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Anecdotes of Painting in England : with Some Account of the Principal

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C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : 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; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME. CHAPTER I. Page. Painters and other Artists in the Reign of James I. 1 CHAPTER II. Charles I. His Love and Protection of the Arts. Accounts of Vanderdort and Sir Balthazar Ger- hier. Dispersion of the King's Collection, and of the Earl of Arundel's, - - - 92 CHAPTER HI. Painters in the Reign of Charles I. - - 161 CHAPTER IV. Artists during the Interregnum, - 362 APPENDIX, --.._. 371 ERRATA. Page 36. n. line 29, for " Vanhinge, read Vanlinge." — 111. line 1, for "a picture representing the Queen in three points of view, read two pictures representing the Queen, full face, and profile." — 157. n. last line, for " Tragleman, read Trayleman." — 265 n. line I, for " Chiffinell's, read Chiffiuche's." ; ANECDOTES OF PAINTING, #c. CHAPTER 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 literature. A Prince who thought puns* and quibbles the perfection of eloquence, * [Hayley's opinion on this subject, when given, was allowed to be just, " James, both for empire, and for arts, unfit, (His sense a quibble, and a pun his wit,) Whatever works he patronised, debased But haply left the pencil undisgraced." Epistle to Romney. Whitehall would never have been built nor embellished by the VOL. II. B ii PAINTERS IN THE REIGN OF JAMES I. 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 esta- blished by Queen Elizabeth, in which predomi- nated 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, in- stead of being contrived for symmetry or to illu- minate 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 erected in the reign of Elizabeth by the memorable* Countess of Shrewsbury, Elizabeth of Hardwicke, are ex- " mere motion" of that pedantic king, but for the suggestion of the favourite Buckingham.] * It is a tradition in the family of Cavendish that a fortune- teller had told her, that she should not die while she was ouikling; accordingly she bestowed a great deal of the wealth she had obtained from three husbands in erecting large seats at Hardwicke, Chatsvvorth, Bolsover, and Oldcotes, and I tnink, at Worksop ; and died in a hard frost, when the work- men could not labour.] PAINTERS IN THE REIGN OF JAMES I. 6 actly 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 ceilings, graceful 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 Hard- wicke, still preserved as it was furnished for the reception and imprisonment of the Queen of Scots, is a curious picture of that age and style. Nothing can exceed the expense 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 con- sist of figures, large as life, representing the vir- tues and vices, embroidered on grounds of white and black velvet. The cloths to cast over the tables are embroidered and embossed with gold on vel- vets 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 * ["Rich windows that exclude the light And passages, that lead to nothing.'' Gray's Long Story. This description is given of Stoke Pogeis, Bucks, built by an Earl of Huntingdon.] 4 PAINTERS IN THE REIGN OF JAMES I. 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, re- markable 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,* 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 * 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 its 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 gal- lery, was demolished after the decease of the last Earl of Suffolk of that line ! JL YAHSOMER. PAINTERS IN THE REIGN OP JAMES I. O PAUL VANSOMER, Born 1576. Died 1621, 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 Am- sterdam. 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 colouring and stiff in his drawing.-f- 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 * [Bernard Vansomer had married the daughter of Arnold Mytens, and were both natives of Antwerp. " Paul Vansomer n'e"toit pas moins estime', et les succes de son frere n'empe- cherent pas qu'il fiit egalement recherche" pour le portrait." Deschamps, t. i. p. 334.] f 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.
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