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ANECDOTES OF PAINTING in ENGLAND; With ſome Account of the principal Artiſts; And incidental NOTES on other ARTS;

Collected by the late Mr. GEORGE VERTUE; And now digeſted and publiſhed from his original MSS. By Mr. HORACE WALPOLE.

The SECOND EDITION.

Le ſachant Anglois, je crus qu'il m'alloit parler d'edifices et de peintures. Nouvelle Eloiſe, vol. i. p. 245.

VOL. II.

Printed by THOMAS KIRGATE at STRAWBERRY-HILL, MDCCLXV.

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ANECDOTES of PAINTING, &c.
CHAP. I.
Painters and other Artiſts in the Reign of JAMES I.

IT was well for the arts that King James had no diſpoſition to them: He let them take their own courſe. Had he felt any inclination for them, he would probably have introduced as bad a taſte as he did into litterature. A Prince who thought puns and quibbles the perfection of eloquence, would have been charmed with the monkies of Hemſkirk and the drunken boors of Oſtade. James loved his eaſe and his pleaſures and hated novelties. He gave himſelf up to hunting and hunted in the moſt cumbrous and inconvenient of all dreſſes, a ruff and trowſer breeches. The nobility kept up the magnificence they found eſtabliſhed by Queen Elizabeth, in which predominated a want of taſte, rather than a bad one. In more ancient times the manſions of the great lords, were, as I have mentioned before, built for defence and ſtrength rather than convenience. The walls thick, the windows pierced wherever it was moſt neceſſary for them to look abroad, inſtead of being contrived for ſymmetry or to illuminate the chambers. To that ſtyle ſucceeded the richneſs and delicacy of the Gothic. As this declined, before the Grecian taſte was eſtabliſhed, ſpace and vaſtneſs ſeem to have made their whole ideas of grandeur. The palaces [2] erected in the reign of Elizabeth by the memorable Counteſs of Shrewſbury, Elizabeth of Hardwicke, are exactly in this ſtyle. The apartments are lofty and enormous, and they knew not how to furniſh them. Pictures, had they had good ones, would be loſt in chambers of ſuch height: Tapeſtry, their chief moveable, was not commonly perfect enough to be real magnificence. Fretted cielings, gracefull mouldings of windows, and painted glaſs, the ornaments of the preceding age, were fallen into diſuſe. Immenſe lights compoſed of bad glaſs in diamond panes, caſt an air of poverty on their moſt coſtly apartments. That at Hardwicke, ſtill preſerved as it was furniſhed for the reception and empriſonment of the Queen of Scots, is a curious picture of that age and ſtyle. Nothing can exceed the expence in the bed of ſtate, in the hangings of the ſame chamber, and of the coverings for the tables. The firſt is cloth of gold, cloth of ſilver, velvets of different colours, lace, fringes and embroidery. The hangings conſiſt of figures, large as life, repreſenting the virtues and vices, embroidered on grounds of white and black velvet. The cloths to caſt over the tables are embroidered and emboſſed with gold, on velvets and damaſks, The only moveables of any taſte are the cabinets and tables themſelves, carved in oak. The chimnies are wide enough for a hall or kitchen, and over the arras are freezes of many feet deep with miſerable relievos in ſtucco repreſenting huntings. There and in all the great manſions of that age is a gallery, remarkable only for its extent. That at Hardwicke is of ſixty yards.

James built no palace himſelf. Thoſe erected by the Nobles in his reign are much like what I have been deſcribing. Audley-inn, *

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Figure 1. PAUL VANSOMER.

T.Chambars sculp.

[3] one of the wonders of that age, deſerved little notice but for the prodigious ſpace it covered. Towards the end of that monarch's reign genius was called out and appeared. The magnificent temper or taſte of the Duke of Buckingham led him to collect pictures, and pointed out the ſtudy of them to Prince Charles. Rubens came over, Inigo Jones aroſe, and architecture broke forth in all the luſtre and purity of Rome and Athens—But before I come to that period, I muſt clear my way by ſome account of the preceding artiſts. The firſt painter who ſeems to have arrived after the acceſſion of James was

PAUL VANSOMER,

a native of Antwerp. The accounts of him are extremely deficient, no author of the lives of painters mentioning him but Carl Vermander, who only ſays that Vanſomer was living when he wrote, and then reſided with his brother Bernard at Amſterdam. Yet Vanſomer as a painter of portraits was a very able maſter. The picture of the Lord Chamberlain William Earl of Pembroke, half length at St. James's, is an admirable portrait, and a whole length at Chatſworth of the firſt Earl of Devonſhire in his robes, though aſcribed to Mytens, I ſhould think was painted by the ſame hand. Mytens was much colder in his [4] colouring and ſtiff in his drawing *. Both theſe portraits are bold and round, and the chiaro ſcuro good. The Earl of Devonſhire is equal to the pencil of Vandyck, and one of the fineſt ſingle figures I have ſeen. In what year Vanſomer came to England we do not know; certainly as early as 1606, between which and 1620 he did ſeveral pictures. I ſhall mention but a few, that are indubitably his, from whence by compariſon his manner may be known.

James I. at Windſor, behind him a view of Whitehall.

Anne of Denmark, with a proſpect of the weſt end of St. Paul's.

The ſame King at Hampton-court, armour lying by him on the ground; better than the former. Dated 1615.

His Queen in blue, with a horſe and dogs; alſo at Hampton-court. This picture is imitated in the tapeſtry at Houghton.

Three ladies, 1615, at Ditchley; Lady Morton in purple; another, with yellow lace about her neck and a gauze ſcarf: the third in black with a crape over her forehead.

Lord Chancellor Bacon and his brother Nicholas at Gorhambury.

Sir Simon Weſton, brother of Lord Treaſurer Portland, whole length with a pike in his hand, 1608, aet. 43. This piece was in the poſſeſſion of the Lord Chief Juſtice Raymond.

Marquis of Hamilton with the white ſtaff, at Hampton-court.

Vanſomer died about the age of forty-five, and was buried at St.

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Figure 2. CORNELIUS JANSEN.

T.Chambars sculp.

[5] Martin's in the Fields as appears by the regiſter; Jan. 5, 1621. Paulus Vanſomer, pictor eximius, ſepultus fuit in eccleſiâ.

CORNELIUS JANSEN,

generally, but inaccurately, called Johnſon, was, according to Sandrart, born in London of Flemiſh parents; but Vertue, and the author of an Eſſay towards an Engliſh ſchool, ſay it was at Amſterdam, where the latter aſſerts that he reſided long, the former that he came over young, which, conſidering how late he lived, I ſhould be inclined to believe, if Vertue did not at the ſame time pronounce that his earlieſt performances are his beſt: So good a ſtyle of colouring was hardly formed here. His pictures are eaſily * diſtinguiſhed by their clearneſs, neatneſs and ſmoothneſs. They are generally painted on board, and except being a little ſtiff, are often ſtronglly marked with a fair character of nature, and remarkable for a lively tranquillity in the countenances. His draperies are ſeldom but black. I have two portraits by him of ſingular merit; one of Mr. Leneve, maſter of the company of merchant-taylors; the other of Sir George Villiers, father of the great Duke of Buckingham, leſs handſome, but extremely like his ſon. One of his hands reſts on the head of a greyhound, as fine as the animals of Snyder.

Janſen's firſt works in England are dated about 1618. He dwelt in the Black-friars, and had much buſineſs. His price for a head was five broad pieces. He painted too in ſmall in oil, and often copied his [6] own works in that manner. In the family of Verney were the portraits of Sir Robert Heath and his lady in both ſizes. At Caſhiobury is a large piece, curious, but ſo inferior to Janſen's general manner, that if his name were not to it, I ſhou'd doubt it's being of his hand. It repreſents Arthur Lord Capel, who was beheaded, his Lady and Children. Behind them is a view of the Garden at Hadham, at that time the chief ſeat of the family. Between the years 1630 and 1640 Janſen lived much in Kent at a ſmall village called Bridge near Barhamdown, and drew many portraits for gentlemen in the neighbourhood, particularly of the families of Auger, Palmer, Hammond and Bowyer. One of his beſt works was the picture of a Lady Bowyer, of the family of Auger, called for her exquiſite beauty The Star in the Eaſt. At Sherburn Caſtle in Dorſetſhire is a head of Elizabeth Wriotheſley eldeſt daughter of Henry Earl of Southampton, and wife of William Lord Spenſer, her head richly dreſſed, and a picture in a blue enamelled caſe at her breaſt. This picture is well coloured, tho' not equal to another at the ſame ſeat, a half length of her mother, Elizabeth, daughter of John Vernon, wife of Earl Henry. Her cloaths are magnificent, and the attire of her head, ſingular, a veil turned quite back. The face and hands are coloured with incomparable luſtre, and equal to any thing this maſter executed. There is alſo a half length in black ſatten of John Digby, firſt Earl of Briſtol, young and remarkably handſome. It is aſcribed to Janſen, but is faintly coloured, and evidently in the manner of Vandyck, whom perhaps he imitated as well as rivalled.

Janſen's fame declined * on the arrival of Vandyck, and the civil war [7] breaking out, Cornelius, at the importunity of his wife, quitted England. His paſs is recorded in the Journals of the Commons:

October 10, 1648. Ordered, that Cornelius Johnſon, picture-drawer, ſhall have Mr. Speaker's warrant to paſs beyond ſeas with Emanuel Paſſe, George Hawkins; and to carry with him ſuch pictures and colours, bedding, houſhold ſtuff, pewter, and braſs, as belongs unto himſelf.

He retired firſt to Midelburg and then to Amſterdam, where he continued to paint and died in 1665. * His wife's name was Elizabeth Beck, to whom he was married in 1622. They had a ſon Cornelius, bred to his father's profeſſion, which he followed in Holland, where he died poor, being ruined by the extravagance of a ſecond wife. The ſon drew the Duke of Monmouth's picture, as he was on the point of ſailing for his unfortunate expedition to England.

A ſiſter of Cornelius Janſen the elder was ſecond wife of Nicaſius Ruſſel or Rouſſel of Bruges, jeweller to the Kings James and Charles the firſt. They had many children. To one of the ſons born in 1619 Cornelius Janſen was godfather, and the widow of Iſaac Oliver, godmother. Theodore Ruſſel, an elder ſon was born in 1614, and lived nine years with his uncle Cornelius Janſen, and afterwards with Vandyck, whoſe pictures he copied very tolerably on ſmall pannels; many of them are in a private apartment at Windſor, at Warwickcaſtle, and in the collection of the Ducheſs Dowager of Argyle. Ruſſel chiefly was employed in the country in the families of the Earls of Eſſex and Holland, and was a lover of his eaſe and his bottle. [8] He was father of Antony Ruſſel, a painter, from whom Vertue received theſe particulars, and at whoſe houſe he ſaw a picture of Cornelius Janſen, his wife and ſon, drawn by Adrian Hanneman, who courted Janſen's neice, but was diſappointed.

DANIEL MYTENS

of the Hague, was an admired painter in the reigns of King James and King Charles. He had certainly ſtudied the works of Rubens before his coming over; his landſcape in the back grounds of his portraits is evidently in the ſtyle of that ſchool; and ſome of his works have been taken for Vandyck's. The date of his arrival is not certain; probably it was in hopes of ſucceeding Van Somer; but though he drew ſeveral of the court, he was not formally employed as the King's painter 'till the reign of Charles. His patent is preſerved in Rymer's Foedera, vol. xviii, p. 3.

I found the minute of the docquet warrant for this among the Conway papers in theſe words;

The office of one of his majeſty's picture-drawers in ordinary, with the fee of 20 l. per ann. graunted to Daniell Mitens during his life. Subſcribed by order from the Lord Chamberlain. Procured by Mr. Endimyon Porter, May 30, 1625.

And among the ſame MSS. is the following docquet-warrant;

July 31, 1626. A warrant to the exchequer to paie unto Daniell Mittens his majeſty's picturer the ſomme of 125 l. for divers pictures by him delivered to ſondry perſons by his majeſty's ſpecial direction. By order of the Lord Chamberlaine of his majeſty's houſhold, procured by the Lord Conway.

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Figure 3. DANIEL MYTENS.

Ant. van Dyck pinx. T.Chambars sculp.

[9] At Hampton-court are ſeveral whole lengths of Princes and Princeſſes of the houſe of Brunſwick-Lunenburgh, and the portrait of Charles Howard Earl of Nottingham; at Kenſington is Mytens's own head. At Knowle, Lionel Cranfield Earl of Middleſex, Lord Treaſurer, with his white ſtaff, whole length. A ſmall bell on the table has theſe letters D. M. F. 1623. It was more common for him to paint a ſlip of paper on his pictures, inſcribed only with the names or titles of the perſons repreſented. At Lady Elizabeth Germain's at Drayton, is a very fine whole length of Henry Rich Earl of Holland, in a ſtriped habit with a walking ſtick. At St. James's * is Jeffery Hudſon the dwarf, holding a dog by a ſtring, in a landſcape, coloured warmly and freely like Snyder or Rubens. Mytens drew the ſame figure in a very large picture of Charles I. and his Queen, which was in the poſſeſſion of the late Earl of Dunmore, but the ſingle figure is much better painted. The hiſtory of this diminutive perſonage was ſo remarkable, that the reader will perhaps not diſlike the digreſſion.

He was born at Oakham in Rutlandſhire in 1619, and about the age of ſeven or eight, being then but eighteen inches high, was retained in the ſervice of the Duke of Buckingham, who reſided at Burleigh on the Hill. Soon after the marriage of Charles I, the King and Queen being entertained at Burleigh, little Jeffery was ſerved up to table in a cold pye, and preſented by the Ducheſs to the Queen, who kept him as her dwarf. From ſeven years of age 'till thirty he never grew taller; but after thirty he ſhot up to three feet nine inches, and there fixed. Jeffery became a conſiderable part of the entertainment [10] of the court. Sir William Davenant wrote a poem called Jeffreidos, on a battel between him and a * turkey-cock, and in 1638 was publiſhed a very ſmall book called The New-year's Gift, preſented at court from the Lady Parvula to the Lord Minimus (commonly called little Jeffery) her majeſty's ſervant, &c. written by Microphilus, with a little print of Jeffery prefixed. Before this period Jeffery was employed on a negotiation of great importance: He was ſent to France to fetch a midwife for the Queen, and on his return with this gentlewoman, and her majeſty's dancing-maſter, and many rich preſents to the Queen from her mother Mary de Medici, he was taken by the Dunkirkers. Jeffery, thus made of conſequence, grew to think himſelf really ſo. He had born with little temper the teazing of the courtiers and domeſtics, and had many ſquabbles with the King's gigantic porter; at laſt being provoked by Mr. Crofts, a young gentleman of family, a challenge enſued, and Mr. Crofts coming to the rendezvous armed only with a ſquirt, the little creature was ſo enraged that a real duel enſued, and the appointment being on horſeback with piſtols, to put them more [11] on a level, Jeffery with the firſt fire ſhot his antagoniſt dead. This happened in France whither he had attended his miſtreſs in the troubles. He was again taken priſoner by a Turkiſh rover, and ſold into Barbary. He probably did not long remain in ſlavery; for at the beginning of the civil war he was made a captain in the royal army, and in 1644 attended the Queen to France where he remained 'till the reſtoration. At laſt upon ſuſpicion of his being privy to the Popiſh plot, he was taken up in 1682, and confined in the gate-houſe Weſtminſter, where he ended his life in the ſixty-third year of his age.

Mytens remained in great reputation 'till the arrival of Vandyck, who being appointed the King's principal painter, the former in diſguſt aſked his majeſty's leave to retire to his own country; but the King learning the cauſe of his diſſatisfaction, treated him with much kindneſs, and told him that he could find ſufficient employment both for him and Vandyck; Mytens conſented to ſtay, and even grew intimate, it is probable, with his rival, for the head of * Mytens is one of thoſe painted among the profeſſors by that great maſter.

Whether the ſame jealouſy operated again, or real decline of buſineſs influenced him, or any other cauſe, Mytens did not ſtay much longer in England. We find none of his works here after the year 1630. Yet he lived many years afterwards. Houbraken quotes a regiſter at the Hague dated in 1656, at which time it ſays Mytens painted part of the cieling of the town-hall there; the ſubject is, Truth writing hiſtory on the back of Fame.

[12] Theſe were the moſt conſiderable painters in oil in the reign of James: There were undoubtedly ſeveral others of inferior rank, whoſe names are not come down to us, except two or three; and of one of thoſe I find nothing but this ſhort note from Baglione. *

Chriſtophano Roncalli, pittore, andò per la Germania, per la Fiandra, per l' Olanda, per l' Inghilterra, per la Francia; e finalmente carico d' honori e di 74 anni finì il corſo 1626. I ſhould not mention ſuch ſlight notices, but that they may lead to farther diſcoveries. An other was a more remarkable perſon, eſpecially in the ſubſequent reign; but in a work of this nature it is impoſſible not to run the ſubjects of one chapter into thoſe of another, taking care however to diſtribute them, as they ſerve beſt to carry on the chronologic ſeries. His name was

ROBERT PEAKE.

The earlieſt mention of him that appears is in the books of the Lord Harrington Treaſurer of the Chambers, No. 78, 79. being accounts of monies received and paid by him;

Item, paid to Robert Peake, picture-maker, by warrant from the council October 4, 1612, for three ſeveral pictures made by him at the commandment of the Duke of York his officers, and given away and diſpoſed of by the Duke's Grace, twenty pounds.

It does not appear whether theſe pictures were in oil or water-colours; I ſhould rather ſuppoſe portraits in miniature of (King Charles the Firſt then) Duke of York; but that Peake painted in oil is aſcertained

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Figure 4. PETER OLIVER.

[...] pinx. T.Chambars sculp

[13] by Peacham in his book of limning, where he expreſly celebrates his good friend Mr. Peake and Mr. Marquis * for oil-colours. Peacham himſelf was a limner, as he tells us in the ſame book, having preſented a copy of his majeſty's Baſilicon Doron illuminated to Prince Henry.

Peake was originally a picture-ſeller by Holbourn-bridge, and had the honour of being Faithorn's maſter, and what perhaps he thought a greater honour, was knighted at Oxford, March 28, 1645. The diſorders of the times confounding all profeſſions, and no profeſſion being more bound in gratitude to take up arms in the defence of King Charles, Sir Robert Peake entered into the ſervice and was made a Lieutenant-colonel and had a command in Baſing-houſe when it was beſieged, where he perſuaded his diſciple Faithorn to inliſt under him, as the latter in his dedication of the art of graving to Sir Robert expreſly tells him, and where Peake himſelf was taken priſoner. He was buried in the chuch of St. Stephen London.

Miniature makes a great figure in this reign by the luſtre thrown on it by

PETER OLIVER,

the eldeſt ſon of Iſaac Oliver, and worthy of being compared with his father. In ſome reſpects the ſon even appears the greater maſter, as he did not confine his talent to ſingle heads. Peter copied in watercolours ſeveral capital pictures with ſignal ſucceſs. By the catalogues [] [...] [13] [...] [14] of King Charles I. and King James II. it appears that there were thirteen pieces of this maſter in the royal collection, chiefly hiſtoric miniatures; ſeven of them are ſtill preſerved in Queen Caroline's cloſet at Kenſington. At the Earl of Exeter's at Burleigh is the ſtory of Venus and Adonis, painted by Peter, and dated 1631. Vertue mentions another, which was in Mr. Halſted's ſale in May, 1726; it repreſented Joſeph, the Virgin, and the Child a-ſleep, eight inches wide and five high. On it was written his name, with the termination French, P. Olivier fecit, 1628. Another piece, a fine drawing in indian ink, was copied by him from a picture of Raphael in the collection of King Charles, St. John preſenting a croſs to the child, kneeling before the Virgin. The original was ſold after the King's death to the Spaniſh Embaſſador for 600l. Jerome Laniere bought Peter's drawing, and ſold it for twenty guineas to Mr. John Evelyn, from whom it came to the preſent Sir John Evelyn. The Duke of Devonſhire has the portrait of Edward 6th. when an infant, the drapery highly ornamented and finiſhed; a copy from Holbein. * Lady Elizabeth Germain has at Drayton the Madonna and Child. The fineſt work of Peter Oliver in my opinion is the head of his own wife, in the cabinet of the Ducheſs of Portland: It is life itſelf. I doubt whether his father ever excelled this piece. I have a head of the ſame woman drawn with black lead on the leaf of a vellom pocket-book; on the reverſe is his own portrait in profile; both maſterly: And in black and red chalk I have a boy's head, larger than he generally painted, of great nature and vivacity. At Kenſington below ſtairs is the portrait of Peter Oliver by Hanneman, who painted the wiſe too; but I know not where the latter is.

[15] It is extraordinary * that more of the works of this excellent maſter are not known, as he commonly made duplicates of his pictures, reſerving one of each for himſelf. On this ſubject Ruſſel the painter, related to or connected with the Olivers, told Vertue a remarkable ſtory. The greater part of the collection of King Charles being diſperſed in the troubles, among which were ſeveral of the Olivers, Charles II. who remembered, and was deſirous of recovering them, made many inquiries about them after the reſtoration. At laſt he was told by one Rogers of Iſleworth that both the father and ſon were dead, but that the ſon's widow was living at Iſleworth and had many of their works. The King went very privately and unknown with Rogers to ſee them; the widow ſhowed ſeveral finiſhed and unfiniſhed, with many of which the King being pleaſed, aſked if ſhe would ſell them: She replied, ſhe had a mind the King ſhould ſee them firſt, and if he did not purchaſe them, ſhe ſhould think of diſpoſing of them. The King diſcovered himſelf, on which ſhe produced ſome more pictures which ſhe ſeldom ſhowed. The King deſired her to ſet her price; ſhe ſaid ſhe did not care to make a price with his majeſty, ſhe would leave it to him; but promiſed to look over her huſband's books and let his majeſty know what prices his father the late King had paid. The King took [16] away what he liked, and ſent Rogers to Mrs. Oliver with the option of 1000l. or an annuity of 300l, for her life. She choſe the latter. Some years afterwards it happened that the King's miſtreſſes having begged all or moſt of theſe pictures, Mrs. Oliver, who was probably a prude and apt to expreſs herſelf like a prude, ſaid, on hearing it, that if ſhe had thought the King would have given them to ſuch whores, and ſtrumpets and baſtards, he never ſhould have had them. This reached the court, the poor woman's ſalary was ſtopped, and ſhe never received it afterwards. The reſt of the limnings which the King had not taken, fell into the hands of Mrs. Ruſſel's father.

Peter Oliver, ſays Vertue, died about the year 1664, aged near 60; but this muſt be a miſtake, as his father's drawing at Kenſington finiſhed by the ſon is dated 1616, when by that account Peter was not above twelve years old. From his age and the ſtory of his widow it is more likely that he died before the reſtoration. Probably the date 1664 ſhould be 1654. He was buried with his father in the Blackſryars.

As in none of theſe accounts mention is made of any children of Peter Oliver, I conclude that Iſaac Oliver, glaſs-painter, born in 1616, was ſon of the younger brother James. Among the verſes printed by the univerſity of Cambridge in 1638 on the death of Mr. Edward King, Milton's Lycidas, one of the Engliſh copies is inſcribed, Iſaac Oliver, * who, I ſuppoſe, was the glaſs-painter, and then about the age of twenty-two, as appears from the following inſcription on a painted window in Chriſt-church Oxford, [...]liver aetat. ſuae 84, anno 1700, pinxit deditque. The ſtory is St. Peter delivered out of priſon, the drawing and execution good, but the colouring in ſome parts faint. [17] The long life of this perſon, * eſtimable for his own merit and that of his family, ſerved almoſt alone to preſerve the ſecret of painting on glaſs—a ſecret which however has never been loſt, as I ſhall ſhow in a moment by a regular ſeries of the profeſſors. The firſt interruption given to it was by the reformation, which baniſhed the art out of churches; yet it was in ſome meaſure kept up in the eſcutcheons of the nobility and gentry in the windows of their ſeats. Towards the end of Queen Elizabeth it was omitted even there, yet the practice did not entirely ceaſe. The chapel of our Lady at Warwick was ornamented a-new by Robert Dudley Earl of Leiceſter and his Counteſs, and the cypher of the glaſs-painter's name yet remains with the date 1574; and in ſome of the chapels at Oxford the art again appears dating itſelf in 1622 by the hand of no contemptible maſter. I could ſupply even the gap of forty-eight years by many dates on Flemiſh glaſs, but nobody ever ſuppoſed that the ſecret was loſt ſo early as the reign of James I. and that it has not periſhed ſince will be evident from the following ſeries reaching to the preſent hour.

The portraits in the windows of the library at All-Souls, Oxford.

In the chapel at Queen's-college twelve windows, dated 1518.

[...] a cypher on the painted glaſs in the chapel at Warwick, 1574.

The windows at Wadham-college; the drawing pretty good, and the colours fine, by Bernard Van Linge, 1622.

In the chapel at Lincoln's-inn, a window with the name of Bernard, 1623. This was probably the preceding Van Linge.

[18] In the chapel at Wroxton ſtories from the Bible by Bernard Van Linge, 1632.

In Chriſt-church, Oxford, by Abraham Van Linge, 1640.

In the church of St. Leonard Shoreditch, two windows by Baptiſta Sutton, 1634.

The Eaſt window in the chapel at Univerſity-college. Hen. Giles * pinxit, 1687. There are eight or ten more dated 1640.

— at Chriſt-church, Iſaac Oliver, aged 84, 1700.

Window in Merton-chapel, William Price, 1700.

Windows at Queen's, New-college and Maudlin, by William Price, the ſon, now living, whoſe colours are fine, whoſe drawing good, and whoſe taſte in ornaments and moſaic is far ſuperior to any of his predeceſſors, is equal to the antique, to the good Italian maſters, and only ſurpaſſed by his own ſingular modeſty.

[]

Figure 5. HENRY GYLES
Figure 5. John [...]

[19]EDWARD NORGATE,

though of a very inferior walk in the profeſſion, deſerves to be remembered for his uncommon excellence in his way. He was ſon of Dr. Robert Norgate, maſter of Bennet-college Cambridge, where Edward was born. He was brought up by Nicholas Felton Biſhop of Ely who married his mother, and who obſerving his inclination to limning and heraldry, permitted him to indulge his genius. As he had good judgment in pictures, he was ſent into Italy by the great collector, Thomas Earl of Arundel, to purchaſe for him, but returning by Marſeilles and by ſome accident being diſappointed of the remittances he expected, and totally unknown there, he was obſerved by a French gentleman [20] to walk many hours every day on the cours in a diſconſolate manner. The gentleman inquiring into his circumſtances, told him, that perceiving he was able to walk at leaſt twenty miles a day, if he would ſet out on his journey homewards, he would furniſh him handſomely for a footman, by which aſſiſtance Norgate arrived in his own country. * Among the accounts of the Lord Harrington quoted above, is the following entry;

Paid to Edward Norgate by warrant from the council April 24, 1613, for his paynes taken to write and lymne in gold and colours certain letters written from his majeſty to the King of Perſia, the ſum of ten pounds.

Theſe letters were undoubtedly in anſwer to thoſe brought by that ſingular adventurer Sir Antony Shirley, embaſſador from the Sophy to his own ſovereign.

The warrant for reſtoring the uſe of the old Engliſh march, which I have ſet forth in the Catalogue of Noble Authors, was illuminated by this perſon; but the beſt evidence of his abilities is a curious patent lately diſcovered. The preſent Earl of Stirling received from a relation an old box of neglected writings, among which he found the original commiſſion of Charles I. appointing his Lordſhip's predeceſſor Alexander Earl of Stirling commander in chief of Nova-Scotia with the confirmation of the grant of that province made by James I. In the initial letter are the portraits of the King ſitting on the throne delivering the patent to the Earl, and round the border repreſentations in miniature of the cuſtoms, huntings, fiſhings and productions of the country, all in the higheſt preſervation, and ſo admirably executed, that it was believed of the pencil of Vandyck. But as I know no inſtance of that [21] maſter having painted in this manner, I cannot doubt but it was the work of Norgate, allowed the beſt illuminator of that age, and generally employed, ſays Fuller, to make the initial letters in the patents of Peers and commiſſions of Embaſſadors. Fuller concludes his account of him in theſe words; "He was an excellent herald by the title of [...] , * and which was the crown of all, a right honeſt man. Exemplary his patience in his ſickneſs (whereof I was an eye witneſs) though a complication of diſeaſes, ſtone, ulcer in the bladder, &c. ſeized on him." He died at the Herald's office Dec. 23, 1650.

SOLOMON DE CAUS,

a Gaſcon, was Prince Henry's drawing-maſter. All we know of him is that in 1612, the year of the Prince's death, he publiſhed a book, intituled, La Perſpective ou Raiſon des ombres et miroirs, with ſeveral engraved plates, folio. It is addreſſed from Richmond palace to Prince Henry, after he had been, as he tells his Highneſs two or three years in his ſervice; and another tract in folio on mechanic powers, 1628.

This young Prince was a great lover of the arts, and laid the foundation of the collection, which his brother compleated. The medals were purchaſed by him, and Vanderdort, in his catalogue, mentions ſeveral ſtatues and pictures which King Charles inherited from Prince Henry. In the appendix to Birch's life of this Prince are ſeveral letters [22] from Sir Edward Conway, in one * of which he mentions having bought a picture of the Four Evangeliſts, whom he calls affectedly, the moſt faithfull, glorious and excellent ſecretaries that ever were to tbe infinite incomprehenſible Prince; deſiring Mr. Adam Newton, ſecretary to the moſt hopefull, powerfull and glorious earthly Prince, to preſent it to his Royal Highneſs; and in others is much talk of a negotiation in which he was employed by the ſame Prince to engage an eminent painter of Delft to come to England. This was Mireveldt, who had many ſollicitations afterwards from King Charles on the ſame head; but none ſucceeded. The printed letters are from the Harleian MSS. and deſcribe Mireveldt as very fantaſtic and capricious. Mr. Weſt has two others, one from Mireveldt to Sir Edward Conway, the other from Sir Edward, in which appears the cauſe of Mireveldt's uncertainty; he was afraid of being ſtayed in England by authority, and ſtipulated that he ſhould have liberty to return in three months.—In 1625 he had again engaged to come but was prevented by the breaking out of the plague. Mireveldt is ſaid to have painted five thouſand portraits; there are ſome in England of his hand, as Henry Earl of Southampton at Woburn; Sir Ralph Winwood; a fine whole length at Kimbolton of Robert Rich Earl of Warwick, and a print of Robert Earl of Lindſey by Vorſt 1631, was engraved from a picture of Mireveldt, but theſe portraits muſt have been painted when thoſe perſons followed the wars and their buſineſs abroad.

It was in the reign of King James that the manufacture of tapeſtry [23] was ſet up at Mortlack in Surrey, Aubrey in his hiſtory of that county dates it's inſtitution in the ſubſequent reign; but Loyd * is not only poſitive for the former aera, but affirms that at the motion of King James himſelf, who gave two thouſand pounds towards the undertaking, Sir Francis Crane erected the houſe at Mortlack for the execution of the deſign; and this is confirmed by authentic evidence: In Rymer's Foedera is an acknowledgment from King Charles in the very firſt year of his reign that he owes 6000l. to Sir Francis Crane for tapeſtry; ‘Franciſco Crane militi A. D. 1625.’

For three ſuits of gold tapeſtry for our uſe we ſtand indebted to Sir Francis Crane for 6000l. Granted to him an annuity of 1000l. To Sir Francis Crane alſo allowed more 2000l. yearly for the better maintenance of the ſaid worke of tapeſtries for ten years to come.

It is plain by this deed that the manufacture was then arrived at great perfection. Another ſuit of hangings, executed at the ſame place, and repreſenting the five ſenſes, was in the palace at Oatlands: They were ſold in 1649 for 270l. At Hampton-court are ſome of the cartoons.

The beautifull hangings at Lord Orford's at Houghton, containing whole lengths of King James, King Charles, their Queens, and the King of Denmark, with heads of the royal children in the borders, were in all probability the production of the ſame manufacture.

Williams, Archbiſhop of York and Lord Keeper, paid Sir Francis Crane 2500l. for the four ſe [...]ns.

At Knowle is a piece of the ſame tapeſtry, wrought in ſilk, containing [24] the portraits of Vandyck and Sir Francis himſelf. Mrs. Markham, whoſe maiden name was Crane, and a deſcendent of Sir Francis, has a half length portrait in tapeſtry of her anceſtor, with the collar of St. George over his ſhoulders. She has alſo a picture in the ſame manufacture of St. George and the dragon. She is a Roman Catholic Lady and lives in Lincolnſhire. At Lord Ilcheſter's at Redlinch in Somerſetſhire is a ſuit of hangings of this manufacture, repreſenting the twelve months in compartments. I have ſeen ſeveral more ſets of the ſame deſign; the habits are of the court of Francis 1ſt. and one of the months repreſents a Gentleman and Lady riding together to hawk.

Of this perſon I find no farther record with relation to the arts, but that he made a preſent to the King of a ſea-piece painted by Perſellis; and was dead when Vanderdort drew up the catalogue * The manufacture will be mentioned again in the article of Franceſco Cleyne.

Sculpture was carried to no great height in the reign of James: What ſtatuaries there were, found employment chiefly on monuments, which, as far as I have ſeen, were generally in a bad taſte. What little Vertue could diſcover of the artiſts I ſhall ſet down. []

Figure 6. NICHOLAS STONE Senr.
Figure 6. NICHOLAS STONE Junr.

T.Chambars sculp.

[25]MAXIMILIAN COLTE

lived in St. Bartholomew's cloſe: In the church is a monument for his daughter Abigail, who died at the age of 16, March 29, 1629: And in the regiſter of the pariſh is mentioned the interment of his wife Suſan, who died in 1645. He had two ſons Alexander and John; the latter was a ſtone-cutter, and was buried in the ſame pariſh with his wife and children. Maximilian, the father, was of ſome eminence, and was in the ſervice of the crown, as appears by an officebook of the board of works;

Maximilian Colte, maſter ſculptor at 8l. a year, 1633.

EPIPHANIUS EVESHAM

was another ſculptor of that time: In the tranſlation of Owen's epigrams by John Penkethman printed in 1624, the tranſlator ſays, "give me leave to inſert his (Owen's) epitaph, which is engraved in a plate of braſs, and fixed under his monumental image, formed and erected by that moſt exquiſite artiſt, Mr. Epiphanius Eveſham, in the cathedral of St. Paul."

NICHOLAS STONE

was the ſtatuary moſt in vogue. He was born at Woodbury near Exeter, in 1586, and coming to London, lived for ſome time with one Iſaac James. He then went to Holland, where he worked for Peter de Keyſer, whoſe daughter he married; and returning to England was employed in making monuments for perſons of the firſt diſtinction. [26] In 1616 he was ſent to Edinburgh to work in the King's chapel there. In 1619 he was engaged on the building of the banquetting-houſe; and in the beginning of the reign of King Charles he received his patent as maſter maſon, recorded in Rymer's Foedera * of which this is the ſubſtance; "Know ye that we do give and graunt unto our truſty and well-beloved ſervant Nicholas Stone the office and place of our maſter maſon and architect for all our buildings and reparations belonging to our caſtle of Windſor during the term of his natural life; and further, for the executing the ſaid office, we do give him the wages and fee of twelve pence by the day in as ample and as large a manner as William Suthis or any other perſon heretofore did enjoy. A. D. 1626, April 20."

The hiſtory of his works is fully recorded by himſelf. Vertue met with his pocket-book, in which he kept an account of the ſtatues and tombs he executed, of the perſons for whom done, and of the payments he received: A copy of this pocket-book Vertue obtained, from which I ſhall extract the moſt remarkable and curious articles.

"In June 1614, I bargained with Sir Walter Butler for to make a tomb for the Earl of Ormond, and to ſet it up in Ireland; for the which I had well paid me 100l. in hand, and 300l, when the work was ſet up at Kilkenny in Ireland."

[27] "1615. Agreed with Mr. Griffin for to make a tomb for my * Lord of Northampton and to ſett it in Dover-caſtle, for the which I had 500l. well payed. I made maſter Iſaac James a partner with me in courteſy, becauſe he was my maſter three years, that was, two years of my prentice, and one year journeyman."

"In May 1615, I did ſet up a tomb for Sir Thomas Bodely in Oxford, for which Mr. Hackwell of Lincoln's-inn payed me 200l. good money."

"In November 1615 Mr. Janſen in Southwark and I did ſett up a tomb for Mr. Sutton at Charter-houſe, for the which we had 400l. well payed, but the little monument of Mr. Lawes was included, the which I made and all the carven work of Mr. Sutton's tomb."

"July 1616 was I ſent into Scotland, where I undertook to do work in the King's chapple and for the King's cloſſett, and the organ, ſo much as came to 450l. of wainſcot-worke, the which I performed and had my money well payed, and 50l, was given to drink, whereof I had 20l. given me by the King's command."

"1616. A bargain made with Mr. Chambers for the uſe of the Right Honorable Luce Countes of Bedford, for one fair and ſtately [28] tomb of touchſtone and white marble for her father and mother and brother and ſiſter, for the which I was to have 1020l. and my lady was to ſtand at all charges for carridge and iron and ſetting up."

"1619. A bargain made with Sir Charles Moriſon of Caſhioberry in Hartfordſhire for a tomb of alabaſter and touchſtone onely. One pictor of white marble for his father, and his own, and his ſiſter the Counteſs of * Seſex, as great as the life of alabaſter, for the which I had well payed 260l. and four pieces given me to drink."

"1619, I was ſent for to the officers of his majeſty's workes to undertake the charge of the place of maſter maſon for the new banquetting-houſe at Whitehall, wherein I was employed two years, and I had payed me four ſhillings and ten pence the day: And in that year I made the diall at St. James's, the King finding ſtone and workmanſhip only, and I had for it 6l.—13s.—4d. And I took down the fountain at Theobalds, and ſett it up again, and the fountain at Nonſuch, and I was payed for both 48l."

"And in 1622 I made the great * diall in the Privy-garden at Whitehall, for the which I had 46l."

"And that year 1622 I made a diall for my Lord Brook in Holbourn, for the which I had 8l.—10s."

"Unto Sir John Daves at Chelſey I made two ſtatues of an old man and a woman and a diall, for the which I had 7l. a piece."

"And a tomb for Dr. Donne's wife in St. Clement-danes, for the which I had fifteen pieces."

"1620. In Suffolke I made a tomb for Sir Edmund Bacon's lady, [29] and in the ſame church of Redgrave I made another for his ſiſter Lady (Gawdy) and was very well payed for them. And in the ſame place I made two pictors of white marbell of Sir N. Bacon and his Lady, and they were layed upon the tomb that Bernard Janſon had made there, for the which two pictors I was payed by Sir Edmund Bacon 200l."

"I alſo made a monument for Mr. Spencer the poet, and ſet it up at Weſtminſter, for the which the Counteſs of Dorſett payed me 40l.

"And another there for Mr. Francis Holles, the youngeſt ſon of the Earl of Clare, for the which the ſayd Earl payed for it 50l. [As this figure is of moſt antique ſimplicity and beauty, the deſign was certainly given by the Earl to Stone, who when left to himſelf had no idea of grace, as appears by the tomb of the Lytteltons at Oxford.]"

"My Lord of Clare alſo agreed with me for a monument for his brother Sir George Holles, the which I made and ſett up in the chappell at Weſtminſter where Sir Francis Vere lyeth buried, for the which I was payed from the hands of the ſaid Earl of Clare 100l."

"And in the ſame church I made an inſcription for Sir Richard Cox for the which I had 30l."

"And another faſt by for Monſieur Caſabon, the Lord Biſhop of Durham payed for it 60l."

"And about this time (1625) I made for the Old Exchange in London four ſtatues, the one Edward 5, Richard 3, and Henry 7. for theſe three I had 25l. a piece, and one for Queen Elizabeth, which was taken down and ſett up again were now it ſtandeth at Guildhall gate, for the which I had 30l."

And in 1629 I made a tomb for mylady Paſton of Norfolk, and [30] ſet it up at Paſton, and was very extraordinarily entertained there, and payed for it 340l."

"In 1631, I made a tomb for the Right Hon. Lady the Counteſs of Buckingham, and ſet it up in Weſtminſter-abbey, and was payed for it 560l."

"In 1631, I made a * tomb for Dr. Donne, and ſett it up in St. Paul's London, for the which I was payed by Dr. Mountford the ſum of 120l. I took 60l. in plate, in part of payment."

"In 1634 I made a chemny-peece for Sir John Holland, and ſett it up at Godnon [Quidnam] in Norfolke, for the which I had 100l."

"And 1632, I made a chemny-peece for Mr. Paſton ſett up at Oxnett in Norfolke, for the which I had 80l. and one ſtatue of Venus and Cupid, and had 30l. for it; and one ſtatue of Jupiter 25l. and the three-headed dog Cerberus with a pedeſtal 14l. and Seres, and Hercules, and Mercury 50l. and a tomb for mylady Catherine his dear wife 200l. and a little chemny-peece in a banquetting-houſe 30l. and one Rance marbel tabel with a foot 15l. and divers other things ſent down to him from time to time, as paintings, arms, &c. and in May 1641 ſent to him three ſtatues, the one Appollo, Diana, and Juno, agreed for 25l. a piece, with pedeſtals."

"In 1635 I made a tomb for the two ſonns of Sir Thomas Littleton, and ſett it up in Malden-college in Oxford, where the boys were drowned, for the which work I had 30l."

"In 1650 I made a tomb for my Lord Caſtleton Vycount Dorcheſter, and ſett it up at Weſtminſter-abbey, for the which I had 200l. [31] and old monument that ſtood in the ſame place before ſett up for his Lady ſome eight years before." *

The whole receipts as they were caſt up by Stone's kinſman Charles Stoakes amounted to 10889l.

[32] Beſides theſe works Stone in 1629 undertook to build for the Earl of Holland at Kenſington two piers of good Portland ſtone to hang a pair of great wooden gates; the eſtimate of the piers (which were deſigned by Inigo Jones, and are ſtill ſtanding at Holland-houſe tho' removed to greater diſtance from each other) was 100l.

He built the great gate of St. Mary's church, and the ſtone gates for the phyſic-garden at Oxford, deſigned too by Inigo, for the Earl of Danby, by whom (as by ſome other perſons) he was employed even as an architect. The Earl ordered Stone to deſign a houſe for him at Cornbury, and to direct the workmen, for which he was paid 1000l. In 1638 he built Tarthall near Buckingham-houſe for the Counteſs of Arundel, and had paid to him at different times to pay workmen 634l. He built the front of St. Mary's at Oxford, and executed many works at Windſor for King Charles, particularly three cartouches to ſupport the balcony, the ſtar and garter. The figure of the Nile on the ſtairs at Somerſet-houſe was of his work; the other ſtatue was done by Kerne a German, who married Stone's ſiſter. He employed ſeveral workmen, ſome of whoſe names he has preſerved among his own accounts, as follow;

1629. John Hargrave made a ſtatue of Sir Edward Cook for 15l.—0s.—0d.

1631. Humphrey Mayor finiſht the ſtatue for Dr. Donne's monument, 8l.—0s.—0d.

1638. John Hargrave made the ſtatue to the monument of Lord Spencer, 14l.—0s.—0d. and Richard White made the ſtatue of Lady Spencer, 15l.—0s.—0d.

1643. John Schurman, carver.

Nicholas Stone died in 1647, and was buried in St. Martin's, where [33] on the north wall within the church is the following inſcription, with a profile of his head."

"To the laſting memory of Nicholas Stone, Eſq maſter maſon to his majeſty, in his life time eſteemed for his knowledge in ſculpture and architecture, which his works in many parts do teſtify, and, though made for others, will prove monuments of his fame. He departed this life on the 24th of Auguſt 1647, aged ſixty-one, and lyeth buried near the pulpit in this church. Mary his wife and Nicholas his ſon, lye alſo buried in the ſame grave. She died November 19th, and He on the 17th of September, 1647. H. S. poſuit."

Stone had three ſons, Henry, Nicholas, and John. The two eldeſt were ſent to Italy to ſtudy; the youngeſt was educated at Oxford, being deſigned for a clergyman, but in the civil war he entered into the army on the King's ſide. During that period this John Stone publiſhed a book on fortification, called Enchiridion, with many ſmall cuts etched by himſelf but without his name. The King's forces being routed, young Stone and a companion made their eſcape; the latter was taken and hanged before his father's door in Smithfield, but Stone hid himſelf in his father's houſe in Long-acre for above a twelve-month, without the knowledge, ſays Vertue, of his father, whence I ſuppoſe, he had either offended the old man by quitting his ſtudies for arms, or the father was too prudent to riſk the emoluments of his profeſſion by engaging in party-diſſentions. John at laſt found means of retiring to France, where he lived ſome years, and, I conclude, applied himſelf to the arts, as we ſhall find him after his return engaged in his father's buſineſs. Nicholas, the ſecond ſon, was of a promiſing genius; and while abroad modelled after the antiques ſo well, that his works have been miſtaken for the beſt Italian maſters. Mr. Bird the ſtatuary had [34] the Laocoon and Bernini's Apollo and Daphne in Terra cotta by this Nicholas Stone, and Vertue ſaw a book with many of his drawings of palaces, churches, and other buildings in Italy. He returned to England in 1642, and died the ſame year as his father.

Henry, the eldeſt ſon, who erected the monument for his father, mother, and brother, carried on, in conjunction with John, the buſineſs of ſtatuary, after his father's death; though Henry addicted himſelf chiefly to painting, and was an excellent copyiſt of Vandyck and the Italian maſters: He is generally known by the name of Old Stone, I ſuppoſe to diſtinguiſh him from his brother John. Henry wrote a book, a thin folio, entituled the third part of the art of painting, taken moſtly from the ancients. Vertue, who ſaw this book, was uncertain whether the two former parts were compoſed by Stone, or by ſome other author. The accounts of Nicholas Stone, ſen. which I have quoted above, were continued by John, while he and Henry worked in partnerſhip; among other articles are the following;

"In the year of our Lord 1659 my brother and I made a tomb for the Lord Aſhley, for which we had 60l.

"Formerly I made a little tomb of white marble, being an eagle with an eſcutcheon upon his breaſt, ſett up at Sunning in Barkſhire, for 7l.

"In Ano. 1656 I ſett up a little tomb in the Temple church for Sir John Williams, and had for it 10l. It was an eagle of white marble." There are but fifteen monuments entered in this account, the prices of none of which riſe above 100l. Conſequently the ſons, I ſuppoſe, never attained the reputation of the father.

A head of Sir Jonas Moore with a ſcroll of paper in his hand was

[]
Figure 7. HENRY STONE.

Lilly pinx. Bannerman Sculp.

[35] engraved by T. Croſs in 1649 from a painting by Henry Stone, * whoſe houſe, garden, and work-yard in Long-acre, the ſame that had been his father's, were rented from the crown at 10l. a year, as appeared when ſurveyed in 1650 by the commiſſioners appointed to inſpect the lands that had belonged to the King. Henry Stone died in 1653, and was buried near his father, where a monument was erected and this epitaph written for him by his brother John.

"To the memory of Henry Stone of Long-acre, painter and ſtatuary, who having paſſed the greateſt part of thirty-ſeven years in Holland, France, and Italy, atchieved a fair renown for his excellency in arts and languages, and departed this life on the 24th day of Auguſt, A. D. 1653, and lyeth buried near the pulpit in this church:

His friends bewail him thus,
Could arts appeaſe inexorable fate,
Thou hadſt ſurvived this untimely date;
Or could our votes have taken place, the ſun
Had not been ſet thus at it's glorious noon:
Thou ſhouldſt have lived ſuch ſtatues to have ſhown
As Michael Angelo might have wiſhed his own:
And ſtill thy moſt unerring pencil might
Have rais'd his admiration and delight,
That the beholders ſhould inquiring ſtand
Whether 'twas Nature's or the Artiſt's hand.
But thy too early death we now deplore,
There was not art that thou couldſt live to more,
[36]Nor could thy memory by age be loſt,
If not preſerved by this pious coſt:
Thy name's a monument that will ſurpaſs
The Parian marble or Corinthian braſs.

John Stone to perfect his fraternal affections erected this monument."

And a little lower, June 1699,

Four rare Stones are gone,
The Father and three Sons,

In memory of whom their near kinſman, Charles Stoakes, repaired this monument.

John Stone, the laſt of the family, died ſoon after the Reſtoration; and Stoakes, the perſon above-mentioned, from whom Vertue learned all theſe circumſtances, came into poſſeſſion of many drawings, prints, paintings, models, &c. particularly many portraits of the family in ſmall by Henry Stone; and from Stoakes, the pictures fell into the hands of Mr. Cock the auctioneer.

BERNARD JANSEN

was an architect at the ſame time that Nicholas Stone was the faſhionable ſtatuary. They were employed together, as appears by the foregoing memorandums, on the tomb of Mr. Sutton the founder of the Charterhouſe. Of what country Janſen * was, does not appear; by both his names I conclude a foreigner, and probably a Fleming, as he was a profeſſed imitator of Dieterling, a famous builder in the Netherlands, [37] who wrote ſeveral books on architecture. Janſen was engaged on many great works * here; he built Audley-inn, and the greater part of Northumberland-houſe, except the frontiſpiece, which Vertue diſcovered to be the work of the next artiſt

[38]GERARD CHRISMAS.

Before the portal of that palace was altered by the preſent Earl of Northumberland, there were in a freeze near the top in large capitals C. AE. an enigma long inexplicable to antiquarians. Vertue found that at the period when the houſe was built, lived Chriſmas, an architect and carver of reputation, who gave the deſign of Alderſgate, and cut the baſrelief on it of James I. on horſeback, and thence concluded that thoſe letters ſignified, Chriſmas aedificavit. * Janſen probably built the houſe, which was of brick, and the frontiſpiece, which was of ſtone, was finiſhed by Chriſmas. The carvers of the great ſhip, built at Woolwich by Mr. Peter Pett in 1637, were John and Mathias Chriſmas, ſons of Gerard.

JOHN SMITHSON

was an architect in the ſervice of the Earls of Newcaſtle. He built part of Welbeck in 1604, the riding-houſe there in 1623, and the ſtables in 1625; and when William Cavendiſh, Earl and afterwards [39] Duke of Newcaſtle, propoſed to repair and make great additions to Bolſover-caſtle, Smithſon, it is ſaid, was ſent to Italy to collect deſigns. From them I ſuppoſe it was that the noble apartment erected by that Duke, and lately pulled down, was compleated, Smithſon dying in 1648. Many of Smithſon's drawings were purchaſed by the late Lord Byron from his deſcendents who lived at Bolſover, in the chancel of which church Smithſon is buried with this inſcription;

Reader, beneath this plain ſtone buried lies
Smithſon's remainder of mortality;
Whoſe ſkill in architecture did deſerve
A fairer tomb his memory to preſerve:
But ſince his nobler works of piety
To God, his juſtice and his charity,
Are gone to heaven, a building to prepare
Not made with hands, his friends contented are,
He here ſhall reſt in hope, 'till th' worlds ſhall burn,
And intermingle aſhes with his urn.
Ob. Decemb. 27, 1648.

His ſon, a man of ſome ſkill in architecture, was buried in the ſame grave.

[...] BUTLER

a name preſerved only by Peacham, in whoſe time Butler ſeems to have been ſtill living, for ſpeaking of Architecture and of the Lord Treaſurer Saliſbury, "who, he adds, as he favoureth all learning and excellency, ſo he is a principal patron of this art, having lately employed Mr. Butler and many excellent artiſts for the beautifying his [...] eſpecially his chapel at Hatfield.

[40]STEPHEN HARRISON

who calls himſelf joyner and architect, invented the triumphal arches erected in London for the reception of James I. They were engraved by Kip on a few leaves in folio, a work I never ſaw but in the library at Chatſworth.

I ſhall conclude what I have to ſay on the reign of King James, with a brief account of a few of his medalliſts. This article is one of the moſt deficient in Vertue's notes; he had found but very ſlight materials, though equally inquiſitive on this head with the reſt. One muſt except the ſubject of the two Simons, of whoſe works as he himſelf publiſhed a moſt curious volume, I ſhall omit the mention of them in this catalogue, only deſiring that Vertue's account of the two Simons and Hollar, and the catalogues of the collections of King Charles, King James and the Duke of Buckingham, may be regarded as parts of this his great deſign. By thoſe ſpecimens one ſees how perfect he wiſhed and laboured to make the whole.

I was in hopes of compleating this article, by having recourſe to Mr. Evelyn's Diſcourſe on Medals, but was extremely diſappointed to ſind that in a folio volume, in which he has given the plates and inſcriptions of a regular ſeries of our medals, he takes not the leaſt notice of the gravers. I ſhould not have expected that a virtuoſo ſo knowing would have contented himſelf with deſcriptions of the perſons repreſented, he who had it in his inclination, and generally in his power, to inform poſterity of almoſt every thing they would wiſh to learn. Had Mr. Evelyn never regretted his ignorance of the names of the workmen of thoſe inimitable medals of the Seleucidae, of the fair [41] coins of Auguſtus, and of the Denarii of the other Roman Emperors? Was he ſatisfied with poſſeſſing the effigies of Tiberius, Claudius, Irene, without wiſhing to know the names of the ingenious and more harmleſs gravers—Why did he think poſterity would not be as curious to learn who were the medalliſts of Charles II. James I. Mary I.? He has omitted all names of gravers except in two or three of the plates, and even there ſays not a word of the artiſt. For inſtance in a medal of Charles I. p. 113, under the King's buſt are the letters N. R. F. I cannot diſcover who this N. R. was. * Thomas Rawlins was a graver of the mint about that time; perhaps he had a brother who worked in partnerſhip with him. I was ſo ſurprized at this omiſſion, that I concluded Mr. Evelyn muſt have treated of the gravers in ſome other part of the work. I turned to the index, and to my greater ſurprize found almoſt every thing but what I wanted. In the ſingle letter N. which contains but twenty-ſix articles, are the following ſubjects, which I believe would puzzle any man to gueſs how they found their way into a diſcourſe on medals;

Nails of the croſs.Negros.
Narcotics.Neocoros.
Nations, whence of ſuch various diſpoſitions.Nightingale.
Noah.
Natural and artificial curioſities.Noſes.
Navigation.Nurſes, of what importance their temper and diſpoſitions.
Neapolitans, their character.

In ſhort, Mr. Evelyn, who loved to know, was too fond of telling [42] the world all he knew. * His virtue, induſtry, ingenuity, and learning, were remarkable; one wiſhes he had written with a little more judgment—or perhaps it is not my intereſt to wiſh ſo; it would be more prudent to ſhelter under his authority any part of this work that is not much to the purpoſe.

All this author ſays of our medalliſts is, that we had Symons, Rawlins, Mr. Harris, Chriſtian, &c. and then refers us to his Chalcography, where indeed he barely names two more, Reſtrick and Johnſon, of whom I can find no other account. The reader muſt therefore accept what little is ſcattered up and down in Vertue's MSS. I have already mentioned one or two in the preceding volume. The firſt graver I meet in the reign of James is

CHARLES ANTONY,

to whom Sir Thomas Knyvet, maſter of the mint in the ſecond of that [43] King, paid by warrant 40l. for gold and workmanſhip, for graving an offering piece of gold, Anthony having then the title of the King's graver. * Vertue ſuppoſes this perſon made the medal in 1604 on the peace with Spain, a medal not mentioned by Evelyn, and that he continued in office 'till 1620. Mr. Anſtis informed him of a warrant to a brother of Charles Antony, called

THOMAS ANTONY

curatori monetae et ſigillorum regis ad cudendum magnum ſigillum pro epiſcopatu et comitatu palatino Dunelm. 1617. But of neither of theſe brothers do I find any other traces.

THOMAS BUSHELL

was probably a medalliſt of the ſame age. In the year 1737 Mr. Compton produced at the Antiquarian Society, as I find by their minutes, a gold medal, larger than a crown piece; on one ſide Lord Chancellor Bacon in his hat and robes, with this legend, Bacon Viceco. Sct. Alb. Angliae Cancell. On the reverſe, Thomas Buſhell. Deus eſt qui clauſa recludit.

NICHOLAS BRIOT

was a native of Lorrain, and graver of the mint to the King of France, in which kingdom he was the inventor, or at leaſt one of the firſt propoſers [44] of coining money by a preſs, inſtead of the former manner of hammering. As I am ignorant myſelf in the mechanic part of this art, and have not even the pieces quoted by Vertue, I ſhall tread very cautiouſly, and only tranſcribe the titles of ſome memorials which he had ſeen, and from whence I conclude a litterary controverſy was carried on in France on the ſubject of this new invention, to which, according to cuſtom, the old practicioners ſeem to have objected, as, probably interfering with the abuſes of which they were in preſcriptive poſſeſſion.

Raiſons de Nicolas Briot, tailleur et graveur des monoyes de France, pour rendre et faire toutes les monoyes du royaume à l'advenir uniformes et ſemblables, &c.

Les remonſtrances faites par la cour des monoyes contre la nouvelle invention d'une preſſe ou machine pour fabriquer les monoyes, propoſee par Nicolas Briot. 1618. quo.

Examen d'un avis preſentè au conſeil de ſa majeſtè 1621 pour la reformation des monoyes par Nicolas Briot. compoſè par Nicolas Coquerel. This Coquerel, I find by another note, was Generalis monetarius, or Pope of the mint, into which the reformation was to be introduced. The Luther, Briot, I ſuppoſe, miſcarried, as we ſoon afterwards find him in the ſervice of the crown of England, where projectors were more favorably received. From theſe circumſtances I conclude he arrived in the reign of King James, though he did not make his way to court before the acceſſion of King Charles, the patron of genius. Briot's firſt public work was a medal of that Prince exhibited in Evelyn, with the artiſt's name and the date 1628. To all or to almoſt all his coins and medals he put at leaſt the initial letter of his name. He was employed both in England and Scotland. In 1631, as appears by [45] Rymer's Foedera, tom xix. p. 287, a ſpecial commiſſion was appointed for making trial of the experience ſkill and induſtry of Nicholas Briot, in the coinage of money at the mint, dated June 13, 1631, at Weſtminſter. This was the project he had attempted in France, by inſtruments, mills and preſſes, to make better money and with leſs expence to the crown than by the way of hammering. The ſcheme was probably approved, for in the very next year we find him coining money upon the regular eſtabliſhment. There is extant a parchment roll, containing the accounts of Sir Robert Harley, Knight of the Bath, maſter worker of his majeſty's monies of gold and ſilver within the tower of London, in the reign of King Charles I. from November 8, 1628, to Auguſt 1, 1636. In this account, in 1632 are payments to Briot for coining various parcels of gold and ſilver, which are followed by this entry.

"And delivered to his majeſtie in fair ſilver monies at Oatlands by Sir Thomas Ayleſbury, viz. iij crownes, and iij half crownes of Briot's moneys, and iij crownes, and iij half crownes, and ten ſhillings of the monoyers making."

Theſe comparative pieces were probably preſented to the King by Sir Robert Harley, Briot's patron, to ſhow the ſuperior excellence of the latter's method.

Briot returned to France about 1642, having formed that excellent ſcholar Thomas Simon.

In a private family (the name of which he does not mention) Vertue ſaw a peachſtone, on which was carved the head of King Charles full faced, with a laurel, and on the reverſe, St. George on horſeback, with the garter round it; and on one ſide above the King's head, theſe letters [...]. The tradition in that family was, that the carver having been [46] removed from the ſervice of the crown, and at laſt obtaining the place of poor Knight at Windſor, cut that curioſity to ſhow he was not ſuperannuated nor incapable of his office as he had been repreſented. If the mark [...] ſignified Nicholas Briot, as is probable, either the ſtory is fictitious, or Briot did not return to France on the breaking out of the civil war. The latter is moſt likely, as in the Treaſury, where the plate of St. George's chapel is depoſited, there is ſuch another piece, though inferior in workmanſhip to that above-mentioned. In the Muſeum at Oxford are two ſmall carvings in wood, Chriſt on the croſs and the Nativity, with the ſame cypher [...] on each.

ANECDOTES OF PAINTING, &c.
CHAP. II.
CHARLES I. His Love and Protection of the Arts, Accounts of Vanderdort and Sir Balthazar Gerbiere. Diſperſion of the King's Collection, and of the Earl of Arundel's.

[]

THE acceſſion of this Prince was the firſt aera of real taſte in England. As his temper was not profuſe, the expence he made in collections, and the rewards he beſtowed on men of true genius and merit, are proofs of his judgment. He knew how and when to beſtow. Queen Elizabeth was avaricious with pomp; James I. laviſh with meanneſs. A prince who patronizes the arts, and can diſtinguiſh abilities, enriches his country, and is at once generous and an oeconomiſt. Charles had virtues to make a nation happy; fortunate, if he had not thought, that he alone knew how to make them happy, and that he alone ought to have the power of making them ſo!

His character, as far as it relates to my ſubject, is thus given by Lilly; "He had many excellent parts in nature, was an excellent [48] horſeman, would ſhoot well at a mark, had ſingular ſkill in limning, was a good judge of pictures, a good mathematician, not unſkillfull in muſic, well read in divinity, excellently in hiſtory and law, he ſpoke ſeveral languages, and writ well, good language and ſtyle." Perinchief is ſtill more particular; "His ſoul, ſays that writer, was ſtored with a full knowledge of the nature of things, and eaſily comprehended almoſt all kinds of arts that either were for delight or of a public uſe; for he was ignorant of nothing, but of what he thought it became him to be negligent, for many parts of learning, that are for the ornament of a private perſon, are beneath the cares of a crowned head. He was well ſkilled in things of antiquity, could judge of medals whether they had the number of years they pretended unto; his libraries and cabinets were full of thoſe things on which length of time put the value of rarities. In painting he had ſo excellent a fancy, that he would ſupply the defect of art in the workman, and ſuddenly draw thoſe lines, give thoſe airs and lights, which experience and practice had not taught the painter. He could judge of fortifications, and cenſure whether the cannon were mounted to execution or no. He had an excellent ſkill in guns, knew all that belonged to their making. The exacteſt arts of building ſhips for the moſt neceſſary uſes of ſtrength or good ſailing, together with all their furniture, were not unknown to him. He underſtood and was pleaſed with the making of * clocks and watches. [49] He comprehended the art of printing. There was not any one gentleman of all the three kingdoms that could compare with him in an univerſality of knowledge. He encouraged all the parts of learning, and he delighted to talk with all kind of artiſts, and with ſo great a facility did apprehend the myſteries of their profeſſions, that he did ſometimes ſay, "He thought he could get his living, if neceſſitated, by any trade he knew of, but making of hangings;" although of theſe he underſtood much, and was greatly delighted in them; for he brought ſome of the moſt curious workmen from foreign parts to make them here in England." *

With regard to his knowledge of pictures, I find the following anecdote from a book called the original and growth of printing by Richard Atkyns Eſq "This excellent Prince, ſays that author, who was not only aliquis in omnibus, but ſingularis in omnibus, hearing of rare heads (painted) amongſt ſeveral other pictures brought me from Rome, ſent Sir James Palmer to bring them to Whitehall to him, where were preſent divers picture-drawers and painters. He aſked them all of whoſe hand that was? ſome gueſt at it; others were of another opinion, but none was poſitive. At laſt ſaid the King, This is of ſuch a man's hand, I know it as well as if I had ſeen him draw it; but, ſaid he, is there but one man's hand in this picture? None did diſcern whether there was or not; but moſt concluded there was but one hand. [50] Said the King, "I am ſure there are two hands have workt in it, for I know the hand that drew the heads, but the hand that did the reſt I never ſaw before." Upon this a gentleman that had been at Rome about ten years before, affirmed that he ſaw this very picture, with the two heads unfiniſhed at that time, and that he heard his brother (who ſtaid there ſome years after him) ſay, that the widow of the painter that drew it wanting money, got the beſt maſter ſhe could find to finiſh it and make it ſaleable." This ſtory which in truth is but a blind one, eſpecially as Mr. Atkyns does not mention even the name of the painter of his own picture, ſeems calculated to prove a fact, of which I have no doubt, his majeſty's knowledge of hands. The gentleman who ſtood by and was ſo long before he recollected ſo circumſtantial a hiſtory of the picture, was, I dare ſay, a very good courtier.

The King is ſaid not only to have loved painting but to have practiced it; it is affirmed that Rubens corrected ſome of his * majeſty's drawings.

It was immediately after his acceſſion that Charles began to form his collection. The crown was already in poſſeſſſion of ſome good pictures: Henry VIII. had ſeveral. What painters had been here had added others. Prince Henry, as I have ſaid, had begun a ſeperate collection both of paintings and ſtatues. All theſe Charles aſſembled, and ſent commiſſions into France and Italy to purchaſe more. Croſs was diſpatched into Spain to copy the works of Titian there: and no doubt [51] as ſoon as the royal taſte was known, many were brought over and offered to ſale at court. The miniſters and nobility were not backward with preſents of the ſame nature. Various are the accounts of the jewels and bawbles preſented to magnificent Elizabeth. In the catalogue of King Charles's collection are recorded the names of ſeveral of the court who ingratiated themſelves by offerings of pictures and curioſities. But the nobleſt addition was made by the King himſelf: He purchaſed at a great * price the entire cabinet of the Duke of Mantua, then reckoned the moſt valuable in Europe. But ſeveral of thoſe pictures were ſpoiled by the quickſilver on the frames, owing I ſuppoſe to careleſſneſs in packing them up. Vanderdort, from whom alone we have this account, does not ſpecify all that ſuffered, though in general he is minute even in deſcribing their frames. The liſt, valuable as it is, notwithſtanding all it's blunders, inaccuracy, and bad [52] Engliſh, was I believe never compleated, which might be owing to the ſudden death of the compoſer. There are accounts in MS. of many more pictures, indubitably of that collection, not ſpecified in the printed catalogue.

Now I have mentioned this perſon, Vanderdort, it will not be foreign to the purpoſe to give ſome little account of him, eſpecially as to him we owe, * however mangled, the only record of that Royal Muſeum.

Abraham Vanderdort, a Dutchman, had worked for the Emperor Rodolphus, whoſe ſervice he left we do not know on what occaſion. He brought away with him a buſt of a woman modelled in wax as large as the life, which he had begun for that monarch, but Prince Henry was ſo ſtruck with it, that though the Emperor wrote ſeveral times for it, the young Prince would neither part with the work nor the workman, telling him he would give him as good entertainment as any Emperor would—and indeed Vanderdort ſeems to have made no bad bargain. He parted with the buſt to the Prince upon condition, that as ſoon as the cabinet, then building from a deſign of Inigo Jones, ſhould be finiſhed, he ſhould be made keeper of his Royal Highneſs's medals with a ſalary of 50l. a year; a contract voided by the death

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Figure 8. ABRAHAM VANDERDORT.

Dobson pinx. T.Chambars sculp.

From the Original at Houghton

[53] of the Prince. However, upon the acceſſion of King Charles, Vanderdort was immediately retained in his ſervice with a ſalary of 40l. a year, and appointed keeper of the cabinet. This room was erected about the middle of Whitehall, running acroſs from the Thames towards the banquetting-houſe, and fronting weſtward to the privygarden. * Several warrants for payments to Vanderdort as follow are extant in Rymer, and among the Conway papers; one of the latter is ſingular indeed, and ſhows in what favour he ſtood with his royal maſter.

"The ſecond day of April 1625, at St. James. His majeſty was pleaſed by my Lord Duke of Buckingham's meanes to ſend for Sir Edward Villiers, warden of his majeſties mint, as alſo for his owne ſervant Abraham Vanderdoort, where his majeſty did command in the preſence of the ſaid Lord Duke and Sir Edward Villiers that the ſaid Abraham Vanderdoort ſhould make patterns for his majeſties coynes, and alſo give his aſſiſtance to the ingravers and his furtherance that the ſame may be well engraven according to their abilities. For which he deſireth a warrant with an annual fee of 40l. a year, whereby it may appear that it was his majeſties pleaſure to appoint him for that ſervice." Conway papers. At the bottom of this paper is this entry, "It is his majeſty's pleaſure that the clerk of his majeſties ſignett for the tyme being doe cauſe a booke to be prepared fitt for his majeſties ſignature of the office, with the annuitie or fee beforementioned to be paid out of the exchequer duringe his life."

The patent itſelf is in Rymer.

"A warrant under the ſignet to the officers of his majeſty's houſhold [54] for the allowance of five ſhillings and ſix-pence by the day unto Abraham Vanderdoorte for his boorde wages, to begyne from Chriſtmaſs laſt and to contynue during his life. By order of the Lord Conway and by him procured. March 24, 1625." *

"Docquett. 11o. Junii, 1628. A warrant unto Abraham Vanderdort for his lyfe of the office of keeper of his majeſties cabynett roome with a penſion of 40l. per annum, and of provider of patternes for the punches and ſtampes for his majeſties coyne in the mynt with the allowaunce of 40l. per annum for the ſame paiable quarterly out of the exchequer, the firſt payment to begynne at Midſommer next 1628. With further warrant to pay unto him the ſeveral arrearage of 120l. 100l. and of 10l. due unto him upon privy ſeales for and in reſpect of his imployment in the ſaid office and place which are to bee ſurrendered before this paſſe the greate ſeale. His majeſties pleaſure ſignyfied by the Lord Viſcount Conway and by him procured. Subſcribed by Mr. Sollicitor Generall."

"To Mr. Attorney; Junii 17, 1628. Sir, his majeſtie is pleaſed to make uſe of the ſervice of his ſervaunt Abraham Vanderdoort, to make patternes for his majeſties coynes, and give his aſſiſtance and furtherance to the ingravers for the well makinge of the ſtamps; and for his paines therein to give him an allowance of 40l. per ann. duringe pleaſure. To which purpoſe you will be pleaſed to draw a bill for his majeſties ſignature.

"Docquett. 11o. Octobr. 1628. A letter to Sir Adam Newton Knight and Baronett, receaver generall of his majeſties revenue whileſt he was Prince, to pay unto Abraham Vanderdort for the keeping of his [55] majeſties cabinett room at St. James's, and other ſervice the ſome of 130l. in arreare due unto him for the ſaid ſervice from our Lady-day 1625, 'till Midſommer 1628; procured by Lord Viſcount Conway."

The next is the extraordinary paper I mentioned; it ſhows at once how far the royal authority in that age thought it had a right to extend, and how low it condeſcended to extend itſelf.

"Docquett. 28 November. 1628. A letter to Louyſa Cole, the relict of James Cole, in favour of Abraham Vanderdort his majeſties ſervant, recommending him to her in the way of marriage. Procured by the Lord Viſcount Conway."

What was the ſucceſs of this royal interpoſition * I no where find. Vanderdort, in his catalogue, mentions preſents made by him to the King, of a book of prints by Albert Durer, of a head in plaiſter of Charles V. and of the arm of the King of Denmark, modelled from the life. It is certain that the poor man had great gratitude to or great awe of Charles I. The King had recommended to him to take particular care of a miniature by Gibſon, the parable of the loſt ſheep. Vanderdort laid it up ſo carefully, that when the King aſked him for it, he could not find it, and hanged himſelf in deſpair. After his [56] death his executors found and reſtored it. As this piece is not mentioned in the catalogue, probably it was newly purchaſed. There is an admirable head of Vanderdort by Dobſon at * Houghton.

The King who ſpared neither favours, nor money, to enrich his collection, invited Albano into England by a letter written with his own hand. It ſucceeded no more than a like attempt of the Duke of Buckingham to draw Carlo Maratti hither. Carlo had drawn for that Duke the portraits of a Prince and Princeſs of Brunſwic, but excuſed himſelf from obeying the ſummons, by pleading that he had not ſtudied long enough in Rome, and was not yet worthy of painting for [57] the King. Simon Vouet, an admired French painter, who while very young had been ſent over in 1604 to draw the portrait of ſome lady of great rank retired hither from Paris, was invited by King Charles with promiſe of great rewards to return to England, but declined the offer. * His majeſty was deſirous too of having ſomething of the hand of Bernini. Vandyck drew in one piece the full face and the three quarter face and the profile of the King, from which Bernini made a buſt, that was conſumed or ſtolen in the fire of Whitehall. It was on [58] ſeeing this picture that Bernini pronounced, as is well known, that there was ſomething unfortunate in the countenance of Charles. The ſame artiſt made a buſt too of Mr. Baker, who carried the picture to Rome. The Duke of Kent's father bought the latter buſt at Sir Peter Lely's ſale; it is now in the poſſeſſion of Lord Royſton, and was reckoned preferable to that of the King. The hair is in prodigious quantity and incomparably looſe and free; the point-band very fine. Mr. Baker paid Bernini an hundred broad pieces for his, but for the King's Bernini received a thouſand Roman crowns. The King was ſo pleaſed with his own, that he deſired to have one of the Queen too; but that was prevented by the war. *

Among the Strafford papers is an evidence of this Prince's affection for his pictures: In a letter from Mr. Garrard, dated November 9, 1637, ſpeaking of two maſks that were to be exhibited that winter, he ſays, "A great room is now building only for this uſe betwixt the guard-chamber and banquetting-houſe of fir, only weather-boarded and ſlightly covered. At the marriage of the Queen of Bohemia I ſaw one ſet up there but not of that vaſtneſs that this is, which will coſt too [59] much money to be pulled down, and yet down it muſt when the maſks are over."

In another of December 16, the ſame perſon ſays, "Here are two maſks intended this winter; the King is now in practicing his, which ſhall be preſented at Twelfth-tide, moſt of the young Lords about the town, who are good dancers, attend his majeſty in this buſineſs. The other the Queen makes at Shrove-tide, a new houſe being erected in the firſt court at Whitehall, which coſt the King 2500l. only of deal boards, becauſe the King will not have his pictures in the banquettinghouſe hurt with lights."

The moſt capital purchaſe made by King Charles were the cartoons of Raphael, now at Hampton-court. They had remained in Flanders from the time that Leo X. ſent them thither to be copied in tapeſtry, the money for the tapeſtry having never been paid. Rubens told the King of them, and where they were, and by his means they were bought.

It may be of uſe to collectors and virtuoſi, for whoſe ſervice this work is compoſed, to know when they meet with the ruins of that royal cabinet, or of the Earl of Arundel's. On the King's pictures was this mark [...] or [...] on his drawings a large ſtar thus [...] on the Earl's a ſmaller. [...]

The dials at Whitehall were erected by the order of Charles, while he was Prince. Mr. Gunter drew the lines, and wrote the deſcription and uſe of them, printed in a ſmall tract by order of King James in 1624. There were five dials; afterwards ſome were made of glaſs in a pyramidal ſhape by Francis Hill, and placed in the ſame garden. One or two of theſe may ſtill be extant; Vertue ſaw them at Buckinghamhouſe in St. James's park, from whence they were ſold.

[60] It looks as if Charles had had ſome thoughts of erecting a monument for his father. In the lodgings of the warden of New-college Oxford was a mauſoleum with arms, altar-tomb, columns and inſcriptions in honour of that Prince dated 1630. It is certain King Charles had no leſs inclination for architecture than for the other arts. The intended palace at Whitehall would have been the moſt truly magnificent and beautifull fabric of any of the kind in Europe. His majeſty did not ſend to Italy and Flanders for architects as he did for Albano and Vandyck: He had Inigo Jones. Under the direction of that genius the King erected the houſe at Greenwich.

Charles had in his ſervice another man, both architect and painter, of whom, though excellent in neither branch, the reader will perhaps not diſlike ſome account, as he was a remarkable perſon and is little known.

Sir Balthazar Gerbier D'ouvilly of Antwerp, was born about 1591, came young into England, and was a retainer of the Duke of Buckingham as early as 1613. In Finette's maſter of the ceremonies it is ſaid, "Alonzo Contarini Embaſſador from Venice came to Mr. Gerbier, a gentleman ſerving the Duke of Buckingham." Sanderſon * calls him a common penman, who penſiled the dialogue (probably the decalogue) in the Dutch church London, his firſt riſe of preferment." It is certain that he ingratiated himſelf much with that favorite and attended him into Spain, where he was even employed in the treaty of marriage, though oſtenſibly acting only in the character of a painter. Among the Harleian MSS. is a letter from the Ducheſs of Buckingham to her

[]
Figure 9. SR. BALTHAZAR GERBIER.

Vandyck pinx. T.Chambars sculp.

[61] Lord in Spain, "I pray you, if you have any idle time, * ſit to Gerbier for your picture that I may have it well done in little." Biſhop Tanner had a MS. catalogue of the Duke's collection drawn up by Gerbier who had been employed by the Duke in ſeveral of the purchaſes. However there is ſome appearance of his having fallen into diſgrace with his patron. In one of Vertue's MSS. is a paſſage that ſeems to be an extract, though the author is not quoted, in which the Duke treats Gerbier with the higheſt contempt. The tranſcript is ſo obſcure and imperfect, that I ſhall give it in Vertue's own words;

"King James I. ill and dying, the Duke of Buckingham was adviſed to apply a plaiſter to his ſtomach, which he did with proper advice of doctors, phyſicians of the King. But the King dying, the Duke was blamed—one Egleſham printed a ſcurrilous libel, and flew away into Flanders—I was told by Sir Balthazar Gerbier [though his teſtimony be odious to any man] that Egleſham dealt with him in Flanders for a piece of money [not more than 400 guilders to defray the charges] [62] to imprint his recantation, of which the Duke bid Gerbier join malice and knavery together, and ſpit their venom 'till they ſplit, and he would pay for printing that alſo."

Nothing can be built upon ſo vague a foundation. It is certain that immediately after the acceſſion of King Charles, Gerbier was employed in Flanders to negotiate privately a treaty with Spain, the very treaty in which Rubens was commiſſioned on the part of the Infanta, and for which end that great painter came to England. Among the Conwaypapers I found a very curious and long letter from Gerbier himſelf on this occaſion, which though too prolix to inſert in the body of this work, I ſhall affix at the end, not only as pertinent to my ſubject from the part theſe painters had in ſo important a buſineſs, but as it is more particular than any thing I know in print on that occaſion.

Gerbier kept his ground after the death of Buckingham. In 1628 he was knighted at Hampton-court, and, as he ſays himſelf in one of his books, was promiſed by King Charles the office of ſurveyor-general of the works after the death of Inigo Jones.

In 1637 he ſeems to have been employed in ſome other private tranſactions of ſtate, negotiating with the Duke of Orleans, the King's brother, who was diſcontented with the court. The Earl of Leiceſter, Embaſſador to Paris, writes * to Mr. Secretary Windebank Nov. 24. "I received a packet from Garbier to Monſieur d d [French King's brother.]

July 13, 1641, he took the oaths of allegiance and ſupremacy, having a bill of naturalization. From that time to the death of the [63] King I find no mention of him, though I do not doubt but a man of ſo ſupple, and intriguing a nature, ſo univerſal an undertaker, did not lie ſtill in times of ſuch dark and buſy complection. However, whether miſcarrying or neglected, * in 1648 he appears not only in the character of author, but founder of an academy. In that year he publiſhed a thin quarto, intituled, The interpreter of the academie for forrain languages and all noble ſciences and exerciſes. To all fathers of families and lovers of vertue, the firſt part, by Sir Balthazar Gerbier Knight. Lond. French and Engliſh; with a print of his head in oval and this motto, Heureux qui en Dieu ſe confie. It is a moſt trifling ſuperficial rhapſody, and deſerved the ſarcaſm that Butler paſſed on ſo incompetent an attempt: In his fictitious will of Philip Earl of Pembroke that Lord is made to ſay, "All my other ſpeeches, of what colour ſoever, I give to the academy, to help Sir Balthazar's art of wellſpeaking."

In 1649 he publiſhed the firſt lecture of Geography read at Sir Balthazar Gerbier's academy at Bednal-green; by which it ſeems that at [64] leaſt his inſtitution was opened. This piece I have not ſeen, nor the next, though from Vertue's extract one learns another ſingular anecdote of this projector's hiſtory.

"Sir Balthazar Gerbier's manifeſtation of greater profits to be done in the hot than the cold parts of America. Rotterdam 1660. Wherein is ſet forth that he having a commiſſion to go there, ſettle and make enquirys, he went to Cajana (Cayenne) with his family, and ſettled at Surinam. A governor there from the Dutch had orders to ſeize upon him and all his papers and bring him back to Holland, which they did in a very violent manner, breaking into his houſe, killed one of his children, endangered the lives of the reſt of his family, and narrowly eſcaped himſelf with his life, having a piſtol charged at his breaſt if he had reſiſted. They brought him to Holland: He complained, but got no redreſs, the ſtates diſowning they had given any ſuch orders. However, it was juſt before the reſtoration, and knowing the obligations he had to England, they apprehended he might give the King notice of the advantages might be gained by a ſettlement there."

This perhaps was one among the many provocations, which, meeting his inclinations to France, led Charles II. into his impolitic, though otherwiſe not wholly unjuſtifiable, war with Holland, a people too apt even in their depreſſed ſtate, to hazard barbarous and brutal infraction of treaties and humanity, when a glimpſe of commercial intereſt invites it.

Gerbier probably returned to England with that Prince, for the triumphal arches erected for his reception, are ſaid to have been deſigned by Sir Balthazar.

In France he publiſhed a book on fortification, and in 1662 at London a ſmall diſcourſe on magnificent buildings, dedicated to the [65] King, in which he principally treats of ſolidity, convenience and ornament, and glances at ſome errors of Inigo Jones in the banquettinghouſe. Here too he mentions a large room built by himſelf near the watergate * at York-ſtairs, thirty-five feet ſquare, and ſays, that King Charles I. being in it in 1628 at ſome repreſentation of ſcenery, commended it, and expreſſed as much ſatisfaction with it as with the banquetting-houſe. In the piece he propoſes to the Lords and Commons to level the ſtreets, Fleet-bridge and Cheapſide, and erect a ſumptuous gate at Temple-bar, of which he had preſented a draught to his majeſty. Before this book is a different print of him with a ribband and a medal, inſcribed C. R. 1653. The medal I ſuppoſe was given him when appointed, as he ſays he was, Maſter of the Ceremonies to Charles I.

His portrait in one piece with Sir Charles Cotterel and Dobſon, painted by the latter, is at Northumberland-houſe; Gerbier has been miſtaken in that picture for Inigo Jones. This piece was bought for 44l. at the ſale of Betterton, the player.

Gerbier's laſt piece is a ſmall manual, intituled, Counſel and Advice to all builders, &c. London 1663. A full half of this little piece is waſted on dedications, of which there are no fewer than forty, and which he excuſes by the example of Antonio Perez. They are addreſſed to the Queen-mother, Duke of York, and moſt of the principal Nobility and Courtiers. The laſt is to his own diſciple Captain William Wind. There is a heap of a kind of various knowledge even in theſe dedications, and ſome curious things, as well as in the book itſelf, particularly the prices of work and of all materials for building at that time. In one place he ridicules the heads of lions, which are creeping [66] through the pilaſters on the houſes in Great Queen-ſtreet built by Webb, the ſcholar of Inigo Jones.

Hempſted-marſhal, the ſeat of Lord Craven, ſince deſtroyed by fire, was the laſt production of Gerbier. He gave the deſigns for it, and died there in 1667 while it was * building, and was buried in the chancel of that church. The houſe was finiſhed under the direction of Captain Wind above-mentioned.

In the library of Secretary Pepys at Magdalen-college Cambridge, is a miſcellaneous collection in French, of robes, manteaux, couronnes, armes, &c. d'Empereurs, Rois, Papes, Princes, Ducs et Comtes, anciens et modernes, blazonnès et enluminès par Balthazar Gerbier.

Among the Harleian MSS. No. 3384, is one, intituled, Sir Balthazar Gerbier, his admonitions and diſputes with his three daughters, retired into the Engliſh nunnery at Paris, 1646.

The late Prince of Wales hearing of a capital picture by Vandyck in Holland, to which various names of Engliſh families were given, as Sir Balthazar Arundel, Sir Melchior Arundel, Sir Balthazar Buckingham, or Sheffield, the laſt of which gained moſt credit from a reſemblance in the arms, his Royal Highneſs gave a commiſſion to purchaſe it, and it was brought to Leiceſter-houſe. It appeared that a celebrated piece, for which Lord Burlington had bid 500l. at Lord Radnor's ſale, and which Mr. Scawen bought at a ſtill greater price was the ſame with this picture, but not ſo large nor containing ſo many figures. Mr. Scawen's had always paſſed for a miſtreſs and children of the Duke of Buckingham; but Vertue diſcovered on that of the Prince of Wales [67] an almoſt effaced inſcription, written by Vandyck's own hand, with theſe words remaining, La famille de Balthazar—Chevalier; and he ſhowed the Prince that the arms on a flower-pot were the ſame with thoſe on two different prints of Gerbier, and alluſive to his name, viz. a chevron between three garbs or ſheafs. There is a group of children on the right hand, very inferior to the reſt of the compoſition, and certainly not by Vandyck. The little girl leaning on the mother's knee was originally painted by Rubens in a ſeparate piece, formerly belonging to Richardſon the painter, ſince that to General Skelton and Capt. William Hamilton, and now in the collection of the Lord Viſcount Spenſer. It is finer than the large picture—but it is time to return to King Charles.

The academy erected by Gerbier was probably imitated from one eſtabliſhed by Charles I. in the eleventh year of his reign and called Muſeum Minervae. The patent of erection is ſtill extant in the office of the rolls. None but who could prove themſelves gentlemen were to be admitted to education there, where they were to be inſtructed in arts and ſciences, foreign languages, mathematics, painting, architecture, riding, fortification, antiquities and the ſcience of medals. Profeſſors were appointed, and Sir Francis Kingſton, * in whoſe houſe in Covent-garden the academy was held, was named regent. There is a ſmall account of the deſign of this academy, with it's rules and orders, printed in 1636. But it fell to the ground with the reſt of the King's [68] plans and attempts—and ſo great was the inveteracy to him, that it ſeems to have become part of the religion of the time to war on the arts, becauſe they had been countenanced at court. The parliament began to ſell the pictures at York-houſe ſo early as 1645, but leſt the neceſſity of their affairs ſhould not be thought ſufficient juſtification, they coloured it over with a piece of fanatic bigotry that was perfectly ridiculous; paſſing the following votes among others July 23. *

Ordered, that all ſuch pictures and ſtatues there (York-houſe) as are without any ſuperſtition, ſhall be forthwith ſold, for the benefit of Ireland and the North.

Ordered, that all ſuch pictures there, as have the repreſentation of the ſecond perſon in trinity upon them, ſhall be forthwith burnt.

Ordered, that all ſuch pictures there, as have the repreſentation of the Virgin Mary upon them, ſhall be forthwith burnt.

This was a worthy contraſt to Archbiſhop Laud, who made a ſtarchamber-buſineſs of a man who broke ſome painted glaſs in the cathedral at Saliſbury. The cauſe of liberty was then, and is always, the only cauſe that can excuſe a civil war: yet if Laud had not doated on trifles, and the preſbyterians been ſqueamiſh about them, I queſtion whether the nobler motives would have had ſufficient influence to ſave us from arbitrary power. They are the ſlighteſt objects that make the [69] deepeſt impreſſion on the people. They ſeldom fight for a liberty of doing what they have a right to do, but becauſe they are prohibited or enjoined ſome folly that they have or have not a mind to do. One comical inſtance of the humour of thoſe times I find in Aubrey's hiſtory of Surrey; * one Bleeſe was hired for half-a-crown a day to break the painted glaſs windows of the church of Croydon. The man probably took care not to be too expeditious in the deſtruction.

Immediately after the death of the King, ſeveral votes were paſſed for ſale of his goods, pictures, ſtatues, &c.

Feb. 20, 1648. It was referred to the committee of the navy to raiſe money by ſale of the crown, jewels, hangings, and other goods of the late King.

Two days after, Cromwell, who, as ſoon as he was poſſeſſed of the ſole power, ſtopped any farther diſperſion of the royal collection, and [70] who even in this trifling inſtance gave an indication of his views, reported from the council of ſtate, that divers goods belonging to the ſtate were in danger of being embezzled; which notification was immediately followed by this order;

That the care of the public library at St. James's and of the ſtatues and pictures there, be committed to the council of ſtate, to be preſerved by them.

However, in the enſuing month, * the houſe proceeded to vote, that the perſonal eſtate of the late King, Queen and Prince ſhould be inventoried, appraiſed and ſold, except ſuch parcels of them as ſhould be thought fit to be reſerved for the uſe of the ſtate; and it was referred [71] to the council of ſtate to conſider and direct, what parcels of the goods and perſonal eſtates aforeſaid were fit to be reſerved for the uſe of the ſtate. Certain commiſſioners were at the ſame time appointed to inventory, ſecure and appraiſe the ſaid goods, and others, not members of the houſe, were appointed to make ſale of the ſaid eſtates to the beſt value. The receipts were to go towards ſatisfying the debts and ſervants of the King, Queen and Prince, provided ſuch ſervants had not been delinquents; the reſt to be applied to public uſes; the firſt thirty thouſand pounds to be appropriated to the navy. This vote in which they ſeem to have acted honeſtly, not allowing their own members to be concerned in the ſale, was the cauſe that the collection fell into a variety of low hands, and were diſperſed among the painters and officers of the late King's houſhold, where many of them remained on ſale with low prices affixed. The principal pieces were rated more highly, and ſome of them were even ſold above their valuation.

Ireton on the 2d of June 1648 reported the act for ſale, and mention is made of ſome propoſition of Captain Myldmay concerning the pictures and ſtatues, to be referred to the council of ſtate. This propoſal it ſeems had been accepted but was revoked. Probably this perſon might be an agent of Cromwell to prevent the diſperſion. Cromwell had greater matters to attend to; the ſale proceeded. Two years afterwards, viz. in October and November 1650, the journals ſpeak of ſums of money received from the ſale of the King's goods, and of various applications of the money towards diſcharge of his debts. From that time I find no farther mention of the collection in the records.

With regard to the jewels, the parliament immediately after the King's death ordered the crown and ſceptres, &c. to be locked up. [72] The Queen had already ſold ſeveral jewels abroad to raiſe money and buy arms, Some had been ſold in foreign countries early in the King's reign, particularly what was called the ineſtimable collar of rubies; * it had belonged to Henry VIII. and appears on his pictures and on a medal of him in Evelyn. His George, diamond and ſeales, which Charles at his execution deſtined to his ſucceſſor, the parliament voted ſhould not be ſo delivered. A pearl which he always wore in his ear, as may be ſeen in his portrait on horſeback by Vandyck, was taken out after his death, and is in the collection of the Ducheſs of Portland, atteſted by the hand-writing of his daughter the Princeſs of Orange, and was given to the Earl of Portland by King William.

[73] A catalogue of the pictures, ſtatues, goods, tapeſtries and jewels, with the ſeveral prices at which they were valued and ſold, was diſcovered ſome years ago in Moorfields, and fell into the hands of the late Sir John Stanley, who permitted Mr. Vicechamberlain Cook, Mr. Fairfax and Mr. Kent to take copies, from one of which Vertue obtained a tranſcript. The particulars are too numerous to inſert here. The total of the contracts amounted to 118080l.—10s.—2d. Thirty one pages at the beginning relating to the plate and jewels were wanting, and other pages here and there were miſſing. Large quantities were undoubtedly ſecreted and embezzled, and part remained unſold by the acceſſion of Cromwell, who lived both at Whitehall and Hampton-court. All other furniture from all the King's palaces was brought up and expoſed to ſale; there are ſpecified particularly Denmark or Somerſet-houſe, Greenwich, * Whitehall, Nonſuch, Oatlands, Windſor, Wimbleton-houſe, St. James's, Hampton-court, Richmond, Theobald's, [74] Ludlow, Cariſbrook and Kenelworth caſtles; Bewdley-houſe, Holdenby-houſe, Royſton, Newmarket, and Woodſtock manor-houſe. One may eaſily imagine that ſuch a collection of pictures, with the remains of jewels and plate, and the furniture of nineteen palaces ought to have amounted to a far greater ſum than an hundred and eighteen thouſand pounds. *

The ſale continued to Auguſt 9, 1653. The prices were fixed, but if more was offered, the higheſt bidder purchaſed; this happened in ſome inſtances, not in many. Part of the goods were ſold by inch of candle. The buyers, called contractors, ſigned a writing for the ſeveral ſums. If they diſliked the bargain, they were at liberty to be diſcharged from the agreement on paying one fourth of the ſum ſtipulated. Among the purchaſers of ſtatues and pictures were ſeveral painters, as Decritz, Wright, Baptiſt Van Leemput, Sir Balthazar Gerbier, &c. The prices of the moſt remarkable lots were as follows: The cartoons of Raphael, 300l. bought by his Highneſs (Cromwell.) The royal family (now in the gallery at Kenſington) 150l. The King on horſeback (in the ſame place) 200l. The triumphs of Julius Caeſar by Andrea Mantegna (now at Hampton-court) 1000l. Twelve Caeſars by Titian, 1200l. The muſes by Tintoret, (at Kenſington) valued at 80l. ſold for 100l. Alexander VI. and Caeſar Borgia by Titian, 100l. Triumph of Veſpaſian and Titus by Julio Romano (at Paris) 150l. The great piece of the Nativity by Julio Romano, 500l. It ſeems the act for deſtroying what they called ſuperſtitious pieces was not [75] well obſerved. Two pieces of tapeſtry of the five ſenſes by Sir Francis Crane, 270l. Mention is made of two ſets more ancient, of the landing of Henry VII. and the * marriage of Prince Arthur. From Windſor a picture of Edward III. with a green curtain before it, 4l. Mary, Chriſt, and many Angels dancing by Vandyck, valued only at 40l. This is the picture at Houghton, for which my father gave 800l. it was twice ſold before for above 1000l. whence I conclude there was ſome knavery in the valuation of it. Sleeping Venus by Correggio, 1000l. Mary, Child and St. Jerome, by Parmegiano, 150l. The Venus del Pardo by Titian, valued at 500l. ſold for 600l. Marquis del Guaſto haranguing his ſoldiers by Titian, 250l. Venus dreſſing by the Graces, Guido (at Kenſington) 200l. Herodias with the head of St. John, by Titian, 150l. (with his Highneſs.) The little Madonna and Chriſt by Raphael, 800l. St. George by Raphael, 150l. Marquis of Mantua by ditto, 200l. Frobenius and Eraſmus by Holbein, 200l. Our Lady, Chriſt and others by Old Palma, 200l. A man in black by Holbein, 120l. St. John by Leonardo da Vinci, 140l. Duke of Bucks and his brother by Vandyck, (now at Kenſington) valued at 30l. ſold for 50l. This is one of the fineſt pictures of that maſter. A Satyr flayed by Correggio, 1000l. Mercury teaching Cupid to read, Venus ſtanding by, by Correggio, 800l. The King's head by Bernini, 800l. A ſtatue of Tiberius larger than life, 500l. The Gladiator in braſs (now at Houghton) 300l. Chriſt waſhing the feet of his diſciples, 300l.

[76] Among the contractors appears Mr. John Leigh, who on Auguſt 1, 1649, buys goods for the uſe of Lieutenant-general Cromwell to the value of 109l.—5s.—0d. and on the 15th are ſold to the Right hon, the Lady Cromwell goods to the amount of two hundred pounds more. But no ſooner was Cromwell in poſſeſſion of the ſole power, than he not only prevented any farther ſale, but even detained from the purchaſers much of what they had contracted for. This appears by a * petition, addreſſed, after the protector's death, to the council of ſtate, by major Edward Baſs, Emanuel de Critz, William Latham, and Henry Willet in behalf of themſelves and divers others, in which they repreſent,

"That in the year 1651, the petitioners did buy of the contractors for the ſale of the late King's goods, the ſeveral parcels there undernamed, and did accordingly make ſatisfaction unto the Treaſurer for the ſame. But for as much as the ſaid goods are in Whitehall, and ſome part thereof in Mr. Kinnerſley's cuſtody in keeping, the petitioners do humbly deſire their honour's order, whereby they may receive the ſaid goods, they having been great ſufferers by the late General Cromwell's detaining thereof; and the petitioners, &c."

The goods ſpecified are hangings, and ſtatues in the garden at Whitehall. It is very remarkable that in this piece they ſtyle the Protector, the late General Cromwell.

Whence Charles had his ſtatues we learn from Peacham; "The King alſo, ſays he, ever ſince his coming to the crown hath amply teſtified a royal liking of ancient ſtatues, by cauſing a whole army of old foreign Emperors, Captains and Senators all at once to land on his coaſts, to come and do him homage, and attend him in palaces of [77] St. James's and Somerſet-houſe. A great part of theſe belonged to the late Duke of Mantua; and ſome of the old Greek marble baſes, columns, and altars were brought from the ruins of Apollo's temple at Delos, by that noble and abſolutely compleat gentleman Sir Kenelm Digby Knight." *

Some of the moſt capital pictures were purchaſed by the King of Spain, which arriving there while the Embaſſadors of Charles II. were at that court, they were deſired, by an odd kind of delicacy, to withdraw, they ſuppoſing that this diſmiſſion was owing to an account received at the ſame time of Cromwell's victory over the Marquis of Argyle; "but, ſays Lord Clarendon, they knew afterwards that the true cauſe of this impatience to get rid of them, was that their miniſter in England, having purchaſed many of the King's pictures and rich furniture, had ſent them to the Groyne; from whence they were expected to arrive about that time at Madrid; which they thought could not decently be brought to the palace while the ambaſſadors remained at the court."

After the reſtoration endeavours were uſed to reaſſemble the ſpoils. A commiſſion was iſſued out to examine Hugh Peters concerning the diſpoſal of the pictures, jewels, &c. that had belonged to the royal family, but without effect, by the obſtinacy or ignorance of Peters, who would not or could not give the deſired ſatisfaction. Some of the pictures had been purchaſed by Gerard Reyntz, a Dutch collector, after whoſe death they were bought of his widow by the ſtates and preſented [78] to Charles II. One only picture [the King on horſeback by Vandyck] was recovered by a proceſs at law from Remèe or Remigius Van Leemput, a painter then in England, who had bought it at the ſale.

Notwithſtanding the havoc that had been made, it is plain from the catalogue of the collection of James II. that the crown ſtill poſſeſſed a great number of valuable pictures, but the fire of Whitehall deſtroyed almoſt all that the rage of civil war had ſpared. Some valuable pieces indeed were carried to Liſbon from Somerſet-houſe by the Queen Dowager, when ſhe returned to Portugal. The then Lord Chamberlain, it is ſaid, put a ſtop to their embarkation, 'till mollified by the preſent of one of them that he admired.

The royal library eſcaped better: This was founded by James I. It contained the collection belonging to the crown, among which were ſeveral fine editions on vellom, ſent as preſents from abroad, on the reſtoration of learning, to Henry VII. Henry VIII. and Queen Elizabeth; the library of the Lord Lumley, purchaſed by James for Prince Henry, the collection of Caſaubon bought of his widow, and ſome curious MSS. brought from Conſtantinople by Sir Thomas Roe. Theſe books have been given to the Britiſh Muſeum by his late majeſty. To this library Prince Henry had added a large number of coins, medals, cameos and intaglias, the Dactyliotheca of Gorlaeus. Mr. Young, librarian to Charles I. * was removed by the council of ſtate in 1649, at which time an account of the books and coins was taken; of the latter there were 1200, of which 400 only remained at the reſtoration. Among the Duke of Ormond's letters is one dated April 2, 1649, [79] where he ſays, "All the rarities in the King's library at St. James's are vaniſhed." Yet it is evident many remained, for in June 1659 a Vote paſſed "that the Lord Whitlocke be deſired and authorized to take upon him the care and cuſtody of the library at James-houſe, and of all the books, manuſcripts and medals, that are in or belonging to the ſaid library, that the ſame be ſafely kept and preſerved, and to recover all ſuch as have been embezzled or taken out of the ſame." Charles II. after his return ordered Aſhmole * to draw up an account of the medals that were left, and placed them in the cloſet of Henry VIII. at Whitehall, where they were loſt at the fire.

What farther relates to Charles I. as protector of the arts, will be found in the ſubſequent pages, under the articles of the different profeſſors whom he countenanced. If this chapter has not been thought tedious and too circumſtantial, the readers who excuſe it, will not perhaps be ſorry if I add a little more to it on that other patron of genius, the Earl of Arundel.

Thomas Howard Earl of Arundel is ſufficiently known in his public character by that admirable portrait drawn of him by Lord Clarendon. Living much within himſelf, but in all the ſtate of the ancient [80] nobility, his chief amuſement was his collection, the very ruins of which are ornaments now to ſeveral principal cabinets. He was the firſt who profeſſedly began to collect in this country, and led the way to Prince Henry, King Charles, and the Duke of Buckingham. "I cannot, ſays Peacham, * but with much reverence mention the every way Right Honorable Thomas Howard Lord High Marſhal of England, as great for his noble patronage of arts and ancient learning, as for his high birth and place; to whoſe liberal charges and magnificence this angle of the world oweth the firſt ſight of Greek and Roman ſtatues, with whoſe admired preſence he began to honour the gardens and galleries of Arundel-houſe about twenty years ago, and hath ever ſince continued to tranſplant old Greece into England." The perſon chiefly employed by the Earl in theſe reſearches was Mr. Petty. It appears from Sir Thomas Roe's letters, who had a commiſſion of the like nature from the Duke of Buckingham, that no man was ever better qualified for ſuch an employment than Mr. Petty; "He encounters, [81] ſays Sir Thomas, * all accidents with unwearied patience, eats with Greeks on their work-days, lies with fiſhermen on planks, is all things that may obtain his ends." Mr. Petty returning with his collection from Samos, narrowly eſcaped with his life in a great ſtorm, but loſt all his curioſities, and was impriſoned for a ſpy, but obtaining his liberty purſued his ſearches.

Many curious pieces of painting and antiquities, eſpecially medals, the Earl bought of Henry Vanderborcht a painter of Bruſſels, who lived at Frankendal, and whoſe ſon Henry, Lord Arundel finding at Frankfort, ſent to Mr. Petty then collecting for him in Italy, and afterwards kept in his ſervice as long as he lived. Vanderborcht the younger was both painter and graver; he drew many of the Arundelian curioſities, and etched ſeveral things both in that and the royal collection. A book of his drawings from the former, containing 567 pieces, is preſerved at Paris, and is deſcribed in the catalogue of L'orangerie p. 199. After the death of the Earl, the younger Henry entered into the ſervice of the Prince of Wales, afterwards Charles II. and lived in eſteem in London for a conſiderable time, but returned to Antwerp and died there. There are prints by Hollar of both father and ſon; the former done from a painting of the latter.

The Earl was not a meer ſelfiſh virtuoſo; he was bountifull to men of talents, retaining ſome in his ſervice, and liberal to all. He was [82] one of the firſt who diſcovered the genius of Inigo Jones, * and was himſelf, ſays Lilly, the firſt who "brought over the new way of building with brick in the city, greatly to the ſafety of the city, and preſervation of the wood of this nation." Norgate whom I have mentioned partook of his favours. On his embaſſy to Vienna he found Hollar at Prague and brought him over, where the latter engraved a great number of plates from pictures, drawings and curioſities in the Arundelian collection. There is a ſet of ſmall prints by Hollar, views of Albury, the Earl's ſeat in Surrey. "Lord Arundel thought, ſays Evelyn, that one who could not deſign a little, would never make an honeſt man." A fooliſh obſervation enough, and which, if he had not left better proofs, would give one as little opinion of the judgment of the ſpeaker, as it does of that of the relator. The Earl ſeems to have had in his ſervice another painter, one Harriſon, now only known to us by a chronologic diary, in which he records particulars relating to old Parr, whom Lord Arundel had a curioſity to ſee. §

At the beginning of the troubles the Earl tranſported himſelf and [83] his collection to Antwerp, and dying not long after at Padua, he divided his perſonal eſtate between his ſons Henry Lord Maltravers, and Sir William Howard Viſcount Stafford. Of what came to the eldeſt branch, ſince Dukes of Norfolk, the moſt valuable part fell into the hands of the Ducheſs who was divorced; the ſtatues ſhe ſold * to the laſt Earl of Pomfret's father, which have been lately given by the Counteſs Dowager to the univerſity of Oxford, which had before been enriched with thoſe curious records called the Arundelian marbles: The cameos and intaglias the Ducheſs of Norfolk bequeathed to her ſecond huſband Sir John Germayne: They are now in the poſſeſſion of his widow Lady Elizabeth Germayne. Among them is that inimitable cameo, the marriage of Cupid and Pſyche, which I ſhould not ſcruple to pronounce the fineſt remain of antique ſculpture in that kind. The coins and medals came into the poſſeſſion of Thomas Earl of Winchelſea, and in 1696 were ſold by his executors to Mr. Thomas Hall. Arundel-houſe was pulled down in 1678. The remainder of the collection was preſerved at Tarthall, without the gate of St. James's park near Buckingham-houſe. Thoſe curioſities too were ſold by auction in 1720, and the houſe itſelf has been lately demoliſhed. [84] At that ſale Dr. Meade bought the head of Homer, * after whoſe death it was purchaſed by the preſent Earl of Exeter, and by him preſented to the Britiſh Muſeum. It is believed to have been brought from Conſtantinople, and to have been the head of the very ſtatue in the imperial palace deſcribed by Cedrenus. The reſt of the figure was melted in the fire. The Earl of Arundel had tried to procure the obeliſk, ſince erected in the Piazza Navona at Rome; and he offered the value of 7000l. in money or land to the Duke of Buckingham for a capital picture of Titian called the Ecce homo, in which were introduced the portraits of the Pope, Charles V. and Solyman the magnificent.

The Earl has been painted by Rubens and Vandyck. The preſent Duke of Argyle has a fine head of him by the former. By the latter he was drawn in armour with his grandſon Cardinal Howard. The Earl had deſigned too to have a large picture, like that at Wilton, of himſelf and family: Vandyck actually made the deſign, but by the intervention of the troubles it was executed only in ſmall by Ph. Frutiers at Antwerp, from whence Vertue engraved a plate. The Earl and Counteſs are ſitting under a ſtate; before them are their children, one holds a ſhield preſented by the great Duke of Tuſcany to the famous Earl of Surrey at a tournament, and two others bring the helmet and ſword of James IV. taken at the victory of Floddenfield, by the Earl [85] of Surrey's father, Thomas Duke of Norfolk. Portraits of both thoſe noblemen are repreſented as hanging up near the canopy.

I will conclude this article and chapter with mentioning that Franciſcus Junius * was taken by the Earl of Arundel for his librarian, and lived in his family thirty years. The Earl had purchaſed part of the library of the Kings of Hungary from Pirkeymerus; Henry Duke of Norfolk, by perſuaſion of Mr. Evelyn, beſtowed it on the Royal Society.

ANECDOTES of PAINTING, &c.
CHAP. III.
Painters in the Reign of CHARLES I.

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Sir PETER PAUL RUBENS.

ONE cannot write the life of Rubens without tranſcribing twenty authors. The moſt common books expatiate on a painter, whoſe works are ſo numerous and ſo well known. His pictures were equally adapted to pleaſe the ignorant and the conoiſſeurs. Familiar ſubjects, familiar hiſtories, treated with great luſtre and fullneſs of colouring, a richneſs of nature and propriety of draperies, recommend themſelves at firſt ſight to the eyes of the vulgar. The juſt boldneſs of his drawing, the wonderfull chiaro ſcuro diffuſed throughout his pictures, and not loaded like Rembrandt's to force out one peculiar ſpot of light, the variety of his carnations, the fidelity to the cuſtoms and manners of the times he was repreſenting, and attention to every part of his compoſitions, without enforcing trifles too much or too much neglecting them, all this union of happy excellencies endear the works of Rubens to the beſt judges: he is perhaps the ſingle artiſt who attracts the ſuffrages of every rank. One may juſtly call him the

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Figure 10. SR. PETER PAUL RUBENS.

T Chambars sculp

[87] popular painter; he wanted that majeſty and grace which confine the works of the greateſt maſters to the feweſt admirers. I ſhall be but brief on the circumſtances of his life; he ſtaid but little here, in which light only he belongs to this treatiſe.

* His father was doctor of laws and ſenator of Antwerp, which he quitted on the troubles of that country and retired with his family to Cologn, where on the feaſt of St. Peter and Paul his wife was delivered of Rubens in 1577. Great care was taken of his education; he learned and ſpoke Latin in perfection. When Antwerp was reduced by the arms of Philip, Rubens the father returned to his native country. The ſon was grown up, and was well made. The Counteſs of Lalain took him for her page, but he had too elevated a diſpoſition to throw away his talents on ſo diſſipated a way of life. He quitted that ſervice, and his father being dead, his mother conſented to let him purſue his paſſion for painting. Toby Verhaeſt, a landſcape-painter, and Adam Van Oort were his firſt maſters, and then Otho Venius, under whom he imbibed (one of his leaſt merits) a taſte for allegory. The perplexed and ſilly emblems of Venius are well known. Rubens with nobler ſimplicity is perhaps leſs juſt in his. One may call ſome of his pictures a toleration of all religions. In one of the compartments of the Luxemburgh gallery, a cardinal introduces Mercury to Mary de' Medici, and Hymen ſupports her train at the ſacrament of marriage, before an altar on which are the images of God the Father and Chriſt. At the age of twenty-three Rubens ſet out for Italy, and entered into the ſervice of Vincent Gonzaga Duke of Mantua. One day while he was at [88] that court, and was painting the ſtory of Turnus and Aeneas, intending to warm his imagination by the rapture of poetry, he repeated with energy thoſe lines of Virgil. * ‘Ille etiam patriis agmen ciet, &c.’ The Duke who over heard him and entered the chamber, was ſurprized to find the mind of his painter cultivated with a variety of gracefull litterature. Rubens was named Envoy to Spain, and carried magnificent preſents to the favorite Duke of Lerma; exerting at that court his political and elegant talents with a dignity and propriety that raiſed the latter without debaſing the former. He converſed little with the painters of that country except Velaſquez, with whom he continued a correſpondence of letters.

The fame of the young painter reached Don John of Braganza, afterwards King of Portugal, who invited him to Villa Vicioſa. Rubens ſet out with ſuch a train, that the Duke apprehended the expence of entertaining ſo pompous a viſitor, and wrote to ſtop his journey, accompanying the excuſe with a preſent of fifty piſtoles. The painter refuſed the preſent, ſaid he had not propoſed to paint, but to paſs a week at Villa Vicioſa, and had brought a thouſand piſtoles that he intended to ſpend there.

Returned to Mantua, the Duke ſent him to Rome to copy the works of the great maſters. There he ſtudied them, not what they had ſtudied, the ancients; Rubens was too careleſs of the antique as Pouſſin copied it too ſervilely. The former ſeemed never to have ſeen a ſtatue, the latter nothing elſe. The reputation of Titian and Paul [89] Veroneſe drew Rubens to Venice; there he was in his element, in the empire of colours. There he learned to imitate nature; at Rome he had miſſed the art of improving on it. If he has not the ſimplicity of Titian, he has far more than Paul Veroneſe. The buildings with which he has enriched the back grounds of his compoſitions, do not yield to thoſe of the latter; his landſcapes are at leaſt equal to thoſe of the former. Seldom as he practiced it, Rubens was never greater than in landſcape; the tumble of his rocks and trees, the deep ſhadows in his glades and glooms, the watery ſunſhine, and dewy verdure, ſhow a variety of genius, which are not to be found in the inimitable but uniform glow of Claud Lorrain.

Rubens was much worſe employed at Genoa, where he drew moſt of their palaces, and cauſed them to be engraved in two volumes. How could a genius like his overlook the ruins of Rome, the deſigns of Raphael and Michael Angelo, and the reſtorers of ancient architecture at Venice, and waſte his time on the very moderate beauties that he found at Genoa, where their greateſt art lay in crowding magnificence into a narrow and almoſt uſeleſs ſituation? where moſt of their palaces can only be ſeen from a ſedan chair!

His mother's illneſs drew him back to Antwerp, where the Archduke Albert detained him, and where he married his firſt wife Elizabeth Brants. He built a palace and painted it within and without. His cabinet or rotunda was enriched with antique vaſes, ſtatues, medals and pictures. The Duke of Buckingham ſaw and coveted it. Le Blond, whom I have mentioned in the life of Holbein, negotiated the bargain, to which Rubens conſented with regret. The favorite, who was bent on the purchaſe, gave, it is ſaid, ten thouſand pounds for what had not coſt above a thouſand.

[90] In Flanders he executed many great works, which created him as many enemies. They affected to aſcribe to the ſcholars whom he had formed or been forced to take to aſſiſt him, as Jordaens, Van Uden, Snyder, and Wildens, the merits of the maſter—but the greater the talents of the aſſiſtants, the higher the genius of the maſter. Do able painters work under an indifferent one? Abraham Janſſens challenged Rubens to a trial of their art; Rubens replied he would engage with him, when Janſſens had proved himſelf worthy to be his competitor. A more friendly offer was rejected by him with equal wit. A chymiſt tendered him a ſhare of his laboratory and of his hopes of the philoſopher's ſtone. Rubens carried the viſionary into his painting room, and told him his offer was dated twenty years too late, "for ſo long it is, ſaid he, ſince I found the art of making gold with my pallet and pencils."

From Antwerp he was called to Paris by Mary de' Medici, and painted the oſtenſible hiſtory of her life in the Luxemburgh. * A peculiar honour, as that Princeſs was an Italian. It is even ſaid that he gave her ſome leſſons in drawing. If the prodigious number of large pieces painted by Rubens were not teſtimonies of the abundance and facility of his genius, this gallery alone, compleated in three years, would demonſtrate it. As ſoon as it was finiſhed, he returned to Antwerp, where his various talents were ſo conſpicuous, that he was pitched upon to negotiate a treaty of peace between Spain and England. The Infanta Iſabella ſent him to Madrid for inſtructions, where he ingratiated [91] himſelf ſo much with the Conde-Due D'olivarez, that beſides many valuable preſents, he had a brevet for himſelf and his ſon of ſecretary of the Privy-council, and was diſmiſſed with a ſecret commiſſion to King Charles, as I have mentioned before, in which he had the honour of ſucceeding.

Neither Charles nor Rubens overlooked in the Embaſſador the talents of the Painter. The King engaged him to paint the cieling of the Banquetting-houſe. The deſign is the apotheoſis of King James, for whom, when once deified, there ſeems to have been no farther thought of erecting a monument. The original ſketch for the middle compartment is preſerved at Houghton: It had belonged to Sir Godfrey Kneller, who often ſtudied it, as is evident by Sir Godfrey's original ſketch, at Houghton too, for the great equeſtrian picture of King William at Hampton-court, though in the larger piece he ſeems to have forgot that he ever had ſtudied the former deſign. Sir Godfrey had heard that Jordaens aſſiſted Rubens in the execution; if true, ſome of the compartments muſt have been painted in Holland and ſent over hither, for I do not find that Jordaens was ever in England. Rubens received three thouſand pounds for his work. The building itſelf coſt ſeventeen thouſand pounds. What had it been, if compleated! Vandyck was to have painted the ſides with the hiſtory of the order of the garter. Inigo Jones, Rubens, and Vandyck! Europe could not have ſhown a nobler chamber. Kent in the late reign repaired the painting on the cieling.

During his reſidence here Rubens painted for the King a St. George, * four feet high and ſeven feet wide. His majeſty was repreſented [92] in the Saint, the Queen in Cleodelinde; each figure one foot and half high; at a diſtance a view of Richmond and the Thames. In another picture the benefits of peace and miſeries of war. *

Theodore Rogiers modelled for the King a ſilver ewer deſigned by Rubens, with the judgment of Paris. There is a print from this vaſe by James Neffs.

This great painter was knighted at Whitehall Feb. 21, 1630, and the King gave him an addition to his arms, on a dexter canton, gules, a lion paſſant, or.

A large print from his picture of the deſcent from the croſs, engraved by Voſterman in 1620, is thus dedicated, Illuſtriſſimo, excellentiſſimo et prudentiſſimo domino, domino Dudleio Carleton equiti, magnae Britanniae regis ad confaederatos in Belgio ordines legato, pictoriae artis egregio admiratori, P. P. Rubens, gratitudinis et benevolentiae ergo, nuncupat, dedicat.

We have in England ſeveral capital works of Rubens. Villiers Duke of Buckingham had thirteen, and Sir Peter Lely five. The [93] Ducheſs of Marlborough gave any price for his pictures. They * are the firſt ornaments of Blenheim but have ſuffered by neglect. At Wilton are two; one, the Aſſumption of the Virgin, painted for the Earl of Arundel while Rubens was in England, and with which he was ſo pleaſed himſelf, that he afterwards made a large picture from it for a convent at Antwerp. The other contains four children, Chriſt, an Angel, St. John, and a girl repreſenting the church. This picture which is far ſuperior to the foregoing, and very fine, is ſaid in the catalogue to be allowed to be the beſt picture in England of Rubens; an hyperbole indeed. At the Earl of Pomfret's at Eaſton was a portrait of Lodowic Duke of Richmond and Lenox. At Houghton is that maſterly piece, Mary Magdalen anointing the feet of Chriſt; and a large cartoon of Meleager and Atalanta. There too are three pieces in three different ſtyles, in each of which he excelled, a landſcape; and ſatyrs; and lions. Animals, eſpecially of the ſavage kind, he painted beyond any maſter that ever lived. In his ſatyrs, though highly coloured and with characteriſtic countenances, he wanted poetic imagination. They do not ſeem a ſeperate ſpecies, but a compound of the human and animal, in which each part is kept too diſtinct. His female ſatyrs are ſcarce more indelicate than his women; one would think that, like Swift, he did not intend that Yahoos ſhould be too diſcriminate from human nature; though what the ſatyrist drew from ſpleen, flowed in the painter from an honeſt love of fleſh and blood. There are beſides in Lord Orford's collection the ſketches for the Cardinal Infant's entry into Antwerp, the family of Rubens by his ſcholar [94] Jordaens, and his ſecond wife Helena Forman, a celebrated whole length by Vandyck.

The fine picture of St. Martin the late Prince of Wales bought of Mr. Bagnol, who brought it from Spain. It is remarkable that in this piece Rubens has borrowed the head of an old man from the cripple in one of the cartoons, of which I have ſaid he gave information to King Charles, who purchaſed them. At Lord Spencer's at Wimbleton is a fine portrait of Cardinal Howard. At Burleigh is an Ebony Cabinet the front and Sides of which are painted by Rubens; at one End are his three Wives, highly coloured.

I do not find how long Rubens ſtayed in England, probably not above a year. He died of the gout in his own country in 1640. A catalogue of his works may be ſeen in Deſcamps. *

Mr. Maurice Johnſon of Spalding in Lincolnſhire, a great antiquarian, produced to the Society of Antiquaries ſome years ago a MS. containing diſcourſes and obſervations on human bodies, and on the ſtatues and paintings of the ancients and moderns, written partly in Latin, partly in Italian, and ſome notes in Dutch, and illuſtrated with ſeveral drawings, as heads, attitudes, proportions, &c. habits of Greeks and Romans, various inſtruments, utenſils, armour, and head-dreſſes from coins and ſtatues, and compariſons of Raphael, Michael Angelo and others. It was an octavo pocket-book, and appeared to be an exact copy of Rubens's Album, which he uſed in his travels; the drawings, and even hand-writing and different inks being exactly imitated [95] This book was brought from Bruſſels by Capt. Johnſon, Mr. Johnſon's ſon, and had one leaf of the original in it, with a ſketch of the head of the Farneſian Hercules. The original itſelf is at Paris, where they intended to publiſh it. An account of it is given in the catalogue raiſonnè de monſieur Quintin de L'orangerie, par Frederic Gerſaint, 1744.

ABRAHAM DIEPENBECK,

among the various ſcholars of Rubens, was one of the few that came to England, where he was much employed by William Cavendiſh Duke of Newcaſtle, whoſe managed horſes he drew from the life, from whence were engraved the cuts that adorn that Peer's book of horſemanſhip. Several of the original pictures ſtill remain in the hall at Welbeck. Diepenbeck drew views of the Duke's ſeats in Nottinghamſhire and Derbyſhire, and portraits of the Duke, Ducheſs, and his children, and gave deſigns for ſeveral plates prefixed to the works of both their Graces. "Diepenbeck, ſays De Piles, was born at Boiſleduc, and in his youth was much employed in painting upon glaſs, * and entering afterwards into the ſchool of Rubens, became one of his beſt diſciples." Several prints were made from his works, particularly thoſe he deſigned for a book, called, The Temple of the Muſes, engraved by Bloemart and Mattham in 1663, and his portraits of Leſſius and Bellarmine by Bolſvert, and of Sir Hugh Cartwright 1656 by Voſterman.

[96]Sir ANTONY VANDYCK,

whoſe works are ſo frequent in England that the generality of our people can ſcarce avoid thinking him their countryman, was born at Antwerp in 1598, the only ſon of a merchant, and of a mother, who was admired for painting flowers in ſmall, and for her needleworks in ſilk. Vandyck was firſt placed with Van Balen, who had ſtudied at Rome, and painted figures both in large and ſmall; but the fame of Rubens drew away to a nobler ſchool the young congenial artiſt. The progreſs of the diſciple ſpeedily raiſed him to the glory of aſſiſting in the works from which he learned. Fame that always ſuppoſes jealouſy is felt where there are grounds for it, attributes to Rubens an envy of which his liberal nature I believe was incapable, and makes him adviſe Vandyck to apply himſelf chiefly to portraits. I ſhall ſhow that jealouſy, at leaſt emulation, is rather to be aſcribed to the ſcholar than to the maſter. If Rubens gave the advice in queſtion, he gave it with reaſon; not maliciouſly. Vandyck had a peculiar genius for portraits; his draperies * are finiſhed with a minuteneſs of truth not demanded in hiſtoric compoſitions; beſides his invention was cold and tame, nor does he any where ſeem to have had much idea of the paſſions, and their expreſſion: Portraits require none. If Rubens had been jealous of Vandyck, would he, as all their biographers agree he did, perſuade him to viſit Italy, whence himſelf had drawn his greateſt lights? Addiſon did not adviſe Pope to tranſlate Homer, but aſſiſted Tickell in a rival tranſlation. Vandyck after making preſents to Rubens of two or

[]
Figure 11. ANTONY VANDYCK

[...] pinx. [...] Bannerman, Sculp.

From an original in the Collection of the [...]

[97] three hiſtories, and the famous portrait of the latter's wife, ſet out for Italy, and made his firſt reſidence at Genoa. From thence he went to Venice, which one may call the metropolis of the Flemiſh painters, who ſeem ſo naturally addicted to colouring, that even in Italy they ſee only with Flemiſh eyes. Vandyck imbibed ſo deeply the tints of Titian, that he is allowed to approach nearer to the carnations of that maſter even than Rubens; Sir Anthony had more delicacy than the latter, but like him never reached the grace and dignity of the antique. He ſeldom even arrived at beauty. His Madonnas are homely; his ladies ſo little flattered, that one is ſurprized he had ſo much cuſtom. He has left us to wonder that the famous Counteſs of Carliſle could be thought ſo charming; and had not Waller been a better painter, Sachariſſa would make little impreſſion now. One excellence he had, which no portrait-painter ever attained except Sir Godfrey Kneller; the hands are often the fineſt part of his pictures.

He went to Rome and lived ſplendidly, avoiding the low converſation of his countrymen, and diſtinguiſhed by the appellation of the Pittore Cavaliereſco. It was at Rome he drew that capital portrait of Cardinal Bentivoglio, who having been Nuncio in Flanders, had a partiality for their artiſts, and as he celebrated their hiſtory with his pen, was in return almoſt immortalized by one of their beſt pencils.

Vandyck, while at Rome, received an invitation to Palermo, and went thither. There he painted Prince Philibert of Savoy, the Vice-Roy, and a paintreſs of ſome name, * Sophoniſba Anguiſciola, then at the age of ninety-one. But the plague ſoon drove him from Sicily; [98] he returned to Genoa, where he had gained the higheſt reputation, and where he has left many conſiderable works.

He went back to Antwerp, and practiced both hiſtory and portrait. Of the former kind were many applauded Altar-pieces; in the latter, were particularly the heads of his cotemporary artiſts. He drew them in Chiaro ſcuro on ſmall pannels, thirty-five of which are in the collection of the Counteſs of Cardigan at Whitehall. Admirable is the variety of attitudes and airs of heads; but in thoſe pieces he meaned to ſurpaſs as well as record. The whole collection has been thrice publiſhed; the firſt edition by Vanden Enden contains fourſcore plates; the ſecond by Giles Hendrix, one hundred; the laſt by Verduſſen, who effaced the names and letters of the original engravers. Some of the plates were etched by Vandyck himſelf. I ſay nothing of the numbers of prints from his other works.

Hearing of the favour King Charles ſhowed to the arts, Vandyck came to England, and lodged with his friend Geldorp, a painter, hoping to be introduced to the King; it is extraordinary he was not. He went away chagrined; but his majeſty ſoon learning what a treaſure had been within his reach, ordered Sir Kenelm Digby, who had ſat to Vandyck, to invite him over. He came, and was lodged among the King's artiſts at Black-fryars, which Felibien, according to the dignity of ignorance which the French affect, calls L'Hotel de Blaifore. * Thither the King went often by water, and viewed his performances with ſingular delight, frequently ſitting to him himſelf, and beſpeaking pictures of the Queen, his children and his courtiers, and conferring the [99] honour of knighthood * on him at St. James's July 5, 1632. This was ſoon attended by the grant of an annuity of 200l. a year for life. The patent is preſerved in the rolls, and dated 1633, in which he is ſtyled painter to his majeſty. I have already mentioned the jealouſy of Mytens on this occaſion.

Of the various portraits by Vandyck of King Charles, the principal are, a whole length in the coronation robes at Hampton-court; the head has been engraved by Vertue among the Kings of England. Another in armour on a dun horſe at Blenheim. A whole length in armour at Houghton. Another, a large piece at the Duke of Grafton's, in which the King (a moſt gracefull figure) in white ſattin, with his hat on, is juſt deſcended from his horſe; at a diſtance, a view of the Iſle of Wight. The King in armour on a white horſe, Monſ. de St. Antoine, § his equerry, holding his helmet. The head of the latter is fine; the King's is probably not an original. This and the following are at each end of the gallery at Kenſington. The King and Queen ſitting, Prince Charles, [100] very young ſtanding at his knee; the Duke of York, an infant, on hers. * At Turin is another whole length of the King, in a large piece of architecture. At Somerſet-houſe, the King and Queen, half lengths, holding a crown of laurel between them. At Windſor is a beautifull half length of the Queen in white. Many portraits of her pretend to be by Vandyck, but none are ſo lovely as this. He two or three times drew Prince Charles in armour ſtanding. At Kenſington in one piece are Prince Charles, Prince James, and the Princeſs Mary; lately engraved by Strange. In the ſame palace is one of his fineſt works; George Villiers, the ſecond Duke of Buckingham, and Lord Francis his brother, when children. Nothing can exceed the nature, luſtre, and delicacy of this ſweet picture. At Houghton are two young daughters of the Lord Wharton, admirable too, but rather inferior to the foregoing. In Lord Orford's collection are ſeveral principal works of this maſter. The holy family with a dance of Angels; it belonged to King Charles, is a capital picture, but has it's faults. Inigo Jones, a head; Rubens's wife in black ſattin; Henry Danvers Earl of Danby whole length, in the robes of the garter; and a half length of Sir Thomas Chaloner, governor of Prince Henry. Beſides theſe my father bought of the laſt Duke the whole collection of the Wharton family: There were twelve whole lengths, the two girls, ſix half lengths, and two more by Sir Peter Lely; he paid an hundred pounds each for the whole lengths and the double picture, and fifty pounds each for the half lengths. Moſt of them were carried to Houghton, but ſome not ſuiting the places, were brought back, and ſold for a trifle after the death of my father. Thoſe that remain, are, King Charles, the [101] Queen, very indifferent, Sir Thomas Wharton: Of the half lengths, Laud, a celebrated but not very fine picture; Sir Chriſtopher Wandeſford, Lady Wharton, Mrs. Wharton, Mrs. Wenman and the Lely's. *

At Cornbury, the ſeat of the Earls of Clarendon in Oxfordſhire, was a noble collection of portraits of the principal perſons in the reign of King Charles, many of which were drawn by Vandyck. The collection has ſince been divided between the Ducheſs of Queenſberry, Lady Hyde and Lady Mary Forbes, the heireſſes of the family. Several others of his works are at the Earl of Denbigh's and at Lord Spenſer's at Althrop. Among the latter, a celebrated double whole length of the firſt Duke of Bedford and the famous Lord Digby, afterwards Earl of Briſtol. The whole figure of the latter is good, and both the heads fine; the body of Bedford is flat, nor is this one of his capital works. Here too is a good picture of Daedalus and Icarus; half lengths; a fine ſurly impatience in the young man, and his body well coloured. The Duke of Devonſhire has ſome good pictures by him; at Chiſwick is the well known Beliſarius, though very doubtfull if by the hand of Vandyck. The expreſſive figure of the young ſoldier redeems this picture from the condemnation it would deſerve by the principal [102] figure being ſo mean and inconſiderable. The Duke has Vandyck's travelling pocket-book in which are ſeveral sketches, particularly from Titian, and of Sophoniſba Anguiſciola, mentioned above.

At Holkham is a large equeſtrian picture of a Count D'Aremberg; both the rider and horſe are in his beſt manner; and at Earl Cowper's a large piece of John Count of Naſſau and his family, lately engraved by Baron.

Mr. Skinner, with the collection of the late Mr. Thomas Walker, has a fine little picture of the Lady Venetia Digby, wife of Sir Kenelm; though only a model for the large one at Windſor; it is exquiſitely finiſhed. She is repreſented as treading on Envy and Malice, and is unhurt by a ſerpent that twines round her arm. This galant compliment is a little explained in the new life of Lord Clarendon, who mentions Sir Kenelm's marriage with a Lady, "though of an extraordinary beauty, of as extraordinary fame." * Mr. Walker's collection was chiefly choſen for him by a ſet of virtuoſi called Vandyck's or the club of St. Luke, and it is plain from the pictures they recommended, that they underſtood what they profeſſed. There was another large piece of Sir Kenelm, his lady and two children, in the collection of the Earl [103] of Oxford; and a fine half length of Sir Kenelm alone is at Kenſington. Vandyck painted too for the King a twelfth Roman Emperor, to compleat the ſet of Titian, in the room of one which was ſpoiled and left at Mantua. They coſt the King 100l. a piece, and after his death were bought by the Spaniſh Embaſſador, the firſt purchaſer of thoſe effects. As the King's collection was embezzled or taken by his ſervants for their arrears, that miniſter laid out 500l. in thoſe purchaſes with Harriſon (poſſibly the perſon mentioned p. 75.) the King's embroiderer by Somerſet-houſe, and of Murray his taylor he bought a half figure of a Venus. * The Flemings gave any price for the works of Vandyck from that collection. Sir Peter Lely, as may be ſeen in his catalogue, had ſeveral capital ones.

But it is at the Earl of Pembroke's at Wilton that Vandyck is on his throne. The great Salon is entirely furniſhed by his hand. There is that principal picture of Earl Philip and his family, which though damaged, would ſerve alone as a ſchool of this maſter. Yet with great admiration of him I cannot but obſerve how ſhort he falls of his model [104] Titian. What heads both of age and youth are in the family of Cornaro at Northumberland-houſe! How happily is the diſpoſition of a religious act choſen to throw expreſſion into a groupe of portraits! It is ſaid that the Earl of Pembroke had obtained leave to have a piece of the whole royal family by the ſame hand as a companion to his own.

At Leiceſter-houſe is a double portrait, bought by the late Prince of Wales of Mr. Bagnols. It repreſents two of the wits of that time, T. Carew, of the privy-chamber to Charles I. and a poet, and Henry Killigrew. They had a remarkable diſpute before Mrs. Cecilia Crofts, ſiſter of the Lord Crofts, to which Vertue ſuppoſed this picture alluded, as in a play called the Wanderer, was a ſong againſt jealouſy, written on the ſame occaſion.

I have reſerved to the laſt * the mention of the fineſt picture in my opinion of this maſter. It is of the Earl of Strafford and his ſecretary, at the Marquis of Rockingham's at Wentworth-houſe in Yorkſhire. I can forgive him any inſipid portraits of perhaps inſipid people, when he ſhowed himſelf capable of conceiving and tranſmitting the idea of the greateſt man of the age. There is another of theſe pictures at Blenheim, but infinitely inferior.

In the cathedral of Gloceſter are two cumbent figures of an alderman and his wife, evidently wrought from a deſign of Vandyck. It is great pity the ſculptor is not known, ſo ſucceſsfully has he executed the manner of the painter. The figures, even in that taſteleſs attitude, [105] are eaſy and gracefull, and the draperies have a peculiar freedom. *

Vandyck had 40l. for a half, and 60l. for a whole length; a more rational proportion than that of our preſent painters, who receive an equal price for the moſt inſignificant part of the picture.

He was indefatigable, and keeping a great table, often detained the perſons who ſat to him, to dinner, for an opportunity of ſtudying their countenances, and of retouching their pictures again in the afternoon. Sir Peter Lely told Mrs. Beale, that Laniere aſſured him he had ſat ſeven entire days to him morning and evening, and that, notwithſtanding, Vandyck would not once let him look at the picture, 'till he was content with it himſelf. This was the portrait that determined the King to invite him to England a ſecond time.

In the ſummer he lived at Eltham in Kent; in an old houſe there, ſaid to have been his, Vertue ſaw ſeveral ſketches of ſtories from Ovid in two colours, aſcribed to him.

At the Duke of Grafton's is a fine half length of Vandyck by himſelf, when young, holding up his arm, the hand declined. There is a print of it, and of two others of him, older; one looking over his ſhoulder, the other with a ſun-flower. At Hampton-court in the apartment [106] below is his * miſtreſs Mrs. Lemon highly finiſhed. There is a print of the ſame perſon by Hollar, but not from this picture. In the pocket-book of R. Symonds that I have mentioned, he ſays, "It was much wondered at, that he (Vandyck) ſhould openly keep a miſtreſs of his (Mrs. Lemon) in the houſe and yet ſuffer Porter to keep her company." This was Endymion Porter, of the bedchamber to King Charles, of whom and his family there was a large piece by Vandyck at Buckingham-houſe.

He was much addicted to his pleaſures and expence; I have mentioned how well he lived. He was fond of muſick and generous to muſicians. His luxurious and ſedentary life brought on the gout, and hurt his fortune. He ſought to repair it, not like his maſter by the laboratory of his painting room, but by that real folly, the purſuit of the Philoſopher's ſtone, in which perhaps he was encouraged by the example or advice of his friend Sir Kenelm Digby. Towards the end of his life the King beſtowed on him for a wife, Mary the daughter of the unfortunate Lord Gowry, which if meaned as a ſignal honour, might be calculated too to depreſs the diſgraced family by connecting them with the blood of a painter. It is certain that the alliance does not ſeem to have attached Vandyck more ſtrongly to the King; whether he had any diſguſts infuſed into him by his new wife, or whether ambitious, [107] as I have hinted, of vying with the glory of his maſter in the Luxemburg, Sir Antony ſoon after his marriage ſet out for Paris, in hopes, of being employed there in ſome public work. He was diſappointed * —their own Pouſſin was then deſervedly the favorite at that court. Vandyck returned to England, and in the ſame humour of executing ſome public work, and that in competition with his maſter. He propoſed to the King by Sir Kenelm Digby to paint the walls of the banquetting-houſe, of which the cieling was already adorned by Rubens, with the hiſtory and proceſſion of the order of the garter. The propoſal ſtruck the King's taſte, and by a ſmall ſketch in chiaro ſcuro for the proceſſion, in which, though very faint, ſome portraits are diſtinguiſhable, it looks as if it had been accepted, though ſome ſay it was rejected, on the extravagant price demanded by Vandyck: I would not ſpecify the ſum, it is ſo improbable, if I did not find it repeated in Fenton's notes on Waller. It was fourſcore thouſand pounds! The civil war prevented farther thoughts of it, as the death of Vandyck would have interrupted the execution, at leaſt the completion of it. He died in Black-fryars December 9, 1641, and was buried on the 11th in St. Paul's near the tomb of John of Gaunt.

By Maria Ruthven his wife, he left one daughter married to Mr. Stepney, a gentleman who rode in the horſe-guards on their firſt eſtabliſhment by Charles II. Their grandſon Mr. Stepney was Envoy to ſeveral courts, and is known by his poems publiſhed in the collection of the works of our minor poets. Sir John Stepney, another deſcendent, [108] died on the road from Bath to Wales in 1748. Lady Vandyck the widow was married again to Richard Pryſe ſon of Sir John Pryſe of Newton-Aberbecham in Montgomeryſhire Knight. Richard, who was created a Baronet Auguſt 9, 1641, was firſt married to Heſther, daughter of Sir Hugh Middleton; by Vandyck's widow he had no iſſue. *

Beſides his legitimate children Vandyck had a natural daughter called Maria Tereſa, to whom, as appears by his will in Doctor's Commons, he left four thouſand pounds, then in the hands of his ſiſter Suſannah Vandyck in a convent at Antwerp, whom he appoints truſtee for that daughter. To his ſiſter Iſabella he bequeaths 250 guilders yearly; and in caſe his daughter Maria Tereſa die unmarried, he entails 4000l. on another ſiſter, married to Mr. Derick, and her children. To his wife Mary and his newborn daughter Juſtiniana Anna he gives all his goods, effects and monies, due to him in England from King Charles, the Nobility, and all other perſons whatever, to be equally divided between them. His executors are his wife, Mr. Aurelius de Meghan, and Katherine Cowley, to which Katherine he leaves the care of his daughter to be brought up, allowing ten pounds per ann. 'till ſhe is eighteen years of age. Other legacies he gives to his executors and truſtees for their trouble, and three pounds each to the poor of St. Paul's and St. Anne's Black-friar's, and to each of his ſervants male and female.

The war prevented the punctual execution of his will, the probate of which was not made 'till 1663, when the heirs and executors from abroad and at home aſſembled to ſettle the accounts and recover what [109] debts they could—but with little effect. In 1668, and in 1703, the heirs, with Mr. Carbonnel who had married the daughter of Vandyck's daughter, made farther inſpections into his affairs and demands on his creditors, but what was the iſſue does not appear.

Lady Lempſter, mother of the laſt Earl of Pomfret, who was at Rome with her Lord, wrote a life of Vandyck, with ſome deſcription of his works.

Sir Kenelm Digby in his diſcourſes compares Vandyck and Hoſkins, and ſays the latter pleaſed the moſt, by painting in little.

Waller has addreſſed a poem to Vandyck, beginning, Rare artiſan; Lord Halifax another on his portrait of Lady Sunderland, printed in the third volume of State Poems, and Cowley wrote an elegy on his death.

Among the ſcholars * of Vandyck was

DAVID BECK,

born at Arnheim in 1621; he was in favour with Charles I. and taught the Prince and the Dukes of York and Gloceſter to draw. Deſcamps ſays that Beck's facility in compoſition was ſo great, that [110] Charles I. ſaid to him, "faith! Beck, I believe you cou'd paint riding poſt." * He afterwards went to France, Denmark and Sweden, and died in 1656.

GEORGE GELDORP,

of Antwerp, a countryman and friend of Vandyck, in whoſe houſe that painter lodged at his firſt arrival, had been ſettled here ſome time before. He could not draw himſelf, but painted on ſketches made by others, and was in repute even by this artificial practice; though Vertue was told by Mr. Roſe that it was not his moſt lucrative employment, his houſe being reckoned convenient for the intrigues of people of faſhion. He firſt lived in Drury-lane in a large houſe and garden rented from the crown at 30l. per ann. and afterwards in 1653 in Archer-ſtreet. He had been concerned in keeping the King's pictures, and when Sir Peter Lely firſt came over, he worked for Geldorp, who lived 'till after the reſtoration, and was buried at Weſtminster. Another of the apprentices of Geldorp was

ISAAC SAILMAKER

who was employed by Cromwell to take a view of the fleet before Mardyke. A print of the confederate fleet under Sir George Rooke [111] engaging the French commanded by the Count de Toulouſe, was engraved in 1714 from a deſign of Sailmaker, who lived to the age of eighty-eight, and died June 28, 1721.

[...] BRADSHAW

was another painter in the reign of Charles I. whom I only mention with other obſolete names to lead inquirers to farther diſcoveries. All I find of him is a note from one of the pocket-books of R. Symonds above-mentioned, who ſays, "Pierce in Biſhopgate-ſtreet told me that Bradſhaw is the only man that doth underſtand perſpective of all the painters in London."

B. VAN BASSEN

of Antwerp, was a very neat painter of architecture. In the private apartment below ſtairs at Kenſington are two pictures by him; in one are repreſented Charles I. and his Queen at dinner; in the other the King and Queen of Bohemia, diſtinguiſhed by their initial letters F. and E. The Ducheſs of Portland has a magnificent * cabinet of ebony, bought by her father the Earl of Oxford from the Arundelian collection at Tart-hall. On each of the drawers is a ſmall hiſtory by Polenburg, and pieces of architecture in the manner of Steenwyck by this Van Baſſen, who muſt not be confounded with the Italian Baſſans, nor with the Baſſanos, who were muſicians to Charles, and of which name there was alſo a herald-painter. The firſt Baſſano, who came hither in [112] the reign of Queen Elizabeth and was related to the Italian painters of that name, ſettled in Eſſex and purchaſed an eſtate, which was ſold in 1714 by the male deſcendent. In the manſion was a portrait of the muſician, holding a baſs-viol. It is now at Narford in Norfolk, the ſeat of the late Sir Andrew Fountain.

CORNELIUS POLENBURG

the ſweet painter of little landſcapes and figures, was born at Utrecht in 1586, and educated under Bloemart, whom he ſoon quitted to travel to Italy, as he abandoned, ſay our books, the manner of Elſheimer to ſtudy Raphael—but it is impoſſible to ſay where they find Raphael in Polenburg. The latter formed a ſtyle entirely new, and though preferable to the Flemiſh, unlike any Italian, except in having adorned his landſcapes with ruins. There is a varniſhed ſmoothneſs and finiſhing in his pictures that makes them always pleaſing, though ſimple and too nearly reſembling one another. The Roman Cardinals were charmed with the neatneſs of his works; ſo was the great Duke, but could not retain him. He returned to Utrecht and pleaſed Rubens who had ſeveral of his performances. King Charles invited him to London, where he lived in Archer-ſtreet next door to Geldorp, and generally painted the figures in Steenwyck's perſpectives. There is a very curious picture at Earl Poulet's at Hinton St. George, repreſenting an inſide view of Theobald's, with figures of the King, Queen, and the two Earls of Pembroke and Montgomery, William and Philip. This piece is probably of Steenwyck, and the figures, * which are copied from Vandyck, either of Polenburg or Van Baſſen.

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Figure 12. CORNELIUS POLENBURG.

Ipse pinx. T.Chambars sculp.

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Figure 13. HENRY STEENWYCK.

Ant. Van Dyck pinx. Bannerman, Sculp.

[113] The works of Polenburg are very ſcarce; * his ſcholar, John de Lis of Breda, imitated his manner ſo exactly, that his pieces are often taken for the hand of his maſter. The beſt picture in England of the latter is at the Viſcount Midleton's. I have his own and his wife's portrait by him in ſmall ovals on copper; they were my father's. The wife is ſtiff and Dutch; his own is inimitable: Though worked up to the tender ſmoothneſs of enamel, it has the greateſt freedom of pencil, the happieſt delivery of nature.

Charles could not prevail on Polenburg to fix here: He returned to Utrecht and died there in 1660, at the age of ſeventy-four.

HENRY STEENWYCK

was ſon of the famous painter of architecture, and learned that manner of his father. I find no particulars of the time of his arrival here, or when he died. It is certain he worked for King Charles. The ground to the portrait of that Prince, in the royal palace at Turin, I believe, was painted by him. In a MS. catalogue of King Charles's [114] collection is mentioned a perſpective by Steenwyck, with the King and Queen, in little, by Belcamp: In the ſame catalogue is recorded a little book of perſpectives by Steenwyck, which on the ſale of the King's goods ſold for no more than two pounds ten Shillings. Steenwyck's name and the date 1629 are on the picture of Frobenius at Kenſington, which he altered for King Charles. It is the portrait of the ſon, that is among the heads of painters by Vandyck. His ſon Nicholas was in England alſo, painted for King Charles, and probably died here.

JOHN TORRENTIUS

of Amſterdam, is known to have been here, not by his works, but on the authority of Schrevelius, in his hiſtory of Arlem, from whom Deſcamps took his account. Torrentius, ſays the latter, painted admirably in ſmall, but his ſubjects were not calculated to procure him many avowed admirers. He painted from the lectures of Petronius and Aretine, had the confidence to dogmatize on the ſame ſubjects, and practiced at leaſt what he preached. To profligacy he added impiety, 'till the magiſtrates thought proper to put a ſtop to his boldneſs. He underwent the queſtion, and was condemned to an impriſonment of twenty years; but obtained his liberty by the interceſſion of ſome men of quality, and particularly of the Engliſh Embaſſador—what the name of the latter was we are not told. Torrentius came over to England, but giving more ſcandal than ſatisfaction, he returned to Amſterdam, and remained there concealed 'till his death in 1640, aged [115] fifty-one. King Charles had two pieces of his hand; one repreſenting two glaſſes of Rheniſh; the other, a naked man. *

KEIRINCX,

called here Carings, was employed by King Charles to draw views; his works are mentioned in the royal catalogue, particularly proſpects of his majeſty's houſes in Scotland. In a ſale of pictures in March 1745 was a landſcape by him freely and brightly touched, with his name written on it as above, and a few ſmall figures added by Polenburg. In Dagar's ſale were three drawings with a pen and waſhed, by Keirincx; one of them had a view of the parliament-houſe and Weſtminſter ſtairs to the water, dated 1625.

JOHN PRIWITZER

was too good a painter to remain ſo long unknown. At Woburn, beſides ſome young heads of the family, is a whole length of Sir William Ruſſel, a youth, and Knight of the Bath in the robes of the order, with a dwarf aged thirty-two. It is painted with great brightneſs and neatneſs, and does not want freedom. Upon it is written Johannes [116] Priwitzerus de Hungariâ faciebat 1627. I have never met with any other mention of this name.

GEORGE JAMESONE *

was the Vandyck of Scotland, to which title he had a double pretenſion, not only having ſurpaſſed his countrymen as a portrait-painter, but from his works being ſometimes attributed to Sir Antony, who was his fellow-ſcholar; both having ſtudied under Rubens at Antwerp.

Jameſone was ſon of Andrew Jameſone, an architect, and was born at Aberdeen in 1586. At what age he went abroad, or how long he continued there, is not known. After his return, he applied with indefatigable induſtry to portrait in oil, tho' he ſometimes practiced in miniature, and in hiſtory and landſcape too. His largeſt portraits were generally ſomewhat leſs than life. His excellence is ſaid to conſiſt in delicacy and ſoftneſs, with a clear and beautifull colouring, his ſhades not charged, but helped by varniſh, with little appearance of the pencil. There is a print of him, his wife Iſabella Toſh and a young ſon, painted by himſelf in 1623, engraved by Alexander Jameſone, his deſcendent, in 1728, and now in the poſſeſſion of Mr. John Alexander, limner at Edinburgh his great grandſon, with ſeveral other

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Figure 14. GEORGE JAMESONE.

Bannerman Sculp.

[117] portraits of the family, painted by George; particularly another of himſelf in his ſchool, with ſketches both of hiſtory and landſcape, and with portraits of Charles 1ſt. his Queen, Jameſone's wife, and four others of his works from the life.

When King Charles viſited Scotland in 1633, the magiſtrates of Edinburgh, knowing his majeſty's taſte, employed Jameſone to make drawings of the Scottiſh monarchs, with which the King was ſo much pleaſed, that inquiring for the painter, he ſat to him and rewarded him with a diamond ring from his own finger.

It is obſervable that Jameſone always drew himſelf with his hat on, either in imitation of his maſter Rubens, or on having been indulged in that liberty by the King when he ſat to him.

Though moſt of the conſiderable families in Scotland are poſſeſſed of works by this maſter, the greateſt collection of them is at Taymouth, the ſeat of the Earl of Breadalbane; Sir Colin Campbell of Glenorchy, his Lordſhip's anceſtor, having been the chief and earlieſt patron of Jameſone, who had attended that gentleman on his travels. From a MS. on vellom, containing the genealogy of the houſe of Glenorchy, begun in 1598, are taken the following extracts, written in 1635, page 52;

"Item, The ſaid Sir Coline Campbell (8th. Laird of Glenorchy) gave unto George Jameſone, painter in Edinburgh, for King Robert and King David Bruyſſes, Kings of Scotland, and Charles the 1ſt King of Great Brittane France and Ireland, and his Majeſties Quein, and for nine more of the Queins of Scotland their portraits, quhilks are ſet up in the hall of Ballock [now Taymouth] the ſum of tua hundreth thrie ſcor punds."

[118] "Mair the ſaid Sir Coline gave to the ſaid George Jameſone for the Knight of Lockow's Lady, and the firſt Counteſs of Argylle, and ſix of the Ladys of Glenurquhay their portraits, and the ſaid Sir Coline his own portrait, quhilks are ſet up in the chalmer of Deaſs of Ballock, ane hundreth four ſcoire punds."

Memorandum. In the ſame year 1635 the ſaid George Jameſone painted a large genealogical tree of the family of Glenorchy, 8 feet long and 5 broad, containing in miniature the portraits of Sir Duncan Campbell of Lockow, of Archibald Campbell his eldeſt ſon, firſt Earl of Argylle, and of Sir Coline Campbell his ſecond ſon, firſt Laird of Glenorchy, together with the portraits of eight ſucceſſive Knights, Lairds of Glenorchy, with the branches of their inter-marriages, and of thoſe of their ſons and daughters, beautifully illuminated. At the bottom of which tree the following words are painted on a ſcroll; "The genealogie of the Hous of Glenurquhie, whereof is deſcendit ſundrie nobill and worthie houſes, 1635, [...]ameſone faciebat."

Beſides the foregoing, Lord Breadalbane has at Taymouth, by the ſame hand, eleven portraits of Lords and Ladies of the firſt families in Scotland, painted in 1636 and 1637.

From the extract above, it appears that Jameſone received no more for each of thoſe heads than twenty pounds Scots, or one pound thirteen ſhillings and four-pence Engliſh: Yet it is proved by their publick records that he died poſſeſſed of an eaſy fortune, which he left to his three daughters, two of whom were honorably married. One of them, named Mary, diſtinguiſhed herſelf by admirable needlework, a piece of which uſed to be exhibited on feſtivals in the Church of St. Nicholas at Aberdeen. Her deſcendent Mr. Thomſon of Portlethem has an original picture of her father by himſelf. Three ſmall portraits [119] of the houſe of Haddington are in the poſſeſſion of Thomas Hamilton Eſq. of Fala.

Many of Jameſone's works are in both colleges of Aberdeen. The Sibyls there, it is ſaid, he drew from living beauties of that city. Mr. Baird of Auchmedden in Aberdeenſhire has in one piece three young Ladies, couſins, of the houſes of Argyle, Errol and Kinnoul, their ages, ſix, ſeven and eight, as marked on the ſide of the picture. The ſame Gentleman has a ſmall whole length of William Earl of Pembroke, by ſome aſcribed to Vandyck. At Mr. Lindſay's of Wormeſton in Fife is a double half length of two boys, of that family, playing with a dog, their ages five and three, 1636.

There is a perſpective view of Edinburgh by Jameſone, with a Neptune on the fore ground.

Having finiſhed a fine whole length of Charles I. he expected the magiſtrates of Aberdeen would purchaſe it for their hall, but they offering him too inconſiderable a price, he ſold it to a gentleman in the north of England.

Jameſone had many ſcholars, particularly Michael Wright, mentioned in the third Volume of theſe Anecdotes. His own portrait is in the Florentine chamber of Painters.

Though Jameſone is little known in England, his character as well as his works were greatly eſteemed in his own country. Arthur Johnſton, the Poet, addreſſed to him an elegant Epigram on the picture of the Marchioneſs of Huntley, which may be ſeen in the works of that author printed at Middleburgh in 1642. The portrait itſelf is extant in the collection of the Duke of Gordon; and in the Newton-college of Aberdeen is the picture of Doctor Johnſton himſelf by the ſame hand. A Latin Elegy compoſed by David Wedderburn was [120] printed on his death, which happened in 1644 at Edinburgh, where he was interred in the church-yard by the Gray-friars, but without any monument.

By his will, written with his own hand in July 1641, and breathing a ſpirit of much piety and benevolence, he provides kindly for his wife and children, and leaves many legacies to his relations and friends, particularly to Lord Rothes the King's picture from head to foot, and Mary with Martha in one piece: to William Murray he gives the medals in his coffer, makes a handſome proviſion for his natural daughter, and beſtows liberally on the poor. That he ſhould be in a condition to do all this, ſeems extraordinary, his prices having been ſo moderate; for enumerating the debts due to him, he charges Lady Haddington for a whole length of her huſband, and Lady Selon's of the ſame dimenſions, frames and all, but three hundred marks; and Lord Maxwell for his own picture and his Lady's, to their knees, one hundred marks; both ſums of Scots money.

Mr. Jamiſone * has likewiſe a memorandum written and ſigned by this Painter, mentioning a MS. in his poſſeſſion, "containing two hundred leaves of parchment of excellent write adorned with diverſe hiſtorys of our Saviour curiouſly limned," which he values at two hundred pounds ſterling, a very large ſum at that time! What is become of that curious book is not known.

WILLIAM DOBSON,

whom King Charles called the Engliſh Tintoret, was born in 1610, in St. Andrew's pariſh in Holbourn; his family had been gentlemen of

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Figure 15. DOBSON.

Bannerman Sculp.

[121] good rank at St. Alban's, but having fallen into decay, he was put apprentice * to Sir Robert Peake, whom I have mentioned, a painter and dealer in pictures. Under him, though no excellent performer, but by the advantage of copying ſome pictures of Titian and Vandyck, Dobſon profited ſo much, that a picture he had drawn being expoſed in the window of a ſhop on Snow-hill, Vandyck paſſing by was ſtruck with it, and inquiring for the author, found him at work in a poor garret, from whence he took him and recommended him to the King. On the death of Vandyck, Dobſon was appointed Serjeant-painter, and groom of the privy-chamber, and attended the King to Oxford, and lodged in the high-ſtreet almoſt over againſt St. Mary's church in a houſe where ſome of his works remained 'till of late years. At Oxford his Majeſty, Prince Rupert, and ſeveral of the Nobility ſat to him; but the declenſion of the King's affairs proved fatal to Dobſon; he loved his pleaſures, and not having had time to enrich himſelf, was involved in debts and thrown into priſon, from whence he was delivered by one Mr. Vaughan of the Exchequer, whoſe picture he drew and thought it the beſt of his portraits. He enjoyed this releaſe but a ſhort time; dying at the age of thirty-ſix, he was buried at St. Martin's October 28, 1646. A ſhort life, in which he had promiſed much excellence. His pictures are thought the beſt imitations of Vandyck; they are undoubtedly very faithfull tranſcripts of nature. He painted [122] hiſtory as well as portrait; and even the latter generally containing more than a ſingle figure, riſe almoſt above that denomination.

Of the firſt ſort, is the Decollation of St. John at Wilton. It is in a good ſtyle, but the colouring is raw. The idea of St. John is ſaid to have been taken from the face of Prince Rupert. At Chatſworth is a very particular picture, ſaid to be General Monke, his child, and his miſtreſs, whom he took againſt the conſent of her huſband. The man in armour, undoubtedly reſembles Monke, but the whole piece has the air of a holy family; nor is there any other tradition of any miſtreſs of Monke, but the famous * Anne Clarges whom he afterwards married, and who, ſome ſay, was a milliner. There are many inſtances of painters who have deified their miſtreſſes, but the character of the Virgin Mary was never more proſtituted, than if aſſumed by Anne Clarges. Mr. Stanley has a picture extremely like this, by [...]. At Albury in Surrey, the ſeat of the Earl of Arundel, was a picture by Dobſon of the woman caught in adultery, with ſeveral figures; the heads taken from perſons then living, among whom was the poet Cowley. At Chippenham, in Cambridgeſhire, formerly the ſeat of Ruſſel Earl of Orford, in one piece are Prince Rupert, Colonel John Ruſſel and Mr. William Murray drinking, and dipping their favour-ribbands in the wine. At Blenheim, is a family, by ſome ſaid to be that of Francis Carter, an architect and ſcholar of Inigo Jones; by others of Lilly the Aſtrologer, whom Vertue thought it reſembled. The man holds a pair of compaſſes. I have ſeen nothing of Dobſon preferable to this; there is the utmoſt truth in it. At Devonſhire-houſe [123] houſe is another family piece of Sir Thomas Brown, author of Religio Medici, his wife, two ſons and as many daughters. Mr. Willett, merchant in Thames-ſtreet, has a ſmall family-piece of Dr. Hibbard, phyſician, his wife and five children. The father and mother are particularly well painted. A little boy leans on the father's knee, evidently borrowed from the well-known attitude by Rubens of Sir B. Gerbier's daughter. Two children on the right-hand were certainly added afterwards, and are much inferior to the reſt. The dates were probably inſerted at the ſame time. A whole length of Sir William Compton is in the poſſeſſion of the family. At the Lord Byron's is the portrait of Sir Charles Lucas; and at Drayton in Northamptonſhire, Henry Mordaunt Earl of Peterborough in armour with a page holding his horſe, and an angel giving him his helmet. * A head of the Marquis of Montroſe was taken for the hand of Vandyck: in a corner in ſtone colour is a ſtatue of peace, on the other ſide, his helmet. At Mr. Skinner's (Mr. Walker's collection) is a large piece of Prince Charles in armour, drawn about 1638, Mr. Windham, a youth, holding his helmet; at bottom are arms and trophies. I have mentioned a fine head of Vanderdort at Houghton. Dobſon's wife, by him, is on the ſtairs of the Aſhmolean muſeum at Oxford; and his own head is at Earl Paulett's; the hands were added long ſince by Gibſon, as he himſelf told Vertue. Charles Duke of Somerſet had a picture of an old man ſitting, and his ſon behind him; on this picture was written the following epigram, publiſhed by John Elſum among his epigrams on [124] painting, a work I have mentioned before, though of no merit but by aſcertaining ſome particular pictures;

* Perceiving ſomebody behind his chair,
He turns about with a becoming air:
His head is rais'd, and looking o'er his ſhoulder
So round and ſtrong, you never ſaw a bolder.
Here you ſee nature th'roughly underſtood;
A portrait not like paint, but fleſh and blood;
And, not to praiſe Dobſon below his merit,
This fleſh and blood is quickened by a ſpirit.

At Northumberland-houſe as I have ſaid is a triple portrait, of Sir Charles Cotterel embraced by Dobſon, and Sir Balthazar Gerbier in a white waſtecoat. Sir Charles was a great friend and patron of Dobſon: At Rouſham in Oxfordſhire, the ſeat of the Cotterels are ſeveral good portraits by him. Sir Charles Cotterel, when at Oxford with the King, was engaged by his majeſty to tranſlate Davila's hiſtory of the civil wars of France; the frontiſpiece deſigned by Sir Charles himſelf, was drawn by Dobſon; it repreſented Francis II. Charles IX. Henry III. and IV. with two dogs, a popiſh and proteſtant cur, fighting before them. This ſketch is ſtill preſerved in the family, and in 1729 was engraved in London for the hiſtory of Thuanus. He etched his own portrait.

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Figure 16. GERARD HONTHORST.

T.Chambars sculp.

[125] In a collection of poems called Calanthe is an elegy on our painter.

GERARD HONTHORST,

The favorite painter of the Queen of Bohemia, was born in 1592 at Utrecht, and inſtructed in painting by Bloemart, but he compleated his ſtudies at Rome, where he ſtayed ſeveral years, and painted many things for Prince Juſtiniani, and other works, excelling particularly in night-pieces and candlelights. On his return he married well, and having a fair character, was remarkable for the number of his diſciples of rank. Sandrart who was one, ſays they were twenty-eight at the ſame time, who each payed him an hundred florins yearly. But his greateſt honour was inſtructing the Queen of Bohemia and her children, * among whom the Princeſs Sophia and the Abbeſs of Maubuiſſon chiefly diſtinguiſhed themſelves. King Charles invited [126] him to England where he drew various * pictures, particularly one very large emblematic piece, which now hangs on the Queen's ſtaircaſe at Hampton-court. Charles and his Queen, as Apollo and Diana, are ſitting in the clouds; the Duke of Buckingham under the figure of Mercury introduces to them the arts and ſciences, while ſeveral genii drive away Envy and Malice. It is not a pleaſing picture, but has the merit of reſembling the dark and unnatural colouring of Guercino. This and other things he compleated in ſix months, and was rewarded with three thouſand florins, a ſervice of ſilver-plate for twelve perſons, and a horſe; and though he returned to Utrecht, he continued to paint for the King. It muſt have been during his reſidence here that he drew an admirable half length of Lucy Counteſs of Bedford now at Woburn: it is painted and finiſhed with the greateſt vivacity and clearneſs. She is in black, leaning on her hand. Mr. Weſt has the portraits of the Marquiſs of Montroſe, of the Princes Rupert and Maurice with his name written to them thus, Honthorſt. Another of their eldeſt brother Charles Lodowick, Count Palatine, § is dated 1633. A print of Mary de' Medici is inſcribed, G. Honthorſt effigiem pinxit 1633. Rubens was a great admirer of Honthorſt's

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Figure 17. JOHN VAN BELCAMP.
Figure 17. GELDORP.

Bannerman sculp.

[127] night-pieces. The latter worked for the King of Denmark; the cloſe of his life was employed in the ſervice of the Prince of Orange, whoſe houſes at the Hague, Hounſlaerdyck and Reſwick were adorned by his pencil with poetic hiſtories. At the laſt of the three he painted a chamber with the habits, animals and productions of various countries, and received 8000 florins for his labour. He died at the Hague in 1660. Deſcamps in his ſecond volume ſays, that Honthorſt brought to England Joachim Sandrart, his ſcholar, and that the king beſpoke many pictures of him; and that for the Earl of Arundel he copied from Holbein, Henry 8th, Sir T. More, Eraſmus, and ſeveral others; and that he left England and went to Venice in 1627. I find no other authority for this account: not one work of Sandrart is mentioned in K. Charles's collection; and what is more concluſive againſt his having been in England, he takes not the leaſt notice of it himſelf in the life of Honthorſt, tho' he relates his maſter's journey to England and his works here, and calls himſelf one of his diſciples.

JOHN VAN BELCAMP

was employed under Vanderdort as a copyer of the King's * pictures, and was reckoned to ſucceed. The whole length of Edward IV. in his night-gown and ſlippers, (the face in profile) which hangs over the chimney in the anti-chamber at St. James's, was painted by Belcamp, the face probably taken from the ancient original. In the catalogue of James II. are mentioned pictures of Edward III. the Black Prince, Anne of Denmark, Louis XIII. and of a large ſtag; Edward III. and [128] the Black Prince are ſtill in an anti-room at St. James's, and that of the King of France is perhaps the portrait now at Hampton-court. At Drayton, the ſeat of the Lady Elizabeth Germain in Northamptonſhire, are whole lengths of Henry 7th. and 8th. copied by Belcamp from the large picture of Holbein, which was burned at Whitehall. When King Charles ſecretly withdrew from that palace, in the letter which he left for Colonel Whalley were theſe directions,

"There are here three pictures which are not mine, that I deſire you to reſtore, my wife's picture in blew ſattin ſitting in a chair you muſt ſend to * Mrs. Kirk. My eldeſt daughter's picture copied by Belcam to the Counteſs of Angleſey; and my Lady Stanhope's picture to

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Figure 18. HORATIO GENTILESCHI
Figure 18. EDWARD MASCALL

T.Chambars sculp.

[129] Carey Raleigh. There is a fourth which I had almoſt forgot; it is the original of my eldeſt daughter, it hangs in this chamber over the board near the chimney, which you muſt ſend to my Lady * Aubigney." At Wimpole in Cambridgeſhire the ſeat of the Earl of Oxford, which had been Sir Henry Pickering's and before him the ſeat of the Tempeſts, were copies by Belcamp of ſeveral Engliſh heads, remarkable perſons in the reigns of Henry 8th. Elizabeth, James, and Charles 1ſt. but they were all ſold and diſperſed with the reſt of the Harleian collection.

Belcamp was added by a vote of the Commons June 2, 1649, to the number of truſtees for the ſale of the King's goods; and the directions for the ſale in 1650 are witneſſed by him. In one of the pocket-books of R. Symonds he is ſaid to be lately dead in 1653.

HORATIO GENTILESCHI

a native of Piſa, was diſciple of Aurelio Lomi his half brother. After diſtinguiſhing himſelf at Florence, Rome and Genoa, he went to Savoy, and from thence paſſing into France, was invited over by King Charles, who gave him lodgings and a conſiderable ſalary, and employed him in his palaces, particularly at Greenwich, in painting cielings. Nine pieces, which were in that palace, were ſold after the King's death for 600l. and are now the ornaments of the hall at Marlborough-houſe. [130] He worked too for Villiers * Duke of Buckingham, at York-houſe. A ceiling from thence was ſince at the houſe of Sheffield Duke of Buckingham in St. James's park. It repreſented the nine muſes in a large circle. He painted too the family of Villiers, and a large picture for him eight feet wide by five high, of a Magdalen lying in a grotto contemplating a ſkull. At Hampton-court is his Joſeph and Potiphar's wife; he drew other things for the King and preſented him with a book of drawings. Of Lot and his daughters there is a print after him, in which he is called by miſtake Civis Romanus, engraved by Lucas Voſterman. He made ſeveral attempts at portrait painting, but with little ſucceſs, and after reſiding here about twelve years, died at the age of eighty-four, and was buried under the altar in the chapel at Somerſet-houſe. His daughter

ARTEMISIA GENTILESCHI

was alſo in England, was reckoned not inferior to her father in hiſtory, and excelled him in portraits: Her own is in the gallery at Althorp. King Charles had ſeveral of her works. Her beſt was David with the head of Goliah. She drew ſome of the royal family and many of the nobility—but the chief part of her life was paſſed at Naples where ſhe lived ſplendidly, and was as famous, ſays Graham, for her amours as for her painting.

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Figure 19. NICHOLAS LANIERE.

[...] pinx. T.Chambars sculp.

[131]NICHOLAS LANIERE

was one of thoſe artiſts, whoſe various talents were ſo happy all as to ſuit the taſte of Charles the firſt. Laniere was born in Italy, was a muſician, painter, engraver, and underſtood hands. He had great ſhare in the * purchaſes made for the royal collection, and probably was even employed in the treaty of Mantua. One picture is ſaid expreſly in the King's catalogue to have been changed with Mr. Laniere. His fame was moſt conſiderable as a muſician. In Ben Johnſon's works is a maſque performed at the houſe of the Lord Hay in 1617 for the entertainment of the French Embaſſador, the whole maſque after the Italian manner, ſtylo recitativo, by maſter Nicholas Laniere, who ordered and made both ſcenes and muſic. He was employed many years afterwards in a very different and more melancholy manner; a vocal compoſition for a funeral hymn on his royal maſter, written by Thomas Pierce, was ſet by Laniere. It was in this capacity that he had a ſalary of 200l. a year. The patent is dated July 11, 1626. He had beſides the office of cloſet-keeper to the King. As a painter he drew for Charles a picture of Mary, Chriſt and Joſeph; [132] his own portrait * done by himſelf, with a pallet and pencils in his hand, and muſical notes on a ſcrip of paper, is in the muſic ſchool at Oxford. There is a print of him, painted by John Lÿvÿus, and enengraved by Voſterman, and another portrait of him at the late Sir Andrew Fountain's at Narford in Norfolk. On one of the plates which he etched himſelf, he has put in Italian, done in my youthfull age of 74. At the ſale of the King's goods he gave 230l. for four pictures. His brothers Clement and Jerome were likewiſe purchaſers. In one of R. Symonds's pocket-books is this memorandum,

"When the King's pictures came from Mantua, quickſilver was got in amongſt them and made them all black. Mr. Hieronymo Laniere told me that to cleanſe them, firſt he tried faſting ſpittle; then he mixt it with warm milk, and thoſe would not do. At laſt he cleanſed them with aqua-vitae alone, and that took off all the ſpots and he ſays 'twill take off old varniſh."

Nicholas died at the age of 78, and was buried in St. Martin's Nov. 4, 1646.

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Figure 20. FRANCIS WOUTERS.

Mr. Wouters pinx. A.Bannerman Sculp.

[133]FRANCIS WOUTERS

of Lyere, was born in 1614, and bred in the ſchool of Rubens, but chiefly practiced in landſcape, to which he added ſmall naked figures, as Cupids, Nymphs, &c. He was much in favour with the Emperor Ferdinand II. but coming to England with the Embaſſador of that Prince in 1637, his pictures pleaſed at court, and he was made chief painter to the Prince of Wales, afterwards Charles II. In a MS. catalogue of King Charles's pictures he is ſaid to have painted a cieling with Hercules and other Gods, in a room there called, the Contractor's room, but in which palace is not ſpecified. * On the misfortunes of the royal family he retired to Antwerp, where in 1659 he was ſhot by the accidental diſcharge of a gun. There is an epitaph on him in De Bie's Gulden Cabinet. A large print after Titian, engraved by Hollar in 1650, is dedicated to Wouters.

[...] WEESOP

arrived here in 1641, a little before the death of Vandyck, of whoſe manner he was a lucky imitator, and had the honour of having ſome of his pictures paſs for that maſter's. He left England in 1649, ſaying, "He would never ſtay in a country where they cut off their King's head and were not aſhamed of the action." It had been more ſenſible to ſay, he would not ſtay where they cut off the head of a King that rewarded painters, and defaced and ſold his collection. One John Weeſop, probably his ſon, was buried in St. Martin's in 1652.

[134]JOHN DE CRITZ

has been mentioned in the former volume. Though ſerjeant painter to Charles I. He may more properly be called a retainer to the arts than a profeſſor. His life is to be collected rather from office-books than from his works or his reputation. Yet he was not ignorant. I have two ſketches of heads drawn by him with a pen, that are maſterly. Vertue ſaw many more in the hands of Murray the painter who was ſcholar of a ſon or nephew of De Critz, who, according to Murray, painted bravely ſcenes for maſks. Among thoſe drawings was a ſketch from a picture of * Sir Philip Sidney, then at the houſe of De Critz, and now in the poſſeſſion of Lord Cheſterfield. At Oatlands he painted a middle piece for a cieling, which on the diſperſion of the King's effects was ſold for 20l. In 1657 he painted the portrait of ſerjeant Maynard with a paper in his hand. In a book belonging to the board of works was a payment to John De Critz for repairing pictures of Palma and the Caeſars of Titian. This was in 1632. Among the annuities and fees payable out of the cuſtoms in the port of London in that reign was a payment to John De Critz his majeſty's ſerjeantpainter, for his annuity at 40l. a year due to him for one year ended at Michaelmas 1633. And in a wardrobe account, loſt in the fire in the temple, was this entry. "To John De Critz ſerjeant-painter, for painting and gilding with good gold the body and carriages of [135] two coaches and the carriage of one chariot and other neceſſaries, 179l. 3s. 4d. anno 1634." If this bill ſhould ſeem to debaſe the dignity of ſerjeant painter, it may comfort the profeſſion to know that Solimeni, who was inferior to no painter of any age in vanity, whatever he was in merit, painted a coach for the preſent King of Spain, when King of Naples, which coſt 12000l. Indeed I can produce no precedent of any great maſter who painted and gilded barges, as ſerjeant De Critz appears to have done by the following paper, a memorandum in his own hand;

"John De Critz demaundeth allowance for theſe parcells of Worke following, viz. For repayreing, refreſhing, waſhing and varniſhing the whole body of his majeſty's privy barge, * and mending with fine gould and faire colours many and divers parts thereof, as about the chaire of ſtate, the doores, and moſt of the antiques about the windowes, that had bene galled and defaced, the two figures at the entrance being moſt new coloured and painted, the Mercury and the lion that are fixed to the ſternes of this and the row barge being in ſeveral places repayred both with gould and colours, as alſo the taffarils on the top of the barge in many parts guilded and ſtrowed with fayre byſe. The two figures of Juſtice and Fortitude moſt an end being quite new painted and guilded. The border on the outſide of the bulk being new layd with faire white and trayled over with greene according to the cuſtom heretofore—and for baying and colouring the whole number of the oares for the row barge being thirty-ſix."

[136] On the other ſide of this ſcrap of paper is another bill. "For ſeverall times oyling and laying with fayre white a ſtone for a ſun-dyall oppoſite to ſome part of the King and Queen's lodgings, the lines thereof being drawn in ſeverall colours, the letters directing to the howers guilded with fine gould, as alſoe the glory, and a ſcrowle guilded with fine gould, whereon the number and figures ſpecifying the planetary howers are inſcribed; likewiſe certain letters drawne in black informing in what part of the compaſſe the ſun at any time there ſhining ſhall be reſident; the whole worke being circumferenced with a frett painted in a manner of a ſtone one, the compleat meaſure of the whole being ſix foote."

At bottom of each of theſe bills are the ſketches of heads I mentioned. De Critz and others were buyers of the King's goods to the value of 4999l. Rich. Symonds ſays that at De Critz's houſe in Auſtin-fryars were three rooms full of the King's pictures. Emanuel De Critz, brother or ſon, was one of the petitioners to the council of ſtate for delivery of the goods they had purchaſed, which had been detained by Cromwell. Thomas De Critz, brother of John, was a painter too, and ſuperior, ſaid Murray, to his brother. One of the name was mace-bearer to the houſe of parliament. A head of one Oliver De Critz, with a paper in his hand, is in the muſeum at Oxford. John De Critz had a ſcholar called Le Menſe, who was born at Antwerp.

ADRIAN HANNEMAN

was born at the Hague, and painted both hiſtory and portraits, having ſtudied under one Raveſteyn, but more from the works of Vandyck, of whoſe airs of heads Vertue thought him the beſt imitator. He made

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Figure 21. ADRLIN HANNEMAN.

A.Bannerman Sculp.

[137] love, as is ſaid before, to the niece of Cornelius Johnſon though without ſucceſs, and drew that painter, his wife and ſon. He came to England in the reign of King Charles, and for ſome time worked under Mytens, and continued here ſixteen years. Returning to Holland, he became the favorite painter of Mary Princeſs of Orange. There is a picture of her and the Prince in armour at Lord Strafford's at Wentworth-caſtle, painted, I believe, by Hanneman. At Windſor, * a portrait of Duke Hamilton: at Workſop, the Duke of Norfolk's, a picture of kettles and utenſils. Sir Peter Lely had a man playing on a lute two feet ten ſquare. In the library belonging to the cathedral of Lincoln, the portrait of one Honeywood, whoſe mother lived to ſee 365 of her own deſcendents. There is a print of Charles II. painted before his reſtoration by Hanneman, engraved by Hen. Danckers at the Hague; and at General Compton's Vertue ſaw one done by Hanneman at the ſame time. He painted in the chamber of the States at the Hague; and for the Heer Van Wenwing two uſurers counting their money; while he worked on this he wanted a ſum himſelf, which he borrowed of the perſon who had ordered the picture, and which when it was finiſhed, Wenwing would have deducted, but Hanneman told him that all the gold he had borrowed was put into the picture, and was what the miſers were counting. He died about 1680. His ſon, called William, was buried in St. Martin's in 1641.

There were ſeveral other painters here in the reign of Charles, who were ſo inconſiderable, or of whom I find ſo little, that I ſhall mention them very briefly.

[138] Cornelius Neve drew the portraits of Richard Lord Buckhurſt and Mr. Edward Sackville in one piece in 1637. It is at Knowle. No. 73. in the picture-gallery at Oxford is painted by him, where he is called a celebrated painter. In 1664 he drew the portrait of Mr. Aſhmole in his herald's coat. *

K. Coker, painted a head of Colonel Maſſey, preſerved at Coddington in Cheſhire.

Matthew Goodricke or Gothericke, is mentioned as a painter in one of the office books of that reign.

In the inventory of the pictures at Oatlands was a view of Greenwich by Stalband; and in Mr. Harene's ſale 1764, was an octagon landſcape with the ſtory of the Centurion, by the ſame hand; ſomething in the manner of Paul Brill, but the colours exceedingly bright and glaring. And in another catalogue of the King's pictures was a proſpect of Greenwich by Portman.

Mr. Greenbury is mentioned in the catalogue of the King's collection for copying two pictures of Albert Durer by the direction of the Lord Marſhal. Probably he was one of Lord Arundel's painters.

Horatio Paulin lived chiefly in Holland. He came to England, went to Hamburgh, and thence to the Holy-land. Rotiere agreed to go with him but was diſcouraged. Deſcamps expreſſes ſurprize, "that pious painters ſhould have exhibited to the public very licentious [139] pieces and ſcandalous nudities." But by the account which he has given of Horatio Paulin, he ſeemed to preſent himſelf with a very eaſy ſolution of this paradox. Paulin ſet on foot a kind of promiſcuous cruſado to the Holy-land; they were ſtored with croſſes, relicks, &c. and on the road made many proſelytes of both ſexes. A baker's wife in particular was ſo devout, that ſhe thought it a meritorious action to plunder her huſband of his plate, that ſhe might equip herſelf for the pilgrimage. When the caravan was furniſhed by theft, one may eaſily conceive why it's apoſtle painted indecent altar-pieces.

Povey lived in this reign and painted a head which was in the poſſeſſion of Mr. Leneve, Norroy.

One Hamilton an Engliſhman, is mentioned by * Sandrart as excelling in painting birds and grapes, and doing ſeveral things for the Elector of Brandenburgh.

Edward Bower drew the portrait of Mr. Pym; an equeſtrian figure of General Fairfax, and John Lord Finch of Fordwich: The two laſt were engraved by Hollar.

Holderneſs drew the picture of an old woman with a ſkull, which was in the collection of Villiers Duke of Buckingham.

T. Johnſon made a draught of Canterbury in 1651, which hangs on the ſtairs of the library belonging to the cathedral.

Reurie is mentioned by Sanderſon as a painter in little in 1658.

[140]FRANCIS BARLOW

was of more note than the preceding artiſts. * He was born in Lincolnſhire, and placed with one Sheperd a face-painter; but his taſte lay to birds, fiſh and animals, in which he made great figure, though his colouring was not equal to his deſigns—conſequently, which is not often the caſe, the prints from his works did him more honour, than the works themſelves, eſpecially as he had the good fortune to have ſome of them engraved by Hollar and Faithorn. There are ſix books of animals from the drawings of Barlow, and a ſet of cuts for Aeſop's Fables. Some cielings for birds he painted for noblemen and gentlemen in the country; and he drew ſome of the monuments in Weſtminſter-abbey, deſigned for an edition of Mr. Keep's hiſtory of that cathedral. Mr. Symonds ſays he lived near the drum in Drury-lane, and received eight pounds for a picture of fiſhes. He once painted a half length of General Monke; and the herſe was deſigned by him, as was expreſſed in the Lord Chamberlain's warrant to Sir Chriſtopher Wren to prepare timber for it at Monke's funeral. I have a curious long roll, engraved by White, exhibiting the ceremonies and proceſſion of that magnificent interment, with a full deſcription of it; the frontiſpiece is well deſigned by Barlow. It is remarkable that forty gentlemen of good families ſubmitted to wait as mutes with their backs againſt the wall of the chamber where the body laid in ſtate, for three

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[...]

[141] weeks, waiting alternately twenty each day. Barlow, though inheriting a large ſum of money from a friend, died poor ſo lately as 1702.

Sir TOBY MATTHEWS

one of thoſe heteroclite animals who finds his place any where. His father was Archbiſhop of York, and he a jeſuit. He was ſuppoſed a wit, and believed himſelf a politician. His works are ridiculous, and his greateſt ſucceſs was a little miſchief in making converts. * The famous Counteſs of Carliſle, as meddling as Matthews, and as affected, was the object of his adoration. He drew a character of her, which commends her ſo impertinently, that with ſcarce ſtraining, it might paſs for a ſatire. For inſtance, he ſays, "She has as much ſenſe and gratitude for the actions of friendſhip as ſo extreme a beauty will give her leave to entertain; and that although ſhe began to be civil to people at firſt, ſhe would rather ſhow what ſhe could do, than let her nature continue in it, and that ſhe never conſidered merit in others but in proportion as they had any to her. That ſhe affected particularity ſo much, that you might fear to be leſs valued by her for obliging her; that ſhe had little religion, was paſſionate, could ſuffer no condition but plenty [142] and glory, was fickle, and gay only out of contradiction becauſe her phyſicians had told her ſhe was inclined to melancholy"—with a heap of ſuch nonſenſe—in ſhort, I believe, no proud beauty was ever ſo well flattered to her own contentment. Mr. Garrard, maſter of the charter-houſe, a man of more ſenſe and more plain ſenſe than Matthews, has drawn this Lady's character in fewer words, and upon the whole not very unlike Sir Toby's picture; "My lady Carliſle will be reſpected and obſerved by her ſuperiors, be feared by thoſe that will make themſelves her equals, and will not ſuffer herſelf to be beloved but of thoſe that are her ſervants." * Sir Toby Matthews's title to a place in this work depends ſingly upon a letter from the Ducheſs of Buckingham to the Duke, in which ſhe tells him ſhe had not yet ſeen the picture which Toby Matthews had drawn of the Infanta and ſent over. Vertue adds that he had ſome ſmall ſkill in limning; otherwiſe I ſhould have concluded, that he had only drawn the Infanta's portrait in the ſame fantaſtic colours which he had employed on Lady Carliſle. However as it is not foreign to the deſign of this work to throw in as many lights as poſſible on the manners of the ſeveral ages, I did not unwillingly adopt Vertue's miſtake, if it is one. Whoever deſires to know more of this perſon, will find his life in the Athenae Oxonienſes. But I have not yet done with theſe motley characters; the King's taſte made his court affect to be painters and virtuoſi; among theſe was

Sir JAMES PALMER,

often mentioned in the catalogue of the royal collection; in which he [143] ſold, gave and painted pictures. Of the latter was a * piece of Tarquin and Lucretia copied from Titian. Another, the feaſt of Bacchus, was delivered to him by the King's own hands, to be copied in tapeſtry at the manufacture in Mortlack. He had lodgings in the tennis-court at Whitehall, and is often mentioned as a domeſtic ſervant. He was the perſon ſent to Richard Atkyns for the picture in which the King diſtinguiſhed two different painters; and Mr. Garrard in a letter to Lord Strafford dated Jan. 9. 1633, ſays, "I had almoſt forgot to tell your Lordſhip that the diceing-night the King carried away in James Palmer's hat 1850 pieces. The Queen was his half and brought him that good luck; ſhe ſhared preſently 900." In Stone's accounts, from which I have given ſome extracts above, is mention of a monument for Palmer's wife. If theſe men add no great ornament to our liſt, it will at leaſt be honoured by our next; the Hogarth of poetry was a painter too; I mean,

SAMUEL BUTLER

the author of Hudibras. In his life prefixed to his works we are told, "That for his diverſion he practiced muſic and painting. I have ſeen, adds the writer, ſome pictures ſaid to be of his drawing which remained in that family (of Mr. Jefferys) which I mention not for the excellency of them, but to ſatisfy the reader of his early inclinations to that noble [144] art; for which alſo he was afterwards entirely beloved by Mr. Samuel Cooper, one of the moſt eminent painters of his time."

FRANCIS CLEYN

was a painter in a different ſtyle from any we had ſeen here; for which reaſon, though he arrived earlier than many I have mentioned, I reſerved him 'till I had diſpatched the performers in oil. He was born at Roſtock and retained in the ſervice of Chriſtian IV. King of Denmark, but the excellence of his genius prompted him to the ſearch of better models than he found in that northern climate. He travelled to Italy and ſtayed there four years; it was at Rome, I ſuppoſe, he learned thoſe beautifull groteſques, in which he afterwards ſhone. At Venice he became known to Sir Henry Wotton, and Sir Robert Anſtruther recommended him to Prince Charles. He arrived while the Prince was in Spain, but notwithſtanding was graciouſly received by King James, who mentions that circumſtance in a Latin letter that he wrote to the King of Denmark, deſiring leave to detain Cleyn in England, though with a permiſſion to return firſt to Copenhagen and finiſh a work he had begun there, and promiſing to pay the expence of his journey. The letter is preſerved by Fuller. * The requeſt was granted, and Cleyn returned to London at the end of the ſummer. The King had juſt then given two thouſand pounds towards Sir Francis Crane's new manufacture of tapeſtry at Mortlack. They had worked only after old patterns; Cleyn was placed there, and gave deſigns both in hiſtory and groteſque, which carried thoſe works to ſingular perfection. It appears by King Charles's catalogue that five of the cartoons were ſent

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Figure 22. FRANCESCO CLEYN.

T.Chambars sculp.

[145] thither to be copied by him in tapeſtry. His penſion is recorded by Rymer. * "Know yee that we do give and graunt unto Francis Cleyne a certain annuitie of one hundred pounds by the year during his natural life." He enjoyed this ſalary 'till the civil war; and was in ſuch favour with the King and in ſuch reputation, that on a ſmall drawing of him in Indian ink about ſix inches ſquare, which Vertue ſaw, he is called, Il famoſiſſimo pittore Franceſco Cleyn, miracolo del ſecolo, e molto ſtimato del re Carlo della gran Britania, 1646." Cleyn was not employed ſolely in the works at Mortlack; he had a houſe near the church in Covent-garden, and did ſeveral other things for the King and Nobility. At Somerſet-houſe he painted a cieling of a room near the gallery with hiſtories and compartments in gold. The outſide of Wimbledon-houſe he painted in freſco. Bolſover in Nottinghamſhire, Stonepark in Northamptonſhire, and Carew-houſe at Parſon's-green (ſince Lord Peterborough's) were ornamented by him. There is ſtill extant a beautifull chamber adorned by him at Holland-houſe, with a cieling in groteſque, and ſmall compartments on the chimnies, in the ſtyle and not unworthy, of Parmegiano. Two chairs, carved and gilt, with large ſhells for backs, belonging to the ſame room, were undoubtedly from his deſigns; and are evidences of his taſte. A letter from Lord Cottington to Lord Strafford, deſcribing the former's houſe at Hanworth, mentions Cleyn, though not by name. "There is a certain large low room made under the building with a fountain in it, and other rare deviſes, and the open gallery is all painted by the hand of a ſecond Titian. Aug. 1629." In King Charles's catalogue is mention of four [146] patterns for the great ſeal, drawings * on blue paper by Cleyn. He made deſigns for various artiſts; particularly for ſeveral of Hollar's plates to Virgil and Aeſop: for theſe he received fifty ſhillings a piece. There are two ſmall books of foliages from his drawings; one containing ſix ſmall ſlips with animals in groteſque; the other, in five ſlips, of the ſenſes; and the initial letters of his name F. C. inv. 1646. And two books for carvers, goldſmiths, &c. containing 25 plates. It is however uncertain whether theſe and a few other plates of the ſame kind are not by his ſon, who had the ſame chriſtian name, and imitated his father's manner. Such is a title-page to Lacrymae Muſarum, elegies on the Lord Haſtings, who died in 1650, the day before he was to have been married. Alſo, ſeven plates of the liberal arts, about four or five inches ſquare, prettily deſigned and neatly etched. On a ſmall print of the father, etched by the ſon, Mr. Evelyn wrote, "A moſt pious man, father of two ſons, who were incomparable painters in miniature; all died in London." By the regiſter of Mortlack it appears that he had three ſons; Francis born in 1625, who died and was buried at Covent-garden October 21, 1650. Charles and John; and two daughters, Sarah and Magdalen. He had another daughter, probably born in London, and called Penelope. Vertue ſaw a miniature, like Cooper's manner, but not ſo well, of Dorothea, youngeſt daughter of Richard Cromwell, act. 4, 1668, with theſe letters, P. C. which he thought ſignified Penelope Cleyn. In the catalogue of plates and prints exhibited to ſale by Peter Stent 1662, was a book of groteſques in ten plates; Francis Cleyn inv. et ſculpſit. Cleyn beſides his own [147] ſons, inſtructed Dobſon; and died himſelf about 1658. Mr. Engliſh * a painter who died at Mortlack in 1718 had a picture of Cleyn and his wife and ſeveral of his deſigns for tapeſtries, all which came to Mr. Crawley of Hempſted Hertfordſhire. Richard Symonds in one of his pocket-books mentions another piece of Cleyn and his family by candlelight, and a copy by the ſon of a ſacrifice from Raphael, which was in the royal collection, and a drawing on coloured paper. At Kenſington I have lately found a picture which I do not doubt is of Cleyn's hand. It repreſents Chriſt and Mary in a chamber, the walls and windows of which are painted in groteſque. Different rooms are ſeen through the doors, in one I ſuppoſe is Martha employed in the buſineſs of the family. There is merit in this piece, particularly in the perſpective and groteſques, the latter of which, and the figures in the manner of the Venetian ſchool, make me not heſitate to aſcribe it to this maſter.

JOHN HOSKINS.

For the life of this valuable maſter I find fewer materials, than of almoſt any man in the liſt who arrived to ſo much excellence. Vertue knew no more of him than what was contained in Graham's Engliſh School, where we are only told "that he was bred a face-painter in oil, but afterwards taking to miniature, far exceeded what he did before; that he drew King Charles, his Queen and moſt of the court, and had two conſiderable diſciples, Alexander and Samuel Cooper, the latter of whom became much the more eminent limner." Hoſkins, though [148] ſurpaſſed by his ſcholar, the younger Cooper, was a very good painter; there is great truth and nature in his heads; but the carnations are too bricky, and want a degradation and variety of tints. I have a head of ſerjeant Maynard by him, boldly painted and in a manly ſtyle, though not without theſe faults; and another good one of Lord Falkland, more deſcriptive of his patriot melancholy than the common prints; it was in the collection of Dr. Meade. * There is indeed one work of Hoſkins that may be called perfect; it is a head of a man, rather young, in the gown of a maſter of arts, and a red ſatten waſtecoat. The clearneſs of the colouring is equal to either Oliver; the diſhevelled hair touched with exquiſite freedom. It is in the poſſeſſion of Mr. Fanſhaw, but not known whoſe portrait. Vertue mentions a ſon of Hoſkins of the ſame name, and ſays, that this mark [...] diſtinguiſhes the works of the father from thoſe of the ſon, which have I. H. ſimply. I meet with no other hint of a ſon of that name except in Sanderſon, who barely names him. One Peter Hoſkins is entered into the regiſter of Covent-garden as buried July 1, 1681. Hoſkins the father was buried in that church Feb. 22, 1664. In the catalogue of King Charles are mentioned two drawings by Hoſkins for the great ſeal. [149] Colonel Sothby has a head of Sir Benjamin Rudyard by him, and a profile, which Vertue thought might be Hoſkins himſelf. Prefixed to Coryat's Crudities is a copy of verſes with his name to them.

ALEXANDER COOPER

was nephew of Hoſkins, and with his brother Samuel, of whom an account will be given in the enſuing volume, was inſtructed in water-colours by their uncle. Alexander painted landſcapes in this manner as well as portraits. At Burleigh is the Story of Acteon and Diana by him. He went abroad, reſided ſome time at Amſterdam, and at laſt entered into the ſervice of Queen Chriſtina.

ANNE CARLISLE,

a paintreſs, admired for her copies (it is not ſaid whether in oil or miniature) from Italian maſters. Graham * ſays, ſhe was in ſuch favour with King Charles, that he preſented her and Vandyck with as much ultramarine at one time as coſt him above five hundred pounds. If her ſhare was near equal, I ſhould ſuppoſe ſhe painted in oil. It would be a very long time before the worth of 200l. in ultramarine could be employed in miniatures. Vertue mentions her teaching a lady to paint, whoſe picture ſhe drew ſtanding behind her own; herſelf was ſitting with a book of drawings in her lap; and he adds, that many pieces painted by her were in the poſſeſſion of a widow Lady Cotterel. Mrs. Carliſle died about 1680.

[150]JOHN PETITOT

was patronized by the two monarchs, who of late years have given the nobleſt encouragement to artiſts, Charles 1ſt. and Louis 14th. He deſerved their protection as a genius, and has never been equalled in enamel. Zincke alone has once or twice, and but once or twice, produced works that might ſtand in competition with any ſingle performance of Petitot.

The latter was born at Geneva in 1607; his father, a ſculptor and architect, having paſſed part of his life in Italy, had retired to that city. The ſon was deſigned for a jeweller, and having frequent occaſion to make uſe of enamel, he attained ſuch a tone of colour, that Bordier, who afterwards became his brother-in-law, conceived, that if Petitot would apply himſelf to portrait, he might carry the art to great perfection. Though both wanted ſeveral colours, which they knew not how to prepare for the fire, their attempts had great ſucceſs. Petitot executed the heads and hands, Bordier, the hair, draperies and grounds.

In this intercourſe of ſocial labour, the two friends ſet out for Italy. As painters, the treaſures of the art were open to them; as enamellers, they improved too by frequenting the beſt chymiſts of that country; but it was in England that they were ſo fortunate as to learn the choiceſt ſecrets in the branch to which they had devoted themſelves. Sir Theodore Mayern, firſt phyſician to Charles, and a great chymiſt, communicated to them the proceſs of the principal colours which ought to be employed in enamel, and which ſurpaſſed the famous vitrifications of Venice and Limoges.

[151] Mayern introduced Petitot to the King, who knighted and gave him an apartment in Whitehall. The French author of the Abregè de la Vie des plus fameux Peintres, whom I copy, and am ſorry to criticize while I am indebted to him, ſays, that Vandyck ſeeing ſome deſigns of Petitot at the King's goldſmith's, and informing himſelf of the author, adviſed him to quit the profeſſion of jeweller, and apply himſelf to painting portraits in enamel. But the biographer had told us that that ſtep was already taken; and ſurely had not been abandoned during a long ſtay in Italy. What the ſame writer adds, that Vandyck gave him inſtructions, when Petitot copied the works of that maſter, and that his copies from Vandyck are his beſt performances, is much more agreeable to probability and fact. The magnificent whole length of Rachel de Rouvigny Counteſs of Southampton, in the collection of the Duke of Devonſhire, is painted from the original in oil by Vandyck, in the poſſeſſion of Lord Hardwicke, and is indubitably the moſt capital work in enamel in the world; it is nine inches three quarters high, by five inches and three quarters wide; and though the enamel is not perfect in ſome trifling parts, the execution is the boldeſt and the colouring the moſt rich and beautifull that can be imagined. It is dated 1642. His Grace has a head of the Duke of Buckingham by the ſame hand; with the painter's name and the date 1640; conſequently a copy performed * after the Duke's death. In the ſame collection is a portrait of a middle-aged man in armour, incloſed in a caſe of tortoiſhel, the perſon unknown, but inferior to none I have ſeen of this maſter. The Ducheſs of Portland has another of the Duke of Buckingham, exactly the ſame as the preceding; Charles [152] firſt and his Queen, and the Lady Morton, governeſs of the royal children, who is celebrated by Waller. I have a fine head of Charles 1ſt. in armour, for which he probably ſat, as it is not like any I have ſeen by Vandyck; James 2d. when Duke of York, freely painted, though highly finiſhed, and I ſuppoſe done in France; a very large and capital one of his ſiſter Henrietta Ducheſs of Orleans, exquiſitely laboured; a very ſmall, but fine head of Anne of Auſtria; another of Madame de Monteſpan; and a few more of leſs note, but all of them touched in that minute and delicate ſtyle, into which he afterwards fell in France, and which, though more laboured, has leſs merit in richneſs of tints, than his Engliſh works. Vanderdort mentions a carving by Petitot from Titian's Lucretia, in which way I find no other account of his attempts, though, as his father was a ſculptor, he probably had given his ſon ſome inſtructions.

The tragic death of his royal protector was a dreadful ſtroke, ſays his biographer, to Petitot, who attended the exiled family to Paris. I queſtion, as ſo few Engliſh portraits appear by his hand, and none that I know later than 1642, whether the Civil War did not early drive him back to France; but Bordier undoubtedly remained here ſometime longer, having been employed by the parliament to paint a memorial of the battle of Naſeby, which they preſented to Fairfax their victorious general. This ſingular curioſity is now in my poſſeſſion, purchaſed from the Muſeum of Thoreſby, who * bought it, with other rarities, from the executors of Fairfax. It conſiſts of two round plates each but an inch and half diameter, and originally ſerved, I [153] ſuppoſe, for the top and bottom of a watch, ſuch enamelled plates being frequent to old watches inſtead of cryſtals. On the outſide of that which I take for the bottom, is a repreſentation of the Houſe of Commons, as exhibited on their ſeals by Simon. Nothing can be more perfect than theſe diminutive figures; of many even the countenances are diſtinguiſhable. On the other piece, within, is delineated the battle of Naſeby; on the outſide is Fairfax himſelf on his cheſtnut horſe, men engaging at a diſtance. The figure and horſe are copied from Vandyck, but with a freedom, and richneſs of colouring, perhaps ſurpaſſing that great maſter. Under the horſe, one reads P. B. fecit. This is the ſingle work which can with certainty be allotted to Bordier alone, and which demonſtrates how unjuſtly his fame has been abſorbed in the renown of his brother-in-law. Charles 2d. during his abode in that kingdom took great notice of Petitot; and introduced him to Louis, who, when the reſtoration happened, retained Petitot in his own ſervice, gave him a penſion and lodged him in the Louvre. Small portraits of that monarch by this great enameller, are extremely common, and of the two Queens, his mother and wife.

In 1651 he married Margaret Cuper; the celebrated Drelincourt performed the ceremony at Charenton; for Petitot was a zealous proteſtant, and dreading the conſequences of the revocation of the edict of Nantes in 1685, he begged permiſſion of the King to retire to Geneva. Louis, who did not care to part with ſo favorite a painter, and who perhaps thought that an enameller's religion was not compoſed of ſterner ſtuff, than the great Turenne's, eluded his demand; and at laſt being preſſed with repeated memorials, ſent Petitot to Fort-l'eveque, and Boſſuet to convert him. The ſubtle apoſtle, who had woven ſuch a texure of devotion and ambition, that the latter was [154] ſcarce diſtinguiſhable from the former, had the mortification of not ſucceeding, and Petitot's chagrin bringing on a fever, he at laſt obtained his liberty, now almoſt arrived at the age of fourſcore, which makes it probable that his converſion rather than his pencil had been the foundation of detaining him. He no ſooner was free, than he eſcaped with his wife to Geneva in 1685. His children, who dreaded the King's wrath, remained at Paris, and throwing themſelves at his feet, implored his protection. His Majeſty, ſays my author, received them with great goodneſs, and told them, he willingly forgave an old man, who had a whim of being buried with his fathers.—I do not doubt but this is given, and paſſed at the time, for a bonmot—but a very flat witticiſm cannot depreciate the glory of a confeſſor, who has ſuffered impriſonment, reſiſted eloquence, and ſacrificed the emoluments of court-favour to the uprightneſs of his conſcience. Petitot did not wiſh to be buried with his fathers, but to die in their religion.

Returned to his country, the good old man continued his darling profeſſion. The King and Queen of Poland deſired to be painted by his hand, and ſent their portraits to be copied by him in enamel, but the meſſenger finding him departed, proceeded to Geneva, where he executed them with all the vigour of his early pencil. The Queen was repreſented ſitting on a trophy, and holding the picture of the King. For this piece he received an hundred Louis d'or's.

So great was the concourſe to viſit him, that he was obliged to quit Geneva and retire to Veray, a little town in the canton of Berne, where as he was painting his wife, an illneſs ſeized and carried him off in a day, in 1691, at the age of fourſcore and four. He had had ſeventeen children; one of his daughters, a widow, was living in 1752. My portrait of Charles 1ſt. came from one of his ſons, who was a major [155] in our ſervice. Of the reſt, one only attached himſelf to his father's art and practiced in London, his father often ſending him his works for models. This ſon painted in miniature too, and left deſcendents, who are ſettled at Dublin.

It is idle to write a panegyric on the greateſt man in any vocation. That rank diſpenſes with encomiums, as they are never wanted but where they may be conteſted. Petitot generally uſed plates of gold or ſilver, ſeldom copper. In the dawn of his reputation he received twenty guineas for a picture, which price he afterwards raiſed to forty. His cuſtom was to have a painter to draw the likeneſs in oil, from which he made his ſketches, and then finiſhed them from the life. Thoſe of Louis he copied from the beſt pictures of him, but generally obtained one or two ſittings for the completion. His biographer ſays, that he often added * hands to his portraits; I have ſeen but one ſuch, the whole length of Lady Southampton; and that at Loretto there is of his work an incomparable picture of the Virgin. A collector at Paris poſſeſſes more than thirty of this great maſter's performances, particularly the portraits of Meſdames de la Valiere, Monteſpan, Fontanges &c. Another has thoſe of the famous Counteſs d'Olonne, the Ducheſs of Bouillon, and other ladies of the court. Van Gunſt engraved after Petitot the portrait of Chevreau.

Of Bordier, we have no fuller account than this incidental mention of him; yet I have ſhown that his is no trifling claim to a principal place among thoſe artiſts whoſe works we have moſt reaſon to boaſt. I wiſh this clue may lead to farther diſcoveries concerning him!

[156] I come now to other artiſts in the reign of Charles; and firſt of ſtatuaries.

ANDREW KEARNE

a German, was brother of Nicholas Stone the elder, for whom he worked. Kearne too carved many ſtatues for Sir Juſtinian Iſham, at his houſe near Northampton. At Somerſet-ſtairs he carved the Rivergod which anſwered to the Nile, made by Stone, and a lioneſs on the water-gate of York-ſtairs. For the Counteſs of Mulgrave a Venus and Apollo of Portland ſtone, ſix feet high, for each of which he had ſeven pounds. He died in England, and left a ſon that was alive ſince 1700.

JOHN SCHURMAN

born at Emden, was another of Stone's workmen, and afterwards ſet up for himſelf. He was employed by Sir John Baſkerville; made two ſhepherds ſitting for Sir John Davers of Chelſea; a marble ſtatue of Sir T. Lucy, for his tomb in Warwickſhire, for which he was paid eighteen pounds, and fifty ſhillings for poliſhing and glazing; the ſame for a ſtatue on * Lord Belhaven's tomb; a little boy on the ſame monument; two ſphinxes for Sir John Davers; and Hercules and Antaeus for that gentleman's garden, at the rate of ſixteen pounds.

EDWARD PIERCE

father and ſon, are mentioned here together, though the father was a

[]
Figure 23. EDWARD PIERCE. SENR. & JUNR.

Bannerman, Sculp

[157] painter chiefly in the reign of the firſt Charles, the ſon a ſtatuary who worked moſtly under the ſecond Charles, but each may be allotted to either period. The father painted hiſtory, landſcape * and architecture; but the greater part of his works conſiſting of altar-pieces and cielings of churches were deſtroyed in the fire of London. One of his cielings was in the church of Covent-garden. For ſome time he worked under Vandyck, and ſeveral of his performances are at the Duke of Rutland's at Belvoir. A book of freeze-work in eight leaves, etched in 1640, was I ſuppoſe by the hand of the father; as to him muſt be referred an entry in an office-book, where he is mentioned for painting and gilding frames of pictures at Somerſet-houſe at two ſhillings the foot, Feb. 17, 1636. He alſo agrees to paint and gild the chimney piece in the croſs-gallery there for eight pounds. Dobſon drew his picture. He died a few years after the reſtoration and was buried at Stamford. He had three ſons, who all, ſays Graham, became famous in their different ways. One was John Pierce, a painter; of the third, I find no account of his profeſſion; the other was Edward the ſtatuary and architect. He made the ſtatues of Sir Thomas Greſham, of Edward III. at the Royal-exchange, and of Sir William Walworth at Fiſhmonger's-hall; a marble buſt of Thomas Evans, maſter of, and a great benefactor to, the company of painters in 1687: The buſt is in their hall: a model of the head of Milton, which Vertue had, the buſt of Sir Chriſtopher Wren in the picture-gallery at Oxford, and a buſt of Cromwell ſold at an auction in 1714. He much aſſiſted Sir Chriſtopher in many of his deſigns, and built the church of St. Clement under his direction. Edward Pierce too carved the four dragons [158] on the monument, at fifty pounds each. The whole coſt of that column, excluſive of the dragons, and of the baſrelief which is not mentioned in the account, appears by the ſurvey of Hooke, Leybourn and others, to have amounted to 8000l. A rich vaſe at Hampton-court is another of the works of Pierce. He lived and died at his houſe the corner of Surrey-ſtreet in the Strand, and was buried at St. Mary's le Savoy, in 1698.

HUBERT LE SOEUR,

one of the ſew we have had that may be called a claſfic artiſt, was a Frenchman, and diſciple of John of Boulogne. He arrived at leaſt as early as 1630, and by the only * two of his works that remain, we may judge of the value of thoſe that are loſt or deſtroyed. Of the latter were a buſt of Charles I. in braſs, with a helmet ſurmounted by a dragon à la Romaine, three feet high, on a black pedeſtal: The fountain at Somerſet-houſe with ſeveral ſtatues; and ſix brazen ſtatues at St. James's. Of thoſe extant are, the ſtatue in braſs of William Earl of Pembroke in the picture-gallery at Oxford, given by the grand-father of the preſent Earl; and the noble equeſtrian figure of King Charles at Charing-croſs, in which the commanding-grace of the figure and exquiſite form of the horſe are ſtriking to the moſt unpracticed eye. This piece was caſt in 1633 in a ſpot of ground near the church of Covent-garden, and not being erected before the commencement of

[]
Figure 24. LA SOEUR.

Bannerman, Sculp.

[159] the civil war, it was ſold by the parliament to John Rivet a brazier living at the dial near Holbourn-conduit, with ſtrict orders to break it in pieces. But the man produced ſome fragments of old braſs, and concealed the ſtatue and horſe under ground 'till the reſtoration. They had been made at the expence of the family of Howard-Arundel, who have ſtill receipts to ſhow by whom and for whom they were caſt. They were ſet up in their preſent ſituation at the expence of the crown, about 1678, by an order from the Earl of Danby, afterwards Duke of Leeds. The pedeſtal was made by Mr. Grinlin Gibbons. Le Soeur had a ſon Iſaac who was buried Nov. 29, 1630, at Great St. Bartholomew's. The father lived in the cloſe.

ENOCH WYAT

carved two figures on the water ſtairs of Somerſet-houſe, and a ſtatue of Jupiter. And he altered and covered the King's ſtatues, which during the troubles were thruſt into Whitehall-garden, and which, it ſeems, were too heatheniſhly naked to be expoſed to the inflammeable eyes of that devout generation.

ZACHARY TAYLOR

lived near Smithfield, was a ſurveyor and carver to the King, as he is called in a book belonging to the board of works in 1631. In 1637 he is mentioned for carving the frames of the pictures in the croſs-gallery at Somerſet-houſe at two ſhillings and two-pence per foot. He carved ſome things too at * Wilton. Mr. Davis of the Tennis-court [160] at Whitehall had a good portrait of Taylor with a compaſs and ſquare in his hands.

JOHN OSBORN

was another carver of that time: Lord Oxford had a large head in relievo on tortoiſe-ſhell of Frederic Henry Prince of Orange; and theſe words, Joh. Oſborn, Angl. Amſtelod. fecit, 1626.

MARTIN JOHNSON

was a celebrated engraver of ſeals, and lived at the ſame time with Thomas and Abraham Simon, the medalliſts. He was a rival of the former, who uſed puncheons for his graving, which Johnſon never did, calling Simon a puncher, not a graver. Johnſon beſides painted landſcapes from nature, ſelecting the moſt beautifull views of England, which he executed, it is ſaid, * with much judgment, freedom and warmth of colouring. His works are ſcarce. He died about the beginning of the reign of James II.

[...] GREEN,

a ſeal-cutter, is only mentioned in a letter to the Lord Treaſurer from Lord Strafford, who ſays he had paid him one hundred pounds, for the ſeals of Ireland, but which were cut in England.

[161]CHRISTIAN VAN VIANEN. *

As there was no art, which Charles did not countenance, the chacers and emboſſers of plate were among the number of the protected at court. The chief was Vianen, whoſe works are greatly commended by Aſhmole. Several pieces of plate of his deſign were at Windſor, particularly two large gilt water-pots, which coſt 235l. two candleſticks weighing 471 ounces; on the foot of one of them was chaſed Chriſt preaching on the mount; on the other, the parable of the loſt ſheep; and two covers for a bible and common-prayer book, weighing 233 ounces; the whole amounting to 3580 ounces, and coſting 1564l. were in the year 1639, when the laſt parcels were delivered, preſented as offerings by his majeſty to the chapel of St. George. But in 1642 captain Foy broke open the treaſury, and carried away all theſe valuable curioſities, as may be ſeen more at large in Dugdale. An agreement was made with the Earl-marſhal, Sir Francis Windebank, and Sir Francis Crane, for plate to be wrought for the King at twelve ſhillings per ounce, and before the month of June 1637, he had finiſhed nine pieces. Some of theſe I ſuppoſe were the above-mentioned: others were gilt, for Vianen complained that by the expence of the work, and the treble-gilding, he was a great loſer, and deſired to be conſidered. The deſigns themſelves were thought ſo admirable, as to be preſerved in the royal collection. King Charles had beſides four plates chaſed with the ſtory of Mercury and Argus. Mr. Weſt has two oval heads [162] in alto relievo ſix inches high of Charles and his Queen, with the initial letters of the workman's name, C. V. Lond. There were others of the name, I do not know how related to him. The * King had the portrait of a Venetian captain by Paul Vianen; and the offering of the wiſemen by Octavian Vianen. There is a print of a head of Adam Van Vianen, painted by Jan. Van Aken, and etched by Paul Vianen, above-mentioned. Chriſtian Vianen had a very good diſciple

FRANCIS FANELLI,

a Florentine, who chiefly practiced caſting in metal, and though inferior to Le Soeur, was an artiſt that did credit to the King's taſte. Vanderdort mentions in the royal collection a little figure of a cupid ſitting on a horſe running, by Fanelli, and calls him the one-eyed Italian. The figures of Charles I. and his Queen in niches in the quadrangle of St. John's college Oxford were caſt by him, and are well deſigned. They were the gift of Archbiſhop Laud, and were buried for ſecurity in the civil war. William Duke of Newcaſtle was a patron of Fanelli, and bought many of his works, ſtill at Welbeck; particularly a head in braſs of Prince Charles 1640; with the founder's name behind the pedeſtal, Fr. Fanellius, Florentinus, ſculptor magn. Brit. regis. And ſeveral figures in ſmall braſs; as, St. George with the dragon dead; another combating the dragon; two horſes grazing; four others in different attitudes; a cupid and a turk, each on horſeback, and a centaur with a woman. By the ſame hand, or Le Soeur's, are, I conclude, the three following curious buſts, in bronze; a head of Edward Lord Herbert of Chirbury, the Author, in the poſſeſſion of the [163] Earl of Powis; and two different of the Lady Venetia Digby, wife of Sir Kenelm. Behind the beſt of them, on which the point-lace of her handkerchief is well expreſſed, is written this tender line, "Uxorem vivam amare voluptas, defunctam religio." One of theſe was probably ſaved from her monument. See before p. 102. Fanelli publiſhed two books of deſigns, of architecture, fountains, vaſes, &c. One conſiſts of fourteen plates in folio, no date. The other in twenty-one leaves, was publiſhed by Van Merle at Paris 1661, engraved, as Vertue thought, by Faithorne, who was about that time in France. Fanelli had a ſcholar, called John Bank, who was living in 1713.

THEODORE ROGIERS

is mentioned by Vanderdort, * as the chaſer of five ſquare plates of ſilver with poetic ſtories in the King's collection; and he made an ewer from a deſign of Rubens, mentioned in the life of that painter. He muſt not be confounded with William Rogers an Engliſhman, who engraved the title-page to John Linſchoten's collection of voyages to the Eaſt Indies.

I ſhall now ſet down what little I have to ſay of the medalliſts of King Charles. Briot has been mentioned under the preceding reign: He and T. Simon, his diſciple, poſſeſſed the royal favour 'till the beginning of the troubles, when Simon falling off to the parliament, [164] a new medalliſt was employed on the few works executed for the King during the remainder of his life; his name was

THOMAS RAWLINS.

The firſt work by which he was known to the public was of a nature very foreign from his profeſſion; in 1640 he wrote a play called The Rebellion. * and afterwards a Comedy, called Tom Eſſence. He was appointed engraver to the mint, now become ambulatory, by patent in 1648; having in the preceding year while the King was at Oxford ſtruck a medal on the action of Keinton-field. Under the date on the reverſe is the letter R. ſideways. The next year he ſtruck another, after many offers of peace had been made by the King and been rejected; on the reverſe are a ſword and a branch of laurel; the legend, in utrumque paratus. The letter R. under the buſt of the King. In 1644 he made a large oval medal, ſtamped in ſilver, with the effigies of a man holding a coin in his hand, and this inſcription, Guliel. Parkhurſt Eq. aurat. cuſtos Camb. et monet. totius Angliae 1623. Oxon. 1644. [...] ſculps. I take for granted this Mr. Parkhurſt had been [165] either a patron or relation of Rawlins, or one cannot conceive why he ſhould have gone back twenty one years to commemorate an obſcure perſon, ſo little connected with the ſingular events of the period when it was ſtruck. This medal was in the collection of Sir Hans Sloane, and is now in the muſeum, as was and is, an oval piece of gold of Charles II. the reverſe a ſhip; better workmanſhip than the preceding. There is but one piece more certainly known for his, a caſt in lead, thus inſcribed, Rob. Bolles de Scampton in com. Lincol. Baronet; under the ſhoulder T. Rawlins F. 1665. There might be and probably were other works of his hand, to which in prudence he did not ſet his name. Such is the bold medalion of Archbiſhop Laud, ſtruck in 1644. He was employed by the crown 'till 1670, when he died. There is a print of his wife, with this inſcription; Dorothea Narbona uxor D. Thomae Rawlins ſupremi ſculptoris ſigilli Carol. I. et Carol. II. D. G. magn. Brit. Franc. et Hiber. regum. In Fleckno's works publiſhed in 1653 is "A poem on that excellent cymeliſt or ſculptor in gold and precious ſtones, &c. Tho. Rawlins.

JOHN VARIN or WARIN

was an eminent medalliſt in France, but appears by ſome works to have been in England, at leaſt to have been employed by Engliſh; there are four ſuch pieces in the collection of Mr. Weſt; the firſt, a large medalion caſt, Guil. ſil. Rob. Ducy mil. et baronet. aetat ſuae 21, 1626. Another, a caſt medal of Philip Howard S. R. E. Card. Norfolk. Endymion Porter aetat. 48, 1635. And Margareta, uxor, aet. 25, 1633. I have a good medal of Cardinal Richelieu by Warin, who died in 1675, as I learn from a jetton of him by Dacier.

[166] The laſt artiſt that I have to produce of this period, but the greateſt in his profeſſion that has appeared in theſe kingdoms, and ſo great, that in that reign of arts we ſcarce know the name of another architect, was

INIGO JONES,

who, if a table of fame like that in the Tatler, were to be formed for men of real and indiſputable genius in every country, would ſave England from the diſgrace of not having her repreſentative among the arts. She adopted Holbein and Vandyck, ſhe borrowed Rubens, ſhe produced Inigo Jones. Vitruvius drew up his Grammar, Palladio ſhowed him the practice, Rome diſplayed a theatre worthy of his emulation, and King Charles was ready to encourage, employ, and reward his talents. This is the hiſtory of Inigo Jones as a genius. The particulars of his life have been often written, and therefore I ſhall run them over very briefly; adding ſome leſs known minutiae [which, I fear, are the characteriſtics of theſe volumes] and ſome catalogue of his works.

He was born about 1572, the ſon of a cloth-worker, and by the moſt probable accounts, bound apprentice to a joiner, but even in that obſcure ſituation, the brightneſs of his capacity burſt forth ſo ſtrongly, that he was taken notice of by one of the great Lords at court; ſome ſay, it was the Earl of Arundel; the greater * number that it was William Earl of Pembroke; though againſt that opinion there is, at leaſt, a negative evidence, which I ſhall mention preſently. By one of theſe Lords, Inigo was ſent to Italy to ſtudy landſcape-painting, to which his inclination then pointed, and for which that he had a talent, appears

[]
Figure 25. INIGO JONES.

A.Bannerman Sculp.

[167] by a ſmall piece preſerved at Chiſwick: the colouring is very indifferent, but the trees freely and maſterly imagined. He was no ſooner at Rome, than he found himſelf in his ſphere. He felt that nature had not formed him to decorate cabinets, but deſign palaces. He dropped the pencil, and conceived Whitehall. In the ſtate of Venice he ſaw the works of Palladio, and learned how beautifully taſte may be exerted on a leſs theatre than the capital of an empire. How his abilities diſtinguiſhed themſelves in a ſpot where they certainly had no opportunity to act, * we are not told, though it would not be the leaſt curious part of his hiſtory; certain it is, that on the ſtrength of his reputation at Venice, Chriſtian IV. invited him to Denmark and appointed him his architect; but on what buildings he was employed in that country we are yet to learn. James I. found him at Copenhagen, and Queen Anne took him in the quality of her architect to Scotland. He ſerved Prince Henry in the ſame capacity, and the place of ſurveyor-general of the works was granted to him in reverſion. On the death of that Prince, with whom at leaſt all his lamented qualities did not die, Jones travelled once more to Italy, and aſſiſted by ripeneſs of judgment perfected his taſte. To the interval between thoſe voyages I ſhould be inclined to aſſign thoſe buildings of Inigo, which are leſs pure, and border too much upon that baſtard ſtyle, which one calls King James's Gothic. Inigo's deſigns of that period are not Gothic, but have a littleneſs of parts and a weight of ornaments, with which the revival of the Grecian taſte was encumbered, and which he ſhook of in his grander deſigns. The ſurveyor's place fell and he returned to England, and as if architecture was not all he had [168] learned at Rome, with an air of Roman diſintereſtedneſs he gave up the profits of his office, which he found extremely in debt, and prevailed on the comptroller and paymaſter to imitate his example, 'till the whole arrears were cleared.

In the reign of James I find a payment by a warrant from the council to Inigo Jones, Thomas Baldwin, William Portington and George Weale, officers of his majeſty's works, for certain ſcaffolds and other works by them made, by the command of the Lord Chamberlain, againſt the arraignment of the Earl of Somerſet and the Counteſs his Lady. The expence was twenty pounds.

In the Foedera * is a commiſſion to the Earl of Arundel, Inigo Jones and ſeveral others, to prevent building on new foundations within two miles of London and palace of Weſtminſter.

In 1620 he was employed in a manner very unworthy of his genius. King James ſet him upon diſcovering, that is, gueſſing, who were the founders of Stone-henge. His ideas were all romanized; conſequently his partiality to his favorite people, which ought rather to have prevented him from charging them with that maſs of barbarous clumſineſs, made him conclude it a Roman Temple. It is remarkable that whoever has treated of that monument, has beſtowed it on whatever claſs of antiquity he was peculiarly fond of; and there is not a heap of ſtones in theſe Northern countries, from which nothing can be proved, but has been made to depoſe in favour of ſome of theſe fantaſtic hypotheſes. Where there was ſo much room for viſion, the Phoenicians could not avoid coming in for their ſhare of the foundation; and for [169] Mr. Toland's part, he diſcovered a little ſtone-henge in Ireland, built by the Druideſs Gealcopa, (who does not know the Druideſs Gealcopa?) who lived at Iniſoen in the county of Donnegal. *

In the ſame year Jones was appointed one of the commiſſioners for the repair of St. Paul's, but which was not commenced 'till the year 1633, when Laud, then Biſhop of London, laid the firſt ſtone and Inigo the fourth. In the reſtoration of that cathedral he made two capital faults. He firſt renewed the ſides with very bad Gothic, and then added a Roman portico, magnificent and beautifull indeed, but which had no affinity with the ancient parts that remained, and made his own Gothic appear ten times heavier. He committed the ſame error at Wincheſter, thruſting a ſcreen in the Roman or Grecian taſte into the middle of that cathedral. Jones indeed was by no means ſucceſsfull when he attempted Gothic. The chapel of Lincoln's-inn has none of the characteriſtics of that architecture. The cloyſter beneath ſeems oppreſſed by the weight of the building above.

The authors of the life of Jones place the erection of the banquetting-houſe in the reign of King Charles; but, as I have ſhown from the accounts of Nicholas Stone, it was begun in 1619, and finiſhed in two years—a ſmall part of the pile, deſigned for the palace of our Kings; but ſo compleat in itſelf, that it ſtands a model of the moſt pure and beautifull taſte. Several plates of the intended palace of [170] Whitehall have been given, but, I believe, from no finiſhed deſign. The four great ſheets are evidently made up from general hints, nor could ſuch a ſource of invention and taſte, as the mind of Inigo, ever produce ſo much ſameneſs. The ſtrange kind of cherubims on the towers at the end are propoſterous ornaments, and whether of Inigo or not, bear no relation to the reſt. The great towers in the front are too near, and evidently borrowed from what he had ſeen in Gothic, not in Roman buildings. The circular court is a pictureſque thought, but without meaning or utility. The whole fabric however was ſo glorious an idea, that one forgets for a moment, in the regret for it's not being executed, the confirmation of our liberties obtained by a melancholy ſcene that paſſed before the windows of that very banquetting-houſe.

In 1623 he was employed at Somerſet-houſe, where a chapel was to be fitted up for the Infanta, the intended bride of the Prince. * The chapel is ſtill in being. The front to the river, part only of what was deſigned, and the water-gate, were erected afterwards on the deſigns of Inigo; as was the gate at York-ſtairs.

Upon the acceſſion of Charles he was continued in his poſts under both King and Queen. His fee as ſurveyor was eight ſhillings and four-pence per day, with an allowance of forty-ſix pounds a year for houſe-rent, beſides a clerk, and incidental expences. What greater rewards he had are not upon record. Conſidering the havoc made in offices and repoſitories during the war, one is glad of being able to recover the ſmalleſt notices.

[171] During the proſperous ſtate of the King's affairs, the pleaſures of the court were carried on with much taſte and magnificence. Poetry, painting, muſic, and architecture, were all called in to make them rational amuſements; and I have no doubt but the celebrated feſtivals of Louis XIV. were copied from the ſhows exhibited at Whitehall, in it's time the moſt polite court in Europe. Ben Johnſon was the laureat; Inigo Jones, the inventor of the decorations; Laniere and Feraboſco compoſed the ſimphonies; the King, the Queen, and the young nobility danced in the interludes. We have accounts of many of theſe entertainments, called maſques: They had been introduced by Anne of Denmark. I ſhall mention thoſe in which Jones was concerned.

Hymenaei, or ſolemnities of maſque and barriers, performed on the twelfth-night 1606, upon occaſion of the marriage of Robert Earl of Eſſex, and the Lady Frances daughter of the Earl of Suffolk; at court; by Ben Johnſon. Maſter Alphonſo Feraboſco ſung; maſter Thomas Giles made and taught the dances.

Tethys's feſtival, a maſque, preſented on the creation of Henry Prince of Wales, June 5, 1610. The words by S. Daniel, the ſcenery contrived and deſcribed by maſter Inigo Jones. This was called the Queen's wake. Several of the Lords and Ladies acted in it. Daniel owns that the machinery, and contrivance and ornaments of the ſcenes made the moſt conſpicuous part of the entertainment.

February 16, 1613, a maſque at Whitehall on the nuptials of the Palſgrave and the Princeſs Elizabeth, invented and faſhioned by our kingdom's moſt artfull and ingenious architect Inigo Jones; digeſted and written by the ingenious poet, George Chapman. *

[172] Jones had dabled in poetry himſelf: there is a copy of verſes by him prefixed to Coryat's Crudities, among many others by the wits of that age, who all affected to turn Coryat's book into ridicule, but which at leaſt is not ſo fooliſh as their verſes.

Pan's anniverſary, a maſque at court before King James I. 1625. Inventors Inigo Jones and Ben Johnſon.

Love's Triumph, 1630, by the King and nobility, the ſame inventors.

Chlorida, the Queen's maſque at court, 1630. The ſame.

Albion's triumph, a maſque preſented at court by the King's Majeſty and his Lords, on twelfth-night, 1631; by Inigo and Johnſon.

The temple of love, a maſque at Whitehall, preſented by the Queen and her Ladies, on Shrove-tueſday 1634, by Inigo Jones, ſurveyor, and William Davenant.

Coelum Britannicum, a maſque at Whitehall in the banquetting-houſe on Shrove-tueſday-night; the inventors, Thomas Carew, Inigo Jones.

A maſque preſented by Prince Charles September 12, 1636, after the King and Queen came from Oxford to Richmond.

Britannia triumphans, a maſque preſented at Whitehall by the King and his Lords on twelfth-night 1637.

Salmacida Spolia, a maſque preſented by the King and Queen at Whitehall on tueſday January 21, 1639. The invention, ornaments, ſcenes and apparitions, with their deſcriptions, were made by Inigo [173] Jones, ſurveyor-general of his majeſty's works; what was ſpoken or ſung, by William Davenant, her majeſty's ſervant.

Love's miſtreſs, or the Queen's maſque, three times preſented before their Majeſties at the Phoenix in Drury-lane, 1640. T. Heywood gives the higheſt commendation of Inigo's part in this performance.

Lord Burlington had a folio of the deſigns for theſe ſolemnities, by Inigo's own hand, conſiſting of habits, maſks, ſcenes, &c.

The harmony of theſe triumphs was a little interrupted by a war that broke out between the compoſers, Inigo and Ben; in which whoever was the aggreſſor, the turbulent temper of Johnſon took care to be moſt in the wrong. Nothing exceeds the groſsneſs of the language that he poured out, except the badneſs of the verſes that were the vehicle. There he fully exerted all that brutal abuſe which his cotemporaries were willing to think wit, becauſe they were afraid of it; and which only ſerves to ſhew the arrogance of the man, who preſumed to ſatirize Jones and rival Shakeſpeare. With the latter indeed he had not the ſmalleſt pretenſions to be compared, except in having ſometimes writ abſolute nonſenſe. Johnſon tranſlated the ancients, Shakeſpeare transfuſed their very ſoul into his writings.

Another perſon who ſeems to have born much reſentment to Jones was Philip Earl of Pembroke; * in the Harleian library was an edition of Stone-henge which formerly belonged to that Earl, and the margins of which were full of ſtrange notes writ by him, not on the work, but on the author or any thing elſe. I have ſuch another common-place book, if one may call it ſo, of Earl Philip, the life of Sir Thomas More. In the Stonehenge are memorandums, jokes, witticiſms and [174] abuſe on ſeveral perſons, particularly on Cromwell and his daughters, and on Inigo, whom his Lordſhip calls, Iniquity Jones; and ſays, he had 16000l. a year for keeping the King's houſes in repair. This might be exaggerated, but a little ſupplies the want I have mentioned of any record of the rewards beſtowed on ſo great a man. It is obſervable that the Earl who does not ſpare reflections on his architect, never objects to him his having been maintained in Italy by Earl William; nor does Webb in his preface to the Stone-henge, though he ſpeaks of Inigo's being in Italy, ſay a word of any patron that ſent him thither. Earl Philip's reſentment to Jones was probably occaſioned by ſome diſagreement while the latter was employed at Wilton. There he built that noble front, and a grotto at the end of the water. Wilton is one of the principal objects in a hiſtory of the arts, and Belles Lettres. Sir Philip Sidney wrote his Arcadia there for his ſiſter; Vandyck drew many of the race, Holbein and Inigo Jones imagined the buildings, Earl Thomas compleated the collection of pictures and aſſembled that throng of ſtatues, and the laſt Earl Henry has ſhown by a bridge deſigned by himſelf, that had Jones never lived, Wilton might yet have been a villa worthy of ancient Rome.

The works of Inigo are not ſcarce, though ſome that bear his name were productions of his ſcholars: ſome indeed neither of the one nor the other. Albins in Eſſex, I ſhould attribute to the laſt claſs, though always aſcribed to Inigo. If he had any hand in it, it muſt have been during his firſt profeſſion, and before he had ſeen any good buildings. The houſe is handſome, has large rooms and rich cielings, but all entirely of the King James's Gothic. Piſhiobury in Hertfordſhire is ſaid to have been built by him for Sir Walter Mildmay. At Woburn is a grotto-chamber, and ſome other ſmall parts by him, as there is of [175] his hand at Thorney-abbey, and a ſummer-houſe at Lord Barrington's in Berkſhire. The middle part of each end of the quadrangle at St. John's Oxford is aſcribed to him. The ſupporters of the royal arms are ſtrangly crouded in over the niches; but I have ſeen inſtances of his over-doing ornament. Charlton-houſe in Kent is another of his ſuppoſed works; but ſome critics have thought that only the great gate at the entrance and the colonades may be of his hand. The cabinet at Whitehall for the King's pictures was built by him, but we have no drawing of it. At St. James's he deſigned the Queen's chapel. Surgeon's-hall is one of his beſt works; and of the moſt admired, the arcade of Covent-garden and the church; two ſtructures, of which I want taſte to ſee the beauties: In the arcade there is nothing remarkable; the pilaſters, are as errant and homely ſtripes as any plaiſterer would make. The barn-roof over the portico of the church ſtrikes my eyes with as little idea of dignity or beauty * as it could do if it covered nothing but a barn. The expence of building that church was 4500l. Ambreſbury in Wiltſhire was deſigned by him, but executed by his ſcholar Webb, who married a couſin-german of Jones. Chevening is another houſe aſcribed to him, but doubtfull; Gunnerſbury near Brentford was certainly his; the portico is too large, and engroſſes the whole [176] front except a ſingle window at each end. The ſtair-caſe and ſalon are noble, but deſtroy the reſt of the houſe; the other chambers are ſmall, and crouded by vaſt chimney-pieces, placed with an Italian negligence in any corner of the room. Lindſey-houſe * in Lincoln's-inn-fields has a chaſter front, but is not better diſpoſed for the apartments. In 1618 a ſpecial commiſſion was iſſued to the Lord Chancellor, the Earls of Worceſter, Pembroke, Arundel, and others, to plant, and reduce to uniformity Lincoln's inn-fields, as it ſhall be drawn by way of map or ground-plot, by Inigo Jones, ſurveyor general of the works. Coleſhill, in Berkſhire, the ſeat of Sir Matthew Pleydell, built in 1650, and Cobham-hall in Kent, were his; He was employed to rebuild Caſtle-Aſhby, and finiſhed one front, but the civil war interrupted his progreſs, there and at Stoke-park in Northamptonſhire. Shaftſbury-houſe, now the London-lying-in hoſpital, on the eaſt ſide of Alderſgate-ſtreet, is a beautifull front; at Wing, ſeven miles from his preſent ſeat at Ethorp, in Buckinghamſhire, Sir William Stanhope pulled down a houſe built by Inigo. The front to the garden of Hinton St. George in Somerſetſhire, the ſeat of Earl Poulet; and the front of Brympton, formerly the manſion of Sir Philip Sydenham, were from deſigns of Jones; as Chilham-caſtle, and the tower of the church at Staines, where Inigo ſometime lived, are ſaid to be. So is a very curious work, if really by him, as I know no other performance of his in that kind, a bridge at Gwydder in Wales, on the eſtate of the Duke of [177] Ancaſter. Some alterations and additions he made at Sion. At Oatlands remains a gate of the old palace, but removed to a little diſtance, and repaired, with the addition of an inſcription, by the preſent Earl of Lincoln. The Grange, the ſeat of the Lord Chancellor Henley in Hampſhire, is entirely of this maſter. It is not a large houſe, but by far one of the beſt proofs of his taſte. The hall which opens to a ſmall veſtibule with a cupola, and the ſtaircaſe adjoining, are beautifull models of the pureſt and moſt claſſic antiquity. The gate of Beaufort-garden at Chelſea, deſigned by Jones, was purchaſed by Lord Burlington and tranſported to Chiſwick, where in a temple are ſome wooden ſeats with lions and other animals for arms, not of his moſt delicate imagination, brought from Tart-hall. He drew a plan for a palace at Newmarket, but not that wretched hovel that ſtands there at preſent. The laſt, and one of the moſt beautifull of his works, that I ſhall mention, is the Queen's houſe at Greenwich. The firſt idea of the hoſpital is ſaid to have been taken by Webb from his papers. The reſt of his deſigns, and his ſmaller works, as chimnies and cielings, &c. may be ſeen in the editions of Kent, Ware, Vardy, and Campbell.

Dr. Clarke of Oxford had Jones's Palladio with his own notes and obſervations in Italian, which the doctor bequeathed to Worceſter college. The Duke of Devonſhire has another with the notes in Latin. Lord Burlington had a Vitruvius noted by him in the ſame manner. The ſame Lord had his head by Dobſon. At Houghton, it is by Vandyck. Hollar engraved one of them. Villamena made a print of him while he was in Italy. Among the Straſſord papers there is a letter from Lord Cottington to the Lord deputy ſending him a memorial from Inigo, relating to the procurement of marble from Ireland.

[178] Inigo taſted early of the misfortunes of his maſter: He was not only a favorite * but a Roman catholic. In 1646 he paid 545l. for his delinquency and ſequeſtration. Whether it was before or after this fine I know not, that he and Stone buried their joint ſtock of ready money in Scotland-yard; but an order being publiſhed to encourage the informers of ſuch concealments, and four perſons being privy to the ſpot where the money was hid, it was taken up and reburied in Lambeth-marſh.

Grief, misfortunes. and age, terminated his life. He died at Somerſet-houſe July 21, 1651, and on the 26th of the ſame month was buried in the church of St. Bennet's Paul's-wharf, where a monument erected to his memory was deſtroyed in the fire of London.

I here conclude this long chapter on the reign of King Charles. The admirers of that Prince will not think, I hope, that I have ſtinted them in anecdotes of their favorite monarch.

The next ſcarce deſerves the name of a chapter; it contains the few names we find of

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Figure 26. Major General Lambert

A.Bannerman Sculp.

ANECDOTES of PAINTING, &c.
CHAP. III.
ARTISTS during the INTERREGNUM.

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OF theſe the firſt in rank, if not in merit, was

GENERAL LAMBERT,

who, we are told by the author of the Engliſh School, was a great encourager of painting and a good performer in flowers; ſome of his works were at the Duke of Leeds's at Wimbleton; and it was ſuppoſed that he received inſtructions from Baptiſt Gaſpars, whom he retained in his ſervice. The General's ſon John Lambert painted portraits. There is a medal of the General by Simon.

ROBERT WALKER,

a portrait-painter, cotemporary with Vandyck, but moſt remarkable for being the principal painter employed by * Cromwell, whoſe picture [180] he drew more than once. One of thoſe portraits repreſented him with a gold chain about his neck, to which was appendent a gold medal with three crowns, the arms of Sweden and a pearl; ſent to him by Chriſtina in return for his picture by Cooper, on which Milton wrote a Latin epigram. This head by Walker is in the poſſeſſion of Lord Mountford at Horſeth in Cambridgeſhire, and was given to the late Lord by Mr. Commiſſary Greaves, who found it in an Inn in that County. * Another piece contained Cromwell and Lambert together: This was in Lord Bradford's collection. A third was purchaſed for the Great Duke, whoſe agent having orders to procure one, and meeting with this in the hands of a female relation of the protector, offered to purchaſe it; but being refuſed, and continuing his ſollicitation, to put him off, ſhe aſked 500l.—and was paid it. It was on one of theſe portraits that Elſum wrote his epigram, which is no better than the reſt.

By lines o'th face and language of the eye,
We find him thoughtfull, reſolute and fly.

From one of R. Symondes's pocket books in which he has ſet down many directions in painting that had been communicated to him by various artiſts, he mentions ſome from Walker, and ſays, the latter received ten pounds for the portrait of Mr. Thomas Knight's wife to the knees; that ſhe ſat thrice to him, four or five hours at a time. That for two half lengths of philoſophers, which he drew from poor old men, he had ten pounds each in 1652; that he paid twenty five pounds for the Venus putting on her ſmock (by Titian) which was the King's, and valued it at ſixty-pounds, as he was told by Mrs. Boardman,

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Figure 27. ROBERT WALKER.

T.Chambars sculp

[181] who copied it; a paintreſs of whom I find no other * mention; and that Walker copied Titian's famous Venus, which was purchaſed by the Spaniſh Embaſſador, and for which the King had been offered 2500l. He adds, Walker cries up De Critz for the beſt painter in London.

Walker had for ſome time an apartment in Arundel-houſe and died a little before the reſtoration; his own portrait is at Leiceſter-houſe, and in the picture-gallery at Oxford. Mr. Onſlow has a fine whole length, ſitting in a chair, of Keble keeper of the great ſeal in 1650 by this painter.

EDWARD MASCALL

drew another portrait of Cromwell, which the Duke of Chandos bought of one Clark, then of the age of 106, but hearty and ſtrong, who had been ſummoned to London on a cauſe of Lord Coningſby. This man had formerly been ſervant of Maſcall and had married his widow, and was at that time poſſeſſed of 300l. a year at Trewellin in Herefordſhire. He had ſeveral pictures painted by Maſcall. Of the latter there is an indifferent print, inſcribed, Effigies Edwardi Maſcall, pictoris, ſculpta ab exemplari propriâ manu depicto. James Gammon ſculpſit.

[...] HEYWOOD

Of this perſon I find no mention but that in 1650 he drew the portrait of General Fairfax, which was in the poſſeſſion of Mr. Brian Fairfax. [182] A draught from this by one James Hulet was produced to the ſociety of Antiquaries by Mr. Peck in 1739.

PETER BLONDEAU, AND THOMAS VIOLET,

were employed by the commonwealth to coin their money, of whom and their conteſts ſee Vertue's account in his hiſtory of the works of Thomas Simon p. 17. Blondeau, after the reſtoration, November 3, 1662, received letters of denization, and a grant for being engineer of the mint in the tower of London, and for uſing his new invention for coining gold and ſilver with the mill and preſs; with the fee of 100l. per ann.

FRANCIS CARTER,

was chief clerk of the works under Inigo Jones: There is an entry in an office-book of a payment to him of 66l.—13s.—4d. He lived in Covent-garden, and during the commonwealth was a juſtice of peace, and made ſurveyor of the Works, in which poſt he was continued by Oliver. He died ſoon after the reſtoration.

At the Protector's funeral among others walked the following perſons, his officers,

  • The maſter carpenter,
  • Mr. Davenport, maſter joyner,
  • Mr. Kingwood, maſter carver,
  • Mr. Philips, maſter malon,
  • Mr. Thomas Simon, chief graver of the mint.
END OF VOLUME THE SECOND.

Appendix A APPENDIX.

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Appendix A.1 *De Conceſſione Officii Danieli Mittens.

CHARLES, by the Grace of God, &c.
To all whome theſe preſentes ſhall come, Greeting;

Knowe yee that wee, haveing experience of the facultie and ſkill of Daniel Mittens in the art of picture draweing, of our eſpeciall grace, certeine knowledge and meere motion, have given and granted, and by theiſe preſentes, for us our heirs and ſucceſſors, doe give and graunte unto the ſaid Daniel Mittens the office or place of one of our picture drawers of our chamber in ordinary, and him the ſaid Daniel Mittens, one of our picture drawers of the chamber of us our heires and ſucceſſors, do appointe conſtitute and ordaine by theiſe preſentes, To have, houlde, occupy and enjoy the ſaid office or place unto the ſaid Daniel Mittens for and dureing his naturall life;

And further, of our more eſpeciall grace and certeine knowledge and meere motion, wee have given and graunted, and, by theiſe preſentes for us our heires and ſucceſſors, doe give and graunte unto the ſaide Daniel Mittens for the exerciſing of the ſaid office or place, the yearlie fee and allowance of twentie pounds of lawfull money of Englande by the yeare, to have and to holde receive and enjoy the ſaid fee and allowance of twentie pounds by the yeare, to the ſaid Daniel Mittens and [] his aſſignes, for and dureing the naturall life of the ſaid Daniel Mittens, out of the treaſure of us our heires and ſucceſſors, at the receipte of the exchequer of us our heires and ſucceſſors, by the hands of the Treaſurer and Chamberlaines of us our heires and ſucceſſors there for the tyme being, att the foure uſuall feaſts of the yeare, that is to ſay, at the feaſts of the Nativitie of Saint John Baptiſt, St. Michaell the Archangell, the Byrth of our Lord God, and the Annuntiation of the bleſſed Virgin Mary by even portions to be paid, the firſt payment thereof to begin from the feaſte of the Annuntiation of the bleſſed Virgin Mary laſt paſt before the date hereof, together with all and all manner of other fees profitts, advantages, rights, liberties, commodities and emoluments whatſoever to the ſaid office or place belonginge or of righte appertayneing, or which hereafter maie anie way be due belonging or apperteyneing;

Wherefore our will and pleaſure is, and wee doe by theiſe preſentes, for us our heires and ſucceſſors, commaunde and authorize the ſaide Treaſurer, Chauncellor, Undertreaſurer and Barons of the ſaid Exchequer for the tyme being, and all other the officers and miniſters of the ſaide courte, and of the receipte there for the tyme beinge, that they, and every of them, to whom itt doth or ſhall appertaine, doe not only upon ſighte of theiſe our letters pattents, or the inrollment of them, from tyme to tyme pay and deliver, or cauſe to be payed and delivered unto the ſaid Daniel Mittens and his aſſignes, the ſaide yearlie fee and allowance of twenty pounds as the ſame ſhall growe due, but doe alſoe give allowance thereof accordinge to the true intente and meaning of theiſe preſentes: And theiſe our letters pattents, or the inrollment thereof, ſhall be yearlie and from tyme to tyme, as well to the Treaſurer and [] Chamberlaines of our ſaid exchequer, as to all other the officers and miniſters of us our heires and ſucceſſors, to whome it ſhall apperteine, a ſufficient warrant and diſchardge in this behalfe:

Although expreſs mention, &c.

In Witnes, &c.

Per Breve de Privato Sigillo.

Appendix A.2 Pro Daniele Myttens.

REX, quarto die Junii, conceſſit Danieli Myttens the office of one of the picture drawers of the King's chamber during his lyff.

P. S.

Appendix A.3 *De conceſſione ſpeciali Franciſco Crane Militi.

CHARLES, by the Grace of God, &c.
To the Treaſorer, Chancellor, Undertreaſorer, Chamberlaines and Barons of the Exchequer, of us, our heires and ſucceſſors nowe being, To the Receavor Generall of us, our heires and ſucceſſors of our Duchie of Cornwall for the time being, and to all other the officers and miniſters of us, our heires and ſucceſſors, to whome itt ſhall appertaine, and to everye of them, Greeting.

Whereas upon our bargaine heretofore made by ourſelf, with our truſtie and wellbeloved ſervant Sir Francis Crane Knight, for three ſuits of gould tapiſtries by him delivered to our uſe, we ſtand indebted to the ſaid Sir Francis Crane in the ſomme of ſix thouſand poundes of [] lawfull money of England, for ſatisfaction of which ſomme we are well pleaſed to give unto him an annuitie or yeerelie penſion or allowance of one thouſand pounds for ten years, or reaſonable recompence or allowance for the forbearance of the ſaid debte of ſixe thouſand poundes, if wee ſhall fynde cauſe at anie time to pay in the ſame; and whereas we are graciouſlie pleaſed to contribute one thouſand poundes a yeare towards the furtherance, upholding and maintenance of the worke of tapeſtries, lately brought into this our kingdome by the ſaid Sir Francis Crane, and now by him or his workmen practiſed and put in uſe at Mortlake in our countie of Surrey;

Knowe yee that wee, as well in ſatisfaction of the ſaid debte or ſomme of ſix thouſand pounds, ſo as aforeſaid mentioned to be by us oweing unto the ſaid Sir Francis Crane, as in performance of our royal intention, pleaſure and purpoſe in the payment of the ſaid contribution for the better maintenance of the ſaid woorke of tapeſtries, of our eſpecial grace, certeyne knowledge and meere motion, have given and graunted, and by theis preſents, for us, our heirs and ſucceſſors, doe give and graunte unto the ſaid Sir Francis Crane one annuitie or yeerely penſion of two thouſand pounds of lawfull money of England by the yere,

To have, houlde, perceive, receive and take the ſaid annuitie or yeerely penſion of two thouſand pounds of lawfull money of England by the yere, to the ſaid Sir Francis Crane, his executors or aſſignes, from the feaſte of the Byrth of our Lord God laſte paſte before the date hereof, for and dureing the terme, and untill the full ende and terme of ten yeares from thence next enſueing, fullie to be compleate and ended, To be perceived, had and taken at and from the handes of the Receivor Generall of us, our heirs and ſucceſſors for the tyme [] being of our ſaid Duchie of Cornwall, out of the rentes, ſomme and ſommes of money reſerved, due and payable, or hereafter to be due and payable unto us, our heirs and ſucceſſors, for or in reſpect of the preemption of tynne within the counties of Cornwall and Devon, and which ſhall from tyme to tyme be paide unto and be remayning in the handes of the ſaid receivor for the tyme being, or at the receipt of the Exchequer of us, our heires and ſucceſſors, by the hands of the Treaſorer, Undertreaſorer and Chamberlaines of the ſaid Exchequer for the tyme being or ſome of them, out of the treaſure of us, our heires and ſucceſſors from tyme to tyme remayneing in their or any of their handes, at the feaſtes of the Nativitie of St. John Baptiſte, and the Byrth of our Lord God, by even and equal portions to be payde, the firſte paymente thereof to be made at the feaſte of the Nativitie of St. John Baptiſte next enſueing the date of theis preſentes; Wherefore our will and pleaſure is, and wee do hereby for us, our heires and ſucceſſors ſtraightlie charge and commaund, the Receivor Generall of us, our heires and ſucceſſors of the ſaid Duchie of Cornwall for the tyme being, and alſo the Treaſorer, Undertreaſorer and Chamberlaynes of the Exchequer of us, our heires and ſucceſſors for the tyme being, that they or ſome of them, upon ſight of theis our letters pattents, or the inroolment of them, doe from tyme to tyme paie and deliver, or cauſe to be payde and delivered unto the ſaid Sir Francis Crane, his executors or aſſignes, the foreſaide annuitie or yeerlie penſion of two thouſand poundes of laufull money of England before by theſe preſents given and graunted, accordinge to the tenor, effecte and true intent and meaning of theis our letters pattents.

And our further will and pleaſure is, and wee doe hereby, for us, our heires and ſucceſſors, give full power and authoritie unto, and alſo require [] and commaund, the Treaſorer, Chancellor, Undertreaſorer and Barons of the ſaid Exchequer of us, our heires and ſucceſſors for the tyme being, or any other our officers to whom it ſhall or may appertaine, that they and everie of them doe from tyme to tyme make and give allowance and defalcation unto the ſaid Receiver Generall for the tyme being, of his accompte and accompts to be made for the revenue within his chardge, and receipte of and for all ſuch payments, ſomme and ſommes of money as the ſaid Receivor ſhall from tyme to tyme paie and deliver to the ſaid Sir Francis Crane, his executors or aſſignes out of the rents, ſomme and ſommes of money, payable or to be payable unto us, our heires or ſucceſſors, for or in reſpecte of the ſaid preemption of tynne, according to the true intente and meaning of theis preſents, and theis preſents or the inrollment thereof ſhall be as well unto the ſaid Receivor for the tyme being a ſufficient warrant and diſcharge for the deliverie and payment thereof, as alſoe to the ſaid Treaſorer, Chancellor, Undertreaſorer, Chamberlaines and Barons of the Exchequer, or anie other our officers to whome itt may appertayne, for the allowance thereof accordinglie, and ſhall be likewiſe a ſufficient warrant and diſcharge to the ſaid Treaſorer, Undertreaſorer and Chamberlains of the ſaid Exchequer for the time being, without any further or other warrant or declaration of the pleaſure of us, our heires or ſucceſſors, in that behalfe to be had, procured or obteyned; Provided alwaies, and our intente and meaning is, That if wee, our heirs or ſucceſſors, ſhall at any tyme or tymes hereafter, dureing or within the ſaid terme of ten years, paie or cauſe to be paide to the ſaid Sir Francis Crane, his executors or aſſignes, at one entire payment, ſoe much lawfull money of England as, together with ſuch ſommes of money, which the ſaid Sir Francis Crane, his executors or aſſignes ſhall in the [] meane time receive in liewe of one thouſand poundes per annum, parcell of the ſaid annuitie of two thouſand poundes per annum, intended to the ſaid Sir Francis Crane for ſatisfaction of his ſaid debte, ſhall make upp the full ſomme of ſix thouſand poundes for the aforeſaid debte, and ſoe much more as the intereſt thereof, to be accompted after the rate of eight poundes for a hundred by the yeare ſhall amounte unto in the meane tyme from the date hereof, That then and from thenceforth, all further payments of the ſaide one thouſand poundes, intended for ſatisfaction of the aforeſaid debte and all arrearages thereof then incurred, ſhall ceaſe and determyne, but the other one thouſand poundes, parcell of the ſaid two thouſand poundes, ſhall contynue and remayne in force, to be ymployed for and towards the maintenance and ſupportation of the ſaid woorke, according to our gracious intention in that behalfe, anie thing in theis preſents contained to the contrarie notwithſtanding.

And laſtlie, our will and pleaſure is, that theis our letters pattents, or the inrollment of them, ſhall be ſufficient and of validitie, according to the true meaning of the ſame.

Although expreſs mention, &c.

In Witnes, &c.

Per Breve de Privato Sigillo.

Appendix A.4 *De conceſſione dimiſſionis Franciſce Duciſſe Richmond et Lenox et Franciſco Crane.

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CHARLES, by the Grace of God, &c.
To all to whome theſe preſents ſhall come Greeting,

Whereas, our moſt deare and royall father, Kinge James, of bleſſed memory, having bene, divers yeares ſince, informed of the great prejudice and daily loſſe which his loveing ſubjects did ſuſteyne, by the uſe of private and unwarranted farthing tokens of lead, braſſe and other mettale, which divers vintners, victuallers, tapſters, chaundlers, bakers and other inferior tradeſmen, were then wont to obtrude and putt upon their chapmen and cuſtomers in the buying and ſelling of ſmall commodities; And finding in his royall wiſdom that, beſides the inconvenience and loſſe that theſe tokens brought with them to the poorer ſort of people, the uſe of them was not without ſome wrong to his royall prerogative, which ought not only to authorize all ſorts of coyne, but whatſoever elſe in the nature of coyne ſhould ſerve as the meaſure of buying and ſelling; Out of theſe conſiderations, which were for the preſervation of his Majeſties own honour and the good and benefitt of his loveing ſubjects, itt pleaſed his Majeſty thereupon to appoynt and ordeyne, by lettres patents under his great ſeale of England, that a convenient quantity of one uniforme ſort of farthinge tokens ſhould be exactly and artificially made in copper, with his Majeſties name and title thereupon, to be ſtamped, to be publiquely uſed, and to paſſe betweene man and man for farthings, and did ſettle and [] eſtabliſh a rechange of them into money, whereby the poorer ſort of people might buy and ſell with more conveniencie, and the ſubject in generall receive eaſe without loſſe;

Nowe,

For that itt is found by experience had of the laudable uſe and conſtant rechange of thoſe farthing tokens of copper into money, ſoe made by authority as aforeſaid, that they are growne acceptable and pleaſeing to all our ſubjects, and of very neceſſary and daily uſe inſtead of ſingle money, both for charity to the poore and for the more eaſie tradeing in pettie commodities,

We have thought fitt to contynue and eſtabliſhe the uſe thereof by like letters patents, for the reſidue of the terme which our ſaid royall father was pleaſed to graunt in that behalfe, in ſuch manner as is hereafter ſpecified.

Know yee therefore that wee, aſwell in conſideration of the premiſſes, as for divers other good cauſes and conſiderations us hereunto eſpecially moveinge, of our eſpeciall grace, certayne knowledge and meere motion, and of our prerogative royall, have given and graunted, and by theſe preſents, for us our heires and ſucceſſors, doe give and graunt unto, our right truſtie and welbeloved coſen, the Lady Frances Ducheſſe Dowager of Richmond and Lenox, and to our welbeloved ſervant, Sir Francis Crane Knight, their executors, adminiſtrators and aſſignes, full free and abſolute licence, power and authority that they the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, by themſelves or any of them, or by their or any of their deputies, workmen or ſervants, ſhall and may, dureing the termes of yeares hereafter in theſe preſents mentioned, make, in ſome convenient place at their or any of their pleaſure [] or appointment, ſuch a competent quantety of farthing tokens of copper as may be conveniently by them, or any of them yſſued amongſt the loving ſubjects of us our heires and ſucceſſors, within our realmes of England and Ireland, and the domynion of Wales, or any of them, within the termes of yeares hereafter mencyoned, and the ſame, ſoe made, to utter, diſpoſe, diſperſe and iſſue within the ſaid realmes and domynion or any of them, according to the true meaning of theſe preſents, at anie time within the ſaid termes of yeares hereafter in theſe preſents mentioned;

And our will and pleaſure is, that the ſaid farthinge tokens ſhall be made exactly and arteficially of copper, by engines or inſtruments, haveing on the one ſide two ſcepters croſſing under one diademe, and on the other ſide a harpe crowned with our title Carolus Dei Gratia Magne Brittannie, Francie et Hibernie Rex, weighing ſix graines a-piece or more, at the diſcretion of the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators, deputies or aſſignes, with a privy marke from time to time to be ſett uppon them, at the coyning or ſtamping of them, to diſcover the counterfeiting of any ſuch like tokens by any others, which farthinge tokens wee doe hereby, for us our heires and ſucceſſors, will and ordeyne to paſſe and to be generally uſed, betweene man and man, as tokens for the value of farthings, within our ſaid realmes and domynion, in ſuch manner and forme as in and by the ſaid former letters patents is expreſſed.

And further of our more ample grace, certayne knowledge and meere motion, and for the conſiderations aforeſaide, and to the intente that the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, ſhall and may have and enjoy [] the full benefitt and profitt intended unto them as by this our graunt, wee doe by theſe preſents, for us our heires and ſucceſſors, ſtraightlie prohibite and forbid all and everie perſon and perſons whatſoever (other than the ſaid Ducheſſe Dowager of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, by themſelves or their ſervants or deputies) to make or counterfeite ſuch our farthinge tokens of copper, or any engines or inſtruments in reſemblance of them, or any other tokens whatſoever, or to uſe or utter any other farthinge tokens or other tokens whatſoever, either made or counterfeited within our ſaid realmes or domynion, or beyond the ſeas, or elſewhere, att any time after the commencement of theſe our letters pattents, upon paine of forfeiture of all ſuch farthinge tokens or other tokens, and of all ſuch engines or inſtruments as ſhall be made, uſed, uttered or found, contrary to the true meaning of theſe preſents, And uppon ſuch further paynes, penalties and impriſonments, as by the lawes and ſtatutes of theſe our realmes of England or Ireland reſpectively, or by our prerogative royall can or may be inflicted upon them for their contempt and breach of our royall commaundment in this behalfe, the one moiety of all ſuch forfeitures to be to us our heires and ſucceſſors, and the other moiety thereof wee doe, for us our heires and ſucceſſors, give and grant unto the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane their executors, adminiſtrators and aſſignes, without any account to be given or rendered to us our heires or ſucceſſors for the ſame;

And further alſoe, for the better execution of this our grant, Wee doe by theſe our letters patents, for us our heires and ſucceſſors, give and graunt unto the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, that they, [] by themſelves, their deputies, ſervants or factors, or any of them, att all tymes and from time to time dureing the termes of yeares hereby graunted, taking a conſtable or other officer with them, ſhall and may enter into any ſhipp, bottome, veſſell, boate, ſhopp, houſe, ware-houſe, or any other place whatſoever, where they, or any of them, ſhall have cauſe to make ſearch within any of our ſaid realmes and domynions by water or land, aſwell within liberties as without, and there to ſearche and try by all waies and meanes for all ſuch counterfeit farthinge tokens, or other tokens, engynes and inſtruments made for the makeing of the ſaid tokens, as ſhall be brought in from the parts beyond the ſeas, or found to be made within any of our ſaid realmes and domynion contrary to the true intent and meaning and purport of theſe preſents; And finding any ſuch tokens, inſtruments or engynes, to arreſt, ſeize, carry away and deteyne the ſame to the uſe in theſe letters patents before mentioned and expreſſed;

To have and to hold, perceive, uſe, exerciſe and enjoye all and ſinguler the aforeſaide powers, liberties, priviledges, licences, graunts, authorities and other the premiſſes, unto the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, from the day of the date hereof, unto the firſt day of Auguſt next comeing, and from thenceforth for and dureing the whole terme and tyme of ſeventeene yeares then next enſueing and fully to be compleat and ended;

Yielding and paying, and the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, for themſelves, their executors and adminiſtrators, doe covenant, promiſe and grant, to and with us our heires and ſucceſſors, to yield and pay therefore yearly, unto us our heires and ſucceſſors, the yearly rent or ſomme of one hundred marks of lawfull [] money of England, into the receipt of the exchequer of us our heires and ſucceſſors at Weſtminſter, at the feaſts of the Nativity of St. John Baptiſt, and the Birth of our Lord God, or within twenty eight dayes next after the ſaid feaſts by even and equall portions yerely to be paid dureing the termes aforeſaid, the firſt payment thereof to begin at the feaſt of the Nativity of St. John Baptiſt, in the yere of our Lord God one thouſand ſix hundred twenty-five, or within twenty eight dayes after the ſaid feaſts;

Provided always that if itt ſhall happen the ſaid yerely rent of one hundred marks, or any parte thereof, to be behind and unpaid by the ſpace of twenty eight days next after either of the ſaid feaſts wherein the ſame ought to be paid as aforeſaid, that then and from thenceforth this our preſent grant ſhall ceaſe, be void and of none effect, any thing in theſe preſents contayned to the contrary notwithſtanding:

And further, of our more eſpeciall grace, certeyne knowledge and mere motion, and for the conſiderations aforeſaid, wee have given and graunted, and by theſe preſents, for us our heires and ſucceſſors, doe give and graunt unto the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, all ſuch profitts, gaines, benefitts and advantages as ſhall be, from tyme to tyme dureing the termes of yeares aforeſaid, made, gotten, raiſed and obteyned by the makeing, iſſueing or exchangeing of all ſuch farthing tokens of copper in manner and forme aforeſaid; To have, perceive, receive and take the ſaid profitt, gayne and benefitt, to be raiſed and made as aforeſaid, to the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, to their owne proper uſe for ever, without any account or other thing to be given or rendered to us our heires and ſucceſſors for the ſame, other [] than the yearly rent in and by theſe preſents reſerved, and the moiety or one halfe of the forfeitures which ſhall happen dureing the ſaid termes as aforeſaid;

And for the better diſtributing and diſperſing of the ſaid farthing tokens the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, for themſelves their executors, adminiſtrators and aſſignes, doe covenant, promiſe and grant to and with us our heires and ſucceſſors by theſe preſents, that they the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators and aſſignes, ſhall not onely be content and ready, dureing all the tyme hereby granted, to deliver forth the rate of one and twenty ſhillings in farthing tokens for every twenty ſhillings in ſterling money, which any our loveing ſubjects ſhall be willing to give or diſburſe for the ſame, but alſoe, during the ſaid termes, to deliver unto any our loveing ſubjects that ſhall find themſelves ſurcharged with more of the farthing tokens heretofore made, by the authority of the letters patents of our ſaid deare father, as hereafter to be made by vertue of theſe preſents, than he can conveniently utter for his uſe and occaſions, the ſomme of twenty ſhillings in ſterling and currant moneys for every twenty one ſhillings in farthing tokens, aſwell of ſuch as have been heretofore made by the authority aforeſaid, as of ſuch as ſhall be made by vertue of theſe preſents, and ſo after that rate for all greater or leſſer ſommes, at the hands of all tradeſmen, in all ſuch place and places where the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, adminiſtrators or aſſignes ſhall iſſue or utter our ſaid farthing tokens; And to the intent the ſaid tokens may be brought to a more frequent and generall uſe for the good of our loving ſubjects without any inconvenience, according to our gracious intention: our will and [] pleaſure is, that there be from tyme to tyme a convenient quantety of the ſaid farthing tokens ſent, and wee do hereby command and authorize the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors, deputies and aſſignes, from tyme to time, to ſend ſuch a convenient quantety of them into as many citties, burroughs corporate and markett townes within our ſaid realmes and domynion, as they or any of them ſhall conceive may be fitt for the neceſſary uſe of the ſaid ſeverall places, and the ſame to be left in the hands of ſome diſcreet perſon or perſons, together with ſufficient meanes for the rechange of the tokens to be uttered to the citizens or inhabitants of the ſaid citties, burroughs corporate and markett townes and other places, and ſuch other as ſhall be there reſiant or reſort thither, if cauſe ſhall require; And our pleaſure and command is that the chief officers and governors, with the miniſters and conſtables of ſuch citties, borroughs corporate and markett townes, doe endeavour that the ſaid tokens may be there diſperſed and freely paſſe betwixt man and man for the value of farthings as before is expreſſed:

And further wee doe hereby ſtraightly charge and command all and ſinguler maiors, ſheriffs, conſtables, head-borroughs, comptrollers, cuſtomers, ſearchers, waiters, and all other officers and miniſters to whom it ſhall or may apperteyne, to be aiding and aſſiſting in all lawfull and convenient manner unto the ſaid Ducheſſe of Richmond and Lenox and Sir Francis Crane, their executors adminiſtrators and aſſignes, and their and every of their deputies, factors and ſervants, in the due execution of theſe our letters patents upon payne of our high diſpleaſure, and ſuch paynes, puniſhments and impriſonments as by the lawes and ſtatutes of this our realme of England and Ireland, or by our [] prerogative royall, may or can be inflicted uppon them for their contempts in this behalfe:

And our further will and pleaſure is, and wee doe hereby declare our intent and meaning to be, that all the farthing tokens of copper heretofore made, by vertue of the ſaid letters patents of our ſaid deare father, ſhall ſtill paſſe and be yſſued amongſt our loveing ſubjects, within our ſaid realmes of England and Ireland and dominion of Wales, for the value of farthings in ſuch manner and forme as the ſame dureing the force of the ſaid letters patents did paſſe and were iſſued, notwithſtanding the ſurrender and determination of the ſaid letters patents, under ſuch priviledges, powers, proviſions, cautions, forfeitures, puniſhments and reſtraints, as before in theſe preſents wee have limitted and appointed for ſuch farthen tokens hereafter to be made and iſſued by vertue of theſe preſents.

Although expreſſe mention, &c.

In witnes, &c.

Per Breve de Privato Sigillo.

Appendix A.5 Pro Franciſco Crane.

REX, viceſimo primo die Julii, conceſſit Franciſco Crane militi officium cancellarii ordinis garterii infra caſtrum de Windſor in comitatu Berks, unà cum cuſtodiâ ſigillorum ejuſdem ordinis durante vita.

P. S.

Appendix A.6 A Grant of the Office of Maſter-Maſon and Architect. *

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CHARLES, by the grace of God King of England, Scotland, France, and Ireland, Defender of the Faith, &c.
To all whome theſe preſents ſhall come, Greeting.

Knowe yee that wee, of our eſpeciall grace, certaine knowledge and meere motion, and for divers other good cauſes and conſiderations us at this preſent moveing, have given and graunted, and, by theſe preſents, for us our heirs and ſucceſſors, doe give and graunte to our truſty and welbeloved ſervaunt Nicholas Stone the office and place of our Maſter Maſon and Architeckt for all our buildings and reparations within our honor and caſtle of Windſor, and him the ſaid Nicholas Stone, our ſaid Maſter Maſon and Architeckt for all our ſaid buildings and reparations within our honour and caſtle of Windſor aforeſaid, wee doe make, ordaine conſtitute and appointe by theſe preſents.

To have hold execute and enjoy the ſaid office and place of our Maſter Maſon and Architeckt for all our buildings and reparations within our honour and caſtle of Windſor aforeſaid, to the ſaid Nicholas Stone, by himſelfe, or his ſufficient deputy and deputies, for and dureing the terme of his naturall life;

And further, of our more ample grace, certeine knowledge and mere motion, wee have given and graunted, and by theſe preſents, for us our heires and ſucceſſors, we doe give and graunt to the ſaid Nicholas Stone for the executeing of the ſaid office and place, the wages [] and fee of twelve pence of lawfull money of England by the day, in as large and ample manner as William Suthis, or any other perſon or perſons heretofore, having executed and enjoyed the ſaid office and place, hath had or ought to have had and enjoyed; to have and yearely to receive the ſaid wages and fee of twelve pence by the daye, to the ſaid Nicholas Stone and his aſſignes, from the daye of the date of theſe preſents, for and dureing the naturall life of him the ſaid Nicholas Stone, out of the treaſure of us our heires and ſucceſſors, by the hands of the treaſorer and chamberlaines of us our heires and ſucceſſors there for the time being, at the fower uſuall feaſts or termes of the yeare, that is to ſay, at the feaſts of the Nativitie of Saint John Baptiſt, Saint Michael the Archangell, the Birth of our Lord God, and the Annuntiation of the Bleſſed Virgin Mary, by even and equall portions yearlie to be paid, together with all other profitts commodities and allowances to the ſame office and place due, incident or in anie wiſe appertayneing, in as lardge and ample manner as the ſaid William Suthis or any other perſon or perſons heretofore haveing executed and enjoyed the ſaid office hath had, or ought to have had and enjoyed.

Although expreſſe mention, &c.

In witneſſe whereof, &c.

Witneſſe our ſelfe at

Per Breve de Privato Sigillo.

Appendix A.7 Pro Nicholao Stone.

THE King, the twenty firſt day of Aprill, granteth to Nicholas Stone the office and place of Maſter Maſon of all the King's buildings and reparations within the honor and caſtle of Windſor during his life.

P. S.

Appendix A.8 De conceſſione officii Abrahamo Vanderdoort. *

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CHARLES, by the grace of God, &c.
To all to whome, &c. Greeting.

Whereas our welbeloved Abraham Vanderdoort Eſquire hath, by many chardgeable tyralls and long practice, attayned to the art, miſtery, ſcience and ſkill of imboſſing and making of medales, great or ſmale, moulded or preſſed, or in any other manner in gould, ſilver or braſſe, which the former emperors and monarches of the world have heretofore beene wont to leave as monuments of antiquitie to their poſterities, and are nowe alſoe growne in uſe amongſt many of the princes of Chriſtendome.

Knowe yee therefore that wee, being willing to appropriate to our ſelfe the ſervice and imployment of the ſaid Abraham Vanderdort in that arte, miſtery, ſcience and profeſſion, have of our eſpeciall grace, certeyne knowledge and meere motion, given and graunted, and by theſe preſents, for us our heires and ſucceſſors doe give and graunt unto the ſaid Abraham Vanderdoort, the office or place of maiſter imboſſer and maker of the medales of us our heires and ſucceſſors of all ſizes and quantities to be wrought in gould, ſilver or braſſe, moulded or preſſed, or in other matter whatſoever, And to have the overſeeing and keeping of the ſame, for the ſervice of us our heirs and ſucceſſors, And him the ſaid Abraham Vanderdoort wee doe by theſe preſents, ſor us our heires and ſucceſſors, conſtitute, appointe and ordaine to be the Maiſter Imboſſer and maker of the medales of us our heires and ſucceſſors, of all ſizes and quantities to be wrought in gould, ſilver or [] braſſe, moulded or preſſed, or in other manner whatſoever, and to have the overſeeing and keeping of the ſame, for the ſervice of us our heires and ſucceſſors;

To have, hould, occupie and enjoy the ſaid office or place unto the ſaid Abraham Vanderdoort and his aſſignes, for and dureing the naturall life of him the ſaid Abraham Vanderdoorte.

And further, of our eſpeciall grace certeyne knowledge and meere motion wee have given and graunted, and, by theis preſents for us our heires and ſucceſſors, doe give and graunte unto the ſaide Abraham Vanderdoorte, for the exerciſeing of the ſaide office or place, the yearlie fee and allowance of fortie poundes of lawfull money of England by the yeare, to have, hould, receive and enjoy the ſaid fee and allowance of fortie poundes by the yeare to the ſaid Abraham Vanderdoorte, out of the treaſure of us our heires and ſucceſſors, at the receipte of rhe exchequer of us our heires and ſucceſſors, by the hands of the treaſorer and chamberlaynes of us our heires and ſucceſſors there for the tyme being, at the fower uſuall feaſts of the yeare, that is to ſaye, at the feaſte of the Nativitie of Sainte John Baptiſte, Sainte Michaell the Archangell, the Birth of our Lord and the Annuntiation of the bleſſed Virgin Mary, by even portions to be paied, The firſte payment thereof to begin at the feaſte of Sainte John Baptiſt nexte comeing after the date hereof, together with all and all manner of other fees, profitts, advantages, rightes, liberties, commodities and emoluments whatſoever to the ſaid office or place belonging or of righte apperteyning, or which hereafter may any way be due belong or apperteyne; wherefore our will and pleaſure is, And wee doe, by theſe preſents, for us our heires and ſucceſſors command and authorize the ſaid treaſorer, chancellor, undertreaſorer and barons of the ſaid exchequer for the [] time being, and all other the officers and miniſters of the ſaid court, and of the receyte there for the tyme being, that they and every of them, to whom itt doeth or ſhall apperteyne, doe not onelye upon ſighte of theis our lettres patents or the inrollment of them from tyme to tyme, paie and deliver, or cauſe to be paid and delivered unto the ſaid Abraham Vanderdoorte and his aſſignes the ſaid yearly fee and allowance of fortie poundes as the ſame ſhall growe due, but doe alſoe give allowance thereof according to the true intent and meaning of theſe preſents, and theis our letters patents or the inrollment thereof, ſhall be yearlie and from tyme to tyme, aſwell to the ſaid treaſorer and chamberlaines of our ſaid exchequer, as to all other the officers and miniſters of us our heires and ſucceſſors, to whome it ſhall apperteine, a ſufficient warrant and diſchardge in this behalfe:

Although expreſſe mention, &c.

In witnes, &c.

Witnes our ſelfe att

Per Breve de Privato Sigillo.

Appendix A.9 *De conceſſione ad vitam Abrahamo Vanderdoort.

CHARLES by the grace of God, &c.
To all whome, &c. Greeting.

Whereas we have appointed our ſervant Abraham Vanderdoort Eſquire to overſee and take care of all our pictures which are at [] Whitehall and other our houſes of reſort, to prevent and keepe them (ſo much as in him lyeth) from being ſpoiled or defaced, to order marke and number them, and to keepe a regiſter of them, to receive and deliver them, and likewiſe to take order for the makeing and coppying of pictures as wee or the Lord Chamberlaine of our houſhold ſhall directe, And to this end are pleaſed that hee ſhall have acceſſe at convenient times into our galleries chambers and other roomes where our pictures are;

Knowe yee that wee, in conſideration of the good and acceptable ſervice done and to be done unto us by our ſaid ſervaunt Abraham Vanderdoort in manner as aforeſaid, of our eſpeciall grace, certeyne knowledge and meere motion, have given and graunted, and by theis preſents for us, our heires and ſucceſſors, doe give and graunt unto the ſaid Abraham Vanderdoort the office or place of overſeer of all the pictures of us, our heires and ſucceſſors, And him the ſaid Abraham Vanderdoort wee doe by theſe preſents, for us, our heires and ſucceſſors, conſtitute, ordayne and appointe to be the overſeer of all the pictures of us, our heires and ſucceſſors, to have, hold, occupy and enjoy the ſaid office or place unto the ſaid Abraham Vanderdoort and his aſſignes, for and dureing the naturall life of him the ſaid Abraham Vanderdoort.

And further, of our eſpeciall grace certayne knowledge and meere motion, Wee have given and graunted, and by theis preſents for us, our heires and ſucceſſors, doe give and graunt unto the ſaid Abraham Vanderdoort, for the exerciſeing of the ſaid office or place, the yearlie fee or allowance of fortie pounds of lawfull money of England by the yeere, to have, hold, receive and enjoy the ſaid fee and allowance of fortie pounds by the yeare unto the ſaid Abraham Vanderdoort and [] his aſſignes, for and dureing the naturall life of the ſaid Abraham Vanderdoort, out of the treaſure of us, our heires and ſucceſſors, out of the receipte of the exchequer of us, our heires and ſucceſſors, by the hands of the treaſorer and chamberlaynes of us our heires and ſucceſſors there for the tyme being, at the fower uſuall feaſts of the yeare, that is to ſaye, at the feaſtes of the Nativitye of Sainte John Baptiſt, Sainte Michaell the Archangell, the Byrth of our Lord God, and the Annunciation of the bleſſed Virgin Mary, by even portions to be payde; the firſt paymente to begin at the feaſt of the nativitie of St. John Baptiſte nexte comeing after the date hereof;

Wherefore our will and pleaſure is, and wee doe by theis preſents for us our heires and ſucceſſors, commaunde and authorize the ſaid treaſorer, chauncellor, undertreaſorer and barons of the ſaid exchequer for the tyme being, that they and everie of them, to whome it doeth or ſhall apperteyne, doe not only uppon ſight of theis our lettres patents or the inrollment of them from tyme to tyme, paye and deliver, or cauſe to be payde and delivered unto the ſaid Abraham Vanderdoorte and his aſſignes the ſaid yerely fee and allowance of fortie poundes, as the ſame ſhall growe due, but doe alſoe give full allowance thereof according to the true intent and meaning of theſe preſents, and theis our letters patents or the inrollment thereof, ſhalbe yerely and from tyme to tyme, aſwell to the ſaid treaſorer and chamberlaines of our ſaid exchequer, as to all other the officers and miniſters of us our heires and ſucceſſors, to whome it ſhall or may apperteyne, a ſufficient warrant and diſcharge in this behalfe; Although expreſſe mention, &c.

In witnes, &c.

Witnes our ſelf at

Per Breve de Privato Sigillo.

Appendix A.10 De Warranto ſpeciali pro Georgio Duci Buckingham et aliis. *

[]
CHARLES, by the grace of God, &c.
To our right truſty and right entirely beloved Coſen and Counſellor George Duke of Buckingham our High Admirall of England,
To our right truſty and right welbeloved Coſen and Councellor Henry Earle of Holland,
To our right truſty and right welbeloved Councellor Edward Lord Conway one of our Principall Secretaries of State,
And to our truſty and right welbeloved Spencer Lord Compton
And To our truſty and welbeloved ſervants Sir Henry Mildmay Knight, Maſter of our jewell houſe And Endymion Porter one of the groomes of our bedchamber, and to all other our officers miniſters and loveing ſubjects whom ytt may any way concerne, Greetinge.

Whereas wee have lately ymployed the ſaid Duke of Buckingham and Earle of Holland as our Ambaſſadors Extraordinary to the States of the United Provinces, and for our ſpeciall ſervice have commaunded the ſaid Lord Compton to deliver into the hands of the ſaid Lord Conwey the ſeverall jewells, hereafter particularly mentioned, beinge att that tyme in his cuſtody (that is to ſay)

[] A great riche jewell of goulde, called the Mirror of Greate Brittaine, haveing twoe faire table diamonds, twoe other large diamonds cutt lozen wiſe, garniſhed with ſmall dyamonds and a pendant of a faire dyamond cutt in faucetts without foyle,

A faire jewell in faſhion like a fether of goulde, having in the middeſt one greate dyamond and thirty other dyamonds of ſeverall bignes, and five ſmall dyamonds in a croſſe:

A faire flower of goulde with three greate ballaſſes in the middeſt, a greate poynted dyamond and three great pearles ſixte with a faire pearle pendant, called The Brethren:

A greate poynted dymond with the collett taken from a coller of goulde, wherein yet remaines eignte greate rocke rubies and twenty greate pearles ſet in twoes, with a long pearle pendant:

A broken coller of goulde of thirty peeces, whereof fifteen are roſes and fifteene crowned cyphers of the late Kinge and Queens names, wherein are nowe remaining eleaven poynted dyamonds and nyne table dyamonds:

A jewell of goulde of the letter I, haveing one longe fayre table dyamond and twoe leſſer ſquare table triangled dyamonds, and a roſe dyamond, and a greate ovall pearle pendant:

The greate coller of ballaſt rubies, conteyninge twenty peeces of goulde, whereof tenn are ſett with greate ballas rubies, and tenne with ſixteene round pearles in eiche peece:

One greate ſaphire cutt in foſſetts, one pendant ſaphire cutt in foſſetts, one ballaſt ruby with a longe pearle pendant, one ballaſt ruby without foyle in a collett of goulde enamelled:

A greate amatiſt in a collet of goulde.

All which jewells the ſaide Lord Compton according to our commaundment [] did deliver unto the ſaide Lord Conwey, and the ſaid Lord Conwey by our commaundment did deliver them uppon or neare aboute the eighte day of November nowe laſt paſt unto the ſaid Endymion Porter to bee carried beyond the ſeas into Holland, and there to bee delivered unto the ſaide Duke of Buckingham and Earle of Holland by them twoe to be diſpoſed of as wee have ſpecially directed them for our ſervice.

And whereas the ſaide Sir Henry Mildmay the maſter of our jewell houſe, by our like eſpeciall commaundment uppon or aboute the ſixe and twentieth day of October nowe laſt paſt, did deliver out of his cuſtody and charge unto the ſaide Duke and Earle, or theire ſervaunts for them, theis ſeverall parcells of riche plate and jewells hereafter particularly mentioned in theis preſents,

That is to ſaie,

Inprimis, one baſon of goulde, in the bottome there are ſett two fayre dyamonds, twoe fayre rubies, twoe emeraulds, and ſeaventeene faire pearles, and the brymme of the ſame garniſhed with fower faire dyamonds, fower faire rubies, fower faire emeraulds, and forty eighte cluſters of pearles, there beinge fower faire pearles in every cluſter, of the waighte of one hundred and thirteen ounces.

Item, one very faire layer of mother of perle, being a ſhell crazed in ſundry places and ſimited againe, garniſhed with goulde, the foote thereof cutt eighte ſquare, in the lower parte whereof is one dyamond without a foyle, fower rocke rubies, twoe fayre emraulds, and one ſaphire, and uppon the upper parte of the ſame ſquare is one very faire dyamond without foyle, one faire rocke ruby, and twoe faire emraulds, the ſhanke thereof garniſhed with twoe very faire rubies, twoe very faire emraulds, and three very faire pearls pendant, the body thereof [] garniſhed with twoe very faire rubies, twoe faire emraulds, two faire dyamonds and ſix pearles, the handle being an antique man of goulde garniſhed with ſixe rubies, one emrauld, one ſaphire, and one pearle pendant, layinge his one hand uppon a goodly ballaee, and the other hand uppon a goodly ruby, and from the body to the ſame ſhell, garniſhed with twoe dyamonds, fower rubies and twoe very faire rubies, with twoe pearles pendant in twoe womens hands, houldinge betweene the other twoe hands a goodly ballace like a harte, the garniture of the ſame ſhell above the brymme and ſpoute downwards to the body with five dyamonds, twoe of them being greate, ſeaven rubies, fower emraulds, one emrauld pendent, one blewe ſaphire, and three pearls pendent, with two ſeverall pearles ſett, and a longe pearle ſett in the topp over the ſaide harte of ballace, weighinge one hundred and threeſcore ounces:

Item, one baſon and layer of goulde, the baſon enamelled about the buſhell and brymme, and the layer ſutable, haveing forty eighte ſmall dyamonds in the baſon, and thirtie three ſmall dyamonds, thirtie rubies, and twelve greate ſaphires in the layer, weighing twoe hundred and twoe ounces:

Item, a baſon and ewer of goulde, ſett with dyamonds rubies and emraulds, and one greate ballace ruby in the middeſt of the ewer the armes of Denmarke in the baſon with Anna Regina, weighing one hundred threeſcore five ounces and a halfe:

Item, a faire boll of goulde, with a cover garniſhed with dyamonds rubies and emraulds, in the topp a wilde man with a ruby pendent in his hand, and Anna Regina within the cover, weighing fifty one ounces and halfe a quarter:

[] Item, a ſtanding cupp of gould, with a cover garniſhed with dyamonds rubies and emraulds all perfecte, having the armes of Denmarke within the cover, weighing fiftie ounces ſcante:

Item, one cupp of goulde, with a cover graven on the body, with an alter and an inſcription over itt (nil niſi vota), and the ſimilitude of a temple graven with a peramides on the topp of the cover, and a harniſed man on the topp thereof holding an antique ſhield in his left hand, weighing two hundred ounces and a halfe:

Item, one baſon and layer of goulde plaine, weighing one hundred fowerſcore and ſixteene ounces:

Item, a paire of faire bolls and covers of goulde raiſed with talbotts on the ſides, weighing one hundred and twentie ounces.

Item, a faire ſtanding cupp of gould, garniſhed about the cover with eleaven dyamonds, and two poynted dyamonds about the cupp, ſeaventeene table dyamonds and one pearle pendent uppon the cupp, with theis words bound to obey and ſerve, and H. and I. knitt togeather; in the topp of the cover the Queens armes, and Queene Janes armes houlden by twoe boyes under a crowne imperiall, weighing threeſcore and five ounces and a halfe:

Item, a cupp of goulde with a cover garniſhed with redd roſes and full ſett, and garniſhed with courſe ballaces or rubies and ſaphires, and one and twentie troches of pearles, three pearles in every troche, weighing fiftie ſixe ounces ſcante:

Item, a highe ſalt of gould in the forme of a ſhippe, with a ſtrikeing clocke in the cover garniſhed with dyamonds, rubies, ſaphires, emraulds, jacints, amatiſts, ballaces and perles, weighing one hundred threeſcore twoe ounces and a halfe:

[] Item, one ſalte of goulde, called the Morris Daunce, haveing the foote garniſhed with ſixe greate ſaphires and fifteene courſe dyamonds, thirtie ſeaven courſe rubies, fortie twoe ſmall garniſhing perles, haveing uppon the ſhanke three great courſe ſaphires and three great courſe perles, uppon the border about the ſhanke twelve courſe dyamonds, eighteene courſe rubies, and fiftie twoe garniſhing perles, and ſtandinge about that five morris dauncers and a taberer, haveing amongeſt the morris dauncers and taberer thirteene ſmall garniſhinge perles and one ruby, the lady houlding the ſalte haveing uppon her garment from her foote to her face fiftye garniſhing perles and eighteene courſe rubies, the foote of the ſame ſalte haveing fower courſe rubies and fower courſe dyamonds, the border about the middle of the ſame ſalte haveing fower courſe dyamonds, ſeaven rubies and eighte perles, and uppon the topp of the ſaid ſaulte fower dyamonds, fower rubies and three greate pearles, haveing uppon the tyre of her head tenn courſe rubies, twelve courſe dyamonds and twentie nyne courſe garniſhinge perles, weighinge one hundred fifty one ounces and a halfe and halfe a quarter:

Item, one cupp of goulde called the Dreame of Paris, haveing uppon the cover thereof the image of Paris, Jupiter, Venus, Pallas and Juno, and Paris horſe uppon the cover, garniſhed with eighteene dyamonds greate and ſmall, and in the five borders of the ſame cover thirtie twoe greate rubies, Jupiter garniſhed with tenn ſmall rubies, and Paris helmett garniſhed with twoe ſmall rubies, Venus and Pallas either of them haveing one ſmall rubie uppon their breſt, Juno wanting her chaplett, the horſe of Paris haveing eighte ſmall rubies, alſoe uppon the ſive borders of the ſame ſortie one great perles, Jupiter haveing [] his garment garniſhed with thirtie two ſmall perles, Paris haveing one ſmall perle uppon the topp of his cap, Venus having twoe perles hanging downe from her chaplett, Juno haveing uppon her chaplett hanging downe twoe ſmall perles, and uppon her buttocks twoe ſmall perles, the horſe garniſhed with twenty ſeaven perles great and ſmall, the cupp haveing upon the foote and ſhanke twentie ſixe rubies greate and ſmall, tenne dyamonds of divers ſorts, fower ſaphires, and thirty eighte perles greate and ſmall, weighing one hundred twenty and one ounces:

Item, a trencher ſalte of golde in forme of a caſtle, garniſhed with dyamonds, rubies, emraulds and perles, weighing one and twentye ounces and a quarter:

Item, one cupp and cover of golde, weighing thirtie ounces;

Item, one cupp of golde the cover and foote enamelled with eighte courſe dyamonds, fower on the cover, and fower leſſer on the foote, and in the topp of the cover a faire pointed emraulde and another knobb of goulde enamel'd like the emraulde, weighing twentie eighte ounces and a quarter:

Item, one high ſalte of goulde with a cover of goulde, in the cover twelve ballace rubies, nine ſaphires, three dyamonds, and on the topp a woman haveing a roſe dyamond in one hand, and in the other an arrowe with a dyamond at the end garniſhed with perles fixed and pendant, wanting ſixe perles, nyneteene ſmall dyamonds in the coronett, the cover weighing threeſcore ounces, the ſalte ſett with forty five ballace rubies, thirtie ſixe ſaphires, ſeaven ſmall dyamonds, and garniſhed with perles fixed and pendant, wanting divers perles, weighing twoe hundred thirtie fower ounces ſcante, weighing in toto twoe hundred fowerſcore ſixe ounces and a quarter:

[] Item, one cupp of goulde, the cover and foote enamelled with eighte courſe dyamonds, fower on the cover, and fower leſſer on the foote, and in the topp of the cover a faire pointed emrauld, and another knobb of gould enamelled like an emrauld, weighing twentie eight ounces and a quarter:

Item, one cupp, the boll thereof agett ovall faſhion, called the Conſtables Cupp, with an aggett in the foote, all garniſhed with gould enamelled, ſett with rubies and dyamonds, with a cover of goulde likewiſe enamelled and garniſhed with rubies and dyamonds, ſett about with fower antique heads of aggetts, in the inſide one agett cutt with twoe faces garniſhed with dyamonds, weighing fiftie ſeaven ounces three quarters:

Item, one cupp and cover of goulde with dropps and a branch of flowers in the topp enamelled like dayſeys, weighing thirtie ſixe ounces.

Item, one layer of goulde chaſed with longe dropps, the ſpoute beinge a ſerpente garniſhed with rubies, perles and flowers enamelled with white and redd, wanting a ruby in the topp of the cover, weighing fortie ounces ſcante:

Item, eighte great diſhes of goulde with armes, weighing one hundred fowerſcore fower ounces and a quarter;

Item, ſixe trencher plates of goulde with armes, weighing threeſcore and fowerteene ounces one quarter and halfe a quarter:

Item, twelve fruite diſhes of gould with the armes of Denmarke, weighing one hundred and fowerſcore five ounces and a quarter:

Item, a poſnett of goulde with a cover, weighing twentie ounces and a quarter ſcante:

Item a boll and cover of goulde with roſes and crownes, and a [] crowne with a croſſe on the topp of the cover, weighing threeſcore nyne ounces and halfe a quarter:

Item, one paire of goulde cupps with covers, haveinge blewe ſnake rings in the topp of theire covers, weighing thirtie ounces and a halfe:

Item, twoe trencher plates of gould ſtandinge uppon pillers, weighing one hundred and tenne ounces one quarter and a halfe:

Item, one porringer and cover of goulde, weighing twenty ſeaven ounces three quarters and a halfe:

Item, one cupp and cover of goulde, weighing thirtie one ounces and halfe a quarter:

Item, one cupp and cover of goulde, weighing twentie five ounces one quarter and a halfe:

Item, one cupp and cover of goulde, weighing twentie three ounces three quarters and a halfe:

Item, a coller of goulde, conteining ſeaventeene roſes and ſeaventeene knotts, weighing twenty nyne ounces and three quarters:

Item, a baſon and ewer of goulde ovall faſhion, weighing threeſcore eleaven ounces and a halfe:

Item, a gridiron of goulde, weighing twentie twoe ounces a quarter and a halfe:

Item, a cupp of aggott, with a cover garniſhed with gould and full of emraulds, turqueſſes, dyamonds, roſes of dyamonds, rubies and perles, with a ſaphire on the topp, with a boy houldinge a ſpeare, weighinge fiftie three ounces and halfe a quarter:

Item, a lookinge glaſſe ſett in goulde, garniſhed on the one ſide with twoe ſaphires, fower rubies and one emraulde, and on the other ſide with fower ſaphires and fower rubies, the ſteele of Aggott, twoe little [] boyes, one of them houldinge a pearle and five perles hanginge, on the other parte of the body is a man on horſebacke, the body beinge a clocke within a chriſtall garniſhed with fower dyamonds and fiftie five rubies, with fower antique boyes enammelled white, twoe of them beareing in either hand a perle, and the other twoe, the one haveinge twoe perles and the other hath one perle in theire handes, wantinge fower perles in the ſaide antique boys, the baſe or foote ſtandinge uppon fower round criſtalls garniſhed with tenne rubies, and fower naked women of goulde ſtanding att every corner one, and a man in the topp beinge naked, weighing fowerſcore and ſeaventeene ounces three quarters and a halfe:

Item, one plate of goulde, graven on the one ſide with aſtronomy, and on the other ſide with a ſhippe, called the Tryumphe, with a caſe of murrey velvet, weighinge threeſcore and thirteene ounces:

Item, one layer, the foote body and handle of aggott, the body craſed, garniſhed with gould and ſett with dyamonds, rubies and amathiſts, one emraulde and one ſaphire, the foote having a border of ſmall rubies rounde about itt, weighing twentie eighte ounces and halfe a quarter:

Item, a cupp of aggott with a cover of goulde like a tent, haveinge a morris daunce in the cover, ſett with twentie ſaphires, nine ſmall dyamonds and ſeaventeene ballace rubies, garniſhed with pearles fixed, and pearles and beads of gould pendant, weighinge threeſcore and eighte ounces:

All which jewells and plate have beene received by the ſaide Duke and Earle, to be diſpoſed of by them for our eſpeciall ſervice according as wee have given unto them private directions:

[] Nowe foraſmuch as the ſaide jewells and plate are of greate value, and many of them have longe contynued as itt were in a continuall diſcent for many years togeather with the crowne of England, and therefore it may not bee ſafe for the ſaide Lord Compton, Lord Conwey, Sir Henry Mildmay and Endymion Porter, or any of them, to deliver them out of theire ſeverall charges, nor for the ſaide Duke and Erle to receive the ſame and tranſporte the ſame beyonde the ſeas, and there to diſpoſe them without ſpeciall warrant from us for the doeinge thereof, which in tyme to come mighte bee perrillous unto them, unles wee ſhoulde by ſome publique inſtrument declare that all this was done by our eſpeciall commaundment and for our eſpeciall ſervice:

Knowe all men therefore that wee, for many weighty and important reaſons and cauſes, much concerning us our honour and ſtate, have authoriſed and commaunded the ſaide Lord Compton, Lord Conwey and Sir Henry Mildmay and Endymion Porter, to deliver theis ſeverall jewells and plate, before ſeverally mentioned in manner as aforeſaide, unto the ſaide Duke and Erle or ſuch of theire ſervants as they ſhoulde appointe to keepe the ſame;

And that wee did likewiſe authoriſe and commaunde the ſaide Duke and Earle to order and diſpoſe of the ſaid jewells and plate to ſuch purpoſes, and in ſuch manner as wee our ſelfe have in private to them particulerly directed, and wee doe by theis preſents declare and avowe the ſame, and that nothinge therein is done but by our owne ymmediate commaunde and for our awne ymmediate ſervice; And our will and pleaſure is, and wee doe by theis preſents, for us our heires and ſucceſſors, graunte that they the ſaide Duke of Buckingham, Erle of Holland, Lord Conwey, Lord Compton, Sir Henry Mildmay and [] Endymion Porter and every of them theire heires, executors and adminiſtrators, and theire and everie of theire landes, goods and chattells, bee for ever freed as againſt us our heires and ſucceſſors for the doeinge and performeing of our will and pleaſure touchinge the premiſſes, and that they and every of them, be onely accomptable to us in our owne perſon for the diſpoſeing of the ſaide jewells and plate, and to none other nor in any other manner;

And theis preſents, or the inrollment thereof, ſhalbe unto them and every of them, and to all our officers and myniſters whom yt may any way concerne, a full and ſufficient warrant and diſcharge in that behalfe.

In witnes, &c.

Witnes our ſelfe att

Per ipſum Regem.

Appendix A.11 A Monſieur le Compte D'Hollande.

MONSEIGNEUR,

MONS. L' Abé de Scagliá m'a commende de vous faire ceſte deſpeſche pour la neceſſité qu'il y a que les affaires ſoient advancées et pouſſés comme il diſt dens le grand chemain. Il y a un mois que j'ay envoyé une deſpeſche a Monſ. le Duc pour rendre compte de ce qu'il m'avoiſt enchargé et de ce que Monſ. de Scaglia avoiſt a dire, la dicte deſpeſche eſtant arivée trois jours appres le deſpart de Monſeigneur le Duc. Sa Maj. a pleu la lire et m'honnorer de ces commends par une lettre que Monſ. de Montagu m'a apportée [] du ſecretaire Canvué. En m'a precedente lettre j'ay faict recitt de ce que ce pouvoiſt apprendré iſſi des plus fraiches nouvelles de France, et de ce que Monſ. L' Abé de Scaglia avoit appris a Bruſſelles, Eſtant le ſommaire une tres remarquable diſpoſition qu' avoiſt L' Infante et le Marquis Spignola a un accomodement, luy aiant demandé ſils ſe pouvoient aſſeurer que L' Engleterre leur donneroiſt bien deux mois de temps, pour reçeveoir les ordres requis d'Eſpagne, Or eſt il qu'en ſuitte de la derniere lettre de Rubens, par la quelle il deſiroiſt un entreveve de luy et de moye en Hollande, ie luy procuray un paſſeport du Prince d' Oranges, Il ce tranſporta de Bruſſelles a Breda, d'ou il meſcript qu'il avoiſt ordre de ces maiſtres de ne paſſer plus oultre que Zenenberghen, plaſſe neutre, et ou autrefois ceux qui firent les premieres ouvertures de la France ſentrevoioient, m'aſſeurant par ſa lettre qu'il me feroiſt veoir clairement que ceſte punctualite eſtoiſt fondée ſur des raiſons juſtes, equitables et tendantes a l'advancement de l'affaire, mais aiant en ſinguliere recommendation d'acompagner les ordres que Monſ. le Duc m'a donnee, avecq les ſircumſtanſſes requiſes a la reputation da ſa Maj. ie montray la lettre a Monſ. Carleton et luy dis que ie neſtois nullement d'avis de bouger de la Haye ou des environs, et fis reſponſe au dict Sr. Rubens que ie luy avois envoyé un paſſeport a ſa requiſition, en vertu duquel il pouvoiſt ſans auqune difficulté ce tranſporter luy et ſes valets, en telle plaſſe de la Hollande qu'il luy plaiſait, que ſ'il faiſoit difficulté de venir a la Haye, ie lirois trouver a Delf, ou Rotterdam comme appert par les copies des lettres iſſi encloſſes, Il me fiſt reſponſe, et ſçaveoir quil partoit promtement pour Bruſſelles pour receveoir aultres ordres, eſtant tres ſenſible de quelque ombrage que ie pourois prende, comme appert par ceſt lettre incluſe [] quil eſcript a Monſ. L' Abé de Scagliá, proteſtant que ceſte reſolution avoiſt eſté priſe pour le bien de l'affaire, ce qu'il m'euſt tres particulierement faict entendre. Quelque jours appres il arriva a Delf qui etoiſt le 11/21 du mois de Juillet, où il m'a repreſenté que ſi Don Diego Meſſias qui eſt encore a Paris n'euſt tardé ſi long temps il n'euſt pasdeſiré de me veoir avant ſon arrivée parce que L' Infante attandant par luy tout ordre ne ſçavoit que dire, mais craignant que l' Engleterre prinſt quelque ombrage de la longeur d'Eſpagne, elle lavoiſt envoyé pour m'aſſeurer de ſon integritté de ſon Zelle, et ſincere intention. En un mot pour faire cognoiſtre que les ordres euſſent eſtes pluſtoſt envoyés ſi l'Eſpagne n'euſt pris c'eſte reſolution d'envoyer Don Diego Meſſia lequel a ce quil diſt a faict telle diligence qu'il eſt party le lendemain de ces fiançailles, le dict Don Diego aiant auſſi tardé plus long temps par les chemains pour raiſon d'une fievure tierce laquelle le tient encore a Paris. la ſeconde raiſon pourquoy ils avoyent envoyé le Sr. Rubens eſtoiſt, pour entendre ſi l'on avoiſt advancé pour procur [...]r a la concurence des eſtats, et ſi l'on avoiſt meditté ſur les expedients neceſſaires, pour facilliter les affaires, ou les plus grandes difficultes et obſtacles ce rencontreroient en celles de Hollande, Que l'Eſpagne avoiſt eſcript en ces termes. Vous continuerez de traitter avec Gerbier juſques a ce que Don Diego vienne, non ſeulement d'un acomodement entre l'Eſpagne et l'Engletere, mais auſſi pour l'Aleſmagne et l'Hollande. Que l'Empereur meſme avoiſt eſcript tres exactement a l'Infante que ſi auqúun traitté paſſoit par ces mains quil ſeroiſt tres contant que les affaires d'Aleſmagne ſ'acommodaſſent et qu'il teſmoigneroiſt d'eſtre un Prince Chreſtien. Le dict Rubens faiſant des grandes inſtances pour sçaveoir a quel expediants l'on avoiſt penſez, [] Je luy fis reſponſſe que par l'eſcript qu' avoiſt eſté envoyé le 9. de mars, pour reſponſſe de ceux que j'avois apportée de la part de l'Infante, la Balle (comme dire) eſtoiſt miſe a leur pietz, que c'eſtoiſt a eux de parler, que le temps ne permet pas puis que nous ne voions encore aultre certittude de leur part que parolles, de faire auqúune ouverture, que bien eſtoiſt vray que Monſ. Carleton ſe devoiſt diſpoſer a faire tout debvoir, mais qu'il neſtoiſt poſſible d'avancer l'affaire ſens que de la part d'Eſpagne, l'on ne viſt des teſmoignages eficatieux, ſur quoy il me dict que la ſereniſſime Infante ſçavoit bien quil ne ſe pouvoiſt rien faire ſans les ordres requis et ſi long temps attendus, mais que ſon voiage tendant a nous aſſeurer de la bonne intention, et nous leuer de toutte doubte. ſeroiſt acompagné de quelque advancement ſi en attendant la venue de Don diego Meſſias il ce pouvoiſt trouver quelques expediants pour donner lumiere a l'acheminement du traitté, et quainſſi il retourneroit avecque quelque fruict. Je luy dis que pour coreſpondre aus aſſeurances qu'il apportoiſt de la bonne intention de l'Infante. Que ie le pouvois aſſeurer de celle de ſa Maj. Et puis qu'il avoiſt maintenant licence de ce promener par les villes de Hollande, que j'avrois loiſir de veoir Monſ. Carleton lequel pouroiſt dire ſon ſentiment ſur quelques expedians, de la part duquel ie luy ay dict a ſon deſpart, qu'il ſeſvertuera tant que ſera poſſible, a meditter ſur les expediants neceſſaires et quen attandant qu'il avoiſt penſé a deux, eſtant toutesfois dict par maniere de diſcours, ſcaveoir ſi pour l'Electorat il ſe pouvoiſt adjouſter uné voix davantage au colege, et que le ſurvivant des deux ſuccederoiſt, le ſecond que dens lacommodement affin d'intereſſer le Prince, ſe rendaſſe la ville de Breda. Quand aux plus difficiles comme ſe qui regarde ce mot de p'ays libre, et leſtroitte [] confederation ratifiée il y a deux ans, qu'il eſperoiſt de trouver jour, eſtant ſon intention de la propoſer au roy a mon retour, lors que le dict Sr. Rubens feroiſt veoir ce que Don Diego Meſſias apporteroiſt. Il a promis qu'il feroiſt toutte diligence, et ſur ce ay eſté obligé d'attendre de ces premieres nouvelles, par advis de Monſ. Carleton. J'ay faict entendre au dict Rub. la ligue que le roy de France pretend de faire avecq les Princes catholiques d'Aleſmagne. L'argent quelle a promis de fournir aux eſtats ſur les premieres nouvelles quelle aura que l'armes des eſtats aura aſſiegeé quelque plaſſe, de ſortte que Monſ. Rubens avecq pluſieurs aultres diſcours qu'avons eu enſemble ſur la raiſon d'Eſtaſt que le roy d'Eſpagne devroit pluſtoſt aveoir de ſouffeir un Prince de la reliſion en Aleſmagne, ſen eſt allé avecq la puce a l'Oreille eſperant a la venue de Don Diego Meſſias, comme a un Meſſie. Les proteſtations qu'ils font, et la neceſſite qui les ſemble preſſer donne de l'aparence, ſi ce neſt que l'Eſpagne trompe meſme l'Infante. ce que ce cognoiſtra bien toſt, car Rubens a promis que ſ'il ſ'apercevoit de telle choſe il en adverteroiſt promtement.

J'avois faict mention en ma premiere lettre, que l'on pouvoiſt aiſement remarquer que pluſieurs de ca pa'ys panchoient du coſté de la France, et que la plus grand part avoyent une tres grande aprehention de ceſte rupture entre la France et l'Engleterre. Je m'eſtois adviſe denploier mon temps a faire quelque recoevil des meſmoires que j'ay des affaires paſſées, et le communiquant avec Monſ. L' Abé de Scaglia, Il a adioutté ce qu'il a creu eſtre convenable et utille, L'aiant reduit en uné faſſon de Lunettes d'Hollande pour faire veoir la veritté et la forme des affaires. Je luy eſcript en langue Françoiſe pour la traduire appres en flamang aveeq intention de le deſtribuer par eſcript [] parmy ceux qui ont le plus de pouvoir et de ſentiment en ce pa'ys ſi telle eſtoiſt la volonte de ſa Maj. c'eſt pourquoy ie l'envoye icy jointe, vous ſuppliant den dire voſtre ſentiment.

L'Ambaſs. de Savoye m'a dict que les deſputés des eſtats ont eſtes inviſtez et porttez eſcripre en France, touchant l'intereſt qu'ils ont de la mauvaiſe inteligence de ces deux couronnes. Que pourtant ils prient ſa Maj. doublier les offences receves et de vouloir ſuſpendre les actes d'hoſtillité contre l'Engleterre, repreſentant particulierement que ce deſordre portte la ruinne de ceſt eſtats. Laquelle lettre a eſté faictte par l'artifice du Cardinal de Richelieu pour la faire inprimer a Paris, affin que ceux de la reliſion de France voient que les actions d'Engleterre ſont meſmes odieuſes a ces amis, affin qu'ils croient qu'il y a meſme de la deſunion avecque ces eſtats, et faire paroiſtre qu'il a eu raiſon de portter le roy ſon maiſtre a des animoſites contre l'Engleterre, puis que les eſtrangers meſmes cognoiſſent que la France par elle a eſté offencée.

Nonobſtant ceſte ditte lettre que l'on croiſt eſtre ſolicittée par Artſen lequel ſ'eſt faict cognoiſtre du tout François en ceſte conjuncture; Les eſtats cognoiſent bien que l'Engleterre ne peut pour ces interets, n'y pour ſa reputation permettre la pertte de la Rochelle, comme auſſi que la France aye grandes forces en Mer, et deſtre pour les meſmes repects auſſi bien intereſſez que l'Engleterre, qui donne aſſez de ſubject de croire quil y a de la neceſſité de les pouſſer, n'y ayant pas de doutte, quils ſuivroit tout a faict l'Engleterre en ce quelle vouſdroit traitter d'une paix d'Eſpagne, eſtants hors de toutte ſortte deſpoir d'aſſiſtance de la France, et font bien veoir le ſentiment qu'ils en ont ſ'aiant la province d'Hollande eſvertuée de fournir deux millions de [] livres, plus que par le paſſé pour ſuppleter a ce que la France manque. Le Sr. Rubens a veu lettres eſcriptes de France a l'Infante et Marquis Spignola leſquelles ſont dreſſées par le Cardinal de Richelieu, diſant lors que Monſ. de Montagu parloit au Duc de Savoye touchant les affaires de la France, et l'Engleterre, que l'Ambaſſadeur de France la reſident eſtoiſt caché derriere la tapiſſerie pour ovir tout ce que ce diſoit, ceſte fourbe eſtant controuvée pour faire croire que la France eſt recherchée par l'Engleterre et que meſmes la France eſt ſi eſloignée de vouloir acommodement que ces miniſtres ne veulent pas paroiſtre ou ſont ceux d'Engleterre, pour traitter avecques eux.

Le Cardinal de Richelieu aiant ombrage du voiage de Meſſias, ſe diſant en France que c'eſt pour traitter avecq l'Engleterre, il a faict promtement eſcripre une lettre a Artſen, ſi toſt que l'armée des eſtats aſſiegeroient une plaſſe de l'ennemy que la France leur fera tenir cinq cents mille livres, eſperant par ce moien et par les 60/m livres qu'ils ont fourny au roy de Dennemarque d'apportter lenpeſchement a l'acommodement des affaires entre l'Eſpagne et l'Engleterre, ceſt un argument que la France ne faict rien de bon que par crainte et quand elle eſt forcée. Le bien qu' a deſia aportté le bruict de quelque traitté avecque l'Eſpagne, maxime certain que l'entretien en eſt bon.

Les Lettres de Paris du 25 font mention d'une ſoulevation qu'il y a eu dens Bourdeaux n'aiants voulu accepter les nouveux edits. Ceux de Bourdeaux n'ont auſſi voulu publier la desfence du commerce avecque l'Engleterre. Monſ. L' Abé de Scaglia m'a induit deſcrire qu'il ſeroiſt d'avis en ceſte diſpoſition de leur faire ſçaveoir de les vouloir traitter en amis, a condition qu'ils ſoient obliger d'aſſiſter ce que le roy de la grand Bretagne entreprendra a leur advantage. Monſieur [] de Rohan a faict reſponſſe au roy par ſon agent que le roy luy avoit envoyé pour tirer promeſſe de luy qu'il n'euſt pas a ce remùer, Il a reſpondu qu'il ſe fera recognoiſtre bon ſerviteur du roy pourveu que la Rochelle ſoit remiſe en toutte ſortte de libertté, ce que faict cognoiſtre au roy que la deliberation des armes que Monſ. de Rohan prend, eſt avecque le conſentment des Egliſes de France. Il a fait retirer Madâme de Rohan a Geneve, et ſen va en Italie affin que perſonne ne ſoupſonne quelle ſollicette le roy pour ſon mary.

La Rochelle avoiſt faict pendre quelques uns qui avoient voulu perſuader le peuple de ſ'unir avecque le roy.

Monſ. de Guiſe eſt tres mal ſatisfaict pour le commendement donné a Monſ. d'Angouleſme. Il eſtoiſt party vers Poittoù environ quattre ou cinq mille hommes et doibt eſtre la a la fin du mois de Juillet. Je ne puis obmettre de faire recitt de la bonne repartie que Monſ. L'Abé de Scaglia a faict a l'Embaſſadeur de France et celuy de Veniſe iſſi reſident, leſquelles preſſoient fort qu'il ce devoiſt entremettre en un acommodement, qu'il falloit procurer que la France vint a une ſuſpention d'armes, ſur quoy L' Abé de Scaglia demende ſi la France avoiſt des piques longues de Calais a Douure, car pour d'aultres armes il n'en cognoiſſoit pas.

Jay repreſenté a Monſ. de Scaglia ce que Monſ. Canoué m'a commandè de la part du roy, le dict Scaglia m'a faict veoir en meſme temps ce quil eſcrivoit a ſon Altetze touchant les affaires, pour le tenir touſiours diſpoſé au deſſain de ſa Maj. et dy engager ces amis, ce qu'il avoit recommendé avecque toute l'ardeur que l'on pouvoiſt ſonhaiſter. Pour ce que regarde le voyage du Baron de Puſeol, il attend reſponſſe d'un jour a aultre, de tout ce que l'on peut deſirer de ſa negotiation, [] eſtant party d'icy avecque touttes les inſtructions et meſmoires neceſſaires, il ne doutte quil n'aye bien ſervy. Pour les affaires de Geneve il a dict a Monſ. de Montagù en ma preſence comme il poura aſſeurer ſon Alteſſe de tout ce que le roy luy a ordonné et de plus que ſa Maj. eſt authourdhuy au point de rendre ſi grand ſerviſſe a ceux de ſon party en France qu'il luy donnera tant plus d'advantage et d'authoritté parmy ceux de Geneve et ailleurs que l'on pouvoiſt attendre quelque bon ſucces. L'Abe de Scaglia ſ'aſſeurant que ſon Maiſtre le trouvera bon, Monſieur de Montagu ſ'en va bien inſtruit de ce qu'il aura a ſaire avecq Soiſſons, particullierement ſur l'ocaſion de la Maladie du roy, laquelle enpirant pouroiſt bien changer beaucoup de choſes, aultrement ſ'il tombe en fievure cartte comme l'on dict deſia, cela fortifiera les mal contents de France, et donnera toutte ſortte d'advantage a ceux qui en ſçavront profitter, et quelque ſortte de minne qu'ils faſſent ils ſont a preſent bien enpeſchez, car indubitablement, yl y aura beaucoup de brouilliers dens touttes le provinces de la France qui les rendront inutilles au roy pour le ſecours qu'il en pouvoiſt aveoir tiré, juſques a tant que l'on ſoit en eſtaſt de faire d'avantage, comme Monſ. de Scaglia croit que ſera ſi les affaires de Savoye et de Genes ſachevent.

L'Abe de Scaglia avroiſt deſiré de paſſer au pluſtoſt en Engleterre vers ſa Maj. mais eſt en ce point qu'il attend quelque reſponſſe de Madame de Soiſſons, il deſire de pouvoir conclure avecq Monſ. de Candalle qui luy a promis de ſ'unir avecq Monſ. le Compte de Soiſſons, lequel n'attend qu'une reſponſſe pour eſtablir ceſte affaire la, mais il eſpere de partir dicy, au plus tard en quinſe jours, ou trois ſemaines, et deſire que le vaiſſeau revienne envers le dict temps.

[] L'Ambaſſ. de France a fort deſiré de pouvoir eſcripre quelque choſe du retour de Monſ. de Montagu, il ſ'eſt adreſſe a Monſ. de Scaglia lequel luy a faict des reſponſes aſſez ridicules, en particulier luy a propoſé de demander a Monſ. Carleton, paſſeport pour aſſeurer les vaiſſeaux du roy de France qu'il voiſdroit bien faire partir de ces ports.

J'avois touché en m'a precedente lettre comme l'Ambaſſ. de Venice et l'Agent de Florence reſidant en Engleterre ſont perſonnes qui interprettent en mal tout ce qui ce faiſoit en Engleterre, donnent les advis aux ennemis de la couronne, et eſtoient perſonnes dangereuſes, en aiant ſouvent ouy des eſtranges raports. Monſ. de Scaglia dict ſur cela, qu'il faut veoir de mettre l'affaire tout bellement en tel eſtaſt que l'on aye a parler ſens portter prejudice a l'Ambaſſ. de Venice qui eſt en France parce que les principalles choſes que Monſ. L'Abé de Scaglia a ſcù, il les a de celuy de Paris, lequel eſt maintenant ſuſpect a celuy d'Engleterre.

Mais touchant ceſt agent de Florence qui eſt a Londres, Le Sr. Vertſelin m'a ſouvent donné des advis pour les dire a Monſ. le Duc. ne pouvant le dict Vertſelin ſouffrir les malices leſquelles il faiſoiſt paroiſtre. Et j'ay remarqué ſelon les paroles que le dict Vertſelin m'a dittes que ſens doubte ceſt agent de Florence a faict ce petit livret intittullé la cronique des favorits, et dedie a Monſ. le Duc de Buckingham, dens lequel ie trouve les meſmes termes que le Vertſelin m'a raconté. Monſ. de Scaglia m'a faict tenir le livret que japortteray quand et moy, ſa Maj. m'aiant faict l'honneur de me commander par le ſecretaire Canové d'en faire raport, a qui j'ay auſſi eſcript un peu plus briefvement et pour ne manquer a mon deveoir ie n'ay voullu faillir de vous en donner la cognoiſſance.

[] Authourdhuy ſont venues les lettres de France vielles de 10 jours. Le roy eſt encore a Villeroy fort mal. ſa fievure eſt double tierce, avecque laccident de la diſſanterie le rend en tres mauvais eſtaſt, les aſtrologues diſant ſa fin, toutes les affaires ceſſent et pluſieurs tant dehors que dedans ſont aux atentes; il fuſt dict au roy que le Cardinal de Richelieu lavoit ſervy avecque beaucoup de paſſion, il dict ces mots, il eſt vray ie le ſçay bien, mais le peuple ſe plaint fort.

Ils ont taché dacepter le gouvernement de Grandmont, mais il la refuſé. Monſ. D'Eſpernon c'eſt retiré a Bergerac, diſant puis qu'il ne peut enpeſſcher la ſoulevation du peuple, qu' auſſi ne veuſt il eſtre preſent ſi quelque mal arivoit.

Monſieur d'Angouleſme a eſte commendé de ſ'areſter a Nior qui eſt a 10 lieves de la Rochelle. ils ont levé toutte les garniſons tant de Boulogne et quartiers ſircomvoiſins pour les envoyer a Monſ. d'Angouleſme. Madame la Conteſſe de Soiſſons a mandé que le mariage luv plaiſt mais dict a Monſ. de Scaglia quelle ne peut reſoudre que juſques a ce que ceſte maladie du roy prenne fin.

L'Ambaſſadeur de Savoye a eſcript par homme expres la neceſſite qu'il y a que Monſ. le Compte ſe deſclare et prenne reſolution principallement durant la maladie du roy.

Don Diego Meſſias eſt fort malade a Paris d'une fievre tierce, Je crains fort un prolonguement aux affaires, par ceſte maladie.

Monſieur de Crecy aiant mande un courier pour faire ſçaveoir au roy de l'armement de Monſ. de Savoye et l'ombrage que l'on devoit prendre de Monſ. de Soiſſons, le roy a mande a Monſ. de Crecy de ne bouger des frontierres et qu'il luy envoieroit le regiment du Prince de Phalſbourgh, le fils du Cardinal de Guiſe qui fuſt tué a Blois, quil les [] reduiroit a trois mille. le regiment du cheu. de Sault a deux mille, et ſi cela ne ſuffit, quil luy donne ordre d'en faire encore cinq mille et cinq cents cheuaus.

Monſ. de Louvieres eſtant mis en priſon a la Baſtille en l'ocaſion de Chalais a demande a parler au Cardinal Richelieu, le meſme jour a eſte mené a la Conciergerie, où l'on faict ſon proces, ce dict qu'il doibt aveoir nomme pluſieurs perſonnes et en particulier Monſ. le grand prieur et Vandome.

Monſ. Del Beuff ſolicitte pour le gouvernement de la Picardie.

Le roy a eſte ſaigné quatre fois, la fievre tierce redoubleé, ne bouge pas du lict.

Le Cardinal ce paigne de rage les cheveux et la barbe avecque les ongles, ne permet que perſonne aproche du roy, meſme la royne.

Ceſt iſſi le ſommaire de ce que les dernieres lettres diſent.

Jeſpere que Voſt. Exc. pardonnera a ma longue eſcripture partant du Zelle

De Monſeigneur
Voſtre tres humble tres obeiſant et tres oblige ſerviteur B. GERBIER.

Appendix A.12 *De Conceſſione ad vitam Nicholao Laniere et aliis.

[]
CHARLES by the grace of God, &c.
To the treaſurer and undertreaſurer of our Exchequer nowe being, and that hereafter for the tyme ſhalbe, Greeting,

Whereas wee have beene graciouſly pleaſed, in conſideration of ſervice done, and to be done unto us by ſundrie of our muſicians, to graunt unto them the ſeverall annuities and yearly penſions hereafter following, (that is to ſay) to Nicholas Laniere maſter of our muſick two hundred poundes yearly for his wages, to Thomas Foord foureſcore poundes yearly for his wages, that is, for the place which he formerly held, fortie poundes yearely, and for the place which John Ballard late deceaſed held, and now beſtowed upon him the ſaid Thomas Foord fortie pouudes yearly, to Robert Johnſon yearely for his wages fortie poundes and for ſtringes twentie poundes by the yeare, to Thomas Day yearely for his wages fortie pounds and for keeping a boy twenty fower poundes by the yeare, alſo to Alfonſo Feraboſco, Thomas Lupo, John Laurence, John Kelly, John Coggeſhall, Robert Taylor, Richard Deering, John Drewe, John Lanier, Edward Wormall, Angelo Notary and Jonas Wrench, to everie of them fortie poundes a peece yearely for their wages, and to Alfonſo Bales and Robert Marſhe, to each of them twentie poundes a peece yearely for their wages.

Theis are therefore to will and commaund you, out of our treaſure in the receipt of our exchequer, to cauſe payment to be made to our [] ſaid muſicians above mentioned, and to every of them ſeverally and reſpectively, the ſaid ſeverall annuities and allowances, as well preſently upon the ſight hereof for one whole year ended at the feaſt of the annunciation of the Bleſſed Virgin Mary, laſt paſt before the date hereof, as alſoe from the feaſt hitherto, and ſoe from tyme to tyme hereafter at the fower uſuall feaſtes or termes of the yeare, (that is to ſay) at the feaſt of the Nativitie of St. John Baptiſt, St. Michaell the Archangell, the Byrth of our Lord God, and the Annunciation of the bleſſed Virgin Mary, by even and equall portions, during their naturall lives, and the lives of everie of them reſpectively, together with all fees, profitts, commodities, allowances and advantages whatſoever to the ſaid places incident and belonging, in as large and ample manner as any our muſicians in the ſame places heretofore have had and enjoyed the ſame; and theis preſents, or the inrollment thereof, ſhalbe your ſufficient warrant and diſchardge in this behalfe.

In witnes, &c.

Witnes our ſelfe at

Per Breve de Privato Sigillo, &c.

Appendix A.13 De Conceſſione Denizationis Franciſco Cleyne et Philippo de Maecht. *

REX
omnibus ad quos, &c. Salutem.

Sciatis quod nos, de gratia noſtra ſpeciali, ac ex certa ſcientia et mero motu noſtris, conceſſimus, ac per preſentes pro nobis, heredibus et ſucceſſoribus noſtris, concedimus Franciſco Cleyne et Philippo de Maecht in partibus tranſmarinis oriundis ſeu quibus [] aliis nominibus vel cognominibus vocentur ſeu cenſeantur, veſ quocunque alio nomine vel cognomine aut additione nominis vel cognominis eorum alter vocetur ſeu cenſeatur, quod ipſi poſthac durantibus vitis ſuis ſint indigene ac ligei noſtri, ac heredum et ſucceſſorum noſtrorum regni noſtri Angliae, ac in omnibus teneantur reputentur tractentur habeantur et gubernentur et eorum alter teneatur reputetur tractetur habeatur et gubernetur, tanquam fidelis ligeus noſter heredum et ſucceſſorum noſtrorum infra hoc regnum noſtrum Anglie oriundus, et non aliter nec alio modo;

Ac quod ipſi omnes et omnimodas actiones ſectas et querelas cujuscunque ſint generis, in quibuſcunque curiis locis et juriſdictionibus noſtris heredum et ſucceſſorum noſtrorum habere exercere, eiſque uti et gaudere, ac eis et in eiſdem placitare et implacitare, reſpondere et reſponderi, defendere et defendi poſſint et valeant, et eorum alter poſſit et valeat, in omnibus et per omnia, ſicut aliquis fidelis ligeus noſter vel aliqui fideles ligei noſtri in dicto regno noſtro Anglie oriundi;

Et inſuper quod iidem Franciſcus Cleyne et Philippus de Maecht terras tenementa reverſiones et ſervitia, ac alia hereditamenta quecunque infra dictum regnum noſtrum Anglie et alia dominia noſtra perquirere recipere habere tenere emere et poſſidere, ac eis uti et gaudere, caque dare vendere alienare et legare cuicunque perſone ſive quibuſcunque perſonis ſibi placuerit ad libitum ſuum poſſint et valeant, et eorum alter poſſit et valeat licite et impune, adeo plene quiete libere integre et pacifice, ſicut aliquis ligeus noſter vel aliqui ligei noſtri infra dictum regnum noſtrum Anglie nati;

Ac etiam quod iidem Franciſcus Cleyne et Philippus de Maecht omnes et omnimodas libertates Francheſias et privilegia hujus regni [] noſtri libere quiete et pacifice habere et poſſidere, eiſque uti et gaudere poſſint tanquam ligei noſtri, et eorum alter poſſit tanquam ligeus noſter, infra dictum regnum noſtrum Anglie oriundi, abſque perturbatione impedimento moleſtia vexatione calumpnia ſeu gravamine noſtri heredum et ſucceſſorum noſtrorum vel aliquorum aliorum quorumcunque; Aliquo ſtatuto actu ordinatione ſeu proviſione in contrarium inde, antehac editis factis ordinatis ſeu proviſis, aut aliqua alia re cauſa vel materia quacunque, in aliquo non obſtante:

Proviſo ſemper quod iidem Franciſcus Cleyne et Philippus de Maecht homagium ligeum nobis faciant, ac Lott et Scott, prout alii ligei noſtri faciunt et contribuunt, ſolvant et contribuant, et eorum alter ſolvat et contribuat ut eſt juſtum, ſolvantque iidem Franciſcus et Philippus nobis heredibus et ſucceſſoribus noſtris cuſtumas et ſubſidia pro bonis et marchandizis ſuis, prout alienigene ſolvant et ſolvere conſueverunt,

Proviſo etiam ſemper quod iidem Franciſcus et Philippus ad omnes et ſingulas ordinationes actus ſtatuta et proclamationes hujus regni noſtri, tam edita quam impoſterum edenda, teneantur et obedientes ſint, et eorum alter teneatur et obediens ſit, juxta formam ſtatuti in ea parte nuper editi et proviſi.

In cujus rei, &c.

Teſte rege apud

Per Breve de Privato Sigillo.

Appendix A.14 *De Conceſſione ad Vitam Franciſco Cleyne.

[]
CHARLES by the grace of God, &c.
To all, to whome theis preſents ſhall come, Greeting:

Knowe yee that wee, for certeyne good cauſes and conſiderations us hereunto moving, of our eſpeciall grace, certeyne knowledge and meere motion, have given and granted, and by theis preſents for us our heires and ſucceſſors, doe give and graunte unto our truſtie and welbeloved Francis Cleyne, a certeine annuitie or penſion of one hundred poundes by the year, to have hold and enjoy the ſaid annuitie or penſion of one hundred poundes of lawfull money of England by the yeare, to the ſaid Francis Cleyne, from the feaſt of the bleſſed Virgin laſt paſt before the date hereof, for and during the terme of his naturall life, to be perceived and received by him the ſaid Francis Cleyne or his aſſignes, out of the treaſure of us our heires and ſucceſſors, at the receipt of the exchequer of us our heires and ſucceſſors, by the handes of the treaſurer, undertreaſurer and chamberlaynes of us our heires and ſucceſſors there from tyme to tyme being, at the fower uſual feaſtes or termes of the yeare, that is to ſay, at the feaſtes of the Nativitie of St. John Baptiſt, St. Michaell the Archangell, the Byrth of our Lord God, and the annunciation of the bleſſed Virgin Mary, by even and equall portions to be paied,

Although expreſſe mention, &c.

In witnes, &c.

Witnes our ſelfe at

Per Breve de Privato Sigillo.

Appendix B INDEX OF NAMES of ARTISTS IN THIS VOLUME Ranged according to the Times in which they lived.

[]
In the Reign of JAMES I.
    • PAUL Vanſomer, p. 3.
    • Cornelius Janſen, 5.
    • Theodore Ruſſel, 7.
    • Daniel Mytens, 8.
    • Chriſtopher Roncalli, 12.
    • Sir Robert Peake, ib.
    • Peter Oliver, 13.
  • GLASS-PAINTERS.
    • Iſaac Oliver, 16.
    • Bernard Van Linge, 17.
    • Baptiſta Sutton, 18.
    • Henry Giles, ib.
    • William Price, ib.
    • William Price, jun. ib.
  • OTHER ARTISTS.
    • Edward Norgate, 19.
    • Solomon de Caus, 21.
    • Sir Francis Crane, 23.
  • STATUARIES.
    • Maximilian Colte, 25.
    • Epiphanius Eveſham, ib.
    • Nicholas Stone, ib.
    • Henry Stone, 33.
    • John Stone, ib.
    • Nicholas Stone, jun. 33.
  • ARCHITECTS.
    • Bernard Janſen, 36.
    • Gerard Chriſmas, 38.
    • [] John Smithſon 38.
    • [...] Butler, 39.
    • Stephen Harriſon, 40.
  • MEDALLISTS.
    • Charles Antony, 42.
    • Thomas Antony, 43.
    • Thomas Buſhell, ib.
    • Nicholas Briot, ib.
CHARLES I.
    • Abraham Vanderdort, 51.
    • Sir Balthazar Gerbier, 60.
    • Henry Vanderborcht, 81.
    • Sir Peter Paul Rubens, 86.
    • Abraham Diepenbeck, 95.
    • Sir Antony Vandyck, 96.
    • David Beck, 109.
    • George Geldorp, 110.
    • Iſaac Sailmaker, ib.
    • [...] Bradſhaw, 111.
    • B. Van Baſſen, ib.
    • Cornelius Polenburg, 112.
    • Henry Steenwyck, 113.
    • John Torrentius, 114.
    • J. C. Keirinex, 115.
    • John Priwitzer, ib.
    • George Jameſone, 116.
    • William Dobſon, 120.
    • Gerard Honthorſt, 125.
    • John Van Belcamp, 127.
    • Horatio Gentileſchi, 129.
    • Artemiſia Gentileſchi, 130.
    • Nicholas Laniere, 131.
    • Francis Wouters, 133.
    • [...] Weeſop, ib.
    • John De Critz, 134.
    • Adrian Hanneman, 136.
    • Cornelius Neve, 138.
    • K. Coker, ib.
    • Matthew Goodricke, ib.
    • [...] Stalband, ib.
    • [...] Portman, ib.
    • [...] Greenbury, ib.
    • Horatio Paulin, ib.
    • [...] Povey, 139.
    • [...] Hamilton, ib.
    • Edward Bower, ib.
    • [...] Holderneſs, ib.
    • T. Johnſon, ib.
    • [...] Reurie, ib.
    • Francis Barlow, 140.
    • Sir Toby Matthews, 141.
    • Sir James Palmer, 142.
    • Samuel Butler, 143.
    • Francis Cleyn, 144.
    • John Hoſkins, 147.
    • Alexander Cooper, 149.
    • Anne Carliſle, ib.
    • John Petitot, 150.
    • P. Bordier, ib.
    • []
      STATUARIES and CARVERS.
      • Andrew Kearne, 156.
      • John Schurman, ib.
      • Edward Pierce, ſen. ib.
      • Edward Pierce, jun. ib.
      • Hubert Le Soeur, 158.
      • Enoch Wyat, 159.
      • Zachary Taylor, 159.
      • John Oſborn, 160.
    • SEAL-CUTTERS.
      • Martin Johnſon, 160.
      • [...] Green, 160.
      • Chriſtian Van Vianen, chaſer, 161.
      • Francis Fanelli, ſculptor, 162.
      • Theodore Rogiers, chaſer, 163.
    • MEDALLISTS.
      • Thomas Rawlins, 164.
      • John Varin, 165.
    • ARCHITECT.
      • Inigo Jones, 166.
INTERREGNUM.
    • General Lambert, 179.
    • Robert Walker, ib.
    • Edward Moſcall, 181.
    • [...] Heywood, ib.
  • MEDALLISTS.
    • Peter Blondeau, 182.
    • Thomas Violet, ib.
    • Francis Carter, architect, ib.

Appendix C INDEX OF NAMES of ARTISTS Ranged alphabetically.

[]
A.
  • ANTONY, Charles, 42.
  • Antony, Thomas, 43.
B.
  • Barlow, Francis, 140.
  • Baſſen, B. Van, 111.
  • Beck, David, 109.
  • Belcamp, John Van, 127.
  • Blondeau, Peter, 182.
  • Bordier, P. 150.
  • Bower, Edward, 139.
  • Bradſhaw, [...], 111.
  • Briot, Nicholas 43.
  • Buſhell, Thomas, ib.
  • Butler, Samuel, 143.
  • Butler, [...], 39.
C.
  • Carliſle, Anne, 149.
  • Carter, Francis, 182.
  • Caus, Solomon de, 21.
  • Chrismas, Gerard, 38.
  • Cleyn, Francis, 144.
  • Coker, K. 138.
  • Colte, Maximilian, 25.
  • Cooper, Alexander, 149.
  • Crane, Sir Francis, 23.
  • Critz, John de, 134.
D.
  • Diepenbeck, Abraham, 95.
  • Dobſon, William, 120.
E.
  • Eveſham, Epiphanius, 25.
F.
  • Fanelli, Francis, 162.
G.
  • Geldorp, George, 110.
  • Gentileſchi, Artemiſia, 130.
  • Gentileſchi, Horatio, 129.
  • Gerbier, Sir, Balthazar, 60.
  • Giles, Henry, 18.
  • Goodricke, Mathew, 138.
  • Green, [...], 160.
  • Greenbury, [...], 138.
H.
  • Hamilton, [...], 139.
  • Hanneman, Adrian, 136.
  • Harriſon, Stephen, 40.
  • Heywood, [...], 181.
  • Holderneſs, [...], 139.
  • Honthorſt, Gerard, 125.
  • Hoſkins, John, 147.
I.
  • Jameſone, George, 116.
  • Janſen, Bernard, 36.
  • Janſen, Cornelius, 5.
  • Johnſon, Martin, 160.
  • Johnſon, T. 139.
  • Jones, Inigo, 166.
K.
  • Kearne, Andrew, 156,
  • Keirincx, J. C. 115.
L.
  • Lambert, General, 179.
  • Laniere, Nicholas, 131.
  • Le Soeur, Hubert, 158.
  • Linge, Bernard Van, 17.
M.
  • Maſcall, Edward, 181.
  • Matthews, Sir Toby, 141.
  • Mytens, Daniel, 8.
N.
  • Neve, Cornelius, 138.
  • Norgate, Edward, 19.
O.
  • Oliver, Iſaac, 16.
  • Oliver, Peter, 13.
  • Oſborn, John, 160.
P.
  • Palmer, Sir James, 142.
  • Paulin, Horatio, 138.
  • Peake, Sir Robert, 12.
  • Petitot, John, 150.
  • Pierce, Edward, 156.
  • [] Pierce, Edward, jun. 156.
  • Polenburg, Cornelius, 103.
  • Portman, 138.
  • Povey, [...], 139.
  • Price, William, 18,
  • Price, William, jun. ib.
  • Priwitzer, John, 115.
R.
  • Rawlins, Thomas, 164.
  • Reurie, [...], 139.
  • Rogiers, Theodere, 163.
  • Roncalli, Chriſtopher, 12.
  • Rubens, Sir Peter Paul, 86.
  • Ruſſel, Theodore, 7.
S.
  • Sailmaker, Iſaac, 110.
  • Schurman, John, 156.
  • Smithſon, John, 38.
  • Stalband, [...], 138.
  • Steenwyck, Henry, 113.
  • Stone, Henry, 33.
  • Stone, John, 33.
  • Stone, Nicholas, 25.
  • Stone, Nicholas, jun. 33.
  • Sutton, Baptiſta, 18.
T.
  • Taylor, Zachary, 159.
  • Torrentius, John, 114.
V.
  • Vanderborcht, Henry, 81.
  • Vanderdort, Abraham, 51.
  • Vandyck, Sir Anthony, 96.
  • Vanſomer, Paul, 3.
  • Varin, John, 165.
  • Vianen, Chriſtian Van, 161.
  • Violet, Thomas, 182.
W.
  • Walker, Robert, 179.
  • Weeſop, [...], 133.
  • Wouters, Francis, 133.
  • Wyat, Enoch, 159.
FINIS.
Notes
*
Dugdale, writing after the days of Inigo Jones, ſays, that this houſe was not to be equalled by any fabric in this realm, excepting Hampton-court. There are prints of Audley-inn in it's grandeur by Winſtanley, who lived at Littlebury near it, where, within my memory, was his houſe, remarkable for ſeveral mechanic tricks, known by the name of WINSTANLEY's WONDERS. His plates of Audley-inn are extant, but the prints are very ſcarce. Part of the edifice was taken down about forty years ago, and a greater part, with the magnificent gallery, was demoliſhed after the deceaſe of the laſt Earl of Suffolk of that line.
*
Mytens improved ſo much in his later portraits, that this character muſt be read with allowances; and on ſtudying more of his works, I cannot determine whether the portrait at Chatſworth is not painted by him, as conſtant tradition ſays it was. In general, the portraits by Vanſomer and Mytens, when at whole length, may be thus diſtinguiſhed; Vanſomer commonly placed his on a mat, Mytens, on a carpet.
*
He ſometimes put this mark on his pictures [...] fecit.
*
At Lord Pomfret's at Eaſton was a portrait of Charles I. by Janſen.
*
Sandrart, p. 314.
In the catalogue of King Charles's pictures is mentioned a portrait drawn by George Spence of Nuremberg, and bought of Nicaſius Ruſſel, p. [...]35.
*
The picture of the Queen of Scots at St. James's is a copy by Mytens.
See Fuller and Wright's Rutlandſhire.
*
The ſcene is laid at Dunkirk, and the midwiſe reſcues him from the fury of his antagoniſt.
It was in 1630. Beſides the preſent he was bringing for the Queen, he loſt to the value of 2500l. that he had received in France on his own account from the Queen-mother and ladies of that court.
A baſrelief of this dwarfand giant is to be ſeen fixed in the front of a houſe near the end of Bagnio-court on the eaſt ſide of Newgate-ſtreet. Probably it was a ſign. Oliver Cromwell too had a porter of an enormous height, whoſe ſtandard is recorded by a large O on the back of the terrace at Windſor, almoſt under the window of the gallery. This man went mad and prophecied. In Whitechapel was a ſign of him taken from a print of St. Peter.
*
In ſome of the firſt impreſſions the name of Iſaac appears in this plate, inſtead of Daniel. It was corrected afterwards.
*
Page 186.
He died at Rome.
They were in the collection of the late Dr. Rawlinſon.
*
Of this man I find no other mention.
See a Letter from Oliver Cromwell to the Speaker of the Houſe of Commons, on the reduction of Baſing-houſe. Printed in the Annual Regiſter for 1761.
Payne Fiſher's catal. of monuments.
*
In the firſt edition I, by miſtake, aſcribed this to Iſaac Oliver, but Peter's mark is upon it.
*
Sir Andrew Fountaine loſt many miniatures by a fire at White's original chocolate houſe in St. James's ſtreet, about thirty years ago, where he had hired two rooms for a repoſitory of part of his collection. Probably ſome of the works of the Olivers, of Cooper, &c. were deſtroyed there.
Peter Oliver etched a few ſmall hiſtories, but Vertue does not ſpecify the ſubjects.
Vertue ſays he was very great at court; it was probably Progers, well known for being employed in the King's private pleaſures. See Memoires de Grammont.
*
Peck's life of Milton, p. 36.
*
After the fire of London he was employed jointly with Mr. Hooke in ſurveying and laying out the ground for rebuilding the city. See Biogr. Britann. vol. iv. p. 2654, marginal note.
*
In Mr. Thoreſby's muſeum was "the picture of Mr. Henry Gyles (called there (the famous glaſs painter at York, wrote in mezzotinto by the celebrated Mr. Francis Place, when that art was known to few others. Bought with other curioſities by Mr. Gyles's executors." See Thoreſby's Ducatus Leodienſis, page 492.
He died in 1722.
It may not be unwelcome to the curious reader to ſee ſome anecdotes of the revival of taſte for painted glaſs in England. Price, as I have ſaid, was the only painter in that ſtyle for many years in England. Afterwards, one Rowell, a p [...]mber at Reading, did ſome things, particularly for the late Henry Earl of Pembroke, but Rowell's colours ſoon vaniſhed. At laſt he found out a very durable and b [...]tifull red, but he died in a year or two and the ſecret with him. A man at Birmingham began the ſame art in 1756, or 57, and fitted up a window for Lord [...] in the church of Hagley, but ſoon broke. A little after him one Peckitt at York, began the ſame buſineſs, and has made good proficience. A few lovers of the art collected ſome diſperſed panes from ancient buildings, particularly the late Lord Cobham, who erected a gothic temple at Stowe, and filled it with arms of the old Nobility, &c. About the year 1753, one Aſciotti an Italian, who had married a Flemiſh woman, brought a parcel of painted glaſs from Flanders, and ſold it for a very few guineas to the Hon. Mr. Bateman of Old Windſor. Upon that I ſent Aſciotti again to Flanders, who brought me 450 pieces, for which, including the expence of his journey, I paid him thirty-ſix guineas. His wife made more journeys for the ſame purpoſe, and ſold her cargoes to one Palmer, a glazier in St. Martin's-lane, who immediately raiſed the price to one, two, five guineas for a ſingle piece, and fitted up entire windows with them, and with moſaics of plain glaſs of different colours. In 176 [...], Paterſon, an auctioneer at Eſſex-houſe in the Strand, exhibited the firſt auctions of painted glaſs, imported in like manner from Flanders. All this manufacture conſiſted in rounds of ſcripture-ſtories, ſtained in black and yellow, or in [...] of black and white, birds and flowers in colours, and Flemiſh coats of [...].
*
Fuller's Worthies in Cambridgeſhire.
*
It is extraordinary that Fuller, who was acquainted with him, did not know the title of his office. It appears by the warrant for the march that Norgate was Windſor-herald. He was alſo clerk of the ſignet. V. Maſters's Hiſtory of Corpus Chriſti Coll. Camb. p. 118.
I have learnt that the front of Wilton by Inigo Jones, was conducted by this De Caus.
*
Page 486.
The art of weaving tapeſtry was brought into England by William Sheldon Eſq about the end of the reign of Henry VIII. See Dugdale's Warwickſhire in ſtemmate Sheldon; p. 584. At Mr Sheldon's are four maps of Oxford, Worceſter, Warwick, and Glouceſter, ſhires, executed in tapeſtry on a large ſcale.
*
State Worthies, p. 953.
Vol. xviii. p. 66.
*
King Charles's catalogue page 13. He went to Paris to be cut for the ſtone in the bladder in 1635, and probably died there. He was at that time engaged in a ſuit in the ſtar-chamber with Sir Robert Oſborne, an old ſervant of King James, who had mortgaged to Crane for 7500l. the Royal manor of Grafton of which he was only tenant. See Strafford papers, vol. i. p. 361. 336. 524. He was ſometime chancellor of the garter, and founded five additional Alms-knights, by his will dated in 1635. See Aubrey's hiſtory of Surrey, vol. 3 page 206. In Rymer is a patent granting to him and Frances Ducheſs of Richmond and Lenox the monopoly of farthings for ſeventeen years. Vol. xviii, p. 143.
*
Vol. xviii. p. 675.
William Suthis, maſter maſon of Windſor-caſtle, citizen and gold-ſmith of London, is buried at Lambeth, where a tomb was erected for him by his wife. He died October 5, 1625. See the epitaph in Aubrey's hiſtory of Surrey, volume 5, page 248.
Mr. Hawkſmore had the original. Another copy was in the poſſeſſion of captain Wind, an architect who will be mentioned hereafter.
*
Henry Howard Earl of Northampton. See catalogue of Royal and Noble Authors.
Lucy Harrington, a great heireſs, wife of Edward Earl of Bedford, whoſe fortune and her own ſhe waſted. She was a great patroneſs of the wits of that age, and was much celebrated by them, particularly by Dr. Donne: May dedicated his Lucan to her. At Woburn there is a picture of her in a fantaſtic habit, dancing; and another very fine one by Honthorſt, which will be mentioned hereafter. She was a collector of antique medals: among Sir Thomas Roe's is a letter to her, or rather a diſſertation, which infers that ſhe was no mean Latin ſcholar. V. p. 583.
*
Bridget Morriſon wife of Robert Ratcliffe Earl of Suſſex.
*
Mr. M [...] drew the lines.
*
This monument of Dr. Donne is remarkable for it's ſingularity: a print of it is prefixed to the firſt edition of his Sermons. Another place is in Dugdale's St. Paul's.
*
As perſons of curioſity may be glad to know the workman and the expence of the tombs of their anceſtors, I ſhall here briefly recapitulate the reſt. For Lady Bennet's at York, 35l. Sir Roger Wilbraham's at Hadley by Barnet, 80l. Sir Thomas Hayes in Aldermanbury, 100l. Sir Robert Drury at Haſteed by Bury, 140l. Alderman Anguiſh at Norwich 20l. Sir Thomas Ewer at Lynn 95l. Lady Cary mother of Lord Danvers, at Stow Northamptonſhire, 220l. Mr. Moleſworth at Croyland, 23l. Mrs. Palmer at Enfield, 16l. Sir Thomas Cornwallis, groom-porter, at Portcheſter, 18l. Mr. Cornwallis of Suffolk 16l. Sir Thomas Monſon's father and mother, ſet up two miles beyond Lincoln. For Sir Edmund Paſton, 100l. Sir Charles Morriſon and his Lady in the chancel at Watford, 400l. Sir George Copen at St. Martin's, 40l. Dr. Barker in New-college Oxford, 50l. Lord Knevett at Stanwell Middleſex, 215l. Sir Adam Niton (Newton) at Charlton by Greenwich, 180l. Sir Humphrey Lee at Acton-Bromwell, 66l. Sir Thomas Palmer at Winam, Kent, 100l. Sir Thomas Meary at Walthamſtow, 50l. Sir William Stonehouſe at Radley, Oxfordſhire, 120l. Sir Richard and Lady Verney at Compton-Verney, 90l. Mr. Cook and his wife at Brampton, Suffolk, 130l. Sir Julius Caeſar in St. Helen's London, 110l. Lord and Lady Spencer at Althorp, 600l. This was in 1638. Lord Chief Juſtice Coke at Tittleſhall, 400l. Sir Thomas Puckering at Warwick, 200l. Judge Hatton at St. Dunſtan's by Temple-bar 40l. Sir J. Worſnom at Stanmore, 200l. and a porch to the new church there, 30l. Beſides others for very obſcure perſons, and without ſpecification of place.
Elizabeth N [...]vil, daughter of John Lord Latimer, by Lady Lucy Somerſet, daughter of Henry Earl of Worceſter. Lady Elizabeth was firſt married to Sir John Danvers of Daunteſey, and then to Sir Edmund Carey ſon of Henry Lord Hunſdon. She died in 1630, aged 84. The tomb, I am aſſured, is admirably performed.
*
Ferdinado Boll, the painter, ſent his own portrait to Henry Stone, in exchange for his. Boll's was ſold to Counſellor Eades at Warwick in 1680.
*
Among the Harleian MSS. No. 8. art 15. are articles of agreement between Paul D'ewes, Eſq and Jan. Janſen ſtone-cuter, for ſetting up a tomb in the church of Stowlangtoſt. Dated June 25, 1624.
*
This account Vertue received from Stoakes, the relation of Stone, mentioned in the preceding article.
Audley-Inn, near Walden in Eſſex, was an immenſe pile of building; the rooms large, but ſome of them not lofty in proportion, and a gallery of ninety-five yards, which with the chapel, and great Council Chamber, each projecting backwards from the ends of the gallery, have been demoliſhed. The preſent chapel was lately fitted up. The ſcreen accompanying the aſcent of ſteps from the hall was deſigned by Sir John Vanbrugh, and has no relation to the reſt of the building. That injudicious architect too adviſed the deſtruction of the firſt court which conſiſted of noble corridores ſupported by columns of alabaſter, in the room of which he built two ugly brick walls which coſt 1600l. The marble pillars of the chapel were purchaſed by Lord Onſlow. King William bought thence ſome ſuits of tapeſtry, now at Windſor, for which he paid 4500l. The drawingroom, called the fiſh-room, is a noble chamber; the cieling and a deep frieze adorned in ſtucco with ſea-monſters and great fiſhes ſwimming. All the coſtly chimney-pieces have been ſold: Over that in the gallery were the labours of Hercules, and in the cieling, the loves of the Gods. Many of the friezes ſtill extant are in very good taſte. It was erected by THOMAS Howard Earl of Suffolk, Lord Treaſurer in the reign of James I. and was generally ſuppoſed to be founded on Spaniſh gold, his Counteſs, who had great ſway with him, being notoriouſly corrupt. There is a whole length of her in the hall at Gorhambury. She was mother of the memorable Frances Counteſs of Eſſex and Somerſet; whoſe eſcutcheon ſtill (1762) remains entire in the chancel of the church at Walden, one of the lighteſt and moſt beautifull pariſh churches I have ſeen.
*
In the new deſcription of London vol. 5, it is ſaid, that from ſome letters on the front, when it was laſt rebuilt, it was inferred, that one Moſes Glover was the architect, which is not improbable, as that great curioſity at Sion-houſe, the ſurvey of Sion and the neighbouring villages, was performed by Moſes Glover, painter and architect [...]r. In that valuable plan are views of the royal houſes and ſeats in the neighbourhood.
Vertue had ſeen a printed copy of verſes in praiſe of the father.
As appears by his name over the gate.
*
Unleſs it was Norbert Rotier, who arrived in the reign of Charles II. In that caſe, the medal in queſtion muſt have been executed after the Reſtoration.
*
Among other branches of ſcience, if one can call it ſo, Mr. Evelyn ſtudied Phyſiognomy, and found diſſimulation, boldneſs, cruelty and ambition in every touch and ſtroke of Fuller's picture of Oliver Cromwell's face, which he ſays, was the moſt reſembling portrait of the Protector. In Vandyck's Earl of Strafford, a ſteady, ſerious, and judicious countenance; and ſo in many others whoſe characters from knowing their hiſtory he fancied he ſaw in their features. How his divination would have been puzzled if he had been ſhown a picture of Cromwell in the contemptible appearance, which, Sir Philip Warwick ſays, he made at his firſt entry into the Houſe of Commons. Or if my Lord Strafford had continued to oppoſe the court, and had never changed ſides, would Mr. Evelyn have ſound his countenance ſo STEADY and JUDICIOUS?
Page 239.
Page 49.
*
I have a thin plate of ſilver larger than a crown piece, repreſenting King James on his throne. It is very neat workmanſhip, and probably by this Antony.
*
Mr. Oughtred made a horizontal inſtrument for delineating dials, for him; "Elias Allen, ſays that celebrated mathematician, having been ſworn his majeſty's ſervant had a purpoſe to preſent his majeſty with ſome new-year's gift, and requeſted me to deviſe ſome pretty inſtrument for him. I anſwered that I have heard that his majeſty delighted much in the great concave dial at Whitehall; and what fitter inſtrument could he have than my horizontal, which was the very ſame repreſented in flat." Biogr. Brit. vol. 5. p. 3279. Delamain, another mathematician, made a ring dial for the King, which his majeſty valued ſo much, that, on the morning before he was beheaded, he ordered it to be given to the Duke of York, with a book ſhowing it's uſe, ib. p. 3283.
*
Life of Charles I. at the end of the Icon Baſilike. edit. 1727.
*
De Piles, in his life of Rubens, ſays, that the King's mother-in-law, Mary de' Medici deſigned well.
Vincentio Carducci in his dialogo della pittura printed at Madrid in 1633, calls him Michael de la Crux; others ſay it was Henry Stone jun. who was ſent to Spain. When Charles was at that court, the King of Spain gave him a celebrated picture by Titian called the Venus del Pardo, ſee catal. p. 103; and the Cain and Abel by John of Bologna, which King Charles afterwards beſtowed on the Duke of Buckingham, who placed it in the garden of York-houſe. See Peacham, p. 108. From Whitlocke p. 24. we have the following information. "In December the Queen was brought to bed of a ſecond daughter named Elizabeth. To congratulate her majeſty's ſafe delivery, the Hollanders ſent hither a ſolemn ambaſſy and a noble preſent, a large piece of ambergreaſe, two fair china baſons almoſt tranſparent, a curious clock, and four rare pieces of Tintoret's and Titian's painting. Some ſuppoſed that they did it to ingratiate the more with our King, in regard his fleet was ſo powerfull at ſea, and they ſaw him reſolved to maintain his right and dominion there."
*
The loweſt I have heard was 20,000l. So R. Symondes ſaid. At Kenſington are ſeveral pieces of the Venetian and Lombard ſchools, in uniform frames of black and gold, the pictures themſelves much damaged. Theſe I take to have been part of the collection from Mantua.
*
The original copy, of which there were two or three tranſcripts, is preſerved in the Aſhmolean Muſeum at Oxford. Tom Hearne once thought of publiſhing it, but at laſt concluding it was German, gave it over. Mr. Vertue, better grounded, and ſtill more patient, tranſcribed it for the preſs, but dying before the impreſſion was finiſhed, it was publiſhed by Mr. Bathoe, as were Vertue's catalogues of the collections of James II. the Duke of Buckingham, Queen Caroline, &c. the whole making three volumes in quarto.
See Birch's life of Prince Henry, append. p. 467, and Rymer vol. 18, p. 100.
*
Catalogue of King Charles's collection p. 164.
Foedera vol. xviii, p. 73.
*
Conway papers.
Minute of a letter from Lord Conway.
*
How much this was the practice of that Court, we are told by an unexceptionable witneſs; Lord Clarendon, in his character of Waller, ſays, "he had gotten a very rich wife in the city, againſt all the recommendation, and countenance, and authority of the Court, which was thoroughly engaged on the behalf of Mr. Croſts, and which uſed to be ſucceſsfull in that age againſt any oppoſition. V. Life in folio, p. 24.
Page 57. 72.
In the king's collection was a portrait of the king of Denmark by Vanderdort, which proves that he dabbled too in painting.
Sanderſon's Graphice page 14.
*
In the Aedes Walpolianae I have called this, Dobſon's father, as it was then believed; but I find by various notes in Vertue's MSS. that it was bought of Richardſon the painter, and is certainly the portrait of Vanderdort.
In the Life of Romanelli in Catalogue Raiſonnè des Tableaux du Roi (de France) it is ſaid that Charles invited that painter hither too. Vol. i. p. 163.
Several Engliſh ſat to that maſter at Rome, particularly the Earls of Sunderland, Exeter, and Roſcommon, Sir Thomas Iſham, Mr. Charles Fox, and Mr. Edward Herbert of Packington, a great virtuoſo. The portrait of Lord Sunderland is at Althorp, a whole length, in a looſe drapery like an Apoſtle; the head and hands are well painted. The head of Mr. Herbert, who was called the rough diamond, was with ſome of his books left by his nephew to the library of the Middle-temple, where it remains. At Waldeſhare in Kent a portrait of Sir Robert Furneſe; and at Sherburn-caſtle in Dorſetſhire another, not quite half length of Robert Lord Digby, ſon of Kildare Lord Digby, holding a paper with a mathematical figure. At Burleigh, a portrait of the Earl of Exeter, who collected ſo many of Carlo's works, and a head of Charles Cavendiſh, a boy, with the eyes ſhut, ſaid to be taken after his death, but it ſeems too highly coloured, and is probably ſleeping.
It is at Lord Ilcheſter's at Redlinch, and is a good head: on the ſhoulder are ſearlet ribbands.
*
Felibien.
It is very uncertain what became of this buſt: Vertue from ſeveral circumſtances, which I ſhall lay before the reader, believed it was not deſtroyed. Cooper the print-ſeller told him that he had often heard Norrice frame-maker to the court, and who ſaved ſeveral of the pictures, averr, that he was in the room where the buſt uſed to ſtand over a corner chimney, and that it was taken away before that chamber was deſtroyed. Lord Cutts who commanded the troops, was impatient to blow up that part, and yet after he had ordered the drums to beat, it was half an hour before the exploſion was begun, time enough to have ſaved the buſt, if it was not ſtolen before. Sir John Stanley, then deputy-chamberlain, was of the latter opinion. He was at dinner in Craig-court when the fire began which was about three o'clock: He immediately went to the palace, and perceived only an inconſiderable ſmoke in a garret, not in the principal building. He found Sir Chriſtopher Wren and his workmen there, and the gates all ſhut. Looking at Bernini's buſt, he begged Sir Chriſtopher to take care of That, and the ſtatues. The latter replied, "Take you care of what you are concerned in and leave the reſt to me." Sir John ſaid it was above five hours after this before the fire reached that part. Norrice afterwards dug in the ruins of that chamber but could not diſcover the leaſt fragment of marble. The crouching Venus in the ſame apartment was known to be ſtolen, being diſcovered after a concealment of four years and retaken by the crown. Vertue thought that the brazen buſt of King Charles in the paſſage near Weſtminſter-hall, was not taken from Bernini's, of which caſts are extant, but of an earlier date. In the imperial library at Vienna, ſays Dr. Edward Brown in his travels, is a head of King Charles in white marble, but this cannot be Bernini's, as Brown wrote in 1673, and the fire of Whitehall happened in 1697.
*
In the church at Chelſea is a fine monument in a niche for the Lady Jane Cheyney; ſhe is repreſented lying on her right ſide, and leaning on a bible. This tomb was the work of Bernini, and coſt 500l.
Page 130, vol. ii.
Journal of the Houſe of Commons July 16, 1645. Ordered that the boarded maſque-houſe at Whitehall, the maſque-houſe at St. James's and the courts of guard be forthwith pulled down and ſold away.
*
Graphice page 15.
He painted ſmall figures in diſtemper. De Piles. While in Spain he drew the Infanta in miniature, which was ſent over to King James.
*
In a letter, dated 1628, it is ſaid, the King and Queen were entertained at ſupper at Gerbier, the Duke's painter's houſe, which could not ſtand him in leſs than 1000l. The Counteſs of Northumberland has a large oval miniature of the Duke of Buckingham on horſeback. The head is well painted; the figure dreſt in ſcarlet and gold, is finiſhed with great labour, and richneſs. The head of the horſe, which is dark grey with a long white mane, is lively. Under the horſe, a landſcape and figures; over the Duke's head, his motto, Fidei coticula crux; and on the foreground, B. Gerbier, 1618.
The title was, "The Forerunners of Revenge, in two petitions, the one to the King, the other to the Parliament; concerning the Duke of Buckingham's poyſoning King James, and the Marquis of Hamilton. By George Engliſham, phyſician to King James, quo. 1642. By the date of this piece, I ſuppoſe it was reprinted at the beginning of the war. The piece itſelf was tranſcribed by Mr. Baker of St. John's coll. Camb. from the printed copy in poſſeſſion of Dr. Zachary Grey, editor of Hudibraſs. Vide alſo Loyd's State Worthies, p. 654, 655.
*
Sidney papers vol. ii, p. 528. In one of his dedications mentioned hereafter, Gerbier puts this Lord in mind of his having been in a publick employment when his Lordſhip was at Paris: and De Piles ſays that the Duke of Buckingham finding him a man of good underſtanding, recommended him to the King, who ſent him as his agent to Bruſſels.
Journals of the Commons.
*
Vertue ſays he was much hated and perſecuted by the antimonarchic party, being always loyal and faithfull to the King and his ſon, which may explain and ſoften what is ſaid above of his teſtimony being odious to any man. He bought goods at King Charles's ſale to the value of 350l.
There is another print of him, half length, by Pontius after Vandyck, in which he is ſtyled, Bruxellas Prolegatus.
For inſtance, he tranſlates Arcadia, Orcadys.
So Vertue calls it; but it is probably a miſtake, Mr. Maſters being poſſeſſed of a tract, which is probably the ſame and correſponds exactly to Butler's words; it is intituled, The Art of Well-ſpeaking, being a lecture read gratis at Sir B. Gerbier's academy, dedicated to the right high and ſupreame Power of this Nation, the Parliament of England &c. dated 6 Jan. 1649.
*
The gate itſelf was deſigned by Inigo.
*
The foundation was laid in 1662.
It was again expoſed at Mr. Scawen's ſale, but bought in, and has ſince been purchaſed by Sampſon Gideon.
*
Sir Francis Kingſton, who ſtyled himſelf Corporis Armiger, printed in 1635 a tranſlation into Latin verſe of Chaucer's Troilus and Creſſida.
At the end of the little edition of Buſbequius's Epiſtles printed at Oxford 1660, is the grant of a coat of arms to the regent and profeſſors of the Muſeum Minervae from Sir John Burroughs the herald, dated 1635, which arms are prefixed to the rules and orders of that eſtabliſhment printed 1636. Previous to it's being ſet on foot, a committee had been appointed in the Houſe of Lords, conſiſting of the Duke of Buckingham and others, for taking into conſideration the ſtate of the public ſchools and method of education. What progreſs was made by this committee is not known, but probably the Muſeum Minervae owed it's riſe to it.
*
Journal of the Commons.
*
Vol. ii, page 30.
I cannot help inſerting a ſhort remark here, though foreign to the purpoſe. The very day after the execution of the King, was paſſed this vote, "Ordered, That the Lord Grey be deſired, out of Haberdaſher's-hall, to diſpoſe of one hundred pounds for the ſervice of the commonwealth, as he ſhall think fit: and that the committee at Haberdaſher's-hall be required forthwith to pay the ſame to the ſaid Lord Grey for that purpoſe." This order is ſo covertly worded, without any particular application, at the ſame time that the ſum is ſo ſmall for any public ſervice, that joined to the circumſtance of time and the known zeal of the paymaſter, I cannot doubt but this was intended for the reward of the executioner. Mr. Weſt has an authentic account of the execution, in which it is ſaid, that Richard Brandon, the executioner, having ſound in the King's pocket an orange ſtuck with cloves, was offered 20 ſhillings for it; which he refuſed, but ſold it for ten on his way home.
Ludlow prevented the ſale of Hampton-court, for which he was much blamed by ſome of his friends. V. Biogr. Brit. vol. 5. p. 3024.
*
March 23, 1648.
Somerſet-houſe had a narrow eſcape during that luſt of deſtruction, of which an account is preſerved in a very ſcarce tract, intituled, "An Eſſay on the wonders of God in the harmony of the times that preceded Chriſt, and how they met in him, written in French by John D'Eſpagne miniſter of the goſpel [who died in 1650] and now publiſhed in Engliſh by his executor Henry Browne, London, 1662, octavo." In the preface the editor tells us, "that the author preached at the French church in Durham-houſe, where his ſermons were followed by many of the nobility and gentry. That demoliſhed, he ſays, it pleaſed God to touch the hearts of the nobility to procure us an order of the Houſe of Peers to exerciſe our devotions at Somerſet-houſe-chapel, which was the cauſe, not only of driving away the Anabaptiſts, Quakers and other ſects, that had got in there, but alſo hindered the pulling down of Somerſet-houſe, there having been twice an order from the late uſurped powers for ſelling the ſaid houſe; but we prevailed ſo, that we ſtill got order to exempt the chapel from being ſold, which broke the deſign of thoſe that had bought the ſaid houſe, who thought for their improvement to have made a ſtreet from the garden thro' the ground the chapel ſtands on, and ſo up the back yard to the great ſtreet of the Strand by pulling down the ſaid chapel."
*
There is a long warrant in Rymer directing the delivery of this collar, there termed the great collar of ballaſt rubies, and ſundry other valuable jewels, to the Duke of Buckingham and Earl of Holland to be diſpoſed of by them beyond the ſeas, according to private orders which they had received from his majeſty. The whole piece is curious, and mentions the danger there might be to the keepers of thoſe jewels to let them go out of their hands, as they were of great value, and had long contynued as it were in a continual diſcent for many years togeather with the crowne of England. Foedera vol. xviii, p. 236. In Thoreſby's Muſeum was Sir Sackville Crow's book of accounts from the year 1622 to 1628, containing the receipts and diſburſements of the private purſe of the Duke of Buckingham in his voyages into Spain and France; with the charge of his embaſſage into the Low-countries; with the monies received upon the pawning the King's and his Grace's jewels, &c. V. Duc. Leod. p. 523. That Muſeum is diſperſed: but part of it being ſold by auction in March 1764, I purchaſed the MS. in queſtion, and ſhall hereafter perhaps print it with ſome other curious papers.
Tavernier book iv. chap. 17. mentions having a diamond on which were engraved the arms of Charles I. The Sophy of Perſia and his court were extremely ſurprized at the art of engraving ſo hard a jewel; but, ſays Tavernier, I did not dare to own to whom it belonged, remembring what had formerly happened to the Chevalier de Reville on the ſubject of that King. The ſtory, as he had related it before, in book ii. chap. 10. was, that Reville having told the Sophy that he had commanded a company of guards in the ſervice of Charles, and being aſked why he came into Perſia, replied, that it was to diſſipate the chagrin he felt on his maſter being put to death, and that ſince that time he cou'd not endure to live in Chriſtendom. The Sophy fell into a rage, and aſked Reville, how it was poſſible, if he was captain of the King's guards, that he and all his men ſhou'd not have ſhed the laſt drop of their blood in defence of their Prince? Reville was thrown into priſon and remained there 22 days, and eſcaped at laſt by the interceſſion of the Sophy's eunuchs.—Had all Charles's ſoldiers been as loyal as the Perſian Monarch thought it their duty to be, we might now have the glory of being as faithfull ſlaves as the Aſiatics.
*
Among the pictures from Greenwich is mentioned one piece of writing by Holbein, ſold for ten pounds. I know not what this writing was.
*
R. Symonds ſays, the committee of Somerſet-houſe prized the King's goods and moveables with the pictures at 200,000l. notwithſtanding the Queen had carried away and himſelf cauſed to be conveyed away abundance of jewels; and for this he cites Beauchamp, clerk to the committee.
*
This latter piece is extant at an abandoned houſe of the late Lord Aſton's, now a popiſh ſeminary, at Standon near Puckeridge, Hertfordſhire. The work is coarſe, and the figures do not ſeem to have been portraits, but the habits are of the time. In one corner Henry VII. and Ferdinand are conferring amicably on a jo [...]nt throne.
*
Copied by Vertue from a paper in poſſeſſion of Mr. Martin.
*
Compleat Gentleman, 107.
In his life p. 119. fol. edit.
See General Dict. vol. ii. p. 384.
They are engraved in Reyntz's gallery.
*
In this library, ſays Perinchief, was kept a collection of his, of the excellent ſayings of authors, written by his own hand, and in his youth, preſented to his father King James. Life of Charles p. 219.
*
Memoires of El. Aſhmole prefixed to his Berkſhire; p. 10. 24.
There is a ſhort view of his life in Sir Edward Walker's hiſtorical diſcourſes, and ſome curious particulars in Lilly's obſervations on the life and death of King Charles. As the book is not in every body's hands, one anecdote may be worth tranſcribing. The King taking the part of a prieſt, who pretended that his majeſty had a right to a rectory which the Earl challenged as his, Arundel ſaid to Charles, "Sir, this rectory was an appendent to a manour of mine, untill my grandfather unfortunately loſt both his life and ſeventeen lordſhips more, for the love he bore to your grandmother." P. 51.
*
Compleat Gentleman p. 107.
In one of R. Symondes's pocket-books in the muſeum is a character not quite ſo favourable of the Earl. "Mai, ſays he, rimunerò perſona. Era molto generoſo e libero a foraſtieri per guadagnare fama, ed in quella coſa ſpendea liberamente." There are alſo the following hints. "Old Earle fece rubare pezzo di quel quadro di Veroneſe a Padova, but it was ſpoiled, ſays Mr. Jer. Lanier. Laſt Earl Thomas, molto lodato di Jer. Lanier per uom honeſtiſſimo et civile ed intendentiſſimo: per patto furono d'accordo d'andare in Italia queſt' anno 1654 per comprare diſegni e quadri." This Thomas muſt be the perſon who was reſtored to the title of Duke of Norfolk by Charles II. and died at Padua in 1678.
This was printed in 1634.
"Neither am I, ſays the Duke, ſo fond of antiquity, as you rightly conjecture, to court it in a deformed or miſhapen ſtone." Page 534.
*
Page 495. See the particulars of ſeveral purchaſes made by Sir Thomas, and Mr. Petty, in various letters in that collection. They are worth reading.
See Engliſh School p. 467. There is a print by Hollar of Elias Allen, from a painting of Vanderborcht.
The famous Oughtred was taken into Arundel-houſe to inſtruct the Earl's ſon, Lord William Howard, in mathematics—but it ſeems was diſappointed of preferment. See Biogr. Brit. vol. v. p. 3280. 3283. 3284.
*
Some carved ſeats by Inigo were purchaſed from Tarthall and placed in a temple at Chiſwick by Lord Burlington.
Obſervations on the life of K. Charles, p. 51.
An account of this embaſſy was drawn up and publiſhed by Crowne, who attended the Earl.
Sculptura p. 103.
§
See Peck's collection of divers curious hiſtoric 1 pieces, ſubjoined to his lives of Cromwell and Milton. The Earl ſent Parr, who was then blind, to King Charles. The King ſaid to him, "You have lived longer other men; what have you done more than other men?" He replied, "I did penance when I was an hundred years old."
*
The Dutcheſs it is ſaid wanted money and ſold them for 300l.
Part of this collection were the antique gems publiſhed by Apollina at Rome, 1627, and afterwards by Licetus of Genoa.
Since the firſt edition of this book, Lady E. Germayne has given them to Lord Charles Spencer, on his marriage with her great neice Miſs Beauclere, and he to his brother the Duke of Marlborough.
Mr. Weſt has the printed catalogue (which was miſerably drawn up) with the prices. That ſale produced 6535l.
*
It is engraved in a print from Vandyck of the Earl and Counteſs, in which the Earl, who has a globe near him, is pointing to Madagaſcar, where he had thoughts of making a ſettlement.
This ſhield is now in the poſſeſſion of his Grace the Duke of Norfolk.
*
See his article in the General Dictionary.
See London, and the Environs, vol. 5. p. 291.
*
This extract is chiefly made from Felibien. vol. iii. p. 404. from Deſcamps, p. 297. and Sandrart.
See more on this ſubject at the end of Mr. Spence's Polymetis.
*
No wonder his emulation was raiſed at Mantua, where the works of Homer were treated by Raphael and Julio Romano.
*
It is ſaid that ſhe deſigned he ſhould fill another gallery with the ſtory of Henry IV. her huſband, and that he had begun ſeveral of the compartments, but the troubles of that Princeſs prevented the execution. Abregè de la vie des peintres. Vol. ii, p. 141.
*
In a letter in the Muſeum dated March 6, 1630, it is ſaid, "My Lord Carliſle hath twice in one week moſt magnificently feaſted the Spaniſh Embaſſador and Monſ. Rubens alſo, the agent who prepared the way for his coming: who in honour of our nation hath drawn with his pencil the hiſtory of St. George, wherein (if it be poſſible) he hath exceeded himſelf; but the picture he hath ſent home into Flanders to remain as a monument of his abode and employment here." This, I ſuppoſe, was a repetition of the picture he drew for the King: One of them is now in the collection of the Earl of Lincoln.
*
See King Charles's catalogue p. 86.
There is a head of Rogiers among the artiſts drawn by Vandyck.
There is a print of Sir Dudley Carleton by W. Delff, from a painting of Mirevelt, thus inſcribed, "Illuſt. excell. ac prudent. domino Dn. Dudleyo Carleton equiti, magnae Britanniae regis apud confoederatarum provinciarum in Belgio ordines legato, &c. pictoriae artis non ſolum admiratori, ſed etiam inſigniter perito. Sculptor dedicat.
See their catalogues by Bathoe.
*
There are ſixteen pieces by this maſter; the beſt are, his own portrait with his wife and child, the offering of the Magi, and the Roman charity.
See Kennedy's account of Wilton, p. 76. 79.
*
See alſo a liſt of the works of Rubens in Le Comte's cabinet des ſingularitez d' architecture, peinture, &c. vol. i, p. 251. There are forty ſix pieces painted by him in the Elector Palatine's gallery at Duſſeldorp; one of them, the laſt judgment, is 20 feet high, and 15 wide.
*
Sandrart ſays he excelled all the other painters on glaſs.
Sandrart. See a farther account of Diepenbeck in the Abregè de la vie des plus fameux peintres. vol. ii p. 198. At Cashiobury is the ſtory of Dido and Aeneas by him. Sir R. Walpole had another, but ſmaller.
V. Evelyn's Sculptura, p. 73.
*
His ſattins of which he was fond, particularly white and blue, are remarkably finiſhed; his back-grounds heavy, and have great ſameneſs.
*
At the Lord Spenſer's at Wimbledon is a good portrait of Sophoniſba Anguiſciola playing on a harpſichord, painted by herſelf, and an old woman attending her; on the picture is written, Juſſu Patris. Lord Aſhburnham has a ſmall head of her in a round.
*
Vol. iii, page 445.
*
The French author of the lives of the painters ſays he was created Knight of the Bath; a miſtake. Abregè vol. ii. p. 170. Another miſtake is his ſuppoſing that Vandyck was only to give deſigns for tapeſtries in the Banquetting-houſe, p. 171.
In the ſame palace are whole lengths of James I. his Queen, the Queen of Bohemia, and Prince Henry, copied by Vandyck from painters of the preceding reign. Prince Henry's is in armour, in which Vandyck excelled, has an amiable countenance, and is a fine picture.
This was in the royal collection, was ſold in the civil war, and was bought by the Duke of Marlborough from Munich.
This is the picture that was recovered from Remèe.
§
He had been a chief equerry to Prince Henry, and led a mourning horſe at his funeral. See Birch's life of that Prince, append. 527.
*
This picture has been heightened to make it match it's oppoſite.
See a particular deſcription of theſe pictures in the Aedes Walpolianae.
*
The reſt were, Lord Wharton, bought by Lord Royſton; Lady Wharton in white, Lady Cheſterfield, ditto; Counteſs of Worceſter in blue; Lady Rich in black, very handſome, on whoſe death Waller wrote a poem; Mrs. Smith in blue, a homely woman, but a fine picture, now mine; Lady Carliſle, bought by Mr. Weſt; Arthur Goodwin, father of Mrs. Smith, one of the beſt, given by my father to the late Duke of Devonſhire; and two portraits of Prince Rupert, whole and half lengths; both very poor performances. Some of the whole lengths were engraved by Van Gunſt.
Lord Burlington gave 1000l. for this picture at Paris, and had another of Luca Jordano into the bargain.
*
There is an elegy and epitaph on this Lady in Randolph's poems, page 28, in which her beauty is exceedingly commended. She was daughter and co-heireſs of Sir Edward Stanley, grandſon of Edward Earl of Derby, by the Lady Lucy Percy, daughter of Thomas Earl of Northumberland. Lady Venetia was found dead in her bed. Sir Kenelm erected for her a monument of black marble with her buſt in copper gilt, and a lofty epitaph, in Chriſt-church without Newgate; but it was deſtroyed in the fire of London. Lodge's peerage of Ireland. vol. iv, p. 89. There are two copper buſts of the Lady Venetia extant at Mr. Wright's at Gothurſt in Buckinghamſhire, with ſeveral portraits of the family of Digby. The houſe belonged to Sir Kenelm, and was purchaſed by Sir Nathan Wright.
*
Theſe and many other notices are taken from the Pocket-books of Richard Symonds of Black-Notley in Eſſex, gent. who was born at Okehampton, and was in the army of King Charles during the civil war, writing memoires of battles, actions, motions, and promotions of officers from time to time in ſmall pocket-books; and through the ſeveral counties he paſſed, memorandums of churches, monuments, painted windows, arms, inſcriptions, &c. 'till January 1, 1648, when he left London, and travelled, firſt to Paris, and then to Rome and Venice (always continuing his memoires) where he ſtayed 'till his return to England in 1652. Eight or ten of theſe books were in the Harleian library, two in that of Dr. Meade, and two or three in the herald's office, where is the pedigree of his family with his picture (probably) in red wax from a ſeal, engraved by T. Simon, his nameſake, but no relation.
*
I have here, as in the caſe of Holbein, mentioned only the capital pieces, or thoſe, which being in great collections are moſt eaſy of acceſs. I do not pretend to enumerate all that are or are called of this maſter.
*
Sanderſon, a quaint writer, uſes a phraſe, which, though affected, is expreſſive; He ſays "Vandyck was the firſt painter, who e're put ladies dreſs into a careleſs romance." Graphice p. 39.
This is evident by the number of his works, for though he was not above forty-two when he died, they are not exceeded by thoſe of Rubens.
It is at the ſeat of the Lord Chancellor Henley at the Grange in Hampſhire.
I have a fine ſketch of the ſace only, by himſelf.
*
From the minutes of the Antiquarian Society I find that in 1723 they were informed that at Mr. Iſaac Ewer's in Lincoln's-inn-fields was a copy by Vanderbank of Thurloe's portrait, painted by Mr. Churchill's pupil, miſtreſs to Vandyck. This perſon, I ſuppoſe, was Mrs Carliſle, mentioned hereafter; but of Churchill, I have ſeen no other account.
See a liſt of Vandyck's works in Le Comte's cabinet des ſingularitez d' architecture, peinture, &c. vol. i, p. 282. Many are in the gallery at Duſſeldorp.
*
He was not totally unemployed there Sir Richard Lyttelton has two ſmall pictures in chiaro ſcuro, evidently deſigned for altar-pieces, and repreſenting Anne of Auſtria and ſome monkiſh ſaint.
Now at the Lord Chancellor Henley's at the Grange in Hampſhire.
*
Vertue aſcertained theſe matches by books in the college os arms.
*
John de Reyn, a ſcholar of Vandyck, is ſaid by Deſcamps, to have lived with his maſter in England till the death of the latter, after which he was in France and ſettled at Dunkirk. If De Reyn's works are little known, adds his Biographer, it is owing to their approaching ſo nearly to his maſter's as to be confounded with them. Vol. ii. p. 189.
The French author of the Abregè ſays that Gerard Seghers came hither aſter the deaths of Rubens and Vandyck, and ſoftened his manner here. This is all the trace I find of his being in England. Vol. ii. p. 162. At Kenſington is an indifferent piece of flowers by him, but I do not know that it was painted here.
*
Vol. ii. p. 315.
This muſt not be ſuppoſed to include his portraits, for which he certainly would have had no cuſtom, if the perſons had been obliged to ſit to two different men. A painter may execute a head, tho' he cannot compaſs a whole figure. A print by Voerſt of James Stewart Duke of Lenox, with Geo. Geldorp pinx. is indubitable proof that the latter painted portraits.
*
Lord Oxford paid three hundred and ten pounds for it.
*
In King Charles's catalogue are mentioned the portraits of his majeſty, and of the children of the King of Bohemia, by Polenburg: and in King James's are eight pieces by him.
*
There are ſixteen mentioned in the catalogue of James II.
Deſcamps has proved that it is a miſtake to call the ſon Nicholas, as Sandrart and others have done. See p. 384.
In King James's catalogue are recorded ten of his works.
In France are the portraits of Charles and his Queen by him, about a ſoot high, in one piece, with a front of a royal palace in the back ground. Deſcamps ſays this picture is more carefully laboured than any work of Vandyck, and equal to the moſt valuable of Mieris. p. 385. I believe the fine piece of architecture at Houghton is by the hand of Steenwyck, the father. By the ſon was a capital picture of St. Peter in priſon, which at Streater's ſale in 1711 ſold for 25l. It was afterwards in Dr. Meade's collection, who ſold it to the late Prince of Wales.
*
V. Catalogue, P p. 158, 162.
The French author of the Abregè calls him Alexander, which muſt be a miſtake. He ſays he acquired his reputation by what ſhould have deſtroyed it; as he could not paint figures, Polenburg generally added them for him. I have the view of a ſeat in a park by him, freely painted, not to ſay, very careleſsly. It has King Charles's mark behind it.
*
The materials of this article were communicated by Mr. John Jamiſone, wine-merchant in Leith, who has another portrait of this painter by himſelf, 12 inches by 10.
His earlieſt works are chiefly on board, afterwards on a fine linen cloth, ſmoothly primed with a proper tone to help the harmony of his ſhadows. His beſt works were from 1630 to his death.
*
So the name is now written, not Jameſone.
*
R. Symonds ſays he learned moſt of Old Cleyn.
The author of the Abregè de la Vie des plus fameux Peintres ſays, that Dobſon being overwhelmed with buſineſs thought of a lucky way to check it. It was, obliging perſons who ſat to him to pay half the price down; and that he was the firſt who uſed this practice. By the ſwarms of portraits that are left on the hands of his ſucceſſors, this method is either neglected, or has very little effect!
*
See an account of her in Lord Clarendon's hiſtory of his life, in Ludlow's memoires, and in the collection of ſtate poems, vol. i. p. 38.
But Whitlocke ſays that Lilly had no family.
*
The laſt circumſtance may relate to his preſervation in the Civil War, in which he was wounded, and made his eſcape when taken priſoner with Duke Hamilton and Lord Holland. This picture has great merit.
*
Page 112. It is a thin octavo, printed in 1700, with only his initial letters J. E. Eſq This John Elſum publiſhed another piece in 1703 called, the Art of Painting after the Italian manner, with practical obſervations on the principal colours, and directions how to know a good picture; with his name.
At Mr. Nicholas's at Horſeley is a portrait of Sir Richard Fanſhaw, which has been taken for the hand of Dobſon; it was painted by one De Meetre; a name unknown to me.
*
At Caſhiobury, Lord Eſſex's, is a large picture of the Queen of Bohemia and her children by Honthorſt. The elder ſons are killing monſters that repreſent Envy, &c. The King of Bohemia, like Jupiter, with the Queen again, like Juuo, are in the clouds. The head of the Queen (not the latter) is pretty well painted; the reſt very flat and poor.
De Piles. Of the Princeſs Sophia there is a portrait in a ſtraw hat by Honthorſt, at Wilton, natural, but not very good. The other Princeſs was Louiſa Hollandina, who practiced that art with ſucceſs. Two pictures painted by her were in the collection of her uncle King Charles. See catal. p. 53, No. 70, 71. One of them is at Kenſington, Tobit and the Angel in water-colours, but now quite ſpoiled. In Lovelace's Lucaſta is a poem on Princeſs Loyſa drawing, p. 17. She was bred a proteſtant, but in 1664, went to Paris, turned catholic and was made Abbeſs of Maubuiſſon. She died in 1709 at the age of eighty-ſix.
*
There were ſeven in King James's collection.
There is another at Kenſington of the Duke and Ducheſs (to the knees) ſitting with their two children. The Duke's portrait is particularly good. The Duke had a large picture by Honthorſt, repreſenting a tooth-drawer with many figures round him, five feet by ſeven feet.
Among the Harleian MSS. No. 6988. art. 19. is a letter from King Charles to the Duke of Buckingham, in the poſtſcript to which he aſks the Duke if Honthorſt had finiſhed the Queen's picture?
Sandrart.
§
In the gallery at Duſſeldorp is the ſtory of the Prodigal Son by Honthorſt.
*
One was of the Queen in ſmall in a piece of perſpective, ſold at the diſperſion of the collection.
*
Anne Kirk, one of the Queen's dreſſers, which place ſhe carried on a competition againſt Mrs. Neville. See Strafford-papers vol. ii, p. 73. There is a metzotinto whole length of Mrs. Kirk from Vandyck.
Mary Bayning, wife of Charles Villiers Earl of Angleſey, nephew of the Duke of Buckingham.
Catherine daughter of Thomas Lord Wotton, wife of Henry Lord Stanhope, who died before his father the Earl of Cheſterfield. She had been governeſs to Mary Princeſs of Orange, daughter of Charles I. and having been very zealous in the King's ſervice, was after the reſtoration made Counteſs of Cheſterfield. Vandyck was ſaid to be in love with her, but was ſo ungalant as to diſpute with her on the price of her picture, which he threatened to ſell if ſhe would not give him what he demanded. See a letter of Lord Conway to Lord Wentworth in a collection publiſhed by Dodſley in two volumes 1754. vol. i. p. 136. It was thought the Lord Cottington would have married her, but that ſhe was in love with Carey Raleigh, Sir Walter's ſon, mentioned in the text. At laſt ſhe married Poliander Kirkhoven Lord of Helmfleet in Holland, and died April 9, 1677. There is a whole length print from Vandyck, where by miſtake ſhe is called Anne inſtead of Catherine; the original was bought by Sir Robert Walpole from the Wharton collection.
*
Catherine Howard eldeſt daughter of Theophilus Earl of Suffolk. She was in love with George Lord Aubigney ſecond ſon of the Duke of Lenox, and turned catholic to marry him. See Strafford papers vol. ii, p. 165. She was ſecondly married to James Levingſton Earl of Newburgh. There is a half length print of her from Vandyck.
*
In that Duke's collection are mentioned two pictures by him of a Magdalen and the holy family. See the catalogue publiſhed by Bathoe.
Engliſh School, at the end of the tranſlation of Depiles.
R. Symondes ſpeaking of Nic. Laniere, ſays, "Inamorato d'Artemiſia Gentileſchi, che pingeva bene."
*
The author of the Engliſh School ſays he put a particular mark on the pictures bought by him for the King, but does not tell us what; it was thus [...]. He marked his own etchings with an L.
R. Symondes ſays, the Duke of Buckingham once gave Laniere 500l. in gold becauſe he could not get of King James what Laniere deſerved. Another time gave him 300l. in gold.
Wood's Athenae vol. ii, p. 862.
See Rymer's Foedera.
*
There was another portrait of him and of Iſaac Oliver in one piece in the collection of James II. See the catalogue publiſhed by Bathoe.
Mr. Roſe the jeweller had all the plates for a drawing-book by Laniere, etched by himſelf. It is called, Prove primo fatte à l'acqua forte da N. Laniere à l'eta ſua giovanile di ſeſſanta otto anni, 1636. Another ſmall book he intituled, Maſchere delin. da J. Romano, ex coll. N. Laniere, 1638.
There was alſo a John Laniere, I ſuppoſe ſon of one of the brothers, who ſet two ballads of Lovelace. See his Lucaſta, p. 3. 43.
Laniere ſeems to have been an adept in all the arts of picture-craft; Sanderſon ſpeaks of him as the firſt who paſſed off copies for originals, by tempering his colours with ſoot, and then by rolling them up, he made them crackle and contract an air of antiquity. Graphice p. 16.
*
In the catalogue of James II. are mentioned three landſcapes and the ſtory of St. Sebaſtian, by Wouters, and in Sir Peter Lely's, a landſcape with figures.
*
In the Earl of Oxford's library was a copy of Holland's Heroologia, in which in an old hand, ſuppoſed to be done immediately after the publication of the book in 1618, was written where every picture was from which the prints were taken. That of Sir Philip Sidney is the ſame with Lord Cheſterfield's and under was written, at Mr. De Critz's—ſtrong evidences of this being a genuine picture.
*
In the court-books at painter's-hall there is a letter to the company from the Earl of Pembroke, directing them to appoint certain perſons of their hall to view the King's and Queen's barges lately beautified, painted, and gilded by De Creetz, ſerjeant-painter, and give an eſtimate of the work, which they did of 280l. and ſome other expences.
*
There were five other portraits of the royal family by him in the collection of James II. See the catalogue.
Engliſh School.
*
Aſhmole's Diary, p. 39.
Page 173.
Page 151. vol. iii.
*
Page 384.
In his Graphice.
*
See Engliſh School.
The title to one of his books, in which ſome are etched by Hollar, is, "Diverſae Avium ſpecies ſtudioſiſſimé ad vitam delineatae per Fran. Barlow ingeniofiſſimum Anglum pictorem. Guil. Faithorn excudit 1658."
At Clandon, Lord Onſlow's, are five pieces by Barlow.
*
On the Lady Newburgh being converted to popery, Lord Conway writes thus to the Earl of Strafford, "The King did uſe ſuch words of Wat. Montagu and Sir Tobie Matthew, that the fright made Wat keep his chamber longer than his ſickneſs would have detained him; and Don Tobiah was in ſuch perplexity that I find he will make a very ill man to be a martyr; but now the dog doth again wag his tail." Strafford papers vol. ii. p. 125. It ſeems in this buſineſs Matthews was unjuſtly accuſed; the converſion had been made by the Ducheſs of Buckingham and Signor Con, the Spaniſh reſident, p. 128.
See this character prefixed to his letters.
*
Strafford papers vol. i. p. 363.
R. Symondes ſays, Mr. Gage, Sir Thoby Matthewes, Mr. Fl [...]ill were buyers of pictures for the Duke of Buckingham.
*
Page 52. for the others ſee p. 10. 53. 84. 115. 137. 159.
He was chancellor of the garter, and married Katherine eldeſt daughter of William Lord Powys, widow of Sir Robert Vaughan, and was father of Roger Palmer Earl of Caſtlemain, huſband of the Ducheſs of Cleveland.
Several are actually extant in the poſſeſſion of a perſon in Worceſterſhire.
*
In his Worthies of Surrey, p. 77.
*
Vol. xviii, p. 112.
Strafford papers.
*
I am informed that ſome drawings by Cleyn are in the poſſeſſion of the Earl of Moray in Scotland.
At Burleigh is a head of Cecil Lord Roos, 1677, with the ſame letters.
*
He etched a ſmall print from Titian, Chriſt and the two Diſciples at Emaus.
There is not even a portrait of him extant.
*
At Burleigh is a portrait of David Cecil, ſon of John 4th. Earl of Exeter by Frances, daughter of the Earl of Rutland; it is dated 1644; and another of Sir Edward Cecil, afterwards Viſcount Wimbledon.
Since the firſt edition of this book I have ſeen another at Burleigh, ſcarce inferior. It is the profile of a boy, in brown, holding in one hand a plaything like caſtanets. It is admirably natural.
Page 20. In the ſame place he ſpeaks in the like tranſient manner of a ſon of Hilliard.
Page 75.
*
Engliſh School.
*
It is evidently copied from the Duke's portrait in his family-piece by Honthorſt at Kenſington.
*
I have the receipt of the executors of Fairfax to Thoreſby, who paid 185l. for his purchaſes. He has, at the end of his Ducatus Leodienſis, in the account of his own Muſeum, given a more minute deſcription of theſe enamels.
*
He ſpecifies one at Paris of Michel L'aſne, the engraver, a large oval with hands, of which one reſts on his breaſt.
*
This tomb of Douglas Lord Belhaven is in the church of the abbey of Holyrood-houſe.
*
James II. had one of his hand. See the catalogue.
Engliſh School.
*
I have been told that the monument of the Ducheſs of Lenox was Le Soeur's, but I am not certain of it.
Vanderdort's catalogue p. 180. I believe this very buſt is now in the collection of Mr. Hoare at Stourhead; I had not ſeen it when the firſt edition of this work was publiſhed.
Peacham.
*
One Bowden, a captain of the trained-bands, was another carver at Wilton, I believe, at the ſame time with Taylor.
*
Engliſh School.
Strafford papers, June 9, 1633.
*
He was of Nuremberg. See Wren's Parentalia, p. 136.
Order of the Garter, p. 492.
Vanderdort's catal. p. 74.
*
Ib. p. 137.
Ib. p. 155.
*
Page 73, 74.
I have already referred the reader to Vertue's account of the two Simons and their works, which he intended as a part of this hiſtory of the arts, which is too long to tranſcribe here, and which wou'd be mangled by an abridgment. Abraham Simon, one of the brothers, a man of a very ſingular character, had fancied that the Queen of Sweden was in love with him, and at laſt had an ambition of being a biſhop.
*
See Langbaine, p. 117. Subjoined to a book called Goodfriday, being meditations on that day, printed in 1648, is a collection of poems called Calanthe; by T. R. who by the preſentation-book Mr. Oldys ſound was our Thomas Rawlins.
V. notes to Dryden's poems publiſhed in 4 volumes 1760. p. lxxxii. vol. i.
Evelyn, p. iii, No. 32.
*
Among whom is Loyd in his Memoires, p. 577.
*
Though no building at Venice is attributed to Inigo, the palace and a front of a church at Leghorn are ſaid to be deſigned by him.
*
Vol. xviii, p. 97. See alſo in the Strafford papers ſome letters of Mr. Garrard which contain an account of proceedings under that commiſſion, by virtue of which twenty newly erected houſes in St. Martin's-lane were pulled down.
*
See a ſummary of this controverſy in the life of Inigo Jones in the Biographia Britannica.
In Dugdale's Origines Judiciales, p. 34, is an account of the building of that chapel from a deſign of Inigo. The firſt propoſal of building it was in 1609, but it was retarded 'till about 1617. The charge was eſtimated at two thouſand pounds. It was finiſhed in five years, and conſecrated on Aſcenſion-day 1623 by the Biſhop of London, Dr. Donne preaching the ſermon.
*
Sir H. Bourgchier in a letter to archbiſhop Uſher, dated July 14, 1623, ſays, "The new chapel for the Inſanta goes on in building." There was another chapel erected for her at St. James's, of which Don Carlos Colonna laid the firſt ſtone. V. Ruſhworth.
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Chapman was an intimate friend of Jones, and in 1616 dedicated his tranſlation of Muſaeus "To the moſt generally ingenious and learned architect of his time, Inigo Jones, Eſq ſurveyor of his majeſty's works." See Wood's Athenac p. 591. Jones made the monument for Chapman in the church-yard of St. Gyles.
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R. Symondes calls him, the bawling coward.
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In juſtice to Inigo one muſt own, that the defect is not in the architect but in the order—who ever ſaw a beautifull Tuſcan building? would the Romans have choſen that order for a temple? Mr. Onſlow, the late ſpeaker, told me an anecdote that corroborates my opinion of this building. When the Earl of Bedſord ſent for Inigo, he told him he wanted a chapel for the pariſhioners of Covent-garden, but added, he wou'd not go to any conſiderable expence; in ſhort, ſaid he, I wou'd not have it much better than a barn—well! then, replied Jones, you ſhall have the handſomeſt barn in England.
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Jones was one of the firſt that obſerved the ſame gradual diminution of pilaſters as in pillars. Lindſey-houſe owes it's chief grace to this ſingularity.
That ſquare is laid out with a regard to ſo trifling a circumſtance, as to be of the exact dimenſions of one of the pyramids. This would have been admired in thoſe ages, when the keep at Kenelworth-caſtle was erected in the form of a horſe-fetter, and the Eſcurial in the ſhape of St. Laurence's gridiron.
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In Vanderdort's catalogue is mention of a picture of Stenwyck bought by Inigo for the King, p. 15, and of a waxen picture of Henry VIII. and a drawing of Prince Henry preſented by him, p. 75.
The [...] on the frame of his picture, when bought by Sir Robert Walpole, [...] ermine and ermine, a lion rampant, or, within a border [...] of the ſame.
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There is a capital half length of General Moncke at the Counteſs of Montrath's Twickenham park. I do not know the painter, but probably it was Walker.
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Another is at the Earl of Eſſex's at Caſhiobury.
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He names too Loveday and Wray, equally unknown.
There is a good print of Walker, holding a drawing, by Lombart.
*
Rymer's Foedera vol. xviii. p. 111.
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Rymer. vol. xviii. p. 60.
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Rymer. vol. xviii. p. 143.
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Rymer, vol. xviii. p. 675.
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Rymer, vol. xviii. p. 73.
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Rymer, vol. xviii. p. 100.
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Rymer, vol. xviii. p. 236.
*
Rymer, vol. xviii. p. 728.
*
Rymer, vol. xviii. p. 96.
*
Rymer, vol. xviii. p. 112.
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Citation Suggestion for this Object
TextGrid Repository (2020). TEI. 4404 Anecdotes of painting in England with some account of the principal artists and incidental notes on other arts collected by the late Mr George Vertue and now digested and published from his origi. University of Oxford Text Archive. . https://hdl.handle.net/21.T11991/0000-001A-5EA6-0