783 Judith with the Head of Holofernes Guido 784 Interview of Henry V. with the Princess Katherine of France 785 Portrait Kent Il Bassano 786 Palace of Prince Maurice of Nassau, at Cleves, Oldenburg 787 Marriage of Henry V. with the Princess Kathe 789 Susannah and the Elders 790 A Church 791, 792 (Unseen) 793 Sea Piece 794 Man and Woman 795, 796, 797 (Unseen) 798 William III. 799*Dobson and his Wife 800 Mary, Queen of James II. 801 Admiral Lord Keith 802 Lord Hutchinson 803 Spencer Percival 804 Richard Brinsley Sheridan 305-813 Paintings in distemper, Triumphs of Julius Cæsar Kent unnamed unnamed Steenwyck unnamed Parcelles Giorgione unnamed Kneller? Dobson S. Verelst? unnamed T. Phillips, R.A. Joseph? unnamed representing the - A. Mantegna 805 The Commencement of the Procession; musicians, 807 Similar trophies; urns, tripods, and other vessels. 809 Elephants bearing fruit and flowers; burning candelabra. 810 Armour, trophies, and heads of the vanquished, borne in triumph. 811 The Procession of the Captives; men, women, and children, and mocking figures among the populace. 812 The Musicians and Singers, which always accompanied a Roman Triumph. 813 Julius Cæsar, in a triumphal car, with his standard and its legend, "Veni, vidi, vici." 66 Hampton Court-Nine pieces, being of Tryumph of Julius for 1000l." These old paintings in distemper on linen (improperly called cartoons, though not on card), have been very judiciously removed from the Public Dining Room to this Gallery, where they were arranged in a line. Originally they were designed to ornament a frieze and to form a procession eighty feet long. The height is nine feet. They were painted for the Marquis of Mantua, Marchese Lodovico Gonzaga, whose hall in the palace of St. Sebastian, at Mantua, they adorned. They were purchased, with the rest of the Mantuan collection, by Charles I., and sold, at Charles's death, for 1000l. by the Parliament. Charles II. re-bought them, and placed them in this palace. It would be a pity to lose such specimens of one of the patriarchs of revived art, and yet they are every year becoming worse. Copies should be made at the public expense. They were engraved in a bold and effective style, but not very correctly, on wood, by Andrea Andreani, in 1599, not 1529, according to Waagen. These engravings are scarce. Mantegna also engraved himself some of them on copper. Goethe has criticised the engravings with admiration, in the Kunst und Alterthum (Art and Antiquity), Vol. iv. No. 1, p. 111, and No. 2, p. 51, of the same volume-a kind of periodical which Goethe in his latter years used to publish at irregular intervals. Waagen asserts, that "the whole was coarsely painted over by Laguerre in distemper, it is said, in the time of William III.;" but this is contradicted by many authorities. He adds the following judicious remarks, which may very appositely be quoted here (vol. ii. p. 112):-" By the enthusiastic study of the Greek sculptures in the painting-room of his master, Squarcione, Mantegna had formed his eyes for a very refined and definite concertion of nature in form and motion, and attempted in this triumphal procession, with remarkable success, to reconcile the laws of ancient sculpture with those of painting and the variety of nature. Notwithstanding a certain severity in the forms, there is great variety and animation in them-tall, noble, powerful, robust, common figures and heads, are mingled with such delicate, slender, and youthful ones, as all modern art has but very few to boast of. In the motions, notwithstanding the observance of a certain measure, there is much freedom and animation; and the variety and beauty in the positions of the hands is extremely admirable. Though in the drapery the small folds of Greek sculpture predominate, it is treated with great taste, without stiffness or appearance of imita tion, but with great freedom. In the colouring, these pictures, as is proved by the parts not painted over, must have produced an effect like that of the ancient paintings; in their general appearance they were light, in their draperies several light stuffs of variegated hues were used; for instance, yellowish, with purple shadows, greenish or pale blue with white lights; the background has throughout a light horizon. In the execution, we do not know whether most to admire the inexpressibly rich and elegant details, or the light and spirited touch of the pencil, notwithstanding all the pains taken." 814 Sir Jeffery Hudson Mytens "The picture of Jeffrey the Queen's dwarf, in a landskip, at length, done by Dan. Mytins, and the landskip by Cornelius Johnson." (C. c., p. 90, 33.) 66 The history of this little ugly fellow is a romance of its kind, and sufficiently amusing to occupy a page:"He was born," says Horace Walpole, 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 pie, 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 of the court. Sir William Davenant wrote a poem, called Jeffreidos, on a battle 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 borne with little temper the teasing 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 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."-Walpole's Anecdotes, Dallaway's Ed., vol. ii. pp. 21, 22. The painters received 40%. for this picture. 815 Alderman Lemon unnamed 816* Henry VII. and his Queen, Elizabeth; Henry VIII. and his Queen, Jane Seymour Remee Copied for Charles II. from the original, by Holbein, which was painted on the wall of the Privy Chamber at Whitehall, and lost when that palace was burnt. Engraved by Vertue. 817, 818 Portraits (unknown) 819 Schachner of Austria 820 Portrait (unknown) unnamed unnamed unnamed 821 Lord Darnley, husband of Mary, Queen of Scots, and his Brother (see 326; C. c.) - L. de Heere "5 Whitehall-The Lord Darnely, with Charles Stewart, his brother, at length. Sold, by Commonwealth, Mr. Jackson, as appraised, 81." 822 Portraits unnamed 823 Jane Shore, entitled "Baker's wife, mistress to a 839 William of Nassau, Prince of Orange, Great grandfather of William III. unnamed 840 Queen of Prussia unnamed 841 Louis XV.? of France, when young unnamed 842 Portrait (unknown) unnamed 843 General Spalken unnamed Gainsborough unnamed 847, 848 Hurd, Bishop of Winchester 849 Portrait (unknown) 850 Duke of Gloucester (Queen Anne's son) Kneller 851 George, Prince of Denmark 852-855 Portraits (unknown-unseen) 856 Charles I. and Queen Henrietta Dahl unnamed Honthorst (On the wall of the Queen's staircase.) Charles and the Queen, as Apollo and Diana, receive the Duke of Buckingham as Mercury, who introduces the Arts and Sciences to them-so says H. Walpole. In Vanderdoort's Catalogue, it is described as "the King and Queen of Bohemia in the clouds, and the Duke of Buckingham coming to present to the King the seven Liberal Sciences under the persons of their children." (Cat. p. 167, No. 4.) "130 St. James's-Two pictures of King and Queen of Bohemia, by Hunthurst. Sold Mr. South, the 18th Jan. 1650, for 121." 857 Triumph of Bacchus Ciro Ferri De Heem 858 Fruit 859 Christ in the House of Mary and Martha, Hans de Vriese A prospective piece, done by Hans de Uries. The figures thereon done by Blocklandt, where Christ is sitting by Mary, and three figures more, sitting by a green table. (C. c. p. 141, No. 56.) 860 Murder of the Innocents - P. Breughel A piece of the Slaying of the Innocents, said to be of the old Brugell, the soldiers being all in boors' habits. (C. c. p. 141, No. 58.) "188 p. Whitehall (21)-An old Winter-piece, of Herod killing of Children in Bethlehem, by Breugall. Sold Mr. Mallery, Dec. 11th, 1649, for 31. 5s." |