Kingston Lacy Illustrated list of pictures K Introduction the Restoration. What we have intheLibrary, what Sir Ralph Bankes went onto collect after be identified at Kingston Lacy. three of theremaining 31 pictures can plausibly still National Trust house, Saltram, Devon). Twenty- Royal collections oncemore, and isnow in another Gonzaga – was at somepoint alienated from the (ironically, oneof these–Rubens’sof Vincenzo Head those to Charles II,onhisrestoration to thethrone year Bankes will have been forced to surrender them. That was unfortunate, sincethe very next having the CR brand of Charles I’s collection on pictures, butfive of these were proudly noted as the collection more thandoubled insize, to 36 had become muchmore ambitious. Notonly had & wt they Cost .X and finallist, ‘A noate of my Pictures att Grayes Inn identified at Kingston Lacy. By thetime of histhird fewer than11of the17pictures inthat can stillbe still present inthesecond list. By contrast, no or possibly six, of thefirst list of 14pictures were feebler ones and getting better ones. So only five, three unnumbered additions, by disposing of 1658, which contains 14numbered pictures, plus & wt they cost wth frames’, probably of December between then and hisnext ‘A Noate of my Pictures appears to have upped thequality of hiscollection identified today –butthat is partly because Bankes Holt Heath, to theNational Trust. and Badbury Rings), Studland, Corfe Castle, and collections and estate (including Pamphill Manor Ralph Bankes (1902–1981) of Kingston Lacy, its astonishingly munificent bequest by (Henry John) virtually intact, and ultimately leaving them,inthe Bankes family inpreserving thesecollections and to thepiety of successive members of the and hisson William John Bankes, MP (1786–1855), later collectors, Henry Bankes II,MP (1757–1834), at Kingston Lacy today. would swell to theroughly 200paintings that are 15 of them,hecan have had little idea that they my Chamber att GrayesInne’, consisting of amere May 1656 and theendof 1658, a note of ‘Pictures in jotted down inhiscommonplace book, between Ralph –later Sir Ralph –Bankes (?1631–1677) first of any kindinthe United Kingdom can boast. When surviving nucleus–something that few collections Regrettably, we have nodirect evidence for It istruethat only six of theoriginallistcan be That they have donesoisdue, above all, to two gentry collection with theearliest recorded still ingston Lacy has thedistinctionof being the ber ye 23 ye rd 1659’, Bankes’s collecting fragment of a screen or retable, that has just may have acquired theearly 14th-century English to acquire anything painted before 1500) that he Gothic phase of histaste (he was never afterwards Cambridge, exemplify. Itmay have been inthe first, of hisrooms inthe Great Court of Trinity College, on thedoors of the Golden Room), thedecoration with scenes,plants and emblems,of themonths, the exquisite – and amusing –panels decorated design and partly paint, aided by a Venetian artist, the first, as drawings by him(he would alsolater had theinstincts of an artist and a decorator from casket, with a superb collection, that itistoday. He Lacy, and made itinto the exquisitely detailed however, who turned Kingston Hallinto Kingston them, interms of conservation. needed to bedone– and avoided –inrelation to father abreast of his acquisitions, and aware of what when in Spain, showed himself anxious to keep his appreciation to hisson, William; and thelatter, to have been he who passed onthegerm of artistic disposition of someof them,survive). It also seems were hung and displayed (picture-bats, showing the for thetimeincreating a cabinet in which they also collect Old Master Drawings, and was unusual out to benobetter thancopies.Hedid,however, Raphael’s Stoningof St Stephen [CMS 1257108]), turn prestigious Barberinicollections (e.g. a copy of his acquisitions inItaly, purportedly from the a portrait of himselffrom theformer, whilst MP (1757–1834)), henever actually commissioned over Batoni (see No.13; Henry Bankes the Younger, artistic preferences –for Reynolds, for instance, another truecollector. Yet, although hehad clear visit to Rome in1782, that thefamily produced made the Grand Tour in1778–80, and paid a further it was notuntilHenry Bankes II(1757–1834), who but largely minor pictures – as didhissuccessors, Lely tillIhad seen theseportraits’. in 1762, that: ‘Inever had fully appreciated Sir Peter Reynolds to declare, when he visited Kingston Hall Cullen (1640–1713)),they induced Sir Joshua reputation (No.4, Elizabeth Trentham, Viscountess of Buckinghamshire), and beauties of equivocal (1630/1–?1703)), friends(No.2, Edmund Stafford relations (No.16; Charles Brune of Athelhampton of members of hisown family, but also including rival anywhere outsidetheRoyal Collection. Chiefly the apogee of his ability, that is without surviving however, is a set of portraits by Lely, painted at It was William (John) Bankes (1786–1855) himself, Although Sir Ralph evidently collected other –

2 Kingston Lacy Illustrated list of pictures 3 Kingston Lacy Illustrated list of pictures since that painting is now in Cologne, perfectly covering of a knapsack (No.100) isnosuchthing, the Capuchinconventin at Seville’ and made into the French soldier from Murillo’s ‘Jubileo della Porciuncola (No.95) whilst theputto-angel supposedly cutby a though signed, must actually be a studio copy (No.99); hisMurillo of The Vision of St Rose of Lima, his pupil and son-in-law, Juan Baptista delMazo Las Meninas appears tofor be a reduced ricordoby turned outto begeese – Velázquez’s own sketch Parlour at Kingston Hall. Some of hisswans have provenances, which were to behung inthethen by Englishrestorers – and with identifiable – which he was anxious notto have compromised painting initsgolden age, in untouched condition specified artists, to show the range of Spanish reveal hiscase only to acquire pictures by certain father from Spain and onhis way to Egypt in1815 Spanish paintings, and in a representative way. the French had largely looted, butmore intimate or Dutch, or great Spanish altarpieces, such as to start collecting pictures –notItalian, Flemish, the episode also seems to have encouraged him that: ‘the jackass should pay like a gentleman.’ But England, despite thecaptain of theshipdeclaring attached to thedonkey that hesenthimback to the handof themaster himself. Bankes became so of Spain, even ifitisnolonger thought to befrom Vincenzo II Gonzaga, King Charles I, and PhilipIV a Holy Family that had belonged successively to the Infant St John in a Landscape) was nolessthan anybody’. The Raphael (No.42 The Holy Family with a donkey, which Idon’t think hehad stolen from had stolen from the Sacristy of theEscorial, and dinner obliged himto buy a Raphael, which he of rats, washed down with strong drink, and after commanding officer, ‘who regaled him with a meal by Princess Lieven, hesupped with theFrench a story that hedined outon years later, as related city of Pamplona. There, as heused to recount in disguise’ behindtheFrench lines,inthebesieged back from Spain. By the autumn, he was living ‘in the latter rolled theFrench army of occupation friend Wellington as a kindof camp-follower, as set off for Portugal, onhis way father’sto joinhis passions: adventurous travel. In January 1813he opportunistically, inthecourse of another of his apparently sainted kings shown is St Edmund). of the Cathedral of Bury St Edmunds (oneof the beeninstalled as analtarpiecein a choir chapel Letters and diagrams that Bankes sentto his His collecting of paintings seems to have begun head –now intheMuseo Civico, Bassano –turning until recently (thanks to an inscribed copy of the Titian, whose truesignificance was not recognised (No.75), butnolonger accepted as such; and a real the Widmann collection in Venice in the 17th century Omnia Vanitas already engraved as by Titian when in collection, boththose at Kingston Lacy now –the with you: puther insafety …’ Buy her, by all means, if you can, and take her home The real mother isbeautiful, exquisitely beautiful. ofJudgement SolomonintheMarescalchi inBologna. Venetian – above all, Giorgione. Iremember well his almost as little: butto methere are nonelike the Byron: ‘Iknow nothing of pictures myself, and care del Piombo, urged onto dosoby nolessthan then ascribed to Giorgione, butnow to Sebastiano acquireof JudgementSolomon(No.33) thefamous of hismostmemorable portraits), he was able to Pamphill Pope himself painted by Velázquez inone habit as Cardinal Massimi (No.101), inhisrichultramarine collection of pictures. As well as theportrait of regime, to put together a rich and extensive of hisposition as a highofficial oftheNapoleonic Marescalchi (1754–1816), who had taken advantage from theestate of an individual, Count Ferdinando opportunity to buy a number of major pictures East through Italy in1820, Bankes was given the was to be acquired by him,notin Spain, butinItaly. Velázquez’s Cardinal CamilloMassimi, and (No.101) now thefinest Spanish painting at Kingston Lacy, Gardner MuseuminBoston. Ironically, what is Room –thepride and joy of theIsabella Stewart Bankes had made for itspecifically for the Golden 1896, and isnow, stillinthe‘Sansovino’ frame that whole-lengths of PhilipIV, was unnecessarily soldin a later one(see below) –oneof Velázquez’s finest of all Bankes’s purchases of Spanish pictures –but once heldthecentre of theend wall, thegreatest Golden Room. Itisonly sad that thepicture that chimneypiece, inthemiddleof thelong wall of the search of an author –rightly holdsitsplace over the held and as Bankes thought– and indeed, stillin Meditation (No.90), ifnotby Ribera, as tradition oftheir artists’ work,the and Music-making Angels), with are all good specimens the Virgin), and Ribalta (No.88 Madonna andChild Conde deFaura), Cano (No.38 The Coronationof Espinosa (No.91 DonFrancisco Vives de Cañamas, intact. ButhisMorales (No.98 Christ attheColumn ), There were other pictures from theMarescalchi For, onhis way back to Englandfrom the Near Cameriere Segreto of Pope InnocentX(the St Augustine in St Augustine 1840. William Bankes’s collecting oncehehad been Dwarf (No.58), which he was to acquire in Genoa in (No.57) and theMarchesca Maria Grimaldi with her portraits of theMarchesa Maria Serra Pallavicino make thesitters appear more thanmortal: the over thereal, though their scale and beauty do accord with hisexpressed preference for theideal greatest paintings inhiscollection –donotexactly Flemish pictures, however – and, arguably, the Leganés (?1580–1655). Bankes’s two greatest ever formed, that of Diego Messia, Marqués de the largest Spanish collection of Flemishpictures [CMS 1257147]) –for thesecame from perhaps a Bull[CMS 1257146] and Wolves attacking a Horse by Paul de Vos (Nos105 &106;Houndsattacking Studio (No.187), and thepair of savage AnimalHunts Fruit in a Landscape by Frans Snyders and Rubens’s the but also not only thegreat departed PhilipIV by Velázquez, sale of the Altamira Collection inLondon in1827, connection that prompted himto acquire inthe It may, however, have been as muchthe Spanish frame, which now belongs to theNational Trust). Ringling Museum, Sarasota in1980 – all butthe (sold from Soughton in1976 and boughtby the a tapestry, representing The Triumph of DivineLove (at a sale inEngland?1841) a Rubens painting for Hall, Flintshire, both a set of Rubens tapestries and Hence his acquiring, for hisother house, Soughton ideal subjects over plainevery day matter of fact… to have been sensibleof thispreference to begiven to not contain matters of thissort inthem…Rubens seems are few of the most acknowledged masterpieces that do & concerts intheclouds&c.; &if you will recollect there that is,Imean, suchsubjects as admit of light, & angels, masters, what islegendary to what ispurely historical; I have always preferred, even inthe works of thegreatest his credo as a collector, written privately in1824: in theonestatement of hisown that we have as to also a partial turnto Flemishpainting. This emerges episodic, yet stillcomprised major things. There was as a collector. Thereafter, hispicture-buying was collection represent thehighlightof Bankes’s career Together, thepictures from theMarescalchi such assince, a never came there, and that have notbeen identified mentioned by Vasari (No.45) – and others that fact theportrait of NicolòZen, the‘M.Niccolò Zono’ had been misidentified, as a Savorgnan, whenitisin up in an Italian antiques market), because thesitter Cupid and ThreePutti under aof Garland byMoonlight Scene Canaletto. bought an early and exceptional work infresco regrettably destroyed inthe Second World War). Museum inBerlin1842 (the Veronese was the Ca’ Pisani that were sold to theKaiser-Friedrich those by Paolo Veronese and another artist from that very year, butthepure paintings are copiesof member of the Contarini degli Scrigni had died in indeed have comefrom the palazzo, sincethelast gold-ground purely decorative paintings of thismay over the Golden Room. The giltwood elements and & Emanuelin1838, and, justly slightly adapted, put Scrigni, that he had boughtfrom thedealers Town ceiling, purportedly from thePalazzo Contarini degli decorative ensembles. part of, or that couldbeinterpreted into, wanted and acquired were items that had formed or boughtpaintings. With thesetwo, what henow well-heads, &c. –much more thanhecommissioned cassoni, picture-frames, andirons, staircase reliefs, largely for decorative purposes–for doors, a bed, Bankes begun to commission and buy sculpture, France) –it was really during hisexile inItaly that Charles I, after a sofar unidentified cast of thisin the golden-bronze copy of Le Sueur’s bustof the French bronze founders (oneof whom produced the other. Jones’s) planfor themainfloor of Kingston Hallin of-arms inone, and Pratt’s (then thoughtto beInigo Musée Carnavalet inParis, to show theBankes coat- coat-of-arms over theentrance to what isnow the the Inner Hall, adapted from Jean Goujon’s stone bronze medallions set into theradiator covers in Renaissance bronze vases and urns, and by thetwo open –Loggia. This would becomplicated by neo- John Bankes, and‘Brave DameMary’,inthe–then SirChief Justice of themini-pantheonI, to Charles to make bronze buststhat were theprecursors the early 1840sfor hisprotégé, Carlo Marochetti, step towards thisend, when hebegan planning in the results of hiscarefully composed sceneshimself. poignancy, sincehe was disbarred from ever seeing of Kingston Lacy and itsinteriors – with particular part intheGesamtkunstwerk that he was making was considered interms of how it would play its acquired abroad, whether paintings or sculpture, somewhat different character. Everything that he for a –second –homosexual offence, took on a forced into exile in1841 as a fugitive from justice Almost immediately after going into exile, he This process had begun with thecomplete But –other thanhispatronage of Marochetti and In the way of sculpture, hehad already taken a

4 Kingston Lacy Illustrated list of pictures 5 Kingston Lacy Illustrated list of pictures fugitive from justiceto see their execution with his reference that hehad actually defied hisstatus as a that meant cutting uphisletters, to eliminate any his instructionsto hissteward for their use,even if by William that they could,butthey also preserved elements of the paintings acquired or commissioned his father by four years, notonly employed what Edmund George (1826–60), who only survived who only survived himby a year, and hisnephew more surprisingly, hisbrother George (1787–1856), had achieved through remote control. Perhaps make a surreptitious visit or visits, to see what he not have long to live, he was able near theendto fragments of thedocuments,knowing that hedid least, however, as we can deduce from surviving of Kingston Lacy were only partially realised. At for the decoration –inparticular, theceilings – ceiling over the State Bedroom. panels by Francesco Vason, were later made into the of the Castelli ceiling, eked out with later decorative the mainstairs (No.107 [CMS 1257148]). Elements ‘John da of’/Giovanni Udine, isnow over thetop of an illusionistictrellis with putti, possibly indeed by 1849. The central elementof the‘Giorgione’ ceiling, Venice caused by the Austrian siege to recover itin Miracoli –thanks to thecrisisof confidencein from thecasa-palazzo Castelli by S. Maria dei other, reputedly by Veronese and IlPadovanino, the Palazzo Grimani by S. Maria Formosa; and the Giorgione and histhenscholar, John of Udine’, from ceilings –onereputedly ‘a joint production of acquired these, and thepaintings from two other the Palazzo Capello a San Felice, flanking it. Bankes attributed to Palma Giovane, from theceiling of ascribed to ‘Bonifacio’ (degli Pitati), butnow of Prophecy &No.211; disputing)then Philosophers and two allegorical paintings, (No.37; AnAllegory by Jacopo Tintoretto (No.196) as itscentrepiece, ceiling-painting, [mis-]calledthe Muses, Apolloand and would have had what had apparently been a for this‘in theLombard style’ by Francesco Vason, a quite different ceiling for. Heobtained a design Bankes had intended to heighten, and to create of a muchlower room, theLibrary, which William never installed, ending upinstead intheceiling this for theceiling of theDining Room, butit was to canvas (No.221). He appears to have intended a stillnovel technique of stacco, and transferred room inthePalazzo Zani inBologna in1840, by which had been taken down from the vault of a byReni, Guido As the above indicates, William Bankes’s ideas The Separation of NightfromDay, Curator of Pictures and Sculpture Alastair Laing the housesinceit was built. virtually nopicture has been permanently lostto studio version of hislostportrait of Quevedo – than the Velázquez of PhilipIVand thecopy or of thecollection at Kingston Lacy isthat –other satisfying purchase, sinceoneof thegreat strengths it back from a dealer after thesale. It was a neither that nor by Salvator Rosa, was able to buy the National Trust, onceithad been shown to be portrait of Alexander Pope by Kneller!Fortunately, old-looking labelontheback, identifying it as a at a small auction inNew York, with a deceptively unknown point, only to reappear many years later by Salvator Rosa – which disappeared at some Self-Portrait (No.70) for which it was thestudy, – thenthoughtto be,like the whole-length the de Salas;and to sellto thegreat Spanish art-historian, Xavier reclusive (Henry John) Ralph Bankes (1902–1981), managed to prisefrom thehandsof theincreasingly marchand-amateur, Paul Wallraf, somehow Bankes’s acquisitions in Spain), which the young portrait of thepoet Quevedo (oneof William losses from thecollection: a copy of Velázquez’s Since then,there appear to have been only two the Younger 46,47) (Nos43, 44, were acquired. some timelater, The Four Elementsby Jan Brueghel was boughtto fillthe gap inthe Golden Room, and, as to thesize of hiscut. Another Zurbaran (No.94) amount that thepicture was boughtfor, and thus she already paid him, was himselfdeceived as to the cut onitems soldto her, ontop of theretainer that been cheating Isabella Stewart Gardner by taking a satisfaction that onefindsthat Berenson, whohad offered proved impossible to resist. Itis withsome no financialnecessity for any sale, butthesum to sellto Mrs Isabella Stewart Gardner. There was Berenson, to obtain Velázquez’s PhilipIV from him, of Colnaghi’s and thebudding art historian, Bernard the ofvictim aconcerted actionby Otto Gutekunst Unfortunately, however, thelatter, once adult, was time, nochanges to houseor collection were made. Ralph Bankes (1853–1904) –meant that, for some Bankes (1850–1869), and theearly years of Walter denounce such a fugitive. liable to prosecution, for harbouring and failing to own eyes – which would have rendered the family A successionof minors –Henry John Percival Head of Edward Altham (No.195) Bankes Family Tree John Bankes* (b. 1569) = Jane Malton Ralph Hawtrey* of Ruislip (1570–1638) = Mary Altham* (1578–1647)

Owners of Kingston Lacy are shown in Capitals Sir John Bankes* MP, PC (1589–1644) = Mary Hawtrey (1598–1661) Asterisk denotes a portrait in the house bought Corfe Castle 1635 and Kingston Lacy 1632–6 Brave Dame Mary* Att. Gen. and Kt 1634, Chief Justice 1641

John* Sir Ralph* = Mary Brune Jerome* Alice* = Sir John Mary* = Sir Robert Jane Bridget Ann Arabella* = Samuel Gilly (1626–56) MP, Kt 1660 (before 1646–1711) (1635/6–86) (1621–83) Borlase* (1623–91) Jenkinson (b. 1633) (b. 1642) of High Hall (?1631–77) niece of Charles Brune m. 1637 1st Bt m. 1653 1st Bt built of Athelhampton,* (1619–72) (1621–77) Kingston Lacy m. 1661 1663–5 Edward Charles (b. 1639) William (b. 1644) Elizabeth (1627–1710) = Mr Prince Joan (b. 1629) = William Borlase

John* MP (1665–1714) = Margaret Parker* (d. 1730) sister to Lady Pakington,* dau. of Sir Henry Parker* of Honington, 2nd Bt and Margaret Hyde*, m. 1691

John* MP Henry* MP = (1) Eleanor Symonds, m. 1738 Edward Mary* = Sir Thomas l’Anson Ralph Frances* Charles 3 daus (1692–1772) (1698–1776) (2) Margaret Wynne* (1724–1822) dau. of Dr John Wynne* Bishop of Bath & Wells, (1693–1774) 4th Bt (1697–1709) d. in childhood coheiress of Soughton with her brother Sir William Wynne (d. 1815), m. 1753

Henry* MP (1757–1834) altered KL 1780s = Frances Woodley* (1760–1823) sister of Maria, Mrs Riddell* (1772–1808) daus. of William Woodley* (1728–93) and Frances Payne* (1738–1813) Anne (b. 1759)

Henry William John* MP Rt. Hon. George* = Georgina Charlotte Rev. Edward = (1) Lady Frances Anne Frances* = Edward Boscawen Maria Wynne = Hon. Thomas (1785–1806) (1786–1855) MP (1787–1856) Nugent (1799–1875) (1794–1867) Jane Scott (1789–1864) 1st Earl (1791–1823) Stapleton rebuilt Kingston Lacy dau. of Lady Nugent* of Soughton m. 1820 of Falmouth (d. 1829) m. 1819 1835–41 (1756–1813) m. 1822 Rector of Corfe (2) Maria Rice (d. 1841) m. 1810

Edmund George* = Rose Louise Henry Hyde Nugent* = Hon. Lalage Cornet William George Hawtrey* VC Wynne Albert = Florence Mary 5 daus (1826–60) Bastard* of Wraysbury Vivian (1836–58) (1840–1913) of Anne Fane* m. 1848 (1828–83) 7th Hussars, killed at Lucknow Wolfeton m. 1873

Henry John Percival (1850–69) Walter Ralph* (1853–1904) = Henrietta Jenny Fraser* (d. 1953) m. 1897

Henry John Ralph* (1902–81) = Hilary Margaret Strickland-Constable* Daphne* (b. 1898) Viola* (b. 1900) = Norman Bruce Hall

6 Kingston Lacy Illustrated list of pictures 7 Kingston Lacy Illustrated list of pictures its framing, and thenthe painting itself, had to be him, it was finally placed here around 1900, butfirst acquired by William John Bankes. Never putupby and reapplying itto canvas), in1840. It was then the paint-infused plaster from theplaster behind, down, using a novel technique, strappo (detaching ceiling inthePalazzo Zani inBologna, but was taken him inthat medium. It was originally on a curved Reni, of around 1600, and oneof the very few by This detached fresco is one of theearliest works by The Separation of NightfromDay Guido Reni (1575–1642) Ceiling: The Library 1 Sir Peter Lely (1618–80) from over theentrance door,clockwise: CMS 1257043 but ‘unsurpassed inLely’s career’ (Sir Oliver Millar). commissioned from Lely or acquired subsequently, Lacy, and notonly theloveliest portrait that he the timethat her brother Ralph builtKingston their identitiesbecame confused. Painted around to beof her sister Mary (see No.5), butearly on Samuel Gilly of HighHall, Wimborne. Long thought Sixth daughter of Sir John Bankes, and wife of (?) Arabella Bankes, Mrs Gilly (b.1642) CMS 1257254 Northamptonshire, are insuchframes. collection of later 17th-century portraits at Althorp, after the Spencer Earlsof Sunderland, whose it isin a so-called ‘Sunderland’ frame, named in thereinstated setting in2006. restored by Bush&Berry in2004–06, and installed beginning to pulltheceiling down. The fresco was taken down later inthecentury, because they were Like all thepaintings onthislevel inthisroom, CMS 1257045 instead. Englishman to have employed himfor a portrait subject pictures, butitistypical of a travelling Grand Tour. Stanzione is and was bestknown for Naples, around 1655, when the sitter was onhis Third sonof Sir John Bankes. Probably painted in Jerome Bankes (1635/6–86) 3 Massimo Stanzione (?1585–?1656) CMS 1257044 commissioned thisportrait of him. and friendof Ralph, who would appear to have John Bankes, butlater an Oxford contemporary in Buckinghamshire; originally perhaps a friendof Almost certainly Edmund Stafford, of somewhere ‘Mr Stafford’ 2 Sir Peter Lely (1618–80) CMS 1257047 of her, and may noteven beby Lely himself. Gilly(seeMrs No.1), butthispicture istoo early to be CMS 1257046 extravaganceimmorality. and the Bankeses – was notorious for her beauty, died unmarried. The real sitter –norelation of actually who Bankes, Jane, Sirofdaughter John portrait later came to beidenti First recorded in1731 simply as ‘Lady Cullen’, this Elizabeth Trentham, ViscountessCullen 4 Sir Peter Lely (1618–80) Previously identi Oxfordshire,Hawkesbury, and Gloucestershire. 1653 to Sir Robert Jenkinson, 1stBt, of Walcot, Second daughter of Sir John Bankes, married in Mary Bankes, Lady Jenkinson (1623–91) 5 (?)From thestudioof fi ed as a portrait of Sir Peter Lely (1618–80) (?) fi ed with the Arabella Bankes, (1640–1713) fi fth

8 Kingston Lacy Illustrated list of pictures 9 Kingston Lacy Illustrated list of pictures CMS 1257048 of Sainte-Catherine there. Sainte-Marie-Madeleine in Lille, is now in the church such set, onceinthenow secularised church of (anachronistically) by hiscardinal’s hat. Another Vulgate’) with thehelpof angels, and isidenti translation of theBible into Latin (known as ‘The (see Nos8,15,17). St Jerome isseen producing his One of a set of theFour Fathers of theLatin Church St Jerome 6 Stthe Great Gregory 8 CMS 125049 later variant of thisportrait is at Yale. the picture collection. Painted inthelater 1650s. A 1663–5 to Sir Roger Pratt’s designs; and founder of Bankes. Knighted 1660; builder of Kingston Lacy Second, buteldestsurviving, sonof Sir John Sir Ralph Bankes, MP (?1631–77) 7 Sir Peter Lely (1618–80) CMS 1257050 Canterbury to convert theEnglishin596 (see No.6). of a dove. Elected Pope, 590; sent St Augustine of with inspiration from theHoly Ghost intheform St Gregory isshown composing hisMoral Homilies, Attributed to Gerard Seghers (1591–1651) Attributed to Gerard Seghers (1591–1651) (c. 342–420) (c. 540–604) fi ed CMS 125051 presented by Walter Ralph Bankes, in1896. length portrait intheNational Portrait Gallery was lived in Corfe Castle. The related three-quarter- Kingston estate in1632–6, and Corfe in1635, but of the Common Pleas, 1640/1; purchased the Attorney-General and knighted 1634; Chief Justice Inscribed with his age (54) and thedate (1643) Chief Justice Sir John Bankes, MP, PC (1589–1644) 9 Gilbert Jackson ( CMS 125054 at the age of 74. Father of Sir John Bankes, as a Doctor of Divinity, Signed Gil. Jac. Fecit and dated 1643 Bankes (b.1569)Dr John 12 Gilbert Jackson ( CMS 125053 attributed, to van de Velde’s father. with thePorcellis (No.14), which was similarly over- Willem van de Velde the Younger, 1633–1707), paired First listed in1731 as ‘A Sea Peice’ by ‘Vanderveld’ (= A Shipping Scene 11 Dutch School, mid-17thcentury CMS 1257052 his brother (No.110; South-East Bedroom). Attic Staircase, and as a pendantto theportrait of Evidently donefrom thesame sitting as No.109 a sporting artist – was typical of hisnegligence. of such an undistinguished painter –primarily brother and heir, Henry. John Bankes’s choice 1741, when hestood down infavour of his younger Unmarried. Tory MP for Corfe Castle from 1722 to Signed and dated 1764 ontheback John Bankes the Younger, MP (1692–1772) 10 Richard Roper ( active c active 1622–43) active 1622–43) .1735–c.1775)

CMS 1257056 1611–93) in1731 and 1762. Vanderveld’ (= Willem van de Velde theElder, but, similarly to No.11, by whom, see No.124, inthe Cabinet Room), Porcellis (1587–1632; for a painting possibly More probably by Julius thanby hisfather Jan Panel Shipping in a Rough Sea Younger (c 14 (?) Julius Porcellis, as known 1257055 CMS Kingston Hallinthe1780s. preferred Reynolds. being simple and having nothing offensive’. He ‘a melancholy coldpicture, whose only meritis Henry Bankes himself wrote to her that it was: Painted onthe Grand Tour, for thesitter’s mother. Signed: POMPEO BATONI/PINX. ROM. 1779 Henry Bankes the Younger, MP (1757–1834) 13 Pompeo Batoni (1708–87) He employed R.W.F. Brettingham to alter .1609–45) fi rst recorded as by ‘old Porcellis the St Ambrose 15 CMS 1257060 1680s, and soof a different sitter. is traditional, butthe picture may actually beof the cf (?) Sir HenryParker, 2ndBt, of Honington ( 18 English School, ?1650s clockwise: from over thedoorto thedining room, The Drawing Room CMS 1257059 (near Annaba, inpresent-day Algeria) from c. the ocean with that. The saint was Bishop of Hippo to indicate that hehad as muchchanceof emptying Trinity by thechild, who been discouraged from plumbing themystery of the St Augustine isseen writing The Cityof God , having St Augustine of Hippo(354–430) 17 CMS 1257058 longnot afterwards. This superbportrait will have been painted thenor His niece Mary married Sir Ralph Bankes in1661. Charles Brune of Athelhampton (1630/1–?1703) 16 Sir Peter Lely (1618–80) 1257057 CMS cradle – a presage of hiseloquence. See No.6. supposed to have alighted onhislips when inthe is a beehive, because of theswarm of bees that is 374, and; baptised St Augustine in387. Hissymbol AUGUSTUM. He was acclaimed Bishop of Milanin St Ambrose is writing DEFIDE AD GRATIANUM . No.112 (South-East Bedroom). The identi Attributed to Gerard Seghers (1591–1651) Attributed to Gerard Seghers (1591–1651) (c. 334 orc. 340–397) fl ourishes a wooden spoon, c. 1640–1713) 1640–1713) fi 396. cation 10 Kingston Lacy Illustrated list of pictures 11 Kingston Lacy Illustrated list of pictures CMS 1250577 Bone made thisenamelminiature of it. (d.1802), but belonged to Sir Simon Clarke, Bt, when in Rome by thebanker-collector Robert Sloane Veronese) was acquired from the Colonna collection Switzerland, butnotunanimously accepted as by The originalpainting (now in a private collection in Enamel oncopper Venus andCupid Veronese (1528–88) 20 Henry Bone, RA (1755–1834) CMS 1257061 Edmund George Bankes in1848. Daughter of Percival Bastard of Stourpaine, married Monogrammed and dated 1865 Rose Louise Bastard,Bankes Mrs 19 Henry Weigall Jr (?1829–1925) after Paolo CMS 125063 Zoffany upstairs (No.118). as a marriage portrait, 1758–60. Also shown inthe of Frances, Mrs Henry Bankes the Younger. Painted Islands, married in1758 to William Woodley. Mother Only daughter of Abraham Payne, of theLeeward Oval Frances Payne, Mrs Woodley (1738–1813) 22 Sir Joshua Reynolds, PRA (1723–92) CMS 127062 best known for her very lush watercolours. (1842–1922). Although shedidpaint inoils,sheis and second wife of thepainter Sydney Prior Hall the sister of Andrew Carrick Gow, RA (1848–1920), upbringing and managing theestate. Mary Gow was 1904, didnotremarry, butdevoted herself to his son, Ralph, in1902, and death of hisfather in Bankes in1897, and, after thebirth of their only Scottish-Dutch descent. She married Walter Ralph was a celebrated beauty and society figure of A daughter of William Thompson Fraser, Henrietta Watercolour, dated 1902 Elder Daughter Daphne(1898–1967) Henrietta Jenny Fraser, Bankes Mrs (d.1953)her, with 21 Mary Gow, Mrs Sydney Prior Hall (1851–1929) CMS 1257065 Hall (NT). baronet 1642. A copy of thispicture is at Sudbury Chipping [High] Wycombe, 1661–72. Created a rising in1655. MP for Corfe Castle, 1641–4, and for Royalist, thoughimprisoned after Penruddock’s Buckinghamshire, Borlase was a slightly reluctant Scion of a Cornish family settled in Sir John Borlase,1stBt, MP (1619–72) 4 Sir Anthony van Dyck (1599–1641) CMS 1257064 portrait. Thought to have been painted as a marriage (d.1841). Stayed at Kingston Lacy as a widow. Boscawen, 4th Viscount &1stEarlof Falmouth Sister of William Bankes, married in1810to Edward Anne Frances Bankes, Lady Falmouth (1789–1864) 23 Sir Thomas Lawrence, PRA (1769–1830) CMS 1257066 done good works amongst thepoor. her widowhood, and died inParis, where shehad Catholicism after taking the waters at Bourbonin (Sir) John Borlase (No.24) in1637. Converted to Eldest daughter of Sir John Bankes, married Alice Bankes, Lady Borlase(1621–83) 25 Sir Anthony van Dyck (1599–1641) CMS 1257068 identity, and subsequently have been misnamed. Earl’s mother, Alice Borlase, already having lostits It may have comeinto the family through the1st Wallop (d.1566), which hisdates make impossible. at Farleigh Wallop, curiously called Sir Oliver portrait inthecollection of theEarlsof Portsmouth Matthias Christmas. There is another version of this Martin’s, Ruislip, with bustsof them,by John and commemorated in a fine wall-monumentin St Father of Lady Bankes. He and his wife are Ralph Hawtrey of Ruislip (1570–1638) 27 English School, c CMS 1257149 the Library for thesitter). the pictures inthecollection, in1731 (see No.10 in The obscure artist had previously restored mostof Inscribed and dated 1733 ontheobverse John Bankes the Younger, MP (1692–1772) 26 George Dowdney ( .1630 active 1730s ) 12 Kingston Lacy Illustrated list of pictures 13 Kingston Lacy Illustrated list of pictures CMS 1257070 1780–1. of William Bankes, on whom shedoted. Painted Younger in 1784. A celebrated beauty. Mother South-East Bedroom), married Henry Bankes the Eldest daughter of William Woodley (cf.No.118, Frances Woodley, Bankes Mrs (1760–1823) 29 George Romney (1734–1802) CMS 1257069 and satirical poemsto her). Exh. RA, 1806. included Robert Burns(who addressed in 1790. An author and poet, whose admirers Sister of Frances Woodley, married Lt Walter Riddell Maria Woodley, Riddell(1772–1808) Mrs 28 Sir Thomas Lawrence, PRA (1769–1830) fl attering married George Bankes. Un fathered thedaughter (No.87A, The Saloon) who and mistress of theDuke of Cumberland, who Abercorn. Later wife of Admiral Sir Charles Nugent Painted in1789 as Mrs Johnstone, for theMarquis of Charlotte Dee, Lady Nugent(1756–1813) 30 Sir Thomas Lawrence, PRA (1769–1830) 1257072 CMS mother of DameMary Bankes. whose portrait (No.27) isthependantto this, and the hermit(No.70, Saloon). Wife of Ralph Hawtrey, Elizabeth Barne(d.1621). Aunt of Edward Altham Daughter of Edward Altham theElder (d.1605) and Mary HawtreyAltham, Mrs (1578–1647) 31 English School, c CMS 1257151 for the artist, No.26, here. For thesitter see No.110 (South-East Bedroom), and Dated 1734 onreverse Henry Bankes theElder, MP (1698–1776) 32 George Dowdney ( .1630 active 1730s fi nished. ) CMS 1250572 discovered onthesitter’s signet ring. of WilsonimpalingCumberwortharms the were was discovered inthelate 19thcentury when Wilson, Dean of Durham. The identity of thesitter Bacon, itisnow believed to represent Dr Thomas was formerly identified as a portrait of Sir Nicholas Paintedfrompictureaat Woburn Abbey, which Dr Thomasi. Wilson Room ever since. traditionally hung in a serried rank intheDrawing returned themto Kingston Lacy, where they have abroad in1841, Edward had a brother, theRev. Edward Bankes, but after his the elder Bone. William gave thebulk of themto his unsuccessfully offered to thenation for £4,000 by in 1836, from a set of 85 which had been William Bankes acquired theenamels at auction gone) by John Hoskins(active c.1620–d.1664/5). Mary, by father and son,both after a miniature (now and contemporaries, butincludetwo of Brave Dame mostly portray Queen Elizabeth I and her courtiers fi to practise inthisdemanding medium, and another Bone, RA (1755–1834), thegreatest British artist ever enamel miniatures painted oncopper by Henry Here hangs thegreater part of a collection of 50 ve by hisson,Henry Pierce Bone(1779–1855). They (1523–81) fi t of conscience and fl ight CMS 1250559 iv. Lady Russell of Thornhaugh CMS 1250554 iii. Lord Russell of Thornhaugh CMS 1250544 ii. SirPhillip Sidney 14 Kingston Lacy Illustrated list of pictures 15 Kingston Lacy Illustrated list of pictures CMS 1250532 vii. Queen Elizabeth i CMS 1250544 vi. SirHenry Sidney CMS 1250564 v.

Elizabeth Cooke baby’s life. motherthe false (ontheleft), inorder to save her herself by offering to give upherfavour claimin of The real mother (ontheright) immediately revealed the extreme right) divideitequally between them. wisdom by threatening to have hisexecutioner (on had notdied. Solomon (in thecentre) showed his babiesone who werehad disputingthe whosewas According to IKings, iii,16–28,two harlots who had Solomon ofThe Judgement 33 Sebastiano delPiombo (c walls, from left to right: start to theleft oftheorgan and follow the The Dining Room CMS 1257074 nowgenerally accepted asitsauthor. 1903 Berenson reattributed itto Sebastiano, who is 1820 from theMarescalchi collection inBologna. In Byron’s warm encouragement, by William Bankes in Giorgione, and this was bought as such, with by Ridol Calergi), where itseems de Santo Ermacora (now thePalazzo Vendramin- Marcuola, subsequently known as the Casa Grimani by Andrea Loredan, builder of thePalazzo di San of thecourtrooms in theDoge’s Palace in Venice may originally have been commissioned for one settings overlaying one another. The judicialsubject revealed three different conceptions of neither Renaissance, painted around 1505–10, and was This is a fi fi nished nor resolved: recent restoration has in1648.He attributed that picture to fl awed masterpiece of the Venetian High fi rst to have been recorded .1485–1547) fi gures and CMS 1257076 original whole-length version is at Chequers. this portrait of him was only a later acquisition. The Lady Parker (cf.No.116, South-East Bedroom) – but father-in-law of James II. Cousin of Margaret Hyde, Lord Chancellor,historian oftheCivil War, and Edward Hyde, 1stEarlof Clarendon (1609–74) 35 CMS 1257220 fertility. given a Christian or a pagan gloss,is a celebration of Stourhead, also NT). The essentialtheme, whether and a copy of that inpastels by Hoare of Bath at at Wiltonis House, Wiltshire,versionof which the Kunsthistorisches Museumin Vienna (a good with John theBaptist and two Child-Angels now in and Snyders around 1615/20, ofInfant The Jesus a number of derivatives of onepainted by Rubens Nos 106a &b, Top Landing). The picture isoneof in that of theMarqués deLeganés (see Snyders Altamira collection inLondon in1827, and originally Bought by William Bankes from thesale of the Signed onthegarland: F.fecit Snyders in aLandscape Cupid and Three Putti under a Garland of Fruit Sir Peter Paul Rubens (1577–1640) 155 Frans Snyders (1579–1657) CMS 1257075 floor of this room. house in1688, as commemorated by a plaque inthe Ormonde, leased Kingston Hall and died inthe in Midlothian. copies at Ickworth (NT)in Suffolk andDalkeith active from 1698 to 1720, by whom there were is possiblethat sheisthesame as the Ann Brown, the 1762 catalogue, isnototherwise recorded; it dated 1714.Mrs Howard, thecopyist named in After thepainting intheNational Portrait Gallery James Butler, 2ndDuke of Ormonde (1665–1745) Dahl (1656/9–1743) 34 Mrs Ann Howard (?née The sitter’s grandfather, the1stDuke of After Sir Peter Lely (1618–80) Brown) and the after Studio of Michael CMS 1257077 CMS Prado. but actually a copy of Van Dyck’s picture inthe First recorded inthecollection in1731, as by Rubens, The Betrayal of Christ 36 CMS 1257078 and, thusfar, notfully deciphered. in 2010, itssubject proved to bequite different – the factthat, when cleaned, conserved, and rehung, condition. How bad that was, can begauged from taken down by theNational Trust because of its was later installed initspresent position,but above, protested however, sohedesisted. It (No.23, Drawing Room), whose bedroom was ceiling over theLibrary. Hissister, Lady Falmouth intended it as thecentrepiece of a Venetian-style thought that it showed Apollo and theMuses, When William Bankes acquired thispicture, he Abundance witnessed by Hercules and by other Females, including Apollo crowning a Poet and joining him with a Spouse, 37 Jacopo Tintoretto (1518–94) After Sir Anthony van Dyck (1599–1641) 16 Kingston Lacy Illustrated list of pictures 17 Kingston Lacy Illustrated list of pictures CMS 1257080.2 Golden Fleece. The product of their coupling was theram with the her from her suitors, and thenhimselfinto a ram. a Nymph. Heturned her into a sheep, to remove One of Neptune’s less well-known seductions of and TheophaneNeptune (d) CMS 1257080.3 gods. and making himtheimmortal cup-bearer of the Jupiter fell inlove, sending hiseagle to abduct him, shepherdboyGanymedebeautifula withwhom was (c) The Rape of Ganymede CMS 1257080.2 maintained contact with hismother, Earth. giant Antaeus, who was invincible solong as he an additional feat, in which he wrestled with the Not oneof the Twelve Labours of Hercules, but (b) CMS 1257080.1 every day. sending an eagle to tear at hisself-renewing liver Jupiter punished himby chaining himto a rock, and the first man, whomhehad formed from clay. Prometheus stole fire from the gods, to give to (a) of all his acquisitions. by Annibale Carracci. Regarded by him as the a Palazzo Cambiaso in Genoa, by William Bankes, as has been1613–Milan 1644) suggested. Boughtfrom An attribution to Giovanni Maria Bottala (Savona knownin Genoa as Four painted hangings inimitation of tapestries, 39 (?) Genoese School, 17thcentury CMS 1257079 composition after retiring to Granada in1652. Cano probably originated thismuch-repeated brought from Convents in Granada &theinterior’. Room) of the‘many of Alonso Cano, which Ihave only two survivors (the other isNo.92, The Golden Bought by William Bankes in Spain in1814;oneof The Coronation of the Virgin 38 Alonso Cano (1601–67) Prometheus stealing Fire fromthe Chariot of the Sun Hercules and Antaeus Hercules (juices of plants). succhi d’erbe(juices and Studio

fi nest CMS 1257097 Charles I. demand for three-quarter-length portraits of was probably devised inthestudio, to satisfy the of thisparticular portrait type isknown, soit probably painted in1636. No autograph original the King that isnow at Chequers, and which was The faceisderived from a head-and-shoulders of King CharlesI (1599–1641) 56 From thestudioof The Saloon CMS 1257081 feast was a trifle to her. of wine, to indicate that themagnificence of the pearl-drop from her ear and dissolved itinher glass lover, Mark Antony, notoriously took a priceless Gennari inEngland. Cleopatra, banqueting with her Braganza, who particularly patronised the Catholic Household to Charles II’s queen, Catherine of of Sir Thomas Felton, 4thBt, Comptroller of the of Monmouth, around 1678/9. The sitter was wife Portrayed as Cleopatra and painted for theDuke Lady Elizabeth Howard, Lady Felton (1656–81) 40 Benedetto Gennari (1633–1715) (1600–49) Sir Anthony van Dyck CMS 1257098 D[edit]) –nodoubtby proxy for hismaster. that Rubens painted thisportrait as a gift(D[ono] dress in which sheisportrayed. Hencethefact and ball, at which sheprobably wore thelavish hospitality in1606included a sumptuousbanquet Duke Vincenzo I Gonzaga of Mantua, whose Pallavicino, banker and hostto Rubens’s employer, identi of thecurtain drawn up above thissitter’s head has anonymous. New research into theheraldic motifs to, inRatti’s guideto Genoa of 1780, they were which had latterly owned them. When been conferred uponthemby the Grimaldi family, Those identities would appear, however, to have marchese Isabella and Maria Grimaldi respectively. William Bankes from that city in1840, as of the visits to Genoa, this and No.59 were acquired by epoch-making portraits painted by Rubens onhis One of the D.D./ M.D.C. V1 RVEBÑS/PINXIT AT[Q]UE/SINGVLARI DEVOTIÕE/ Signed onbase of niche at left:PETRS. PAVLVS (?) Marchesa Maria Serra Pallavicino 57 Sir Peter Paul Rubens (1577–1640) fi ed her as Maria Serra, the wife of Niccolò fi rst, and themostbeautiful, of the fi rst referred CMS 1257083 city of Pampeluna, along with hisdonkey. from theFrench commanding officer inthebesieged Peninsular War (1808–14), and obtained by Bankes the French from thesacristy of theEscorial inthe Spain during the Commonwealth, it was looted by from Vincenzo IIin1626–8. Acquired for PhilipIV of I, who boughtthebulk of the Gonzaga collections 4th Duke of Mantua (1562–1612), and King Charles of itscertain previous owners, Vincenzo I Gonzaga, to an earlier periodof Raphael’s career incharacter. 1546) or G.F. Penni (1488–1528),butitseems closer Raphael’s late Roman pupils, Giulio Romano (1499– in Siena in1853.Ithas been reattributed to oneof medallions of itsprevious owners from Pietro Giusti Bankes, who commissioned theframe carved with Bought as a Raphael in Spain in1813by William The Holy Family with theInfant St John in a Landscape 42 Circle ofRaphael (1485–1520) On theback of thepanel are thebrands of two 18 Kingston Lacy Illustrated list of pictures 19 Kingston Lacy Illustrated list of pictures painted for Cardinal Federico Borromeo, van Balen’s Brueghel theElder’s (1568–1625) set of Elements Although thecompositions are derived from Jan This set of elements was bought after 1905. On copper The Four Elements: Air Hendrick van Balen (1575–1632) 43 Jan Brueghel the Younger (1601–78) CMS 1257099 period. Belonged to Ralph Bankes by about 1656. in a number of Lely’s paintings and drawings of the Painted c. St MaryMagdalene 58 Sir Peter Lely (1618–80) CMS 1257085 sea inthebackground. Neptune, who can beseen riding intriumphonthe representing oneof theNymphs seduced by Water ispersoni On copper The Four Elements: Water Hendrick van Balen (1575–1632) 44 Jan Brueghel the Younger (1601–78) CMS 1257084 personification of Astronomy. of execution issuperb. Air ispersoni copies and derivatives of these, and thequality fi gures here are notfound in any of theinnumerable 1650–5, employing a model who occurs fi ed by a fi gure probably fi ed by a and and CMS 125086 as Pietro Aretino and DanieleBarbaro. Francesco Marcolini, and of suchpatrons of Titian He was alsoanauthor,publisher andaofthe friend and had served as ambassador to Charles V in1545. colour of hisrobe), a member of the Council of Ten, a Knight(either of which would account for the 1560s. Nicolò Zen(o) was a Savio diterraferma and Stylistically, it would seem to date from theearly by Vasari in1567 as among Titian’s later portraits. it as thelostportraitNiccolò Zono of ‘M.’,mentioned Bassano del Grappa, has made itpossibleto identify head, inscribed ‘NicolòZen’ , now intheMuseumof but therecent discovery of an early copy of the of the Savorgnan family, itsprevious owners; the Marescalchi collection, as an unknown senator Bought by William Bankes inBologna in1820, from Inscribed ontheback of thecanvas: CA ZORZI Nicolò Zen 45 Titian (c (1515–65) .1488/90–1565) collar may be a garbling of ‘MARIA’, couldmean Grimaldi la Pietra, and that theletters onthedog’s as hanging inthe apartment of Giovanbattista case thefactsthat it was recorded by Ratti in1780 and notnecessarily originally itspendant. In which Acquired with No.57, butnotquite thesame size, CMS 1257100 in 1607. his employer, Duke Vincenzo I Gonzaga of Mantua, villa at Sampadierna at thedisposal of Rubens and father, themarcheseCarlo Grimaldi,his put who the marchesa Maria Grimaldi iscorrect. It was her that thetraditional identi Inscribed onthedog’s collar:M (?) Marchesa Maria Grimaldi and her Dwarf 59 Sir Peter Paul Rubens (1577–1640) fi cation of thesitter as y AM (?) CMS 1257087 of thisparticular composition. works by Brueghel theElder, butnotinhisoriginal and Pomona. The two leopards occur in a number of of thegenerative abundance of Nature as Cybele composite The personi On copper The Four Elements:Earth Hendrick van Balen (1575–1632) 46 Jan Brueghel the Younger (1601–78) CMS 1257090 were one of their specialities. minute perfection of their technique. Nighteffects the leader of thefijnschilders –so called from the of Rembrandt intheLeyden, butdeveloped into in theRoyal Collection. Doubegan as an imitator from Lely, who owned theoriginal, which isnow ‘A coppy’ boughtby Ralph Bankes before 1659 Lovers singing by Candlelight 49 CMS 1257089 A late and inferior acquisition. The Virgin Annunciate 48 Inthemanner of CMS 1257089 Virgin Annunciate A late and inferior acquisition. 48Inthemanner of Carlo Maratta (1625–1713) The cuckolded husband, to theleft. CMS 1257088 and Venus, with theforge of Vulcan, thelatter’s The mainprotagonists here are thelovers Mars On copper The Four Elements:Fire Hendrick van Balen (1575–1632) 47 Jan Brueghel the Younger (1601–78) After Gerrit Dou(1613–75) fi fi gure derived from suchembodiments cation of Earth appears to be a Carlo Maratta (1625–1713) and and 20 Kingston Lacy Illustrated list of pictures 21 Kingston Lacy Illustrated list of pictures left lip, make itclear that itisof the Countess of of thesitter, and theprominent mole above her Countess of Bradford (1621/2–94); butthe age Diana Russell, Viscountess Newport, and ultimately Gallery), has long been thoughtto show Lady Clarendon Collection (onloan to Plymouth Art This portrait, theoriginalof which isinthe Portland (c. Anne Boteler, Countess of later Newport, Countess of (1618–80) 129 N. Wray ( CMS 125710 submitted an account to Charles Iin1638. the Queen inblue(now lost), for which Van Dyck This isoneof a number of versions of a portrait of Queen Henrietta Maria (1609–69) 60 CMS 1257094 be: ‘A Coppy after Holbein’. Belonged to Ralph Bankes in1659, when thoughtto An UnknownMan 53 German School, c CMS 1257092 deduced from that that thesitter is also a Bankes. already been lost when it was made, soitcannot be Justice Bankes (No.9), butthesitter’s identity had century Rococo frame is a pendantto that of Chief portraits at Chirk Castle, in Clwyd (NT).Its18th- Possibly by thesame hand as a group of similar Portraitof anUnknown Scholar 51 English School, c CMS 1257171 collection at Gray’s Innbefore 1659. The picture was recorded inRalph Bankes’s Thomas, 4th and last Earlof Portland (1609–1688). Lely (No.61, Upper Landing). In1667 sheremarried, House, also NT). The copyist was himselfpainted by earlier been painted by Van Dyck (both at Petworth Earl of Newport (c.1597–1665/6), like whom shehad of Charles I, and the wife of Mountjoy Blount, 1st Newport, formerly a prominent After Sir Anthony van Dyck (1599–1641) 1605/10–69) active c .1650–60 .1650–60) .1520–30 after fi gure at thecourt Sir Peter Lely Described as a ‘Nightpeiceof A man A drinking’ in AMan with aof Glass WineFiddle and of the17thcentury 41 Dutch Caravaggesque School, second quarter CMS 1257093 Bankes’s collection. (c. the example set by Hendrick Steenwyck theElder less closely based on that of Antwerp, following painted interiors of imaginary cathedrals more or (1620–after 1675) Neefs, bothof whom repeatedly It isdifficult todistinguish between father andson Signed: Peeter Neefs 164[4?] The Interior of an Imaginary Cathedral 52 Peeter Neefs theElder(c CMS 1257082 not quite equate with works by him. his career in Italy –particularly in Sicily –butitdoes Stom, or Stomer, a Dutch artist who spent mostof Inn c. the very 1550–1603), such a picture by whom was inRalph 1656. Itiscustomarily attributed to Matthias fi rst list of Ralph Bankes’s pictures, at Gray’s .1578–1657/61) CMS 1257104 copied unlesshehad also been the copyist. circumstantialdetail about unlikely that he would have known such a Wray ishere listed as the vendor, butitseems from A Print of Milan.N. Wray. £12.’ Described in1659 as: ‘A Madonna, Coppied inRome The Madonna Mellan (1598–1688) 63 (?)N. Wray ( CMS 1257103 them. devoting a whole room of hiscountry houseto was a passionate collector of pictures by Van Dyck, copyist and pasticheur of Van Dyck. Cachiopin isches Museum, Vienna; Geldorp was a notorious quarter-length portrait now intheKunsthistor- George Geldorp, butinfactcopied from a three- Sold as an un The Head of Jacomo de Cachiopin (1575–1642) Anthony van Dyck (1599–1641) 62 (?) George Geldorp (c and rightrespectively on thenorth wall, between thewindows, left CMS 1257095 First recorded at Kingston Hallin1731. Flowers hanging by a Ribbon 54 Dutch School, 17thcentury fi nished originalto Ralph Bankes by active c .1650–60) .1595–1665) where a printhad been

after after Claude Sir CMS 1257128 only portrait inoilsof William Bankes. subjects at ten guineas apiece afterwards. This isthe as thisof every MP bar one, which heoffered to the took ten years over thepicture, making studiessuch February 1833(National Portrait Gallery). Hayter Reform Parliament inthe Old Houseof Commons, 5 the Address to the Crown ontheopening of theFirst death. This is a study, painted in1836, for Moving its decoration inexile abroad from 1841 untilhis designs, 1835–40, and continued to orchestrate which herenamed Lacy, to Sir Charles Barry’s Collector and traveller, rebuilt Kingston Hall, Oil onmillboard William John Bankes, MP (1786–1855) 87 Sir George Hayter, RA (1792–1871) on thetable inthecentrearea: 22 Kingston Lacy Illustrated list of pictures 23 Kingston Lacy Illustrated list of pictures CMS 1257106 became a modelfor thedepictionof ecstasy. The original,painted for S. Francesco, Pesaro, a ofvision a Christ on awhen pilgrimage to Calvary. Franciscan tertiary known for good works, who had now inthe Vatican. Michelina Metelli was a Derived from thehead of theoriginalfull-length The Blessed Michelina of Pesaro (1300–56) 65 CMS 1257105 of thisdisease. The originalisnow at Chatsworth. represent theopulentNaaman, whom Elisha healed thought to represent leprosy: itmighttherefore are notjustdiscolourations of thepaint, but are valuation bar four. The is Cardinall Mazarins sister[s] ...£20’–histop A Turks head from Rainebrand. The orriginall Listed by Ralph Bankes in1659 as: ‘A Coppy of An Oriental 64 on the east wall (opposite the chimney-piece wall): CMS 1251249 destroyed theprofession. successful British miniaturist, before photography later at the age of 34. Ross was thelast really to Kingston Lacy in1856,butdied only four years married George Bankes in1822.Edmund succeeded Duke of Cumberland (later king of Hanover), she Thought to be an illegitimate daughter of Ernest, reverse and dated 1830 Miniature, watercolour onivory. Signed onthe ThreeElder Children, Georgina,Maria Edmund and Georgina Nugent,Bankes Mrs (1799–1875)her, and 87A Sir William Charles Ross, RA (1794–1860) After After Federico Baroccio (?1535–1612) Rembrandt (1606–69) fl ecks ontheman’s face CMS 12571224 hand. inferior but autograph replica, or a copy by another is cleaned, itisimpossibleto say whether itis an lachrymose Magdalens, but, untilthispainting of No.62) made something of a speciality of Geldorp (who was thefather of thecopyist Head of theMagdalen adoring the Cross 156 Gortzius Geldorp (1553–1616/18) CMS 1257113 since theearly nineteenth century. original of this painting of 1692. Only recorded here (shown inthe South-East Dressing Room) after the on thetradition attached to John Smith’s mezzotint (now West) Molesey, Surrey. The identi who married James Huckle, a gentleman of Upper whom hehad a daughter, Catherine (c.1690–1714), Mrs Voss was Kneller’s model and mistress, by VossMrs 72 CMS 1257096 peculiar to Kingston Lacy. imitations of Sunderland frames (see No1,Library) Museum, Moscow. Inoneof the18th-century at Houghton HallinNorfolk, and now inthePushkin An adapted copy of theoctagonal painting formerly The Adoration of the Shepherds 55 CMS 1257107 Belonged to Ralph Bankes in1659. Signed and dated 1654 Fruit andCornhanging by aRibbon 66 Joris van Son (1623–67) After After Guido 57097 (1585–1642) Sir Godfrey KnellerBt (1646/9–1723) (d. after 1716) with her Daughter fi cation rests CMS 1257116 to bethat wealth, beauty, power – all is vanity. clearly inspired by Titian’s nudes.Itsmessage appears original author remains unknown, but which was of a number of versions of this composition, whose Widmann collection in Venice. Itseems to bethebest collection inBologna in1820, butpreviously inthe Bought by William Bankes from theMarescalchi Omnia Vanitas 75 CMS 1257109 Treasurer, islost. original of thisportrait, showing him as Lord High having to summonParliament to raise taxes. The in order that theKing couldlive off his own, without a crypto-Catholic who favoured peace with Spain, of Charles I,but was unpopular with thecountry, as High Treasurer, 1628–35. Heenjoyed thecon Chancellor of theExchequer, 1620/1–8 and Lord (1577–1634/5) Sir Richard Weston, 1stEarlof Portland, KG (1599–1641) 68 From thestudioof Sir Anthony van Dyck CMS 1257115 The original,once at Whitehall, isnow intheLouvre. and civilising dashingly inthe Civil War, and became a leading in 1635–7. Prince Rupert returned to command only surviving daughter of James I, visited London Bohemia and Elizabeth, ‘the Winter Queen’, the The eldestsurviving sonsof theformer King of Palatinate (1619–82) Prince CharlesLouis 74 In themanner of Titian (c After Sir Anthony van Dyck (1599–1641) fi gure at Court after theRestoration. (1617–80) and Prince of Rupert the .1487/90–1576) fi dence Bankes for £32, including its(previous) frame, and Haarlem, or bought, through Sir Peter Lely, by Ralph Recorded as either commissioned from the artist in Signed and dated 1655 Herdsmen Landscape with 69 Nicolaes Berchem (1620–83) CMS 1257111 (who was not Salvator Rosa) remains to be established. hypothesis, even thoughtheidentity of itspainter on thetable) would support thelatter part of this head, recently recovered for Kingston Lacy (No.87b, professional portrait painter: theoilstudy for the on an idea of his, as well as on a likeness made by a be by Salvator Rosa, itmay indeed have been based in 1652, and lived untilhisdeath. Long thoughtto had arrived by 1650, was received into the Church whom he was inItaly. Painted inRome, where he A cousinof Jerome Bankes (No.3, Library), with Self-Portrait asaHermit (left) 70 Edward Altham (1629–94) CMS 1257117 at WindsorCastle. Princess of Orange (b.1631). The original,of 1635, is of York, later James II(b.1633); Princess Mary, later Prince Charles, later Charles II(b.1630); James, Duke The Three Eldest Children of Charles I 76 CMS 1257110 likely to have been a speci an exceptional size for this artist, making itmore fi rst listed inhiscollection at Gray’s Innc.1658. Itis After Sir Anthony van Dyck (1599–1641) fi c commission. 24 Kingston Lacy Illustrated list of pictures 25 Kingston Lacy Illustrated list of pictures CMS 1257114 Royal Collection. original isoneof Lely’s ‘Windsor Beauties’, inthe conversation senther lovers to sleep. The prime claimed the affectations andboredom of her downwards. The comte de Grammont, however, of lovers, from Charles II and hisbrother, James II, Lady’ (Evelyn, Diary), and mistress of a succession ‘That &indeede famous, incomparable beautifull Jane Needham, Myddelton Mrs (1645–92) 73 From thestudioof CMS 1257118 this composition. for £5. Huysmans painted a number of examples of bought ‘A Cupid of Huysmans’ from a Mr Mathewes Proserpine. Ralph Bankes recorded in1659 having one of his arrows – which resulted intheRape of coasting around Sicily) with feelings of love through mother Venus’s summonsto strike Pluto (here seen V, 355ff.), in which Cupidprepares to answer his Apparently based on Ovid’s Metamorphoses (Book Cupid preparing hisBow 77 Jacob Huysmans (c CMS 1257120 tormented by others inthe air. twice: visited by disguised demons under a tree, and imitations of Bosch by Huys. St Anthony isshown 1516), thisis a later derivative of thelessdisturbing this demonicthemeby Hieronymus Bosch (c. Ultimately derived from the various treatments of Panel The TemptationofSt Anthony 79 Imitator ofPieter Huys (c Possibly theunattributed: ‘A little Madonna w Panel TheMadonna andChild 78 CMS 1257125 did rape her. the sea to Crete, where, resuming humanform, he lulled her into mounting hisback, hebore her across turned himselfinto a docile white bull. Once hehad of theKing of Tyre, and inorder to abduct her, misleading: Jupiter fell inlove with Europa, daughter title of thispicture, and of others like it, is a little with No.86, itspendant) in1659. The traditional in Paris. Listed inRalph Bankes’s collection (along classicising Poussinesque manner of hismaturity Rome (1634–7), before Bourdon had forged the Domenichino or Gentileschi, and painted in An eclectic early work, apparently inspired by The Rape of Europa 84 Sébastien Bourdon (1616–71) CMS 1257119 ‘bought of Mr Henshaw’. Saviour’ in thecollection of Ralph Bankes in1659, as After Joos van Cleve ( .1633–?96) Sir Peter Lely (1618–80) active 1511–d.1540/1) .1519–81) 1450– th A CMS 1257126 century. First recorded here in1905. of theoldpaintings –(vecchiaia) –of theprevious Muttoni, acquired hissobriquet from hisimitation Pietro della Vecchia, whose real name was Pietro Royal Collection, or from some commonoriginal. to derive from a Lucretia attributed to Titian inthe signi such by thecrescent onher head, although the The Greek goddess of themoon,identi Selene 85 CMS 1257121 Bankes by thePrince of Anglona – as a Velázquez! of San Giorgio Maggiore in Venice. Given to William Cana (Louvre), which was painted for therefectory Copied from thedogs in Veronese’s Marriage at Two Greyhounds 80 CMS 1257123 in 1731. First recorded at Kingston Hall, without attribution, Panel by Soldiers A Prophet with Refugees fleeing from a Village pillaged 82 Netherlandish School, c CMS 1257122 painter-dealer Emanuelde Critz]’. ‘Our Savior A smallpeiceboughtof mr Decreet [the Ralph Bankes’s pictures at Gray’s Innin1659 as: head appears to betheonesimply listed amongst This somewhat Rembrandtian or Carel Fabritius-like Panel Headof Christ 81 Dutch School, 17thcentury CMS 1257127 punished himby turning hisown into ass’s ears. that thegod Pan made better musicthan Apollo, who touched shouldturnto gold), who unwisely asserted (also known for rashly wishing that everything that he Bourdon’s own manner. Midas was a king of Phrygia The pendantof No.84, butmore obviously in The Judgement of Midas 86 Sébastien Bourdon (1616–71) Attributed to Pietro Della Vecchia (1604–1678) After fi cance of thedepictionisobscure. Itseems Paolo Veronese (1528–88) .1600 fi ed as 1609, butthepaintings are actually copiesof those Contarini Corfu onthe Grand Canal in Venice in Vincenzo Scamozzi, added to theoldPalazzo Scrigni, which the closestfollower of Palladio, came from a gallery inthePalazzo Contarini degli leather wall-hangings a decade later –reputedly The lavish gilt and coffered ceiling –like thegilded TheRoom Golden CMS 1257228 when they were inRome together in1687/88. Dahl (1656/9–1743) or Henry Tilson (c. seem Italian. Just possibly a study made by Michael Salvator Rosa, nor doesthehandling of thisstudy Flemish and Italian, but was notemployed by of making oilstudiesof heads onpaper was both sophisticated inexecution thanthat is. The practice No.70, thisisclearly not a self-portrait, and ismore by theNational Trust in1995. Though a study for resurface inNew York, whence it was boughtback Pope by Richardson, only to disappear again and purporting to identify it as a portrait of Alexander auction at Christie’s in1968, with an ‘antiqued’ label it unaccountably vanished. Itreappeared at an Kingston Lacy between 1731 and 1905, after which This picture was recorded (as by Salvator Rosa) at Oil onpaper laiddown oncanvas Study for theHead of Edward Altham (1622–94) 87B Unknown Artist, c on thetable inthecentrearea CMS 1257124 valued at £5 inRalph Bankes’s 1659 Gray’s Innlist. Just possibly ‘A little head boughtof N. Wray’, Oil onpaper laiddown onpanel Head of a Bearded Man 83 (?) Venetian School, 16thcentury .1680/90

1659–95), CMS 1257129 parish church of St Catherine theMartyr. adorning the Goldsmith’s Chapel of St Eligius,inthe it had been oneof a number of paintings by Ribalta Bought by William Bankes in1814 Valencia, where Madonna andChild Music-Makingwith Angels 88 Francisco Ribalta (1565–1628) from thechimneypiece wall, clockwise: ceiling. the window wall were copied from theonesin The grotesques on a gold ground onpanels on for Bankes from printssupposedly after Raphael. sea-monsters and abducting women, were painted The grisailles onthedado of tritons battling with designs by Bankes that are also at Kingston Lacy. between 1849 and 1851,onthebasis of watercolour by a Venetian artist, aided by Bankes himself, and Winter onesimitating bronze – were painted Summer monthsincolour oldgold, the Autumn Months onthethree doors –the Spring and tapestries inthe Saloon. ropework, which was originally intended to frame his paintings below. In1854he added themetal the same room, Bankes inscribed as labelsfor Venice. leaving their picture-collection to the Accademia in The Contarini degli Scrigni had died outin1838, adapted themto fitthe Golden Room in1838–9. & Emanuelof 103 New Bond Street for £100, and the ceiling from thePalazzo Contarini) from Town replica paintings (as originals, and as integral to in 1945). William Bankes boughttheceiling and to theKaiser-Friedrich MuseuminBerlin(destroyed from a ceiling inthe Ca’ Pisani that were soldin1842 The painted pearwood panels of the Twelve The oval cartouches inthefrieze, notfrom 26 Kingston Lacy Illustrated list of pictures 27 Kingston Lacy Illustrated list of pictures CMS 1257131 in 1624. years there. Hededicated an etching to Philibert to Italy when young, butthere is a void inhisearliest working inItaly. Jusepe deRibera (1588–1652) went is, ifnotby an Italian artist, by a Spanish painter rather than Spain, itisperhaps more likely that it in Placencia), and sincehiscareer was spentinItaly to the Cathedral of Plasencia (there isno cathedral (Ribera). If, as is implied, Philibert gave thepicture from the Cathedral at ‘Placencia’, as by ‘Spagnolet’ ultimately Spanish Viceroy of Sicily), and then Philiberto, 1588–1624, sonof theduke, and ‘Philibert, Duke of Savoy’ (actually Emanuele William Bankes in Spain, with a provenance from For thesubject, see No.17 (Library). Boughtby St Augustine of Hippo (354–430) inMeditation 90 (?) Spanish School, early 17thcentury CMS 1257130 in Spain in1814. in the worship of Venus. Boughtby William Bankes for refusing to allow their father’s vessels to beused city, they were daughters of a potter there, martyred usually paired with St Ru Zurbaran and hisstudioin Seville, St Justa was Typical of thefemale saints produced inseriesby St Justa (1598–1664) 89 From thestudioof Francisco de Zurbaran fi na. Patron saints of the

CMS 1257133 in 1652. painted after Cano’s return from Madrid to Granada known versions of thiscomposition, all probably hands and feet.’ Butitis actually oneof at least four superior to either of themin drawing, particularly of the Spanish School to Velàsquez &Murillo;he was best manner of Alonso Cano, thenext bestof all by him as ‘a mostdelightful picture, itisinthe very Bought by William Bankes in Spain, and regarded The Sleeping Christ Child 92 CMS 1257132 Dog now inthePrado seems evident. inspiration from Titian’s portrait of Charleshis Vwith and barrel, inorder to move to Saragossa. The Countess’ who soldupthefamily houselock, stock have been disposed of by a ‘widowed, half-mad length portrait of the Vives family. They appear to Espinosa evidently painted more thanone whole- Bought by William Bankes in Spain in1814. Don Francisco Vives de Cañamas, Conde deFaura 91 Jerónimo Jacinto deEspinosa (1600–67) Attributed to Alonso Cano (1601–67) garden and doing needlework to helpsupport shown here, when she was living inher parents’ declared a saint. The miraculous vision isthat, as Rose was the Francesca Maria de Santa Rosa, thesame year. St daughter took her vows, as theDominican Sister Rose’s canonisation, and possibly because Murillo’s Madrid, and was painted around 1671, the year of The originalisintheMuseo Lázaro Galdiano in Bears Murillosignature St Rose of Lima (1586–1618) (1617–82) 95 CMS 1257135 scraps of food gathered inher dress into roses. her substance onthepoor, a miracle changed the challenged by her brutal husband with wasting These included thestory, shown here, that when Vita great-niece of Elizabeth of Hungary/Thuringia, her shortly before thispicture will have been painted. A (or Isabella) of Portugal was canonised in1626, No.89 and arguably superior to that. St Elizabeth From a different series of female saints from Philip IV soldto Isabella Stewart Gardner in1896. Bought to replace the Velázquez portrait of St Elizabeth of Portugal (1271–1336) (1598–1664) 94 CMS 1257134 Pinakothek, Munich. collected inEngland. The originalisnow inthe Alte of Spanish 17th-century painting to have been as a copy, butstill amongst the In Ralph Bankes’s collection at Gray’s Innby 1659, Twoeating Urchins Melon andGrapes 93 From thestudioof Bartolomé Esteban Murillo After From thestudioof Francisco de Zurbaran took onmany of theelementsof thelatter’s. Bartolomé Esteban Murillo (1617–82) fi rst person from the Americas to be fi rst examples CMS 1257137 Virgin Birth. (Exodus burned with outside Spain. Moses’s vision of God, in a ‘bushthat signi its pendant, inorder to have examples of this Bought by William Bankes in Granada, with Moses and theBurning Bush 96 Pedro Orrente (1580–1645) CMS 1257139 a speciality of images of thesuffering Christ. technique with insistent spirituality, the artist made production of religious images combining exquisite Known as ‘the Divine’ Morales for hiscopious representative collection of Spanish pictures. Bankes wanted a work by himinhis would-be with Morales, and that isevidently why William Spanishness of Spanish painting really begins From theconvent of Atocha, Madrid. The Christ attheColumn 98 LuisdeMorales (c CMS 1257138 smote him, and slew him’(ISamuel xvii, 34–5). sheep, when he‘caught a lionby hisbeard, and lion’. David was still a boy, and keeping hisfather’s Pendant to No.96, but acquired as ‘Samson and the The Boy David and theLion 97 Pedro Orrente (1580–1645) CMS 1257136 ‘Marqués deDiezma’ (perhaps Ledesma). Bought, according to William Bankes, from the her work-basket, and invited her to behisbride. them, the Christ Child appeared to her, seated on fi cant painter, whose works scarcely exist iii,2), was regarded as a pre fi re and was notconsumed’ .1515/20–86) fi guration of the 28 Kingston Lacy Illustrated list of pictures 29 Kingston Lacy Illustrated list of pictures vision of the Jubilee conferred onthe Chapel of the CMS 1257140 Gaspar deHaro, Marquès del Carpio (cf. No.101). belonged to thesupreme Spanish collector, Don successor as Painter to the Crown, and originally probably painted by Velázquez’s son-in-law and apartments of theRoyal Palace inMadrid. It was that was hiddenfrom public view intheprivate equally rare: thethenonly copy of a masterpiece original sketch. It was infactsomething almost convince Bankes, wrongly, that this was Velázquez’s colours onthepainter’s palette) will have helped to and queen inthemirror, and thereduction of the Prado (the omissionof there from themuchlarger originalof 1656 now inthe the way of theentering royal couple.Differences of theLyme (NT)mastiff given to PhilipIII)out of one of whom kicks the dog (reputedly a descendant accompanied by two dwarves intheforeground, Austria, whom Velázquez depictshimself with, daughter of PhilipIV of Spain and Mariana of the handmaidensof theInfanta Margarita (1651–73), Western art, thiscompositiontakes itsnamefrom One of themostcelebrated images inthehistory of ‘Las Meninas’ (c 99 Murillo, whose altarpiece ofaltarpiece Murillo, whose the little angel isnotgenerally accepted as by & applied to thecovering of a knapsack’. However, more picturesquely: ‘cut outby theFrench soldiers cartouche that hehad placed over thepicture says, Capuchin convent at Seville.’ The inscriptiononthe pictures, theJubileo della Porciuncula inthe cut outby theFrench of oneof hismostfamous his father in1815:‘The little Angel by Murillo was According to William Bankes’s own account to A Putto-Angel holding something Red: a Fragment Murillo (1617–82) 100 Formerly attributedto Bartolomé Esteban .1612/15–67) Attributed to Juan Bautista Martinez delMazo after Diego Velázquez (1599–1660) St Francis’s miraculous fl ections of theking CMS 1257143 William Bankes in Spain. given as suchby a Borja, theDuchessof Gandia, to accepted as theoriginal, although this was reputedly surviving version of Velázquez’s portrait isgenerally the painter’s application for nobility mentioned. No (1643–5), when he was painted by Velázquez successively of Milan, Seville, and opposition to Pope Urban VIII. Thereafter Archbishop to 1632, when forced to withdraw because of his Protector of the Spanish Crown inRome from 1611 manifestations as theBorgias. He was Cardinal- of Gandia, but who are better known intheir Italian A member of thefamily whose heads were Dukes Cardinal Gaspar deBorja y Velasco 102 CMS 1257142 Bologna, and the Bankes in1820from the Marescalchi collection in whilst he was inItaly (1682–7).Boughtby William Gaspar deHaro, Marquès del Carpio (cf. Cardinal’s heirs, and theninthe collection of Don was virtually never donein Spain. Sold by the ultramarine (ground lapislazuli), something that dress unusualin a portrait, but Velázquez has used second visit to Italy (1649–50).Notonly issuch appointed himthisin1646)during Velázquez’s chamberlain) of Pope Innocent X (who had Painted inhishabit as a cameriere segreto (private The great patron, collector, and friendof Poussin. Cardinal CamilloMassimi 101 Diego Velázquez (1599–1660) CMS 1257141 in Cologne, lacking nosuchportion. Portiuncula isnow inthe Wallraf-Richartz-Museum After Diego Velázquez (1599–1660) fi nest of his Spanish pictures. (1620–77) (1582–1645) fi nally Toledo No.99), , as gratis as ,

[CMS 1251019.1] Schongauer (active 1469–d.1491), c. Bening (1483/4–1561), [CMS 1251019]; after Martin Christ before Pontius Pilate, inthestyle of Simon 1659: three which were inRalph Bankes’s possessionin The group of drawings and miniatures includes in thegilt cabinet: CMS 1257144.2 to whom their symbols related. four sidesof thecentre, each adjacent to thedeity Veronese’s originaltheseputti were arranged on all For thecomplex history of theceiling, see p.16. In 103b&c Putti with symbols of theElements CMS 1257144.3 CMS 1257144.2 CMS 1257144.1 Poseidon (Water). (Earth), and their children Zeus (Fire), Hera (Air) and Chronos (Time) inthecentre, with his wife Cybele The Creation of theElements 103a ceiling paintings: (1528–88) After Paolo Caliari, called Il Veronese 1525 [CMS 1255222.1–4] roome’ inthePalace of Whitehall the set that oncehung in Charles I’s ‘Cabbonett van Vianen (c. by theDutch goldsmith and relief sculptor Paulus four gilt-bronze medallions of mythological subjects Flemish, 15thcentury [CMS 1251027]. There are also The fourth miniature, of The Raising of Lazarus, is Kunsthistorisches Museumin Vienna. Earl of Arundel which isnow a studio version inthe by Titian inhisstudio, theninthecollection of the Oliver (c. and Venus, Mars thecopy of a miniature by Peter [CMS 1251026] a follower of Jean Bourdichon (?1457–?1521), c. Judas confronting Christ at the Supper inBethany, by 1594–1647) [CMS 1251021.1] after a painting 1570–1613), that probably comefrom 1500 30 Kingston Lacy Illustrated list of pictures 31 Kingston Lacy Illustrated list of pictures CMS 1257145.3 carryingCupid a Spur anda Clock CMS 1257145.5 Roses Cupid with Two rectangular compartments: Il Padovanino (1588–1648) 104e CMS 1257145.4 CMS 1257145.2 Garlands Two square compartments with Cupidscarrying CMS 1257145.1 Allegory of Faith (central compartment) Paolo Veronese (1528–88) 104a–d Inthemanner of Paolo Caliari, called ceiling pictures: The StateBedroom were in a very bad state, and everything that one during itssiege by the Austrians in1849, butthey William Bankes from thePalazzo Grimani in Venice now over the Upper Marble Staircase) acquired by associated with theoctagonal painting (No.107, Certain of these arabesque panels were originally PanelsEight Arabesque 104f–m Francesco Vason Attributed to Alessandro Varotari, called various prints,photographs, and embroideries. painting presented by two members of a guild; and reveals itoriginally to have been carved in1635 for a ‘Sansovino’ frame round a mirror, whose inscription [CMS 1251052.3], intheDoge’s Palace; a parcel-gilt Titianothers’ and Accademia in Venice, [CMS 1251052.1], and of de’ Pitati’s (1487–1553)Lazarus Divesand inthe in theNational Gallery [CMS 1251052.2], Bonifazio Alexander extending Clemency to theFamily of Darius 1251055.2 ]; watercolour copiesof Veronese’s to David Allan (1744–96) [CMS 1251055.1, CMS watercolour Scenesof Roman Piety attributable Marble Staircase, p.20). da Udine (cf. theceiling painting over the Upper and executed by Baldassare Peruzzi and Giovanni although the actual fresco decoration was designed completed by Giulio Romano after Raphael’s death, Madama ontheoutskirts of Rome. This was of thefresco decoration intheloggia of the Villa inspired by thesimilar vignettes which form part (1499–1546). Maestri seems infactto have been Raphael’spupil andassistant, Romano Giulio as having been doneinRome, after originalsby Other versions of these are inscribed by Maestri CMS 1251039–50 Gouache over Etched Outlines a varietyofConveyances Twelve Figures mythological and Cupids riding Michelangelo Maestri (d.1812) on thechimneypiece wall: CMS 1257145.6 here) and Veronese. Venetian artists to revive the manner of Titian (as however, sincePadovanino was thefirst of many pairs of Cupids. The yoking isnotinappropriate, to beby Padovanino (though there are actually two Cupids to beby Paolo Veronese, buttheother Cupid Bankes believed the Allegory of Faith and three of the from at least two other different sources, since complete them. The inset canvases musthave come painter William Bankes employed to restore and now sees seems to bethe work of the Venetian On this and other walls there are also two Faith appearingto Doge Grimani

CMS 872074 now intheKunsthistorisches Museum, Vienna. cupids, and of thebook on a plinth–of thepainting curtain and changes inthepositionof thetwo little A reduced variant copy – with the addition of a Cupid sharpening hisBow After over thedoorto thebedroom: CMS 1257225.1 were painted –or perhapsjustrepainted. Bankes, who musthave been dead by thetimethey initials of William’s sister, Lady Falmouth: Anne of theletters ‘A’ and ‘B’ – which were themaiden de-lis, thefourth contains a monogram composed contain ornamental versions of theBankes Dining Room). Curiously, whilst three of thecorners painting thencalled Apollo and theMuses(No.37, octagon originally intended to take Tintoretto’s enlarged from a rectangle to a reduction of the bought inLondon in1838. It was awkwardly from thePalazzo Morosini in Venice that hehad a group of fresco fragments ascribed to Veronese the Library, together with theruined survivor of already sentback for the– abandoned –ceiling of William Bankes’s death, using elementsthat hehad ornamental fleurs-de-lis, and a monogram. by eightpaintings inoilonpanels, of birds, Fresco transferred to enlarged canvas, surrounded Panels 105a–i Venusherin Chariot,Eight Ornamental and School, late (?)19thcentury Venetian School, 16thcentury, ceiling paintings: the ceiling’. correspond inpattern with thecompartments of the ‘parquet floor for theDressing Room to Queen’sGreenwich.House, WilliamBankes wished The ceiling ismodelled onone at Inigo Jones’s (Bathroom) The State Dressing Room The ceiling was mostprobably made up after Parmigianino (1503–1540)

and English fl eur- such into thepanelling of theDining Room. The top upright compositions and were originally inset as they now appear almost square, they are actually by hisfollower Paul de Vos (c. included over 50pictures by Snyders and others Messia, Marqués deLeganés (?1580–1655), which Altamira had inherited the vast collection of Diego London, as by Frans Snyders (1579–1657). Count in 1827 from thesale of the Altamira Collection in This pair of pictures was boughtby William Bankes CMS 1257147 Wolves attacking aHorse CMS 1257146 Hounds attacking aBull 106a&b Frans Snyders (1579–1657) The Top Landing have been created at thesame date. The plaster swags of produce around them must the top of thestairs inthelate nineteenth century. 29 inchesor so were folded over so as to 1596–1678). Although fi t them at 32 Kingston Lacy Illustrated list of pictures 33 Kingston Lacy Illustrated list of pictures CMS 1257148 tradition of Mantegna (1430/31–1506). these with daring perspectival effects inthe depictions of natural history. Here hecombines Flanders, and was for famous theillusionism of his cartoons for tapestries woven for Pope Leo X in ornament, buthe also depicted putti in a set of Rome, in1537–40. Giovanni iscelebrated for his for Patriarch Giovanni Grimani untilhisreturn from pupil, buthedidnot work inthePalazzo Grimani Giovanni da Udine was indeed briefly Giorgione’s da Udine, hispupil, who didthebirds and foliage. who would have donetheputti, and by Giovanni the Patriarch of Aquileia, in1510, by Giorgione, that ithad been painted for Giovanni Grimani, by S. Maria Formosa in Venice in1849. Hebelieved Bought by William Bankes from thePalazzo Grimani Disporting Putti Illusionistic Galleryand Trelliswork Cupola with (1487–1561 or 107 CMS 1257073 seathis for a Commissionershipof Customs. family seat, Corfe Castle, 1741–62, butsurrendered barrister. Succeeded hisbrother as MP for the Fellow of King’s College, Cambridge, 1723–9, and whose neglect of thefamily estates herepaired. Younger brother of John Bankes (No.10, Library), Signed and dated 1764 ontheback Henry Bankes theElder, MP (1698–1776) 110 Richard Roper ( CMS 1257173 reliefs, asovermantels overdoors. and paintings such as this,simulating white plaster A late acquisition. De Wit specialised inillusionistic Signed: J.d. Wit/1739 Putti enacting an Allegory of Summer 132 Jacob de Wit (1695–1754) CMS 1257067 Bedroom Corridor. doing theInfant Samuel receiving the Call inthe Elder in1753. Anne was an amateur copyist inpastel, She became thesecond wife of Henry Bankes the Wells (No.128), who acquired Soughton inFlintshire. Daughter of Dr John Wynne, Bishop of Bath and Daughter Anne Margaret Wynne, Bankes Mrs (1724–1822)her and 108 Richard Roper ( start above thedoor leading to thelanding: The South-eastBedroom Attributed to Giovanni da Udine 1567) (b.1759) active c active c .1735–c .1735–c .1775) .1775) CMS 1257154 but ifso, painted separately. CMS 1257153 family thebaronetcy continuesto thisday. Hyde Parkers of Melford Hall, Suffolk (NT),in whose (NT). From theHonington line,inturn,descendthe rose to become theEarlsof Morley, of Saltram Parkers of North Molton, Devon, whose senior line The Parkers of Honington were a junior lineof the were possibly painted for John Bankes and his wife. married to Sir John Pakington, when theseportraits same year as her elder sister Frances (No.117) was Margaret married John Bankes theElder in1691, the Margaret Hyde (No.116) in1665. Hisdaughter 1st Bt, Sir Hugh. A London merchant, hemarried Nephew and successor, by special remainder, of the Oval Sir HenryParker of Honington, 2ndBt, MP 112 John James Baker ( CMS 1257169 which thesitter had been President. version of thisportrait to Jesus College, Oxford, of William Bankes, who gave a three-quarter-length wealth were inherited in1815by hisgreat-grandson, he purchased Soughton inFlintshire; this and his the Bishopric of Bath and Wells in1727. In1732 the see of St Asaph in1714/5, he was translated to wife of Henry Bankes theElder. Nominated to Father of Margaret Wynne (No.108), thesecond Dr John Wynne, Bishop of Bath and Wells 128 English School, c Possibly also by thesame mysterious ‘Thredder’, 1762 inventory onwards, in association with No.115. with thisidentity, butno attribution, from the this portrait would have been given. Recorded whom she would have been named, and to whom John Bankes, would have been her godmother, after in 1691. Her mother’s sister, Margaret Parker, Mrs 4th Bt, and Frances Parker (No.117), who married Almost certainly a daughter of Sir John Pakington, Pakington’ Oval. Inscribed ontheback: ‘MissMargaret Miss Margaret Pakington (b.1691 or after) 113 English School, c .1700 .1730 active c .1690–1710) (1667–1743) ( c. 1640–1713) 1640–1713)

CMS 1257156 most of theother small and precious pictures. hung in John Bankes’s Closet in1762, along with (where spelled ‘Threader’). With No.113, they were attributed inthe1762 inventory and the1731 list Like No.114, inscribed and dated 1702, and similarly Oval John Bankes the Younger as a Boy (1692–1772) 115 Thredder, 1702 CMS 1257155 West of England,sometime’. Vertue as having ‘liv’d at a noblemanshouseinthe of a clergyman inMaidstone, whois recorded by the nameof William Reader ( was a misreading, thenitismostlikely to bethat of Apparently spelled thusinthe1731 list, butifthis in 1731) as by thisotherwise unknown artist. on thereverse, and recorded in1762 (and possibly in 1691. Inscribed with hisidentity and dated 1702 Son of Sir Ralph Bankes, married Margaret Parker Oval John Bankes theElder, MP (1665–1714) 114 Thredder, 1702 fl .1672–after 1700), son CMS 1257157 Pakington (No.117). wife, Margaret (?No.119), and of Frances, Lady (No.112), and mother of John Bankes theElder’s in 1665 to Sir Henry Parker of Honington, 2ndBt Robert Hyde (No.131, Upper Staircase). Married Clarendon (No.35, Dining Room), and father of (1598–1667), a staunch Royalist, Daughter of Dr Alexander Hyde, Bishop of Salisbury Oval Margaret Hyde, Lady Parker (d.1728/9) 116 John James Baker ( CMS 1257159 Room, pp.26). Bedroom Corridor, p.23, and the White Dressing an amateur artist inpastels (see thoseinthe Thomas Pickard of Bloxworth in1788, and became Berbice. The seated childisHarriet, who married later President of St Kitts and Lt-Governor of off Madeira. The older boy is William (1762–1810), died when hisship, HMS Leda, capsized in a squall rose to thenewest-born child, John (1766–95), who Bankes the Younger in1784. She isshown offering a His elder daughter Frances (No.29) married Henry Lt-Governor of Antigua (1768–88 and 1792–3). of theLeeward Islands(1766–71 and 1792–3), and William Woodley, MP (1728–93) was twice Governor The WoodleyFamily 118 Johan Zoffany (1733–1810) CMS 1257158 Westwood, Worcestershire. to Sir John Pakington, 4thBt, MP (1671–1727) of Bankes theElder (No.119). She was married in1691 Margaret Hyde (No.116), and sister of Mrs John Daughter of Sir Henry Parker, 2ndBt (No.112) and Oval Frances Parker, Lady Pakington (1670/1–before 1700) 117 John James Baker ( active 1690–1710) fl. 1690–1710) fi rst cousinof 34 Kingston Lacy Illustrated list of pictures 35 Kingston Lacy Illustrated list of pictures CMS 1257160 The picture isin a varnished silvered frame. the inscription was putonlater and was mistaken. for itto be of any of their children. Itispossiblethat (?No.119), butthestyle and costumeseem too early the Elder (No.114) and his wife Margaret Parker Apparently a younger daughter of John Bankes Previously inscribed ontheback: MissFrances Bankes (?) Frances Bankes (1697–1709) asa Shepherdess 120 English School, c CMS 1257160 her as a youngis. girl, asthis ‘Miss Parker’, which suggests that it was a portrait of be theportrait of her by ‘Moreland’ listed in1731 as John Bankes theElder (No.114) in1691. This could Margaret Hyde, Lady Parker (No.116), who married Daughter of Sir Henry Parker, 2ndBt (No.112), and Parker Previously inscribed onthereverse: MissMargaret (after 1665–1730) (?) Margaret Parker, later Mrs John Bankes 119 (?)Henry Morland ( .1680–90 active c .1675–c .1708) CMS 1257165 Hampton Court. I, who owned several, three of which survive at England seems to have been established by Charles century. The taste for Porcellis’s paintings in Gray’s Innin1659, butreframed inthenineteenth Porcellis’ inRalph Bankes’s listof hispictures at Very possibly thepicture listed as ‘A Stormeof Shipping off a Coast in Rough Seas (1587–1632) 124 (?) Jan Porcellis, as known over thedoorto thedressing room: RoomCabinet The CMS 1251017 Brown wash and red chalk Verso: Selene and the Sleeping Endymion Brown wash and red chalk Recto: (?) Venusin a Mars Bedchamber and with Cupid (1611–1668) D1 belong seem to have come. CMS 1251025 and thesmallgroup of drawings to which they returning to Paris in1656, via Venice, whence these Rome in1633/4 with hisfriend,Pierre Mignard, only The likeliest candidate isDufresnoy, who went to another French artist working inhisorbitItaly. his own hand’),they are notby Poussin, butby ‘Diseg: diMons.Posin‘di manopropria’(‘by’ and inscribed in an apparently 17th-century hand Although this and thefollowing drawing are both Red chalk Verso: Sketchof a Sculpted OrnamentalFeature Brown wash over red chalk Recto: The Drunkenness of Noah (1611–1668) D9 to theleft ofthecabinet, from thetop: Attributed to Charles-Alphonse Dufresnoy Attributed to Charles-Alphonse Dufresnoy Porcellis theElder CMS 1251186 Packington’. rediscovered picture listof c.1800 sheiscalled ‘Miss that she was ‘Mrs Packington’, and on a recently Musgrave visited Kingston Hallin1797, he was told Kingston Hall, as just ‘a Lady’, but when Sir William 1762 inventory of John Bankes’s collection at pictures ‘in my brother’s Closet’, inHenry Bankes’s its own sake. First recorded as oneof theprecious anyway very possibly a study of a ‘Beauty’ donefor The identity of thesitter isuncertain, and thisis Coloured chalks onbuff paper (?) Head of a Young Woman of thePa(c)kington Family D2 Sir Peter Lely (1618–80) D3 John Greenhill (c. over thecabinet: CMS 1251018 Veronese ManiPropria. Inscribed ontheformer mount:DesegnodePaolo a Pen, brown ink and wash ofHouse Simon The Magdalen Annointing Christ’s Feet inthe D5 North Italian School c to therightofcabinet: CMS 1257162 (No.69, The Saloon) survive at Kingston Lacy. ‘A little landskipof Witts’) and thegreat Berchem by him as ‘A landskipof du Witts on A board’ and as landscape painting, but only thispicture (recorded Ralph Bankes evidently had a fondness for Panel. Signed: G.D./WITTE F. A Rocky Wooded Landscape with a Figure on a Path 121 Gaspar de Witte (1624–81) CMS 1257163 character. and was the Lely’s mostindividualpupil;hemingled with actors, Bejazet, in Crayons by Sir Peter Lilly’. Greenhill was but as ‘Betterton thePlayer inthe Character of Also Black and red chalk. Signed and dated 1663 in Davenant’s ‘Siege of Rhodes’ Thomas Betterton the Actor (?1635–1710)as Solyman fi rst recorded ‘in my brother’s Closet’ in1762, fi rst British artist to portray them in 1644/5–76) .1600 36 Kingston Lacy Illustrated list of pictures 37 Kingston Lacy Illustrated list of pictures English, c CMS 1251123 Room). death of her husband in1841 (cf. intermittently occupied this apartment after the William Bankes’s much-loved sister, who Anne Frances Bankes, Countess of Falmouth (1789–1864) 17 H.Egleton to theleft ofthesouth window, from thetop: copy of a self-portrait by Rubens. small portraits inoils,theoneonright a reduced portraits (see theDrawing Room p.10), and two Six more of Bone’s named copiesof English on thefar window wall: architecture on theleft-hand side, with that of juxtaposition of the ornamentof Roman Imperial Novellara. The inscription ismisleading, since the cadet branch of the Gonzaga family established in working for, and onterms of friendship with, a draughtsmen and painters of thesixteenth century, collector’s mark of 1stEarl Spencer (1734–83). cartouche: Lelio diNovellaria/F.1546, and with the Inscribed ingraphite in a later handinthe Pen, brown ink and wash, over black chalk Verso: Kneeling Saint Holding a Boy Recto: Designfor a Frieze D4 Lelio Orsi (1511–87) over thedoor to thesouth-east bedroom: until thiscentury, and scarcely worthy of it. Panels, bothsigned. Notrecorded at Kingston Lacy 1258729 CMS 123 View of a Path with a Hutby a Stream 1258729 CMS 122 View of a Path and Meadows, with Sheep Warner Gyselman (Belgian School, 19thcentury to therightofsouth window: CMS 1251178 églomisé frames. Both of these watercolours are ininner verre Watercolour River Scene, with aBridgeRocks and 19 English,c CMS 1251177 William Wilkins, 1816–18. 1st Earl)of Falmouth, after their marriage in1810, by for Anne Frances’s husband, the4th Viscount (later Tregothnan in Cornwall was rebuilt in Tudor style Watercolour 18 View of Tregothnan fromthe Sea Orsi was one of themost bizarre and imaginative .1820 .1820 after A.E. Chalon, RA (1780–1860) No.23, Drawing ):

Nel dareilbastone all’ Ecc. CMS 1251022 Ordine Habiti d’Huomeniet Donne Venetiane (1610) as the Franco’s: all engraved (anonymously) inreverse for Giacomo Pen, brown ink and wash These three drawings were Three scenesduring the Venetian Carnival D6–8 Giacomo Franco (1556–1620) CMS 1251020 points to a date inthe1560s. the palace of Fontainebleau ontheright, probably CMS 1251023 Battaglio deiPugni a San Barnaba. CMS 1251024 del Giovede Grasso mo General diMar, Le Feste CMS 1251165 long standing. that itshows Kneller’s mistress and their childisof inscribed with thenamesof thesitters, thetradition now inthe Saloon (No.72). Although theprintisnot Mezzotint of 1692 after theoriginalof the painting Mrs Voss and her Daughter (1646/9–1723) John Smith CMS 1251202 1682. From a set of engravings after Lefebvre published in then ascribed to Titian now inthe Saloon (No.75). Engraving after Lefebvre’s drawing of thepainting Omnia Vanitas Gottfried Saiter CMS 1251136 Thomas Hardy. by a society artist who painted another Dorset man, estates of Corfe Castle and Kingston Lacy. Drawn The donor to theNational Trust onhisdeath of the Black chalk. Signed and dated 1924 Ralph Bankes (1902–81) Reginald Eves (1876–1941) CMS 1257152 Seghers (Nos6,8,15,17;Library). opinion onthefour Evangelists now attributed to The artist iscloseto Thomas Hudson, who gave his The unknown sitter may bedressed for hunting. Painted oval Tricorn Hat Unknown Young ManinBottle-Green, holding a 111 English School, mid-18thcentury left ofthedoorfrom thecabinet room: interesting items include: particularly of pictures inthecollection. The more areconstruction of Corfe Castle;engravings, and drawings; watercolours, including three views and paintings (reflecting its past use as a picture store); The pictures inthisroom are a mélangeof oldoil Dressing Room The South-east (c .1642–c .1680) after Sir Godfrey Kneller after Valentin Lefebvre

CMS 1157? might have looked before thesiege in1646. grey wash, is an imaginary reconstruction of how it the castle as they actually were; theupper one,in an inner verre églomisé frame, shows theruinsof The lower of thesetwo views, in watercolour in Two Viewsof Corfe Castle English School, 18thcentury window wall, to therightofwindow: CMS 1257167 to deny that he would becruci words ‘Get thee behindme, Satan’, for attempting In Matthew The Calling of St Peter 125 Flemish School, c over theglazeddoorto theback stairs: CMS 1257204 Countessbythe Zamoyska. Bankes,MP, andGeorgina CharlotteNugent. Lent Dorset, thefourth sonof theRtHon. George Wynne Albert Bankes (1840–1913)of Wolfeton, Painted four years after her marriage in1873 to Signed and dated 1877 Florence Mary Anne Fane, Mrs Bankes Albert 127 The Hon.Henry Graves (1818–82) above theovermantel mirror: xvi. 23, Christ rebukes Peter with the .1600

fi ed. 38 Kingston Lacy Illustrated list of pictures 39 Kingston Lacy Illustrated list of pictures 126 Laura Hope,née Troubridge (1858–1929) over thechest ofdrawers: 1151128 Watercolour Viewof Corfe Castle, with Cattlegrazing English School, c over thedoorto thecabinet room: CMS 1257166 novelist Radclyffe Hall. Troubridge, thelifelong companion of thelesbian Her sister-in-law was noneother than Una, Lady her thedoyenne of Hyde Park’s society cyclists’. at a stroke, while her ‘beauty and poisemade Victoria’s grandchildren made her artistic reputation children. A commandto paint twenty-two of Queen Linlithgow, and jointguardian of Oscar Wilde’s wife of Adrian Hope, a descendantof theEarlsof Troubridge, Bt, AdC to Queen Victoria, and the inherited at the age of sixteen. The father of thedonor of Kingston Lacy, which he Pastel Walter Ralph Bankes (1853–1904) Laura Hope was a daughter of Sir Thomas .1800 133 Francis Cleyn the(?)Elder(?1582–1657/8) on theright-hand wall: CMS 1251142 estatethat year. Bankes theElder, who had comeinto theKingston South-East Bedroom), thedaughter of Henry Bankes’ –presumably Anne (b.1759; see No.108, Picture Gallery), recorded after 1772 as by ‘Miss in Reynolds’s posthumoussale now intheDulwich An Infant Samuel receiving The Call (after thepicture CMS 1251143 A Girl Resting on a Ledge, by Mrs Pickard CMS 1251140 A Self-portrait of the byArtist an unnamed copyist by Sir Joshua Reynolds (1723–92): Similarly framed and glazed pastels after paintings on theleft- and right-hand walls: and AtticStaircase TheBedroom Corridor CMS 1257174 solar system, either around the Sun or theEarth. debate over the correct movement of planets inour Latin edition, Leyden, 1635). Cosmicum (1stItalian edition, Florence, 1632; 1st left isopen at thefrontispiece of Galileo’s Systema de painting portraits, thoughnonehas hitherto been but bothhe and hisson are also recorded as chief designer to theMortlake tapestry works, A long Cloth by Decline.’ Cleyn isbestknown as 1658 as: ‘My Brothers Picture & Sr M. Williams. note of Ralph Bankes’s pictures in Gray’s Innof First recorded around 1656, and described inthe his Tutor John Bankes (1626–56)SirMauriceWilliams,and The SystemaGalileo’s Cosmicum was theological fi nitively identi fi ed. The book onthetable at the

CMS 1257150 although theposeisreversed. done from thesame sitting as No.10 (Library), This three-quarter-length portrait was evidently CMS 1257102 Bankes, who owned this portrait of himby 1659. Painter, copyist and dealer employed by Ralph N. Wray 61 Sir Peter Lely (1618–80) to theright: CMS 1257112 frame characteristic of theearlier collection. recorded here in1731, butitisin a mid-17th-century at Kingston Lacy; theother awaits restoration. First One of a pair of panels inthemanner of this artist Faith,Hope andCharity 71 By a follower of Frans Floris I(1516–70) to theleft: TheLanding Attic Signed and dated: R John Bankes the Younger, MP (1692–1772) 109 Richard Roper ( CMS 1257172 varnished silvered frame. altered Hatch House,Newtown, near Tisbury. In a ‘West Hatch’ would seem to bethenow much Bedroom), head of thesenior linesof theHydes. Margaret Hyde, Lady Parker (cf. Esq.’, thismustbe a portrait of thebrother of portrait of ‘Robert Hyde of West Hatch in Wiltshire First mentioned in1731, and listed in1762 as a Robert Hyde of West Hatch 131 English School, c (active c. 1650–60) d active c Roper Pinx .1690 .1735–c t No.116, South-East 1764 .1775) CMS 1257176 Franks’ (=Frans IFrancken, 1542–1616). by Henry Bankes theElder, who ascribed itto ‘Old as its18th-century frame would support, acquired the date changed from 1594 to 1607. Apparently, Dürer, but with Goltzius’s signature suppressed, and Copied from an engraving doneinimitation of The Circumcision 135 straight ahead: CMS 1257175 Peter Possibly by thesame artist asrebuking theChrist St recorded inthecollection of William of Orange. in theFine Arts Museum, San Francisco, but three-quarter-length version of thissubject, now at theleft–seem to have been inspired by Rubens’s notably theoldLevite inspectacles craning forward tucked behind another painting. Certain details – recorded in1659. It was rediscovered around 1854, pictures acquired by Ralph Bankes, even thoughnot From itsearly frame, mostprobably oneof the The TributeMoney 134 Flemish School, early 17thcentury straight ahead, and ontheleft: CMS 1257177 palazzo. been intended to hang intheportegoof a Venetian of a family at prayer such as this seems to have – are weaker thantherest. A large oblong painting those onthepieces of canvas added oneither side studio. Some parts of thepicture –particularly more obviously by Domenico Tintoretto and his Palma Giovane butthemortals (1544–1628), are three of themby angelic wings. children who had died are denoted by crowns and had been begun), and theMadonna and Child. The of theliving family, may have died after thepicture dressed as a nun,sincesheis shown inthemidst three live and three dead daughters (oneof whom, one dead and five live sons, a son-in-law (?), and been accurately recorded. Itshows father, mother, nor isiteven sure that thenameof thefamily has but we donotknow when, whence, or from whom; Presumably acquired by William Bankes in Venice, The Comiciro (1560–1635) 136 On therightwall: The AtticCorridor The Madonna and Child are closeinstyle to After Attributed to Domenico Tintoretto (No.126, South-East Dressing Room). Hendrik Goltzius (1558–1617) and studio Family(?) adoringMadonnathe andChild

fi rst 40 Kingston Lacy Illustrated list of pictures 41 Kingston Lacy Illustrated list of pictures CMS 1257205 Walsingham, No.186) the product of confusion with thereal portrait of not an ancestor (unless thenaming was simply early inventories, suggest that it was an acquisition, historical figure andthat itisnot to be found in facts that theportrait was identified as that of an belongs to a fairly briefperiod around 1610/15. The whose dates make thisimpossible:thestyle of collar a portrait of SirFrancis Walsingham (c. By someconfusion,thishas cometo becalled Portrait of a Gentleman in a D-Shaped Lace Collar 172 English School, c on theleft wall, left to theright: CMS 1257178 whom married into thenobility). whilst another produced two daughters, bothof one line acquired a country seat, Mark Hall, inEssex, city merchant class, as the Althams were (though costumes proclaim thesitters as members of the to be any closekin whose dates would fit. The latter’s family, the Althams, butthere donotseem speculated that they are of other members of the wife (Nos27 and 31, Drawing Room), ithas been (No.12, Library) and of Ralph Hawtrey and his portraits. Since we have portraits of Dr John Bankes its pendant would appear to begenuine family In contrast to thepreceding picture, thisone and Supposed Common Councilman Portrait of a Lady inBlack, holding a Book, Wife of the 173 English School, c .1600–1615 .1625–45 1530–90), CMS 1257208 identified as a relative of theBankeses. name), butno Gates or Yates has ever been certainly a canting device (ie allusive to thesitter’s The gate inthecoat of arms, top right, is almost and has something slightly Germanic about it. character of sixteenth-century Englishportraiture, to date or place. Itdeparts from theusualFlemish The costumeof thisportrait makes it very difficult Yates Family Portraitof anUnknownof Gentleman the Gates or 175 English(?) School, mid-to late 16thcentury CMS 1257207 have been shown indifferent dress. the Gillys belonged to thelanded gentry, who would In neither case, however, would thisseem apt, as ‘Gilly’ inthat of 1762, rather thanNos.189 and 188. his wife who were ‘supposed to beof thefamily of listed in1731 and 1762, soitmightinstead behe and denoteor analdermancouncilman,ascommon than with No.189 does anything inthesitter’s dress artist was also evidently a City painter. Nomore were Puritans, like themajority of City families. The together with their sober attire, suggests that they wife hold– almost certainly books of devotion – distinction, whilst thebooks that he and his trimmed gown indicates both wealth and Evidently thehusband of theforegoing. His holding aBook, calledonce a Common Councilman 174 Portrait of a Gentleman in a Black Skull-Cap,

CMS 1257210 all the German principalities. meant theruler of Austria, Hungary, Bohemia, and and alchemy. ‘Holy Roman Emperor’ effectively to rule,thanks to hisobsession with art, astrology, him and two other brothers, because of hisneglect (1612), when theformer was forced to abdicate by King of Bohemia (1611), and Holy Roman Emperor he displaced successively as King of Hungary (1608), celebrated Emperor, Rudolph II(1552–1612), whom Matthias II was younger brother of themuchmore (1557–1619) Portrait of theHoly Roman Emperor, Matthias II 177 CMS 1257209 Descalzas Reales inMadrid. daughters of King PhilipII,inthe Convent of the (1566–1633) and Caterina Michaela (1567–1597), portraits of theInfantas Isabella Clara Eugenia princess; and there are, indeed, similarities with the childisshown, with a floral crown, suggests a those. The dress, gold-chains, and the way in which of thecollection, itisclearly a later imitation of type found onpaintings from earlier inthehistory because thoughitisin a black and gold frame of the William Bankes, though hemakes nomentionof it, Also of unknown origin,butpossibly acquired by Portrait of a Young Princess 176 Spanish School, late 16thcentury Attributed to Gabriel Weyer (1576–1632)

CMS 1257219 that hehas only thisimage of him. inscription conveys the words of a friendregretting entered thecollection at Kingston Lacy. The Latin how or why a portrait of Walsingham shouldhave only attributed, are of 1589 and 1590. Itisunclear are of 1589, and others inscribed with the date but time in1593; buthisonly signed and dated portraits London in1592, and his widow remarried some after the Sack of Antwerp in1585, isrecorded in Elizabeth I. Custodis is thoughtto have fled here He also ran a forerunner of the Secret Service for resignation, onthegrounds of ill-health, in1588. held by Sir Francis Walsingham from 1578 untilhis the Order, butof its Chancellor. That post was wears onhisgold chainisnotthat of a Knightof The jewel of the Order of the Garter that thesitter Portrait of Sir Francis Walsingham (c. ( 186 tented rooms: on therightwall, to theleft ofthe CMS 1257221 60. See, however, thenext picture. inaccurate –thesitter is a great deal younger than however, isnotcontemporary with it, and isclearly the Library (No.2). The inscriptiononthepicture, daughter, subject of theloveliest of all theLelys in Arabella, Sir Bankes’sJohn sixthand youngest Samuel Gilly, of HighHall, Wimborne, who married have been kinto –possibly even themother of – portrait were to have been correct, thesitter would If theeighteenth-century identification of this be of the Gilly Family Portrait of a Woman, supposedly aged 60, oncesaid to 188 English School, 1617 (?) in thebay ofthetentedrooms: CMS 1257211 the Holy Roman Emperor, Maximilian II. married to her first cousin,Matthias, third son of Catherina Gonzaga of Mantua, and was in1611 Ferdinand, who ruled the Tyrol, and of Anna was thedaughter of theHabsburg Archduke inbreeding ultimately led to their extinction. Anna their hegemony was intermarriage –thoughthe One of the ways in which theHabsburgs maintained (‘Let others make war, you, ohhappy Austria, marry’) Gerant‘Bella(1585–1619) Alii,Tu Felix Nube’ Austria, 178 active inEngland?1585– c Portrait of the Archduchess and Empress Anna Attributed to Hieronymus Custodis .1593) 1530–1590) 42 Kingston Lacy Illustrated list of pictures 43 Kingston Lacy Illustrated list of pictures CMS 1257221 may justhave been a bad guess. so theÆTATIS SVÆ60 Neither her namenor her dates seem to beknown, will almost certainly have been appreciably younger. when hedied, he was married to histhird wife, who granddaughters bothmarried peers. Moreover, himself of prerogative powers, and whose two who attempted to resist James I’s arrogation to Oxley, sergeant-at-law and baron of theExchequer, to have a portrait. That was Sir James Altham, of 19th century, theBankeses might well have wanted the age given intheinscription,of whom, by the of the Altham family, probably at something like that of thedeath of themostdistinguished member identifications had been forgotten. The date 1617is therefore bethat by that time,thesupposed Gilly their fake archaic script would also suggest. Itmay must postdate therevised Catalogue of 1775, as differently. Dorset gentry, who would have been painted quite however, sincethose were of a family of landed state. They are even lesslikely to beof any Gillys, as the alternative identifications in1731 and1762 sitter as an alderman or commoncouncilman, that picture nor thishave anything to denote the references are instead to P/174 (q.v.), sinceneither of thefactsgiven inthat. Itispossiblethat these – but again, with nomentionof any inscription,or Gentleman, supposed to beof theFamily of Gilly’ to have been recorded in1762, as: ‘A Head of a just as: ‘An old Gentleman’s head’, itseems next identification or any mention of theinscription, Apparently first recorded in1731, without to beof the Gilly Family 189 unidentified ‘V of Syria, two of which are signed by an as yet miscellaneous prints; thesecond with watercolours house. The first of the Tent Rooms isnow hung with condition to behung in,themainrooms of the no longer thought worthy of, or notin a suitable Lacy were used to store pictures that were either For over a century, theupper parts of Kingston The Tent Rooms respectively. The inscriptionsonthispicture and itspendant Portrait of a Man, aged 78, oncesupposed t Germain’, and dated 1817 and 1819, CMS 12511456 Oval Head of an Infant Francis Cotes (1726–70) on thebedroom wall: paintings by, or prints after, other artists. productions, to have been her teacher, after oil Pickard, who seems, from thesimilarity of their (b.1759), and by Frances Woodley’s sister, Harriet – by Henry Bankes theElder’s daughter, Anne Three of thepastels are –like thoseinthe Corridor Walter Bankes (d.1953), donein1901 [CMS 125111]. watercolour by Mary Gow, of Henrietta Fraser , Mrs himself ‘Annigani’ [CMS 1257223], and another Bankes (b.1898) by a painter apparently signing the exception of a smallportrait inoilsof Daphne in the White Dressing Room are inpastel, with 1929; cf. No.21, Drawing Room). All thepictures unidenti Bathroom there isone watercolour of an as yet The pictures here are primarily prints.Inthe White Room BathroomDressing and TheBedroom, White CMS 1251146 Oval Head of an Infant PRA (1723–92) (?) Anne Bankes over thedoor: CMS 1251145 Known alsoas ‘Lady outof theBath’. Summer Mrs Pickard CMS 1251144 Carrington (1752–1838). (1734–1802), and of Robert Smith, 1stBaron Louis XIV’s extravagant After a picture successively inthecollections of La Fille enExtase Jean-Baptiste Greuze (1725–1805) Harriet Woodley, Mrs Pickard PRA (1723–92) (?) Anne Bankes on thebathroom wall: CMS 1251141 Signed FCotes 175[9?] Painted oval Portraitof a Young Girl fi ed young woman, by Mary Gow (1851– after

after after William Hoare ofBath (1707–92) (?) Sir Joshua Reynolds, (?) Sir Joshua Reynolds, fi nance minister, Calonne after

CMS 125181 Signed and dated 1881 Dead Pike CMS 125180 Dead Trout CMS 125179 Dead Duck and Hare 138–40 Thomas G. Targett ( vestibule: ontheback wall: The Servants’Hall active 1869–81) CMS 1257168 Four Seasons. might oncehave embodied Spring, in a set of the Possibly South American, rather than Spanish, this Pomona walking init Monkey with a Garden beyond and theFigure of A Royal Child seated by a Vase of Flowers and a 127 (?) Spanish School, 17thcentury on therightwall ofthepartition: The Hall CMS 12571847 Appian Way] 146 The TombofCaesar[actually Augustus The CMS 1257186 Rostrata 145 Vespasian’sColumnathe Amphitheatrewith CMS 1257185 Two144 Temples, oneof Honour, theother of Virtue CMS 1257184 143 The Middle Partof the Circus Maximus [?] on the Great Staircase, with thesetitles: in 1731, and in1762 as hung intwo groups of three Survivors of a set of six suchpictures Figures FourRome, Architecturalofwith Ancient Capricci (?) Italian School, early 17thcentury CMS 1257182 1762, relegated to the Great Staircase. in thisroom, were These, and probably all theother large landscapes Wooded Landscapes with Ruins 141–2 Netherlandish School, 7thcentury On theleft wall: fi rst recorded in1731, and again in

fi rst recorded

44 Kingston Lacy Illustrated list of pictures 45 Kingston Lacy Illustrated list of pictures 148–9 English School, first halfof the17thcentury on therightwall: CMS 1257188 and Labourersoutside a Farm Building A WoodedLandscape with amilkingMilkmaid a Cow 147 Anglo-Netherlandish School, 17thcentury over thedoorto theEgyptian Room: CMS 1257191 sexual innuendointhecock heldby themaid. not appear to beEnglish. There is a suggestion of This, however, isin a rather different style, anddoes (?1583–1627), isthoughtto have produced some. capable English amateur artist, Sir Nathaniel Bacon seventeenth century, and theearliest and most vogue for suchdepictions at the beginning of the it was relegated to the Servants’ Hall. There was a an honourable positioninthe Great Hall,before First recorded in 1731, evidently – as in1762 –in A Cook with a Still-Lifeof Vegetables andGame 150 Flemish orFrench School, early 17thcentury CMS 1257190 CMS 1257189 depiction of Henry VIII’s palace, Placentia. contains theearliest known and mostcomplete recorded inLondon 1635/6. The view of Greenwich (active 1607–66), a topographical painter who was They may becopiesof lostpaintings by Cornelis Bol 1731, but were probably collected by Ralph Bankes. royal palaces are These – apparently unique–early views of thetwo and WhitehallGreenwich A Pair of Views of the Thames, with the Old Palaces of fi rst recorded at Kingston Lacy in

153 English School, early 19thcentury on theleft wall ofthepartition: CMS 1257193 Goats, watched over by a Dog by a Monument A WoodedCattleand Herdsman, Landscape with 152 Netherlandish School, early 17thcentury CMS 1257192 Gravediggers A WoodedLandscape with a Churchyard and 151 Netherlandish School, mid-17thcentury CMS 1257194 A Mountainous Wooded River Landscape with an Angler

are retained, however, because they, along with the perpetuated by oldlabels and inscriptions. These and identifications thus arose, whichmay be was otherwise known. Inaccurate ascriptions as of significant ancestors of whomnoimage early portraits that had losttheir trueidentities, generations have over-optimistically inscribed collections of family portraits to findthat later wrongly titled. Itis also notuncommoninhistoric and theengravings themselves were often handling, was muchless widely diffused. the recognition of detail and of individual ways of that connoisseurship, which often dependsupon ‘broad brush’ approach to viewing pictures meant rated than an originalpicture by a lesser artist. This that a copy of a good painting was more highly viewing apicture aspart of anarray.meantIt also which many pictures were hung, all contributed to effect. This, thelevel of lighting, andtheheight at successive coats of varnish compounding the varnishes thenused tended to darken quite quickly, detail and (except inrare cases) handling. The psychological truth, and beauty –than with with theeffect of the whole– withcomposition, Those looking at pictures were more concerned electric light, lightlevels inhouses were muchlower. how mostpictures were seen inthepast. to too muchlight, whilst giving visitors someidea of and other fragile things from damage by exposure view). At thesame timeittriesto protect textiles not have quantitiesof paintings instore and noton paintings initscare (unlike mostmuseums, we do kept onpictures or their frames? why are old and misleading labelsor inscriptions as to make itdifficult to see pictures clearly? And Why isthelevel of lighting incertain rooms solow Lighting and labelling inNational Trust houses Only a smallproportion of pictures was engraved, Before theinvention and cheap availability of The National Trust putsondisplay all theoil Marchesa Maria Grimaldi and her Dwarf, by Sir Peter Paul Rubens Front cover picture Designed by LEVEL The National Trust is a Registered Charity, no. 205846 © National Trust 2011 NT/Rodney Todd-White p.21; NT/Roy Fox p.45 (bottom left); (top and bottom right), 35 (right); NT/Richard Pink p.14 (left); NT/John Hammondpp.17, 19(top and bottom left), 20 (top right), 25, 28(left); NT/JamesMortimer p.26; right), 28(top and bottom right); NT/IanBlantern pp.16 36 (right), 37, 39; NT/Hamilton Kerr Institute pp.16 (bottom and bottom right), 31, 32 (top), 34, 35 (top and bottom left, 18, 19(right), 20(left), 22(left), 23,24 (right), 29, 30(top 13 (bottom left and right), 14(middle and bottom right), 15, top right, bottom right), 9(right), 10(top left), 11(right), 12, NT/Derek Witty pp. front cover, p.7 (right), p. 8(top left, pp.8 (bottom left), 9(left), 10(right), 29, 39, 41, 42; NT/Brian Middlehurst p.32 (bottom); NT/Christopher Hurst NT Images/Angelo Hornak pp.13 (top left), 22(right); 14 (top right), 16(left), 24 (left), 30(left), 45 (top left); Illustrations NT Images pp.10 (bottom left), 11(top left), Text written by Alastair Laing another and their setting. balance, bothinthemselves, and inrelation to one possible, sofar as itiscompatible with harmony and it would like to!), to render paintings as visible as is never enoughmoney for itto doeverything that also pursues programmes of cleaning (though there care inlocations in which they can beseen well. It more important pictures inthecollections inits from room stewards. guidebooks and picture listssuch as thisone, and the bestof our knowledge, at least) is available in picture, and because more accurate information (to frames that they are on, are part of thehistory of a The Trust does,however, attempt to place the 46 Kingston Lacy Illustrated list of pictures