF THE 
 
 Caracalla, the fon . of Septimius Severus ; a 
 profligate prince. 
 
 Vitellius. He was raifed to the empire by the 
 foldieiy, and deprived of it by them, after a reign 
 of eleven months. 
 
 Alcibiades. 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 79 
 
 THE LOBBY. 
 
 T HE Decollation of St, John, by Dobfon. — 
 This pidture is highly commended. At Blen- 
 heim, Northumberland-houfe, and the Duke of 
 Devonfhire’s, there are feveral pidlures in a good 
 ftyle, by Dobfon. Vandyck recommended him 
 to Charles I. who diftinguifhed him by the 
 name of the Englifh Tintoret. 
 
 Fruits, Vines, and two Vintage People, by 
 Michael Angelo di Battaglia. Sir Robert Gere 
 gave this painter s widow three hundred pifloles 
 for this pidlure. 
 
 A Piece of flill Life, by Gabriel Said. 
 
 A Sea Triumph, by Luco Giordano.* Nep- 
 tune and Amphitrite are reprefented, with twelve 
 figures as large as the life, befides two boys in the 
 charader of Cupids. 
 
 * This painter was commonly called Luca Fa Prefto. This 
 appellation was not given him on account of the fame he had 
 acquired by his expeditious manner of painting ; but from the 
 mercenary eagernefs of his father, who fold, at a high price, 
 the defigns which Luca had made after the compofitions of the 
 great makers, while he purfued his ftudies. The father of Luca 
 fcarce allowed him time to refrelh himfelf, but Hill faid to him, 
 while he was at his meals as well as at his work, Luca fa prefto, 
 or Luca make hafte ; from which expreftion, perpetually 
 uttered, his companions gave him the name of Fa Prefto. See 
 Pilkington’s Did. of Painters, article Giordano. 
 
 A Na- 
 
 % 
 
8o 
 
 A DESCRIPTION OF THE 
 
 A Nativity, by Taddeo Zucchero. It was 
 finifhed by his brother Frederigo Zucchero. 
 
 Two Pictures, compofed of agates, lapis lazuli, 
 and different-coloured marbles, exhibiting Land- 
 fcapes. They were a prefent from one of the 
 Dukes of Florence to one of the Dukes of Bavaria. 
 
 A Country Family, by Brawer. 
 
 Ceres, holding wheat, by Parmegiano.* The 
 Duke of Parma gave this picfure to the Earl of 
 Peterborough, when he conducfled to England the 
 Queen of James II. 
 
 A Flemifh fchool, by Gonfales. This painter 
 was of a Spanifh family, which fettled in Flanders; 
 and from his fkill in painting figures in little, he 
 got the appellation of Little Vandyck. 
 
 The Angel and Tobias : a fifh is fwimming up 
 to them, and a dog barking at it. The painter is 
 Procaccini, a difciple of Carlo Maratti. The 
 picture is dated Roma. 1697. 
 
 The Difcovery of Achilles, by Francefco Sal- 
 viati. There are nineteen figures. The airs are 
 fine, and the colouring of the picture is excellent. 
 
 * The real name of this painter was Francefco Mazzuoli. 
 From Parma, the place of his nativity, he was called Par- 
 megiano. When Rome, in 1527, was facked by the Imperialifts, 
 the foldiers who entered his chamber, found him intent upon 
 his bufinefs ; fo little did he attend to the danger that then 
 threatened him. A defire to difcover the philofopher’s ftone 
 turned his induftry from painting, and deprived the world of 
 many admirable produdliohs. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. 8l 
 
 The Virgin, and Chrift at her breaft, by Andrea 
 Solari. The landfcape over her ihoulders is won- 
 derfully neat* Brueghel Velvet followed the man- 
 ner of this mafter. 
 
 An antique Pidlure from the temple of Juno, 
 with fix Heathen Deities, having their fymbols. 
 
 A Nativity, by John Van Eyck. It is dated 
 1410, the year in which he is faid to have invented 
 painting in oik It belonged to a chapel in 
 Bruges. 
 
 A Landfcape, in imitation of Salvator Rofa, by 
 Bartolomeo. There is a cafcade, and three tra- 
 vellers walking. 
 
 A Landfcape, with fifhermen carrying a net, by 
 Francefco Giovanni, in imitation ofMola. 
 
 The buft of Marcus Modius, with an epitaph, 
 informing us, that he was an Afiatic phyfician. 
 A perfon of this name is mentioned by Cicero.* 
 
 On an antique African table, Bands an excel- 
 lent bufl: of Apollonius Tyanaeus. 
 
 The buft of Mago, the Carthaginian. 
 
 * See the orations againll Verres. 
 
 H 
 
 THE 
 
82 
 
 A DESCRIPTION OF THE 
 
 THE COLONNADE ROOM. 
 
 TT HE head of St. Paul, by Auguftino Caracci. 
 This pi6ture is a proof of his corredlnefs, and his 
 excellent manner of defigning. It is remarkable 
 that this artift, notwithftanding his eminence as a 
 painter, devoted a great deal of his time to engra- 
 ving, in which he fucceeded fo well, that his etch- 
 ings were almofl: as much valued as his paintings. 
 
 A Calm, by Vandervelt the younger. He 
 painted fea-pieces, and fea-fights, as did alfo hi» 
 father ; and his pidures are fo exquifite, that they 
 are thought fuperior to thofe of every other artifl 
 in that ftyle. His mod capital works are in Eng- 
 land. 
 
 Beldiazzar’s Fead, by Old Frank. — Nightlight. 
 
 Portraits of the late Lord Pembroke and his 
 Lady, the prefent Dowager Lady Pembroke, by 
 Reynolds. 
 
 A Calm, by Patten. 
 
 An extremely beautiful Madona, in blue, by 
 Carlo Dolci. 
 
 A Gale, by Patten. 
 
 St. Sebadian, diot with arrows, by ' Scarcelina 
 di Ferrara. 
 
 A Land- 
 
CURIOSITIES IN W ILTON-HOU 3 E. 83 
 
 A Landfcape, with a ferry in it, by Herman 
 Sachtleven. His pictures in his bed manner are 
 rare, and are highly efteemed. 
 
 The Hifbory of Hercules, in fix pidlures, by 
 Francis Floris. He was called the Raphael of 
 Flanders. 
 
 A Harvefl-home, by Rubens. There are many 
 figures, fome about half a yard high. It is in his 
 beft colouring. This artiftcame into England in 
 the reign of Charles I. who had a tafte for the arts, 
 and encouraged them. He is chiefly admirable 
 for his portraits, which are natural, eafy, and lively. 
 
 The Money-changers and People felling Doves 
 in the Temple ; by Dominico Fetti. His paint- 
 ings are exceedingly fcarce, and much fought after 
 by connoiffeurs. 
 
 Chrifl; taken from the Crofs, by Albert Durer. 
 He has placed the monogram of his name on the 
 pi(flure. There are ten figures, and all of the 
 moft capital expreflion. The bloody body of 
 Chrifl; is wonderfully painted. This piece w’as 
 purchafed out of the Arundel colleClion. 
 
 The Judgment of Midas, by Filippo Lauri. 
 Corredlnefs of outline, and delicacy of touch, are 
 the charadleriftics of this artift. 
 
 A Nativity, by Theodoro. There are two 
 angels above ; and below a lamb tied by the 
 legs. 
 
 H2 
 
 A Holy 
 
A DESCRIPTION OF THE 
 
 84 
 
 A I loly Family, by Parmigiano. He was fo 
 pleafed with this piece, that he made another from 
 it. 
 
 A Magdalen, with a crucifix, in a defert ; an- 
 gels appear above ; by Elizabetha Sirani. She 
 was the daughter of Andrea Sirani, and Guido's 
 favourite difciple. 
 
 A Nativity, by Dennis Calvart, the inftrucftor 
 of Guido Reni. The latter fo much efleemed 
 this pidlure, that he kept it as long as he lived. 
 
 A Landfcape, with figures fitting by the water- 
 fide : a woman is walking at a diftance with a 
 bafket on her head. The painter is Orizonti. 
 His performances are much admired."^ 
 
 St. Peter and the Angel coming out of prifon, 
 by Steenwyck. He was introduced by Vandyck 
 to Charles I. and found employment in England 
 for fevcral years. He fometimes ufed to paint the 
 backgrounds ofVandyck’s portraits. 
 
 A Drawing, by Raphael. 
 
 Flenry Earl of Pembroke, grandfather of the 
 prefcnt Earl, by Jervoife. 
 
 A Drawing, by Corregio. 
 
 * The real name of this artill was John Francis Van Bloe- 
 man. The Bentvogel Society at Rome gave him the name of 
 Orizonti, or Horizonti, on account of the natural receding of 
 the objects in his compofitions, and the delicate manner of his 
 conducing and extending his dillances. The Bentvogel So- 
 ciety confiiled of the Flemifh painters who refided at Rome. 
 See Pilkington’s Di<ft. of Painters. 
 
 Leda 
 
CURIOSITIES IN WILTON-HOUSE. 85 
 
 Leda and the Swan, by Leonardo da Vinci. 
 Leda is Handing upright, and carelefsly embracing 
 Jove in the form of a fwan. He looks amoroufly 
 on her; and fhe fixes her eyes with pleafure on 
 four fmiling children, Cafior, Pollux, Helen, and 
 Clytemneftra, juft hatched out of egg-fhells. It 
 has been remarked of this painter, that he was ex- 
 tremely flow in finifhing his pictures ; but that 
 when he didfinifh them, they were exquifite. 
 
 Virtue awakening Apollo and the Mufes, by 
 Luigi Gentili. 
 
 The Port of Leghorn, on copper, by Viviano 
 Codazzb. 
 
 The Virgin, with Chrlfi, Elizabeth, an Angel, 
 and Boys; by Raphael d* Ur bi no. 
 
 Hercules and Dejanira, by Giovanni Montano. 
 
 The birth of St. John, by Dominico Pelugio. 
 There are nine figures ; the mother of St. John is 
 in bed, and St. John isjn fwaddling-cloaths. 
 
 Cupid wrefting his bow out of the hands of a 
 boy, by Emilio Taruffi. This artift had a mofi: 
 lively and agreeable manner of painting and de- 
 figning. 
 
 An antique of the Virgin and Child, by St, 
 Luke. - Gambarini obferves, that the drawing and 
 manner are in the ftiff Byzantine tafte. It would 
 require very ftrong evidence to prove, that this 
 piece is prior to the times of Cimabue, who was 
 
 H 3 born 
 
86 
 
 A DESCRIPTION OF THE 
 
 born in 1 240, or even to thofe of Van Eyck, who 
 was born in 1370. Painting in oil was unknown 
 till difcovered by the latter, who is faid to have 
 been extremely converfant in chymiftry, and long 
 anxioufly fought a preparation that would preferve 
 colours in their purity. The former revived the 
 knowledge of painting in Italy, at a time when the 
 art was almoft extind: ; and thence he obtained the 
 appellation of the Father of Modern Painting.’* 
 
 The Four Seafons, by Murillo. There are fruit$, 
 flowers, odd faces, and owls. 
 
 A Seraglio of Women, aflifled by eunuchs ; by 
 Otta-Veni. 
 
 Ifaac bleffing Jacob, by Lazarini. 
 
 The Salutation of the Virgin, by Francefco 
 Dani, of Modena. At the top are two cherubima 
 heads. It is executed on copper. 
 
 Judith cutting off Holofernes’s head, by Andrea 
 Mantegna. The drapery is fo difpofed, as to fliew 
 the proportion of the limbs. Mantegna is one of 
 the oldeft painters whofe works are worthy of at- 
 tention. His triumphs of Julius Caefar, which 
 are at Hampton Court, have been juflly faid to be 
 the triumphs of his pencil. 
 
 Over the Chimney. 
 
 A half-length of Prince Rupert, by Vandyck, 
 
 ISext 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 87 
 
 Next the Lobby-Door. 
 
 The bull of Druftlla/ the daughter of Drufus, 
 and the hfter and concubine of Claudius. She 
 was adored under the charadler of Ceres. 
 
 The bull: of Horace, the confular. 
 
 The buft of Commodus. He was the fon of 
 Marcus Aurelius and Fauflina junior, and came to 
 the empire at the age of nineteen. Hedifcovered 
 himfelf to be an abandoned tyrant, and was 
 firangled. He was the laft of the farnily of the 
 
 I 
 
 Antonines. 
 
 Polemon, an Athenian philofopher. This bull 
 and the foregoing are in bronze. 
 
 A Marble Table, the produce of Mount Edg- 
 cumbc. Upon it a flatue of Morpheus, the god 
 of fleep, in black touchftone. The head is 
 wreathed with poppies, and the god has a poppy 
 in his hand. 
 
 * Drujtlla Jiglia di QermanicOy forella ? concuhina di concuhina di 
 Caliguluy moriab. U, C, 79 1 , il fecond' anno deW imperio di Ca- 
 ligula dal quale fu tanto amatay che dopo la fua morte wolle gli 
 f offer 0 fatti tutti queg I* onori ch^ era?io Jiati faiti a Li^via, Ur. Tef, 
 Brit. vol. 2. page 282. 
 
 H4 
 
 THE 
 
88 
 
 A DESCRIPTION OF THE 
 
 THE CORNER ROOxM. 
 
 T? HE Virgin, with Chrift leaning on her bread : 
 he has a bird in his right hand. By Daniello 
 Crefpi. 
 
 The Virgin teaching Chrift to read, by Guercino, 
 
 Philip Earl of Pembroke, by Vandyck. 
 
 St. Anthony, by Corregio. 
 
 The head of Mieris, by himfelf. 
 
 A Charity, with three children, by Guido 
 Rheni. It belonged to Charles I. but was fold 
 during the civil wars. The tender, the pathetic, 
 and the devout, were the fubjeds in which this 
 artift chiefly excelled. 
 
 A Landfeape, by Rubens. 
 
 Mary Magdalen, by Titian : her hair is loofe. 
 This piece was engraved by Vofterman. Titian 
 is accounted the moft corre6l deftgner of the 
 Venetian fchool : his chief excellence was his ex- 
 quiftte method of colouring. 
 
 Chrift taken from the Crofs, by Michael Angelo 
 Buonaroti. It was painted for Henry II. King of 
 
 France^ 
 
CURIOSITIES IN WILTON-HOUSE. S9 
 
 France, and was given by him to his miftrefs, 
 Diana Valentinois. There are on it the arms of 
 France, and three half-moons, as emblems of 
 Diana. It has been faid of this artift, that he had 
 the fame fpirit in painting, that Lucan and Dante 
 had in poetry. 
 
 Bacchus, with a bowl in his left-hand ; and an 
 old man emptying grapes out of a bafket into a 
 vat, by a fcholar of Raphael. 
 
 Women bringing Children to Chrifl, by Se- 
 baflian Bourdon; — there are 51 figures. The 
 mofi; efteemed work of this artifi: is the martyrdom 
 of St. Peter, in the church of Notre Dame at 
 Paris. 
 
 Democritus holding a book, and laughing, by 
 Spagnolet ; from the colledfion of Cardinal Medici. 
 
 Magdalen over-looking the vanities of the 
 world, by Dominichino. Below her are fix boys 
 handling jewels. The pofiures are agreeable, and 
 the colouring in the befl: manner of the artifi: ; he 
 was admirable in exprefling the paflions. 
 
 NarciflTus viev/ing himfelf in the water, by 
 Pouflin. 
 
 The AflTumption of the Virgin, by Rubens. 
 In Lord Arundel’s catalogue it is faid, that his 
 Lordfliip defired Rubens to paint a clofet picture, 
 and that he made this. At the bottom are nine 
 angels, as raifing the cloud under the Virgin. 
 
 Rubens 
 
90 A DESCRIPTION OF THE 
 
 Rubens made a large pidure from this, for a con- 
 vent at Antwerp, 
 
 The late Earl, when very young, and his 
 mother, by Hoare. 
 
 Chrift aftride on a lamb, and held by the Virgin ; 
 Jofeph, leaning on his ftaff, is looking on. By 
 Francefco Penni. He was a fcholar of Raphael, 
 and very exad in defign. 
 
 The Virgin, Chrifl, and St. John, as large as 
 the life, by Frederick Baroccio. It was a prefent 
 from Monf. Foucquet. This painter fludied 
 Raphael’s manner of defigning, but followed 
 Corregio in the fvveetnefs of his colouring. 
 
 A young Woman, with a fhock-dog, which flie 
 holds in her hands ; by Corregio. 
 
 A Madona, by Carlo Maratti. 
 
 A Piper, by Giorgione del Caftel Franco, in his 
 bell; manner, which Titian followed. 
 
 Chrift holding a lamp to old Jofeph at work, 
 and the Virgin coming down ftairs with another 
 lamp ; — a very free (ketch, by Congiagio. 
 
 The Virgin holding Chrift, and St. John em- 
 bracing him, while Jofeph is reading ; by Ludo- 
 vico Caracci. Annibal Caracci etched his fine 
 print from this pifture. It is obfervable, that the 
 manner of all the Caracci’s is the fame: the little 
 difference perceivable inthemfeems tohavearifen 
 from their diverfity of temper and difpofition. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. I 9 
 
 The Virgin holding Chrift. St, John leads a 
 iamb to him, an angel is gathering flowers, and 
 old Jofeph has an afs by him. By Contarini. 
 This artifl: imitated the manner of Titian. 
 
 Four Children, reprefenting our Saviour, an 
 Angel, St.John, and a little Girl; by Rubens. 
 The attitudes here are Ample and natural, without 
 being cold ; contraAed and animated, without 
 being exaggerated. 
 
 The Defcent of the Holy Ghofl, by Salembeni. 
 There are many figures, and in hisbefi: manner. 
 
 A dead Chrifl:, furrounded with angels, in white 
 and black ; a fine fketch, by Bonamico Bufalmaco. 
 
 Mars and Venus, with a Cupid ; by Van- 
 dervwarfe. It was fold from the Eleclor Pala- 
 tine’s colleclion. 
 
 Chrift in a Manger, by Vandyck. 
 
 An ancient painting of Richard II. executed in 
 1377. Hollar, in the reign of Charles I. en- 
 graved and dedicated it to that prince, under the 
 title of Tabula Antiqua. Two brafs plates at the 
 bottom are thus infcribed ; Invention of Painting 
 in Oil ^ 1410, King Richard is at his devotion, 
 kneeling by his three patron faints, St. John Bap- 
 tifl, King Edmund, and King Edward the Con- 
 feflbr ; having a crown, and a robe adorned with 
 white harts and broom cods, in allufion to his 
 mother’s arms and his own name of Plant agenijla. 
 
 There 
 
A DESCRIPTION OF THE 
 
 92 
 
 There are angels with collars of broom-cods, and 
 wreaths of white rofes round their heads. St. 
 John holds a lamb, King Edward a ring, and King 
 Edmund an arrow, all diredled to King Richard. 
 It is covered with glafs, and is a great curiofity. 
 It is painted on a bright golden ground, and the 
 colours of the utmofl freflinefs.^ — King James II. 
 gave this picl;ure to Lord CafUemain, when he 
 went AmbalTador to Rome ; and after his death, 
 it w as bought by Thomas Earl of Pembroke. 
 
 The Offering of the three Kings, by Paolo Ve- 
 ronefe. The king, who has a flrong light on his 
 forehead, is the^painter himfelf : there are horfes, 
 with many figures, and cherubims in the clouds. 
 
 Apollo fleaing Marfyas, by Sebaflian Del 
 Piombo. It was defigned by Michael Angelo 
 Buonaroti, and was formerly in the colle(flion of 
 the Kings of France* 
 
 ^3“ garden fide^ begin on the right hand of the 
 
 window, at the top. 
 
 Chrift taken from the Crofs, on copper, by 
 Figino. This artift fludied hifborical compofition 
 under Giovanni Paolo Lomazzo ; but, tho’ he 
 was well qualified to excel in that ftyle, he de- 
 voted himfelf to portrait-painting, in which he 
 arrived at the greatefl; perfection. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. 93 
 
 The Virgin, with Chrift on her knee, who is 
 putting a ring on St. Catherine’s finger; old 
 Jofeph and Elizabeth are looking on. It is on 
 board, and finely coloured. This pidiure is dated 
 1587, and was done by Sophonifba Angufciola. 
 At Lord Spencer’s, at Wimbledon, there is a 
 portrait of this artifi:, playing on the harpfichord, 
 painted by herfelf. 
 
 Ruins and Figures, by Paoli Panini. 
 
 Chrifl: on the Virgin’s lap, in an eafy pofiure, 
 and Jofeph teaching him to read : the figures 
 projed: with a tender roundnefs; by Bernardino 
 Gatti. 
 
 The Harmony between Poetry and Painting, 
 by Romanelli. The colouring is bright and ftrong. 
 
 The Virgin, with a young Chrifi: : more back- 
 ward is a woman with a child in her arms, and a 
 little figure of a faint playing at a difiance, by 
 Andrea Del Sarto. — This painter had a profound 
 knowledge of the art, and pofiefied great corredl- 
 nefs of defign. 
 
 Chrifi carrying the Crofs, by Andrea Del Sarto. 
 His countenance fiiews divine refignation : he 
 has on a red garment. The lights and (hades are 
 wonderfully difpofed. It is painted on board. 
 
 The Rape of Dejanira, by Carlo Crefei. Her- 
 cules, at a difiance, is (hooting at the Cen- 
 taur. 
 
 A Land- 
 
A DESCRIPTION OF THE 
 
 94 
 
 A Landfcape, by Claude Lorraine. This ini- 
 mitable painter ferved an apprenticefhip to a paf- 
 try-cook ; and what is very remarkable, he dif- 
 covered no fymptoms, in the early part of his life, 
 of that genius, which in his more advanced years 
 fhone out with fo much luftre : his fkies are warm, 
 and every objedl is properly illumined ; his inven- 
 tion is pleafing, his colouring delicate, and his 
 tints have a delightful variety and fweetnefs. 
 
 Six People carrying things to market, with a 
 mule and a horfe, on which is a woman and child, 
 by Giofeppe Crefci. 
 
 A Shepherd courting a Shepherdefs, in a draw 
 hat, with a bowl in her hand, by Bloemart. 
 
 The Virgin, with Chrifl; in her lap, taking a 
 flower out of her hand, by Raphael d’Urbino. 
 The flclhis tenderly and beautifully painted. The 
 painter’s name appears as embroidery, on the top 
 of the ftomacher. All the accomplifhments which 
 conflitute an illudrious painter, were combined 
 in this artid : fublimity of thought, richnefs of in- 
 vention, correclnefs ofdedgn, and force of expredion. 
 
 A Nativity, on copper, by Rubens. 
 
 A Man forcinga Boy to takephy fic, byBambocci.* 
 
 * * His real name was Peter Van Laer, but in Italy he got 
 
 the name of Bambocci, or Bamboccio, on account of the un- 
 common fhape of his body; the lower part being one-third 
 part longer than the upper, and his neck fo fliort, that it was 
 buried between his fltoulders. See the ConnoilTeur’s Dictionary. 
 
 A half- 
 
 1 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 95 
 
 A half-length of Titian, by himfelf. 
 
 Aflumption of the Virgin, by Raphael d’Urbino. 
 
 The Virgin reading, with Chrift in her lap, and 
 reaching up at her neck, on marble, by Albano, 
 in his moft beautiful manner. In the charadlers 
 of the Virgin and Chrift, the artifh has here painted 
 his own wife and one of his children. 
 
 Job and his Friends, by Andrea Sacchi. 
 
 Chrift in the Virgin's arms, St. John embracing 
 him, and Jofeph and the lamb looking on, by 
 Scidone, in his beft manner. Some have afcribed 
 this pidture to Corregio. The works of Scidone 
 are exceeding fcarce; and when they are met 
 with, they are, not unfreqiiently, afcribed to Cor- 
 regio, or Parmegiano. 
 
 In the CiELiNG. 
 
 The Converfion of St. Paul : the apodle is 
 ftruck from his horfe. The painting is executed 
 with great freedom and fpirit, and the figures are 
 as big as the life ; by Luca Giordano. 
 
 On the Chimney Piece. 
 
 The bull of Pertinax. After the death of Corn- 
 modus, Pertinax, though fixty years of age, was 
 
 proclaimed 
 
A DESCRIPTION OF THE 
 
 96 
 
 proclaimed emperor : he had reigned only four 
 months, when he was killed for atteihpting to re- 
 ftore difcipline to the army. 
 
 The hurt of Solon, the celebrated Athenian le- 
 glflator. 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE, 
 
 97 
 
 THE CLOSET, 
 
 (iriTHIN THE CORNER ROOM.) 
 
 Soldiers tearing Chrift's coat, a pivflure of ad- 
 mirable execution, by Annibal Caracci. 
 
 The Virgin, with Chrift refting his head and 
 hand on her knee, by Bloemart, junior. 
 
 A Summer Piece, with ruins and figures, by 
 Viviano Cadozzo and Mich. Ang. di Bataglia. 
 
 A Shepherdefs in a flraw hat, reprefenting the 
 Princefs Sophia, by Gerrard Huntorfl. 
 
 A Landfcape, and figures, by Viviano Cadozzo. 
 
 On the Bow Window and Chimney Sides, as you 
 go round, 
 
 ( Begin vjith the loHveJi Figure.) 
 
 A Nativity, by Raphael Direggio. 
 
 Chrifl: taken from the Crofs, and many figures, 
 with angels in the clouds. The lights from the 
 folemn fhades are very ftriking; by Valerio Caftelli. 
 King Edward VI. by Hans Holbein. 
 
 I 
 
 Our 
 
A DESCRIPTION OF THE 
 
 Our Lord's Afccnfion, by GiuUo Romano, He 
 was the firfl and favourite difciple of Raphael. 
 There is much fpirit and grandeur in his compo- 
 fitions. 
 
 Over the Chimney Piece. 
 
 The Virgin^ by Carlo Dolce; her veil is painted 
 with ultramarine, by Maria da Fiori. 
 
 . Two Boys flying a bird with a firing, by Nicolo 
 Pouflin. 
 
 A Nativity, by Carlo Signari. 
 
 Siege of Pavia, by Hans Holbein. 
 
 St. Sebaftian fhot with arrows, with an angel 
 above, by Benedetto Luti. 
 
 The Circumcifion of Chrifl, by Paolo Fioren- 
 tino. There are above twenty figures. 
 
 Four Cupids in different attitudes, by Sirani. 
 
 The Temptation of our Lord, by Paris Alfano 
 di Perugia : from the Medicean collection. 
 
 The Prodigal Son's Return, by Woverman. 
 
 Dutch People playing at draughts, by Egbert 
 Hemfkirch. 
 
 People playing at cards, by Lucas Van Leiden. 
 
 Day, reprefented by Apollo drawn in a chariot by 
 four horfes ; and Night, by a female deity with 
 rofes and poppies : in one frame of copper ; by 
 Solimene. 
 
 St. Jerome, on copper, by Horatio Borgiano. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. 99 
 
 The Virgin, Chrift, and St. John, on copper, 
 by Giovanni Baptifta Vico. 
 
 St. John preaching in the Wildernefs, by Roland 
 Savery. 
 
 St. Jerom, on wood, by Giulio Cambi Veronefe. 
 By the crown and cypher on the back, it may be 
 conjedlured, that this pidlure belonged originally 
 to fome noble family. 
 
 Chrill in the Virgin’s lap; he holds St. John by 
 the hand ; by Carletto. 
 
 The Prodigal going abroad, by Woverman. 
 
 A Woman holding a candle, by Schalken. 
 
 The river Tiber, with Romulus and Remus 
 fucking the wolf; by Giacomo del Po. 
 
 Our Saviour, when a child, two women, a lamb, 
 and a dove, by Paolo Mattel. 
 
 Chrift railing Lazarus ; fmall figures, by Sebaftian 
 Ricci. 
 
 Pyrrhus, carried dead from the temple of Apollo, 
 where he was killed by Oreftes. Hermione is feen 
 between the pillars, where (he had been jufl; mar- 
 ried to Pyrrhus, though betrothed before to Orefies. 
 The horfes of Pyrrhus’s chariot appear in a fright. 
 By Pietro Tefia. 
 
 An old Man, felling fweet-meats to children ; 
 all the figures are laughing: by Franck Hals. 
 Vandyck ufed to fay of this artifi-, that he would 
 have been at the top of his profeffion, if he had 
 
 I 2 known 
 
lOO 
 
 A DESCRIPTION OF THE 
 
 known how to give more tendernefs to his colours; 
 for, as to his pencil, there was not one that W'as fo 
 pcrfecflly mafter of it. 
 
 a\ndromache fainting on hearing of the death 
 of Hedor. Here are twenty-five figures, as large 
 as the life, by Prirnaticcio. It was a prefent from 
 the king of France to Cardinal Mazarine. 
 
 A Battle-Piece and a Parley, by Burgognone. 
 This artiff, who had ferved for fome time in a mili- 
 tary charatfter, is admirable for his battles. 
 
 On the Chimney Piece. 
 
 Two young Faces, in bronze. 
 
 In the Ceiling. 
 
 The Birth of Venus : (he is rifing out of the Tea. 
 By Lorenzino da Bologna. 
 
 In the Inner Part of the Closet, begin on the Right 
 Hand, 
 
 Venus with the Graces, dreffing. One of them 
 holds a looking-glafs. By Andrea CamalTei, the 
 difciple of Domiilichino^ 
 
 The Flight into Egypt: Jofeph is holding the 
 afs to drink: on copper, by Giovannini, painter to 
 the Duke of Parma. 
 
 Abraham’s Steward puts bracelets on Rebecca 
 at the well : there are fiieep ; and a woman pafles by 
 
 with 
 
CURIOSITIES IN WILTON-HOUSE. * lOI 
 
 w’ith fomething in her hand : on copper, by Pietro 
 Bambini. 
 
 Chrifl: praying in the garden, with two angels to 
 comfort him : on copper, by Giofeppe Gratti da 
 Bologna. 
 
 On a black and yellow table, on which cards 
 are reprefented, is a fleeping Cupid. 
 
 The bull of Tithonus, the deity of the Morning, 
 and the hufband of Aurora. 
 
 The bull of the Venus de Medicis. 
 
 The bull: of Bacchus. 
 
 The bull: of Crifpina, the wife of Commodus : 
 having been taken in adultery by her hufband, he 
 banifhed her to Caprea, where he afterwards put 
 her to death. 
 
 The bull of Fauna. 
 
 A Pantheon, with the fymbols of Ammon, 
 Mavors, and Thoth, three of the Dii Majores of 
 the Egyptians. 
 
 The bull ofEpicurus, the celebrated philofopher. 
 
 The bull: of Achilles. 
 
 ^hefe eight bujis are on gilded majk^trujfes* 
 
 A Table whereon Cards are reprefented, a fieep.- 
 ing Cupid. 
 
 On a Porphyry Table, a fleeping Venus, of the 
 fize of the Hermaphrodite at the Borghefe Palace; 
 ^is is a fine Greek fculpture. 
 
 I 3 
 
 LADY 
 
102 
 
 A DESCRIPTION OF THE 
 
 LADY PEMBROKE’S 
 
 WINTER DRESSING ROOM. 
 
 Over the Chimney, in a niche, a flatue of Cupid, 
 with a Phrygian bonnet; his hands tied behind 
 him. From this flatue we may obferve, that before 
 fculptors were numerous in Greece^ there were fome 
 good pieces executed. The little God fhews in 
 his countenance a fenfibility of his condition, 
 though by no means a fullennefs. 
 
 An alto relievo of the prefent Earl of Pembroke, 
 when ten years old, by Scheemaker. 
 
 The bull of Poppea, Nero’s fecond wife. Her 
 right hand is holding up part of the garment; 
 the plaiting and drefs of the hair very Angular. 
 This lady was more remarkable for her beauty 
 than her chaftity. Her firfi: hufband was Rufus 
 Crifpus, and her fecond Otho, whom Nero fent 
 into Spain, whilft he cohabited with her. One 
 flight, after Hie had reproved him for fome frolick, 
 he gave her a kick in the belly, of which flic ex- 
 pired. Pliny has preferved an aftonifhing inflance 
 
 of 
 
CURIOSITIES IN WILTON-HOUSE. lOJ 
 
 of her luxury. He obferves, that fhe always had 
 with her five hundred afTes, to bathe herfelf in 
 their milk, that her fkin might be kept fofc and 
 fmooth. 
 
 A Pidture of the prefent Earl, by Brompton. 
 Drawings by Lady Diana Beauclerk, Cof- 
 way, &c. 
 
 On Stair-Case, (painted by Clermont, 
 in Arebefco,) are 
 
 Two buffs, reprefenting Torment and Content- 
 ment. 
 
 An antique Mafk. 
 
 A Janus. 
 
 A Snake flone, taken out of a Portland Hone at 
 the building of Weftminfler-b ridge. 
 
 A fmall ftatue of a Boy dancing. 
 
 The Urn of Horace ; it has on it this in- 
 fer ip t ion : 
 
 D M 
 
 Hor : Place. P i i S. MAR: 
 PAMPH. MIN. FA. FECIT. 
 
 At the Bottom of this Stair-Case, is 
 
 A ftatue of Shakefpeare, by Scheemaker. This 
 fbatue refernbles that in Weftminfter Abbey, only 
 
 I 4- the 
 
104 ^ DESCRIPTION OF THE 
 
 the lines on the fcroll are different. Thefe are 
 Life's but a walking fhadow, 
 
 “ A poor player. 
 
 That ftruts and frets his hour 
 Upon the ftage, 
 
 And then is heard no more." 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 105 
 
 THE STONE HALL. 
 
 RELIEVOS. 
 
 A. RAPE of Neptune: there are twelve figures, 
 befides two horfes. 
 
 Nereides, Tritons, and a Horfe ; in all fix figures. 
 
 The Rape of the Centaurs. When Pirithous 
 efpoufed Deidamia, the Centaurs were invited to 
 the wedding; but having become warm with wine, 
 they offered rudenefs to the bride, and infulted the 
 Lapithce : upon which an engagement* enfued, in 
 which they were killed. 
 
 A Vidloria, with a wreathed crown in each hand : 
 thefe fhe holds over two captives bound at her 
 feet. There are arms and enfigns, and inflruments 
 of war. 
 
 Two figures, reprefenting Painting and Sculp- 
 ture. 
 
 * O? ^ ccstSt KefloiVfuv oQfi{jt.o^vi/.uv, 
 
 ActTFtQcct xixl(7rs(pvov evexet ^(puip, 
 
 Orph. in Argonaut, 
 Vid. & Scut, Hercul, Hefiodi, 
 
 Parte alia Pholoe, multoque infanus laccho, 
 
 PhacuSy Athracia fubitce de <virgine piigrne : 
 
 Qrateres menfa^iie volant y araque Deorum, 
 
 Val. Flacc, Argonaut, lib, r. 
 
 Two 
 
Io6 A DESCRIPTION OF THE 
 
 Two Altars ; a fire on the one, and Pan on the 
 other. A priefl is bringing fheep for facrifice. 
 
 Jupiter and Juno, and other figures with offer- 
 ings ; a very fine antique relievo. 
 
 A Man and Woman bidding adieu to each 
 other. 
 
 An ancient Sacrifice. The priefi:, laureated 
 and naked, leads a bull, whofe head is adorned with 
 a mitre and fillets. Another prieft follows with a 
 facrificing pot and an axe. 
 
 A very large Relievo, reprefenting the flory of 
 Niobe and her children. The fubjedt of this per- 
 formance has been already explained. “ In the 
 
 MSS. of Pirro Ligorio, preferved in the Vatican, 
 
 it is mentioned, that among the ancient ruins of 
 “ Salluft’s gardens at Rome, there was found a 
 
 large and finely executed relief, exhibiting the 
 ‘‘ fable of Niobe.” 
 
 This relief is compofed of twenty figures, among 
 which are the feven fons and the feven daughters 
 of Niobe. The latter are partly fitting and partly 
 Handing: the fons are on horfeback, and their 
 heads and necks project from the marble. Apollo 
 and Diana do not appear here. 
 
 Tw o Priefts going before a vidim : one is playing 
 on pipes, and the other holds a fimpulum and a 
 patera. 
 
 Jupiter and Juno, fitting on Mount Olympus* 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. I 07 
 
 The former holds a thunderbolt in his right hand. 
 On an altar before them is a fire blazing, and a 
 priefl; calling fomething into it. 
 
 Faunus, or a Bacchanal, playing on two pipes.' 
 A votive Relievo, with an infeription, written 
 in the manner called Boufirophedon. The fol- 
 lowing remarks on this valuable piece of fculpture, 
 communicated by a learned and ingenious friend, 
 will be found to be infirudlive and entertaining. 
 
 This relievo carries w ith it the air of a difiant 
 '•■and venerable antiquity; and though time has 
 ‘‘ worn down the figures, there remains enough 
 of it to point out its fubjedl, and the occafion 
 ‘‘ of it. 
 
 “ We fee an old man, w'hofe appearance is that 
 of an Athleta, in an adl of religion ; either dedi- 
 eating a tripos, or wafhing his hands preparatory 
 to an offering. Indeed, many concurring cir- 
 cumflances induce us to imagine, that the matter 
 reprefented is a votive offering for a vidlory ob- 
 ‘‘ rained in the Olympic games. 
 
 I. Paufanias gives a defeription of the 
 Olympian Jove, not unlike the god before us. 
 
 ^ This deity,’ fays he, ‘ is feated on a throne of gold 
 ^ and ivory. His crown is wrought in imitation 
 ‘ of the olive-leaf : in his right hand he holds out a 
 ‘ vidlory, compofed of ivory and gold, with a 
 
 Paufan, Eliac. a, page 157. edit, Sylburg. 
 
 ‘ wreath 
 
I08 A DESCRtPTIONT OF THE 
 
 ^ wreath and crown : in his left hand is a beautiful 
 ‘ fceptre, ftudded with all the variety of metals : 
 
 * the bird fitting on the fceptre is the eagle ; and 
 
 * the fandals and robe of the deity are of gold.* 
 
 Our Jupiter is in the attitude here defcribed ; 
 ** but has a diadem interwoven with the olive, 
 " and high above his brows, as Pindar f defcribes 
 it. 
 
 “ MafFeus, intheMufeum Veronenfe, fpeaking 
 “ of this relievo, cries out, * Who ever heard of a 
 ^ beardlefs Jove? * Here he forgot himfelf ; for 
 Paufanias, if I remember right, mentions two 
 inflances to this purpofe. Our Jove, however, 
 has a beard. 
 
 2. The eagle, every body knows, is the at- 
 tribute of Jupiter. He is ftanding on the palm 
 '' of his hand, as ready to execute his orders. He 
 is fmall, and with the utmofi: propriety, for it 
 
 I 
 
 * Ta OXt'jW.TTta ret sTraOXa rtiluj iXotiXy ^x(pvvjy ^r,far 
 
 TH Schol. Vet. in Find. 
 
 Ev rn h^ict VBCpvnuq Koth'O?, KOtXBtrcti /^e BXcctot rotq 
 
 wxwjt ret OXv(jt7Hu xot^i<;r,>iBv y,u7r uvr'ng rtfg qBCpctva^. Paul, 
 
 £liac. 162. 
 
 Carol. Pafchal. de Coron. lib. 4. cap. i, 
 
 -j- .1 . I., — -. CXB^papw 
 
 AirctXog ctvvip L>i]/'o0i>', 
 
 AjJ.<Pi XOf>LCtiql BACtiaq 
 
 Mr/jiAU rm OXvpt'ma u^7mv. 
 
 Find. Olymp, cxl. 3. 
 
 was 
 
CURIOSITIES IN WILTON-HOUSE. IO9 
 
 '' was not the large * fpecies that was attendant on 
 Jove, 
 
 ‘‘ 3. The hero is naked as he came f from the 
 ** combat ; he is befmeared with dirt and with 
 blood, and waihes his hands before he makes his 
 offering. When Homer introduces Hed:or as 
 ** returning from battle, he makes his mother pro- 
 " pofe to him, the making an immediate libation 
 ** to Jove ; but the hero anfwers, % that he would 
 “ not approach the deity with polluted hands. 
 
 '^4. Tripods, according to Theocritus, § were 
 “ dedicated for vidiories, and beftowed on vigors ; (| 
 and the celebrated Sigean * * infcription is a 
 
 * Horn. Iliad. <I) & n. Arid. & Aldrovand. Ornith, tom. i. 
 lib. 2. Piin. lib. 10. c. 3. 
 
 f Paufan. Eliac. page 153. Attic, pagezja. 
 
 Xep^t y uviTTroiaiv Ab a»6o7ra oivov 
 
 tt'/j ean y.iXam^sl Kpovio/n, 
 
 Ai[A.ccri TiETraXayptevov sv^etccu^^ou. II. Z. 2o6. 
 
 Vid. Eurip. Alceft ,ver. 15 1. Jon. ver. 94. Plutarch, in 
 Mar. 
 
 Macrobius informs us, when they facrificed to the celeftial 
 gods, they walhed themfelves ; but whei^rto the infernal, they 
 only fprinkled. Saturnal. lib. 3. cap. i. 
 
 Ufiv y tv^r, s^r.aAa psefipa 
 
 Xtipai vi’^a.u.svoq TroTwy-^xTu v^xn Heiiod. 
 
 § AxfA,oT£?>v;^ 0 x^pr.yoq 0 roa TpJTro^'’, co Ak>vv'?e, 
 
 Kai cT£ rov r,aiqov 9ecov y.xy.xfccv x»x9siq 
 MsTfioq ijv, Bv Tfxqi. %opa; ^ £XT»j?aTO nxrjv 
 
 TO x«Aov TO 7Tpoi;»5XO»' opwj'. Epig. 12 . 
 
 Vid. Plin. lib. 34. cap. 3. 
 
 II Pauf. Eliac. 1. page 165. 
 
 ** Kayo; xpaT?:pa. Chilhull Infcrip. Sig. Athenaen. lib. ii. 
 cap. 8. 
 
 fufficient 
 
I 10 
 
 A DESCRIPTION OF THE 
 
 «* fiifficieiit proof, that in ancient times, cups, and 
 “ articles of that kind, were ufually bellowed on 
 the public, as well as on divinities. 
 
 Let us now conlider the infcription. Pan- 
 fanias informs us, that the Boullrophedon, or 
 writing from right to left, and continuing the 
 line from left to right, as oxen plow, was 
 “ ufed by Periandcr, in Solon’s time, in the in- 
 fcriptionhe put on a chefl: of his father Cypfclus. 
 Solon had recourfe to a different method, called 
 Cyrbes,''' or Axones. Before this infcription 
 “ was obferved, it was fuppofed that no writing in 
 the manner of the Bouflrophedon exifted ; but 
 the Sigean and other inferiptions f have been 
 lince difeovered.” 
 
 A relievo, exhibiting the ancient manner of 
 eating. Jupiter is accumbent, and Pallas and 
 Hebe attend him. Mr. Caftel has engraved this 
 in his book of the Villas of the Ancients. 
 
 The ftory of Meleager, from the beginning of 
 the quarrel to the burning of the fatal brand. 
 There are thirteen figures, befides a dog and a 
 boar’s head. 
 
 A fmall frieze from the Temple of Neptune, 
 four Tritons, and four Nereides. 
 
 ♦ A|ov£? kJ [xtv a,^ovt<i n'lTfayovoJ, KvpCeii rpiyoyot, 
 
 Ojw,of. Aiot(p. Ae^, Ammoni. 
 f Vid, Muf, Veronenf, Caylus, tom. i. page 64. 
 
 A child 
 
CURIOSITIES IN WILTON-HOUSE, 
 
 III 
 
 A child dealing meat through the idol’s mouth 
 from the altar. 
 
 Two men bidding adieu to each other. 
 
 Venus wringing the water out of her hair^ 
 This relievo, however, is an antique of Apelles,* a 
 work which was very highly efteemed. The poet 
 lad cited defcribes the goddefs as fqueezing the 
 water and froth from her hair : in this adion die 
 is here reprefented ; and to mark the place more 
 accurately, there are diells on the (hore. 
 
 Silenus drunk: there are dxteen figures, befides 
 an afs. Chromis and Mnafylus are binding his 
 feet and wrids, and the naiad JEgle, who is jud 
 come to their adidance, is daining his forehead 
 and temples with the juice of mulberry. f 
 
 Cleopatra. 
 
 Upon a grey granite table [from the moors of Devon-^ 
 Jhire^ Jlands 
 
 A high relievo of Marcus Aurelius andFaudina^, 
 as large as the life. 
 
 * Tctv etix^vofAivocv uttq jxxrsfot; 
 
 KvTrpiv A7n>^sni jW-op^Gov ofcc 
 
 flq ^ept <TViA,[xo(,f^c(,a-cc 
 
 ExGAtCei vorsfuv oe-^^ov oc-tto ’h’Koucc^.uiv . 
 
 Avrai vvv epsegtv AO'/ivauxTe Hpa, 
 
 Ov>i in aoi fxof(poc-(; tpiv ep^ofxeOcc. 
 
 Anilpat. apud Antholog, Paufan, in Corinth, initio. 
 
 I Virgil. Ec. vi. 
 
 STATUES 
 
II2 
 
 A DESCRIPTION OF THE 
 
 STATUES 
 
 IN THE STONE HALL. 
 
 Urania, the mufe ; with a fymbol reprefenting 
 the fun* and moon, cut on the plinth. 
 
 Calliope, the mufe, with a roll in her hand. 
 
 Pandora. 
 
 Sabina, the wife of Adrian. 
 
 BUSTS. 
 
 Cato Major. He was an able fiatefman, and 
 an eloquent orator. In public he extolled conti- 
 nence, and gave himfelf up in private to his vices. 
 His life and his difcourfes were perpetually at va- 
 riance. 
 
 Julia Moefa, the grandmother of Heliogabalus. 
 
 Odavia, the daughter of Claudius by MefTalina. 
 
 A Sarcophagus. In a round in the front is the 
 buft of a man ; and upon the tomb is Sefoflris. 
 His head is of red Egyptian granite, the bufl: part 
 of white Egyptian granite. 
 
 Ablack marble table, eleven feet nine inches 
 long, by four feet two inches wide. Upon it is the 
 buft of Geta, the brother of Caracalla. 
 
 • Vid, Plat, in Epinomide, Ovid, Fail. 5. Phurnut, apud 
 Opufcul. Mytholog. Galei. 
 
 PASSAGE 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 II3 
 
 PASSAGE 
 
 TO THE BILLIARD ROOM. 
 
 Cleopatra, with her fon Caefarion fucking on 
 her lap. 
 
 The flatue of Manlia Scantilla, the wife of 
 Didius Julianus. 
 
 The bulls of 
 
 Lyhas, an eminent Athenian orator. 
 
 Themillocles, the Athenian general. 
 
 Terence, the comic poet. 
 
 Pohdonius, the philofopher. 
 
 A Bifrons * of Janus and his wife. The double 
 face, which is frequently found flamped on the 
 earlier Roman coins, commonly reprefents Janus, 
 But this head is not the only one which the ancients 
 
 have exhibited with two faces. The family of 
 
 % 
 
 * O yup Tccvog £» tok ’JtoukoLCii rrccvv urs e»T£ 
 
 yivojxivoq 7r«AiT»>to$ xoivokjko? £x m G'iOptwS'tf? xj otypia T^iysTca ^iTuQuX^tiv 
 TTtV ^laiTuVf ^loc Tifio 9rAa.TT»5<» ccvrov cc[jt.(pt ‘Trpoo'UTrov, w? erepo* tu 
 fiw mpiTToiviccf rot rri¥ uop(pyjv Plutarch. in num. 
 
 K 
 
 Tituria 
 
IT4 A DESCRIPTION OF THE 
 
 Tituria (Iruck a medal with the heads of Tatius 
 and Romulus joined together, to fignify their per- 
 fedt concord in the adminiftration of government. 
 A double face may alfo be feen on very ancient 
 Etrufean coins, which have no connexion with 
 the Romans, and which indicate the union o^ 
 princes in the affairs of commerce and marine.* 
 The Bifrons of two young women. It is now 
 impoffible to determine what the ancients meant 
 to intimate by the bifrontes, which have women’s 
 faces. 
 
 * Caylus, tom, 2. page 149, 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 
 THE BILLIARD ROOM. 
 
 A Bifrons of Cecrops and his wife, with leaves 
 of fea-w'eed on his beard. 
 
 THE LITTLE LOBBY. 
 
 TThe model of a feventy-gun fhip, called the 
 Old Hampton-court. 
 
 THE BUGLE ROOM. 
 
 TT HE bulls of 
 
 Lucius Vitellius. 
 
 Galba. 
 
 Olympias, the mother of Alexander the Great, 
 Collatinus, the conful. 
 
 Ccefonia, wife of Caligula. 
 
 K 2 
 
 THE 
 
A DESCRIPTION OF THE 
 
 1 l6 
 
 THE 
 
 COLD AND HOT BATH ROOM. 
 
 ^The bufl: of Tiberius. 
 
 PASSAGE 
 
 T O 
 
 COFFEE AND BREAKFAST ROOM. 
 
 l\ TABLE (laincd with figures and landfcapes : 
 on it a buft of Ttnolus, an ancient lawgiver. 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE. II 7 
 
 THE COFFEE ROOM. 
 
 A Madona and Child, by Pordononc. 
 
 A Landfcape and Cattle, by Berghem. 
 
 A Magdalen Penitent, by Girolamo da Carpi. 
 
 Philip Earl of Pembroke, by Vandyck. 
 
 A Daughter of the Earl of Holland, by Van- 
 dyck. 
 
 The Ark of Noah, by Benedetto Caftiglione. 
 
 A Shepherdefs and Children, reprefenting In- 
 nocence, by Gieufeppe Franchi Fiorentino. 
 
 The Woman of Cana, by Stradano. 
 
 A Madona and Child, and St. John, by Perino 
 del Vagha. 
 
 A Holy Family, by Timoteo da Urbino. 
 
 Lot and his Daughters, by Le Blond. 
 
 Salmace and Hermanfrodile, by Cervelli. 
 
 Diana and Califto, by Girolamo Pefchi. 
 
 A noble figure of a Woman with five children : 
 it may be intended for riches and pleafure ; a very 
 capital piece, by Andrea Mantegna of Mantova. 
 
 The Judgment of Solomon, by Baptifi; Man- 
 toano. 
 
 K3 
 
 Orpheus 
 
Ii8 
 
 A DESCRIPTION OF THE 
 
 Orpheus demanding Eurydice, by Maturino. 
 
 Signor Medici e Moglie al Nupt. del Figliulo 
 1441 ; a capital curious picfture, by MafTaccio. 
 
 The Ark of Noah, by Giacomo Baflano. 
 
 Our Saviour receiving Magdalen, by Pietro 
 F"accino Senefe. 
 
 Adam and Eve in the terreflrial Paradife, by 
 Peter Van Giefen. 
 
 Cephalus and Procris, by des Giardins. 
 
 The finding of Mofes, by Girardot, a fcholar of 
 Rembrandt’s. 
 
 Our Saviour wafhing the Apoftles’ feet, by 
 Giacomo Tintoretto. 
 
 Venus and a Cupid, by Orazio Samachini. 
 
 A Snow piece, by Ryfdall. 
 
 A Rock by the fea-lide, by Salvator Rofa. 
 
 A Landfeape, by Coype. 
 
 • Roman Charity, by Pietro Dandini. 
 
 A Nativity, by Giacinto Pantor. 
 
 The parting of Tobit from his father, by 
 Michael i\ngelo da Caravaggio. 
 
 A Landfeape, with the hiflory of our Saviour 
 and the Woman of Cana, by Winckeboons. 
 
 St. Andrew going to be crucified, by Spagnolo 
 di Bologna. 
 
 A Picture of Infedls, by Ruvenars. 
 
 A Madona and Child, and St. John, by Pietro 
 Peru gi no. 
 
 The 
 
CURIOSITIES IN WILTON-HOUSE. II9 
 
 The Murder of the Innocents, by Domini- 
 chino, from Rafaelle. 
 
 A Battle, by Pandolfo. 
 
 Piazza Navona, by Bamboccio. 
 
 A Madona and Child, and St. John, by Frate 
 Bartolomeo. 
 
 The Manna, by Giacomo BalTano. 
 
 ' A Bacchanalian fubjed, by Polinbergh, very 
 fine. 
 
 The Marriage of St. Catherine, by Julio Ro- 
 mano. 
 
 St. John preaching in the Defert, with a portrait 
 of a gentleman, his lady, and two children, by 
 Tintoretto. 
 
 A Madona, by Carlo Dolci. 
 
 A fmall ditto and Child, by Corregio ; a fketch. 
 
 Abraham and the Angels, by Pafqualini. 
 
 Venus and Cupid, by Fialetti. 
 
 Four Landfcapes, by Lambert, of Weficombe, 
 Blackheath. 
 
 A View of Campo Vaccini, with the arch of 
 Septimius Severus, by Claudio Ghifolfi Mila- 
 nefe. 
 
 Boys playing, by Girolamo Donini. 
 
 A fine Head, by Benedetto Luti ; a drawing. 
 
 The Nativity of our Saviour, by Giufeppe Paf- 
 fcri; a drawing. 
 
 Four Heads from Raphael ; drawings. 
 
 K4 
 
 Two 
 
I 20 
 
 A DESCRIPTION OF THE 
 
 Two Crayons, by Morland. 
 
 Fine drawing of a Cupid, by Rofalba. • 
 
 Lot and his Daughters, by Cavalier Balefire, 
 
 Hercules and Achelous, by Paolo Pocrolino. 
 
 The late Lord Pembroke, by Sir J. Reynolds. 
 
 Lady Pembroke, by ditto: 
 
 A Landfeape and figures ; Flemifh School. 
 
 A Portrait of Pope, by Dali. 
 
 Ganymede on an Eagle, by Giufeppe PafTeri. 
 
 A Madpna and Child, and St. John; School of 
 Alba no, 
 
 St. John, by Giacinto Brandi. 
 
 A Ripofo, by Baleflra; fine. 
 
 The Judgment of Pairs, by Rottenhamer. 
 
 - Two Landfeapes, Englifli. 
 
 A Concert of Mufic, by Giorgione. 
 
 Achilles drawing the dead body of Hecflor^ by 
 Palidoro da Carravagio. 
 
 The four Seafons in Crayons, by Mr. Hoare. 
 
 The Angel appearing to Hagar, by Giacomo 
 Carano. 
 
 The late Lord Pembroke, when a child in a 
 frock, by Mifs Lifle. 
 
 The prefent Lord Pembroke, when a child in 
 a frock, by Lady Diana Beauclerk. 
 
 The Angel driving Adam and Eve out of Pa- 
 rad ife, by Ifenback. 
 
 A Magdalen, by Pietro Danini. 
 
 A Ma- 
 
CURIOSITIES IN WILTON-HOUSE. I2I 
 
 A Madona, by Lady Betty Herbert, great-aunt 
 to the prefent Earl of Pembroke. 
 
 Jephtha’s rafli Vow, by Flaminio Tori. 
 
 Venus chiding Cupid, by Fialetti. 
 
 Judith cutting off Holofernes’s head, by Boni- 
 faccio Bembi. 
 
 A Landfcape, by Stefano della Bella. 
 
 The Virgin looking on Chrift, by Dominico 
 Beccafumi. 
 
 Dalilah cutting off Sampfon’s hair, by Siflo 
 Badolocci. 
 
 Hagar looking back on the Angel, by Fran- 
 cefco Buzzi. 
 
 Tobit and the Angel, by Adam Elfhamer. 
 
 A dead Chrift, with the Virgin and Angels, by 
 Trevifani. 
 
 A Nativity, by Giacomo Pantormo. 
 
 Six Drawings, by Piazzetta. 
 
 Several Drawings, by Mr. Hoare. 
 
 Lord Pembroke, by Pompeo Battoni. 
 
 Lady Diana Beauclerk, by Sir Jofhua Reynolds. 
 
 The late Duke of Marlborough, by Vanlo. 
 
 The late Duchefs of Marlborough, by ditto. 
 
 An allegorical reprefentation of Charity, with 
 feveral figures, by Lanfranchi. 
 
 The Sacrifice of Noah, by Lomallo Livini. 
 
 A Magdalen, by Pignoni, fcholar of Carlo 
 - Dolci. 
 
 AMa- 
 
12:2 
 
 A DESCRIPTION OF THE 
 
 A Madona and Child, and St. John, by Guido 
 Cagnacci. 
 
 Belfhazzar’s Feafi:, by Taddeo Zucchcri; very 
 capital. 
 
 Apollo flaying Marfyas, by Benedetto Carpioni. 
 
 The Baptifm of our Saviour, by Cabalafco. 
 
 The Defcent from the Crofs, by Old Palma. 
 
 A fmall Holy Family, by Baroccio. 
 
 Nymphs, and a Satyr, by Sebaftian Concha. 
 
 An allegorical Subjedl, by Martino Freminet. 
 
 Two hiftories of Tobit and the Angel, by Adam 
 Elfhamer. 
 
 The Nativity of our Saviour, by Carlo Maratti. 
 
 Apollo and Daphne, by Abraham Johnfon, 
 from Albano. 
 
 The Rape of the Sabines, by Pietro da Cortona. 
 
 A Madona, a Child, St. Jofeph,and two Noble- 
 men, by John Bellini ; very capital. 
 
 A Madona and Angels, by Bernardino Gatti. 
 
 The Virgin, a Child, and fome Saints, by Sebaf- 
 tiano Concha. 
 
 Ganymede upon an Eagle, by Giofeppi PalTeri, 
 a difciple of Maratti. 
 
 A dead Saviour, with the Virgin and Angels, 
 by Michael Rocche. 
 
 Nymphs bathing, and a Satyr peeping at them, 
 by Sebaftiano Concha. 
 
 Califlo 
 
CURIOSITIES IN WILTON-HOUSE. I23 
 
 Califto bathing, and difcovered to be with 
 child ; nymphs appear to carry her before Diana ; 
 by Girolamo Pefchi. 
 
 The ftatue of Diana with her fymbols : fhe has 
 a crefcent on her head, to (hew that fhe is the 
 fame as Luna ; in her left hand is a bow ; and 
 with her right hand fhe takes an arrow from the 
 quiver. 
 
 The flatue of Plautilla drelTed like Diana ; fhe 
 was the wife of Caracalla, and like the latter em- 
 preffes affedled the attributes of divinity.* 
 
 A fmall ftatue of Hercules lifting Antaeus. 
 
 A ftatue of a Roman prieflefs. 
 
 The buft of Jotaphe, wife of Antiochus Co- 
 magena. 
 
 The buft of Lyfimachus, one of Alexander’s 
 Captains. 
 
 The buft of Triphina, wife of Antiochus. 
 
 The buft of Sabina, wife of Gordian. 
 
 The buft of Agrippina, wife of Germanicus. 
 
 The buft of Plotina. 
 
 The buft of Arftnoe. 
 
 The buft of Domitian* 
 
 • HAAYTIAAA NEA ©EA HPA. Plautilla non)a Dea Jufto, 
 injigne medaglia Ji rende cofpicua per i titoli dati a Plautilla, 
 non prima fopP alain ultra cPeruati, Tef. Britan, vol. 2. pasr. 
 246. 
 
 The 
 
124 
 
 A DESCRIPTION OF THE 
 
 The buft of Afpafia. — This lady was as much 
 celebrated for her learning as for her amours.— 
 She was in the charafter of a courtezan, till Pe- 
 ricles put away his wife and took her to his bed. 
 Socrates, and the gravefl: philofc pliers of Greece, 
 thought it no difhonour to attend her ledures on 
 eloquence. Her country was Miletus, a place re-, 
 markable for all the effeminacies of luxury. 
 
 THE 
 
CURIOSITIES IN WILTON-HOUSE, 
 
 I2S 
 
 THE BREAKFAST ROOM. 
 
 Picture of Baron de Eifenberg, riding-mafter 
 to Francis the Firft. 
 
 A Council of Horfes^ and other pidlures, by 
 Simonini. 
 
 The Attitudes of Horfes, untaught and ma- 
 naged, in water colours, by Baron de Eifenberg. 
 
 Over the Chimney, 
 
 The bull of Heraclitus. 
 
 THE MANEGE ROOM, 
 
 OR, 
 
 RIDING-HOUSE TRIBUNE. 
 
 T'he buft of Sab. Tranquillina. 
 
 AN 
 
126 
 
 A DESCRIPTION OF THE 
 
 AN 
 
 ACCOUNT 
 
 OF THE 
 
 Earl of Pembroke's Cabinet of Medals. 
 
 flow imperfedl foever ancient hiflory is, it 
 would have been much more fo, had it been de- 
 prived of the light and authenticity which it de- 
 rives from medals ; and chronology is not lefs 
 indebted to them for the alliftance they give to- 
 wards afcertaining many memorable tranfacTtions. 
 Our breads glow with congenial warmth, when 
 we view the reprefentations of the brave, the vir- 
 tuous, and the patriotic ; and we look with de- 
 tedation at thofe of the vicious and unworthy. 
 Medals may be termed a fchool of fileht indruc- 
 tion : they are capable of infpiring us with the 
 mod generous fentiments, and of filling us with 
 an abhorrence of every thing that is bafe. It is 
 no wonder, therefore, that the dudy of them has 
 been cultivated, and that collections of them have 
 been made by the mod illudrious and didinguidied 
 perfonages. 
 
 No 
 
CURIOSITIES IN WILTON-HOUSE. I27 
 
 No cabinet in Europe, in the pofleflion of a 
 fubjecfl, is perhaps fo richly ftored with medals, as 
 that of Lord Pembroke. Earl Thomas fpared no 
 pains or expence to complete his colledlion of 
 them ; and, confidering the avidity with which 
 medals have been always fought after, it is won- 
 derful that he was able to bring it to fo great a 
 degree of perfedtion. 
 
 By medals, I muft obferve, I underiland coins ; 
 for Fatin'*^ has proved, that monette and nu- 
 mifmata paffed as coins, as did all forts of medals, 
 except the very large ones, termed medallions. 
 It muft likevvife be remarked, that it is impoffible 
 to complete fets of medals, without admitting many 
 fuppofitious ones ; and indeed, the connoilTeur 
 will quickly difeover, that there are many fuch in 
 this collecftion, from the profile, figures, letters, 
 and workmanfhip. 
 
 The engravings of the Pcmbrochian medals 
 have been publifhed in one volume in quarto, and 
 are well executed. 
 
 Gold Medals, Darics, Grecian^ and Roman. 
 
 I . Darics ; of thefe there are here a few, with 
 fome Carthaginian coins. . 
 
 ^ Introduction a PHIRoire des Medailles, a Paris, 1665. 
 
 2. Grecian; 
 
128 
 
 A DESCRIPTION OF THE 
 
 2. Grecian; of the Macedonian and Greek 
 Eg^'ptian princes ; the kings of Syria, ending with 
 Paufias, king of Bithynia. 
 
 A feries of Cities and fmall Republics, called 
 Populos & Urbes. 
 
 3. Roman ; of fingle Families, Confular Per- 
 fons, and Emperors, in a regularNfucceflion, from 
 Julius Caefar to Stephen Urolius, the lalt of the 
 family of Paleologi, when Conftantinople was 
 taken by the Turks, in 1453. 
 
 T^be Second Part conjijls S i l v e r and Brass 
 Medals. 
 
 1. Grecian; there are above four hundred re- 
 lating to the ancient Geography of Greece, of a 
 higher antiquity than the redudion of that country 
 by the Roman power. 
 
 The Founders of Cities, 
 
 Ancient Kings and Heroes, 
 
 2. Athenian, Trojan, Carian, Boeotian, ThelTa- 
 lian, Macedonian, Egyptian, Thracian, Cappado- 
 cian, Mauritanian, Lydian, Parthian, Perfian, Sy- 
 racufan, and a great variety of other coins. 
 
 The Heads of learned Men; Bifrontes, and 
 Coins, with the weight and value ftamped on them.- 
 
CURIOSITIES IN WILTON-HOUSE. 
 
 129 
 
 nefe are Jucceeded hy 
 
 1. Samaritan and Hebrew Medals. 
 
 2. Phenician, or Punic. 
 
 3. Arabic. 
 
 4. Celtic. 
 
 nen folloWy 
 
 1. The Roman Denarii, with the images of 
 their deities. 
 
 2. Illuflrious Romans. 
 
 3. Hiftorical Events; Magiftrates, Dignities, 
 Victories, Trophies ; different forts of Silver Coin. 
 
 4. Roman Families, Confuls, and Emperors, 
 on Denarii ; with a great number relating to the 
 civil and military tranfad:ions of the Roman peo- 
 ple, both at home and abroad. 
 
 5. Hetrufcan Coins; Spintriae; Nummi Con- 
 torniati ; of the Byzantine Princes, &c. 
 
 The Englijh antiquarian will be particularly pleafed 
 with the admirable colleBion of English Coins, of 
 which we Jhall prejent the reader with an epitome. 
 
 1. Englifh Pennies during the Heptarchy, be- 
 ginning with Ethelward, A. D. 728. 
 
 2. Pennies of Archbifhops, and thofe of St. 
 Peter and St. Martin. 
 
 L 
 
 3. Pennies 
 
A DESCRIPTION OF THE 
 
 130 
 
 3. Pennies of Saxon Kings before the Conquefl; 
 beginning with Egbert, A. D. 828, and ending 
 with Harold, A. D. 1066. 
 
 4. Pennies from William the Conqueror to Ed- 
 ward the Black Prince. 
 
 5. Groats from Edward III. A. D. 1327, to 
 Henry VII. 
 
 6. Shillings from Henry VII. to the Common- 
 wealth. 
 
 7. Different fpecies of Englifh and Irifh groats, 
 halfpennies, farthings, &c. from Edward III. to 
 Queen Mary. 
 
 8. Milled groats, crowns, &c. of Queen Eli- 
 zabeth, to Charles I. 
 
 9. Groats, crowns, and half-crowns coined at 
 Tournay, Calais, Dublin, Chefter, &c. from Ed- 
 ward III. to Charles I. 
 
 10. Queen Elizabeth’s portclufe money, coined 
 for the Eaff-Indies. 
 
 1 1. Various iilver coins during the rebellion. 
 
 12. King James II. ’s brafs and tin money 
 coined in Ireland, and his healing pieces. 
 
 13. Milled pieces of the Commonwealth. 
 
 14. Coins of Englifh fettlements and colonies, 
 viz. Fort St. George, Maryland, Maffachufett’s 
 Bay, Carolina, Darien, and Ifle of Man. 
 
 15. Englifh gold coins from Edw^ard II. to the 
 Commonwxalth. 
 
 16. Copper 
 
CURIOSITIES IN WILTON-HOUSE. I3I 
 
 16. Copper coins from Edward II. to James II. 
 with filver hidorical counters, and fmall medals. 
 
 17. Scottilh pennies from Alexander I. to Ro- ' 
 bert I. 
 
 1 8. Scottifh groats from David II. to James V. 
 with filver and copper coins of Queen Mary and 
 James VI. 
 
 The firft Englifh medal was flruck by Henry 
 VIII. 
 
 ^he foregoing EngliJJo Coins are followed French, 
 Sabaudean, German, and Dutch Medallions 
 and Coins, with Jome of thofe of the Popes, and 
 Wooden Cuts illujirious men. 
 
 Here we cannot but exprefs our regret, that 
 Nicola Francefco Haym did not live to execute a 
 work with regard to the Pembrochian medals 
 which he had undertaken, and in which he was 
 greatly encouraged by Thomas Earl of Pembroke. 
 
 This antiquary came to London an Italian fidler, 
 as he himfelf informs us ; but having more eru- 
 
 * E tronjandomi in Londra, in quell* * ore d* oxio che dalla mia 
 ■profejjione di mufica m* erano conce£e, mi fer'vi della piccola cogni- 
 zione ch* 0 del difegno, in delinedre alcune i^iedaliej U’c, Tef. 
 Brit. Proemio. 
 
 L 2 
 
 d it ion 
 
A DESCRIPTION OF THE 
 
 132 
 
 dition and tafte than arc ufually the portion of his 
 itinerant countrymen, and having alfo a particular 
 propenfity to the fl:udy of medals, he became ac- 
 quainted with the Duke of Devonfhire, Lord Win- 
 chelfea. Lord Pembroke, and feveral other no- 
 blemen and gentlemen, who had valuable ca- 
 binets. 
 
 As a proof of his abilities* he publifhed, in 
 1719, the firft volume of his Teforo Britannico, 
 and the year after, the fecond. This work was an 
 enumeration of coins never before taken notice of, 
 or explained in other books. The opinion which 
 l.ord Pembroke conceived of this publication, in- 
 duced him to engage Haym in his fervice, and 
 to employ him to engrave and methodize his ca- 
 binet. This was a moft laborious tafk, and he 
 performed it with diligence and reputation. — • 
 Though his name has been allowed to fink into 
 oblivion, yet, without the aid of his attention and 
 induflry, this celebrated and valuable colledHon 
 had to this day remained in confufion and 
 ufelefs. 
 
 From hints in different parts of his writings^ 
 it would feem that he had made obfervations .on 
 the various claffes of the medals, and intended to 
 have publifhed them when properly digefted ; but 
 until that time, they wxre’ to remain in Lord Pem- 
 broke’s poffefiion. 
 
 What 
 
CURIOSITIES IN WILTON-HOUSE. I33 
 
 What has been the fate of thefe obfervations, we 
 know not but if they are ftill at Wilton, it would 
 be much to the honour of the Pembroke colledlion, 
 to have them arranged and publifhed ; as many of 
 the mod valuable medals are unintelligible, for 
 want of a proper elucidation. 
 

 ..V'? 
 
 • V.. .. ■ V ;■:. '^:v-', 
 
 4 • i' ' \ r' i •^.ts I .: ',^M, vvV>.y 
 
 
 " - '• ,-. '■- - ’ r -' V ' . 7 - 
 
 1 ■'••» 1 3-i ‘1 )-6 
 
 htrio /^3i Itift Ij - ■ 
 
 .-;U> *. , .. 
 
 ■\-'-‘ h ■ 
 
 y , i V, J. 
 
 S ?' 
 
 ;i 
 
 
 
 - 
 
 * 
 
 ;'; ' ■''•'''-%fs» ’•• '^y fh- ’r*^fp.:*j*^*^{'' ' 
 
 • . • . ''.'IfB .'■ '. -> A ■ • a' V -iV- .. .' .»;'■ 
 
 . .. . 
 
 
 
 . '1 
 
 
 
 
 ... :U-}^ J..: •- ■*• .* 
 
 • .S rf 7 ‘ 
 
 '. • „ s ( ■'- ■ ',. 
 
 
 
 ■ ' - ■ • ,> ■ 
 
 u.. A- . , . * 
 
 :m: 
 
 
 '<) '■ 
 
 
 A. " ; f -; '*• .'--iA.?*^i ''t '« < . 
 
 % 'i ’. ’ i < ” : . . ^ . > . -V * 
 
 V • • ‘ ^ « 
 
 '• ■• "' 7 '^'' '' V ■>■’'* . •>■ 
 
 : • W '■ ■ 
 
 *'-!r . ;■ ' " * -?•■■ r^. , •■■■,;• \:'i 2 
 
 ^ ■ UA ^h‘r ' r J - ■/>'■ ^ '■^•i ' 
 
 ‘; ^ '■ ■ ' ■"' " .fjy 
 
 
 . v;-e 
 
 . 4 ^ 
 
 
 
TO THE 
 
 ANTIQUITIES, CURIOSITIES, AND PAINTERS. 
 
 S.Jiands for Statue, B. Buff, R. Relievo, G. Group, and P. Painter. 
 
 A chilles, b. 
 
 Adonis, S. 
 
 J£.g\e and Hercules, R. illuflrated 
 iTnobarbus, B. 
 
 -^fculapius, S. finely illuflrated 
 Agrippina, B. - - 
 
 Albano, P. - - - 
 
 Albinus, B. - - 
 
 Alcibiades, B. 
 
 Aldegraaf, P. - - 
 
 Alexander, B. 
 
 Alfred, founder of Wilton Abbey 
 Altars deferibed . - - 
 
 Amazon, S. 
 
 Ammonius, B. 
 
 Amorofi, P. 
 
 Anacharfis, B. 
 
 Anacreon, B. - - 
 
 Andromeda, S. 
 
 Angelo, Mich, called di Battaglia, P. 
 Angelo, Mich. Euonaroti, P. 
 
 Angelo, Mich, called di Campidoglio, P. 
 Angelo, Mich, da Caravaggio, P. 
 Angufciola, P. 
 
 Antinous - , - 
 
 Antiochus, wife of, B, 
 
 Antonia^ B. 
 
 Antonius, S. 
 
 Apollo, 
 
 Apollonius Tyanaeus, B. 
 
 Ariadne and Thefeus,R. 
 
 
 95 
 
 
 S. 15, 57. B 21 
 
 lOI 
 
 50 
 
 34 » 35 
 
 10 
 18, 19 
 
 118 
 1^5 
 
 13 
 78 
 66 
 41! 
 
 r 
 
 106 
 
 2 1 
 
 11 
 
 6 z 
 
 si 
 
 5 1 
 
 58 
 
 ' 97 
 
 6 i'< 
 iiji 
 
 9i 
 
 B. 76: 
 
 m8 ' 
 65I 
 
 48' 
 
 Belvidere 23 
 - '81. 
 
 37 
 
 Arigoni,! 
 
 60, 79, 
 
 S. 17, 
 
INDEX 
 
 Arigoni, P. 
 
 Ariftophanes, B. 
 
 Ariftotle, B. 
 
 Armour taken at St. Quintin’s, account of 
 Arpino, P. - - - 
 
 Arfinoe, B, 
 
 Artemis, B. - - 
 
 Arundclian Marble, account of 
 Afpafia, B. 
 
 Atys, S. - - - 
 
 Aventinus, B, - - 
 
 Auguftus, B. - - 
 
 Aurelius, Marcus, B. - B, 17, 77. 
 Autumn, S. 
 
 54 - 
 
 60 
 
 55 
 
 57 
 
 37 
 
 72 
 
 118 
 
 77 
 
 4 
 
 oco 
 
 12 
 
 68 
 
 R. Ill 
 12 
 
 BACCHANALS, R. 
 
 Bacchus, G. 22, 33,. 41, 43, 
 
 — , Altar of, R. 
 
 Bacon, B. - - 
 
 Badolocci, P. - - 
 
 Baleftre, P. 
 
 Bambini, P. - - 
 
 Bambocci, P. 
 
 Bamboccio, P. 
 
 Barocci, P. - - 
 
 Baroccio, P. - - 
 
 Bartolomeo, P. - - 
 
 Balfano, P. - ^ - 
 
 Battoni, P. - 
 
 Beauclerk 
 
 Beccafumi, P. - - 
 
 Bella 
 
 Bellini, P. - - 
 
 Bembi, P. 
 
 Berenice, B. - - 
 
 Berghem, P. - - - 
 
 Bifrons explained, B. 
 
 Bingham, BiHiop - - ' - 
 
 Bloemart, P, - . - 
 
 Blond, P. - . - 
 
 Bologna, P. 
 
 Borgiano, P. 
 
 Bourdon, P. - - - 
 
 Bouftrophedon explained, R. ' - 
 
 Boy dancing, S. 
 
 120, 
 
 90, 
 
 81, 
 
 118, 
 
 103, 
 
 ‘ ^ 35^37 
 
 50, 66, 69. B. loi 
 10, II, 55 
 
 64 
 1 2 1 
 
 121 
 
 lOI 
 
 94 
 119 
 
 53 
 
 122 
 119 
 
 119 
 I2I 
 
 120 
 I 2 I 
 
 121 
 
 122 
 I2I 
 
 65 
 
 117 
 
 II3, II4, II5 
 2 
 
 94 > 97 
 117 
 
 100, loi, 118 
 
 99 
 89 
 107 
 
 - 103 
 
 Boys 
 
INDEX, 
 
 I>AGE 
 
 Boys eating Grapes, R. - • 30 
 
 Brandi, P. - - - - 120 
 
 Brawer, P. - - - - 80 
 
 Britannicus, R. - - - 33 
 
 Brompton, P. - - - 45 > 1 03 
 
 Broughton - - - - 49 
 
 Brueghel, P. - - - 62 
 
 Brutus, B. - - - 27^ 76 
 
 Bufalmacho, P. - - - gi 
 
 Burgognone, P. - - - 100 
 
 Buzzi, P. - 121 
 
 C. 
 
 CABALASCO, P. - . . 122 
 
 Cadozzo, P. - - - 85, 97 
 
 C^far, Julius, his father, S. - - 5 
 
 Caefar, Julius, B. - - - 76 
 
 Caefar, Lucius, B. - - - ' 76 
 
 Caefareon - - - - - 113 
 
 Csefonia, B. - - - 115 
 
 Cagnacci, P. - - ^ - 122 
 
 Caldus, B. - - - - 47 
 
 Caligula, B. - - - - 5 
 
 Calliope, S. - - - - 112 
 
 Calvart, P, - _ - - 84 
 
 Calypfo’s Cave, R. 
 Camaflei, P. 
 Caracalla, B. 
 Caracci, P. 
 Carano, P, 
 Carletto, P. 
 
 Carpi, P. 
 
 Carpioni, P; 
 Carravagio, P. 
 Caflandra, B. 
 Cafteels, P. 
 CaftelU, P. 
 Caftiglione, P. 
 Cato, B. r 
 Cecrops 
 Centaurs, R. 
 Cerdic, the Saxon 
 Ceres, S. 
 
 Cerjat, P. 
 
 Cervelli, P, 
 
 118, 
 
 100 
 
 78 
 
 S3> 82, 90, 97 
 120 
 
 99 
 117 
 122 
 120 
 77 
 52 
 97 
 117 
 1 12 
 
 "5 
 105 
 
 1 
 
 47 
 62 
 117 
 Chiari, 
 
 61, 
 
INDEX, 
 
 Chlari, P. 
 
 Cicero, B. 
 
 Clara, Didia, 
 
 Claudius, B. 
 
 Clelia, R. 
 
 Cleopatra, 
 
 Clio, S. 
 
 Collatinus, B. 
 
 Column, - - _ 
 
 Commodus, B* - - 
 
 Concha, P. 
 
 Congiagio, P. - - 
 
 Conllantine, B. - . 
 
 Contarini, P. 
 
 Contentment, B. 
 
 Coriolanus, B. 
 
 Corregio, P. 
 
 Cortona, P. 
 
 Cofway, - ‘ - 
 
 Coype, P. - - 
 
 Crefci, P. 
 
 Crefpi, P. « - . 
 
 Creufe, P. 
 
 Crifpina, B. 
 
 Cupid, S. 10, 14, 101, 102. R. 29, 36. 
 Curtius, R. - - - 
 
 Curule Chair, what 
 
 S. 17. 
 
 B. 17. R. 1 1 r. S 
 
 pace. 
 
 72 
 
 B. 5 
 *4 
 
 35 
 
 4 
 
 Granite, 5 
 
 87 
 122 
 
 90 
 25 
 
 91 
 103 
 
 - . 49 
 
 84, 88, 90, 1 19 
 122 
 103 
 
 I18 
 
 93 > 94 
 
 88 
 
 47 
 
 lor 
 
 G. 33, 36. B. 46. 
 - ' 29 
 
 37 
 
 DAHL, P, 
 Dandini, P. 
 Dani, P. 
 Danini, P. 
 Della Bella, P. 
 Dentatus, B. 
 Diana, 
 
 Direggio, P. 
 Dobfon, P. 
 Dolci, P. 
 Dollabella, B. 
 Domini chino, P 
 Domicia, B, 
 Domitian, B. 
 Donini, P. 
 Drufilla, B. 
 
 D. 
 
 52, 120 
 118, 120 
 86 
 120 
 116 
 
 - ' - 64 
 
 R. 37. S. 7, 69, 123. B. 77 
 
 97 
 
 - . 79 
 
 53, 82, 98, 1 19 
 48 
 
 . ' 89, 1 19 
 
 57 
 
 123 
 
 ,19 
 
 87 
 
 Drulus, 
 
INDEX. 
 
 PAOZ, 
 
 Drufus, B. ----- 76 
 
 Durer, P. - - . - - - 83 
 
 E. 
 
 EATING, the ancient manner of, R. 
 Eccard, P. - - - 
 
 Edgar . - - - 
 
 Edward VI. - - - 
 
 Eifenberg, P. - - - 
 
 Ellandunum - - - 
 
 Elfhamer, P. - - 
 
 Endymion and Luna, R. 
 
 Epaphroditus, his tomb explained 
 Epicurus, B. - - 
 
 Evelyn, Mr, his credulity 
 Europa, R. - - - 
 
 Euterpe, S. 
 
 F. 
 
 FAUNA, B. - - - 
 
 Faunefs and Child, R. 
 
 Faunus, - - - S. 14. 
 
 Fauftina, - - - - S. 27. 
 
 Ferrara, P. 
 
 Fetti, P. - - - 
 
 Fialetti, P. 
 
 Figino, P. - - ^ 
 
 Fiorentino, P, - - 
 
 Fiori, P. - - . 
 
 Flora, or Pomona, S. - - 
 
 Floris, P. ^ - 
 
 Foulkes, Martin, B. - 
 
 Fountain, Sir Andrew, B, 
 
 Frank, P. - - - 
 
 Freminet, P. - - • 
 
 G. 
 
 GALAT.^A, R. 
 
 Galba, B. 
 
 Ganymede and Cupid, G. 
 Gafpar, P. 
 
 Gatti, P. 
 
 Gennari, P. 
 
 Gentili, P. 
 
 Germanicus, B. 
 
 no 
 
 39 
 
 1 
 
 3 
 
 123 
 
 I 
 
 121, 122 
 
 31 
 
 39, 40, 41 
 
 IOC 
 
 6 
 
 35 
 
 i8 
 
 - lOI 
 
 30 
 
 B. 67. R. 107 
 B. 65. R. 1 1 1 
 
 82 
 
 H 
 
 II9,, 121 
 92 
 
 98, II7 
 62, 98 
 
 - 22 
 
 83 
 55 
 55 
 82 
 
 122 
 
 93 > 
 
 36 
 
 JI5 
 
 122 
 
 72 
 
 85 
 
 77 
 
 Geta, 
 
INDEX 
 
 ?ACE 
 
 Geta, B. - - - - 112 
 
 Giardins, P. - - - - - u8 
 
 Giefen, P. - - - ' - n8 
 
 Giordano, P. - - - 79>95 
 
 Giorgione del Cartel Franco, P. - 90, 120 
 
 . Giovanni, P. - - - ->81 
 
 Giovannini, P. - - - 100 
 
 Girardot, P. - - - 118 
 
 Gladiator, dying, S. - - - 51 
 
 Gonfales, P. - - - - 80 
 
 Gori, P, - - - - - 60 
 
 Graces, R. - - " " 35 
 
 Gratti, P. - - ‘ ' 10 1 
 
 Grecian Games, R. - " ^ - 29 
 
 Gryphina, B« - - - 
 
 Guercino, P. . - - - 63, 88 
 
 Guido, P. - - ” “ 53 
 
 H. 
 
 HADRIAN, B. 
 
 Hals, P. 
 
 Hampton-Court man of war 
 Hannibal, B. 
 
 Heemfkirk, P. 
 
 Heraclitus, B. 
 
 Herbert - - 
 
 Hercules, 
 
 Hefiod, B. 
 
 Hefperides, R, 
 
 Hoare, P, 
 
 Holbein, P. - 
 
 Homer, B. 
 
 Horace, 
 
 Huntorft, P. 
 
 14 
 
 99 
 
 115 
 
 13 
 
 47, 98 
 
 - 125 
 
 121 
 
 G. 27, 35, 48. S. 39, 123 
 
 51 
 
 47, 60, 62, 63, 90, 120, 121 
 2^ 3 > 3 ^- 53> 62, 97, 98 
 57 
 
 B. 77, 87. Urn, 103 
 
 : . 97 
 
 I. 
 
 JANUS 
 Jennari, P. 
 Jervoife, P. 
 Johnfon, P. 
 
 Jones, Inigo, P. 
 fotaphe, B. 
 ifenback, P. 
 
 Ifis and Ofiris, G, 
 Ifocrates, B» 
 
 103, 113 
 45 > 72 
 52, 84 
 
 122 
 
 53. 67 
 
 123 
 120 
 
 50 
 
 53 
 J ulia. 
 
INDEX. 
 
 PAC'P, 
 
 Julia, B. - - - - 13, 6f 
 
 Julianas, Didius, B. - - - 76 
 
 Junia, R. - - - - 34. 
 
 Juno, G. - - - - 33 
 
 Jupiter, - G. 33. S. 43. B. 67^ R. 106, no 
 
 K. 
 
 KNELLER, P. 
 
 L. 
 
 LABIENUS Parthicus, B. 
 Lambert, P. 
 
 Lampadedromia, the game of 
 Lanfranchi, P. 
 
 Lauri, P. ' - 
 
 Lazarini, P. 
 
 Leiden, P. 
 
 Lely, P. 
 
 Lepidus, B. - - 
 
 Libera, E. - - 
 
 Libertas, B. - - 
 
 Lincoln’s- Inn- Fields, view of 
 
 Line 
 
 Livia, S. - - 
 
 Livy, B. 
 
 Lomallo Livini, P. 
 
 Lorraine, P. 
 
 Lucan, B. 
 
 Lucilla, B. 
 
 Luke, St. P. 
 
 Luti, P. - - 
 
 Lyfias, B. - - 
 
 L yfimachus, B . 
 
 M. 
 
 MAGO, B. 
 
 Maltefe, P. 
 
 - Mama;a, Julia, B. 
 
 Mantegna, P. 
 
 Mantoano, P. 
 
 Maratti, P. 
 
 Marcellus, B. 
 
 Mars, G. 
 
 Malks, 
 
 MaiTaccio, P. 
 
 52. 71. 7: 
 
 4 - 
 
 119 
 29 
 
 121 
 
 S3 
 
 86 
 
 9 ? 
 
 24. 
 
 59 
 
 57 
 
 53 
 
 1 20 
 
 27 
 
 55 
 
 1 2 1 
 
 9 ^ 
 77 
 2 1 
 
 Si 
 
 - 62 
 
 - 20 
 86, 1 1 7 
 j 1 7 
 
 62, 63, 90, 122 
 69, 76 
 ~ S3 
 
 2!, IC'3 
 
 m 3 
 
INDEX, 
 
 Maffinifla, B. 
 
 Matidia, B. » - 
 
 Mattel, P. 
 
 Maturino, P. , - . 
 
 Meander, River, S. 
 
 Medals, Lord Pembroke’s, account of 
 Meleager, - - - S. 20. 
 
 Mercia, B. 
 
 Mercury, S. 
 
 Meflalina, B. 
 
 Metellus, B. 
 
 Mieris, P. - 
 Milanefe, P. 
 
 Miltiades, B. - - „ 
 
 Modius, Marcus, B. - 
 
 Moefa, .J ulia, B. - - - 
 
 Mola, P. - - • 
 
 Montano, P. - - 
 
 Morier, P. 
 
 Morland, P. 
 
 Morpheus, S. - - - 
 
 Mofaic, a curious one, R. - 
 Mumper, P. - - 
 
 Murillo, P. - - 
 
 PACl 
 
 68 
 
 69 
 
 R. 25, 
 
 99 
 
 118 
 
 55 
 126 
 1 10 
 
 13 
 
 ^2 
 
 69 
 
 88 
 
 119 
 
 1 12 
 
 63 
 
 85 
 
 45 
 
 - 120 
 
 - 87 
 
 34 > 35 
 
 62 
 
 - 86 
 
 N. 
 
 NEPTUNE, R. 
 
 Nereides and Tritons> R. 
 
 Nero, B. - - 
 
 Nerva, B. 
 
 Newton, Sir Ifaac, B. 
 
 Niger, Pefcennius, B. 
 
 Nile, S. 
 
 Niobe and Children, R. 
 
 - 105 
 
 105, no 
 21 
 
 50 
 
 64 
 
 • 13 
 
 53 
 
 28, 106 
 
 o. 
 
 OCTAVIA, B. 
 
 Olympias, B. 
 
 Orizonti, P. - - 
 
 Orpheus, S. 
 
 Ofiris and Ifis, G. 
 
 Oftade, P. 
 
 Otacilia, B. 
 
 Otho, B. - 
 
 13, 112 
 
 115 
 
 84 
 
 58 
 
 50 
 
 52 
 
 H 
 
 • 64 
 
 PANTING 
 
INDEX. 
 
 P. 
 
 PAO» 
 
 PAINTING in Oil, its antiquity in England 
 Palma, P. - - - 
 
 Pan, R. - _ - 
 
 Pandolfo, P. 
 
 Pandora, S. 
 
 Panini, P. •* ' 
 
 Pantheon - 
 
 Pantor, P. 
 
 Pantormo, P. - - - 
 
 Parian Marble defcribed 
 Paris, his fofter-father, S. 
 
 Parmigiano, P. 
 
 Pafqualini, P. 
 
 Pafleri, P. - 
 
 Patten, P. _ - - 
 
 Pelugio, P. 
 
 Pembroke Family, P. 
 
 Pembroke, Countefs of, B, 
 
 Pembroke, Earl of, 
 
 Penni, P. - - - 
 
 Perfius, B. 
 
 Pertinax, B. 
 
 Perugia, P, 
 
 Perugino, P. - 
 
 Pefchi, P. - - . 
 
 Phasdra, B. - - - 
 
 Philemon, B. - - 
 
 Phocian, B. - - - - 
 
 Piazzetta, P. - - 
 
 Pignoni, P. 
 
 Pindar, B. - 
 
 Piombo, P. 
 
 Pius, Antoninus, B. - - 
 
 Plato, B. - - . 
 
 Plautilla, - 
 
 Plotina, B. 
 
 Po, P. - - - 
 
 Poerolino, P* 
 
 Polemon, B. - - 
 
 Polinbergh, P. - _ 
 
 Pollio, Afinius, B. 
 
 Pomona, S. - - - 
 
 Pompey, B. - - 
 
 Poppea, B. 
 
 91 
 122 
 io6 
 1 19' 
 
 II2 
 
 . 93 
 
 lo, loi 
 
 ii8 
 
 121 
 
 22 
 
 H 
 
 - 8o, 8^ 
 
 119 
 
 119, 120, 122 
 82 
 85 
 
 74 
 
 59 
 
 B, 64. R. 102 
 90 
 6 
 
 95 
 
 98 
 
 118 
 123 
 
 51 
 
 24 
 
 - 48 
 
 121 
 121 
 
 25 
 
 92 
 
 77 
 
 ^ ‘ 56 
 
 B. 45. S. 123 
 
 123 
 
 99 
 
 - 120 
 
 87 
 
 119 
 49 
 57 
 27 
 
 102 
 
 ' Pordonone, 
 
INDEX 
 
 Fordonone, P. 
 
 Portia, B. 
 
 Pdfidonius, B. 
 
 Pouffin, P. 
 
 Price, P. 
 
 Prieft, ancient, S. 
 
 Prieftefs, Roman, S. 
 
 Priefts going to facrifice, R. 
 Primaticcio, P. 
 
 PACE 
 
 117 
 
 i8 
 
 113 
 
 61, 89, 98 
 
 46 
 
 70 
 
 123 
 
 106 
 
 100 
 
 Probus, his urn 
 
 
 57 
 
 Procaccini, P. 
 
 
 80 
 
 Prufias, B. 
 
 
 77 
 
 Ptolemy, B. 
 
 - 
 
 48 
 
 Pyrrhus, 
 
 - 
 
 R. 70. B. 70 
 
 
 R. 
 
 
 RAPHAEL, P. 
 
 
 53, 84, 119 
 
 Raphael, d’Urbino, P. 
 
 - 
 
 85, 94, 95 
 
 Raphael, fcholar of, P. 
 
 - 
 
 89 
 
 ReilTchoot, P. 
 
 - 
 
 7 > 39 
 
 Rembrandt, P. 
 
 
 61 
 
 Remitalces, R. 
 
 
 35 
 
 Reynolds, P. 
 
 - 
 
 60, 61, 82, 120, 121 
 
 Rheni, (^ide Guido,) P. 
 
 - 
 
 53, 88 
 
 Ricci, P. 
 
 - 
 
 52, 99 
 
 Richardfon, P. 
 
 
 52 
 
 Rocche, P. 
 
 - 
 
 .122 
 
 Romanclli, P. 
 
 - 
 
 93 
 
 Romano, Giulio, P. 
 
 • 
 
 98 
 
 Romano, Julio, P. 
 
 - 
 
 - 119 
 
 Rofa, P. 
 
 - 
 
 63, 118 
 
 Rofalba, P. 
 
 
 120 
 
 Rottenhamer, P. 
 
 
 120 
 
 Rubens, P. 
 
 - 
 
 83, 88, 89, 91, 94 
 
 Ruvenars, P. 
 
 - 
 
 118 
 
 Ryfdall, P. 
 
 
 118 
 
 SABINA, 
 
 S. 
 
 S. 1 12. B. 123 
 
 Sabines, G. 
 
 - 
 
 72 
 
 Sacchi, P. 
 
 
 95 
 
 Sachtleven, P. - 
 
 . 
 
 83 
 
 Sacrifice, R. 
 
 - 
 
 106 
 
 Said, P. 
 
 _ 
 
 79 
 
 Salembeni, P 
 
 
 91 
 
 
 
 Salviati, 
 
INDEX 
 
 Salviati, P. 
 
 Samachini, P, 
 
 Sappho, B. 
 
 Sarcophagi 
 Sarto, P. 
 
 Saturn, R. 
 
 Savery, P. 
 
 Scaliola 
 
 Scantilla, Manila, S. 
 Schalken, P. 
 
 Scidone, P. 
 
 Scipio Afiaticus, B. 
 
 Sella Curulis, what 
 Semiramis, B. 
 
 Seneca, B. 
 
 Senefe, P. 
 
 Sefoftris, B. 
 
 Severus, Alexander, B. 
 Severus, Septimius, B. 
 SHakefpeare, S. 
 
 Shepherd and Goat, S. 
 Ship, a Model, 
 
 Signari, P. 
 
 Silenus, Bacchus,) 
 
 Simonini, P, 
 
 S Irani, P. 
 
 Snake- done 
 Snyder, P. 
 
 Socrates, B. 
 
 Solari, P. - 
 Sole, P. 
 
 Solimene, P. 
 
 Solon, B, 
 
 Sophocles, B. 
 
 Spagnolet, P. 
 
 Spec, P. 
 
 Statues, Egyptian 
 Steenwyck, P. - 
 Stradano, P. 
 
 Sulpitia, B. 
 
 PACE 
 
 - 6i, 8o 
 
 ii8 
 
 - ' 66 
 
 i8, 21, 24, 25, 1 12 
 
 93 
 
 42 
 
 - ll 
 
 113 
 
 99 
 95 
 77 
 37 
 : 4 
 55 
 
 I iS 
 
 1 12 
 65 
 76 
 103 
 
 44 
 115 
 98 
 1 1 1 
 123 
 84, 98 
 103 
 45, 61 
 
 55 
 81 
 61 
 9S 
 9^ 
 
 25 
 
 89 
 47 
 7 
 84 
 
 - 1 17 
 
 57 
 
 G.22, 55. R. 33, 35: 
 
 T. 
 
 TABLE, inlaid ’ 
 
 Taruffi; P. 
 
 TemjTefta, P. ’ 
 
 Terence, B. 
 
 72 
 
 67 
 
 J13 
 
 1 efta. 
 
 M 
 
INDEX 
 
 Tefta, P. 
 
 
 PACE 
 
 - - 99 
 
 Themiftocles, B. - 
 
 
 - I 13 
 
 Theodore, P. 
 
 
 83 
 
 Theophrai^us, B. 
 
 Tiberius, B. - - » 
 
 - 
 
 / . 14 
 
 - - n6 
 
 Tintoretto, P. - - 
 
 
 53, 118, 119 
 
 Tithonus, B. 
 
 
 lOl 
 
 Titian, P. _ _ 
 
 Titus, B. - 
 
 - 
 
 88, 95 
 
 - - 67 
 
 Tivoli, P. - - 
 
 _ 
 
 61 
 
 Tmolus, B. - 
 
 _ 
 
 - 116 
 
 Tomafo, P. 
 
 
 72, 75 
 
 Tomb of white marble 
 
 - 
 
 - 39 
 
 Tori, P. - - 
 
 _ 
 
 - 121 
 
 Torment, B. - - 
 
 _ 
 
 103 
 
 Trajan, B. 
 Tranquillina, B. 
 
 - 
 
 68 
 
 125 
 
 Trevifani, P. 
 
 
 121 
 
 Triga, P. - - 
 
 _ 
 
 60 
 
 Triphina, B. ' 
 
 - 
 
 123 
 
 Tritons and Nereides, R. 
 
 
 ^ - 1 10 
 
 Tullia, B. 
 
 - 
 
 67 
 
 V. 
 
 VACCINI, view of 
 
 
 119 
 
 Vagha, P. - - 
 
 - 
 
 ii 7 > 
 
 Vandervelt, P. 
 
 • 
 
 82 
 
 Vandervwarfe, P. 
 
 _ 
 
 91 
 
 Vandyck, P. - 53, 62, 71 
 
 74 » 
 
 75, 86, 88, 91, 1 17 
 
 Van Eyck, P. 
 Vanlo, P. 
 
 - 
 
 - . 81 
 
 - - 121 
 
 Vanfomer, P. 
 
 Velvet, Brueghel, P. 
 
 Veni, P. - _ 
 
 
 - 45 
 61, 62 
 86 
 
 Venus, G. 33. S. 5, 6, 8, 9, 
 B. loi 
 
 Vernet, P. 
 
 10, 2 
 
 I, loi. R. 35, III. 
 
 ^61 
 
 A^eronefe, Giulio Cambi, P. 
 Veronefe, Paolo, P. 
 
 - 
 
 99 
 
 92 
 
 Veronese, AlelT. Turco, P. 
 
 
 52 
 
 Verus, Annius, B. 
 
 Verus, Lucius, B. - 
 
 A^efpafian, B. 
 
 
 45 
 
 76 
 
 70 
 
 Veftal Virgin, R. 
 
 
 51 
 
 Vibius Varus, B. 
 
 Vico, P. - - 
 
 
 5 
 
 - 99 
 
 . Vidoria, ' 
 
INDEX. 
 
 PACK 
 
 Vifloria, R. . - - • - 105 
 
 Vincenzino, P. - - - 45 
 
 Vinci, P. - - - _ 85 
 
 Vitellius, B. _ 78, 115 
 
 Volutianus, B. - - - 65 
 
 Urania, S.,. - - - - 112 
 
 Urbino, P. - - - - 117 
 
 Urn - - - - - 75 
 
 W. 
 
 WATTEUX, P. . . - - • - 63 
 
 Wedding, Grecian, defcribed - - 73 
 
 Wilfon, P. . - - - - 61 
 
 Wilton, its ancient (late - - - i 
 
 Wilton, a Sculptor - - - 21 
 
 Winckeboons, P. - - - ,ii8 
 
 Willing, P..-. _- - - - 72 
 
 Wotton, P. - _ _ - - ^3 
 
 Woverman, P. - - - 98, 99 
 
 Z. 
 
 ZIMMEN,’P. - - - 52 
 
 Zuccarelli, P. - - - - 60 
 
 Zuccheri, P. - _ - -121 
 
 Zuechero, P. - » - 61, 80 
 
 
 INDEX 
 
INDEX 
 
 TO 
 
 THE PLACES AND ROOMS 
 
 WHERE THE 
 
 ANTIQUITIES AND PAINTINGS 
 
 ARE DISPOSED. . 
 
 J^ALLADiAN Lodge • - - - 
 
 Court . - 
 
 Inner Court - - ' - 
 
 Gateway _ - - » 
 
 Porch, built by Hans Holbein 
 Veftibule 
 
 Great Hall - - - - - 
 
 Alto and Baflb Relievos in the Great Hall 
 
 Gallery of the Great Hall 
 
 Bottom of the Stair-Cafe 
 
 Lord Herbert’s Drefling Room and Clofet 
 
 Lady Pembroke’s Summer Drefling Room 
 
 Lord Pembroke’s Drefling Room and Bed Chamber - 
 
 Paflhge to the Library - - . - 
 
 Library - - - * - 
 
 Chapel “ - - - - 
 
 New Dining Room - - ’ - 
 
 Hunting Room - - - 
 
 Cube Room _ - - . 
 
 Great Hall - - - - „ 
 
 ’ Lobby - - - - - 
 
 Colonnade Room - - - - 
 
 Corner Room - - ’ - 
 
 Clofet within the Corner Room - - - 
 
 Lady Pembroke’s Winter Drefling Room 
 Stone Hall _ - - - . 
 
 Paflfage to the Billiard Room 
 Billiard Room - - - - 
 
 Little Lobby - - - - 
 
 Bugle Room - - - - 
 
 Cold and Hot Bath Room 
 Paflhge to Coiree and Breakfaft Room 
 Coffee Room _ - - 
 
 Breakfaft Room _ - - - 
 
 Manege Room, or Riding Houfe Tribune 
 
 FINIS. 
 
 4 
 
 5 
 
 7 
 
 lO 
 
 '3 
 
 13 
 
 16 
 
 28 
 
 37 
 
 39 
 
 45 
 
 46 
 
 47 
 
 48 
 
 50 
 
 60 
 
 6l 
 
 74 
 
 79 
 
 82 
 
 88 
 
 97 
 
 102 
 
 105 
 
 113 
 
 »*5 
 
 1 16 
 
 1 16 
 
 117 
 
 125 
 
 125 
 

 
 
 H^5 
 
 i ' 
 
 ( , 
 
 :i. ■ 
 
 ■i , M6ETTY CENTER 
 
 1 LIBRARY