Walks in London, vol. 2

Hare, Augustus J. C.
1878

Chapter XII: South Kensington.

Chapter XII: South Kensington.

 

If we turn to the left at Tattersall's, the wide ugly will lead us to , where the , begun in , is perpetually extending. In its later buildings great use is made of the different tints of terra-cotta ornament so largely and advantageously employed in the Lombard cities.

The Museum is open free on Mondays, Tuesdays, and Saturdays, from 10 A.M. to 10 P.M. On Wednesdays, Thursdays, and Fridays the Museum is open from 10 A.M. to 4, 5, or 6 P.M., as advertised at the entrance, on payment of 6d.

Any one is permitted to make notes and sketches in the museum galleries, who does not require to sit down or mike use of an easel. Visitors are permitted to make careful copies from the objects or pictures (not water-colours) by following the rules advertised in the galleries.

The principal entrance to the Museum is in .[n.476.1]  We enter the , which is divided by a central gallery. It is approached beneath a magnificent Roodloft of marble and alabaster, of , from the cathedral of Bois le Duc in North Brabant. In the centre is a copy of Trajan's Column at Rome. The magnificent collection

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of architectural casts and other objects in this court include --beginning from the left-

Tomb of Walter Gray, Archbishop of York, 1216-55, from York Minster.

Porch of Rochester Cathedral, 1340.

Porch in the cloisters of Norwich Cathedral, 1297-1329.

Angle of the cloisters of San Juan de los Reyes, Toledo, 15th cent.

Tabernacle of S. Ldau near Brussels, by Corneille de Vriendt, l6th cent.

*Reredos representing the Legend of St. Margaret, German of the 11th cent.Original works of art are here marked. with an asterisk.

*Altar-piece representing the Legend of St. George, in nineteen compartments, from Valencia, 15th cent.

Arch of Santa Maria la Blanca (the Jewish Synagogue) at Toledo, 14th cent.

(North wall.) The Porch called Puerta della Gloria, of the Cathedral of Santiago, 180-90.

(East wall.) Choir stalls of Ulm Cathedral by Jorg Syrlin, 1468.

Choir Screen of St. Michael's, Hildesheim, 12th cent.

(Screen.) The Schreyder Monument from St. Sebald at Nuremberg, executed by Adam Kraft in 1492. The reliefs represent the Cross Bearing, the Entombment, and the Resurrection.

*Portions of the wrought-iron Screen in Hampton Court gardens, executed by Huntingdon Shaw of Nottingham, in 1625.

*Doorway from the demolished wooden church of Sailand in Norway, 12th cent.

Seven-branched Candlestick from Milan Cathedral, 12th cent.

Passing the central of the court, we see-

The Chimney-piece of the Council Chamber of the Palais de Justice, Bruges, 1529.

The Corona (hanging from the roof) of Hildesheim Cathedral, 1044-54.

Fountain, with figures of Perseus and Medusa, in the old palace at Munich, 1680.

Tomb of Count Henneberg in Romhild Church, Meiningen, by Peter Vischer, 1058, from a drawing by Albert Durer.

St. George, on horseback, slaying the dragon, from a fountain in the Hradschin Palace at Prague, 1378.

Iron Baptismal Font and Crane, from Notre Dame de Hal in Belgium, cast by William Le Fevre at Tournay in 1444.

Font of Hildesheim Cathedral, 1260.

The Shrine of St. Sebald at Nuremberg, by Peter Vischer, 1506-19.

Porch of the tomb of Sheik Salem Christi at Fâthpùr Sikri near Agra, Mogul Art, 1556-1605.

Eastern gateway of the Sanchi Tope near Bilsah, Bhopal, Central India. Buddhist, A.D. 19-37.

Pulpit of Mimbar, Cairo, 15th cent.

From the central door at the end of the corridor beneath the screen we enter the , decorated with mosaic portraits of distinguished painters, sculptors, or workers in pottery. The west side of the area is entirely occupied by the ; the eastern side is filled with cases of precious objects. At the south-eastern angle is a model of a French boudoir of the time of Marie Antoinette-containing a harp supposed to have belonged to that queen.

Descending the central passage we enter the , devoted chiefly to architecture and sculpture. Over the entrance is a model of the Cantoria or Singing Gallery in Santa Maria Novella at Florence, by Baccio d'Agnolo, c. . On the opposite side is the tribune of Santa Chiara at Florence, . Most of the objects in this Hall are copies: we shall only notice a few of the precious originals.

(Left of entrance.) A Lavabo by Benedetto de Rovezzano, 1490, from a house at Florence.

An Altar by Benedetto de Majano, 1444-98, from the Palazzo Ambron at Florence, containing a terra-cotta Pietà of the 15th century.

(Right of entrance.) Bust of Henry VII. by Torregiano, 16th cent.

Lavello for domestic use, from Venice, 1520.

St. Sebastian--a statuette attributed to Michael Angelo, 1505.

The Leathern Sword and Scabbard of Caesar Borgia (1500), whose monogram Caesare is thrice repeated upon it.

(In a glass case) Cupid (?) by Michael Angelo, believed to have been executed for Jacopo Galli in 1497.

Altar, bearing a relief of the Resurrection, with statuettes of Saints on the pilasters, from St. Domenico at Genoa, 15th cent.

Statue of Jason, by a pupil of Michael Angelo, c. 1530.

A case of Sculptor's Models in wax and terra-cotta (several attributed to Michael Angelo) which belonged to the Gherardini da Firenze.

Altar-piece by Leonardo del Tasso, 1520, from the Church of Santa Chiara at Florence, enclosing a tabernacle ascribed to Desiderio da Settignano, c. 1480.

Bust of Giovanni di San Miniato, by Antonio Rossellino, 1456.

Kneeling Virgin, by Matteo Civitali of Lucca, 15th cent.

(Near the north end of the Court) the Waterloo Vase, executed by Sir R. Westmacott for George IV.

Beneath the gallery on the eastern side of this court is a collection of ecclesiastical vestments, including (within the arch) the famous , which was worked in the reign of Henry III., and belonged to the nuns of Syon near Isleworth, by whom it was carried into Portugal at the Reformation. Brought back to England at the beginning of the century, it was bequeathed to the Earl of Shrewsbury by some poor nuns to whom he had given an asylum. Beneath the arch is a Portrait of Napoleon I., interesting as an example of the wonderful needlework of Miss Mary Linwood, whose exhibition excited so much interest at the beginning of this century. Built into the compartments below the east gallery are a number of noble chimney-pieces, rescued from decaying palaces at Como, Brescia, Venice, &c., and well worthy of study. The most magnificent, from Padua, is of : opposite to it are an

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altar-piece and tabernacle from the Church of S. Girolamo at Fiesole, by

The compartments beneath the northern gallery are chiefly occupied by specimens of Della Robbia Ware, including-

A Medallion bearing the arms of King Rend of Anjou, executed in honour of his visit to the Villa della Loggia, which belonged to the Pazzi family, near Florence, c. 1453.

The Adoration of the Magi, by Andrea della Robbia.

The Madonna giving her girdle to St. Philip, from the Chapel of the Canigiani near Florence, 1500.

Twelve Plaques, painted in blue, representing the twelve months of the year, supposed to have been painted by Luca della Robbia for the writing-room of Cosimo de' Medici.

Against one of the piers on the west side of the court is a terra-cotta bust of the 15th century, said to be a portrait of Savonarola.

From the north-western angle of the a door leads to the , devoted to an exhibition of . Hence we reach the , devoted to ancient furniture. We had better return to the staircase at the north-western angle of the to ascend to the upper floor. The walls here are decorated with the cartoons executed for the frescoes in the Houses of Parliament. Passing through the rooms facing the stairs (devoted to Loan Exhibitions), a door on the right leads into Galleries devoted to , both English and Foreign. From the of the before-mentioned rooms a door on the left leads to the . That above the central screen contains many of the greatest treasures of the museum--

A case containing--a splendid Reliquary, formed like a Byzantine Church, 12th century--an altar cross of Rhenish Byzantine work, 12th cent.-a fine German triptych of champleve enamel of the 13th cent.

Eight cases of rare enamels, 16th and 17th centuries.

Three cases of ecclesiastical objects. The third contains the famous Gloucester Candlestick given by the Abbot Peter to the Church of St. Peter at Gloucester, c. 1104.

Two cases of precious metals combined with agate, crystal, and other materials.

Four cases of rare vessels in precious metals for secular use.

Two cases of clocks and watches. Observe the astronomical globe made at Augsburg in 1584 for the Emperor Rudolph II.

Entering the , the western portion is devoted to Carvings in Ivory. In a case at the entrance of the eastern portion is a beautiful Metallic Mirror made for a Duke of Savoy, c. .

(The door in the centre leads to the , containing noble specimens of ancient iron-work, chiefly German and Italian.)

The door at the east end of the Southern Gallery leads to the ,[n.481.1]  through which we enter rooms almost entirely devoted to the collection of pictures illustrative of British Art which was given to the nation by Mr. John Sheepshanks in , and which is known as

the Sheepshanks Collection.

We may especially notice-

Sir E. Landseer (1802-73). 88. The Drover's Departure; 91. There's no place like Home; 93. The Old Shepherd's Chief Mourner; 99. Suspense.

Peter de Wint (1784-1849). 258. A Cornfield--a glorious picture, given by the painter's daughter.

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Room.

33. John Constable (1776-1837). Chichester Cathedral.

62. Thomas Creswick (1811--69). A Summer's Afternoon.

Room.

Joseph Mallard William Turner (1775-1851). 207. Line-fishing off Hastings; 208. Venice; 209. St. Michael's Mount, Cornwall; 210. Royal Yacht Squadron at Cowes; 211. Vessel in distress off Yarmouth.

Hence we reach the , which contains the celebrated , being the original designs (drawn with chalk upon strong paper and coloured in distemper) by Raffaelle and his scholars, especially Francesco Penni, for the tapestries ordered by Leo X. to cover the lower walls of the Sistine Chapel, the upper part being already clothed with the glorious frescoes which still adorn them. There were originally Cartoons, but are lost-The Stoning of Stephen, The Conversion of St. Paul, St. Paul in his Dungeon at Philippi, and the Coronation of the Virgin, which last was intended to fill the space above the altar. The tapestries were executed at Arras, and were hence called . They were worked under the superintendence of Bernard van Orley, a Dutch pupil of Raffaelle, and were hung up in the Sistine, on Day, . years after, they were carried off in the sack of Rome by the French, but were restored to Julius III. by the Constable Anne de Montmorency. In they were again carried off by the French, and passing through various hands, were repurchased by Pius VII. in from a Frenchman named Devaux, at Genoa. Though greatly faded and much injured by bad restoration, they still hang in the Vatican.

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The Cartoons, which alone exist now, lay neglected in the manufactory at Arras till they were seen there in by Rubens, who advised Charles I. to purchase them for a tapestry manufactory which was established at Mortlake. On the death of Charles, Cromwell bought them for . They remained almost forgotten at till the time of William III., who removed them to , where a room was built for them by Wren, in which they hung till they were brought to South Kensington. Tapestry workers have twice cut them into strips and pricked the outlines with their needles, at Arras, and afterwards at Mortlake, where several copies were executed. A splendid set of tapestries worked from the Cartoons whilst they were at Arras (probably ordered by Henry VIII.) was in the collection of Charles I. at , and was purchased, after his death, by the Duke of Alva : they are now in the Royal Museum at Berlin.

The Cartoons require many visits to be properly understood. He who visits them often will agree with Steele:

Christ's Charge to Peter. The Saviour, a noble figure of divine expression, points to Peter, who kneels, with the keys in his hand, and gazes up with loving veneration to his Master, who bids him Feed my Sheep! A somewhat literal expression is given to the words by the flock of sheep to which the Saviour points with his left hand. The disciples express every variety of emotion, surprise, astonishment, even anger, but the expression in James and John is only that of adoration and love.

Nothing can exceed the beaming warmth, the eager look of pure devotion, in St. John's head. His delightful face seems to start forward from his hair with gratitude and rapture. St. John seems to have been a character Raffaelle delighted in. It was in fact his own.-Haydon.

Present authority, late sufferings, humility and majesty, despotic command and divine love are at once seated in the celestial aspect of our blessed Lord. The figures of the eleven apostles are all in the same passion of admiration, but discover it differently according to their characters. The beloved disciple has in his countenance wonder drowned in love: and the last personage, whose back is towards the spectators, and his side towards the presence, one would fancy to be St. Thomas, as abashed by the conscience of his former diffidence, which perplexed concern it is possible Raffaelle thought it too hard a task to draw, but by this acknowledgment of the difficulty to describe it.-Spectator, 226.

The Death of Ananias. Peter, who stands with James as the prominent figure of the apostolic group, appears to be uttering the words, Thou hast not lied unto men, but unto God. In the foreground the mercenary Ananias falls in the convulsion of death, while the spectators are horrified at the divine judgment. In the background are two groups unconscious of the scene enacted near them. On the one side are people bringing in their property to the community of goods, amongst them Sapphira, who comes with reluctance, counting the money she is about to part from: on the other side St. John, the apostle of love, and another, are comforting the poor with gifts.

Peter and John Healing the Lame Man. The apostles are standing between the twisted pillars of the Beautiful Gate of the Temple. St. Peter, grasping the cripple by the hand, bids him Arise and walk! St. John, filled with pity, gazes upon the beggar, who, when he first finds strength in his feet, is doubtful of their new vigour. The heavenly apostles appear acting these great things with a deep sense of the infirmities which they relieve, but no value of themselves who minister to their weakness. They know themselves to be but the instruments.Spectator, No. 226. The figures of the spectators are wonderfully noble and expressive.

What a beautiful creature is that in the corner who with a fairy's lightness is gracefully supporting an elegant wicker basket of fruit and flowers and doves, and holding a beautiful boy who carries doves also, which are undulating their little innocent heads to suit his motion. She, as she glides on, turns her exquisite features, her large blue eyes, beautiful full nose, and little delicate breathing mouth, whose upper lip seems to tremble with feeling, and to conceal, for a moment, a little of the nostril. Never was there a more exquisite creature painted. It is impossible to look at her without being in love with her. Raffaelle's flame was so steady and pure. Several bystanders seem to regard the beggar as if with an ejacula. tion of Poor Man! One appears lost in abstraction as if reflecting on his helpless situation.--Haydon.

Paul and Barnabas at Lystra. A cripple, who has been healed, is expressing his gratitude to the apostles, while an old man, raising his garment, is satisfying himself that the maimed limb is really restored. The priests, who mistake the apostles for Mercury and Jupiter, are hastening forward with bulls for the sacrifice, and a man is bringing in a ram. Paul is about to rend his garments in his indignation at the idolatry of the people, and Barnabas, clasping his hands, prays that it may be arrested. A young man, observing the distress of the apostles, tries to stop the sacrifice, and already, in some of the faces at the edge of the picture, is evinced the change in the temper of the people of Lystra, who afterwards stoned Paul. The sacrificial group in this cartoon is taken from a relief in the Villa Medici at Rome.

.

Elymax the Sorcerer struck Blind. Paul, a sublime figure, stretches out his hand with the words, And now behold the hand of the Lord is upon thee, and thou shalt be blind, not seeing the sun for a season. The Sorcerer, standing opposite to him, filled with graceless indignation, gropes forwards in the first hideous terror of his blindness. Sergius, the proconsul of Cyprus, starts forward from his seat in dismay, and even the lictors at the side of the throne exhibit fear and amazement. Only the upper half of the tapestry from this cartoon is in existence.

Paul Preaching at Athens. The noble figure of St. Paul was adapted by Raffaelle from that lately finished by Filippino Lippi in the Church of the Carmine at Florence. The audience express every varied emotion of attention, meditation, doubt, and conviction. The greater part of this cartoon was probably executed by Francesco Penni.

The Miraculous Draught of Fishes. The scene is the lake of Gennesaret. On the distant shore the people still linger where the Saviour has been teaching from Peter's boat. Now the two boats of the disciples are drawn up close to each other. In one of them several of the apostles are vainly striving to draw in their net, which is torn with the weight of the fish: in the other, Peter kneels at the feet of his Saviour, with the words, Depart from me, for I am a sinful. man, 0 Lord! Raffaelle is believed to have executed almost the whole of this cartoon with his own hand, as a model for the rest, but the cranes on the bank are attributed to Giovanni da Udine.

On the opposite side of (reached from the North-western-i.e. Furniture Galleries-take a ticket of free admittance with you from the door as you go out) is the entrance to the Educational part of the Museum devoted to , and . A division in the long gallery devoted to machinery is interesting as containing-

The Puffing Billy. The oldest locomotive in existence, the first which ran with a smooth wheel on a smooth rail, constructed under William Hedley's Patent for Christopher Blackett of Wylam Collieries. After many trials, it began to work regularly in 1813, and was kept in use till 1862.

The Rocket, the prize engine, constructed by Stephenson for competition in 1829 at Rain Hill, on the Liverpool and Manchester Railway, which was formally opened, Sept. 15, 1830.

The original Engine fitted in 1812 to the Comet, the first steamer in Europe advertised for the conveyance of passengers and goods.

The first Hydraulic Press, constructed by Joseph Bramah in 1795.

The Fire Engine patented by Richard Newsham, 1821-25, being one of the first engines in which two cylinders and an air-vessel are combined and worked together so as to ensure the discharge of continuous streams of water.

Different Models designed and patented by James Watt, and that (Newcomen's Engine) in repairing which he made the discovery of a separate condenser, which identified his name with that of the steam-engine.

The staircase on the right leads to the , of ever-increasing interest and importance, established; at the suggestion of Philip Henry, Earl

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Stanhope, its President. At present it occupies a suite of small rooms which are wholly inadequate, and, as it is constantly increasing, no arrangement as to dates or characters has been even attempted. It deserves the appropriation of some fine building in a central situation, such as the wantonly destroyed . Many of the earlier portraits, chiefly royal, are by unknown artists, and more curious than otherwise remarkable: the later portraits are not only interesting from those they commemorate, but are in many cases valuable as specimens of the English School of portrait-painters-Dobson, Riley, Richardson, Jervas, Michael Wright, Mary Beale, Godfrey Kneller, Wissing, Sarah Hoadley, Thomas Hudson, Hogarth, Hoare, Dance, Gainsborough, Reynolds, Romney, Opie, Hoppner, Wright of Derby, Hilton, Allan Ramsay, Hudson, Beachey, Raeburn, Lawrence, Phillips, and Landseer. It is impossible () to give more than an alphabetical guide to some of the more interesting pictures :

Joseph Addison; 1672-1719.-Sir G. Kneller.

George Monk, Duke of Albemarle, the restorer of Charles II. ; 1608 --70.-Sir P. Lely.

John Allen, historic writer; 1770--1843.-Sir E. Landseer.

Jeffrey, Lord Amherst, 1717-1797.-Gainsborough.

Anne of Denmark, wife of James I.; 1575- 169.-Van Somer.

Princess Anne (afterwards Queen); 1664-1717; with her son the Duke of Gloucester; 1689-1700.-Dahl.

Queen Anne.-Dahl.

Sir Richard Arkwright; 1732-1792. Wright of Derby.

Dr. Isaac Barrow, the theologian and mathematician; 1630-1677; a striking work of Claude Le Fevre.

James Barry, the painter; 1741-1806.-By himself.

William Pulteney, Earl of Bath; 1682-1764; a magnificent portrait by Sir ]. Reynolds.

Francis Bartolozzi, the engraver; 1730-1813; a fine work of Ope.

William Russell, 1st Duke of Bedford; 1613-1700; a fine specimen of Sir G. Kneller.

Jeremy Bentham, 1748-1832; as a boy.-T. Frye.

Jeremy Bentham at 81 (painted 1829).--. W. Pickersgill.

Thomas Bewick, 1758-1828; the wood engraver, aged 70.- Ramsay.

Sir William Blackstone, the judge, author of the Commentaries; 1723-1780.-Sir J. Reynolds.

William Blake, the artist and engraver; 1757-1827; a noble portrait by T. Phillips.

Thomas Blood, who attempted to murder the Duke of Ormonde, and stole the Regalia; 1628-1680.-Gerard Soest.

Admiral Edward Boscawen; 1711-1761.-Sir J. Reynolds.

Elizabeth Barrett Browning, the poetess; 1809-1861, in chalks.- Field Talfourd.

Sir M. I. Brunel, who constructed the Thames Tunnel, which is seen in the background; 1769-1849.-Drummond.

George Villiers, 2nd Duke of Buckingham; 1627-1687; a beautiful specimen of Sir P. Lely.

Sir Francis Burdett, statesman and orator; 1770-- 1844.--T. Phillips.

William Cecil, Lord Burghley, the minister of Elizabeth, painted at 77, in 1597; 1521-1598.-M. Gheerardts.

Right Hon. Edmund Burke; 1729-1797-School of Reynolds.

Burnet, Bishop of Salisbury, the historian; 1643-1715.-Riley.

Robert Bums, the poet; 1759-1796.-Alex. Nasmyth.

George, Lord Byron, the poet; 1788-1828.-T. Phillips.

Charles Pratt, Lord Chancellor Camden; 1713-1794; a fine work of Dance.

Lord Chancellor Campbell, author of Lives of the Chancellors; 1779-1861.- T. A. Woolnoth.

Thomas Campbell, the poet; 1777- 1844.-Sir T. Lawrence.

Sir Dudley Carleton, the diplomatist, afterwards Viscount Dorchester; 1572-1631.-Cornelius Jansen.

Anne, Lady Carleton.-C. Jansen.

Queen Caroline of Anspach, wife of George II.; 1682-1737.-E. Seenman.

Caroline, Princess of Wales, wife of George IV.; 1682-1734; a sensuous portrait in a red dress and hat, painted at Blackheath by Sir T. Lawrence.

Elizabeth Carter, the Greek scholar, 1717--1806, in crayons.-Sit T. Lawrence.

Catherine of Aragon, first wife of Henry VIII.; 1485-1536.- Unknown.

Catherine of Braganza, wife of Charles II, 1638-1705, in the dress in which she arrived in England.-Stoop.

Sir William Chambers, the architect; 1726-1796.-Sir . Reynolds.

Sir Francis Chantrey, the sculptor; 1782-1841.--T. Phillips.

Charles II.; 1630-1685.-Mrs. Beale.

Princess Charlotte; 1796-1817.-G. Dawe.

Queen Charlotte, wife of George III.; 1744-1818.-Allan Ramsay.

William Pitt, Earl of Chatham; 1708-1778.--R. Brompton.

Philip Dormer, Earl of Chesterfield, author of the Letters; 1694 .-1773.-Hoare .

Charles Churchill, the satirist; 1731-1765.-Schaak.

Thomas Clarkson, who promoted the Abolition of the Slave Trade; 1760-1846.-De Breda.

Barbara Villiers, Duchess of Cleveland; 1640--1709.-Sir P. Lely.

Robert, Lord Clive; 1725--1774.-Dance.

Richard Cobden; 1804-1865.-L. Dickinson.

Richard Temple, Viscount Cobham, the friend of Pope, ob. 1759; a capital work of Vanloo.

Samuel Taylor Coleridge, the poet; 1772- 1834- Washington Alston.

The same, in his 23rd year.-AM. Vandyke.

George Colman, the dramatist; 1733-1794.-Gainsborough.

William Congreve, the dramatist; 1669-1729.-Sir G. Kneller.

Captain J. Cook, the navigator; 1728-1779.--J. Webber.

Sir Eyre Coote; 1726-1783.-Unknown.

Charles, Earl Cornwallis; 1738-1805.-Gainsborough.

Richard Cosway, the miniature painter; 1741-1782.-By himself.

Abraham Cowley, the poet; 1618-1667.-Mrs. Beale.

William, 1st Earl of Craven; 1606 --1697.- Honthorst.

Richard Cumberland, the dramatist; 1732-181 .-Romney.

Erasmus Darwin, physician and poet; 1731-1802.--Wright of Derby.

Moll Davis, an actress beloved by Charles II.-Sir P. Lely.

Thomas De Quincey, author of Confessions of an Opium Eater; 1785-1859.--Sir Watson Gordon.

Charles Dickens, the novelist; 1812-1870.--Ary Scheffer.

Charles Dibdin, the song-writer; 1745-1813.-T. Phillips.

William Dobson, The British Tintoret; 1610-1646.-By himself.

Charles Sackville, Earl of Dorset, the Patron of Dryden; 1637- 1706.--Sir G. Kneller.

John Dryden, the poet; 1631- 1700.-Maubert.

John Dunning, afterwards Lord Ashburton; 1731-1783.-Sir J. Reynolds.

Elizabeth, Queen of Bohemia, daughter of James I.; 1596-1662.- Mireveldt.

John Flaxman, the sculptor, 1755-1826, modelling the bust of his friend Hayley, whose son is introduced.-Romney.

Benjamin Franklin; 1706-1790.-.French School.

David Garrick, actor and author; 1716-1779.-R. E. Pine.

George II.; 1683-1760; full-length, at the time of his accession.- Michael Dahl.

William Hogarth, 1697-1764, painting the Muse of Comedy, a small full-length, by himself.

James Hogg, the Ettrick Shepherd; 1772-1835.-Denning.

Rev. John Home, 1724-1808, author of Douglas-a noble portrait by Sir Henry Raeburn.

John Howard, the philanthropist; 1726-1790.-Mather Brown.

Leigh Hunt, the essayist; 1784-1859.-Haydon.

Sir Elijah Impey, Chief Justice in India; 1732-1809.-Zoffany.

Henry Ireton, the son-in-law of Cromwell; 1610-.1651.- Walker.

Rev. Edward Irving, founder of the Catholic and Apostolic Church; 1792-1834.- A sketch by Slater.

James I. as a boy; 1566-1625.-Zucchero.

James I. in robes of state.--Van Somer.

James II.; 1633--1701.-Riley.

Lord Chancellor Jeffreys, the cruel judge, 1648-1689, as Recorder of London.-Sir G. Kneller.

Henry, Lord Jermyn, afterwards Earl of St. Albans, the friend of Henrietta Maria, ob. 1683.-Sir P. Lely.

Angelica Kauffmann; 1740-1807.-By herself.

John Keats, the poet; 1795-1821 ; a small full-length seated figure, reading, by Severn.

John Philip Kemble, the tragedian; 1757-1823.-Gilbert Stuart.

Augustus, Viscount Keppel, admiral; 1727-1786; a noble work of Sir _. Reynolds.

John Lambert, General of the Parliamentary forces; 1620-1694.- Walker.

Henry, 3rd Marquis of Lansdowne; 1780-1863; a beautiful picture by Hoppner.

David Livingstone, the African traveller; 1813--1873; a sketch by y. Bonomi.

George II. in middle life, with Westminster Abbey in the distance. --Shackleton.

George II., aged 70.--T. Worlidge.

George III.; 1738-1820.-Allan Ramsay.

George IV.; 1762-1830; a study for the profile on the coinage.- Sir T. Lawrence.

Prince George of Denmark, husband of Queen Anne; 1658-1708. - Wissing.

John Gibson, the sculptor; 1791-1866.--Mrs. Carpenter.

Oliver Goldsmith, the poet; 1728-1774; a portrait which belonged to himself.-School of Reynolds.

Thomas Gray, the poet; 1716-1771; sketched from memory by his biographer.- William Mason.

William Wyndham, Lord Grenville; 1759-1834; a beautiful portrait by Hoppner.

Sir Thomas Gresham, founder of the Royal Exchange; 1519-1579; a grand portrait by Sir Antonio More.

Sir Harbottle Grimston, Speaker, and Master of the Rolls; 1602-- 1683.-Sir P. Lely.

Nell Gwynne, beloved by Charles II.; 1640-1691.-Sir P. Lely.

Emma Hart, Lady Hamilton; a sketch by Romney.

George Frederick Handel; 1684-1759.-Hudson (the master of Sir J. Reynolds).

James Harris, author of Philosophical Essays; 1709-1780. -Romney, after Reynolds.

Warren Hastings, First Governor-General of India; 1733-1818; a noble work of Sir T. Lawrence.

Lord Heathfield, the Defender of Gibraltar; 1717-1790.-Copley.

Sir William Herschel; 1738-1822.-Abbot.

Benjamin Hoadly, Bishop of Winchester; 1676-1761.-Mrs. Hoadly.

Thomas Hobbes, the philosopher, aged 81; 1588-1679; 4 very fine work of Y. M. Wright.

John Locke, the philosopher; 1632-1704.-Brownover.

Alexander Wedderburn, Lord Loughborough, Lord Chancellor; 1733-1805.--W. Owen.

Simon Fraser, Lord Lovat, beheaded; 1668-1747.-Hogarth.

When Lord Lovat was brought from Scotland, to be tried in London, Hogarth, having previously known him, went to meet him at St. Albans, for the purpose of taking his portrait, and at the White Hart in that town, found the hoary peer under the hands of his barber. The old nobleman rose to salute him, according to the Scotch and French fashion, with so much eagerness, that he left a large portion of the lather from his beard on the face of his old friend. He is drawn in the attitude of enumerating by his fingers the rebel forces--such a general had so many men, &c.-J. Ireland.

George, Earl of Macartney, 1737-1806, conferring with his secretary, Sir E. Staunton.-Abbott.

Sir James Mackintosh; 1765-1832.-Sir T. Lawrence.

William, Earl of Mansfield, Lord Chief Justice; 1704-1793.-- Copley.

John, Duke of Marlborough; 16500-1722.-Wyck.

Princess Mary, afterwards Mary I.; 1516-1558; a curious portrait painted in 1544.--Unknown.

Queen Mary of Modena. wife of James II.; 1658-1718.- Wissing.

Queen Mary II., wife of William III.; 1662-1694.- Wissing.

Mary, Queen of Scots; 1542-1587. The Fraser Tytler Portrait, in a rich dress, by a French artist.-Unknown.

The same, in a widow's dress, painted during her captivity at Sheffield.-P. Oudry.

Richard Mead the great physician; 1673-1754.-Allan Ramsay.

Mary Russell Mitford, authoress of Our Village; 1786-1855.-J. Lucas.

James, Duke of Monmouth, 1649-1685, son of Charles II. and Lucy Waters; beheaded.- Wissing.

Hannah More, the religious writer, 1745-1833, painted at 77.- H. W. Pickersgill.

George Morland the artist; 1763-1804.-By himself.

Arthur Murphy the dramatist; 1727-1805.-Dance.

Admiral Lord Nelson; 1737-1823.-Figer.

The same.-F. L. Abbott.

Joseph Nollekens the sculptor; 1737-1823.-F. L. Abbott.

The same, as an old man.-J. Lonsdale.

James Northcote the painter; 1746-183 .-Northcote.

Anne Oldfield the actress; 1683-1730.-Richardson.

John Opie the portrait painter; 1761-1807.-By himself.

Henrietta, Duchess of Orleans, 1644-1670, youngest daughter of Charles I., wife of the only brother of Louis XIV.-Mignard.

James Butler, 1st Duke of Ormond, Lord High Steward; 1610- 1688.-Sir P. Lely.

James, 2nd Duke of Ormond; 1665-1745.-Dahl.

William Paley, author of the Evidences; 1743-1805.-Sir W. Beechey, after Romney.

Samuel Parr the great scholar; 1747-1825.-Dawe.

Henry Pelham the minister; 1696-1754.-Hoare.

Mary, Countess of Pembroke; 1550-1621; a very interesting picture.-Marc Gheerardts.

Samuel Pepys, author of the Diary; 1632-1703.-Hayes.

Spencer Perceval the Prime Minister, 1762-1812, assassinated in the lobby of the House of Commons.-Joseph.

Sir Thomas Picton, 1758-1185, killed at Waterloo.-Sir M. A. Shee.

Oliver Plunkett, Archbishop of Armagh, 1629-1681, executed at Tyburn.-G. Murphy.

Alexander Pope the poet; 1688-1714; in crayons.-Hoare.

The same, with Martha Blount.--Jervas.

Joseph Priestley the philosopher; 1733-1804; in crayons.-Sharples.

Matthew Prior, poet and statesman; 1664-1721.-Richardson.

Francis Quarles, author of the Emblems; 1592-1644.-

W. Dobson.

Catherine, Duchess of Queensberry, Prior's Kitty ever young. Jervas.

Sir Stamford Raffles; 1781-1826.-Joseph.

Sir Walter Raleigh, 1552-1618, beheaded at Westminster.- Zucchero.

Sir Joshua Reynolds; 1723-1792; a magnificent effect of light and shadow.-By himself.

Samuel Rogers the poet; 1763-1855; in chalks.-Sir T. Lawrence.

Rt. Hon. George Rose, statesman and political writer; 1744-1818; a noble portrait by Sir W. Beechey.

Louis Francis Roubiliac the sculptor, 1695-1762, modelling his statue of Shakspeare.-Carpentiers.

William, Lord Russell, the patriot; 1641-1683; beheaded.-Riley.

Rachel, Lady Russell, daughter of Wriothesley, Earl of Southampton, and widow of the patriot; 1636-1723.-Sir G. Kneller.

William Sancroft, Archbishop of Canterbury; 1616-1693; in crayons.-E. Lutterel.

Sir Walter Scott the poet and novelist; 1771-1832.-Graham Gilbert.

The same, a sketch at Abbotsford.-Sir E. Landseer.

The same, in his study at Abbotsford; his last portrait.-Sir W. Allan.

William Shakspeare; 1564-1616. The Chandos Portrait. It belonged to Sir W. Davenant, Betterton, Mrs. Barry, Mr. Kirk, Mr. Nicolls, the Duke of Chandos, and the Duke of Buckingham and Chandos. It was bought by Lord Ellesmere at the Stowe sale for 355 guineas and presented by him to the gallery.-Burbage or Taylor.

William Petty, Earl of Shelburne, 1st Marquis of Lansdowne; 1737-1805.--Sir J. Reynolds.

William Shenstone the poet; 1714-1763.-E. Alcock.

Anne Brudenell, Countess of Shrewsbury, ob. 1702.-Sir P. Lely.

Sarah Siddons the actress; 1755-1831.-Sir W. Beechey.

The Electress Sophia, 1630-1714, granddaughter of James I. ant mother of George I.-Honthorst.

Henry Wriothesley, Earl of Southampton, 1573-1624, the friend of Shakspeare.-Mireveldt.

Robert Southey the poet; 1774-1843; a sketch in 1804.--Edrtge.

The same, painted in 1796.-M. Vandyke.

James, 1st Earl Stanhope; 1673-172.--Sir G. Kneller.

Charles, 3rd Earl Stanhope; 1753-1816.-Ozias Humphrey.

Thomas Stanley, historian of philosophy; 1625-1678.-Sir P. Lely.

Richard Steele, essayist and dramatist; 1671-1729.--Richardson.

Thomas Stothard the artist; 1755-1834.--. Green.

Joseph Strutt the antiquary; 1749--1802.-Ozias Humphrey.

Prince Charles Edward Stuart, 1720-1788, as a boy.-Largillire.

Prince Charles Edward Stuart, the young Chevalier; 1720--1788.- Pompeo Battoni.

Louisa, Countess of Albany, wife of Prince Charles Edward; 1752-1824.-Pompeo Battoni.

Prince James Stuart, son of James II. and Mary of Modena, called by some James III., by others the Old Pretender; 1684--1737.- 4lexis Simeon Belle.

The same.-Mengs.

Henry Benedict Stuart, younger brother of Prince Charlie; 1725- 1807.-Largilliere.

The same, as Cardinal York.-Pompeo Battoni.

Jonathan Swift, Dean of St. Patrick's; 1667-1745.--Jervas.

Sir William Temple the diplomatist; 1628-1699.-Sir P. Lely.

James Thomson the poet; 1700-1748.-Paton.

Lord Chancellor Thurlow; 1732-1806.--T. T. Phillips.

John Tillotson, Archbishop of Canterbury; 1630-1694.-Mrs. Beale.

John Hore Tooke the politician; 1736-1812.--Hardy.

George Byng, 1st Viscount Torrington; 1663-1733.-Sir G. Kneiler.

Patrick Fraser Tytler the historian; 1791--1849.-Mrs. Carpenter.

Peter Martyr Vermilius, the Reformed preacher at Oxford in time of Edward VI.; 15000-1562.--Ians Asper.

William Wake, Archbishop of Canterbury; 1657-1737.-Gibson.

William Waller the poet; 16050-1687.--Rily.

495

 

Sir Robert Walpole, Earl of Orford, the Prime Minister; - .-

Horace Walpole, Earl of Orford, the author; -.-- , William Warburton, Bishop of Gloucester; -.-C.

General George Washington; - in crayons.-Mrs.

James Watt the engineer; -.-

Isaac Watts, author of the Hymns; -.-

The Duke of Wellington; -.-

Rev. John Wesley; -; aged .-

The same, aged .-

Benjamin West the historical painter; --.-

Rev. George Whitefield, preaching; -.-

William Wilberforce the philanthropist; -.-

Sir David Wilkie the painter; --.-

William III. as a boy of in a yellow dress; --..-.

Sir Ralph Winwood the diplomatist; -.--

General James Wolfe; -.-

William Wordsworth the poet; -.-

Sir Christopher Wren the architect; -.-

Joseph Wright of Derby the portrait painter; -.-BY

Anne Hyde, Duchess of York, mother of Mary II. and Anne; - .-

John Zoffany the painter; -.-

A room attached to this gallery contains a number of electrotype casts from the tombs in . A fine bronze bust of Charles I. is by ; a terra-cotta bust of Cromwell is by

A little higher up the is the entrance of

Admittance, Mondays and Saturdays

1s.

: on all other days

6d.

The galleries on the ground-floor are occupied by objects

496

illustrative of the Natural Products. Minerals, and Zoology of India. On the upper-floor are specimens of Indian Manufactures. In Room IX. are the principal curiosities, which were formerly shown at the - Runjeet Singh's golden throne, and Tippoo Saib's Tiger, taken at Seringapatam, which was made by mechanism to growl, and the Englishman it is supposed to be devouring, to scream, for his amusement. The passage by which the lower galleries are reached is occupied by the curious sculptures brought in from the Amravati Tope on the river Kistna in the district of Guntoor in Madras.

The dull occupy the site of those of Loudon and Wise, whose collection of trees and shrubs was so much eulogised by Evelyn. To the south-west of these, at the junction of and , stood Gloucester Lodge, built for the Duchess of Gloucester and inhabited by Princess Sophia, and afterwards by George Canning. It was pulled down in .

Returning to the , we find the running southwards. On the right is , which retains a portion of the fine avenue which once extended from the grounds of Cowper House to the , where it terminated opposite Hollis Place.

The , at the south-east corner of , occupies part of the grounds of Sydenham Edwards, the editor of the Botanical Register, which grounds existed till . The perfectly countrified aspect of Brompton at this time is described by Lord Lytton in his novel of

Streets are rapidly increasing along the , which a short time ago ran entirely through nursery-grounds.

497

The famous Brompton Park Nursery lasted from the time of James II. to that of the Exhibition of .[n.497.1]  Evelyn describes

its noble assembly of trees, evergreens,

&c.

The Brompton Stock is a memorial of its celebrity.

On the right are , where years ago brace of partridges used to rise in a morning, now regularly laid out with villas, much frequented by artists.

[The road leads through Walham Green to , which, though miles from , requires a cursory mention here as the home of the Bishops of London.

Fulham, which, according to Camden, means

the place of fowles,

but, according to most authorities,

the place of dirt,

is a pretty antiquated village with a wooden bridge over the Thames. The Inn of the Golden Lion existed in the time of Henry VII., and was for some time the residence of Bishop Bonner. At another tavern, the King's Arms, the Fire of London was annually commemorated on September i, in honour of its having given refuge to a number of city fugitives. The perpendicular , which stands near the river, contains a great number of interesting monuments. We may especially notice that of John Viscount Mordaunt of Avalon, father of the great Earl of Peterborough, . , by Bushnell, sculptor of the figures on , with a statue by Bird; the noble monument by Gibbons to Dorothy Hyliard, , wife of Sir W. Clarke, Secretary at War to Charles II., and afterwards of Samuel Barrow, physician to the same, author of the Latin verses prefixed to the simple altar tomb of Sir William Butts, , the physician

498

to Henry VIII., mentioned by Shakspeare; the quaint monument of Margaret, wife of Sir Peter Legh of Lyme, , and her babies; the mural monuments of Thomas Carlos, , son of the Colonel Careless who hid Charles II. in the oak, and was allowed to change his name to Carlos as a reward; of Thomas Smith, Master of Requests to James I., ; of Bishop Gibson, ; Bishop Porteus, ; and Bishop Blomfield, . An admirable Flemish brass commemorates Margaret Swanders, . In the churchyard are the monuments of Sir Francis Child, , and of Theodore Hook, . On the eastern side of the church are the tombs of a number of the bishops (beginning at the church wall)-Lowth, ; Terrick, ; Randolph, ; Gibson, ; Sherlock, ; Compton, ; Hayter, ; Robinson, . Near the tomb of his patron, Bishop Compton, lies Richard Fiddes, author of the Life of Cardinal Wolsey. In the grave of Bishop Lowth rests his friend Wilson, Bishop of Bristol, .

A drive through an avenue, or (from the church) a raised causeway called

the

Bishop's Walk

,

leads to , the ancient manor-house of the Bishops of London. A gateway is the approach to a quaint picturesque courtyard surrounded by low buildings of red and black bricks, erected by Bishop Fitzjames in the reign of Henry VII. The interior of the palace is unimportant, though the Library contains a number of episcopal portraits, including that of Bishop Ridley, whose years' residence here is of the most interesting periods in the history of the palace. Under his hospitable roof the mother and sister of his predecessor, Bonner, continued to reside, ever-welcome

499

guests at his table, where the place of honour was always reserved for

our mother, Bonner.

The palace gardens were filled with rare shrubs by Bishop Grindal, who was a great gardener: they still contain a very fine cork-tree. A picturesque garden-gateway bears the arms of Bishop Fitzjames. The , in the garden, was built by Butterfield for Bishop Tait, .

 

In the water-meadows and on the river banks, near Fulham Palace, may be recognised many of the familiar subjects in the pictures of De Wint, who repeated them over and over again. In ascending the river to Fulham a perfect gallery of De Wints is seen.

Near the palace is , much admired when it was built by Lady Craven, afterwards Margravine of Anspach. At , a hamlet of Fulham, lived

500

Lord Mordaunt, whose tomb is in the church, and his son, the famous Earl of Peterborough. Peterborough House has been rebuilt. On the same side of the green Samuel Richardson lived from to his death in .]

 
 
Footnotes:

[n.476.1] In the garden is John Bell's statue of The Eagle Slayer.

[n.481.1] The best pictures here are the hundred works of art given by Mrs. Ellison of Sudbrooke near Lincoln. Especially beautiful is No. 1048, Conisborough Castle by G. F. Robson (1790-1833). Some of the pictures are interesting as representations of Old London--as that of old Buckingham House (No. 80) by E. Dayes.

[n.497.1] The Builder. September 4, 1875.