H rTP S BRIT ISH PA INT ERS

T H EIR ST O RY A ND

T H EIR A RT

J E . DGC UMBE ST A LEY

A UT H OR OF WA TT EA U A ND H I S SCH OOL

ET C .

WIT H TWENTY -FO UR EXAMPLES IN C OLOUR

O F T H EIR WO RK

P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art

l o f o f is a presentation, in popu ar form , the Story

— - British Painting a well worn but never wearying

t o Story , which for ever offers fresh charms young

o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation ,

—t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and

s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the

a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS

consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people . In dealing with the Painters o f the Victorian

as l Era it h on y been possible, in these few pages , to dwell briefly on the more characteristic Masters and simply to name many other artists , who claim l particular notice . With respect to the Nationa — Gallery o f British Art at Millbank commonly called the T ate Gallery —I have eschewed this ffi n . designation , as being insu cient and misleadi g

Th e has Gallery assumed vast proportions , and

— mu nifi c ent f t o f contains , besides , the gi pictures

T — Co llec by Sir Henry ate , the famous Vernon ” ” T u tion , the great rner Collection , the notable ” Watts Collection , and many other pictures

is contributed by private be nefactors . It also the Treasure House o f the magnificent Chantrey

Bequest , which is applied to the yearly purchase of pictures and sculpture by new and rising British artists . I have had ample Opportunities in all the principal

- — Collections, both Public and Private, for the personal study and appreciation o f the pictures

I I n have described ; and have writte much, and viii PREFACE

o f lectured, upon the different sections my subject .

t o In this work I have used my pen like a brush, mix the colours o f British Painting upon the

of so o palette British History, that my comp sition makes it s appeal t o the British Public in simple chronological order .

T he coloured illustrations speak f o r themselves they are f u lly representative o f British o il -painting in the Golden Age o f British Painting and of — the Victorian Era the two last periods in

of my Pageant of the Painters Britain . JOH N EDGCUMBE STALEY

C O NT ENT S

CHAPTER I

O F W 1 2 1 6- 1 485 THE PAINTERS ESTMINSTER,

CHAPTER II

MAST ERS O F 1 485 - 1 603 THE TUDOR RULE,

CHAPTER III

COURT PAINTERS O F THE STUARTS 1 603- 1 7 1 4

CHAPTER IV

COURT PAINTERS O F THE STUARTS 1 60 3 - 1 7 1 4

CHA PTER V

O E A o r I 1 1 4- 1 83 THE G LD N GE BRITISH PAINTING ( ), 7 7

CHAPTER VI

THE GO LDEN AGE O F BRITISH PAINTING 1 7 1 4- 1 837 1 90

CHAPTER VII

THE GOLDEN AGE O F BRITISH PAINTING 1 7 1 4- 1 837 2 26

CHAPTER VIII

o r T H E I O ERA 1 837 - 1 1 0 2 5 6 THE PAINTERS V CT RIAN , 9 xi

ILLUST RA T IONS

P LATE “ O I . THE C RNFIELD

BY R. A . JOHN CONSTABLE, “ A II . TH E MBASSADORS BY HANS HOLBEIN THE YOUNGER

III . CHARLES I BY SI R ANTHONY VAN DYCK “M A M IV . ARRIAGE LA ODE B Y WILLIAM HOGARTH “ S P V . THE HRIM GIRL BY WILLIAM HOGARTH “L H VI . ORD EATHFIELD

BY S I R P R. A U E , . . “ JOSH A R YNOLDS A O F VII . THE GE INNOCENCE

BY S IR N P A HU E , . R. . “ JOS A R Y OLDS VIII . THE BLUE BOY

BY U R A THOMAS GAINSBORO GH , . . “ H M IX . THE ONOURABLE ARY GRAHAM

BY THOMAS GAINSBOROUGH, R. A . “ H X . THE ORSLEY CHILDREN

BY GEORGE ROMNEY, R . A . “ MRS M XI . ARK CURRIE

BY R A GEORGE ROMNEY, . .

X11] BRIT IS H PA I NT E RS

P LAT E

S N XII . PROFESSOR ROBI O

EB U BY S I R A BJ . . HENRY R” w , R A “ XII I . THE PATERSON CHILDREN

BY S I R R. A. HENRY RAEBURN, “ O S o r XIV . THE C UNTE S BLESSINGTON

B Y S I R LAWREN E P . R. A . THOMAS Q , “ M I ! MR AND MRS J J. A XV , OHN NGERSTEIN

BY S I R P . R. A . THOMAS LAWRENCE, “ F T EMERAI RE XVI . THE IGHTING

Y P MALLO RD W T UR R A B NEB . . M N , JOSE H ILLIA ” “ ” A! H S P XVII . THE IRELING HE HERD BY WILLIAM HOLMAN HUNT “ BO O F XVIII . THE YHOOD RALEIGH

BY S I R P . R. A . JOHN EVERETT MILLAIS, “ DAY D XIX . THE REAM BY DANTE GABRIEL ROSSETTI “ c an L AND L XX . OVE IFE

BY K ILA E R F E ER W TTS, . “ G O GE R D IC A OF XXI . TH E BATH PSYCHE BY S IR FREDERICK LEIGHTON (LORD LEIGHTON

O F ST R. A .

“ ’ KIN CO P H E I‘UA AND - XXII . G THE BEGGAR MAID

BY S I R — W U . . ED ARD BW RNE WJONW ES, R A “ A ’ S XXIII . THE RTIST S TUDIO BY JAMES ABBOTT M ‘NEILL WHISTLER “ L L R XXIV . CARNATION ILY, ILY OSE “ BY R. A JOHN SINGER ARGEN“T, . m ‘ XIV BRIT ISH PA INT ERS

CH APTER I

TH E PAINTERS OF WESTMINST ER 1 2 1 6—1 485

I

R I I G A S N gently, and with due reverence for the Th e Painters sleeping past, the sumptuously brocaded drop Him?? curtain o f the Renascence Theatre Of the Fine

o u r Arts we behold, revealed to enraptured gaze,

u o f s s blime pageants the Architects, Sculptor ,

o f Painters, and the Craftsmen a millennium . Among all those glorious moving spe c at cles not one is more splendid or inspiring than the Pageant ” Of Th e o f the Painters Britain . first scene in this vast panorama exhibits a magnificent and venerable — edifice a cathedral Th e most perfect building in conception and construction anywhere to be

u fo nd in the wide range Of Gothic architecture . This stately fane rises upon the marshy bank ’ o f Britain s most famous river . It has been in building many and many a year, and its walls , vaults , and pavement, its columned arches , windows A l BRITI SH PAINTERS

The a n ers it s - P i t and ceilings , and roof tree , buttresses , and o f We st pinnacles tell t h e thrilling story o f Britain and minster the British more spectactularly than any other ’ record o f the past . It is the shrine Of Britain s Royal Patron Saint—King Edward the Confessor the noble Abbey Church o f the Blessed Virgin

and Saint Peter of Westminster . At the head Of the Pageant rides proudly yet reverently the most intellectual and the most erudite o f all the S axon-Norman ru lers Of the — — land Henry III . , Plantagenet liberal and magni

c t fi en . His natural talents and artistic instincts have been well fostered by education at the Court f o France he is young, pious and enthusiastic .

h as R T o f He just assumed the oyal hrone England, whence craven-hearted John Lackland had by — Papal Edict been driven a fit and competent Sovereign“o f a newly enfranchised and united : people English they call themselves, and they

h as speak the new English tongue . Freedom come to them through the great Charter o f Runny

l ou t t o mede, and they are a ready reaching fresh

ideals in circumstance and government . A new era has dawned f o r Britain

Th e resplendent Abbey, that we look upon, was

o f —a the work a genius British architect , be it

— s h as said who e name, alas, Fame not recorded ;

e o f was the id a the building, however, exclusively ’ 24 the King s . In 1 8 Henry commanded the 2 THE IR STORY AND THE IR ART

’ — it s Th e a n r remains Of the Confessor s. church with quaint P i te s

- — blend of British -Saxon Norman architecture t o be removed, the swampy ground reclaimed, and

ru Th e firm foundations well and t ly laid . choir,

- the transepts, and the Chapter house were erected 2 4 —1 2 69 between the years 1 5 . Henry person ally chose and reviewed the timber f o r roof and

f o r panelling, and the stone and cement walls

1 2 52 be and pavement . In commissioned paintings and mosaics for the enrichment of the Shrine Of St Edward ; the former were scenes f rom the life — and death Of the Conf essor With pictures o f the

o f good works his other patron saint, St Eustace, upon the lower storey .

1 269 saw Christmas the work completed . Upon the following festival Of St Edward the his R King, with brother ichard, Earl Of Cornwall ,

o f six o f titular Emperor Germany, and the highest — nobles Of the land, Simon de Montfort created

o f — at first Earl Leicester their head, bore, with

r l reve ent pomp, shou der high, the newly em blazoned Royal casket with its hallowed relics inside, and plac“ed it within the Holy Shrine . Th e o n goodly Westminster Pageant moves . The Royal leader h as for supporters renowned

Masters of the Arts and Crafts, from other lands, with British Masters from many a monastery

o f and workshop . Stories the magnificent edifice rl sm o n T sea - g hames shore, in girt Britain, became 3 BRIT I SH PAI NTERS

The a n ers r P i t current in the middle of the thirteenth centu y, Of West in every European School of Art . Craftsmen and minste r artists lef t home and everything to enrol them

Of selves citizens London, and share the inspiring

Th e o f enterprise . natives the land certainly

f u were mostly rude and unskil l , and lacked the culture and the taste of the more aesthetic East

Th e — and South . times were favourable periods

o f peace had caused law to be firmly established,

ad learning was fostered, tr e prospered, and the

people were content . Th e kingly cortege advances within the Abbey precincts and passes under the great scaffolding

o w . n to be removed Henry dismounts, and is

i - honourably received, With n the Chapter house

R Crokesl by the mitred Abbot, Master icharde de e

and his Chapter . He surveys the completion of

the building, and, after scrutinizing the chiselled

- o f t stone work the ex erior, passes within the

T we sacred edifice . here may, in imagination, picture him in conference with the Masters Of ” — Westminster receiving their reports, discussing

s f u detail , and giving instructions for rther progress . Among those who surround his Highness is o ne whom Henry addresses as Our Beloved Painter — — ’ Master William Of Winchester the King s birth 1 2 40 ’ place . In he built and painted St Swithin s

church, in that ancient capital of the Kingdom,

nd 251 - t a , in 1 , decorated the choir stalls Of he 4 THEI R STORY AND THEI R A RT

o f Th e a n e rs Royal Chapel at Windsor, with panels scriptural P i t / ’ kings and holy apostles . By Master William s gigi? T wh o 1 241 side are Master homas Of Chertsey, , in ,

o f carved and painted in the choir Windsor, and

h ad Master Nigel , from Winchester, where he been — building and adorning the new Castle a devout follower, in art and craft, Of the great St Dunstan . With them are Master Peter Of Bispham and — Master Henry artists in gold and painted diaper .

T - hree foreign born Masters , but now all citizens of London, stand respectfully hard by . First is 1 2 49 Master John of St Omer, the maker, in , of

- the great Lectern in the Chapter house, whom the King later commanded to decorate the newly

of restored Westminster Hall . Master Peter Spain

wh o stands next, Sacrist Of the Abbey, has just ’ wh o received the robe of King s Painter, and . painted the altar in the Lady Chapel with the 1 2 60 Holy Virgin and supporting Saints, and, in , a portrait of his Highness for which the Roll of R £20— ecords states he was paid alas, it has

Th e perished . third in order is Master William

wh o is of Florence, responsible for the stained glass in the windows : he has been engaged at R o f the oyal Castle Guildford doing like work . The most distinguished Of all the Westminster — — Masters Master Walter o f Durham stands at ’ King Henry s right hand . He has been painting in the Great Chamber of the Royal Palace 5 BRIT I SH PAINTERS — T he Pai nte rs later called the Painted Chambe“r panels for the walls Of notable events : (1 ) Th e Battle of ” the Maccabees (2) Th e Seven Holy Brethren (3 ) St John the Divine in E xt ac y and (4) Th e nf Canonization of St Edward the Co essor . These compositions were Spoken Of with unstinted admiration in 1 3 22 by two Irish Franciscan monk- artists - Simon the Writer and Hugh the

Th e Illuminator . superb and unique gradine Of — the High Altar Of the Abbey, now preserved in — ’ the Jerusalem Chamber, was Master Walter s

o f handiwork . It was a glory exquisite miniatures

hi - wit n gilt gesso mounts, displaying Christ in ” Majesty with St Mary and St John, in the centre,

o f o n e and certain miracles Christ ither hand . Th e pictures are linked together by lavish decora

tions in glass intaglio and gold enrichment . Th e panels in the Chapter-house were painted between the years 1 2 50—1 260 With scenes from the Apocalypse over the doorway was a Mother T and Child . hese were probably the work Of

another painter Of Westminster, attending , in the — Pageant, upon the King Master Hugh of St ’

. e Albans, King s Painter He also paint d the ” o f o f fine sequence Heads Kings and Saints . T His work is interesting as showing uscan influence .

Th e o f - windows the Chapter house were filled,

1 2 58 -1 2 6 8 s in , with stained glas , made at West minster under the direction of Master William 6

T HEIR STOR Y AND THEIR ART

o f Florence his vitreous subjects being taken from Th e Painters the writings o f the Biblical prophets . $2lie In the Chapel Of St Faith the Altar - piece was

1 2 60 - 1 2 65 painted in , with a Benedictine monk,

- kneeling before St Mary and the Child Christ .

‘ o ne o f Here, too, is still preserved the earliest painted walls in Britain ; it has a representation of the fair Saint within a sculptured niche . She is

- habited in a rose purple gown, lined With ermine, — and holds a Bible and a gridiron the instrument

a Of her martyrdom . Beneath are small t blets , ’ fi bearing in rich colours Christ s Cruci xion,

R . T esurrection, and Ascension hese were done ’ in tempera with Master William o f Winchester s mi — ’ painting xture eggs, wine, Oil, and bees wax . It is diffi cult to name the painter— maybe he T was Master homas Of Chertsey, whose work at

Windsor was similar in character . This brief list of Masters is suff icient t o suggest the existence of a numerous body o f assistants and pu pilsn wo rking within the vener

Of able Abbey Church . Hundreds reverent and

o f - enthusiastic followers the artist evangelist, St

and Luke, doubtless, toiled and Slept, and prayed Wh played in and about these sacred precincts . at they looked like we may gather from a remarkable spandril wall -painting in Pickering Parish Church in Yorkshire Th e Martyrdom o f St Edmund

. Th e the King Saint is tied to a tree, like another 9 BRIT ISH PAINT ERS

Th e Painters St Sebastian, and archers shoot their arrows into o f West T his naked body . hey are dressed in linsey minster woolsey jerkins and hose, and wear upon their

- T heads woollen woven caps . hey are tall and

spare in stature, and beardless . Before the year 1 2 9 0 much painting had been Th e done within the Abbey . Masters laid

rich impasto upon panels Of native wood, which

- formed portions Of carved screens, altar fronts,

- - - choir stalls , and tomb canopies . Subject painted wooden panels were affixed to walls and columns ; dados and plinths were diapered in gold and “ ” vermillion, blue and silver, in large, after the manner Of the coloured backgrounds of the minia f tures in the illuminated O fice books . Th e ’ ceiling, by the King s direction, was painted in cerul ean blue picked out With bars of gold and

Spangled with silver stars . Over the doorway to the cloisters was a large picture o f the Cruci ” fixion, most tenderly painted, with pathetic and expressive figures o f St Mary and St John the

T Of Divine . races this beautiful composition still

remain . Th e work was remarkable for breadth Of treat

o f ment, animation composition, freedom of

elaboration, and distinction Of finish . Moreover, these early Masters gave a distinct sense of atmo

a of sphere, fine rendering perspective, and a vitality of exp ression which surpassed everyt hing of 1 0 THEIR STORY A ND T HEIR A RT

i T The a n e rs the k nd in the technique Of the early uscan , P i t T Sienese, and Umbrian painters . hey had no t o other rivals, for painting had not yet come

o France r Flanders . T R Th e Royal ombs were repaired . ecumbent

o f figures the departed great ones, wonderfully

- sculptured, life like, and painted with studied

f o r care feature and costume, were disposed upon

t - b i ornamen al altar slabs, ed ght with mosaics in

and r gold colour . Over them were erected ca ven

o r wooden testers , canopies, rich in gilt and colours

Th e “ and painted with religious subjects . screens , — whether metal or Wood, Were elaborately decorated with conventional patterns , like Missal borders, o f birds, butterflies, beasts , fruit, flowers, and grotesques, and overlaid with gold . Pendant from sconce and rafter were magnificent silken banners

Of Estate emblazoned with heraldic devices . Westminster Abbey and the other cathedrals of Britain in the thirteenth and fourteenth centuries presented pa inted and sculptured glories which h had no matc in all Europe . Th e pious King lived o n to a green Old age

six an d Th his reign a record span of fifty years . e ” o f —as King the simple life and chaste, Dante Al ighieri lauds him in the Seventh Canto o f his ” his Purgatorio, sitting alone, through loins ” t son begets a still grea er . Giorgio Vasari, in the s his s of ixth book Of Vite, speak King 1 1 BRIT I S H PAINT ERS

Th e Pal nt e rs o f Henry III . as A chaste man and good faith, o f We st was minster but with little martial courage . From him wh o ou r born good King Edward, reigns in times, ” and who has done great things . Henry died,

and was buried with his Queen, in the Abbey

T e ffi ies he had built and loved . heir g , upon the l — splendid tomb, rich with in ay Of mosaic designed

— o f - by the King himself purest well beaten metal ,

are heavily gilt, remarkable for mastery of design T and artistic workmanship . hey are the chief mi bf work Of that e nent Master metal , stone,

T o f ] . and wood, William ore Westminster ’ King Henry s influence, in all that concerned

religion and art in Britain, was paramount . All

- over the country, in town lot and monastery

c o nfine - , churches, guild halls, and chantries sprang up richly decorated within with sacred

pictures . Religious houses were repaired and

reado m ed sumptuously, and castles and mansions

Of the noble and wealthy, in their Spacious o f chambers, reflected the painted glories West n minster and Wi dsor . Walls were painted in distemper ; o ne has but to scratch lightly the plaster surface t o lay bare colou red mysteries

. Th e underneath earliest work was in monochrome,

somewhat rough and bold, but the painters Of Britain soon learned how to render their brush

ni Th e work with refinement and high fi sh . church of Chaldon has a fearfully realistic Hades of 1 2

BRITI SH PAINTERS

II

Th e second tableau in the Pageant of the Painters di Of Britain has, for background, a very fferent scene from that o f the stately Abbey o f Westminster

Th e and its peacef ul precinct s . period covered

one r o u r is rather more than hund ed years , and eyes are held by camps and fighting men, and the appurtenances of war . Nevertheless , under — I four discriminating Sovereigns Edward . , II . ,

- and R . we III . , ichard II behold the Masters Of Westminster in the foreground engaged in their artistic pursuits . Within this century . a transformation was effected in the lives and

surroundings Of the people of Britain . Cleanliness was linked more closely with godliness, and men of mean estate began t o acquire something of the culture and the taste set before them in the cathedrals and monasteries, and in the mansions and parish churches o f the land . Homesteads n and workshops were generally brighte ed up , garments o f men and women were of finer stuff

and better made, domestic appointments were

u more various and more tastef l , and manners

benefi c ent and customs became more refined and .

- o f Sacred edifices, the common rooms monas t eries and spacious guild -halls became museums

- of art treasures and galleries Of pictures . Th e ’ e paint r s art was everywhere conspicuous, and

1 4s THEIR STORY AND T HE IR ART

“ - t it was well mated with the craf o f the smith . Th e Painters Th e early years of the fourteenth centu ry saw the gigs: zenith Of the workers in copper and iron . Grilles ,

- — as window and door mounts, and herses , such ’ that rare example over Queen Eleanor s tomb — in Westminster Abbey, were produced, remark

f o r u l t able gracef design , artistic craf smanship , ’ Th e and elaborate finish . smith s aesthetic ideals were realized by spontaneous expression in terms Al Of metal and pigment . most all the splendid metal work was emblazoned with dainty designs in colour and gold . Th e fame Of British artists and art ificers was spread abroad : they travelled here and there, being welcomed cordially and C honoured in every ourt . In foreign schools they taught appreciative pupils the principles

o f and technique their art and science, with infinite credit t o themselves and t o their bounteous

- Mother land .

e of T o f Th completion the historic ower London , 2 6 in 1 7 , was the first grand architectural achieve

o f ment Of the reign Edward I . In the same year

o f he commissioned Master Stephen, Windsor, ’ King s Painter, and his assistants to redecorate

o f Westminster Hall . Master Walter Durham,

o R wh still enjoyed the oyal patronage, was em 1 2 92 ployed, in , in painting, not only the great ’ tester Of the Queen s tomb in the Abbey, but also a very interesting portrait Of the King himself 1 5 BRIT ISH PAINTERS f — The Painters upon the second storey o the tomb traces of o f We st which may still be seen . Edward is represented minster - in the ful l mail of a warrior . His well knit figure

has a surcoat Of green and white, crossed with a

scarlet band or sash . He is kneeling in front

o f an altar, where upon is enshrined the Virgin

is Mother with her Child . Behind the King a

Th e group o f patron Saints . skilful composition and the excellent drawing Of the figures pro claim ’ this to be a fine example of the painter s art . Another famous Westminster painter was Master

ecraft 1 2 7 9 — c o - John Wod , who, in , with the opera ’ o No rt hwo de tion f Abbott de , of Bury St Edmund s

o f — and the painting monks his Abbey, took in

” hand the stupendous enterprise of decorating,

in gold and pigment, the ceiling Of Westminster

Th e Abbey . vault Of blue, with Spangled Silver

of . stars , Henry III was replaced by elaborately

- r painted Biblical scenes, within gilt gesso bo ders . Th e subjects so treated led up to a superb rendering

o f - a Christ in Majesty over the chancel arch . One Of the most beautif u l works commissioned n by Ki g Edward I . was the painting and gilding o f the Sedilia—the four seats Of the sacred Minsters — Of the Mass o u the south side Of the High Al tar In the Abbey . Four kingly figures, each more

than eight feet high, were painted upon panels backed by intricate gold diaper-work and fitted into the sculptured recesses at the back o f the 1 6 THEIR -S TORY AND THEIR ART

Th e — seats . kingly representatives were Sebert , King Of the East Saxons and Founder of the

o f Monastery of St Peter Westminster, who died in 6 1 6 ; St Edward the Confessor, Henry III . , and

Th e r Edward I . painters employed we e Master

Of —so n Of Thomas Westminster, the famous Master — R , St o ckw ele Walter, and Master icharde de , ’ o f , wh o , one , Master Walter s leading pupils in

“ 2 9 2 -1 2 9 5 was - 1 , busy painting in the Chapter house

Th e l and Cloisters . Kings are majestical y treated with alert figures and expressive faces remains Of the designs and colouring may still

’ e O be seen . Th most remarkable trophy f Edward s s ccessful warlike expeditions is in u ( Westminster — — Abbey the Stone o f Scone placed by him under the redecorated wooden Coronation chair 9 in 1 2 6 .

R o f Of 1 2 9 2 A oll Charges the year exists, which relates that Master Walter, for painting in the — — Great Chamber (the Painted Chamber re c eiv ed t a T twelve pence a day, whils M sters homas

West minst re d ’ de , Alexander e Windsor, Richarde ” R St o ckwele de and icharde de , were paid no more than Sixpence a day each all being true lieges o f t h e King and pastmasters o f ” a T is their cr ft . his probably the earliest record of salaries paid to painters in Britain .

. w as o f Whilst Edward II a man indolent habits,

f o o light and rivolous, the companion f men f base B 1 7 BRI T ISH PAINTE RS

The a n e rs P i t origin and tastes, the first and third Edwards o f We st . minster were men of sterner make Legislative enactments and warlike enterprises almost exclusively engaged

their attention, and they had comparatively little

time for the encouragement of the Arts and Crafts . — Th e reign of Edward II . was short barely twenty

Th e Of years . only names Westminster painters ,

1 3 1 2 -1 3 1 preserved under him, are Master Adam, 5 , 1 326 -1 327 — t and Master John Albon, both“Pain ers t o The the King . latter emblazoned a Book o f

his was Heraldry for Highness, but he mostly in favour for his amusing capers He was a

d au n ced merrie man and before the King, and

lau h e —so made him greatly g , testifies an ancient

chronicler .

Th e halcyon days Of Henry III . were past and

gone, and the inventive faculties and energies o f artists and craftsmen were direct ed and applied

o f to the destructive services war . However,

1 328 — his Edward III . , in , the first year of reign , gathered round him a number Of well - known

- —R le painting masters oberte Davey, Henry de

Denec ou mbe d e P o rkle R , William , and icharde de

St o ckwele— so who had worked well for Edward I .

T en K years later the ing granted a charter, which incorporated the first painting Guild in Britain

R St o ckwele Th e with icharde de as Master . pur pose in the Royal mind was the restoration Of St ’ — Stephen s Chapel , by the Abbey, destroyed by 1 8 T HEI R STORY AND THEIR A RT

1 2 9 6 —as - Th e a n e rs fire in , a thank offering for his victories P i t 7 tw o in France . It was built in storeys ; the $2.0s o ne upper was Ceiled with carved cedar, painted

u rfled in the fairest colours, and p with gilt — gesso prints mouldings as we shoul d call them

Th e now . windows were filled with stained glass

0 - 3 4 Th e between the years 1 35 1 5 . principal

Ch est re artists engaged were John de , John de

i efi l e and John de L ch e d . Th subjects ” o f chosen were the Biblical stories Jonah , ” ” ” ” Job T Daniel, Jeremiah, , obit, Judith,

Susanna and Bel and the Dragon . In the lunettes were miniature -like pictures Of the miracles

T Th e Of the New estament . figures were naturally drawn and the draperies were gorgeously coloured . Th e ornamental foliage was closely imitative o f

- plant life, and the transparency was brilliant through the intermixture o f delicate diapered

. T backgrounds in crystal light hese windows, and the stained glass generally of the Edwardian

o period, were remarkable for the richness f their

— - - colours ruby, royal blue, and golden gloss, with,

- later, cold emerald and lemon tint .

Th e walls of the Chapel carried panels, framed

- in gilt gesso, with painted martial scenes, laudatory ’ Of the King s prowess . These were interspersed o ne of W by hundred figures inged Angels, haloed

Saints, mailed Knights, comely pages, and

flower- ul beauteous maidens, sc ptured in stone and 1 9 BRITISH PAINTERS

T h e a n rs wi P i te most beautifully tinted th pigments and gold . in $3535: Between the windows , architectural niches, were Of statues the twelve Apostles, each six feet high,

wearing coloured draperies . Alas , traces Of this most magnificent scheme Of decoration are rare

at the British Museum are fragments, illustrative

o o f T of the life f Job and the history obit . Th e dark marble pavement was inlaid with

o f i s— discs gold mosaic, and encaustic t le the latter were moulded with dents at the back to

- — serve f o r ease in su b division a special feature in

this class Of British craft smanship . These tiles

‘ o f were remarkable for freedom design, latitude

o f . of subject, and splendour colour Several Italian artists and craftsmen came to England by the King ’s special invitation from Florence where he had great financial interests to aid

—t o his war expenses assist the native workers . Lovers Of ‘ art and students recalled the glorious

R - i . t mes of the oyal builder artist, Henry III At Windsor King Edward had a School Of painters

o f -b - -T under John , Canon St Catherines y the ower — ’ T and William Burdon King s Painter . ables

o f o f R l Images for the reredos the oyal Chape , and a Grete T ablet o r front for the High Altar

3 6 -1 6 were painted between 1 5 3 6 . These elaborate works were the finest examples Of British Art

o f —at the century least comparable, and perhaps

o f superior, to anything the same date in Italy . 2 0

BRITI SH PAINT ERS

The Pai nters Chronicles o f the latter were illuminated with f w ” O e many beautiful little pictures—scenes in the life minster

of Richard II . ’ Th e new King s first work at Westminster was ’ Ruf o f 1 09 the rebuilding of us s Great Hall 7 . His counsel it was that made the unique span Th R o f the roof possible . en ichard turned his

attention to the Abbey, and his earliest enterprise there was the fitting o f the nave windows with

stained glass in pictured stories . He founded a school and workshops for designers and workers

in glass, and personally superintended their labours . T h e present Old windows are; alas ! made up of — ’ patchwork bits of the King s glass, gathered and preserved after the mad iconoclasm of Puritans

and Roundheads . is Th e reign o f Richard II . especially interest l ing in the range of portraiture, and, in particu ar,

of in portraits the Sovereign . Quite the most remarkable emblem in the Ricardian regalia is

o f that superb portrait the King, which hangs tod ay in the Abbey over the tomb o f Queen Anne

Of Cleves . It is universally regarded as the very finest piece of portraiture o f the fourteenth century

in existence . It was painted for the Choir Of the

1 39 6—in of Abbey in tempera, upon panels hard nl wood, which were eve y joined to a heavy block — of o ak when the King was just thirty years of

t his age, and whilst he s ill retained hold upon 22 PLA TE III CHARLES I

BY S I R ANTHONY VA N DYCK

Thi s po rtrait is o ne o f th e m ost striking Of the m any painte d a ron H i a Van o f his Ro a . s es o s se by Dyck y l p t M j —ty h ld him lf t he n o f rare o a ancest r w a n all o e r with high dig ity R y l y ki g v , and an ar s t o o wh o ne as as t he a n e r o f ose ti t , k w much , p i t , p was ar s o re or n a i and te ch nique . Ne ver ti t m f tu te n his m o dels an Van his s e o f r s or ra s e e his th Dyck , but uit B iti h p t it xc l s and e noese s e s f o r s n o n and n T h Fl emi h G ubj ct di ti cti fi ish . e a ro n ma e be a o f th e ou n r aro n a b ckg u d y w ll bit c t y u d Elth m , ere Van s a s e n t he s e r and ere t he wh Dyck u u lly p t umm , wh K n not n re e n s e and a Van i g i f u tly vi it d him L dy Dyck . “ q’ ar es was a n e in 1 633 i and is in t he o re Ch l I p i t d ( ) L uv ,

Paris.

THEIR STORY AND THEIR A RT

Th e the helm o f State . face is youthful and The Pai nte rs beardless, with long hair dressed in the Italian minste r

Zazara style . He is seated upon a gilded Gothic wooden throne ; he wears his crown and

a his purple robe Of State, and be rs in his hands

o rb the t wo sceptres and the ; the pose is easy, the drawing excellent, and the impasto rich . At the back Of the throne is a gold and vermilion dado in diape r and gesso . That it is a direct painting is evident, for a certain melancholy o f expression makes it an emphatic likeness .

As to who was the painter is a moot point . It mayhave been paintedby any o ne Of the three follow wh o ing foreign artists, were citizens Of London, and working for the King . Hans H erbre cht

C wh o o f ologne, was employed by the Abbot and Chapter Of St Paul ’s Cathedral in painting f o r T panels and tables the High Altar . hese 3 9 T he finished in 1 7 . hey represented Christ ” in Glory attended by St Peter and St Paul , “ ” o f Th e T h e Coronation St Mary, and Martyr ” B . eau nev eu o f dom Of St Paul André Beauvais, working in the Royal Chapel at Windsor was an

- was accomplished pigment master, and well known as a portraitist in miniature . Philippe de Marzieres 1 396 Of Paris, in , presented a Memorial from the painting faculty t o King Richard asking for the T ROyal patronage . his manuscript was very m elaborately illu inated, and contained, by way 25 BRIT ISH PAINT ERS

The a n ers Of P i t frontispiece, a beautifully painted portrait of o f est — W his wa Highness in miniature which , in a , minster y resembles the great portrait in the Choir o f

Westminster . h as e Another name, however, be n handed down of as the act ual painter the portrait . In the — — R Ri . 1 9 1 3 9 2 Issue oll chard II , , is an entry

as l : T O which runs fol ows Master Peter, Sacrist Of the Church of the Blessed Virgin and

o f £20 St Peter Westminster, , for covering the

tomb of Anne, late Queen ; and also for painting

a a picture Of certain image, portrayed in the ” of Of similitude a King in the Choir the Church . T his seems to settle the question of the authenticity

R T o of the portrait Of King ichard II . strengthen this attribution there is the undoubted portrait

o f his Highness by Master Peter, at Wilton House, 3 T painted in 1 87 . his small composition was apparently painted upon the sinister wing o f a diptych o r triptych : it represents the King

kneeling, facing right, as though worshipping A Majesty o r a Mother and Child he is —St t supported by three saints John Bap ist, w f St Ed ard the Con essor, and St Edmund the

Th e King . drawing and colouring are very beauti

ful, and after the delicate manner of Missal painting, whilst the atmosphere and animation are exactly Similar in treatment t o the work of the g reat

portrait . At the National Portrait Gallery is a 26

BRITI SH PAINT ERS

T he a n e rs of di P i t funeral rges . Clouds shrouded the Pageant

of I c abo d w as the Westminster Masters , traced in dark characters o n the walls o f studios ’ a reh en and workshops, and men s hearts were pp

i S ve for the future . Art, Of course, could not die, sh e but was called upon to hide her face for a time .

III Vastly varied scenes and moving episodes are revealed when the third tableau of the First Period Of the Pageant o f the Painters of Britain is ex

'

t o . cent u r of o r posed view Again a y years , nearly

so — , is covered certainly the most dramatic age in

e e Th e the whol cours Of British history . grand old Abbey o f Westminster and the Westminster painters are no longer prominent features in the t long vis a . Flood, fire, and felony have worked havoc with brush and chisel work ; intrigue and war have besmirched the face o f the fair land

with shame and blood . Invention and application Of the Arts and a Cr fts were diverted, almost exclusively, to the

Th e Of : purposes o f destructive strife . Masters e Westminster languished , their palett s and brushes

o became dry, and their pencils p intless . Many

of them indeed sought other climes, less distracted

Th e n and destructive . Schools were broke up,

o r m and the pupils dispersed , impressed for ilitary 28 T HEI R STORY AND THEIR A RT

e s rvice under rival banners . Such as escaped T he Pai nte rs tramped hither and thither picking up pittances in - n distant town halls , country mansio s and

was parish churches . Good work almost impossible

The under the sad circumstances . poverty and anarchy resulting from the wars in France and

Ireland, and later, from the civil strife of the ” t wo R . oses , checked the progress of the Fine Arts T owards the end o f the century the spirit o f

art ifi cers artists and revived, and tokens remain in every country Of the land indicative Of noble and satisfactory work . At the Victoria and Albert Museum in London are some wooden panels and

o f - portions altar screens, covered with exquisitely designed and coloured figures and accessories in i tempera and g lt . Among them St Helena ” f T allef o rd and a Nun, rom Church in Norfolk, ” a St William Of Norwich and St Agath , from f Norwich Cathedral, and some other beauti ul ’ bits . Painters names are nowhere recorded, for publicity wa s dangerous in those days Of suspicion .

T e . h ad h usurping King, Henry IV , little time,

so x even had he wished, to e tend patronage to f and . o Art Craft His tenure the throne, threatened

was as it by acrimonious wrangles in Parliament,

t o required all his attention and energy maintain .

Th e was : country in a parlous state famine,

— - flood, and fever three dire sister vampires 29 BRITISH PAINTERS

T he Painte rs sapped the strength of the poorer people ; whilst o f We st u fi t m ni cen . h minste r the mighty and were laid low W at resources of the land remained were drained t o

o carry n the war in France . Art and Craft

struggled hard for existence, and the lamp of

r culture bu nt low . Agincourt came t o stir the better impulses o f ’ Briton s folk, and Henry V . raised, there, the fame of British soldiery to the highest pinnacle

o f . honour Little, if anything, is there to record ’ o f the Victor s patronage o f the Fine Arts . On

o f the contrary, for lack means and workers , ruin and decay assailed the painted glories Of

the Pageant of the British Painters . Valuable

o n pictures vellum, wood, and stone were sacrificed t o meet the cost Of food and equipment ; and

stained glass, broken, remained unrepaired . Henry ’ o f Agincourt s reign was glorious in the field of

l r of s . arms , but it added little to the g o y the Art

ircu mst ancesfl a Henry VI . was the victim Of c

u weak r ler, where tact and daring were essential

is for success . Still in h reign painting had its

romance, when the young King became enamoured ” T a of as Of the hree Gr ces Armagnac, the three lovely daughters of the militant Count of Armagnac

. e o f were called He] dispatch d Hans Antwerp, ’ t o King s Painter, draw and paint the three

beauteous damsels . Th e art of the palette pro

du ced s rt was uch bewitching po raits, that, it 80 THEIR STORY AND THE IR A RT

sat Th e a n e rs said, the amorous Prince and gazed at them P i t / h ( for long in vain, not knowing w ich fair face he gillsf admired the most !

Another Princess, however, flashed across the R ’ oyal bachelor s horizon, and her portrait came n R to e rich the oyal collection, and destroy the

Armagnac infatuation . Cardinal Beaufort , the ’ n King s uncle, cha ced to meet at the French ’ — — s King s Charles VII . castle Of Chinon the econd

o f R Of daughter King ené, Margaret Anjou, and his narrative at Windsor greatly inflamed his ’ Royal nephew s passions . On the spot Henry

Folst o f of ordered Sir John , one his Gentlemen

ul of the Closet, to proceed at once, with Mons . J es

Ch am elev ier - - p , an Anjou painter soldier prisoner, t o a on parole, the Angevine Court , and obtain

f u portrait Of the beauti l young girl Of sixteen . Th e Royal instructions were that sh e should be

painted quite simply, and in a natural way, in a plain kirtle , her face unpainted, and her hair in ” was f u coils . Sir John rther required to ascertain — so be - her height, her form, far as may , the colour of her skin, her hair, her eyes, and what

sh e size of hands hath . The portrait was duly painted—perhaps with just a little artistic em bellishment ! Henry was fascinated with the sweet young face which looked o u t upon him

t o o was he comely in person and unusually refined . Th e marriage Of Henry o f England and Margaret 3 1 BRITISH PAINTERS

—“ T he Painters of Anjou was consummated they were made for o f We st — o ne another but their amours were rudely cur mi nste r th e tailed by arrogance and sedition Of Edward,

of — o f Duke York, the representative the elder

line from Edward III . Whilst the King and

Queen were busy fostering the Arts and Crafts ,

art ifi c ers and welcoming at their Court artists and ,

- native and foreign born , York was sowing dis

Fo r cord and fomenting rebellion . twenty years the fortunes o f war fluctuated between the — two Roses - White and Red but the dastard

T o f Of deed at ewkesbury, Edward March, now — Duke Of York the brutal murder o f the young ” of Th e o f Prince Wales , Hope England,

destroyed the last chance Of the Lancastrians . Bloody Edward assumed the Crown as

Edward IV . Outbreaks continued in every part o f the ’ kingdom, but gradually the King s strong govern

ment restored peace and confidence . Th e Arts

and Crafts revived once more under his auspices .

AS w soon as he felt his position secure , Ed ard invited the scattered artists to compete for th e repainting of the panels and walls in the Chapter

house at Westminster . Brother John, a cloistered

Of of monk the Abbey Northampton, was chosen, and he forthwith set to work to paint subjects f rom the Apocalypse, which were placed behind

o f the seats the Lord Abbott and the three Priors . 32 T HEIR ST ORY A ND THEI R A RT

They were (1 ) St John prostrate before the Deity Th e Painters at Patmos (2) St John writing the Message ” to the Seven Churches ; (3) Christ revealing Himself among the Seven Golden Candlesticks and (4) Th e Elders worshipping the Lam These compositions— traces Of which may still — 4 3 T be seen were finished in 1 8 . hey are some ni what crude in arrangement and tech que, and are in marked contrast to the beautifully drawn and coloured work Of the men wh o lived and T worked at Westminster before the error . They are indicative of the havoc which war and insecurity work in the artistic temperament of

’ Th e — a nation . same painter now King s Painter redecorated the ceiling of the Chapter-house with figures Of Seraphim in gold and white on a golden ground . Th e stage -curtain of the British Theatre Of

was un the Fine Arts r g down, upon the fif teenth centu ry Pageant of the Painters o f Britain in 1 485 , when the unscrupulous murderer Of his T —R — nephews in the ower ichard III . paid the

’ penalty Of his foul deed o n Bosworth s stricken

Th e o field . romance f the Painters of Westminster is ended, but the memory Of their Art has be come a priceless inheritance for us, wh o behold the relics o f their cunning with astonishment T and admiration . hey raised Britain to the

of highest throne in the hierarchy the Fine Arts . 0 33 BRITIS H PAINTERS

The Paint ers T - Is c t hat Britain to day an artistic land, se ond o Of est' W is none, largely due to the genius and the enterprise T of those early artists and craftsmen . hey rocked serenely the cradle Of the Arts and Crafts within the wholesome nursery o f the Abbey Church o f

r Westminster for wellnigh three hund ed years.

34

BRITISH PAINTERS

National Portrait Gallery : it may have been

i P erreal pa nted by the French artist, Jchan , II t o X . Court Painter Louis and Charles VIII . , wh o visited London at the time o f the Royal ’ Th e r nuptials . new monarch s hands we e too full of affairs Of State to leave any room for the patron age o f Arts and Crafts . In truth the land was — bereft of Masters and pupils too such as had not fallen in the wars had fled abroad, proclaim ’ ing everywhere Britain s supremacy in artistic handiwork . Th e revival o f the Fine Arts in Britain was slow and uncertain . Architecture led the way, for a glorious Chantry Chapel at Westmins ter an incomparable gem Of the Gothic Renascence was projected eastward Of the Lady Chapel . Th e

was 1 503 — work commenced in , and Henry, like

t wo - his namesake centuries earlier, personally o f superintended the labours the Masters in stone,

Th e . r metal, wood, and pigment King g eatly wished to fill the Chapel windows with stained a glass, such as that, which, h ppily had been preserved all through the Terror at the Royal

Palace Of Sheen, where he had first seen light . hi f Alas , for t s laudable desire, its ulfilment proved T impossible . here were no native cartoonists o r t painters capable Of undertaking such an en erprise .

- s h ad Besides , all the glass staining workshop been destroyed . 36 T HEIR ST ORY AND T HEIR A RT

Artistic religious in the monasteries and artists Masters o f u d“ l Of from across the sea were fearfu competing in fiflg an undertaking which Offered peril through the insecurity o f life and insufficiency o f means . At

E st e rf eldt length one, Albrecht , from the Imperial banking city of Augsburg, undertook to smith the bronze doors and great brazen screen, whilst

T set Piero orrigiano, a Florentine, to work to i R ch sel the oyal tomb , which was completed

Th e Of 1 51 9 . names John Bell and John Maynard are preserved as those Of artists wh o adorned

R . the oyal tomb in gilt and colour Ceiling, and

t h e walls, and pillars were left unpainted, and ” o altar and stalls displayed n painted tables . Th e traditions of the miniaturists o f the ma“nu scripts, and the methods of their imitators in

no hi large had faded, until more than nts of what had been were preserved these, like precious

t o threads in some rare tapestry, were destined be picked up and carefully rewoven in the new painting texture Of the century . A revivif ying fire in British Art began to glow amid the flickering

R f u torches of the oyal neral . This flame was

—in ru of fanned, Spite of the wholesale dest ction

o f f t Of works Art and Cra , and the fate which — already threatened the religious houses, until its warmth inf u sed new life and vigour into the ’ a he rts Of Britain s painting sons .

r . 1 509 o Hen y VII died in . A portrait f him, 37 BRITISH PAINTERS

1 505 painted in , hangs in the National Portrait

o f Gallery London . Jan Gossart, called Mabuse,

Mau ber h e o f from g , the place his birth in Flanders , —who Spent some time at the English Court was probably the artist . He painted several Fl Knights of the Golden eece, Of which the

w as 1 49 King designated a member in 1 . Whilst

s f o r in England he painted portrait his Highness ,

o ne Th e T and, Of these compositions, hree Children of Henry is at Hampton

Court .

Th e — scene changes , and into the fierce light , which beats upon the Throne steps another “ ” “ Henry— A Henry ! — A Henry I in word and hf deed . His is the comely yout ul figure which at once arrests attention as the Pageant moves

— es h as on a stage its progr s been slow . Th e

- new Sovereign is young, cultured, art loving,

r ambitious , and ext avagant ; and his genial

a personality wins all the w y along . His bride i — ’ is a Span sh princess, his brother Arthur s

— o f wh o widow, Catherine Aragon, brought in her great marriage chest rare examples Of Hispano

o f Moorish workmanship, and great stores gold and gems : her costumes were magnificent . She has in her train many accomplished artists and

wh o craftsmen, will exercise goodly influence upon the paint ers and workers Of her adopted

h as i be f u land . Henry deas and ideals which lly 38 PLATE IV MARRIAGE A LA MODE

BY WILLI A M HOGART H — — Sh ort ly a fter Marriage t he exact titl e of thi s picture is ’ “ ” the seco n d sce ne in H ogarth s M o rality Marriage a la T h r Mo de th e re are Six o th er scene s . e se i es was painte d as a sa re on t he anners of o e so e o f t he da a er o ti up m p lit ci ty y, p i d an r a a an As a or a o o s o f lo w m o rals d g oss e xtr v g ce . pict i l c mp itio n Sh o rtly after M arriage is e xcellent in te chniqu e and with out f a i a exagge rati o n o ny ki nd . Th e se ri es s valuabl e s illu strating t he personal fashi ons and h o useh old fittings o f wealthy pe ople o f th e eighteenth century. “ ” arr a e A la o e was a n e in 1 45 and is in t h M i g M d p i t d 7 , e

a ona a e r ra a ar are . N ti l G ll y , T f lg Squ

B RI TIS H PAINT ERS

f o r r payment certain processional pictu es . In the ’ o Queen s Audience Chamber, at Hampton C urt,

o f is a series war pictures , setting forth the page ant r o o f y f the Field the Cloth of Gold . These ’ b B ro s are y contemporaneous artists . John u ne name is signed upon the Embarkment of Henry ”

. o n 2 1 1 520 VIII at Dover, May , , with his style, ’ ”

. h King s Painter, added In the centre Of t is naval display is represented the Dreadnought — m a Of the day, the fa ous Henri Grace Dieu,

h o n 1 9 1 51 4 w ich had been hallowed June , , in

’ o ! the presence f the Court . Bills for the vessel s

r R f decoration are prese ved in the ecord O fice , which show that Vincent Volpe painted the

t B ro u ne e s reamers and John did the rest . Th execution of these paintings is skilf u l with a re

t o a a e markable regard f ct and detail , but they r

— Of quaintly mannered perhaps in flattery the King .

B rou ne o f was also something an architect, for

1 553 o f he built and decorated, in , the Hall the ’ Painters Company. Cardinal Wolsey vied with his Sovereign in the artistic arrangements o f his household and

Of the lavishness his entertainments . Very little, alas ! remains o f the great things the haughty ecclesiastic did in patronage Of Art and Craft . — he At Hampton Court , the splendid palace

f u as 1 526 built and rnished a present, in , to the ’ ” —in Wolse s are the King, y Closet, preserved 42 T H EIR ST ORY AND T H E I R ‘ A RT

- f very beautiful cinque cento ceiling, with coloured , Maste rs o l u ‘lm decorated arabesques, a finely sculptured and aflg o f - o f painted cornice, and a series wall paintings scenes in the Life o f Christ Th ese probably

of T were the work Antoni o oto del Nunziata, wh o t o 1 53 1 came England from Bologna in , and ’ e l s was appointed King s Paint r, at the usua alary of £20 a year . He worked at Hampton Court ,

f o r Windsor, and elsewhere more than twenty

sa i o f a years, but, strange to y, noth ng wh t he did there has been preserved .

T o f hat wonderful spectacle, the Field the Cloth ” — o f t Of Gold, One the mos splendid in the history o f r — B itain, revealed , all the same, the comparative

Of poverty British Art and Craft, and Henry had recourse to foreign artists to limn and paint his

Th e n reign . first Of these alien pai ters , whose names have been recorded, were Lucas and

Gh errart s H o rembou t o f van Ghent, and with T them their sister Susanna . hey came over in

1 523 n t o o u t , and the Ki g required them take T letters o f naturalisation . hey remained working

f r h f o r the Court o more t an thirty years . Some of the unnamed portraits o f Henry were doubtless

was their handiwork, which marked by superior

and — is draughtsmanship excellent colours , there , o r was o f i , a portrait the K ng, at Warwick Castle, ”

th e l . . 1 525 with initia s L H and the date . Augsburg once more yielded a hostage t o artistic 43 BRITIS H PAINTERS

fame, and Hans Holbein, the Younger, came

over the water from Basel , in Switzerland, where

he had been for several years painting wonderful ly .

Sectarian disputes , however, banished him and

a o f m ny more , and gladly he availed himself the hospitable shelter Offered at Chelsea by Sir Thomas ’ Th e More, the King s Chancellor . painting fame Of Chelsea has never ceased since Holbein set

his ! T s o f up easel there hence, as first token his in o f art Britain, came portraits his learned

of patron and Archbishop Warren, Nicholas

Kratzer, Bishop Fisher, and many others . He has heard Of the great doings of the Westminster ” of Masters, and he knows very well the fame the British miniaturists ; and consequently he looks

f o r about evidences Of their skill . What he sees and bears of a glorious past greatly affect him

T o and influence his work . cast the shining shuttle o f his painting frame in and out o f the dropped and loosened British art -threads becomes

o f the Object his life , and he sets to work to teach the faint - hearted limners around him how they ’ may gear up again the painter s loom Of Britain . As the glittering Tudor panorama stretches

ou t d s . , isclosing the Spaciou days of Henry VIII , is Hans Holbein seen, in his red felt hat, grey

a e dl coat with bl ck velvet borders, b ar ess, with

c of a of rather scant black lo ks h ir, a pair acute

- s l eyes, a well shaped no e and sma l mouth, 44 THEIR STORY AND THEIR ART

comf ortably domiciled near the London Steelyard Masters of in the Undershaft . He is painting portraits 0 Rule the wealthy merchants Of the Hanseatic League, t in great and little, and such subject pic ures as Th e T riumph of Riches and the Triumph ” ” Gisz Of . e Poverty George , the President of 1 532 the Steelyard in , was the most remarkable of s —it now R hi city portraits, is in the Berlin oyal

e of Museum . Th fame the German painter reached

of wh o him the ears the King, took into the Royal ” as r service Se vant Of his Grace, with a retain

£30 of ing fee Of a year, and a patent British naturalisation .

Perhaps the first painting Holbein did, under R the oyal auspices, was the splendid Am

assad ors b , accredited from France, at the

National Gallery in London, which bears the

Two date 1 533 . years later came a direct command — from the King a jealous widower seeking conjugal f l consolation At Brussels was a beauti u princess,

o of n more than sixteen years Of age, a niece the

V. o f Empe ror Charles , and the widow Francesco

of — Sforza, Duke Milan, Cristina, daughter of

King Christian of Denmark . Henry despatched Ho lbein to paint the portrait Of the beaut eous — n young duchess, whose charms Hutton the E glish

—had Minister in Flanders, rapturously sung,

h ath e n She , he wrote, a good cou tenance, and when sh e smiles two little dimples appear in 45 BRITISH P AINTERS her cheeks and o ne on her chin . She is very friendly, very graceful in her bearing, and soft

t o of s e Of speech . She seems be few words and h lisps somewhat in talking, which does not become ” her badl y . Henry was enchanted with the

Off Wrot h es portrait, and forthwith sent Chancellor b ley t o ask her hand . Cristina appeared y no means averse to the idea Of becoming Queen of

t o England, and she confided her inclination the

sa — o u Chancellor . What can I y well , y know, I am the Emperor ’s poor servant and I must obey ” s h hi will . C arles V . and Henry were not just

h o n so t en very cordial terms , and nothing came 5 40 ' o f the marri age offer . In 1 Cristina married

of sh e d 1 590 Francis, Duke Lorraine, and ied in . Th e portrait Of Duchess Cristina hangs in the

National Gallery in London, having been acquired by purchase from the Arundel Collection o f the

o Th e Duke f Norfolk . King gave Holbein many

! one o r o f sittings , but alas only two these portraits remain ; o ne is in the Hall of the Company o f

IS Barbers , London, and there , at Windsor, a study for a famous fresco at Whitehall now no

Th e o f more . portrait King Henry VIII . at the National Portrait Gallery may be by a pupil Of ’ Holbe in . King Henry s wives were painted by — the accomplished German z Jane Seymour in 1 536 , now in Vienna ; Anne Of Cleves, in the

Louvre, Paris, and Catherine Howard , at Windsor . 46 THEIR STORY AND THEIR ART

f In the Salting Collection, at the Victoria and Maste rs o ‘ ud“ m is Albert Museum, London, the very beautiful Klflg

i r o f . m niature po trait, by Holbein, Queen Anne

1 53 in r . In 7 he painted, f esco, Henry VII with — Queen Elizabeth Of York, after portraits painted

1 505 — b of o r e in , y way companions, a p ndant, t o portraits Of Henry VIII . and Queen Jane T Seymour . hey were hung in the Privy Chamber o f i i the Palace at Wh tehall, but unhapp ly were — consumed in the disastrous fire o f 1 6 9 8 small

T o his replicas are at Hampton Court . suite o f e rt l merchant portraits, Holbein add d a Cou Ga lery

Of nobles . His rare Skill in catching character,

m e of his c and the a azing fuln ss a cessories , made his portraits historically as well as artistically valuable : we may justly claim him as a British

i l o f ‘ pa nter . He died sudden y the plague, in

1 545 . London, in

Th e o f - advent the great German English master,

his and rare example, roused British painters . In the National Gallery is a really Splendid portrait ” — o f Th of Edmund Butts, brother Sir omas

t o — 1 545 Butts, physician the King painted in , wh o by John Bettes , died under Elizabeth in T 1 57 . 3 He had a brother, homas Bettes, who was a miniaturist and an illuminator o f great l distinction . At Holyrood Pa ace are portraits o f

his u King James III . , Consort Q een Margaret ,

and Sir Edward Boucle, painted by British artists , 47 BRITISH PAINTERS

f t St ret es a er the Holbein manner . Gwillim , an English pupil Of Holbein’s—with something of

H orembou t the vigour and the style of Lucas van ,

— ou t carried , in British terms, the revival Of British Art : we shall hear more of him in the

o f following reign . He was one the young art students who witnessed the solemn public passing

1 4 . T o f Henry VIII . in 5 7 hat was a truly Royal — ritual a fitting finale to a dazzling reign .

II l Th e death of Henry VIII . called a ha t in the ” of Of progress of the Pageant the Painters Britain . Th e bluff rul e Of an autocrat was followed by

o the gentle reign f a young boy . Gone were

T - Parades and ournaments, Miracle plays and R R l Masques , gay oyal weddings and sombre oya f unerals, which had made the English Court the The i most brilliant in Europe . country was m

ov erish ed r l p , and a tists and craftsmen were ca led The upon to rest awhile . young Sovereign, pre c o ciou s was , and fond of Sport and pleasure, surrounded by ambitious nobles, rival partisans o f his t wo sisters, squabbling divines, and greedy e wh o Crown cr ditors, exploited him for their own ends . Blessed with unusual mental ability h ad and artistic instincts , he little scope for

of s their exercise in the patronage the Fine Art . 48

BRITI SH PAINTERS

Of With respect to the existing portraits the King, — one is at the National Portrait Gallery at the age o f

— - six a half length o f the young prince in a white

ro se beplumed hat, crimson jacket, and holding a ; the background is Windsor Castle . At Windsor

Of a e of f is a portrait the young King at the g fi teen,

- well figured and good looking, in a crimson

ni brocaded satin gown, ermine lined ; his tu c is o f

o n u - gold embroidery white satin, his tr nk hose is white silk, and he wears a black velvet hat it with a wh e feather . At Hampton Court is a very curious composi “ ” . his mi tion entitled Henry VIII and Fa ly, by

t es Th e u - St re . Gwillim King and Q een, Catherine

P a — m are seated, and by them stand the Prince

s Of Wales (Edward VI . ) and the Princesse Mary

FO O1 and Elizabeth, with Jane the and Will R T the Jester behind the oyal group . his picture ’ was painted by the young King s special wish,

o is soon after he came to the thr ne . It marked

s by good pose and draught manship, and excellent

St ret es technique and colour . received £62 for the painting . Other painters o f the Court were Mark Wil

Gerbu t lims, Hans Huet, Flick, Johannes Corvus,

T T —a Girolamo da revigi, and Lavinia erling,

woman, perhaps the first in British painting

o f a annals . All these were apparently n turalised

s and domiciled , for their name appear in the 50 T HEIR STORY AND THE IR ART

Rolls of Record as being in receipt o f salaries Maste rs of u dor t e from h King . gfig Al as ! the accomplished young King sickened

d his su an died in sixteenth year . Some have p

of u posed that he died “cons mption, but there was a story current Of a wise woman wh o w as

was admitted to his bedside, when he laid up

a a with a chill, caught at tennis in the pal ce ple sance i ’ at Greenwich, and her v sit settled the poor boy s

she was o f fate . Some said in the pay the Duke

wh o of Northumberland, wished to do away

on o f his -in - with the King behalf daughter law, the Lady Jane Grey .

- s Phantom like pa ses the grey palace of Greenwich,

o f never more to house a Sovereign the realm, and the brilliant sunset Of a midsu mmer sky

Spreads golden streaks upon the eddying wash, c s - as R au ed by slow pulled strokes, a oyal funeral

- barge, ablaze with flaming torches , and redo

h — a s lent wit swinging censers , slowly dvance up

t o Thames stream Westminster . Alas, the death

was f o r R Of Edward VI . the signal a oyal fight . Hitherto only princes h ad been slain o n stricken fields o r done t o death in prison chambers for ’ the mastery of England s throne : no w princesses

od u e Of the blo took p the struggl for the Crown . For six-and -thirty years four Queen s rent Merrie ’ e o f England with the bitt rness woman s hate . III ’ o f V . s Each Henry surviving daughters, 5 1 BRITISH PAINTERS

R o f — in the first Queens egnant the land, turn

: slew her rival Mary , unwillingly, through the

o f a press Of party policy, as guilty high tre son

Jane Grey ; Elizabeth, in relentless personal hatred for a better woman and a lovelier—Mary

Of Scots .

— as Queen Jane the nine days Queen, had, o f Fuller wrote, the innocence childhood, the

o f of beauty youth, the learning a clerk, the life o f o f a saint, and the death a malefactor . Her

a is portrait by Luc s de Heere, in a medallion, at the National Portrait Gallery : She is in the

- black velvet, ermine lined robe which she wore at her execution, her hair is uncoiffed over an

The is intelligent and pre tty face . portrait well

Th e painted . artist came from Ghent to London

1 554 o f in , and painted many beauties Queen ’ ’ o f Mary s Court , and Elizabeth s as well . Other portraits of Queen Jane are in the collections o f Earl Spencer and the Earl o f Stamford and War

rington, but painted by other hands, perhaps

British .

— - o f all ou r Mary I . the most ill judged sovereigns — reigned no more than five ye ars : a troubled

was nl was sh e life indeed hers . Not o y the prey

o f h ad ruthless reformers , but She to bear the ill -concealed threats of adherents of her sister

h ad re Elizabeth . Both princesses been decla d illegitimate and then restored in blood : thence 52 THEIR STORY A ND THEIR ART

came all the trouble . Church and State were Masters o f ‘‘ u d” of : in the throes revolution the Fine Arts stood glflg nl did aside . O y tentatively and insecurely things of beauty and of joy come to brighten those years

Th e o f broil and care . Queen, a devout and

sh e holy living Princess , would have, had been

o f wh o able, stayed the hands the iconoclasts, had destroyed so much o f the artistic life o f the nation . She sought to restore church and cloister, and redecorate altar and shrine . Among her

was B o ssam of painters John , of Norwich, whom — mi t Nicholas Hilliard, the niaturis , later, spoke appreciatively a mast er rare Of English drawing

Fo r of story work in black and white . his skill he was worthy t o be sergeant -painter t o any ” T o r r . king empe or ouched, however, by the piety — of his Sovereign, whose portrait he painted

—h e o f twice, renounced the brush and palette a painter and accepted the tonsure and habit o f a — priest famous ever after for his charity and his love of children . The most conspicuous painter o f the reign was

Mo reu s — Anthonis , Anthony More, as we spell — his name, born at Utrecht, under the Spanish

mi . do nation He studied in Italy, and travelling 1 552 thence, in , found himself at Madrid, painting

’ the Court o f Phillip II . On that Sovereign s marriage with Queen Mary More was sent t o R London to paint the oyal bride, by whom he 58 BRITISH PAINT ERS

’ e o f £400 was knighted, grant d a pension , as Queen s -in - Painter Chief, and invested with a gold chain T by the hands Of her Highness . his portrait

T als is in the Prado Gallery at Madrid . here is o a portrait of Queen Mary, by Sir Anthony More,

o f o f in the collection the Duke Bedford . At

Hampton Court, and in the National Portrait

al Gallery, are sever portraits by Sir Anthony, including the very splendid likeness Of Sir Thomas

—o ne o f o f Gresham the makers modern London ,

a T r and financi l agent to all the udor sove eigns . ’ W OI‘ k i More s ‘ was dign fied, his draughtsmanship excellent, and his colours delicately subdued . Native artists were much influenced by his o f manner, as they were by the work his

— Of rival , Jost van Cleef . His portrait Henry

1 536 rt VIII . , in , at Hampton Cou , with a

o f shaven face, is a clever bit characterisation, which formed the model for many unknown painters .

and Holbein painted Mary several times, , at

is the National Portrait Gallery, a very striking likeness o f the Queen by Jan Rave (Johannes F . The o Corvus), a lemish painter Society f Antiquaries have a large half-length po rtrait

Of Queen Mary by Lucas de Heere, painted in

1 556 rt f o r it s , and notewo hy animat ion .

is so e Mention fr quently made, in these pages ,

' o f a a Hampton Court, th t ttention must be called 54 PLATE V “ THE SHRIMP GIRL

BY WILLI AM HOGARTH

This remarkable pie ce of impressionism h as bee n well d esc ribed a as er e e t o r s a n n and n ee a n n as m t pi c which B iti h p i ti g, i d d p i ti g ” enera can ar rod e a r a . is a sna s o so t o g lly , h dly p uc iv l It p h t, s ea in t he s ree o ne o an re e a o n. o s e p k , t t , d with ut y p m dit ti C tum , or ra s and as e a n e in lo w o n es do no t s ra g , b k t , p i t d t , di t ct a en o n nor oe s th e a e ro the Cr 2 s r es s r tt ti , d f c , f m y it t ik h illy ” on the ear r s re s r s l and t he r has Sh imp , F h Sh imp Gi l, w h passe d al ong be fore e lose t e e cho . “ ” Th e Shrimp Gi rl was painted in 1 755 and is at th e

a ona a e r ra a ar are . N ti l G ll y , T f lg Squ

THEIR STORY AND THE IR A RT

t R t ast ers o f o a Drawing Of the iver Fron Of the Palace, M ’ u dor W ne aard e t t . in by Hans y g , a Flemish ar is gflg Tu as It shows the dor Palace, finished by Henry

o f VIII . , with glimpses the gardens, where sove reigns and courtiers disported themselves in merry

see mood . We seem vividly to the gay scenes

and to join in the revelries . ’ Mary s reign was one o f the saddest in the history Of the sovereigns o f England . In spite o f he r stainless character her story is pictured in tones of grey, and red, and black .

III

Th e stage - curtain of the British Theatre o f

o n Fine Arts , which had been dropped the mournful

was demise Of Queen Mary, raised amid alarums to reveal a strutting, bedizened figure, grimacing

u before the footlights, yet a British Q een . If the righteous instincts o f a proud ancestry were t focussed in Mary, their evil propensi ies found vent in Elizabeth . For the Arts and Crafts the new Queen cared only so far as they ministered

o wn - o f to her self esteem and love show . If

- the Fine Arts flourished in her long reign, as dl — undoubte y they did, the credit was not hers, no more than was hers the credit for the National

r p ogress . She was the fatuous figureh ead o f the t Sta e, whose destinies were magnificently guided 57 BRIT ISH PAINT ERS

by such a galaxy o f able ministers as had nev er

before circled round a throne . But t o pass from the vain vagaries Of a petulant woman t o th e grateful services o f the painting community we at once feast o u r eyes on f ascinat

s ing scenes . A new school of British miniaturist has been established under the leaders hip o f

. 1 547 Nicholas Hilliard Born at Exeter, , and

t o apprenticed a goldsmith in that city, the youth

o f e reached London in the tenth year Elizab th . He had well studied the art of Holbein and took

’ ’ st that una er s work for his guide . Holbeins ” Of manner limning, he said, I have ever imitated, ” and I hold it for t he best . Comparing his work

o f - ! with that the German English master, it is fi at once noticed that his ner sense Of elegance,

nd s a les flamboyant artifice, give his Sitters a ’ grace o f pose and a distinction wanting in Holbein s work . His pencilling is excellent, his colours , — perhaps somewhat thin in Opaque pigment, are deliciously after Nature . He commonly worke d o n of - vellum and on the backs playing cards . He ’ ” was appointed Queen s Painter that you may, ’ as her Grace s patent ran, make pictures o f ou r

ou r a body and person, in sm ll compass in limning ” only . At the National Portrait Gallery is an e 1 5 2 exquisite miniature Of the Queen, paint d in 7 . He painted Elizabeth many times in he r State robes and all her frippery ; he also painted Mary 58 T HEIR STORY AND THEIR ART

’ o Queen f Scots . Perhaps Elizabeth s envious query Masters o f u d" t o was sh e or was as which the fairest, Mary, fiflz s t o addres ed her painter Hilliard . He must have

o f o f been a master tact as well as miniature, his for he saved his head, if not conscience , by his ready wit Hilliard is the first English painter whose r h as d eputation been maintaine all along . Dr ” Th e Donne, in Storm, says

A an o r an e e h d y , By Hilliard drawne is worth a hund red a o rs a n r a By w e p i te m de .

h ad He many capable pupils, among them

1 551 son Isaac Oliver ( Peter Oliver, his — (1 601 and the two Lo ckeys Nicholas (1 560 1 62 1 ) and Rowland (1 580 the last was l ” skillful in imning face work and perspective .

O was e Isaac liver a pupil also Of F derigo Zucchero, and worked under him at Venice . Zucchero 1 57 4 came f rom Urbino to England in , and painted

a . r the Queen m ny times He drew ve y well , and although his work is somewhat flat it is marked by taste and character . Oliver wrote A T reatise on Painting o f consid erable merit he has been styled second to none in the art o f miniature

c r and painting . At the Vi to ia Albert Museum

s of his art — s are many choice example , e pecially his suite Of King James and Queen Anne and

u s is o o f their Co rt . At Wind or ne the most 59 B RIT ISH PA INTERS

— - splendid miniatu res in existence a fu ll length portrait Of Sir Philip Sidney, leaning up against a tree, with Hampton Court in the background . Another remarkable full - length portrait in minia

Of R ture is that ichard Sackville, Earl Of Dorset,

a o f whose f ce and figure, and all the details his

are dress, worked up with the utmost precision, in glowing colours . Among other Elizabethan British painters were

R an ichard Stevens, Peter Cole, John Shute, d Th e was Richard Lynne . first a sculptor and

as medallist as well a painter . At Hardwicke Hall are his portraits o f Queen Elizabeth and — Queen Mary o f Scots the first is in o ne o f her — bizarre costumes a gown covered with se a T . h e monsters , and a hideously large fraise Lumley family possess a set of portraits painted by Stevens ’ 3 was O in 1 59 . Cole Elizabeth s Master f the Mint ’ : and Queen s Painter he, and his art, are named ’ ” Meres s in Wits Commonwealth, published in 9 2 f 1 5 . o He painted the Queen, and Earl Leicester, and Lord Burleigh—the last two are in the National

l . Portrait Gal ery He, and his brother Humphrey,

’ - an engraver draughtsman, did plates for Parker s hi B . ible Shute, painter and arc tect, was born

Collu m t on . at p , in Devonshire He entered the k service of the Du e of Northumberland, who

1 550 t o In R sent him, in , study painting ome . Richard H eyd o ck says o f him : He was one o f 60 THEIR STORY AND T HEIR A RT

asters o f the early English limners , who practised drawing M u d“ ” 1 563 from the life for small models . In he pub gflg ” lish ed Th e First and Chief Good of Architecture,

with cuts Of the Queen and other patrons . At 1 57 0 R Lambeth Palace, in , ichard Lynne was employed by Archbishop Parker to decorate the

O apartments and to paint portraits f himself . Another English painter of marked ability was ’ wh o a George Gower, was m de Queen s Painter

84 of in 1 5 . In the collections Lord Strathmore

and Mr G . Fitzwilliam are examples Of his work,

or e which is remarkable f fin technique and finish .

— - Sir Nathaniel Bacon, half brother of Lord Chan

c ello r — r 1 5 3 Bacon, bo n in 7 , was a skilful painter

of - of compositions and still life . He studied in

Italy, and settled for a time at Culford in Suffolk,

o n Gorh ambu r and, later , at y, where he painted

- his own portrait, and a subject picture, which he “ ” called Th e Cook-maid and the Dead Fowls both in the collection of Lord Verulam . At Redgrave Hall are his Ceres and Hercules ’ - reminiscent of Michael Angelo s Sixtine Chapel frescoes . At Hampton Court is an allegorical picture of

n wh o Quee Elizabeth by Lucas de Heere, appears t o have left England for a time and returned in

1 567 was , when he expelled, with other artists,

Th e . e from Flanders, by the Spaniards pictur d represents her Grace, faced by the three go desses, 6 1 BRITISH PAINTERS i — Juno, M nerva, and Venus all Of whom look thunderstruck at her appearance (as well they nl t o might, o y the group was not meant be a caricature Juno has dropped her sceptre and

her shoe, Minerva has removed her helmet and

h as lowered her flag, and Venus emptied her hands

r o f ed roses ; whilst Cupid, having thrown away his his e ro bow and arrow, clings to beaut ous p

t ect ress. t In the background is Windsor Cas le, and upon the frame is the following inscription :

no otens sc e t ris et en s a no a as Ju p p , m ti cumi P ll , Et roseo Ven u s f u lget in o re d e cus Adf u it l za e no e rcu lsa refu it E i b th , Ju p g ,

O st u u it a as eru bu it u e e n s. p p P ll , q V u T his composition was painted in 1 569 by order — Of the Queen a weird witness Of a vain and jealous woman ! Th e death o f Elizabeth was as inglorious as had

b . een her private life Few loved her, and still

nl sh e fewer mourned her . Certai y did much, very

much , for the Crafts, with her painted features,

r her out ageous coiffures , her gorgeous clothes,

vi her la sh jewellery, her feathered fans , and all

o the expensive adornments f her boudoir . She t oo insist ed that her courtiers should dre ss splen didly and quite beyond their means ; but sh e

f o r t t resented their Sitting their por raits , les they should outshine her own ! The false taste of o f the Court Elizabeth, influenced by the vanity 62

BRITIS H PAINT ERS upon the last miserable scene Of an imperious — R 2 4 career Elizabeth died at ichmond, March , ” 03 Th e Of T u R - an i 1 6 . n Masters the dor ule,

so - conspicuous group , far as native born painters

— Th e o n . are concerned, pass and Off footlights nf Of the Pageant burn low, and mour ul figures ] pass across the stage, but dulcet music of Virgina and viol steals gratefully into the ear, and, some

ou t o f hi where , the gloom, w spers a soothing voice —“ a voice Of prophecy Happier days are in store f o r British Art under the aegis o f a less auto ” cratic House . CH APTER III

COURT PAINTERS OF TH E STUART S (1 ) 1 603—1 7 1 4

I — PAI NTING is the poetry o f Religion but in C o urt nt c Of the schismatical days Henry VIII . and James I . ffé sfézrjg

- o f religion was but a make believe expediency,

it s Was and expression unpoetic and inartistic, lackin g the grace o f beauty and the charm ‘ o f

Th e o f harmony . egotism Elizabeth and the instability o f James were disintegrating factors

o f in the suppression the Fine Arts . The Third Part Of the Pageant of the Painters o f Britain Opens upon a weary waste o f sham and Subterfuge, where every pleasant picture is

t o turned face the wall, and every thing of beauty

c Of is overed with a veil irrational disgrace . Ex aminin mis en scene g in detail the shadowy , we

, indeed descry a small group of British artists working in intermittent fashion . Nicholas Hilliard

son his so n and his , with Isaac Oliver and , are still busy with their miniatures , and they have gathered around them a few enthusiastic pupils .

In the Jones Collection and the Salting Collection, E 6 5 BRI TISH PAINT ERS at the Victoria and Albert Museum, in London, in addition to the exquisite suites Of the King and R Queen and oyal Family, are many Ladies of ” - the Court, and notables , “done most delicately . A new departure in painting in little is seen in the very beautiful series Of religious and historical subjects , painted, in particular, by Isaac Oliver ” o f after his visit to Italy Head Christ, St ” ” R Mary Magdalene, A Crucifixion, A esur ” rection, and such like . He drew equally well with pen, pencil , and brush, and his work is full

s m Of animation, with the colours graded most y i ’ patl et ic ally . Oliver s manner descended to his son wh o , did much lovely work under Charles I .

set Of A fashion in, towards the end of the reign — King James , for wearing suspended round the

o r — neck by gold chains gay ribbons, miniature T portraits richly mounted in gold and jewels . his vogue became the emblem of the quality

much to the profit Of the artists .

we Look as diligently as can , in the first decade

o n Of the new reign, for British painters canvas

o r t o panel , in large, the eye fails discover any

e artist studios and easels in England . Th wrecker reformers had done their work only t o o well they dimmed the faint flicker of the light o f painting ’ -O - - until it was no more than a will the wisp . But,

10 ! in a quarter perhaps least expected, the never

ha s of dying Fine Art found a new slave her lamp, 6 6 T HEIR STORY AND THEIR ART

o - t o o r and Ph enix like, a painter has sprung life to C u t nt

. preserve the British tradition A painter, of gé sfgzrg whose antecedents and training we know scarcely

anything, at Aberdeen in Scotland, is assiduously shedding lustre around him in the murky and unsympathetic air .

ameso ne o f George J , born in that far city the

t 1 586 son - Nor h in , the of a master mason, was in 61 2 1 bound apprentice to his uncle, John Anderson, a painter in Edinburgh . Possessed of the Scottish

of — w e love roaming, the lad, how know not, — perhaps as a stowaway, found himself upon the quay at Antwerp . Wandering into the cathedral , R ll he saw ubens painting, and, fi ed with boyish enthusiasm, he watched and watched, until his i brain and fingers began to work in im tation . It does not appear that he ever became an actual

r ma pupil of the g eat Flemish ster . Back in 1 6 1 9 Scotland in , the young artist began to work away most industriously in painting portraits Of

- did so his fellow townsmen, and these he well

was that his fame soon spread beyond the Border . ’ Among Jameson e s earlier portraits the follow — ing are perhaps the most conspicuou s —all bearing evidence Of the Flemish manner his o wn portrait at Cullen House, Sir Paul Menzies and Dr Arthur Johnstone both

e . T at Marischal College, Ab rdeen hey are remark a f or ble correct draughtsmanship, but the pose 67 BRITISH PAINTERS

of each is somewhat stiff, and the colours coarse . Two later portraits Show the great improvement Jameso ne made in technique and finish Lady Mary Erskine (1 6 2 8) and Maister Robert Erskine o ne in the National Gallery of

o f Edinburgh, and the other in the collection

o f the Earl Buchan . At the National Portrait Gallery in London is a portrait o f William — Drummond O f Hawthornden the Scottish poet whose poetry was so greatly esteemed that Ben

Jonson, it is said, travelled all the way from London

t o a to Aberdeen m ke his acquaintance .

Many canvases remain, however, which more ’ ameso ne s than maintain J high reputation, for ” Th e o f S ou th esk Th e l example Earl , Ear ” No rt h esk Of , and Sir Alexander Carnegie o l ” B alnamo on 1 6 37 —8 r , all painted in , at Kinnai d

’

. ameso ne s Castle, are full of style and character J portraits are notable for the extreme care with which he renders picturesque details of costume f laces, ribbons , ruf les, buckles , and the like . He

his hi s seldom signed work, but inscribed canvases ’ with his patrons names and ages , and the dates . 1 644 He died at Aberdeen in , leaving a very con — siderable . ! fortune Alas he established, as he

- might very well have done, no Scottish school

T o f to carry on his cult . here is no record his i having taken pupils, although John Michael Wr ght ’ a h as been named his successor . George J mesone s 68 T H E IR ST ORY AND T HEI R A RT

’ name is honoured as Scotland s premier painter Co u rt i n g he was in fact the Father Of Scott sh Painting . ffggfgzg T O ou cross the Border once more, and take up r station at the Stuart Court in London, we behold

- o f . a number foreign artists Keen eyed aliens, after pelf, they had heard stories Of the holocaust

Of painting in the British Isles . History repe ats her well - known maxim British degradation is the ’ o foreigner s opportunity . Many painters f mark — presented themselves at the British Court, among them Michael Jansz Mierev elt (1 567 Paulus van Somer (1 57 0 Daniells Myt ens (1 590

Gerrardt z H o ndh o rst 1 5 90 - and , ( and cajOled the King and Queen for commissions with success . Several striking compositions at the National ” Gh eeraedt s Portrait Gallery are signed Marc , in particular the lovely and fashionable Mary

e — Sidney, Countess Of Pembrok her elegant cos tume, especially the lace, is exquisitely painted .

r A historical composition Of g eat value, by

Gheeraedt s is of , the Conference Plenipotentiaries at Somerset House in Th e dignity and distinction Of th e British personages have been successfu lly caught . nl James , in person ungai y and unmannerly, — always dressed grotesquely even t o the wearing of h at — t a stiff top had no artistic tas es whatever, ” H is —a although it was said Majesty, term now

a used for the first time in Britain, is v stly taken 69 BRITI SH PAINTERS

with handsome persons and fine clothes . Th e

Queen, Anne of Denmark, on the other hand, was

as a very pretty woman, and dressed stylishly, o ne may see in her portraits by Van Somer at — Hampton Court painted in 1 6 1 7 —and at the

e n National Portrait Gallery . Her Majesty cou raged foreigners They are more Courtly ” sh e in manner, said , and of fairer Speech, and

a o u r . they p int well , better than native painters

- She had three hobbies painting, masques , and Sport : Ben Jonson called her Th e Huntress

Quee n . At Hampton Court are many portraits o f R the King and Queen and oyal Family, and of the Ladies and Gentlemen of the Court , painted by these artists . Examples of their portraiture may also be seen in all the Public Galleries and t in many private collec ions , both at home and

T o f abroad . heir facility painting pretty poses

- affected British Art students , as we shall note later o n . ’ King James s Progress from Scotland was in no sense a triumph : his su c ec ssio n w as not con ’ tested, but Elizabeth s turpitude had estranged ’ R Th e the people s love of the oyal House . new T Sovereign took up his residence at the ower, the last kingly denizen of that historic palace

whence he went to his Coronation unattended , R plague forbidding the customary oyal procession .

was P resb t eriamsm His first act to renounce y , 7 0

T HE IR STORY AND THEIR A RT and to ally himself with the Reformed Prelatial Co urt n party . He had as much as he could do to manage {fisfizrzg quarrelsome Parliamentarians and rabid Puritans even though he assumed the roll of t h e Jacobean ” Samuel . ’ If painting in King James s reign was in dis

- — favour, architecture and wood carving, especially — in the decoration Of apartments, saw the heyday R of prosperity . oom panelling was arranged with excellent taste to accommodate a few good pictures

- o n h portraits preferably . Ceilings, the ot er hand,

u were m ch in favour, decoratively treated in pig

The o f I . ment and plaster . reign James , however, is remarkable in Art annals f o r the creation o f the

o f first private collections Art treasures in Britain . In 1 606 the Earl Of Arundel sent agents to Greece and Italy to make discoveries and purchases the result Of their labours was the splendid gallery o f antiques and paintings at Arundel House . His lordship is properly recognised as the first

- Th e o f British Art collector of importance . Duke

- f l Buckingham, George Villiers , most success u Of ’ —in 1 6 1 6 s Ru bens s adventurers, purcha ed Collection

W o f nd of orks Art , a added to them many notable

t m . o f wh o was i e s He it was, course, chosen to accompany Prince Charles o n his matrimonial

t o 1 6 23 tour the Court Of Madrid in , when the

and sat t o wh o Prince Duke both Velasquez, ’ e f o r greatly encourag d Prince Charles s taste Art . 7 3 B RI T IS H PAINT ERS A t the National Portrait Gallery is a very attractive

group Of the Duke, the Duchess (Lady Catherine

Manners), with their two children, painted by

Gerrardt z H o ndh o rst wh o , worked much for

Charles I . Far and away the most interesting Art - collector

wa s in the reign Of James I . his eldest son, Henry

i . n Frederick, Pr nce of Wales Bor at Stirling ’ 1 59 4 his Castle in , he early imbibed mother s

o f love Art , and , when no more than twelve years o ld , he began to gather together, with boyish enthusiasm, medals and coins , drawings and paint ings , bronzes and sculpture, etc and these were ’ housed at St James s Palace . Many of these treasures are now at Hampton Court and bear ’ R the Prince s label H under a oyal Crown . Th e young Prince excelled in athletic and courtly

o f exercises , and his grace person, with his rare accomplishments, made him the idol of the people . ! Alas he was struck down with typhoid fever, 1 6 1 2 and died in , universally lamented . His

— Mierev elt portrait, painted by , is in the Verney

Collection, and, by Van Somer, in the National — Portrait Gallery , gives all the traits of a good

- looking , intellectual , and high toned young prince . At Hampton Court is a very characteristic co m position by an unknown painter Henry

s R 3 rd Prince of Wale , and obert Devereux, Earl ” o f re re Essex, hunting , wherein the Prince is p 7 4 T H E I R ' S T O RY A ND THEIR ART sented drawing his sword to give the cou p de grace Co urt a — n ’ to wounded stag . Upon his death bed the Prince ffé éfgzrg i — called for his young brother, Pr nce Charles , then

nl Old - o y twelve years , and begged him to keep — and add to his Collection Of Art treasures an affecting and suggestive mCId ent when the career

o f . Charles I comes to be considered .

Th e o accession f Charles I . was the opening of — a new era in Britain the era of tasteful apprecia

a Th e tion nd application Of the Fine Arts . young

-fi v e Old Sovereign , just twenty years , had given early

Of promise the artistic instincts he possessed, and so the su n of the Royal House o f St u art rose in a sk o n y flushed with crimson and gold, the morning

hi s T . that saw James I . breathe last at heobalds T here was a mighty stir in Pageant Land , and many faint - spirited and discredited wielders

o f of the brush took heart grace, as the dull mists

- r — of desecration, rolling g adually away, revealed ” his goddess, Painting, once more preparing to assume her throne . Th e unn atural aversion

i o f to painting in churches , in wh ch the mass the l people had been hypocritically incu cated, and i the narrow views towards h storic Art , which had swayed the higher classes, began at once to lose

Th e their hold . new King encouraged the re st o ra

- - tion of painted altar pieces, stained glass windows, d and ecorative adjuncts in the church ritual .

Church dignitaries, most closely in touch with 7 5 BRITISH PAINT ERS R ’ the oyal aims , followed Charles s example, and nobles and courtiers began to regard painting in a wider range Of view than the circumscribed

o T e limits f portraiture . h initial difficulty in the

o f hi was s new order t ngs the paucity Of artist ,

- — n wh o t d . ative born, remained in this benigh ed lan Certainly the alien painters o f the previous reign d were strongly establishe , and had many pupils

. was i a from abroad Charles , above all th ngs ,

so o f patriotic n his country, and, Whilst he used

o wn alien services, he looked for his subjects to h n limn n and his Court , and raise the painting glory of Britain t o its former eminence under the Plantagenet Kings . He picked up the bro

c ad ed o f . mantle Henry III , and wore it with rare distinction .

Th e o f is Pageant the Painters Of Britain , perhaps, a sorry show in point Of numbers , as it

t ranf o rmat io n moves upon this scene . Headed — by George Gower and Sir Nathaniel Bacon o f ’ t a - Elizabeth s Cour , and George J meso ne the

Scot, there follow in good fellowship, Cornelius

Jonson, the brothers De Critz, and Sir Robert — Peake with their young pupils William Dobson,

l Faith o rne Henry Stone, Wil iam , and Robert — - t Walker portrait pain ers and engravers in large . r — In another g oup , bearing the solitary artistic

o f — honours the last reign, march Peter Oliver,

a COO er John Hoskins, and Samuel and Alex nder p , 7 6

BRITISH PAINT ERS

the same collection are portraits of small Size, “ ” “ ” by him, Of A Lady and A Gentleman, R ’ originally in Prince upert s Collection . His n art is markedly British in character, with oth ing Dutch o r Flemish about it ; and it is full

o f . charm His drawing is correct and sharp , his subjects are posed well , he gives expression and animation, and his colours are carefully chosen, i h h s . and, above all , technique is finis ed Cornelius Jonson ranks with William Dobson as a Great 4 Master o f the British School . In 1 6 8 he packed up his p ossessions and left England for Holland

d o : why, we not know it was said he felt keenly the priority accorded to Van Dyck and his work . John and Emmanuel de Critz were sons o f ” Crit zr John de famous for his painting, as

Co mmo nwe alt — says Wits published in 1 59 8 . T hey were decorative artists , and painted ceilings, scenery, and masques, and both of them became

Sergeant Painters to King Charles I . At Oxford,

Ashmoleu m w in the Museum, are, hat are called, T t ” the radescant Por raits, which were painted undoubtedly by the two brothers, under the

o instruction f their father . In the Schools at Oxford is a very quaint portrait o f John Bull a thin - faced young man wearing the apparel o f

f ur o f On an amice and the cape a canon . the — frame is Th e Bull by force the Bull by skill

— - in the left hand corner are a human skull and an 7 8 T HEIR ST ORY AND THEIR ART

- i . Th e r n s ned hour glass composition is g , but it C o u rt n ‘

. T is manifestly by a De Critz hese works are in the {figfgsrg same category Of excellence as those Of Sir Nathaniel

Th e Bacon of Cul ford . De Critz was a family of

painters , for Old John De Critz had a brother,

T u homas, also a capable artist in portrait re . Th e name o f Oliver de Critz is read upon a pleasant

composition in the Ashmolean Museum . Further more the Double Cube at Wilton House was

o f the work a De Critz, and Pepys speaks Of a

k o f stri ing portrait Edward Montague, the first

- Lord Sandwich, the celebrated statesman and patriotic Parliamentarian commander on land and — R l T . . sea, by de Critz obert Wa ker, the painter, called the De Critz the best native painters of the day . R obert Peake, painter, engraver, and print

s o f I wa . seller, already eminent in the reign James , 1 61 2 of whom, in , he painted three miniature £20 portraits and received . His ability as an artist, and his loyalty as a soldier, were recognised

h o I . w by Charles , named him Sergeant Painter — hi s f 1 6 2 . o in 7 Later, after exhibition bravery as Lieutenant - Colonel in the Royal Army at

as 1 6 45 B ing House, in , where he was wounded

R — h e and made a prisoner by the oundheads,

of received the accolade knighthood , personally

r f om the hands of the King, at Oxford . Sir Robert k 6 Pea e died in 1 67 . 7 9 BRITI SH PAINTERS

1 6 1 0 wa William Dobson, born in London in , s the so n Of a Spendthrift father wh o had considerable

property at St Albans . Before the family troubles

—wh o t o became hopeless, the boy, appears have t — possessed rare ar istic instincts, was apprenticed

e to Sir Robert Peake . His master not d his taste

for painting, encouraged him, and gave him several

Old Masters t o copy . Young Dobson was o f attracted by the manner Cornelius Jonson , and ’ his later paintings Show so met h l ng of that Master s

alas l was influence . His career, as a painter

st o f h e e arl bla ed for lack means , and fell into y.

extreme poverty . A happy accident rescued him f rom actual starvation . One day, as the story

goes, Van Dyck chanced to pass a mean print

saw shop in Snowhill , Holborn, and he in the window a small religious picture which attracted

and his attention . He bought the picture, after

e t hi making inquiri s about the ar ist, discovered m in a shabby attic alone with his little daughter .

e Th Master heartened the poor fellow, and Offered him employment as assistant in his studio at

Blackfriars . A few years later Van Dyck presented

t o — Dobson King Charles, and His Majesty, only

t o too delighted find a native painter of ability, him R at once attached to his oyal person . Upon the death of Van Dyck the King appointed Dobson

e Sergeant Painter . He accompani d the Court to

Oxford at the outbreak Of the Civil War, where 80

BRITISH PAI NT ERS

’ canvases . Dobson s manner was free and bold, he was a good draughtsman ; his colours are rich

- and well blended, he imparts dignity and grace f ulness, and life and atmosphere to his compositions . He is especially good in the expression of the Of Th features and the delicacy the hands . e

Th e T t King dubbed him English intore to , and ” Th e we may add, English Van Dyck . Dobson stood unrivalled as a painter in the seventeenth

his t o century, and name and work add honour his country . nr He y Stone Old Stone, they called him,

n — son o f his rather u reasonably, was the eldest father, Nicholas Stone, distinguished as Sculptor

- was and Master mason to James I . He apprenticed

his was to father, but sent to Holland, where he

t o remained several years, and then went Off

Rome to study under Bernini . He returned t o

1 6 42 set s u l England in , and up as a c ptor, but the art Of Sculpture was even still more depressed hi than that of painting, and he soon exchanged s l chisel and ma let for brush and palette, and began

as his to copy such Great Masters came way . , Af T ter itian and other Italian painters , his work had a ready sale : it was noteworthy for

of exact outline, careful rendition colour, and good ’ ’ o f D ck s finish . Stone s copies Van y works were so excellently done that they gained even higher prices than the originals He wrote and published 82 T HEIR STORY AND THE IR A RT

O f i a treatise On the Art Pa nting . At the Co u rt a inte rs o f National Portrait Gallery are his portraits o f P th e Stuarts o f t Charles I Archbishop Laud, the Duke Nor h

berland . 1 6 53 u m , and Inigo Jones Stone died in

f s the last O hi family . William Fait hh o rne was born in London in 1 6 1 6 he learnt his Art—drawing portraits in crayon and engraving compositions- from Sir Robert

’ his o Peake, and, following Master s fortunes n the field Of arms , was taken prisoner at Basing his House . On release he went to Paris t o perfect

ims R - h elf under obert Nanteuil, the well known draughtsman and engraver . ’ Robe rt Walker s name appears upon six portraits at the National Portrait Gallery, but very little

was O is known about him . He a contemporary f

Faithh orne Dobson, Stone, and , and was a great

of is . admirer Van Dyck, but his style all his own He appears to have Sided with the Parliamentarians R hi s against the King . No oyal patronage came wa y, but he painted the Lord Protector many times, l and belongs really to the Commonwealth . Sti l King Charles valued his Art and prized his copy ’ Th e o of T itian s Venus . Du ke f Sutherland

o f R has a very virile portrait obert Devereux, — — third Earl of Essex a renowned Cavalier by him.

T c om lemen urning, in the Pageant, to the p a — s t ry group of miniaturists, bearing in their hand 83 BRITIS H PAINTERS

’ precious little gems of the limner s art, which every fair woman and every fine Cavalier admired

—we l son and coveted , observe Peter O iver, , pupil, and collaborator of Isaac Oliver of the last reign . He has developed a most delicate and truthf u l style, and his work takes a wid“er range than that - Of any previous portrait painter in little . Noting h“is precision, King Charles employed him to copy in little many o f the masterpieces in the Royal

- Collection, in water colour . He was equally successful in the use Of Indian ink several etching exan le s fp are at the British Museum, and one Of

Th e the most delicate , Holy Family and St John

t R . Bap ist, after aphael , is at Windsor Castle He “ ” so - painted also in Oils, in large, and many called

D cks Van y are undoubtedly by his brush . In miniatures Pe ter Oliver excelled both in por

- t t rait u re and subject composi ions . In the Jones

Collection, at the Victoria and Albert Museum, is ’ a very beautiful copy o n vellum Of Titian s Flight — into Egypt signed and dated 1 6 2 8— it was painted for the King . In the Salting Collection is the Earl of Pembroke in the Wallace T — Collection is homas, Baron Coventry, Lord

o f — Keeper the Great Seal, and there are examples

o f in the collections of the Duke Buccleuch, Mar

o f quess Exeter, Earl of Derby, and Mr Burdett

t h e Coutts . Like his father, was successful in exactly filling his egg shapes without traces 84

BRITISH PAINTERS

’ hi of somet ng Holbein s ruddiness . Hoskins died 4 in 1 6 6 .

1 609 was Samuel Cooper, born in London , a

o f hi s h e pupil uncle John Hoskins, but had a

Of f great feeling for the manner Van Dyck . A ter working patiently for a time in England, he went

’ — f u to France and Holland, care lly noting missals ,

ou t miniatures, and portraits . He stands as the

o f greatest limner the seventeenth century . He wa s the first painter in Britain who imparted the fulness and vigour of large canvases to rninia

t ture treatment . Breadth and dignity are his t salient characteristics . His pain ing is remarkable

his for the nobility of the features, the even flow Of l pigment for hair, and for the singu ar clearness o f fle sh - his tints . Alertness Of expression he imparted to his faces which have all the force Of

Th e i o f spontaneity . dist nction pose Cooper gave his portraits struck Van Dyck so forcibly th at he set to work t o learn his method and imitate his treatment . He belongs , however, to the Common

and wealth the Restoration . Samuel Cooper died — ’ 1 6 7 2 . e in Alexander Coop r, Samuel s elder — l was i . brother, also a pupi of Hosk ns He painted canvases and miniatures, both in Oils and water colours . He went early to Flanders and Sweden, — where he was honoured by commissions from

H is . is Queen Christina work excellent, the draw in ul o g partic arly go d, but he lacks something 86 PLATE VII THE AGE OF INNOCENCE

S I R . . . BY JOSHUA REYNOLDS, P R A

Co uld one wi sh f o r a greate r c ontrast in po rtraitu re th an o r H eathfie ld and s e r e ar n o o s on L d thi p f ctly ch mi g c mp iti . — Re nold e excelled in bo th limits o f his art stro ng me n and H ad h e ee n a a n e r o f the a an n e n h c i d ren . p i t t li ci qu ce to e h b“ —I wo uld have aint e d T he H oly Child h e did paint a bo yish ” “ ” a i and ea Of r W St Joh n pt st H ds Ch e ubs. e h ave not be e n to ld who t h e little girl was perh aps a little pl aym ate o f th e painter in Hyd e Park ? T he arrange m ent is as n atu ral as oss e : th e se es so e n and is ra e r s ar e p ibl child m thi g , th t tl d . ’ i a o ne o f Sir o s a s e s - e ar n an a This s h ppily J hu b t w i g c v ses . The Age o f I n no cen ce was painte d 1 783 - 1 787 it is now in the a ona a er ra a ar are . N ti l G ll y, T f lg Squ

THEIR STORY AND T HEIR A RT

o f di Of the vitality his brother . He ed in London Co urt Painte rs o f In 1 6 59 . th e Stuarts Another foreign artist Of eminence must be named for the important part he played in the

- o f ni e Art culture the kingdom, Niccolo La er called in British catalogues Nicholas Lanier .

In 1 56 8 Born in North Italy , he came with his

t o parents London when he was a young man .

He was a painter, musician, connoisseur, and

n Of raconteur, and duri g the reign James I . became

O as the centre f an artistic circle . He w quite

f wh o the sort of man to be use ul to King Charles, employed him, as he did Endymion Porter, in the discovery and purchase Of Italian masterpieces

Th e for the Royal Collection . King made him

- his Private Closet Keeper, with an annual pension

£200 n t o of , and assig ed him the care Of his Art

o f treasures . At Windsor are some his drawings —in originals and copies crayon , very well done .

Of Lanier was also a collector etchings , a liberal

o f - patron British artists, and a never failing medium be tween his Royal master and painters seeking

R . oyal favour His portrait, probably by himself, is in the Schools at Oxford—well posed and painted . Nicholas Lanier lived chiefly at Green

n wich in apartments given to him by the Ki g,

1 646 - and there he died in , broken hearted, it was

c o f said, at the mena ing misfortunes the Sovereign he loved and served so well 89 BRITI SH PAINT ERS

In 1 6 29 came over the sea t o London a very distinguished envoy from the Low Countries ” o f R the Prince Artists , Peter Paul ubens . him R Charles received with almost oyal honours ,

to l R and persuaded him paint severa oyal portraits, and above all to decorate the ceiling Of the Royal

Th e o f Banqueting Hall at Whitehall . theme this work was the Apotheosis of James I but it never made any appeal t o the Master ; never t h eless the composition is a mast erpiece Of arrange ment, equipoise, and colour . Moreover, it served

f u s — no was a very use l purpo e, as doubt it intended

- to do by the King, for it became an inspiring

’ t u model f o r British decorative pain ers . R bens s impressions o f England and British Art were

s expre sed in a letter he wrote to Mons . Dupuy, a Th ” French friend . is Island , he wrote, seems t o me a place well worthy the curiosity o f a man o f a o n t ste, not only account of the charm of the

of country, the beauty the race, the outward appearance o f luxury proper to a wealthy people happy in the enjoyment Of peace, but also on account of the incredible number Of excellent pictures, statues, and antique inscriptions belonging ” a - to the Court . Al s , that this warm hearted i appreciation should have received, with n a little more than a decade, such a fanatical repudiation ’ During Ru bens s stay in England he advised the King to purchase the celebrated Cartoons Of 90

BRITISH PAINTERS

Th e coming Of Anthony Van Dyck was the opening o f a golden epoch in the annals of British paint

. 1 5 59 ing Born at Antwerp in , he became a pupil

Of R successively Van Balen and Peter Paul ubens . At nineteen he was admitted a full member o f the ’ of Artists Guild, as a painter religious subjects .

’ 1 6 2 1 h e In visited London , then made a student s trip through Italy, and settled for a time at Genoa , —where he painted more than 1 00 portraits ” o f the wealthy Beauties of the Proud City . In 1 6 32 he took up his abode at the Court o f R es I . Charl , and, with his oyal patron, produced some o f the most splendid spectacles that grace ” o f Of the Pageant the Painters Britain . Van

Dyck was appointed Sergeant Painter, with a

o f £200 yearly pension , knighted by the King, and given a noble suite Of apart ments at Black

T o f n friars . henceforward a succession mag ificent portraits have made forever memorable the waterway and riverside, Blackfriars to Whitehall . Th e first Royal commission to Van Dyck was a

o f large composition King Charles , Queen R ” Henrietta Maria, and the oyal Family, now at hi Windsor . Van Dyck painted the King t rty

-fiv e eight times, and the Queen thirty , and these are scattered in galleries all over Britain and the

Th e Continent . whole Court and many literary and commercial celebrities became inf atuated with the gallant bearing of the painter and with the 9 2 T HEIR ST ORY AND THEIR A RT

o f di was o r stylish manner his work . His stu o C u t nt ‘ thronged morning, noon , and night by aspirants gfé sffirzg k for the honour of a sitting . A visit to Blac friars ’ was Of quite as much a part the day s duties, for

as R fashionable people, was a oyal audience at

Whitehall . Th e most striking thing about the art of Van Dyck is the remarkable versatility with which he addressed himself to reproduce, with infinite delicacy, the seductive and varying charms of

is - h lady sitters , and, with emphatic touch, the virile attributes and characteristics Of his men

was his t o patrons . It amiable custom entertain

w o at Blackfriars, with lavish hospitality, people h him interested ; and, whilst they were discussing

ul o f the c inary triumphs his chefs, to study care f l u ly their figures , features, pose, and animation . Th e siesta found him swift ly committing to grey paper, in black and white and wash, the impressions

Of he had formed . A quarter an hour sufficed for the outlining of each subject and the fixing of the draperies : then assistants fil led in the com in position flat colours indicated by the Master, r and his own facile touch, in every pa t, finished

— so ul the portrait . Hands, beautif ly drawn and

— al coloured, were taken not ways from the sitter, for if such features were imperfect, he supplied them from models specially engaged for that

ur p pose . 9 3 BRITISH PAINTERS We must regard Holbein and Van Dyck as the

two chief revivers of British painting, and the Masters of our great portraitists of the Georgian f nfl d . o Perio Both them, however, were i uenced

O Th e by the native Art f their adopted country . unmatchable refinement of British miniaturists

r gave Van Dyck, in pa ticular, much to admire ’ u l and much to learn . Samuel Cooper s delightf

ni was lim ng, in particular, a revelation to the

Th e painter from Flanders . aristocratic manners and refinements of the Court Of Whitehall were ’ in D ck s a saw quite Van y way, and wh t he and learned he developed in the unique series o f British nl portraits upon which his great fame mai y rests . Th e last t wo years o f his life were less actively occupied with painting than had been the greater

o s part f hi career . He had married a grand — — daughter Of the Earl of Gower Mary Ruthven a — very pretty woman, and talented, to judge by her exquisite portrait, painted by her husband,

. w as o ne Of at the Pinakothek, Munich She the

hi o f — a c ef Beauties the Court, typical English noblewoman . Social duties and attendance on the King consumed all the time o f the attractive

. d 1 641 couple Van Dyck died in Lon on, , and

ul 3 was buried at St Pa s Cathedral . His influence upon British Art was immense indeed it is hardly t o o much t o say he was the St Joseph Of ” of the Holy Family British Painters . 9 4

BRITISH PAINTERS the States o f Holland despatched an embassy to congratulate the King and Queen upon the ’ a birth Of the Princess Eliz beth, at Charles s feet T T they laid four canvases by itian and intoretto . In 1 6 2 8 a magnificent addition was made to the Royal Collection by the purchase of the pictures of t e o f h impoverished Duke Mantua, Carlo Gonzaga ,

- o f R eighty two in number, chiefly examples aphael , R T . Correggio, itian , and Giulio omano Very many Of these are still at Windsor Castle and Hampton 1 6 32 R i Court . In the oyal Galler es contained four hundred and fift y- three splendid compositions

- 1 643 by thirty seven great foreign painters in , R — the last year of oyal acquisitions , the number

fift - had risen to thirteen hundred and y seven . His Majesty was delighted t o mingle with visitors

o f ask to the galleries , every age and rank, to and answer questions , and to welcome and give com R missions to artists seeking oyal favours . Never S O was a British King happy, and perhaps never

so useful .

— all Alas , and alack all this pageantry, this

—w as prosperity, rudely shattered by the grim

Th e horrors o f Civil War . King fell a victim t o

high treason, the Court was decimated and all the R artists fled . eligion and Art fell with the — Monarchy an overwhelming triple disaster for a

Th e contented people . Royal Collections of

pictures, sculptures, and antiques, indeed, were kept 9 6 T HE IR STORY AND THEIR A RT

intact till some time after the foul deed of January Co u rt a nt 30 1 649 o f ‘ , , had splashed the fair face Britain gisfésrg

R . T with oyal blood hen, in the fell order o f political corruption, the treasures were dispersed ; but not until the leaders Of the T error had taken their choice, and others, with no better

. Th e claim, had helped themselves Arts and f Cra ts were involved in the vortex of destruction, and a heavy sable pall covered in blackest night

Th e O the golden days o f Charles I . progress f the

o f Pageant Of the Painters Britain was arrested, and its p articipants Were turned t o salt and stone ! II

Th e martyrdom o f Charles I - for such it was — in truth, was the knell Of Fate to artists and

f u craftsmen ; and we fear to gaze, as the nereal curtain rises upon the degenerate days o f the

Commonwealth . When the lights are turned o n — we behold Sinister Sights irrational and implac able bands Of fanatics hounding o u t Of their hiding places holy priests and cultured laymen, peaceful artists and pretty women—to kill and persecute and pricking here and there f o r things of beauty and

o Objects of value t loot and prostitute . What chance then had the Fine Arts Of life and fruitfulness

t was Of Fain indeed the sound loom and workshop,

of the light studio and library, and the incense G 9 7 BRITISH PAINTERS

. Th e ni benefi Of church and boudoir ne comely, cent Sisters of the Liberal Arts covered their fair heads with their hoods and crouched in the

dust . Some o f the artists of the happy reign just

ended certainly remained in concealment, and x there, in deep an iety, pursued their gentle avoca R e tions . Of these were Sir ob rt Peake, William

Fait hh o rn e R rt Dobson, William , and obe Walker ;

with Peter Oliver, John Hoskins , and Samuel

Cooper . Dobson, during the Commonwealth , ” —no w Cro mbe painted John Milton, at Abbey,

and other leaders in the Pandemonium, but

he died poor and in debt, the year after the murder

Faithh orne 1 0 . 65 Of King Charles , in , having

-sh O returned from the Continent, opened a print p T near emple Bar, and still went on drawing and

e engraving . His best work was an exc llent portrait ” f 6 3 rd o John Milton in his Year, painted in

1 6 0 - it no w 7 , is in the National Portrait Gallery : R his own portrait, by obert Walker, is there too . R He died in 1 6 9 1 . obert Walker was apparently

u as a usef l instrument, as well the favoured painter — Of the Lord Protector Cromwell at least he — as w as painted several portraits Of him, and,

reported, at every sitting the Protector warned

him, Paint me as I am, warts and bumps and ’ e verything Walker s portrait of General Henry Ireton was painted in 1 6 49 ; General John 9 8

BRITISH PAINTERS i t u t on . However, in the National Portrait Gallery, w at Hampton Court, and at Dul ich, and in very

' are nu mbers many private collections , of portraits — o f celebrities of the period each marked Un ” o f known Painter . Many these compositions are excellently executed and are fully characteristic

of . l the times and circumstances At Du wich, is o f in particular, a series Puritan divines R ichard and William Perkins, Alexander Nowell, — and other controversialists and another suite Of

- c — Al play a tors , such as Edward leyn, Will Sly, F Richard Burbage, Nathan ield, William Cart

T om — wright , and Bond with many other well Th e known personages . National Portrait Gallery

Lenth all has William , Speaker Of the Long ” r Parliament William Prynne, the fie ce contro ” v ersialist ; Sir Henry Vane, the most consistent

o f statesman the day ; Edward Hyde, Lord ” o f Clarendon, the staunch adherent the Stuart ” cause ; the affable John Selden Richard ” R Cromwell , the second Lord Protector ; ichard ” Baxter, the leading divine ; and others . In connection with this list o f actors o ne naturally inquires what has become o f the scenery and decorations used for the presentation o f the

o f plays Shakespeare, Ben Jonson, and other

dramatists , during the reigns Of Elizabeth, James , and Charles

r a In Scotland, several native painters we e t 1 00 T HEIR ST ORY AND T HE IR A RT work during the Commonwealth and Restoration . Co u rt n Of these, perhaps, the most noteworthy was John fidsiifirg 1 6 1 5 Michael Wright . Born in Aberdeen in , he studied the work o f George Jamesone . He went to England and Italy, and, returning to London,

- — Of he painted the portraits , among others , ” ’ Mrs Claypole, Cromwell s favourite daughter, ” ”

R . Colonel John ussell , and General Monk

Evelyn calls him That famous painter Mr Wright . At the National Portrait Gallery are Mrs Clay ” ” T Chiffi nch o f pole, homas , Keeper King ’ II s T Charles . jewels , and homas Hobbes , the philosopher and writer : at Hampton Court

- in is the comedian Lacy, three characters, painted in 1 67 5 . Wright then returned to Scotland and painted many portraits—that Of Sir William Bruce is o ne o f the most beautiful and highly ’ finished compositions in the Kingdom . Wright s style is notable for clever characterisation, good o f disposition light and Shade, and a very pleasant o blend f colours .

T O t o — turn once more political affairs , the nation became wearied with the travesties o f government and justice under the Commonwealth, ’ af mi and, ter ten years of distemper, men s nds began to return to a more healthy condition . Remark able for it s natural affinity t o monarchical inst it u t a Ofi ions , the country c st the Cromwell incubus . o f r R By one the weird pe versities Of Fate, ichard 1 01 BRITIS H PAINTERS

’ — o n his e Cromwell , acclaimed Lord Protector fath r s — death, was more of an artist than a statesman . Upon the restoration Of the monarchy he fled

t o aintin France, and spent his time in p g and

reading His portrait, by an Unknown Painter,

t - h is at the National Por rait Gallery, per aps it

— - w as painted by himself a good looking young

a . R man, but l cking character ichard Cromwell

o f lived through the reigns five British sovereigns , and he witnessed the revival o f the

Crafts . Q

1 02

BRITI SH PAINTERS

the clank of swords and Spurs , the rattle Of kettle d o f rums, with the blare trumpets , strike upon

r T c a . every Father hames is once more himself, for splendidly decorated barges , weighted with

o f - hosts merry making citizens , sweep up and down the tideway . Court and city are at one in their “ ” o f greeting Charlie . Ambassadors from foreign

r t o States, in all their fine y, are in line welcome

S o v erel n — the g and offer, as they did to his august — father, art treasures , with their deep obeisance .

- 2 9 It is Oak Apple Day, May , in the good year t 1 6 6 0 . a o w , and Charles II has last come into his n . Th e Arts and Crafts remove their mourning

r - veils to hail another a t loving monarch . Every studio and every workshop is as busy as can be,

o f preparing for the new era prosperity, and they ’ t o will not have long wait . His Majesty s lengthy d sojourn in early manhoo , in France and the Low

Countries , had not only introduced him to the

o f O o r manners foreign Courts , but had provided pp t u nit ies NO O f for artistic culture . class men abroad interested the young Prince more thoroughl y than painters : they were able to reproduce in “ ” miniature, and in large, the verisimilitudes of the fair ladies and the fair scenes he loved ; and

e i Charles reckoned them among his dear st fr ends . Quite naturally artists and art - lovers o f every degree sought his patronage, and followed in the

a a Roy l suite across the se . 1 06 TH EIR STORY AND THEIR A RT

One o f the earliest acts of the new King was c o urt a n the promul gation of a Royal Proclamation requiring grtigfiizri: the immediate restitution of the scattered treasures

t Th e - of the Royal Collec ions . carrying out Of this Royal command met with unsurm ountable

-ln - diffi culties . An Order Council of the Protector

s All wa discovered, which ran thus pictures that have representations o f the Second Person

T of Of the rinity, and the Virgin Mary, shall be ” forthwith burned . Who can tell what great masterpieces for ever perished in that sacrilegious

who frenzy Many nobles and others , however,

o f R had possessed themselves oyal property,

t o hastened restore their pelf . Th e States o f h Holland, under w ose banner Charles had been secure, having acquired many objects which had

r sea c ossed the , now made an Offering of them to the new King . Charles repurchased many Splendid o f canvases, pieces sculpture, and other precious

! o f objects , but after all, alas some the principal

d o so d pictures remained, and to ay, in the posses sion o f foreign galleries . Th e Pageant of the Painters o f Britain passes once more into the full blaze Of popu larity

t o and prosperity, and all the artists move a

Of lilting measure . Of the Masters the two past ’ - di decades, be ght again with their painters robes and — jewelled medals, march John Hoskins and aa Samuel Cooper, Is c Fuller and John Michael 1 07 BRITISH PAINT ERS Wright —with two new aspirants to limning

—T o n honours , homas Flatman and Nathaniel Dix ; “ ” t wo R and tyros, in large , Francis Barlow and obert

ul w as a o Streater . F ler, indeed, born quite long g , 1 609 in , and early went to France, where he studied

— - under Francois Perrier a French decorative painter R Of distinction . eturning to London late in the reign o f Charles I he opened a painting studio in Blackfriars, and attracted many pupils . His speciality was wall and ceiling painting, which ’ Ru bens s received great encouragement from visit , and his canvas -work in the Banqueting Hall at ’ t o Whitehall . Fuller s best work is be seen in

T s the College Chapels at Oxford . hese compo itions

—wh o called forth eulogies from Addison the poet, was - o f t himself a connoisseur collector distinc ion . ’ Fuller s portrait, painted by himself, hangs in the ’ l 2 1 4 . Hall of Queen s Co lege . He died in 7 This mention o f the decoration o f ceilings and walls, with subject compositions , is interesting,

s a indicative Of a fashion which, although universal in Italy and France, never became popular in nl Great Britain . Certai y there were vast bare

- wall spaces and open timber work in church,

- dl f o r palace, and city hall calling lou y decorative treatment, but little beyond heavy gilding w as

’ . Th e ru o f III attempted f itful , happy days Henry . s Greate t ables and ceiling panels had passed a o h ad n long g , and men forgotte the famous 1 08

BRITI SH PAINT ERS

o f - the delineation creature life . Such subjects he

drew and painted with the greatest accuracy . o f his Much work was done with a very fine pen,

and then Slightly tinted with brown and green .

Th e landscapes, in which his creatures move, — were very naturally and ful ly rendered indeed Francis Barlow may be called the first o f British

- landscape painters . His fondness for creature life

also led him to undertake the decoration of ceilings , whereon he freely painted birds o f all sorts and

o r o n . of kinds, at rest the wing Some these, and

e - 1 67 1 othe nature studies , Hollar engraved in .

now —f o r was Barlow lived, rich, now poor, he —in most improvident, Drury Lane, and there he 02 died in 1 7 . Thomas Flatman came of a wealthy family with landed property in and about the town o f

was 1 633 Diss . He born in , and entered in due

as —O f course a student at New College , Oxford,

- was which Society he became a Fellow, and , l T ater, called to the Bar at the Inner emple . His rare culture led him first Of all to poetry his most considerable publication Poems and — 1 67 2 Songs appeared in , and had a record sale . Painting Shared his love with the charms Of the ” Gentle Muse, and, being fascinated with the ’ o f mi beauty Samuel Cooper s exquisite niatures , he became his ardent pupil and imitator . In the Wallace Collection is a very beautif ul miniatu re 1 1 0 PLATE IX

THE HONOURABLE MARY GRAHAM

BY THOMAS GAINSBOROUGH , R . A .

” ’ This ch armi ng lady is the Quee n in Gainsboro ugh s Gallery ” o f o r ra s. She was t he se on a e r o f ar e s n n P t it c d d ught Ch l , i th o r a ar : sh e e a e t h e e o f o as ra a or L d C thc t b c m wif Th m G h m , L d L ne doch o ne o f the os s n s e e ne ra s in t he y , m t di ti gui h d G l en ns ar War his o r ra Sir e or e a e r is at th e P i ul ( p t it , by G g H yt , a o na o r ra a e r an eo e re ar s as N ti l P t it G ll y) . M y p pl g d thi ’ a Th e n f Gainsboro ugh s fi nest portr it . disti ctio n o high re e n o o o o s and a ea o s e are S le ndidl b di g, g d l k , b utiful c tum y h ren ere t e e n s as a n er. T he o se c o o u r an d d d by thu i tic p i t p , , ar all r Van ne tech nique e pe fe ct . Dyck ve r did anythi ng quite d so go o . ” Th e ono ra e ar rah a was a n e in 1 6 and H u bl M y G m p i t d 77 , i n w in t h a o na a er o f o an s o e N ti l G ll y Sc tl d .

THEIR STORY AND THEIR A RT

: e Charles II . by him it is o n of the very finest C o u rt ’ n t

. examples extant of British limning Flatman fiié sfszrzg painted upon a rather larger scale than the ordinary ” egg shell, and therefore he was able to give details more boldly . He never, however, quite attained the elegance and distinction Of his Master, although his pose and colours are very good and

is brilliant . In the Salting Collection are five of h — miniatures each marked by robustness o f treat ment . Flatman also painted in large the Dukes Of Buccleuch and Portland have collections of his

1 6 8 . work . He died in 8 Very little is known

s about Nathaniel Dixon and hi work . Examples may be seen in the Salting, Buccleuch, and Sotheby i Collect ons . He was especiall y successful in his

o f e miniature portraits ladies, which he dr w and di 1 640 painted with stinction . He was born in , di 1 6 9 1 and ed in .

was ml o When Charles II . fir y seated n his thron e sundry inimical Cromwellian enactments against foreign painters were rescinded, and troops Of alien artists and art izans flocked to London ’ some Of these at the King s special invitation . The city and its suburbs were once more covered

. Th e Veld es with studios and workshops Van de ,

— Th e- 1 61 0 Dutchmen, Willem, Elder ( and 1 633 Willem, the Younger ( in particular, ’ a ttracted the King s regard in Holland . They

i o f sea fi t s were pa nters marine subjects and gh , H 1 1 3 B RITI SH PAINTERS

- subjects which appealed to Charles , they came

o over in 1 67 5 . Examples f their work are at

al Hampton Court, the National G lery, Dulwich,

and the Wallace Collection . They are regarded as the greatest marine painters o f their period : their influence was considerable and lasting among

British painters . An 1 67 1 other foreign artist, invited, , by

Verrio Charles II . , was Antonio , who was born

Th e 1 6 34 . r at Naples , King placed him at Mo tlake, R to superintend the oyal tapestry works, but transf erred him to Windsor, to assist in decorating R the walls and ceiling of the Castle . Prince upert, — R Count Palatine Of the hine and Duke of Bavaria, I — of . and nephew King Charles , was the Constable

o f the Castle ; and John Evelyn , who often visited

o f Windsor, says him, His bedchamber was hung with rich tapestry and curious and effeminate ” 1 6 83 was pictures . In the quaint diarist again

- r at Windsor, and he noted the delicate wood ca vings ’ “ of Gibbons and Antonio Verrio s inert and ” Of luscious paintings mythological subjects, which he admired, nevertheless, for their full and ” Fo r flowing and antique and heroical style . his work at the Castle VerriO was paid the great

su m £7 000 . , in those days , Of At Hampton

Court may be seen very much of his work, but

there is very little really to admire in it . Scarcely anything more meretricious exists in all Britain ; 1 1 4

BRI TISH PAINTERS

r o f R repair and reado nment the oyal palaces, and engaged a number o f landscape gardeners t o

- - make promenades, water gardens, garden temples,

and many other alfresco delights . Th e Court was all the gayer for the suppressions

of - the last ten years , and, what with water pageants

T R o f o n the hames, parades in the ing Hyde

Park, masques at Hampton Court, banquets at J ’ Whitehall, and State receptions at St ames s , artists and craftsmen had a merry and a busy

Th e o f a time . example the Court ffected the whole

‘ Ranelei h city; and at Vauxhall, g , Chelsea, and less stylish Cherry-Gardens were opened popular

di o f h assemblies for the splay fas ion , dance, and

Th e melody . country caught up the cry o f the revellers , and once more Merrie“Eng land responded to the gaiety o f her Merry ” Monarch . This delightful mise en scene sought men to paint

it s beauties and conventions , and the search was

short and qui te successful . Among the foreign artists attracted to the British Court was Pieter — . t 1 6 1 7 his Lely Born at Soest, near Utrech , in father relinquished the patronymic Van der Facs young Pieter was sent t o Haarlem to stu dy under

re r Franz Hals and Pieter de G bbe . He made

such excellent progress that, when the artistic

Set c 1 641 Stuart delirium in, he ame to London, in , t o paint historical subjects and landscapes . Van 1 1 6 THEIR ST ORY AND T HEIR A RT

’ Dyck s splendid gallery o f British Beauties Co u rt a nt ‘ ni asto shed him, and very cleverly he adapted gisflfzrg his Dutch manner to the characteristics o f British portraiture . Charles I . employed him to paint

t o k his portrait, and do other wor ; but , when

Cromwell subverted art and the realm, Lely bided Af t his time . er that debauch had passed, he became Sergeant Painter to King Charles II . , and t confidan to the Lady Anne Hyde, who had

th e o f married Duke York . It was the Duch ess wh o suggested to Lely the ravishing occupation o f painting som“e of the beau o f t e his tiful women h Court. In Mémoires de ” Grammont, Hamilton says , Lely brought to bear upon the task the full battery o f his Art he could not have wished for more delightful ” is Th subjects ; each portrait a masterpiece . e — Windsor Beauties as they are called to - day consist o f the twelve gayest and most elegant ladies of the Court , headed, quite correctly, by T the Duchess o f York herself . his suite is unique

n o f as in the a nals British painting, and, we behold these lovely portraits , now at Hampton Court, a ravishing pageant of beauty, fashion, and petulance

o u r o f moves across mental line vision . Pose and drawing, form and colour, animation and cama f l tions are equally delight u . Coquettish glances point the fervour o f inviting lips and naughty

Cupid keeps u s in thrall . No painter o f British 1 1 7 BRITISH PAINTERS

a tou r beauty, not even Van Dyck, has achieved hi de force like t s .

was f u Lely no less success l with his men sitters . One o f the best portraits in the National Portrait Gallery is that o f the handsome and gallant Prince

Rupert . His sharply featured face and determined expression are well set off by the Garter robes he wears . At Magdalene College, Cambridge, is

— o f Samuel Pepys tailor, Minister the Crown,

—in - and diarist full bottom wig, with broad Spread face and piercing eyes . In the same Gallery are portraits of t h e leading nobles and statesmen o f ’ I s Charles I . reign . Lely also painted historical compositions, some of which are at Windsor Castle . Some o f these fair ladies are also at the National t l n — Portrai Gal ery, including Nell Gwy ne with

! T r t o o is — a lamb he e , , Mary Davis who, if

not exactly a beauty, was a plaything of the King — the popular actress and dancer . It was said

h o ne t at, day seated by the side of Charles in Hyde Park—when her dancing had particularly pleased

— - his Majesty h e slipped his Royal Signet ring upon her marri age finger ! Mrs Pepys describes Moll Davis as the most impertinent slut in the

world . i Lely h ad very many native and foreign pup ls ,

o f h lace au x dames and t em, p , Mary Beale

was stands out with distinction . She a daughter

111 an d o f Mr Craddocks, a clergyman Sussex, was 1 1 8

BRITISH PAINTERS

t e h happily he was addic ed to int mperate abits, — and died suddenly in 1 67 6 the victim o f a tavern

brawl . Greenhill has been described as the most ’ ” o f Lel s excellent but most dissolute y pupils . Another considerable Bri tish painter was John

R 1 6 46 . was son iley, born in London in He a of

R - o f T the ecord Keeper the ower, and Lancaster R t u Herald . iley s udied under Isaac F ller, but his diffidence unfortunate withheld public appreciation,

o f until after the death Sir Peter Lely . Walpole calls him one o f the best native painters that have ” flourished in Britain . Some examples of his work

are in the National Portrait Gallery, including the famous portrait o f Charles 11 wh o once

r terrified the poor ne vous man by exclaiming,

when he beheld his likeness, Is this like me ’ Th od d sfi sh en, , I m an ugly customer, and no

” ’ T i be as mistake . h s may taken a token of Riley s — power of characterization the touch o f British

f u . truth lness At Christ Church , Oxford, is a R humorous painting by iley, which he called Th e ” t saw Scullion . He pain ed directly what he ,

r without tonin“g down o convention . Th e expres sions of his faces and the articul ations of his R hands are very well done . John iley died 6 1 in 1 9 . 11 a In 1 662 King Charles . m rried the Princess

o f — a Catherine Braganza diplomatic arrangement, f o r sh e no o r made appeal to his heart , eye, or 1 22 THEIR STORY AND THEIR ART mind ; but sh e brought him a goodl y marriage C o urt — a rl t ‘ T , , f u di dower angiers Bombay and ll tra ng rights gl é sflfzrg in India . She never joined the revellers in Hyde

Park, but hid herself at Somerset House what

ul time Royal mistresses r ed the King in Whitehall . Her coming to London was in a splendid water — pageant painted and dressed by the artists o f

of the Court . She was a simpering sort girl,

- fit t in es dressed in ill g Portugu e costume, and devoid

o f . e intellectual gifts Her bedchamb r at Whitehall , so nl Pepys says , hath o y some pretty pious pictures and books of devotion and her holy water ” The o f stoup at her bed . embroidery that bed, £3000 ! R however, cost Charles eally, the new Queen cut a very sorry figure beside such Beauties as l Lizzie Killigrew, Barbara Vi liers, Louise de

u é rou alle rt Q , Frances Stewa , Mary Hamilton, ” and . captivating, naughty Nell Gwynne Th e loves o f the Merrie Monarch formed the most romantic passages . in the panorama o f his

: reign Loves that did much, very much, in their mounting for artists and craftsmen generally . There are three po rtrai ts o f Queen Catherine in

t r the Na ional Portrait Galle y, each by a foreign — artist perhaps that by Jacob H u ysmann is the best . 1 68 1 . in 1 5 Charles died at Whitehall Palace , leaving a childless widow . He and his father

or t Charles I . did more f Art and Craft in Bri ain 1 23 BRITISH PAI NTERS

a T th n any Sovereign since Henry III . hey have left impressive marks upon the pages of British history and upon the records of British Art .

’ o f James, Duke York, the King s only brother,

. e succeeded to the throne as James II , at the rip

- w as age o f fift y two . With him crowned Queen — ’ — Mary Maria Beatrice d E st e of Modena whom 1 6 7 3 he had married in , soon after the death of

- at —b Queen Anne . His portrait nineteen y Lely , ’ - at St James s Palace, shows a good looking young

ffi o f man, in the armoured uniform of a staff o cer ’ r Marshal Tu renne s a mv . It is a very character ist ic rO h et ic a composition, and somewhat p p with l , for his sensuous mouth and melting eyes are indica

r tive of want of grit . C eated Lord High Admiral

1 6 60 f o r in , he adopted seamanship his career, and with marked success . By his victory over the Dutch he gave his name t o the New York o f d d d to ay . It nee e , however, a stronger man to deal wit h the political and religious animosities of the day . James never possessed the popularity of his predecessors , and the mysterious and premature deaths o f his children excited general suspicion

Th e — a and distrust . Queen perfervid Catholic

’ never conce aled her dislike f o r her Consort s

sh e h 1 6 88 subjects , and, when gave birt , in , to

r s s z P ince Jame Francis Edward, he wa stigmati ed as Thi as a suppositious child . s w the signal for revolution . 1 24

BRITIS H PA INTERS

—t o c o m Lucy Walters pose to Lely . Charles mand ed the t wo artists to paint the Royal portrait

so t o . at the same sittings, as not fatigue his Majesty ’ l Kneller s portrait was finished first, and so bri liantly was it execut ed that it earned the unstinted admi

o f . ration his rival Quite naturally then, when

Lely died, the King appointed Kneller his successor as Court Painter . At the National Portrait Gallery ” o f — are his portraits King James II . which, if ’ Lel s di more mannered than y , have still much in ’ idu alit v y . At Hampton Court is Kneller s portrait — o f Qu een Mary painted in the dress sh e wore

o f c at the marriage her stepdaughter, Prin ess

Mary, who was destined to succeed herself as Queen ’ o f T . the hree Kingdoms Kneller s renown, however,

t o belongs o the dual reign f William and Mary . 1 6 58 Willem Wissing, born at Amsterdam in , ’ s 1 6 6 Lel s ettled in England in 7 , and became y chief assistant . He was appointed Sergeant

t o H is Painter James II . work is marked by i good tone and solid ty, with strong colours and

was d individuality . It said that, when la y sitters

s t o looked pale and weary, he cau ed them dance lively measures t o heighten their colour ! At mi Mrs Hampton Court, the snamed Gwynne ” —a t o (Nell) n ked, with a Cupid, is now known ’ be Wissing s splendid and lifelike portrait o f

Queen Mary Beatrix .

a 11 a a t o a . King J mes . m de many dditions Whiteh ll 1 26 PLATE XI “ M RS MARK CURRIE

R A . BY GEORGE ROMNEY , .

’ Ve ry many lo vers o f pre tty wo m en thin k onl y o f Romney s ” ” a an Mrs ar rr e s a e ee n Emm d Perdita . M k Cu i mu t h v b i s h r : a a quite as attractive . One s truck by e e yes h ve th e y na ra as or is a o en o f er ? H er air was tu l c t, it t k witch y h ’ o ne s re : os aint e rs a re s e a rn o s. R m y lu m t r dmi impl , ubu l ck ’ Mrs M ark Currie s maiden name was Elizabe th Cl ose : sh e was R m ’ arr e at e e en in 1 89 . is is o ne of o ne s os m i d , ight , 7 Th m t eas and naf e e or ra s and oro a o f his y u f ct d p t it , th ughly typic H h a f i rs in piqu ant style . e se t t e f shi on o clothing h s sitte s e e s n o ns fichu s and na e impl , whit mu li g w , with tty littl - ribbon bows. Mrs ar rr e was a n e in 1 89 and is now in the M k Cu i p i t d 7 ,

a ona or ra a er ra a ar are . N ti l P t it G ll y , T f lg Squ

THEIR STORY AND THEIR A RT

Th e r Banqueting Hall , built by his g and Co urt n ‘ I . o f father, James , after the removal Queen fié éfgrg ’ was e Elizabeth s flimsy pavilion, d corated in the

- Verrio u r new Italian French manner by and Lag er e .

Th e latte r came to England in 1 6 83 . A pupil of

u was Charles Le Br n , he a capable draftsman,

but as a colourist crude and unattractive . In the

o f s 1 1 absence Briti h decorative painters James .

him o took into his service, and he st od high R in oyal favour through the following reigns . B oth Verrio and Laguerre attracted many British

pupils, whose artistic work may be seen in many

country mansions, where better schemes have t no replaced their work . 1 688 King James abdicated the throne in , and

t o fled France, whence he made many attempts to regain his Crown but without success ; the Battle of the Boyne left William and Mary in

o secure possession . Once more the curtain f the Theatre o f the Fine Art s is lowered upon the Pageant of the Painters o f Britain amid the

and o f hi clash o f arms the din raucous s bboleths . Political unrest and religious rivalry drove the — Arts and Crafts into retre at a retreat which

became wellnigh a grave .

II i Je ma n tien dray, embroidered in silver on the crimson and damask o f the canopy over I 1 29 BRITI SH PAINTERS

i of r the Cha r State at Hampton Court, st ikes a t his l new no e in British tory . Wil iam bore this

c T cognizan e when he landed at orbay . Th e succession to the British throne was settled upon f o . hi s r the issue James II by fi st wife, Queen Anne, to the exclusion o f his two sons- the Princes

s — Jame and Henry by Queen Mary . He had been compelled by the political situation t o bring up the Princesses Mary and Anne in the reformed

i Th e ns . l rel gion former, greatly agai t her wi l,

a o he m rried, when no more than fifteen years f t — l age, . to the Du ch Stadtholder Wil iam III

o Prince f Orange . Mary positively reject ed the

sh e l as proposition that should reign a one Queen,

i o n his t c e as and W lliam, par , de lin d firmly t o ’ be his wife s gentleman usher consequently

o t nst e they were crowned t gether at Wes mi er Abb y . l a t o i Wil iam had , in Holland, le rnt d ssimulate

l s l his rea opinion , and he was equa ly content t o be credited in England with religious and po litical predil ections to which he coul d lay no serious

Th e c of his i ai claim . suc ess campa gn ag nst his

-in - in him Royal father law Ireland, placed in the ambiguou s position of head o f the Prot estants l i . a in Brita n His re delights were hunting, women,

mi . his e s and litary exercises Like pr deces ors , he o f a was a true connoisseur feminine be uty . He his if n never really loved w e, and openly ack ow — ledged his tw o mistress es Elizabeth and Anne 1 30

BRIT IS H PAINTERS

William and Mary employed many artists and Th e craft smen . Queen herse lf commissioned Kneller to paint the Hampton Court Be auties — portraits of the eight most prominent ladies

s of o f the Co urt and favourite the King . She

i : t o had two motives for th s enterprise first,

o f -in - emulate the daring her sister law, Queen

n e t o A ne, at Windsor, and s condly, give her Consort an agreeable surprise when he returned from an f unusually long absence rom London . Kneller

t o R c o rmnand enthusiastically responded the oyal , and did his utmost to rival Lely and his Windsor ” s a of Beautie . Al s, the piquant charms Charles ’ I I s no . fair fascinators found complement in the

s rant es o f pro aic figu the Marian regime . Kneller could not invest his portraits with an individual hi in interest w ch was lacking the originals, yet n his s n he well deserved, for doi g be t, the k ight ’ d him o wn hoo , conferred upon by the Queen s s hand . One other commis ion he executed for the

— - Royal couple a series o f subj ect composi tions dealing with the progress of King William to

. e in 1 6 92 l England He also paint d, , very wel , the portraits of th e King and Qu een now in the National Port rait Gallery ; where are also his ” s o f trongly painted portraits John Locke, the ”

47 . philosopher, and Sir Isaac Newton, at

wh o e R l Another painter, enjoy d the oya patron a e was si o f his g , Willem Wis ng the last reign ; 1 32 T HEIR STORY AND THEIR ART

Mary in the National Portrait Gallery is Co u rt — n a splendid piece o f portraiture a masterpiece in Ri ggit: is character and charm . Her face sweet and o f pathetic, telling a gentle and chastened spirit, bearing stoically the contradictions o f her exalted e station . Earl Spencer po ssess s another well

a painted portrait by Wissing Frederic Herm nn, — Duke o f Schomberg the famous soldier of

wh o 7 8 o f a e his fortune, , at years g , threw in lot ’ of with William Orange, and met a hero s death t at the Bat le of the Boyne . This is a remarkably h c aracteristic composition, the pose virile, and l the colours bold . In the Nationa Portrait Gallery

o are five other examples f his work . He died at

’ Wissin s Burleigh in 1 6 87 . g manner greatly affected the men wh o followed him . was i Laguerre , the Frenchman, comm ssioned ’ by King William to repaint Mant egna s famous ” Th e T o f a 1 nine panels, riumph Julius C esar

It had been purchased by Charles I . and was recovered by the Proclamation of his su c T cessor . his throws a light upon the present condition o f many o f the masterpieces of famous Italian and Spanish painters in the Royal l Collections and in pub ic and private galleries . British A rt had become debased under the pressure

of so Dutch, Flemish, and Italian daubers , that it was easier and more profitable t o rest ore old

i t o Th e p ctures than compose new ones . Pageant 1 33 BRITI S H PAINTERS o f the Painters o f Britain was now passing

o f a through a deep valley, where rays rtistic genius

of were faint, and the shadows incompetency deep . T o add t o the general depression t wo calamitous c o nfla rat io ns in —1 6 9 1 g , quick succession and — 1 6 9 8 reduced the grand old Palace of Whitehall ”

. n almost to dust Evely , in his Diary, notes , 2oth 1 6 9 8 l ” under January , Whiteha l is burning . dl 1 6 94 i Queen Mary died sa y in , and King W lliam reigned alone for eight years more : they left no offspring . ’ Queen Anne s succession was in no sense an inspiriting event in the history of the British

th e throne, nor an encouragement for exponents

s o f the Art and Crafts . She cared very little for politics , and submitted tamely to the paramount

of o f influence Sarah Jennings , the Duchess

sh e was a Marlborough . Intellectually, the le st distinguished o f her race sh e took very little interest in art and literature, and found no pleasure in — music and the drama . Nevertheless with her — good looks and beautiful hair sh e loved t o be in the fashion ; and, perhaps , her Court was less dowdy and deadly du ll than that o f William and ! Mary . Her boast was I am entirely English ” Th e Pageant, which had nearly halted many

t o times, now came a stop painters laid aside their brush and their palette, and the Fine Arts prepared for a time of slumbe r . 1 34

BRIT ISH PAINT ERS

critic and writer, and as a collector of drawings

and engravings . Dr Jonson describes him as ” better known by his books than by his pictures . ” o n Th e T of His essay heory Painting, had much

art influence upon the few students of the time . He wro te also An Essay on the Art of Criticism ” 1 7 1 9 as it relates to Painting, ; An Argu ment in behalf o f the Science of a Connoisseur 1 7 2 1 and, after a visit to Italy, in , An Account ” o f of some the Statues , Pictures , etc . , in Italy . At the National Portrait Gallery are six o f his

o ne o f — portraits, and himself they are marked by much individuality and truthfulness . Th e

Heads are drawn well and nicely coloured .

o f At Kensington Palace is his portrait William, ” ’ first Earl Cowper, in Chancellor s robes, painted 0 R in 1 7 8 . ichardson never seems to have received R 1 45 the oyal recognition : he died in 7 .

Jerv as r 1 6 Charles was bo n in Ireland in 7 5 . mi ’ d Co ng to London he joined Kneller s stu io, where ’ he was put to make copies in little of Raphael s

Cartoons . Having ample means he went t o

R t o ome study Italian art, but soon returned to

London, and married a rich widow . Wh en Kneller heard that Jervas had set up a coach -and four he slyly remarked if his horses do not draw better than their master, he will never get ’ t o his journey s end Jervas affected c o n ni and summate va ty, , once, when he had made a 1 38 THEIR STORY AND THE IR ART

copy o f a picture by Titian he placed it by the Co u rt a n t o f T it side the original, and exclaimed Poor , flé sféirii ’ w t l ! Jerv as is how he ould s are, wou dn t he represented by six portraits in the National Portrait

Gallery . Sir James Thornhill was quite the foremost

British painter in the reign of Queen Anne . He was 6 6 born in Dorsetshire in 1 7 . His family becoming i hi impover shed, he determined to devote mself and V to the Fine Arts, , with this in iew, he went

o f T a to London, and became a pupil hom s Highmore,

Sergeant Painter t o William and Mary . Making little progress he went on his travels through France

and Flanders , and returned to England with

excellent credentials . Introduced to the Queen sh e was taken by hi s good looks and courtly — manners sh e commissioned him t o undertake ’ the decoration of the dome o f St Paul s Cathedral — herself choosing f o r subject the History o f

i was o St Paul . Th s the first great work f the

it s kind executed by a British artist, and success placed Th ornhill in the first rank o f decorative painters . Many nobles and others, having town t and country mansions , chose him to pain their w o f Verrio u r alls and ceilings , instead and Lag e re . ’ r At Hampton Cou t, in the Queen s State Bedroom, ’ — is Thornbill s ceiling a mythological rendering — of Aurora with the features of the goddess ’ those of Queen Anne ! Thornbill s masterpiece 1 39 BRITIS H PAINTERS h i is at Greenwich Hospital , w ere he painted mar ne

features and trophies ad libitu m. He was t he first to work ou t a scheme for a British Royal

o f 1 1 1 Academy Painting . In 7 was held the first ’ public Exhibition in Great Queen Street, Lincoln s l Inn Fields , with Sir Godfrey Knel er as President . Painting in Scotland suffered depression all through the Stu art period in England ; very few Sc otsmen appeared t o keep unf urled the twin ” o f banners the Lion and the Palette .

T s i 1 663 homa Murray, born in M dlothian, in , joined tthe De Critz studio in London ; but he

was of R impressed by the manner John iley, and

fo llowed his example, by painting only faces and t hands , and paying assis ants to do the draperies

H is and accessories . draughtsmanship was good

his and colours refined, and he imparted considerable

Tw o o individuali ty and character . f his portraits are in the National Portrait Gallery Sir John ” ’ o f B Pratt , Chief Justice the King s ench, and ” William Dampier, the navigator . A full length portrait by him o f Queen Anne hangs

- - - in the Stratford o u Avon town hall . Murray is

in i o n well represented many private collect ons , 1 34 both sides o f the Border he died in 7 . William Gouw Ferguson (1 633 with the

ou r alls — Ge o r eh and three S c g David, John, and g nl David Paton, are almost the o y Scottish painters of this pe riod whose works are t o be seen in th e 1 40

BRITIS H PAINTERS

is o and her ladies and cavaliers . It n t a little interesting t o note that these two boon companions — hl were painted the Queen by Mi—chael Da , the Duchess by Sir Godfrey Kneller in exactly the same pose and costume ; these portraits are in the National Portrait Gallery . Queen Anne

2 1 7 1 4 . t o e died August , Her coffin was said hav been the largest ever made f o r a Royal corpse perhaps it bore also the wraith o f Painting The Pageant o f the Painters o f Britain is in mourn f t o act ing, but there are hardly suf icient painters

- as pall bearers .

1 42 PLATE XIII “ THE PATERSON CHILDREN

R A SI R B . . BY HENRY RAE URN,

It is interesting t o place pictures and portraits o f similar ara er f eren a n ers s e s e f o r c om rison ch ct , but by di f t p i t , id by id , . ’ ’ “ Rae bu rn s gro up h as an affinity f or Rom ne y s T he pporsle y ” h fi o f ar r n . o ere me t t e f res n Child e B th w by . di culty ti g n a e r juvenile attenti on with o ut co str int . Th es th ee yo u ng e 0 ple we re t he child ren o f Mr and th e H ono u rable Mrs Pa e rson o f as e n s e is rre ressible in o t C tl Hu tly . Mi chi f i y uth , o and t he bo y in blue is typical th e reo f. e simplicity f re a en and o f o o r add t o s ar n ro t tm t c l u much thi ch mi g g up . a n e in 1 90 and now in t h e o sse ss on o f ar es P i t d 7 , p i Ch l J . C . - - a b i a e rso n Es . a rea r n son o f t he o n red P t , q g t g d y .

CH APTER V

TH E GOLDEN AGE OFBRIT ISH PAINT ING (1 )

1 7 1 4- 1 837

No o en A e reign, since the Arts have been in any estima G ld g

h r tion, produced fewer works t at will dese ve the ” attention of posterity, than that of George I . of In such caustic words Horace Walpole, Earl

Oxford, speaks of the parlous condition of artistic

Britain at the beginning o f the eighteenth century .

Painting had sunk to the lowest ebb .

‘ On the demise of Queen Anne, without living issue, the British Crown reverted to the female

o f line, and George Lewis , the Elector Hanover,

hr t ough his maternal grandmother, Elizabeth,

of o Queen Bohemia, the eldest daughter f King I . . was fift James , succeeded to the throne He y

o f i t o four years age, marr ed the Duchess Sophia of Dorothea Zell , had by her a family, but nothing was whatever known of any of them in Britain . The new King and Queen took up their residence

of at Kensington Palace . Neither them could

e of not Sp ak a word English, and they had the slightest interest in British things . When they K 1 45 BRITI S H PAINT ERS were compelled to reside in London, they kept themselves in close seclusion, surrounded by their

German favourites and followers . Such conditions offered little encouragement t w . ne to the Ar s and Crafts However, the Academy o f T Painting, founded by Sir James hornhill and R Sir Godfrey Kneller, received oyal recognition,

th e a on and schools , attached thereto, were c rried , ’ n 1 7 34 in Sir James s house, u til his death, in . This Institution saved British painting from annihilation, and served the admirable purpose of a rallying ground for the few artist s left in drab T and dreary Britain . here they foregathered

o f masters and pupils . One the latter, Bartholomew

s Dandridge, in his Poetical Epi tle records some o f their names

Nor o ar a o r a a o s s r e w uld I , p ti l ud ci u t iv T o Sh o w wh at arti sts m o st e xce l alive H o w orn Je rvas ar son and Ken Th hill , , Rich d t , a e r and o ar Z n s and i an a nt L mb t H g th , i k A km , p i , Wh at se mblance in Vanderba nks I see And ere n a and ore sa ree wh i D ll Highm di g , H ow oo en ar e Tilliman and r t W tt , H v y , , W igh ” TO one great e nd in diff erent road s d elight .

— (Dandridge (1 7 09 1 7 58) was a painter o f po rtraits ‘ in conversations . T Wo rlled e T o this list we may add homas g , Monam Thomas Hudson, Samuel Scott, and Peter y, df a e wh o , with Sir Go rey Kneller, make up scor 1 46

BRIT I SH PAINT ERS

f o r 1 1 9 set to work his patron only, but in 7 he o ff — to make a round o f England painting portraits

and church pictures, where he could . With an eye to Court patronage he Obtained

Royal notice through his noble patron , and ousted

f is rm o r was Thornhill from some o h n offices . He

o f R appointed Inspector the oyal Palaces, and, 1 7 23 t o in , succeeded Sir James as Painter the T t o ou t of King . hen his Majesty began move T ll his German lethargy, and, passing over hornhi ,

t r - sen f o , h b fi Kent and gave im almost a carte lanche t o commission execute works at Kensington Palace . ’ First o f all he added a new wing to Wren s fine — t building the presen State Rooms . Within the

Palace he decorated the Grand Staircase, the ’ ’ King s Gallery, the King s Presence Chamber, ’ “ - the Queen s Drawing room, and many little ” ’ - closets . In the Queen s Drawing room he painted upon the ceiling an allegory o f Minerva attended by History and the Fine Arts -Queen Sophia was his — S O hia ! Minerva poor, unintelligent p Th e ceiling and walls o f the Grand Staircase he — covered with extraordinary productions a selec

of R r ou t of tion oyal se vants , in and perspective, l gazing at the spectators , ike the figures of a gaudy — canvas of any travelling circus Shades of Rubens and Streater ! Kent as anarchitect and painter is a typical exponent - o f the debased condition of British Art in the first half of the eighteenth 1 48 THEIR STORY AND T HEIR ART

T o century . He built the Horse Guards , the reasury, G lden Age — ( 1 and Devonshire House standing evidences o f f i;31112? As was mediocrity . a gardener, Kent more acceptable, and as an expert in furniture, and ’ — was f o r women s fashions there need, perhaps, such a Master when George and Sophia and their courtiers , ate and drank, gambled and grimaced, at Kensington Palace Kent died in 1 7 48 leaving a considerable fortune . George Lambert was born In the county of Kent

0 . in 1 7 1 , and studied under John Wootten He ’ was well -known as a scene - painter at Lincoln s T Inn Fields heatre and Covent Garden, where he Showed the decorative influences o f the Roman AS school and of Gaspar Poussin . a landscapist — and one of the earliest his work is excellent ; there are examples in the National Gallery and at the Foundling Hospital . He was a convivial , o f merry fellow, first President the Incorporated

o of Society f British Artists , and founder the — ” far famed Beefsteak Club . Lambert died in

hr o r C istian Fredrich Zincke, Zinks , was born 4 ’ at Dresden in 1 6 8 . A pupil of Charles Boit the Franco - Swede miniaturist and the successor — of the Swiss P et it o t s h e came to England in 1 7 06 o n , and limned enamel excellently . His work is interesting as forming part of that fine

s o foreign chain , which linked the miniaturi ts f the 1 49 BRITIS H PAINTERS

Stuart Court t o the limners o f the Golden Age ’ o f . Zincke s th George III enamels are in e Jones, the Salting, and the Wallace Collections ; in the National Portrait Gallery we have Joseph a Addison, the Poet, and A L dy with a silken ”

. 1 6 scarf Zincke died in London in 7 7 . William Aikman—the most notable Scottish painter of the first quarter o f the eighteenth — century was born in 1 6 82 the so n o f a wealthy ’ family in Forfarshire . He was Sir John Medina s

u e most disting ish d pupil , but he went , like others o f Hi s — kind, to London the Mecca of Scottish T artists . hence he travelled in Italy and through 1 7 1 2 the Orient, and returned to Scotland in , putting up his easel in Edinburgh as a portrait — ” painter . Poor pay poor preach, however, was o f so his experience Scottish patrons , London

o f once more claimed Aikman, and the purlieus

Leicester Square in particular . His charming person ality and refined tastes were excellent credentials

o o f to the smart s ciety the capital, and he quickly rose to eminence . His art was influenced by the — — work o f Carlo Marrati (1 62 5 1 7 1 3 ) many o f whose

- R portrait compositions he copied when in ome . Aikman painted women admirably - generally within an oval : his work is refined in treatment

and is tenderly coloured, whilst his men sitters are rendered with vigour and in strong colours . Examples are scattered through country mansions 1 50

BRITI SH PAI NT ERS represented at the National Portrait Gallery by ” t en portraits, including Queen Anne, George ”— ’ and George II . the latter s being the ’ official Coronation likeness . Dahl s chief patron t o f — m was James, firs Duke Chandos the po pous Th e patron of Arts and Letters . decorations and — ’ — contents o f Canons his Grace s residence were

o f was superb, the arrangement which under ’ ’ i Th e Dahl s super ntendence . Duke s portrait is — at the National Portrait Gallery along with the ’ ’ o f Ormo nde s Duke , the Earl of Dartmouth s , Joseph Addison’s—the poet and Rooke ’s ’ and — — Shovel s the famous admirals all by Dahl . At Kensington Palace is his Prince George o f

a —a hl Denmark in an ov l shape Da often adopted . At Petworth are eight portrai ts of Ladies very much in the manner of Kneller, but less con

ent io nal v . Dahl was an excellent draughtsman

o a and a g od colourist , and his work influenced n tive 1 43 bom artists considerably . He died in 7 . Peter Tillim an was another foreign artist natura 1 6 84 lized in England . Born at Antwerp in he

t o - was apprenticed a diamond cutter, but wearying o f that occupation he crossed the sea and settled 1 7 08 in London in , where he obtained work from a dealer in copying paintings by David T enniers his the Younger . Then he turned attention t o

se a- e very different subjects , and painted piec s ,

- harbours , landscapes, and hunting scenes . He set 1 54 THEIR STORY AND THEIR ART — on fo ot a popul ar fashion that o f pa inting the Golden Age ( 3 11 o f Master the Hunt, mounted and surrounded by 1 1 23111222

his dogs . His fees were usually a guinea a day, ’ with free quarters in his patrons houses . These compositions may be see n in many country ’ Tilliman s is mansions . work marked by much

his o f care and animation, and rendition the moods

o of animals is very true t nature . He died in

1 7 34 ac t o f h . Suffolk in w ilst—in the painting a horse Joseph Highmore nephew o f Thomas High

t o — more, Sergeant Painter William III . was born

L n 1 6 9 2 . e f or o f in o don, Destin d the profession ‘ ’ l f law he early left that career for a painter s i e,

o f a and became a pupil Jerv s . He married at e a s eighteen, and then sp nt ten years a pupil at

of r the Academy Painting in Great George St eet, where Sir George Kneller showed him no little

1 2 5 o f O kindness . Upon the revival, in 7 , the rder of was t o the Bath, Highmore invited paint the

o portraits of the first Chapter f Knights . In 1 7 32

1 7 34 was a F a he in Holland, Germ ny, and r nce, t o where he learned draw after nature . Having made himself acquaint ed with the principles o f anatomy his work exhibited good technique . He was

was r a good colourist, but his finish somewhat ha d . Highmore painted excellent backgro unds and not - o a few subject comp sitions, an example Hagar and Ishmael is at the Foundling

Hospital . At the National Portrait Gallery are 1 55 BRITI SH PAINT ERS

is R t h Samuel ichardson, the novelist, pain ed 1 50 in 7 , in a beautiful garden Scene, and Henry ” 1 7 55 ’ Stebbing, the divine , in ; at the Stationers R Hall is Jonathan ichardson, the painter, and

i was art h s Wife . Highmore a keen collector Of

- his treasures, and withal an expert art critic ; Critical Examination of the Pictures of Burlington ” 1 54 7 . House, published in , was a standard work

His sight failing, Highmore ceased painting in 1 0 1 7 6 1 and died in 7 8 . 1 69 5 John Wootten, born at Durham in , was

t o f a pain er animals and landscapes . He was a pupil o f John Wyck (whose portrait o f King 11 1 . William is in the National Portrait Gallery,

o f and a fine portrait John Churchill, first Duke ” o f Marlborough, by him, is in Kensington Palace) .

Wootten spent much time at Newmarket, where he painted many famous racehorses and Sporting of s dogs . Numbers hi hunting compositions are — t o be seen in country mansions especially at

. T Longleat, Blenheim, and Althorp hey are usually upon a large Scale, and are valuable in ’ o f t the line por raiture . Wootten s work shows the influence o f Claude Lorrain and Gaspard — Poussin whose paintings he studied during a

o f . succession visits to France Nevertheless , there is a virile British touch o n his canvases which mad e his his work popular . Wootten had home at

1 7 65 . Guildford, and there he died in 1 56

BRIT IS H PAINTERS

Covent Garden, what was a bold and novel enter

— - prise an exhibition o f twenty four o f his o wn ’ pictures . In the National Gallery is Wright s curious picture, An Experiment under the Air — Pump art ificially lighted and skilfully co m posed . In private collections are such composi ” as The tions Hero and Leander, Storm from ’ ” ” T Th e a t the Winter s ale, Gl diator, and he Indian Widow —all painted in solid and rich

T of colours . owards the end his life he did much — water-colour painting chiefly in the Lake Country ; his H ead o f Ulleswat er was the last picture 1 9 he painted . Wright died in Derby in 7 7 . — Thomas Hudson who h ad so many distinguished R a pupils, Joshua eynolds mong the number 01 was born in Devonshire in 1 7 . He became son -in - of Ri a pupil and law Jonathan ch rdson, and a Fellow of the Incorporated S o ciety of ” British Artist“s . Portraiture was his manner a es t dl and he drew f c well —and unaffec e y, but never touched the draperies these he left t o his

t o H is was pupils arrange . most import ant work a Th e i o f e o f group , Fam ly Charles, Duk Marl

at . borough, Blenheim In the National Gallery ” o f is a portrait Samuel Scott , the Marine Painter the National Portrait Gallery has Geo rge ” — ’ R II . painted for the Judges oom in the Court ” of a . . c o Common Ple s ; G F Handel , the m ” o f poser ; Philip York, first Earl Hardwicke, 1 58 PLATE XV

“ S MR AND MRS JOHN J . ANGER TEIN

S IR W . . . BY THOMAS LA RENCE, P R A

T he collecti on o f pictures formed by Mr A ngerstein was purch ase d in 1 824 by t he Go vernme nt t o fo rm the n ucl e us o f e r re r - a Natio nal Galle ry . Th e we thi ty eight considerable f h u m r w o os ons or t e s o as a . s c mp iti , which p id Thi portrait o f t h e fam o us co nnoisse u r and his wife o ught assure dly b in o n on : it s o rne to ar s is a s r e r a t o e L d j u y P i my te y . F h s the ost u re s are s a e s ff and the o o rs too s e till littl ti , c l u ubdu ’ n rst ein s ea and an s ar as r T h a but Irs A ge h d h d e m te ly. e bl ck fich u sh ows th at t he Presid ent had the cu nning of the best po rtrait pa inte rs : a black to uch is e ver an e ff ective note in costume . Mr and Mrs Angerste in was painte d soon after the sale of the res : is now in the o re aris. pictu it L uv , P

THEI R ST ORY AND T HE IR ART

h o en A e Lord Chancellor, and Sir Jo n Willes , Lord G ld g ( 11 Chief Justice . Hudson succeeded Jervas as the 52511332 “ o fashionable painter f Court and City . He retired 1 7 7 5 f rom his profession in , and built a villa at

nh o f Twicke am, where he placed the collections drawings, pictures, and engravings bequeathed

-In - to him by his father law . He married twice

1 7 7 9 . but left no family, and died in — Samuel Scott in his time called the best marine painter the British School h as produced 1 0 was born in London in 1 7 . He painted in oils

- and water colours very well indeed, many regard . him as the Father o f the modern sch ool o f Water was Colour Painters . He a boon companion o f ’ H o garth s and a regular habitué of the best taverns of the day . He excelled Van de Velde in variety

sea - —so in his pictures wrote Horace Walpole . A Londoner o f Londoners he devoted his spare time to making sketches of views on the Thames and th e bridges : four such compositions are in the National Gallery, and two at the Victoria and T Albert Museum . ypographically, as well as

s arti tically, his pictures are valuable . He drew well and used brilliant colours , and his colour washed drawings are excellent . Scott died at Bath

1 7 7 2 .

T Wo rlled e 1 7 00 homas g , born in at Bath, e b came a limner of considerable merit . He made

of o n a speciality painting with Indian ink vellum, L 1 6 1 BRI TI SH PAINTERS and produced many striking effects . He also e“tched very well , worked in pastels , and painted , . h e was in large , with oils Settling in London o G intr duced at Court, and painted eorge II no w in t h e National Portrait Gallery ; in the Victoria and Albert Museum is his David Garrick ” r his as T anc ed . Extravagant in habits he gave — many proofs o f improvidence o ne such may be

o n o ne quoted . Having, occasion, a spare half so vereign in his pocket , his wife begged hard for a beef - steak dinner and a pair o f shoes ; but Wo flledge could not resist a dish of early green t o peas, and, alas , he had no change take home !

Wo rlled e g also painted in miniature in London,

and did some work as an engraver . He died in

1 7 6 6 . — Peter Mo namy the so n of poor Jersey parents

— a 1 6 0 fi rst s w light at St Heliers in 7 . Settling

in London, the lad learnt the rudiments of painting

- o n with a Sign writer London Bridge . Walpole wri tes o f him thus : T he shallow waves that rolled under his window tau ght young Mo namy

what his master could not teach him, and fitted

o him t o imitate the turbulence f the ocean . He gained considerable fame as a painter o f sea pieces : he may have been a pupil o f the Vande

r feldes . At Hampton Cou t are three or four of his marine subjects— Showing British warships o f in victorious conflict with craft the enemy. 1 62

BRITIS H PAINTERS

of it s the strength a chain is weakest link . In every Art and Craft it is not only the Great

wh o Masters make emphatic marks , for many obscure pupils and workers leave also the impress

r o f their effo ts . Th e influence o f the King and Queen at Court and in the country at large w as o f the slightest : they h ad no refined tastes and lacked ordinary

Th e o f culture . gardens their Palace became the rendezvous o f smarts and pimps and their women

o n folk, and artists and craftsmen looked and

Th e o f i wondered . sympathies the ar stocracy

o f and people education was with the Stuarts . Vulgar manners took the place o f the courtesies

l ime o f the o d reg . Base pursuits and wild specula tions in the money -market were the vogues o f the

day, until the South Sea Bubble burst and reduced

o f l t o thousands fami ies poverty .

II

o f r Th e reign George II . is emarkable in the Pageant o f the Painters o f Britain for th e rise o f the most famous painter of the Golden Age

— rt o f British painting William Hoga h . He was a nl genius, and such o y now and then flash their T brilliance within the emple of the Fine Arts . British painting was passing through the night shadows o f a gloomy decade into the dawn o f a 1 6 4 T H EIR ST ORY AND THE IR ART

a was m n A e brighter day, and the esthetic air war ing Golde g ( 6 O f ritis i so B h rap dly, that when, m a Scene from Painting ’ ’ Th e i Gay s Opera Beggars , pa nted by the new

r o f man appeared, the fe vour artistic enthusiasm

was raised to summer heat . Five years later, in 1 34 ’ 7 , the Harlot s Progress completed the full

glow of noontide , and the Pageant entered upon

one o f of the most Splendid periods its progress . Such painting was little short of miraculous there

t and had been nothing like it in the pas , nothing

one to lead to expect a new revelation . Th e birth and youth of William Hogarth gave no special promise of celebrity . Born in London 1 6 9 7 of in , the son a schoolmaster in the Old Bailey, he was apprenticed to a Silversmith, and spent years in drudgery—engraving arms and mono

o ff grams n plates . His first e ort in freehand

ul o f drawing was the res t a pugilistic episode . With three other apprentices young Hogarth set

t n out one June afternoon to Highga e, and, seeki g refreshment in the tavern , they were spectators

i t e of a free fight . One of the d sputants hit h other on the head with a pewter pot, cracked his skull, and drew forth a stream of blood : his distorted

r face and g imaces appealed to all three lads, but

ou t Hogarth, whipping a sheet of paper, made a ’ rapid Sketch of the poor fellow s plight . Th is ’ proved to be the first step in H ogart h s famous i suites of pathos and humour . When h s articles 1 65 BRI T I SH PAINT ERS

were out he went t o draw and paint at the Academy ’ : in St Martin s Lane a view of the studio, by

i o s n w . 1 1 Hogarth, in the Diploma Gallery In 7 8 he be gan engraving on copper for booksellers the first plate extant bears a date 1 7 20—it is a

- Fo r Shop bill heading . Six years he strove as

sidu ou sl hi s c y with needle, a quiring the precious

o f gifts form and proportion and strict precision . Then he began t o paint small portraits in o il family groups o f his friends and others ; but he wearied o f the conventionalities imposed upon

him . ’ Th e year 1 7 30 was an eventful o ne in H o gart h s career : first of all he ran away with Sir James Thornbill ’s only daughter and married her in Spite ’ o f wh o t o her father s refusal , declined have any

Th e thing to do with the erring couple . same year saw Hogarth experimenting in a direction absolutely ” new in British Art Moralities . Soon after the ’ o f T m appearance the Harlot s Progress , Lady ho hill placed o ne of the canvases where Sir James

see . a would it He was stounded , and admitted

ca n that if William paint as well as this, he ” i can well maintain his wife . A reconc liation fol f lowed . Un ortunately this remarkable Mora“lity 1 5 perished in a fire at Fonthill in 7 7 . Th e ’ R o 1 7 35 — no ake s Pr gress ( ) eight compositions, w in the Soane Collection ; The Sleeping Congre “ ” gat ion and Th e Enraged Musician . 1 66

BRITI SH PAINTERS

i o f giv ng the very life the sturdy, outspoken,

—as honest, obstinate, little man he was called him by his wife . By Sits, quite as impertinent, — i T a little dog h s favourite rump . 1 0 R In 7 5 Hogarth incurred the oyal displeasure . Th e engraving o f his March o f the Guards t o — Finchley a satirical composition, which he had dedicated to King George—came into the Royal

r hands, and gave the King g eat offence . His

o f Majesty called it, a frivolous treatment my l soldiers, and added , my on y regret is that the man is not a soldier that he might be punished ” a for his insolence . Hog rth took up his pen in

1 7 53 as an author and published a volume, which ” Th e A he called, nalysis of Beauty, with a view o f o f e correcting the deplorable state public , tast

- it had an immense effect . Appointed Sergeant

. 1 7 5 Painter to King George II in 7 , in succession T n to Sir James hor hill , he painted the portraits o f the King and Qu een and Royal Family

. 1 7 64 now in the Dublin National Gallery In , whilst living at Chiswick, his favourite residence, l he fel ill , and , being carried to his house in Leicester 2 t Square he died there October 6 h . No painter h as made anyt hing like so great an impression upon the British art and artists as

rt As William Hoga h . satirist and teacher he o h as e ccupies an unique position, and he provid d a perpetual feast of humour f o r the delight of all 1 7 0 T HEIR ST ORY AND THEIR A RT

o f o en A e ages . Hogarth was an incarnation the Spirit G ld g i e of Painting, wh ch had been striving for g nerations to give life and character and cunning to the actors ” in Th e Pageant o f the Painters of Britain . If Hogarth revelled in th e animated scenes o f

and the golden sunshine, in the moving incidents

Of t R wa s as the noon ide, ichard Wilson quite inspiring in the delicious nocturnes and symphonies of the silver moonlight —his painting - mixture was

e the sweet mellowness of Nature u nd efil d . His style of painting is a record - era in British painting

no h as in which he had equal in the past, nor any serious competitor appeared since he laid down

s his hi brush . His taste was perfect and expression

was without a flaw, and yet, like Hogarth, there

his nothing in birth or early life to predicate genius . Th e so n of the rector o f P inegas in Montgomery

r 1 7 1 4 . shi e, Wilson was born there in He early c dis overed a love of design, and his father, indulging ’ e the boy s passion, placed him with a r liable T portrait painter in London, homas Wright, and T subsequently with homas Hudson . He rapidly

so attained eminence, so much , that he painted portraits of the Royal family and other celebrities ’ but a painter student s journey through Italy,

1 7 50 o f where, in , he beheld Venice the dream ” — my life, as he said entirely changed the direction

Art saw o f of of his . What he the work Claude,

Lu c at elli ni , Pa ni, Zuccarelli, Mengs, and Vernay, 1 7 1 BRITISH PAINTERS

t o - Opened his eyes nature studies , and thence t h forward, till his death , Wilson became e British

o f . painter, par excellence, landscape 1 7 55 Home again in , he took up his quarters in the piazza of Covent Garden, and set to work to

o f paint the glories the fair lands he had seen , and his T o f o f . the fairest them all , own roubled

a unfortunately by an irascible temper, he m de little headway with painting patrons, and not till 1 50 hi 7 did he ex bit anything he had done . Niobe h ” and her C ildren, with an exquisite background, e paint d for the Duke of Bridgewater, is in the — National Gallery the first o f a great series o f delightful landscapes . At the National Gallery ’ o f are eight examples Wilson s work, the Victoria Al l and bert Museum has eight, and at Du wich ’ there is a beautif u l replica of Maecenas s Villa near T ivoli . Wilson suffered greatly from narrowness of

was t o means , and he often obliged sell his beautiful canvases for paltry sums to dealers . His distress ,

t o however, brought his aid a sympathetic fellow

—o ne o f artist , Paul Sandby of the Fathers British — Water - Colour Painting but Wilson was so proud and reckless that he declined assistance . He had

o f however, social instincts and love his fellows , for he was an active promoter o f the Royal Academy i - and one of the first th rt y Six members . Fran cis

a di 1 7 7 6 Haym n , the Librarian , ed in , and Wilson 1 7 2

BRITIS H PAINTERS

t o hit o ff r it with his master, and retu ned to

m o f Ply outh, where he painted members his family

and did some subject compositions . Lord Mount Edgc u mbe befriended him and introduced him t o

who Commodore Keppel , later Lord Keppel , invited him to accompany him o n a voyage to the ' At Mediterranean ports . Minorca, Genoa, Pisa ,

R be ome, Florence, Bologna , Padua, and Milan , i filled his portfolio with sketches , and , return ng 1 7 52 to London in by way of Paris , he opened a ’ studio in St Martin s Lane , where he built up ,

e. gradually but surely, his great fam

Reyn olds is well represent ed ' in Public Galleries at the National Gallery there are twenty-seven l examples , in National Portrait Gal ery Sixteen, in l i the Wallace Co lection twelve , the Victor a and

Al has bert Museum six , Dulwich five , and in the — Royal Diploma Gallery there are six including Guiseppe Marchi the young boy Reynolds

was brought over with him from Italy . It this portrait which drew from Hudson the caustic ’ Wh R ou so remark y, eynolds , y don t paint ” as ou ou well y did before y left England . At d ” Windsor Castle is George III . and his Chil ren ,

o f d 1 7 83 . T painte in here is an ease pose, a purpose expressed , and a lingering impression evoked by ’ Re n olds s was e all y portraits . He more succ ssful with men than women he t reated the latter some

— - what in a classical spirit self contained and 1 7 4 PLATE XVII

“ ” T H E HIRELING SHEPHERD BY WILLIAM HOLMAN HUNT

Hunt was accu sto me d t o h ave t wo dissimilar compositions in

n n s ane o s . As a ase in n s an as and pai ti g imult u ly c Oi t, thi c v Light Of the Wo rld were painte d at o rcest er Park Farm

h e o r er en th e su n was s n n th e a e r in t he oa n . t f m wh hi i g, l tt gl mi g Mill ais was working with him the re and busy with his “ ” ia T wo e rs ons o f a s ec was a o o n ea r 0 h el . v i ubj t c mm f tu e ’ — in unt s w ork th ere are t wo Hireling Sh e ph erds this is ar e r an its e o is in r a e o n a little l g th f ll w, which p iv t h ldi g . Why h na ear no n n T h r Hunt gave it t e me it b s o e k ows. e gi l is a - orn a e a e n : t he man a e r Of th e ro n love l vill g m id till g u d . n o t h e re is er ea and o e a on e e A yh w, pictu v y b utifully p tic lly c c iv d , a n and o o r n are fine In h re h and t h e dr wi g c l u i g . t e plica t e man ’ o w n his s ee e ar a e a s- ea o and se e ra is sh i g w th t . D th h d m th v l h n sh e“e are earing t e co r . The re n e er was a n e in 1 852 and is now Hi li g Sh ph d p i t d , r A a r in the M anch este rt G lle y .

TH EIR STORY AND THEIR ART

f . o en A e beauti ul , as they are in Nature and Art His men G ld g

o f no are full vigour, expectancy, and purpose $5122? ’ so Re n o lds s painter painted many famous people . y

o n u n Children the other hand, are rather

—he b l r natural knew very little a out chi d en, ’ ’ children s play, and children s prattle he did not u nderstand them . He seems to have v iewed them

V as t o ery much as Correggio did , foils his mature subjects . However, he contrived many times to e impart to them a perfectly delightful espi glerie . ” T h e Of Strawberry Girl , at the National Gallery, he once remarked It is o ne o f the half -dozen original things no man ever exceeded in his life ’s

R a t o o o f Unfortunately, eynolds m de free use

t o - has a dele eri us painting mixture , which eaten

o u t o f dr ha s the colour his aperies , tanned his ” c carnations , and burnt up his ba kgrounds .

e Of his compositions which are wearing the b st ,

H eat hfi eld 1 87 7 the chief are , perhaps , Lord ( ) ’ l e O B rien at the National Gallery , and Nel i

in the Wallace Collec tion . It was Ga ins — ’ — borough Reyn old s s chief rival wh o once said ’ ir e S Joshua s pictures , even in their most decay d

e h of condition , are b tter than t ose many other ” artists in their first state . The foundation of the Royal Academy was due ’ a Re no lds s in a great measure to y influence, but it s story belongs properly to the next reign . In M 1 7 7 BRIT I SH PAINTERS

1 7 60 s , when he was at the very height of his succes , P an Art Exhibition was held in all Mall , in London , which led to the establishment of Th e Incor — porat ed Society of Artists of Britain the pre

— u cursor o f the Academy with two h ndred members .

o In 1 7 69 Reynolds . was knighted at the opening f R e the oyal Academy, among whose elected memb rs

o f was Angelica Kaufmann , daughter a Swiss artist , and herself a very capable painter . Her relations with the President have woven the web o f a romance , which charmingly embellish the solit ai' o f R y life and death Sir Joshua eynolds .

He went on painting for forty years , but in July 1 7 89 his Sight suddenly failed , and he cast away Al l his palette saying, things have an end and

I am come t o mine . He died in 1 7 9 2 soon after the delivery of the last of hi s famous Discourses

of R to the students the oyal Academy . T homas Gainsborough yields very little, if at

. Th e son all , in greatness to Sir Joshua o f a - his - 1 7 2 woollen manufacturer, birth place in 7 was — Sudbury, in Suffolk the neighbourhood of which he has immortalized by his Splendid landscape

of canvases . At the early age fourteen he was in

London, working with H . Gravelot , the engraver ; 1 7 08—1 6 and later, under Francis Hayman ( 7 7 )

. d a distinguished historical painter In the stu io, however, he added very little to the charm o f the - i nature studies, which he had made in h s boyish 1 7 8

BRITI SH PAINTERS

e o f Golden Ag is the best exponent British beauty, whether o f r s B iti h o r i in the field in the boudo r . Never was there a painter so perfectly in love with his Art he worked

ou t of night and day, in and season , and in every

: sort o f mood . He never painted in parts he

o went n with the whole till it was finished . His work does not exhibit the slightest want of

combination o r lack o f harmony . H is composi

tions are simple in detail , exquisitely pure in tone ,

so and complete in attractiveness , that he fascinates

- the beholder at once . Among the twenty fiv e

T h e examples in the National Gallery, Market ” ” Th e b Cart , and Watering Place , are the est

o f Mrs perhaps , his landscapes ; and Siddons

— o f his and Edwin Orpin Parish Clerk portraits . — Perdita - Mrs Robinson is in the Wallace — Collection o ne o f the most delicate portraits ” . T he B o ever painted Blue y, at Grosvenor ” Th e Mrs House , Honourable Graham, in the

o f National Portrait Gallery Scotland, and The

” ’ R c Morning Walk, in Lord othschild s Colle tion ,

his are masterpieces . Among fancy pictures , — Rustic Children and Mu sidora both in — the National Gallery are perhaps the most

Th e be attractive . latter may very well taken — as a nude likeness o f Emma Hart the famou s Lady

a l — t o H mi ton , who used personate the Goddess ’ ” T of Hygeia, in Dr Graham s emple Health, at

Schomberg House , where the Gainsboroughs lived . 1 80 THEIR ST ORY AND T HEIR ART

’ ” Gainsborough s Beauties vastly excel those Gold e n Age o f Lely and Kneller in distinction and elegance ’ o n D ck S— they are a par with Van y indeed, in many respects they excel the glorious canvases ’ Carolian of that great Master . Gainsborough s

was best work done in London , after he settled ,

1 7 4 . in 7 , at Schomberg House, Pall Mall His

was o f painting manner something an enigma, for he united the art of a realist t o that of an im

ressio nist . p His favourite colour was blue, whilst ’ D ck s was Van y green , and the way he applied his colours to his carefully drawn figures was some R thing o f a mystery . eynolds once said of his work : All those scratches and marks and

Shapeless appearances lead , through freedom to ” ’ unity, with unerring directness . Gainsborough s stylishness puts him into the same rank as a portrait painter with Velasquez ; whilst in his landscapes he is on a level with Wilson and of Constable . Gainsborough died cancer , August

88 . 2 , 1 7 George Romney is always associated with Joshu a Reynolds and T homas Gainsborough whenever the Golden Age o f British painting is under survey their three palettes are the most brilliant ” o f banners in the Pageant the Painters of Britain .

- in - 1 7 3 4 Born at Dalton Furniss , in Lancashire, in ,

R son o f omney was the a builder . Mechanics r him and Art d ew with equal force, but, after he 1 81 BRITIS H PA INTERS had finished his apprenticeship in his father ’s work shop , he decided to woo the Fairy Fine Art , and in the moment of boyish enthusiasm he took up with an itinerant artist . Falling ill , after a season of o was pr digality, he nursed by a very attractive — — 1 7 5 6 girl Mary Abbott whom he married in , and settled at Kendal . He had all along laboured hard in his spare time to perfect himself in draughts a manship , and quite soon he att ined a certain

so degree o f technique, that at Kendal he began

. Th e t o paint portraits , groups , and backgrounds far -o ff c ry o f the London studios reached Romney

o ne a 1 7 62 at last , and day, in the ye r , he mounted

t o his nag, and set off make his fortune in the — Capital leaving disconsolate Mary and his children

T o r . w i at home yea s he spent in Italy, study ng R diligently in ome, Venice , and Parma, and ,

u returning to London , he put p his easel in an imposing house in Cavendish Square . His success o was phenomenal , for very s on his Sitters exceeded in numbers and distinction those o f Reynolds and

Gainsborough . His piquant poses exactly suited the mode o f the day . Later he removed to Hamp

was £4000 stead, and, though he making a year, he never sent for his poor wife and children, but

of acted the part a gay bachelor about town . In 1 7 82 Charles Greville brought a lovely girl ’ — to Romney s studio a girl who was destined t o play a very important role in his career and Art

1 82 ‘

BRITIS H PAINTERS drapery ; and has the knack o f fixing charming — and characteristic expressions fleet ing though R they be as merry sunbeams . omney never

R a nor . joined the oyal Ac demy, exhibited there

He lived and worked alone . At last his health

o u t — broke down , and a worn man prematurely — o ld found his Way back to Kendal to the arms

of . his long deserted wife He died , they said ,

n 1 802 . insa e , in A number o f linmers were working in the reign

. : 1 6 87 was o f George II Bernard Lens , born in , perhaps the most remarkable . His father was a

- notable draughtsman and a mezzotint engraver , wh o his son trained well and caused him to copy, ” R in little , compositions by ubens , Van Dyck, and

was other great Masters . He appointed Drawing

t o R Master the oyal Academy, and limned portraits

o - of George I . and Ge rge II . His subject com positions are perhaps better than his portraits , which are somewhat hard and uncertain in quality

o n a or i still his colours , c rd ivory, are str kingly translucent . He is represented in the Jones and

’ n B u ccleu Salting Collectio s , and in the Duke of ch s

Collection at Montagu House . In Scotland several painters o f eminence were painting, in the early Georgian period, whose names

not s o ne o f must be pa sed over at least them,

R of Allan amsay, was a painter the first rank . ” The o f o f Th e son the writer Gentle Shepherd, 1 86 T HEI R STORY AND T HEIR A RT

1 3 o en A he was born at Edinburgh in 7 1 . His father G ld ge encouraged his wish t o be an artist and sent him

o f t o London to study at the School Painting, in ’ 1 7 36 St Martin s Lane, under Hogarth . In he R travelled through France and the ivieras , and ,

o ff o f being Shipwrecked the coast Italy, he made R f or . Pisa, and then by stage to ome His aim was to perfect himself in portraiture . He returned 1 7 38 t o Edinburgh in , and very many famous men

t o 1 60 and women sat him . In 7 he settled in

t o London , and , introduced by Lord Bute the Prince R of Wales , he painted several oyal portraits . On o f c 1 7 67 R the death John Sha kleton , in , amsay

-in - t o was appointed Painter Ordinary His Majesty .

His courtly manners , and linguistic accomplish

t o c ments introduced him the best so iety . In the National Gallery is a Portrait o f a Lady

e In the National Portrait Gallery, G orge III . ” Queen Charlotte , Philip Finch, Earl of Chesterfield , the famous statesman and

- polished letter writer William, first ” of mi Earl Mansfield , the e nent lawyer, and R Dr ichard Mead, physician and of T famous collector pictures . he latter was the

o f English host Antoine Watteau , when he made his t o 1 7 20 sad visit London in , and painted some

Conversations at Greenwich . In the Wallace ” is . R Collection George III by amsay . He mad e his as f o r i mark an engraver, and h s Apotheosis 1 87 BRITIS H P A l NT ERS

r of the Child en of George at Windsor Castle , ’ he was knighted by the King . Ramsay s drawings t d and por raits are istinctly French in character . ” Mrs o f Ar o f Bruce not , in the National Gallery

is f l o f Scotland, a very beauti u example his Art . He had a number o f pupils and assistants who

e assist d him, but he invariably put in the final

was s touches . He a man of letter also and an essayist o f parts : some of his compositions were published under the title of Th e Investigator T he wrote also he Present State of Art in England . 1 84 Ramsay died at Dover in 7 . Among other Scotch painters of the period — Should be named John (1 6 9 4 1 7 60) and Cosmo — — (1 7 2 4 1 7 7 3 ) Alexander father and so n ; Gavin Hamilton (1 7 23 Jacob More ( 1 7 40 and Alexander Runciman (1 7 3 6 - 1 7 85 ) but none o f them worked in England .

A word must be said, however, for the occupants — of the throne to which all tru e Britons are justly loyal . King George II . , when Electoral Prince of 1 7 05 Hanover, married, in , Wilhelmina Caroline ,

o - s daughter f the Markgraf of Brandenburg An pach . They came to reside in England as Prince and 1 7 1 4 ’ Princess of Wales in , and put up at St James s

- Palace . She was a well educated Princess and had

she c a strong feeling for Art , and soon attra ted a cultured, artistic , and literary circle . She took in hand the restoration and rearrangement o f the 1 88

CH APTER VI

GOLDEN AGE OF BRIT ISH PAINT ING (2 ) 1 7 1 4—1 837

T H E reign of George III . witnessed the Apotheosis of British Painting . —All the Great Masters Hogarth to Constable were working magnificently, and the Pageant o f the Painters o f Britain

on e . so moved in glorious styl Indeed, animated

ou r are the spectacles , which pass before eyes , that it is almost impossible to c ou nt all the schools wi and studios , mansions and parks , crowded th

- The artists , art lovers , and sitters . horizon is brilliantly flash -lighted with many -hued reflections ’ o f Nature s mirrors by land and sea , where painters , in the Open , are capturing her smiles and frowns . The foreground glitters with the silken sheen o f ” a are c rnations, hair, and costume, all of which

t o a being transferred cunningly canvas , c rton, and ivory .

Th e King had certain artistic instincts , and he

t o o f s was a true friend painters all . One the earlie t evidences o f his patronage of Art was the f ou nda

of R : c b 1 7 68 tion the oyal Academy in De em er , the Constitution o f Th e Royal Academy received 1 90 PLATE XIX

“ ” TH E DAY DREAM

BY DANTE GABRIEL ROS SETTI

s e r ea o os on was in a se nse the as o o f Thi v y b utiful c mp iti , , m c t ’ Rosse tti s art : it e xpre sses m ore simply th an do any o f his a hi —a i w ara H is o p inti ngs s purp ose s w ell as h s o n ch cter. m de l ’ — was the wife Of his life s friend and co mpan i on William Mo rris h r t he e ora o r. s or ra was n s e is r e at t e e d c t Thi p t it fi i h d , it t u , v y ’ end Of his e and s is a na ro o o f his e s e o on lif , thu it Sig l p f lif d v ti t o the o an o o T he a n n is in oo ones s R m tic Sch l . p i ti g c l t , ju t ’ ro ns and reens and — a r r a s Th e b w g blu es N tu e s p im l hue . full lips are expressive o f the delightful thirst that comes fro m poetic reveri es. “ ” The Day Dream was painte d in 1 868-1 880 : it is now at h t e o r a and er se on on . Vict i Alb t Mu um , L d

THEIR STORY AND THEI R ART

- o fir the sign manual f the King . Among the st Golden Age thirty-six Royal Academicians were t wo women — — — artists Angelica Kauffman (1 7 41 1 807 a decora 1 7 44—1 81 7 tive painter, and Mary Mouser ( )

o f T he an accomplished painter flowers . first R n President was Sir Joshua ey olds . Th e Royal interest in the Arts and Crafts is attested in the Preface to a Picture Sale ”

t o f 1 7 86 . Ca alogue Now we live , it says , in

o f . t o the reign George III , by whose accession the throne this and all the other Arts acquired new

Th e vigour and new lustre . young Monarch declared himself their friend by Founding that

T he superb Academy . whole kingdom hath caught the ardour o f his Royal example the Love of the 3’ Arts no w animates every part of it .

The saw new reign Hogarth still at work, and —R h the three rivals eynolds , Gainsboroug , and — Romney each with his court o f admirers and

sitters . Wilson was also exhibiting choice land R T scapes . Allan amsay, Samuel Scott , homas

T Wo rlle d e Hudson , Joseph Wright , homas g , Paul R Sandby, and John obert Cousins , and many more

were painting busily . Among foreign artists , m 1 do iciled in Britain, Francesco Zuccarelli ( 7 1 2 Francesco Bart olozzi (1 7 27 Giovanni Battista Cipriani (1 7 27 and Johann Z o ffi ny — — (1 7 33 1 81 0) historical and portrait painters and — decorative artists were adding their quota t o 1 93 BRITISH PAINTERS

o f The ol the artistic banquet the Gods . d men and the new in paint now began to marshal themselves

i o r in div sions , categories , holding aloft character ” ist ic — banners bearing the legends Portraits , ‘ fi ” ” r Miniatures, Historical Subjects , Humou ” and — Pathos , and Land and Sea both in oils and - water colours .

PORTRAI TURE

At the head o f the goodly phalanx of portrait painters of the reign o f George III march five

: B eech e H o ner Masters Sir William y, John pp , R T Sir Henry aeburn , John Opie , and Sir homas

T o f Lawrence . hey, and men lesser note, nobly carried on the traditions o f the reincarn ated British

: r n School they spa ed neither pains nor pai t, for their work is fat and frank and free .

B eec he was William y born at Burford, Oxford ’ 1 7 63 was shire , in , and articled as a lawyer s clerk,

o f o f but , tiring the monotony the country, he went o ff o to London, and joined a Bohemian Club f 1 7 7 2 artistic and literary sparks . In he became R a student at the oyal Academy Schools . His

was knighthood bestowed for an immense canvas , R now at Kensington Palace, George III . eviewing

1 7 9 7 —it is the Dragoons in Hyde Park , his master

o f piece . At the National Gallery are three ’ B eec e s h y canvases , at the National Portrait 1 9 4

BRIT] S H PA IN TERS

i t o R 1 820 Financ al troubles came aeburn, and in he went to London to retrieve his losses . Raeburn returned to his Scottish home—where honours followed him : George IV . appointed him ” Royal Limner and Portrait Painter in Scotland .

H is f or style developed nobly, his drawing became bolder with a more emphatic impasto . He was fond o f placing his sitters in a sidelight which produced shadows upon the features and reflections upon the sheen o f clothes : his favourite colour

The are was vermillion . Scottish Galleries full

o f a . ex mples of his work His masterpieces are , — perhaps Professor Robison (1 7 9 9 ) an alert pose, at Edinburgh University ; and Mrs Scott Moncrieff in the National Gallery o f

—a c o f Scotland clever pie e piquant portraiture . At the London National Gallery are three examples — ’ Mrs Lauzan (1 7 o ne o f Raebu rn s charm ing effects in quiet mode, is perhaps the most

s . 1 82 3 was characteri tic His death, in , due to a chill caught upon an archeological excursion with Sir Walter Scott and Miss Edgeworth—two of his

: e and Special cronies inde d , their personalities

o f characters may be said to point the limits his Art .

H o ner was - John pp cockney born , in Whitechapel 9 — a in 1 7 5 . His mother was a German woman R o f the Bedchamber at the oyal Palace , and Prince

is George may have been his father . Anyhow, h ’ Majesty taxed himself with the cost o f t he lad s 1 9 6 THEIR ST ORY AND THEIR ART

1 7 7 5 o en A e education , and nominated him, in , a student G ld g

of the Ro yal Academy Schools . Landscape seems

: early to have claimed his love later, he took up with the more fashionable and profitable cult of

portraiture . A delightful suite of fancy composi

o ff 1 7 81 —1 7 82 tions danced his palette , A ” “ ” A B ac Primrose Girl , A Sleeping Venus , ” ” Th e chante, Standard Bearer, etc . Children

he - were his Special favourites , and out classed Sir R n Joshua ey olds in this delightful range . His

o n o f t he Ladies , too, were a par with those

President : men sitters were less in hi s way . In — 1 7 82 he married Elizabeth Wright a clever artist in wax -modelling—and they took up their abode ’

In . 1 7 80 Charles Street , St James s Early in

H o ner pp painted the Princesses Sophia , Amelia, — - and Mary all now at Windsor Castle and , in

1 7 89 o f — , the Prince Wales (George IV . ) now in

a the Wallace Collection . His work is m rked by

f r reedom of execution and brilliant colou ing . In the National Gallery is a lovely portrait o f Jane ” o f Elizabeth , Countess Oxford , and in the National

o Portrait Gallery are three f his portraits . His ” a Th e m sterpiece is , perhaps , Douglas Children ,

R h 1 803 H o belonging to Lord ot schild . In ppner

o f published A Selection Portraits , of Ladies of ” R a ank and Fashion , which had record sale . 1 81 0 He died in .

was a a d or John Opie , in real sense, pro igy genius 1 97 BRI T IS H PAINTERS b o n o f - orn the brow a Cornish tin mine , at St T 1 7 6 1 Agnes , near ruro , in , his father being a master carpenter . Early he took to paints and paper, — and attracted the attention of Dr Wo lc ot better known as Peter Pindar —and they travelled 0 together to London in 1 7 8 . He first exhibited R 1 7 82 at the oyal Academy in , and very soon he ” The became known as Cornish Wonder . He assisted Boydell in the illustrations o f his Shakes l ” peare Ga lery , and also painted many portraits . 1 82 In 7 Opie married, but the marriage proved a

f ailu rh . in , and a divorce followed soon Again,

1 8 o f 7 7 , he wooed and won a woman worthy him

Art— o f and his Amelia Anderson Norwich, notable for her literary and advanced political opinions . — i He had a second manner histor cal subjects . At the Guild Hall in London are his Th e Murder o f

T he o f o Riccio and Assassination James I . f ” u Scotland . At the National Gallery are fo r

has u portraits , the National Portrait Gallery fo rteen,

w hi s wi and his own portrait ith that of second fe .

is His work conspicuous for powerful drawing,

- c well studied poses , free handling, and orrect technique : his colours , too, are good . His men

l o f f or models are fu l vigour, but he has less feeling

R a female beauty . His lectures to the oyal Ac demy ” 1 807 on students , in , Design , Invention , ” u ro - as Chio sc , and Colouring are art cl sics . 80 He died in 1 7 . 1 98

BRI T I SH PAINT ERS

1 81 5 from the Prince Regent - a significant year in British history ! The Waterloo Gallery at Windsor is a splendid monument o f his genius in

. n Art His portraits , there , of the allied Sovereig s ,

Pope Pius VII . , and the leading diplomatists and

’ soldiers of Europe , are masterpieces in the World s

o r Pageant f Portraiture . At the National Galle y

o f are seven examples his work, the National

-o n e Portrait Gallery has twenty , the Victoria and l A bert Museum five, the Wallace Collection four,

o n e and there is at Dulwich . Undoubtedly one o f

o the m st attractive portraits , ever painted, is that ” o f o f the Countess Blessington , in the Wallace Collection every beholder is bound to fall in love with her, for She offers her lips , her bosom, and her ’ hands for the embrace . Lawrence s speciality — was women and incidently children : his airy

- o f his grace toned the high breeding sitters . He 1 830 died in . Sir T homas Lawrence was followed by a few

Do wnman 1 7 50 capable artists , such as John (

1 82 4 — o f ) the delicate painter little portraits , in

a w sh and black and white ; Sir Martin Shee, — President of the Royal Academy (1 7 7 0 1 850) his his own portrait , and seven others by hand,

e are at t h National Portrait Gallery, whilst the National Gallery has o ne Louis the Comedian John Jackson (1 7 7 8 George Henry Harlowe (1 7 87 and Gilbert Stuart (1 7 55 202 T H EIR STORY AND T HE IR A RT

1 82 8 —a o f ) native the United States , but a pupil Gold e n Age B “t 1 h ( 5 in England of Benjamin West . He is represented f . . iai nt ing 0 by S 1x portrai ts In the Nati onal Gallery Portrait

and two in the National Gallery . John Jackson was a Yorkshire village lad and born 8 in 1 7 7 . He first did some work at York and

i 1 805 copied Italian masterp eces , and then , in , he

R an went on to the oyal Academy Schools , d took

hr up portraiture . He travelled t ough Europe study ing and painting . In Rome he painted the portrait — of Canova the celebrated sculptor a splendid piece R o f work . eturning to London he became a

was a o f favourite portrait painter, and it s id him Jackson has painted almost all the members o f ” the aristocracy . He possessed great readiness of hand, and his work was especially admired for its

of o f r freedom pose , individuality exp ession , and

r strong Italian colou ing . Jackson is represented at

T hr the National Gallery , rafalgar Square, by t ee por

t h e traits , and at National Portrait Gallery by nine “ 1 81 3 . including his o wn portrait . He died in George Henry Harlowe was born in the West Indies in 1 7 87 ; he was sent when very young to

o f London, and ultimately became a pupil Sir

T . homas Lawrence, whose manner he followed The excellence of hi s draughtsmanship and the

of strength his body colour are remarkable . His R 0 first exhibition at the oyal Academy was in 1 8 5 . Perhaps one o f his best compositions is The 203 BRIT IS H PAINT ERS

Trial o f Queen Catherine - wherein he painted

portraits of the famous Kendal family . He is represented at the National Portrait Gallery by seven canvases and his o wn portrait : at the

t wo . Victoria and Albert Museum are In Italy, 1 82 8 in , he was received by the Pope , painted

o f portraits His Holiness and many Cardinals , and was elected an Honorary Member of St Luke ’s o f Academy . He put up for the Associateship the R o ne oyal Academy, but was beaten by vote , by

Henry Fuseli , the historical painter, and he never

i ur sought e aga n academical hono s . He died in

1 81 9 .

MI NI ATU RES

Af o f 1 7 40 ter the death Bernard Lens , in ,

c art Limning be ame , for a while , a lost in Britain

wh o but , that very year, a child was born was destined to re v ive some o f the glories o f a splendid R past . ichard Co sway was born at T iverton in

Devonshire , his father being the village school

t o master, and he sent his boy London as a pupil o f T homas Hudson . His special line was Heads f or of - the decoration of the covers snuff boxes . In 1 7 7 6 he was admitted a member o f the In ” c or orat ed Ar p Society of tists , and for three years was he a student in the Royal Academy Schools . He studied anatomy and was indefatigable in his 204

BRITISH PAINT ERS almost all these limners are to be seen in the

National Portrait Gallery , the Victoria and Albert

o f Museum, and the Wallace Collection ; and, course , in very many private collections .

HI STORI CAL SUB JECTS In the Pageant of the Painters of Britain o ne would certainly expect t o find numerous o f i companies historical pa nters , noting the succes

o f as sion splendid spectacles , the grand panorama moves majestically across the pages of history ; but its is surprising how few British artists were Inspired to make pigment stories of the many stirring incidents . Before the eighteenth century, as a a we h ve alre dy seen , a few men were busy

o f painting on panel , canvas and carton , records

of their times . At the end that century , however , was raised a tabernacle of eight painters o f history — religious and profane ; and these are their

CO le 1 7 37 names . John Singleton p y (

Benjamin West (1 7 3 8 James Barry (1 7 41 ' Henry Fuseli (1 7 41 James Northcote (1 7 46 William Hilton (1 7 86 Benjamin Robert Haydon (1 7 86 Sir Charles Eastlake — (1 7 9 3 1 865 ) T he High Priest of this cul t was John Singleton in Copley . He was born at Boston the State of

Massachusetts , where his parents had lately settled .

Portraiture , of a kind , being then a profitable 206 T HEIR STORY AND THEIR A RT

oc cupation in America , young Copley was dedicated Golden Age

to that craft , but with what training we know not . Anyhow he set o ff t o Europe in 1 7 7 4 t o study and

R . T paint in ome, Florence, and Parma urning

t o his steps Britain he settled in London, where

his he met with remarkable success , and painted

no w two masterpieces , in the National Gallery in London : Th e Death -seizure o f Chatham the scene being the old House of Lords ; and

e —at Th Death of Peirson St Heliers in Jersey . These canvases made a sensation in the studios of o f on account absence conventions , vigorous

treatment and brilliant colouring . In the London ” The R l Guildhall is Seizure and e ief of Gibraltar,

and at the National Gallery are two portraits , by

H eat hfield Copley, George Elliot , Lord l M and Wi liam Murray, Earl of ansfield — Benjamin West also American -born subject of

- . o f King George II was a native Springfield, in

o the State f Pennsylvania . His parents were

was strict Quakers , to whom painting taboo, nevertheless they yielded t o the art instincts o f ” son o f i i their and by special grace the sp r t, n he was permitted to take drawi g lessons . In 1 60 7 he crossed the ocean to Italy . Durin g three busy years he found his p“ainting measu re ; his Cimon and Iphigenia and Angelica and Medora ” R gave him Academic honours in ome, Florence ,

B elo na 1 7 63 Parma, and g . In he settled in London , 207 BRITISH P A INT E RS

where he rapidly made his mark as a painter of

historical incidents . His Death o f Wolfe

o f gained him the patronage the new King, George

. : III this composition is at Kensington Palace ,

where are also two other large paintings by West . Th e foundation of the Royal Academy of London ’ H is was greatly due to West s advice to Majesty .

o ne o f fir He was the st members , and after the R death of Sir Joshua eynolds , he succeeded as

of o President , but declined the honour knighth od, 1 802 Af ter a visit to Paris , in , he took an entirely new line and painted a number o f religious com

a o f positions , with a good de l success . At the Diploma Gallery o f the Royal Academy is Christ ” Blessing Little Children , and the Victoria and

Al bert Museum has five examples . His work was

l bu t bold y conceived and executed, he lacks much ’ o f Copley s freedom . was James Barry an Irishman , and born at

son o f who Cork, the a bricklayer, kept a small tavern o n the Quay . He found his way to London 1 7 84 in , where he studied under Benjamin West ,

o ff R and then he went to Italy, to work in ome ,

T . Florence, Bologna, and urin He returned to London in 1 7 7 0 t o exh ibit his first picture at the ” Th e T Royal Academy emptation , now at the

Victoria and Al bert Museum . At first his manner was classical and mythological , and he was mis understood and unap preciated by the public . 208

BRI TI S H PAINT ERS

. was wh o disa port His father a watchmaker, p ’ o f proved his boy s love of drawing . He per 1 7 7 1 severed , and at last , in , he found himself in R London , working under Sir Joshua eynolds , who also made him free of bed and board . He ’ made the usual painting -student s grand tour o f R 1 7 7 7 . 1 7 83 Europe in eturning to London in , he found congenial work as a c o -illustrator o f ’ B oydell s Shakespeare . Among his best c o m positions are Murder o f the Princes in the T ower — and Death of Wat Tyler no w at the London 1 7 9 6 Guildh all . In Northcote exhibited a suite of R ten pictures at the oyal Academy, which, after

e the manner of Hogarth, would, as he hop d,

’ inculcate grand moral lessons . Richardson s

Pamela gave him the idea, but he lacked

was dramatic power, his composition faulty, and

- : his colours ill chosen nevertheless , the work had

- good effect upon his fellow artists . He is not

r at represented at the National Galle y, but the

Victoria and Albert Museum are three examples , and Jac] and Sisera is in the Diploma Gallery the National Portrait Gallery has four portraits by Northcote , and his portrait by himself . He became a rather voluminous writer o n Art subjects 1 81 3 among his publications was, in , Memoirs of ” 1 830 The o f T Sir Joshua Reynolds in , Life itian,

ul t o The Ar and he was a reg ar contributor tist .

William Hilton was born at Lincoln , and as a 21 0 T H E I R ST ORY AND - T HE IR A RT

o e n A e child developed artistic tastes under his father , G ld g who was a local portrait painter . He became a R student of the oyal Academy School , where he took up historical composition , and his first ex

ibit ed h picture, painted in his seventeenth year , 1 81 4 had a success . In he exhibited eight canvases R three being religious compositions , Christ estor ” ” Th e ing Sight to the Blind , Good Samaritan , and St Mary Magdalene Anointing the Feet of T Jesus . hey are all upon a large scale, and

o f express much beauty design and execution , whilst the colours are harmonious . Of two 1 81 9 allegorical compositions , painted in Una and the Satyr and Ganymede —the latter is in 1 82 1 th e Diploma Gallery . In he painted a very beautiful canvas Nature Blowing Bubbles for ” her Children , now at the National Gallery at

- Millbank, where is also his large Altar piece w T ” Christ Cro ned with horns . Venus Ap pearing to Diana and her Nymphs is in the

Wallace Collection , where it hangs beside two o f ’ Francois Boucher s masterpieces and loses nothing i e of na vet by comparison . His manner was a

o f blend poetry and ritual , and his work is marked by delicacy of touch and refinement of finish . Benjamin Robert Haydon was one o f the many artists who strove earnestly to revive in Britain

of an appreciation historical painting . He was born at Plymouth, where his father was a book 21 1 BRITI S H PAINTERS

Go ld e n Age seller . His early love of drawing took him in o f B ritish 1 804 to London as a pupil of the Royal Academy Painting ” 1 809 i School . His Dentatus , in , ga ned a prize

o f one hundred guineas at the British Institution .

o f is In this composition the influence Fuseli evident , for he has imitated his vigour of action and emphatic

T o f colouring . hen followed a succession religious

— o f T h e compositions one them, Agony in the ” Garden, is at the Victoria and Albert Museum . T wice he aimed at academical honours , and twice

as - c he w black balled, owing to his provo ative R m hi temper . o ance came fortunately to correct s

and 1 82 1 . pugnacity, he married happily in He continued to paint large canvases which no one d f would buy, and he fell into if iculties . Lodged ’ f o r for a time in the King s Bench Prison debt,

of he made , there , a pigment record the famous

o f 1 827 his Mock Election , which, upon release,

R a found a oyal p tron in George IV . At the National Portrait Gallery is his colossal picture

e 1 840 o f Th Slavery Convention , June , with o ne hundred and forty portraits o f famous people

- his o wn among the number . At variance with w the world, and weighed do n by disappointment

of R and debt , the end Benjamin obert Haydon was ’ — a painter s tragedy he died by his own hand in

1 846 .

at Charles Eastlake was born Plymouth, his

' Admn‘ lt T e father being Solicitor t o the a y. h 2 1 2

BRITISH PAINTERS

Golden Age tion for better things ; the arrangement somewhat

cramped , but with rich colours . Sir Charles died 1 865 sadly alone at Pisa in .

HUMOUR AND PATH OS

Hogarth opened q u ite the most attractive Gallery

o f British Painting Domestic Scenes . No British Painter has quite reached his power o f

dl o f expression , but still a goo y company artists have done most excellent work in pigment presenta

of o f tion the comedies and tragedies human life . Humorous painting is o f the quintessence of

portraiture , and pathetic compositions are the

o f highest tests verisimilitude in paint . At the — l o Victoria and A bert Museum , where the best f o u r are —are modern paintings exhibited , such canvases l and panels which wi l , for ever, delight all sorts

and conditions of spectators . Among the painters o f domestic scenes o f the

‘ Georgian Period, march Francis Wheatley (1 7 47 Richard Smirke (1 7 52 Thomas Stothard (1 7 55 T homas Rowlandson (1 7 5 6 Sir David Wilkie (1 7 85 William Mulready (1 7 86 George Cruikshank (1 7 9 2 1 9 4 Charles R. Leslie ( 7 Gilbert Stuart Newton (1 7 9 4 and T homas Webster — ( 1 800 1 886 ) Francis Wheatley is the first in this list : he is 2 1 4 PLATE XXI THE BATH OF PSYCHE

BY S I R FREDERICK LEIGHTON (LORD LEIGHTON OF R ST ETTON) , P . R . A .

This is generally admitte d t o be the m o st be autiful rend ering of the n de an re Of t he r s o o ma n ee u hum figu B iti h Sch l it y, i d d , be rank e d with th e fi nest w orks o f t he m aste rs o f t he Italian ’ o s e on s o e was his a o r e o e — Sc h o l . L ight m d l f v u it m d l Mi ss oro ean ose ea res o r and a r ere all os D thy D , wh f tu , f m , h i w m t ’ ” a ra — ro h a n e r s o n o f dmi ble f m t e p i t p i t vi ew . Psych e ’ r r s n h e er e o n o f t h e n o e re s e n s a ep e e ts t p f cti bl P id t rt . NO picture in the Nati onal Galle ry is impro ving in an ything like so sa s a or a anner as s as e r e e o f t he ran e ti f ct y m thi m t pi c G d Styl . Le ighton m eant this so t o be : the f at wax is re n“d e ring t h e o o rs n o t he an as so a in ears t o o e T h e a c l u i t c v , th t, y c m , B th o f Psyche will be lo oke d u pon as o ne of t he m ost Sple ndid h r pic“tu re s in t e wo ld . Th e Bath o f Psych e was painted in 1 889 it is now in th e

a ona a e r an . N ti l G ll y, Millb k

THEIR ST ORY AND THEIR ART

” o f n remembered by his Cries London, which are Gold e Age as popular now as they were when London was ( 5 If; 51112; - more festive and more noisy than sh e is to day .

so n o f He was born at Covent Garden , being the W a tailor . hen quite young he worked much in

London, and also went over to Dublin to paint

r portraits as well as Irish humou . His studies in the streets and markets , and in the homes and

r s o f count y re orts the people , form a precious

T he chapter in the pictorial history of Britain .

National Portrait Gallery has his portrait by himself, and a portrait of Henry Grattan—the Irish orator and statesman—painted in 1 7 82 at the Victoria and

Albert Museum are eleven examples of his work . Richard Smirke is perhaps the most distinguished in technique of the earlier painters of humour and

was pathos . He born near Carlisle and apprenticed

o f AS o f to a painter coach panels . a pupil the Royal Academy School he applied himself to the

r o f 1 7 86 illust ation literary subjects , and, in , exhibited at the Royal Academy T h e Lady ’ ” Sabrina, from Milton s Comus . His favourite themes he found in Cervantes and Shakespeare . In the National Gallery in T rafalgar Square are Scene from Don Quixote and Sancho Panza — and the Duchess both small canvases ; at the Victoria and Albert Museum is his Sidroph el and the Widow . His style was piquant , with high colour and elaborate finish : hiS ' work is 2 1 7 BRIT I SH PAINT ERS perhaps most interesting in the line of book

illustration .

- — Thomas Stothard was also London born the

- son o f a coach builder . Being a delicate child he was sent to live in the country with an aunt , near

York, and there he spent much of his time in copying the framed prints which hung o n the parlour walls

— o f some these he also coloured crudely . In 1 7 7 8 he exhibited at the Royal Academy a very excellent T Holy Family . hen followed , in quick succes

o f sion , a series historical compositions , such as Ret at of the Greeks with the Body of

Patro Death of Sir Philip Sidney, and Britomart —this is notable as being the first

o f number in a new department pictorial art , ’ St ot h ard s serial illustration . inspirations came ’ ” ’ ” r T th ough Chaucer s ales , Spencer s Poems , ’ ’ c No ell Shakespeare s Plays , and Bo caccio s v e . ’ He assisted in the production o f B o ydell s Shake speare Gallery . His pictures are smaller in size

t he than those usually painted at the time, but f compositions are success ully arranged, and the - e figures well drawn and animat d . At the National f t Gallery are fi een examples , including a longish ” T h e o f a ur panel Pilgrims C nterb y, and another — composition , Shakespearean Characters twenty

u l r eight o f them . At B rgh ey House is a maste

— a piece , in large Intemperance classical composition , with the portraits of Marcus Antonius 2 1 8

BRITISH PAINTERS

t he R 1 830 which he painted for Prince egent in . At the Victoria and Albert Museum are two of his o il paintings and thirty -o ne sketches and studies ” ’ The R among these is efusal , perhaps Wilkie s ” most popular panel , he called it Duncan Grey, ’ for it was inspired by Robert B u rn s s delightf u l ditty . In 1 825 Wilkie made his first continental journey to Holland, France , Italy, and Spain , and he came

o f home to paint records his impressions . He opened a new gallery of historical paintin g and

it T h e o f portra s , with Preaching John Knox before

o f 1 0 the Lords the Congregation , June , in ”

1 832 . Th e , now at Millbank Maid of Saragossa , at Buckingham Palace, is quite Velasquez in treat — ment it was painted in Madrid ; and T he Rabbit o n has e the Wall something Dutch about it . Th ’ Duke o f Wellington possesses one of Wilkie s most interesting historical records , Chelsea Pensioners — Reading the Waterloo Gazette the old heroes of Wolfe ’s campaign in Canada and Wellington ’s

: was 1 81 9 in Spain it painted in . Some critics

o f have called Wilkie a copier the Flemish manner, but his humour is thoroughly Scottish and British . Wilkie ’s art is like folklore—it gives us the true

sense o f unaffected humour . Wilkie was appointed

. 1 830 Sergeant Painter by King William IV in , in

t o T was succession Sir homas Lawrence , and he

836 T he r knighted in 1 . last yea ; of his life he spent 2 20 T HEIR STORY AND THEIR A RT

o en A in the Holy Land and Egypt , and he died coming G ld ge 8 o n - o ff his home the mail packet , Gibraltar , body $233; t o being consigned the deep . At the National P ’ ortrait Gallery is Wilkie s portrait, painted by

o f - himself, at the age twenty nine . William Mulready may be called Th e painter — of boyish humour a fruitful sourc e of merriment — n and, for pure aturalism, he is on a plane with

Sir David Wilkie . Born at Ennis , where his father followed the very unromantic calling o f a leather

- r breeches maker, he began to scribble in caricatu e . At fourteen he was a pupil at the Royal Academy

1 809 R Al e Schools . In , eturning from the House was the opening number of his revels

R y with his boys . For the oyal Academ he painted ” 1 81 6 Th e u Idle Boys , and in Fight Interr pted

- Al now at the Victoria and bert Museum, Where — are thirty -three examples of his oil painting in

T he cluding a masterpiece in composition, Seven ” o f bo - is f : Ages . His suite y subjects delight ul ” ” The Butt , Giving a Bite, and First Love , show how he shared romps and jokes with his young friends . In a more mature series , Choosing the Wedding Gown —suggested probably by ’ — Goldsmith s Vica r o f Wakefield is as piquant as anything in British humorous painting . At Millbank are twenty canvases and four studies Th e Last In is instinct with the pathos o f

lr rustic life . Unhappily Mu eady is not represented 221 BRITISH PAINT ERS T m rafalgar Square . His drawing is facile , his

his arrangement easy, and colours high in tone in complete accord with the energetic temperaments o f his youthful models . Charles Robert Leslie ’s work is in striking

o f contrast with that William Mulready, although their humour is equal . His manner was literary rather than episodal and he marches with Richard

Smirke of o f in the Pageant the Painters Britain . e Cervantes , Shakespeare , Sterne, and Moli re were

his of his authorities , and pigment rendition their amusing characters has given life and colour to

. o their narratives Leslie was born in Clerkenwell , f

Pennsylvanian parents , and with them went back i to the United States , where he remained unt l he R was seventeen years old . eturning once more to London he entered the Royal Academy Schools

as o f and began his Art career a painter portraits . His first humorous historical composition was Sir ” R t o oger de Coverley goes Church, which he R 1 81 9 painted for the oyal Academy in . The

As 1 82 picture which gave him the sociateship , in 1

R of i was May Day in the eign Queen El zabeth .

Leslie is well represented in public galleries . At the National Gallery at Millbank are sixteen — canvases , quite the most humorous are Sancho Panza in the Apartments of the Duchess and Uncle T oby and Widow Wadman in the Sentry ” B ox Al . At the Victoria and bert Museum are 222

BRIT I S H PAINTERS

Canadian -born painters who have charmed the

o f world of Art by the excellence their brushwork .

He was born at Halifax in Nova Scotia, and had

for his teacher, his uncle , Gilbert Stuart of Boston ,

T h e a painter of much repute . boy was sent to

o n Italy, and to London, where he became a student o R 81 9 f the oyal Academy Schools in 1 . He remained in Britain painting small humorous

figure subjects , with well arranged backgrounds . At the National Gallery at Millbank is his Yorick ” Th e a and Grisette and Window . Sad to s y the last year o f his life was clouded by infirmity o f T mind, and he died insane at Chelsea . here are eleven examples o f his work at the Victoria and Albert Museum . A very splendid piece of portraiture is in the possession of the Marquis o f ” a Ma ckhe at h L nsdowne Captain , painted in ’

1 82 6 . Newton s manner is highly sensitive , his

o f finish laborious , and he gives piquancy expression

and originality in pose . ’ George Cru iksh anks s name is always uppermost

where British humorists foregather, but his work

was in caricature, and his purpose illustration . His Worship of Bacchus is at the National T Gallery, rafalgar Square , and Cinderella at the

Victoria and Albert Museum . Perhaps he hardly comes into the Pageant of the Painters of Britain

as o f a painter, but as an irresistible critic the

o f his enwork work artists . brush and p in black 224 THE IR STORY AND THEIR ART

T o en A e and white and colours is invaluable . Of homas G ld g ( R i u o n 3 owlandson much w ll be said, f rther , under 1 251122? ” the banner o f Landscape . T he military and political conditions obtaining in the three last decades o f the nineteenth century were inimical t o the interests o f the fine Arts an d The of of artists . Proclamation American In d ependence and the Gordon Riots were followed by troubles in Ireland and wars with fi ance and the newly formed United States . Nelson and Wellington were more potent names than Turner 1 81 5 and Constable . After the Peace of the wearied nation slumbered and slept , and the Fine Arts also covered their lovely heads The Pageant o f the Painters o f Britain o nce more halted artists were perhaps exhausted after the extra ” o f ordinary splendours the Golden Age, or probably decimated by the adverse exigencies of the times .

225 CH APTER VII

TH E GOLDEN AGE OF BRIT I SH PAINT ING (3 ) 1 7 1 4—1 837

FAR and away the most charming division of the Pageant o f the Painters of Britain is that of T Landscape and Marine painting . here is some t hin abou t c o f N g' the fa e ature which captivates

- - every true hearted patriot . Open air painting has laid hold of, and holds , Britons everywhere

o r - whether artists art lovers ,

D N E A —I I LS LAN A D S . . O

Richard Wilson is the acknowledged Father and — Master o f British landscape -painters his story — has already been told in these pages and a battalion of famous and attractive painters are gathered under his banner upon the Pageant — ground the men wh o have painted figu res and cattle and buildings and ships amid beauteous

o f - surroundings fairyland and siren ocean . George Morland heads a splendid company of landscape painters : he is sometimes tabled as a

. 1 7 63 painter of animals Born in London in , he 226

BRITISH PAINTERS emphatic because he always painted direct from

ot Nature in the open air, and g her whims and

u as so fa ces pure and simple . He w the n o f a

1 7 6 8 . e publican , and born at Norwich in He b gan

as - life a coach builder and painter, but , in his

was t o spare time, he accustomed saunter through — the lanes and meadows a s T homas Gainsborough — - T did in Suffolk sketch book in hand . hen he and Robert Ladbrooke (1 7 7 0- 1 842 ) became c o m panions in work and play, and together went to

. B eec h e as London , where Sir W y accepted them

s pupil . He put them to copy compositions by the

- T o f little Dutch Flemish masters . iring London and the studio John Crome returned to Norwich , 1 805 a where , in , he ssisted in founding the Norwich ” R Society o f Artists . His first work at the oyal 1 805 Academy was exhibited in , and he continued t o exhibit until 1 81 8 his pictures were catalogued ” o as all coloured o n the spot . He does n t seem 1 81 0 t o have travelled much abroad , but in he was “ his certainly in Paris and at Antwerp , with sketch

o f book . He was chosen first President the Norwich School o f Artists with John Sell

- Cotman as Vice President . At the National

o f Gallery are four examples his work, seven at t he Victoria and Albert Museum , and in the Wallace Collection are seven water -colour draw ings . His chief masterpieces are Chapel Fields by ” The Norwich and Th e Windmill . arrangement 228 THE IR STORY AND THEIR ART

is his en A of his pictures marked by simplicity, but Gold ge O f m” elaboration and finish has produced the richest B” s

effects o f atmosphere and illumination . A spirit i o f serenity seems to pervade his canvases , wh ch i are nothing f they are not patriotically British .

was o ld When Crome only three years , there

o f settled in London a foreign artist distinction, as a painter o f landscape and theatre scenes

Lou t h erbo u r Philippe Jacques de g . He came

— a o f T from Strasburg pupil ischbein, Casanova,

was — and Carle van Loo . It David Garrick the — — famous actor wh o invited him in 1 7 7 1 at a — yearly salary of £500 to act as decorative -chief T at Old Drury Lane heatre . He painted battle

- i and hunting scenes , sea p eces with shipping, — landscapes with figures and cattle much after

o f the manner Nicholas Berchem . At the National

Gallery is a landscape , Lake Scene in Cumber ” V land , and at the ictoria and Albert Museum are — c five examples all British in locality and haracter .

His work is picturesque and rich, and exh ibits great manual facility . A strange cloud covered i his later life, for he became mbued with prophetic fancies , and , for his craze , he suffered molestation

o f at the hands turbulent crowds . De Louther 09 bourg died in 1 8 .

- - James Ward fl brot her in law o f Ge orge Morland

— i as of a i gained d stinction a painter n mals , in h ndscapes - somethmg aft er the manner of Paul 229 BRIT ISH PAI NT ERS

was 1 7 69 Potter . He born in London in , and began

- his artistic career as a mezzotint engraver . He early dedicated himself to living creature subjects this may have been due to the accident of his appointment upon the staff of the Royal Agri

T e T n has cultural Society . h De abley Collectio ” his masterpiece An Alderney Bull . As a

his landscapist he takes a high place , and cattle compositions are splendidly set forth by forcible and well painted backgrounds . At the National Tr t wo Gallery, in afalgar Square , are examples , the National Gallery at Millbank has three , and there are sixteen at the Victoria and Albert Museum .

His work is remarkably bold in conception , strik in l o u t g y carried , with the utmost vigour, and his colour is in direct ratio with his drawing . Ward died in 1 859 . — Sir Augustus Wall Callc ot t whose manner is

o f something of a blend Crome , Cuyp , and Claude

- Lorrain , soft , sensuous , and satisfying was 1 9 born in Kensington in 7 7 . As a boy he excelled in music and was a solo -chorister at Westminster

Abbey, but when his voice broke he devoted his

- service to the sister art , and became a pupil o f

H O ner. pp At first he took to portraiture, then

he painted landscapes . At the National Gallery , T rafalgar Square, are seven examples of his work at

Al as as the Victoria and bert Museum, many twenty

one . H is a subjects embr ce scenes in Holland, 230

BRITISH PAINT ERS

painters , in oils , about whom, alas , we have not ’ space to deal they must act the part of Nature s chamberlains in o u r introduction t o the two greatest landscape masters o f the British School T urner and Constable . Among them were Charles — Brooking (1 7 23 1 7 5 9 ) and George Arnald (1 7 63 both accomplished marine painters Jul ius Caesar Ibbetson (1 7 59 good in domestic scenes ; William Collins (1 7 88 an excellent painter of animals in landscape and John William 1 7 9 2 Linnell ( a worthy follower of Constable . — Joseph Mallord William T urner incontestably the most remarkable painter o f the British — School was born in Covent Garden , London ,

2 3 1 7 7 5 . son o f April , He was the a fashionable

T i t as hi s hairdresser, and with homas G r in , best ’ loved companion , he attended Dr Monro s Academy in the Adelphi thence they both went o n to the 1 89 1 807 Royal Academy School in 7 . In he began his Liber St u dioru n - a book of sketches- in emulation of Claude Lorrain , whose manner he

mi . greatly ad red He visited France , Switzerland, and Italy several times—his eye and brain and hand intent upon his Art . He worked at first in

- water colours , then in oils , in black and white, and ’ T u in mezzotint . rner s work had two periods

fir 1 820 i the st till , pr ncipally French and British

The subjects , with some painted allegories . second

r manner dates from his fi st Visit to Venice, where 234 T HEIR ST ORY A ND T HEIR A RT

o f o en A e his eyes looked through the veils Nature , and G ld g saw the new light , which his hand has gauged

o f with the brilliance transformation scenes . Of his first period two masterpieces are at the National Gallery Th e Sun Rising out of Vapour (1 807 ) and Dido leaving Carthage (1 81 5)— side by

side with two superb canvases by Claude Lorrain , ’ and so placed by Turner s will . T urner ’s second manner is simply indescribable —the opalescent saline mist of the canals and

t ransfi u res lagunes g walls and trees into gold ,

-o f - ships and campanelli into mother pearl , and water and sky into peacock-hued mirrors slashed

Two with vermilion . great masterpieces at T the National Gallery , rafalgar Square, gloriously exhibit Turner ’s infatuation Ulysses deriding ” Polyphemus (1 82 9 ) and Th e Fighting T éméraire At the same gallery are his Four ” Th e Seasons Approach to Venice , Sun of ’ ” R ” Venice, going to Sea, eturning from the Ball , — and Th e Palace o f the Doges all done in 1 845 846 and 1 , and giving all the variations possible in

o f the complexion the atmosphere . At the National Gallery in T rafalgar Square are

- T sixty six canvases by urner in oils, and many in

- Th e a water colours . Nation l Gallery at Millbank — — where are the new T urner Rooms has fift y

t . o ne compositions , mos ly unfinished Here may

o f o behold, in a sort a way, the alpha and omega f 23 5 BRITIS H PAI NT ERS

’ T n ur er s Art , in the two compositions, entitled

Th e - a respectively, Evening Star most serene

— - No ct u rne and Interior at Petworth a riot

o f flaming colour . At the Victoria and Albert ’ six T was Museum are examples . urner s output — enormous it was phenomenal and inexplicable : he is a whole School in himself and a complete i Gallery, wherein everyth ng that can be expressed T in pigment ravishes the eye and brain . urner

o f o f o f was the master the air and the wind , the

o f rain and sunshine , the horizon and all perspective ,

o f sea o f — was ships and , everything all creation

his u . at feet , and he r led with absolute sway Who

t o o r a may venture criticize his work, to an lyze his Art H is fellow -academicians were accustomed

as hi s to stand round him, he put magical touches

o n upon the grey and white body colour , the varnish

R a ing days at the oyal Academy, and excl im, as paint and varnish united and his fla res shot o u t ” How o n earth does he do it ? His painted — secrets are the rec ord of his genius genius but a

’ t o — — his step mania and, of his Art mystery life s

T 1 851 his tragedy . urner died in , but fame will

is i live for ev er . His the central figure n the apotheosis of the Fairy Fine Art in the Pageant ” o f the Painters o f Brit ain . Constable is named wherever T urner forms the — topic of conversation not that they were in the ea in an e or di very l st alike ything they wer d, but 236

BRITI SH PAINT ERS

bu t . Th e Co rnfield are all unanimous , at the

T —c as National Gallery , rafalgar Square hosen a — frontispiece for this volume contains everything that makes a British landscape the most delightful ’ in existence . Constable s national and robust

has style affected all landscape painters , and will continue to do so . His palette was so generous and his brain and brush worked in such complete accord , that there is nothing to be desired that he h as not given us in distinction and merit . His

o f work is conspicuous for simplicity subject .

I love , he once said, every stile and stump as and lane in the village, and long as I am able ” to hold a brush I shall never cease to paint them . His reputation and influence upon foreign schools h as bee n powerful indeed : with respect to that of Tu France, Constable and rner have taught the French lands cape painters how best to unfold ’ ’ Nature s secrets . Constable s portrait is at the 1 83 National Portrait Gallery he died in 7 . Just as in all romances there is a sequel

o ne a postscript , so British painter must be extolled because he was a landscapist but something more besides . In portraiture and landscape British painters have always held their own , but in painters o f the nude human figure the British School has W been lamentably deficient . hether puritanical

a is prudery, or what else , was the obst cle, it not

t o sa : i u t easy y and not till W lliam Etty, p brush 23 8 T HEIR STORY AND THEIR ART

’ o f o en A e to canvas , did the highest expression the painter s G ld g . (

. was Art obtain a worthy protagonist He born at £25122t 1 7 87 as York in , and early went up to London

t o R f a student the oyal Academy School , a ter a seven years o f apprenticeship t o a lithographic ’ 1 807 printer in Hull . Etty s admission , in , to that famous School was the result o f a super -excellent ” study o f Cupid and Psyche . How and where he acquired the love o f expressing mythological subjects no one h as told us : it was probably a — natural gift this pure love o f the human form

T he divine . young fellow worked assiduously in

of attendance at the Life School the Academy .

He met with little encouragement , for his day had

bu t o n not yet dawned , he went bravely all alone . Carping critics affect t o describe hi s carnations ” as chalky and his poses unnatural . Any how he surpassed in natural gloss and glow of human

o f T a R flesh the nudes iti n and ubens . Under kindlier auspices Etty might have been

of f o r the founder a great national school , the

- nude men who followed him, recognized him as 1 82 2 their leader . In he sojour“ned f or a time in Italy . Venice , he records , is the birth

t e o f h O e place and h cradle colour, the p and idol ” of my professional life . He was elected an honorary member o f the Venetian Academy o f 3 St Luke . In 1 8 4 he returned to London and was R elected an Associate of the oyal Academy, o n the 239 BRITI S H PAIN TERS presentation of his Pandora crowned by t he

- Seasons now in the National Gallery at Millbank .

see — Here we his three favourite deities Ven us ,

a . f u Vulc n , and Pandora One delight l French — painter of the nude Francois Boucher (1 7 03 — l 7 7 0 ) worshipped with the same ritual : his art ’ 1 82 8 and Etty s are comparable . In Etty be came Royal Academician upon t he strength o f his splendid canvas Youth at the Prow and Pleasure 1 832 — at the Helm ( ) this is also at Millbank, ’ is t and Etty s most brillian masterpiece . There

t wo are other examples at Millbank, but strange T sa . to y, none in rafalgar Square At the Victoria and l o il o f A bert Museum are four paintings his , including a finished picture o f his school -composition

80 H is w o f 1 7 . ork is vibrant with full and rich colours , his figures are drawn with ecstasy, and his compositions are beautifully framed in backgrounds i o r o f of rad ant landscape sweet rippling waters . 1 849 Etty died in .

A—II - L LAND AND SE . WATER CO OU RS Upon the spacious Pageant Ground a new

has and perfectly beautiful pavilion arisen . Its decorations are in excellent taste , delicately drawn and transparently coloured —it is the encampment

- - o f the Painters in Water Colours . Silken fringed

- bannerettes bear, in silver gilt, such names as 240

BRITI SH PAINTERS to be the daintiest painting domain o f the Fine

T h e o a aet he riall Arts . Spirit f P inting is most y expressed in the sparkling sheen o f water-colours ; oils seem t o lend themselves to less transient expressions . has Samuel Scott , whose story already been

of briefly told , may justly claim the proud title ” - Father o f Modern Water colour Painters . One o f his most beautiful water -colour drawings is R ” Westminster Abbey from the iver, painted in 1 7 3 7 : it is in the Print Room of the British

one t o Museum , and it carries back, in thought , the days of Henry III . and to the“work o f the Masters ’ ” of . Westminster Scott s wash drawings, as

t o hi Walpole calls them, were not inferior s painted ” o f pictures . Four these are at the National Tr Gallery, afalgar Square, two at the Victoria and Al t wo bert Museum, and at the London Guild Hall . ’ T homas Gainsborough s water -colour painting is quite remarkable for crispness and transparency among other examples in the Print Ro om o f the British Museum is Landscape with Waggon in a ”

1 7 7 0 . Wood , painted in At the Victoria and Albert Museum are thirty-fi v e of his water-colour

H is r drawings and sketches . g aceful pastoral fancies greatly influenced the men who followed him . Th e T brothers , homas and Paul Sandby, were born in Nottingham, and early found employment 2 42 T HEIR ST ORY AND THEIR ART

ffi T a n in the National Survey O ce . homas was p Go ld e Age - of pointed Deputy Keeper Windsor Great Forest , £25132? 1 7 51 and Paul joined him in , at which date their

- careers Opened as water colour painters . Paul was the ablest o f the two : his work is a skilf ul combination of the good points o f Scott and R Gainsborough . At Windsor he gained oyal

r and i . ecognition , Queen Charlotte became his pup l Travelling the length and breadth of the land he — took toll admirably as may be seen at the British Museum and at the Victoria and Albert

The o f Art Museum . limits his are best displayed in his vigorous Welsh scenes (1 7 7 5 ) and his tender Windsor suite He is represented at the

u -t wo Victoria and Albert M seum by forty examples . Paul Sandby was in a cert ain sense the aquatint

o T T was parent f urner . homas Hearne somewhat similar in character and work to Paul Sandby . He excelled in exact draughtsmanship and stylish ” 3 colour . His Durham Cathedral (1 7 8 ) and ’ 1 87 St Mary s Abbey, York ( 7 are fine examples

is of h work . ’ Alexander Cozens s w ork is interesting f or his

: of n R personality father Joh obert Cozens , he was a natural so n o f Peter the Great by an English R . The mother, and was born in ussia Czar sent

t o hi him study art in Italy, whence he found s way

46 f or t o Bondon in 1 7 . His work is notable skil f ul a drawing , gr ce in design and general delicacy . 243 BRITISH PAINT ERS

His role was rather that of a teacher than of a

: painter merely . He wrote too, and well his Principles o f Beauty was accepted as a classic by Reynolds and other Great Masters of the ” Golden Age . At the Victoria and Albert

Museum, among others , are two very beautiful drawings A Landscape and A Landscape — with a Bridge worked in neutral tint and reinforced with sepia and delicately coloured . John Robert Cozens was one of o u r greatest water colour painters . From his gentle hand flowed

so colours transparent that his Art , in this medium, became the standard f or fascinating expressions of the Fairy Fine Art it is redolent with the sweet

a rest rial odour o f her g boudoir . His influence permeated the whole landscape -painting family T and called forth encomiums . urner said I learnt more from Cozens ’s paintings than from all ” o f the rest , and Constable spoke him as the ” greatest genius that had ever touched landscape . After his majority he travelled much in Italy and Switzerland : their beauty-spots and glorious

his edifices inspired brush, and there he painted

Th e the poetry o f nature . Victoria and Al bert

Museum has thirty examples of his Art . T homas Girtin is the third in order o f the Great

- Masters in Water colours . His aim seems t o have been t o make his colour express the richness T i . of compositions in o ls his , whilst a dangerous 2 44

BRITI SH PAINTERS as he was in oils . His work seems to be a sort o f ’ complement to Girtin s and the contrast is between

T o subt ilty and energy . heir love f o ne another

u was a delightf l feature in their lives . T urner ’ once gripped Girtin s hand and said : Why

v o u dear fellow, no man li ing could do that but y - this had reference to a water -colour drawing ’ o f St Paul s Cathedral . Up to the year 1 802

T - urner was essentially a painter in water colours ,

was and his work marked by delicate composition, s ubdued colours , and clear illumination . His suites of Welsh and Yorkshire scenes are admirable

o f hi - T examples t s water colour period . hen he followed Cozens ’s steps through Switzerland and

- Italy, adding to his water colour portfolio many ” exquisite Impressions . These were done in

- s ed Indian ink and wa h in browns and blues .

of - o f Perhaps his series Castles , sixty four them, appeals most to British connoisseurs . Wark ” Worth is at the Victoria and Albert Muse um ( 1 7 9 9 ) at the National Gallery are Carnarvon “ ” ( 1 800 ) and Edinburgh t he Wallace Collection has his Scarborough Castle

’ was o f T r Venice , course, urner s t ansformation

s scene , and he found that he could best and mo t quickly express what he saw and felt in water

o f colours . His fascinating suite twenty Venetian effects are at the National Gallery : they breathe the spirit o f Iris and seem t o have been brushed 2 46 PLATE XXIII

THE ARTIST’S STUDIO

‘ BY JAMES ABBOT T M NE ILL WHISTLER — Here we see T he Butte rfly as Whistler calle d him self in a a n co m osit ion a o h e ne e r o ose ! T h e qu i t , lth ugh v c mp d o o urs are ere s e o n h is an as and h e h as no t o c l m y du t d c v , th ught “ ’ — good t o fi nish his ladies figu re s o ne has no arm s ! Th e — — ot s on t h e corner sh elves blue Dutch ware did much f o r ’ T fl n histl e r s se nse o f o o r. he re e o s in t he rro r are c l u cti mi , “ ” as his symph o nies of Natu re : th e y co n ve y the atm osph e ric f h rro n n s s e r a n r f sense o t e su u di g . Whi tl p i ted eplicas o this r — n h Studio pictu e e vid e tly e like d it . ’ a n e no o n o s e n T he r s s o e on s P i t d , b dy k w wh A ti t Studi b l g fi l to Mr Do uglas P rest e d .

THEIR STORY AND THEIR ART — as G0 “? by her gossamer wings they are lyrical well , Age Of u ns” su n B with the joys of and shade and shower . Of ’ T - so urner s water colours hundreds are buried,

of to speak, in the basement the National Gallery . At the Scottish National Gallery and the Irish National Gallery are also extensive collections in

excellent condition . Besides all these there are

- thousands of water colour drawings , in cabinets

o u r and drawers , in almost all public galleries . T o understand the art and craft o f water -colour we must go and ponder in those delightful T u rner T Rooms at rafalgar Square and at Millbank . After T urner the Deluge ! ” we may almost wr as ite , we survey the men who followed him .

- Nine painters in water colour, however, demand

u s special notice, and, moreover, they lead in T R divergent and pleasant ways . homas owlandson

his startles us at the outset, but he proves by ’ ” R - ichardson s Show, that water colours are

r as quite as suitable for figu es for landscape . He is the first great British caricaturist—the Hogarth

- of water colours . Nothing can exceed the humour — of his Dr Syntax freely drawn and broadly R painted . owlandson also drew and painted well exquisite bits of scenery, with quaint cottages

o f f and all sorts delight ul accessories , and he was a past master in hitting o ff the piquant manners

o f . o Society Indeed, the transparent washes f

his u r as water in r al scenes , are good as anything 2 49 BRITIS H PAINTERS

o f - else in the range water colour painting . He is

so T h natural , and this is his chief attraction . irty seven examples Of his Art are to be seen at the

Victoria and Albert Museum . ’ l was Ro wland so n s William B ake contemporary,

but wholly dissimilar in character and work . He

‘ o f T looked upon the graver mystic side life . his world held no humour f o r him : it was fu ll of human pathos—the Unseen alone gave spiritual ’ a c s tisfa tion . Blake s way there to led him through

The o f . an Inferno aim his Art was dedication , to t he Great Unknown and yet his life was

cast in ordinary circumstances . He was happily

m r e c a ried , and there s ems nothing to a count for

the weird bent o f his imagination . His subjec ts

r we e fitted to a subdued colour scheme . He ” described his works as Frescoes , but they were water -colour paintings o n layers o f pastel and glue

T he o f stuck upon board and canvas . House Death is a terrible Fresco indeed ; it is in

the Print Room o f the British Museum . At the ” r National Gallery are th ee Frescoes , and there

Al rt are eleven at the Victoria and be Museum . — It was said Blake died insane and no wonder . T o gaze next upon the art of John Sell Cotman

is like awakening from an ev il dream . He stands in the very highest circle o f water -colo u r painters

his of re st c an indeed , work, alone all the , be held \ ’ no up to T urner s with trace of disappointment . 2 50

BRITI SH PAINTERS entered fully into the spirit of the lonely moorland — — perhaps it was in harmony with his o wn and

- H is began to paint in water colours , in the open .

work is marked by a certain sadness , which is not

T - without appeal . here are forty three o f his water -colour paintings at the Victoria and Albert ’ r l int s . W Museum, and th ee at Mi lbank De work

o f : is full movement he was a man of the town . ’ o f His experience life was less gloomy than Cox s , and consequently his work is brighter and his

colours are more generously laid, but he is some “ ” 0 no w what sketchy, yet and again he rises to

o f the excellence Girtin . At the Victoria and

- o f Albert Museum are forty seven his pictures . John Varley was o ne Of the circle o f young painters with T urner and Girtin at Dr Monro’s Academy ’ and a Foundation Member o f the Society o f

- 1 804 Painters in Water Colours founded in . His subjects were chiefly marine—two examples are

re re at the National Gallery, Millbank, and he is p sented by thirty- eight examples at the Victoria and Albert Museum . He combined excellence as

o f a teacher painting, with prowess in athletics , and he also claimed o ccult powers ! Prout did very little original work ; he taught and painted t after his favourite Mas ers , and he is some what superficial and sparing in colour . He travelled much abroad and some o f his architectural drawings

r T and st eet scenes are excellent . here are thirty 252 T HEIR S TORY AND THEIR A RT

t wo examples of his work at the Victoria and Albert Golden Age o f B ritish Museum . Painting Four other men o f the Georgian era claim

art - notice, and in their hands the of water colour painting revived greatly—like the afterglow Of a

summer sunset . William Henry Hunt , Anthony

Vandyck Copley Fielding, W . Clarkson Stanfield,

n o and Richard Parkes Bonni gt n . Hunt was born

: in Long Acre he was a sickly youth and a cripple,

- — with little culture . Water colour painting which — prescribes work in the open s eemed to be beyond his powers : but Still -Life Offered him an

and untrodden road to fame, he pursued it diligently

and with great success . He had, too, a pretty conceit in the rendering of human figu res and ’ R — o f situations . uskin speaking Hunt s manner — c alled it real painting . Fielding was a

t o Yorkshireman , and went early to London study ’ under John Varley and at Dr Monro s Academy . His favourite painting ground was Sussex and the

and Downs , where he did landscapes with men

sea - cattle, and pieces with ships and fishermen .

His drawing was certainly not without faults , and his colours were not too daring : still his work is fresh and taking and his atmospheric effects are excellent . Clarkson Stanfield was a greater Master than

Fielding . His work is original and marked with vigour . He was born in County Durham and began 2 53 BRITI SH PAINT ERS

as sea f o r life a sailor, but he early left the the

studio, and painted scenes for the theatres . In 1 827 R ” he exhibited Wreckers of Fort ouge , and ’ — this indicated the line o f his life s work marine

o r painting . His immense Battle f T rafalga was painted f or the Senior United Service Club in

1 836 of . . At Millbank are five his foreign subjects Ruskin called Stanfield the Leader o f British — — realists and much o f his work f o r its exact

t o — ness and truth Nature warrants the verdict . ’ ’ Richard Parkes B o nningt o n s life was a painter s

tragedy . Few students Of the Fine Arts gave o was higher promise f excellence . He born in

his the midlands , but , when a boy , he went with

parents to reside at Calais , where he became a pupil o f Francois Louis Francia (1 7 7 2 In Paris he was a pupil and protégé o f De la Croix and of h Baron Le Gros . He ex ibited at the Salon in

1 884 o f , and he has been claimed as a painter the

h o n French School . He ad a great vogue both

o f h was sides the C annel , but , whilst his training i h s was B . The French, art ritish all through Wallace Collection has thirty -four examples o f

t wo his brush , there are at Millbank, and fourteen at l the Victoria and A bert Museum . He worked - i in oils as well as in water colours . His drawing s

his t his good, echniq ue correct, and colours well

. o t o 1 828 chosen B nnington returned England in , — t o die a victim of the white scourge . 2 54

CH APTER VIII

TH E PAINT ERS OF TH E VICT ORIAN ERA 1 837 —1 9 1 0

NEVER bells rang more merrily than these joyous

R din - peals which heralded the oyal wed g day,

T - 1 0 1 840 . re e February , heir resonance choed

o f o f in every part the United Kingdom , telling

Th e al a new era of hope and work and love . nupti s o f Queen Victoria and Prince Albert o f Saxe Coburg -Gotha was an important event in the

o f . history British painting Neither her Majesty, no r her t wo immediate predecessors were possessed

Of very much artistic appreciation , although George

o f Ar IV . was an enthusiastic patron the Fine ts , but , in the Prince , the nation welcomed a sapient — patron of the Fine Arts the likes of whom had not shed lustre o n the British throne since the days o f Charles I . His arrival in London synchron ized with the darkest days of depression in the annals o f the Arts and Craf ts : expediency and

of corruption ruled the destinies Britain . The ’ Prince s reception was the reverse o f cordial in

a t f u Government circles , but , most t c lly, he showed no displeasure . Like the true philosopher he was 256 THEIR STORY AND THEIR ART he took in at once the conditions of life obtaining Pai nte rs o f t he ictorian set V in his new country , and to work to raise the E ra o f moral and artistic tone the people . In 1 843 the Prince was elected President o f the

Society of Arts , and forthwith began to assert his influence in the promotion o f exhibitions o f Art and Industry . Entirely due to his persistence the first great International Exh ibition was Opened

1 851 . in , in Hyde Park It was a revelation indeed,

T e and it led to great searchings o f heart . h enterprise was a remarkable success , and upon its closure the majority o f the exhibits were removed

o t temporary quarters in South Kensington , whilst the great glass building was transported to Syden ham , and ever afterwards popularly called the

l . T h e 1 855 Crysta Palace Prince , in , was the chief founder o f the South Kensington Museum Al now know as the Victoria and bert Museum .

His noble, patient , and patriotic efforts gained for him the title of Foster - Father o f Modern British

t . Arts and Craf s Every studio and workshop ,

a of of every home and pl ce business, felt the spur a his ex mple .

I

’ Th e first decade of the Prince s residence in Britain passed with few incidents of interest in

For the annals of British Painting . forty years R 2 57 BRITI S H PAINTERS

f or of Painte rs o more , no painter eminence appeared to take t h e t om n of of Em his place in the Pageant the Painters ”

. Th e hr Ar s Britain t ee sister Fine ts were a leep , o r 1 849 at least yawning, but , in , a loud reveille

sounded in the painting bivouacs . Upon the walls ’ of that year s exh ibition at the Royal Academy

appeared two canvases, which bore the cryptic — R cypher they were entitled, ienzi — William Holman Hunt , and Lorenzo and — Isabella John Everett Millais . Hard by, at ’ the Free Society s Exhibition , near Hyde Park

was Corner, hung a third canvas bearing the mystic — monogram Th e Girlhood o f St Mary Dante

T s — Gabriel Rossetti . hese composition the work — o f three youths scarcely past their majority created a profound sensation in the World o f Art i noth ng like them had ever been seen in London . Whilst the meretricious painters and the prejudiced critics o f the day stormed and raved at what they — called the prostitution o f Painting you ng

- t artists and art lovers , in general , were enthusias ic

of at this striking manifestation a new cult . John Ruskin the Eclectic —valiantly championed the 1 82 1 new cause, and Ford Madox Brown (

h saw R staggered by w at he at the oyal Academy, ’ ” 51 — T wo in 1 8 Hunt s Gentlemen of Verona, ’ ” ill is s M a Mariana in the Moated Grange, and ’ — Rossetti s Annunciation exclaimed, Why, ” they kill everyt hing else in the Academy . He 2 58

BRITI SH PAINTERS

Painte rs o f important place in the Pageant o f the Painters th e Victori an — . 1 82 7 1 9 1 0 Era of Britain William Holman Hunt ( )

was the most patient painter who ever lived . His

so ideals were far away, but he unwearily sought ”

t o . Th e ff o f reach them O ice the Artist , he ” wrote , in the preface to his Autobiography, should be looked upon as a priestly serv ice in the

T o f emple Nature, where ampler graces are ” a t o reve led such as have eyes to see them . His

clean drawing, his chaste composition , and his — generous colour were all without hypocrisy who can find fault with them Hunt had a religious ” a o f bi s projected by Light the World, painted 1 854 — in for Keble College , Oxford there is a larger ’ replica at St Paul s Cathedral . His passing was — pathetic , for the last eighteen years of his life

he laid aside his palette , and men forget him . He

had refused all honours , but when King Edward R VII . by a oyal Command bestowed upon him ” o f the unique distinction of the Order Merit ,

he accepted it . Alas , that not a single picture of William Holman Hunt is t o be seen in any of the great London Pu blic Galleries : they are in the

provinces and in private collections . — John Everett Millais (1 829 1 89 6 ) was as jubilant

a fellow as Hunt was despo ndent . He was a

s : wholesome , vigorou English gentleman open ’ and truthful like a summer s day . He once said a painter should be a handsome man and pure in 26 0 THEIR STORY AND THEIR A RT — was a n mind this he in person and character . P i te rs o f ’ V’ct m a" Millais is well represented in the Public Galleries the grZ ur National Gallery, Millbank, has fo teen examples

o f T his work ; the National Gallery, rafalgar Square , has two portraits ; the Victoria and Al bert Museum

has five , and there are two at the London Guildhall . One o f the sweetest of his compositions A Souvenir o f Velasquez is in the Diploma Gallery R o f the oyal Academy . He was the youngest student that ever took the silver medal at the — Royal Academy Schools he was but eleven years

was P old . Millais very faithful to the . i 1 859 unt l , and then he developed a manner which H i has become a glory in British Art . s work w f pulsates ith life , his subjects are delight ul , his ar rangements most effective , and his colours brilliant . ” Th e o f R Th e Perhaps Vale est , Boyhood of ” R T he - w aleigh, and North West Passage, ith ” ’ Millais s Ophelia, are masterpieces they exhibit the two phases of his Art—the romantic and ”

. his the realistic Millais followed Leighton , life f Of R long riend , as President the oyal Academy, but he died within the year . They are buried ’ side by side in St Paul s Cathedral . Dante Gabriel Rossetti (1 82 8 came o f an

Italian family but he was born in London . He was ” of . T he a a dreamer dreams Day Dre m , at the

was o f Victoria and Albert Museum, a mascot his ’ — Art : whilst Dante s Dream painted in 1 87 1 2 61 BRIT ISH PAINT ERS — i Painters o f see ms t o be the full expression o f h s work . Th e t he ictorian V Victoria and Albert Museum h as eight compositions Era

of his , there are three at Millbank , and three

portraits in the National Portrait Gallery . Ruskin called Rossetti T h e chief intellectual force in a ” S o modern Romantic chool f England . His actual work was less remarkable for execution than f o r

suggestiveness . He learnt much from Hunt and

t o Millais , and he looked Ford Madox Brown as

H is o f a teacher . close grip nature developed a

o p etic atmosphere , wherein his subjects are treated

t e no in con mplative mood , with discordant notes .

so His art became lyrical , that his painting and R poetry ran very well in double harness . ossetti in never exhibited public , and he remained a mystic

to the end . — Sir Edward Bu rns -Jones (1 833 1 89 8) was the most distinguished of the followers o f Hunt and

The art a Millais and Rossetti . of the l st named

n s a especially i pired him, and in p rticular , a sketch , ” Dante celebrating the birthday of Beatrice . Thence h as issued one o f the most exquisite series o f poetic compositions ever brushed by painter Botticelli seems t o be the Great Master t o

- a whom Burne Jones stands ne rest . Of all the suit King Cophetua and the Beggar Maid

s his expre ses most elaborately intricate technique,

t oo e sche me o f and there, , is his tend rest colour

aint 4 H is a it was p ed in 1 88 . fem le figures are a 26 2

BRITI S H PAINTERS

h 1 83 a n e rs f 7 . P i t o Schools , and began ex ibiting in His ideas wcwr’a" fifi were supernal he explains this in his own words My intention has not been so much to paint

t o pictures that charm the eye , as suggest great thoughts that will appeal to the imagination an d

kindle all that is best and noblest in humanity . In his colours he expounds the same dogmas his series o f Love and Life strikes the highest

t o note Of allegory a witness unattainability . T h e same yearning urged his hand t o grapple with the art and science o f Sculpture Physica l

— R o n Energy, the Cecil hodes Monument the

Mat o o R pp Hills , in hodesia, and duplicated in

- Kensington Gardens , London , is a supreme ex

pression of his gospel . Watts declined honours conta ct with the world broke the spell of his infatua — tion but , like Holman Hunt , he obeyed the Royal Command and accepted the Order o f

Merit .

T hree years after closing of the great Exhibition R in Hyde Park, the oyal Academy once more

provided its habitués with a sensation . In the place of honour in Gallery III was hung a huge — canvas the work of an entirely unknown British

- u wh o R . art st dent , had painted it in ome It

o T h e b re the title, Cimabue Madonna taken in 26 6 THEIR STORY AND THEIR ART

c t o f Pro ession through the Stree s Florence . Such Painte rs of a magnificent painting had never before adorned

those academic walls . Its merits were so obvious and transcendent that the reputation o f the British School o f Painting was raised at a bound from the miserable trivialities of Shee and his contem po raries t o the splendid altitudes o f T itian and

the Venetian s . What Sir Joshua Reynolds had prophesied about the Grand Style o f British Art

was had now become a fact , and its creation the work o f the man who followed him as President ‘ — o f the Royal Aca demy with the most eclat that

man was Frederick Leighton . He had indeed

or brought to pass what C nelius , the famous German

s a t o him : Y ou ou Ma ter, had once s id may, if y

do f or will , something significant England Th e Cimabue Madonna was that significant

n Th e saw c thi g . Prince Consort the pi ture at R the oyal view, and immediately purchased it for —it s now the Queen hang in Buckingham Palace . It realized his dream o f what the Art of Britain

u ou t t o f u : was so wo ld stretch in the ture it , t o

of speak, the Excelsior Banner the Pageant — o f the Painters o f Britain the frontispiece o f t o f the Vic orian Gallery British Painting . Leigh ’ was o f ton s composition that a chemist , an

e historian, a poet , and a painter combin d . Critics ha ve called his carnations waxy and his colours — crude so were those o f the Venetians when first 267 BRITISH PAINTERS

l i — o f Pai nte rs o f painted . me the greatest all painters t orian . gri adjusts all such discrepancies Frederick Leighton 3rd 1 830 was born at Scarborough, December . Until he was twenty -fiv e years o ld he studied

is entirely abroad . He very sparingly represented T in Public Galleries . rafalgar Square has nothing

Of t wo Th e his , and Millbank only canvases , Bath

o f — Psyche , the most beautiful nude in British — Art and When the Sea gives up the Dead . T he latter was painted as part of the scheme for ’ the decoration of the dome o f St Paul s Cathedral R which was never realized . At the oyal Exchange is a fresco Phoenician Merchants bartering with ” — o f Ancient Britons , the first the series Of scenes o f British History which decorates the covered

courtyard of that famous building . At the Victoria

and Albert Museum two lunettes in fresco , The Arts applied to Peace and Th e Arts

” ’ t o ul applied War, delightf ly express Leighton s

- is be Graeco Roman range . His work to seen in ‘ private collections that o f the late Mr M Cu lloc h

contained a notable masterpiece, a huge composition — The Daphnephoria the Greek antithesis t o ” — the Italian Cimabue Madonna, and several

other grand compositions . Leighton was a sculptor Athl ete Struggling with a Python and Athlete aroused from Sleep —both at Millbank—rank near the work

o f Giovanni da Bologna . Leighton was as well 26 8

BRITISH P A INTERS — — Painte rs o f Horsley (1 81 7 1 9 03) his Pride o f the Village t i i ct orian is éq also at Millbank . T s h he e men , and their fellows in istorical painting, have done splendid work by way of illustration ” of o f of the Pageant the Painters Britain . — — Such are George Cat t ermole (1 800 1 86 8) a talented

di a a draughtsman, illustrator, and painter Of me ev l — Britain ; Edward Matthew Ward (1 81 6 1 87 9 }

a o f d histori n in paint the Stuart Perio , his Th e South -Sea Bubble is a tou r de f orce in emotional — expression it is at Millbank ; William Powell — — Frith (1 81 9 1 9 1 1 ) renowned f or his Derby ” —a of o f Day, at Millbank master the humour — — crowds ; Sir John Gilbert (1 81 7 1 897 ) fully represented at the London Guild Hall Frederick — — Goodall (1 822 1 9 04) with his characteristic work T ” i Village Holiday in the Olden ime , at M ll

a o f bank, charming expression rustic merriment ; — . his a Andrew C Gow, Cromwell at Dunb r is — a fine composition it is at Millbank ; and John l Wi liam Waterhouse, with four fine canvases at ” The a o f Shalot t Millbank, including L dy .

Th e two Jubilee Celebrations o f Queen Victoria — 1 887 and 1 89 7 were not only spectacular scenes

o f t o a heartfelt homage beloved Sovereign, but were imposing way-marks in the triumphant march 2 7 0 THE IR STORY AND THEIR ART

o f of a n e rs of o f the Pageant the Painters Britain . P i t ’ V’Ct om n British artists and craftsmen kept on toiling EZ enthusiastically and acceptably all through the ’ n T he as o Queen s reig . Great Exhibition w f l

o ne o lowed by many more , in a splendid series f the most remarkable was the Art T reasures ”

hi 1 857 . T Ex bition, in Manchester, in his magni fi cent display opened the eyes and hearts of the working people of the United Kingdom to the

o f fascination the Fine Arts , and their homes and pursuits thenceforward began to be more attrae

The o f tive and artistic . love art impregnated t e h whole nation , and when Manchester once

1 887 t he more took the lead and installed , in , ” o f Jubilee Exhibition the Fine Arts , an ardent generation o f artists and art -lovers o f all classes T hi was born . hat Ex bition contained more than o ne thousand paintings , five hundred drawings ,

o f o f besides works Art every kind, and all by

T s British Artists . he e objects were selected for the purpose of completely showing the vast pro gress of Art in Great Britain during the good ’ o f Queen s reign . From all parts the United e Kingdom came Operatives , as well as leisur d folk,

t o o f t o in thousands , grasp the hands artists and revel in their Art . Th e immediate outcome o f this delirium was the foundation of numbers of Schools o f Art and

- —a vi Art Scholarships ndication , if any were really 2 7 1 BRITI SH PAINTERS “ a n e rs o f o f P i t needed, the fact that Britain is the Home of t h e Victorian ” Era the Fine Arts , and that the British are an art

. h loving people Glasgow in the nort , and Newlyn

in the south, became universities of artistic erudi R tion and output . obert Noll Lauder, John

Orch ar Pettie , and Sir William Quiller d so n — leaders among Scottish painters were followed l by John Milne Dona d, Colin Hunter, William

Mc T a art gg , Sir John Guthrie, John

—all o f or Lavery , and others them, more less , R affected by the omantic feeling, and divided in attention between portraiture and subject -composi

‘ o f o f tion . Few the works these men are in London ,

but many may be seen in the Scottish Galleries .

At Newlyn , Stanhope A . Forbes , and Elizabeth,

wi of his fe , were the leaders a painting community, which ha s numbered among many others Frank Bramley—his A Hopeless Dawn —is the most

ur — Garst in pathetic pict e at Millbank Norman ,

o f and John Da Costa . Among painters humour and pathos who are represented at ou r public — Galleries , three at least claim notice Sir Luke

Fildes , Marcus Stone , and F . D . Millet . Of the “ ” “ Th e first , Doctor, at Millbank, and A Village ” ’ Fildes s Wedding, exhibit facility in frown and ” Two smile . Between Fires , also at Millbank, is one of the amusing representations o f fretting humour in British Art : everybody deplores the tragedy of the T itanic of which Millet was a 27 2

BRIT IS H P A INT E RS

a n f e rs o . R. A . 1 9 2 P i t executive ability Sir George Hayter, ( 7 t he Victorian 1 87 1 u T E ra ) painted Q een Victoria on the hrone of ” T ’ the House Of Lords , but homas Sully s portrait

o f R o f her Majesty, in obes State , in the Wallace

n - Collection, is a charming study of Quee ly girlish

mo d e st T h e o f v . list men who painted Queen

V i fill ictor a during her record reign would a volume .

Th o f w sk e Star Victoria set in a cloudy inter y, streaked with vermilion and go ld : her funeral ’ Pageant by se a was a painter s inspiration and a ’

d . nation s dream . Edwar VII came into a glorious — h eritage he had been de f acto King for many a — r year and he , and his beautiful Queen , Alexand a ,

o f t h were generous patrons e Arts and Crafts .

i o n Pa nters still went Painting, as they ever will

d o — o o n , come king g king ; and their work took

o f rich tones excellence . A keener admiration for

t h e c o f o f unspoiled fa e Nature , with means easy

a - o f ccess to her beauty spots , and a dissipation

o f many Of the Old conventions the palette , were commo n grounds upon which painters and public

T o met in harmony . enumerate the painters ,

t oo n o f painting during the , all short , reig Edward

s : re VII . would be a erious business the most markable Of them was o ne wh o linked the glories 27 4 TH EIR STORY AND T H EIR ART

o f the su n of T urner t o the afterglow of British Painte rs o f l e Victorian fit a ‘ James Albert M Neill Whistler was bo rn at

1 834 . Lowell , Massachusetts , in He studied at the ’ Gle re s Military Academy at West Point , and at y

studio in Paris : in 1 859 he settled in London . Nothing is more diff icult than t o place Whistler

Th e was a : his and his Art . butterfly his b dge

Art was was t oo like that , and he like that himself — “ — — an impressionist yes a master o f that

f or cult , looking for inspiration in the air , and method in hi s painting mixture . He once said ” t o no o ne . Leighton takes me seriously Alas , that so few o f his Impressions are in public Al M Galleries. At the Victoria and bert useum are some o f his etchings : o f his o il paintings there is ” o ne i at M llbank Old Battersea Bridge , by

- no means a satisfactory example Of Whistler craft .

H e was a draughtsman, a painter in Oils , a water colourist , a portraitist , a pastellist , and a decorative artist . His work, in every media, appears t o be - thistledown dusted with prismatic colours .

T h e R no f or oyal Academy was fit arena his genius .

1 90 3 : has t o He died in his fame still blaze forth . The gossamer veil o f Whistler was assumed by — 1 856 John Singer Sargent born , at Florence, o f a e p rents from the United States . H studied

o and t o under Car lus Duran , then went pay his

i o f a homage at the shr ne Vel squez , in Madrid . 27 5 BRITISH PAI NTERS

n r o f 1 853 and t o Pai te s He settled in England in , began paint th e ictori an V e him Era the world he lived in and the p ople all about , or is without convention romance . Still he not —we photographic, for his manner is animated

n o f ca almost see his models breathe . Love the picturesque and admiration of distinguished figu res provided him with something like limits t o his palette—such are expressed in the delightful ideal

of R childhood Carnation , Lily, Lily, ose and Ellen T erry as Lady Macbeth —more than a touch of tragedy : these compositions are at Mill li h 0 . Gu c bank . John P , Arthur Hacker, James J .

T t o Shannon , and Henry S . uke seem have gathered T - up some threads of the urner Whistler loom . What the art o f Whistler and Sargent may do f or

of - as f or British painters to day, well as painters

o f one hi the future, no can predicate ; but t s we can ffi a rm , that such painting and such painters pre serve the Pageant Of the Painters o f Britain from the blots and smudges of Post -impres ” ” ” sionist s . , Futurists , and Cubists A glorious acclamation of the fame of British Art was witnessed at the International Exhibition

R 9 1 1 The 1 . at ome British section , better housed

o f than that any other nation , contained more excellent pictures than those exhibited by any

. es c other National School British artists , pe ially

o f a a i o ff t portraiture and landsc pe, c rr ed mos of t o the honours, and foreign artists combined lay 27 6

INDEX

DAM as er 1 8 l ee os van 54 Ed wal d I f . as a ron o art A , M t , C f , J t , , p t , m an a 1 46 1 50 Clostermann o n 1 37 1 63 1 5 i6 Aik , Willi m , , , J h , , ,

e r Pri n e 256 257 267 o e . a 27 3 ar a n e rs o f his Alb t , c , , , C l , G Vic t , Edw d p i t o n as er o n 1 Pe e r 60 re n 1 7 1 8 Alb , M t J h , t , ig , ,

e an er os o 1 88 o ns ar es A 265 ar I I I. a n e rs of his Al x d , C m , C lli , Ch l Edw d , p i t o n 1 88 a 234 re n 1 8 J h , Willi m , ig , . a- a e a Sir a ren e o nson a es 25 9 E ar IV art r n re n Alm T d m , L w c , C lli , J m , dw d . , du i g ig 269 Commonwealth art urin 9 7 of 32 , d g, , ni 9 - d a a n ers 27 3 ons a e o n 1 8 236 238 ar VII . as a ron of art A m l p i t , C t bl , J h , , E w d , p t , nne ee n as a ron of art 244 27 4 A , Qu , p t , COO e r e an er 7 E s u s L 259 p , Al x d , gg , Augu t r a e ard 269 a e 7 6 85 86 94 e a 205 A mit g , Edw , S mu l , , , , , Egl y , Willi m , rna eo r e 23 4 98 99 1 07 1 1 0 a e art rin rei n A ld , G g , , , , Eliz b th , du g g r n e art o e on 73 dne 27 3 o f 57 A u d l c ll cti , Sy y , , W 26 o e ar e s . 9 e 41 C p , Ch l , Ellic , ACON SirNath aniel 7 9 C O le o n n e on 206 En leh eart eor e 205 B , , p y, J h Si gl t , g , G g , ’ an s o n v 1 5 o r e a e R. 2 7 3 n ra ers o f ar an d e r 1 46 3 VI . s B k , J h , , C b t, M tth w , E g v Edw d ar o ran s 1 08 1 09 orv s o annes 50 54 re n 49 B l w , F ci , , C u , J h , , ig , arr a es 208 Coswa ar 204 Este rf e ld t re 37 B y, J m , y, Rich d , , Alb cht , ar o o ran sec 1 93 Mrs 205 E i a 238- 240 B t l zzi , F , , tty , W lli m , ea e ar CotmanJoh n e 228 B l , M y , S ll , , FA I T H H ORNE a 7 6 83 B eau neve u ndré 25 o s ns o n ober 1 93 , Willi m , , , , A , C u i , J h R t , 98 B ee ch e ox 241 25 y , S ir l a 1 94 228 C , av d 1 Wil i m , , D i , , ar arson q , avid , 27 3 e o n o ens e an er 9 F uh D , J 37 , d 1 7 241 , B ll h , C z Al x , , s o e p , 27 3 e e s o 4 243 -244 J h , hn 7 B tt J , er son W a Go w 1 40 — , , o 47 o n o er F gu illi m T as, b 244 h m J h R t, e d of t h e o h of o d 41 a e W a 241 250 ran e al e r 265 Fi l Cl t G l , , Bl k , illi m , , C , W t , 42 , 43 onn n o n roo o n th e er 227 hard Par es , J , E d , B i gt , Ric k , C m h l , e in n on Van 241 253 254 229 Fi ld g , A th y dyck , , o e 241 253 B ss m O er C pl y , , o a o n 53 ro we , v 98 , J h , C m ll li , es Sir e 27 2 ’ F d , , B o d ell s a ar 1 02 il Luk y espeare Gal d , Sh k Rich a an o as 1 08 11 0 er 1 98 2 10 se ar 205 Fl tm , Th m , , , , 209 . 21 8 ros d , l y , C , Rich i Gerbu t 50 F , , ra e ran 272 r i s an eor e 21 4 224 l ck B ml y, F k , C u k h k , G g , , or es an o e A 7 b , p . 2 2 roo n ar es 234 as ohn 41 F St h , B ki g Ch l , C t , J , abe 27 2 BrOun e Jo n 41 42 Eliz th , , h , , r W a Po we 27 0 ro n or a 8 o n 27 F ith , illi m ll , w d d o 25 262 DA O T A , h 2 B , F M x , , C S J , er saa 1 07 1 08 1 u , , , , 22 n a e o f art a ae 1 37 142 146 F ll I c Bucki gh m , Duk , D hl , Mich l , , , , u rse ar es W 27 3 o e on o f 7 3 1 53 1 54 F , Ch l c ll cti , , se enr 206 r on a 20 an ri e ar o o e 1 46 Fu li, H y , , Bu d , Willi m , D d dg , B th l m w, - a u o n rns ones Sir E . 259 262 av s H . . an s 27 3 GArNse o o o as 1 7 7 Bu J , , , D i , W B k , , Th m , , 263 a es E ar 241 245 1 7 8- 1 81 1 89 1 93 D y , dw d , , , , , De r the ro ers 7 6 7 8 242 C itz , b th , , CALLCOT T Sir s s a ara n or an 27 2 , Augu tu W ll , G ti , N m ,

230 Deverell . H 259 eor e as a ron of art , W . , G g p t , Carmellon e 41 De W n Pe er 241 25 1 252 1 45 148 1 64 , Alic , i t , t , , , , , er an L o 41 Dickse e ran 269 eo r e I L as a ron o f art C mi i , ici , F k , G g , p t aroline e e n 1 88 on a an e 1 08 1 1 3 C , Qu , Dix , N th i l , , ’ ar in s of James l s re n 7 3 o son l a 7 6 7 8 80 eor e I I L as atron of art C v g ig , D b , Wi li m , , , , G g , p , a er ne of ra an a 1 22-1 23 81 9 8 1 90 1 93 208 C th i B g z , , , , s Cat termol e e or e 27 0 o e s i e a n e rs of 214 Gh eeraed t arc , 68 , G g , D m t c lif , p i t , , M

ar es I . as a ron o f art ona o n ne 27 2 e r Sir o n . 27 0 Ch l p t , D ld , J h Mil , Gilb t , J h 7 3 7 5 81 89 90 9 1 99 Downman o n 202 r n o as 234 241 244 , , , , , , , J h , Gi ti , Th m , , , , 1 as r n J 269 246 ar es 1 . a o of art ra e r er er . Ch l p t , D p , H b t , 1 06 1 07 1 23 e a 259 269 odward . L. 269 , , Dyc , Willi m , , G , F re s o ra on of Ro a oo a re er 27 0 t ti y l G d ll , F d ick ,

a a es 1 1 5 A T Sir red 27 3 o T . C . 265 p l c by , E S , Alf , G tch , , riano ovanni a is a 1 93 as a e ar es 206 Gow n re C. 27 0 Cip , Gi B t t , E tl k , Ch l , , , A d w , 27 8 INDEX

e an s 50 s e se an e 269 er eor e 61 7 6 , , M , , o , li D i l w , , Hu t H G G g ‘ of ans 6 M Ta art a . 272 ra a Pe er 27 3 , g g , W G h m , t , Hugh St Alb illi m es r r 265 Mac i irt er o n 27 3 reen o n 1 21 , , , , G hill , J h , Hugh A thu J h oro s a n n s 21 4 an es er art e ons re a ane 52 , M h , G y , L dy J , Hum u p i ti g ch t x ibiti re as 205 27 1 d s a n n 1 8 , Guil , p i ti g, Humph y , Ozi ri a u n a e nr 241 253 a ne n ers, 226 lich o n P . 27 6 , , , M Gu , W p i t , J h H t illi m H y ar n R B 25 o an 58 260 ea . . 9 r e Sir o n 27 2 W lia , 2 , , , Guth i , J h , il m H lm M ti u ar I f n er o n 27 2 . , pain ers o h er re n Hu t , C li , M y t ig , 52 ACK ER r r 27 6 H , A thu , B B ET ON s aesar 234 I S , Juliu C , ar H as a ron o f art a on a n 1 88 M . , p , H mi , G v , n or ora e o e of r i s s y t lt i ' I c p t d S ci ty A t t 1 30 1 31 1 32 1 33 a o n a o ne s , , , H milt , L dy , R m y o f r a n 1 7 8 B it i , ason GeOi e H 273 or ra s of 182 1 85 M , g p , , t it ACK ON o n 202 203 S , J , , a nar o n 37 r o e ons 42 J h d, , a on o , , M y J h H mpt C u t c ll cti a es a er f his J I . , n s o N a no a e r ne 41 7 0 4 m p , , 0 54 61 7 . i t 47 5 , , , y u C th i , , rei n 65 69 , , ea Dr ar 1 7 9 1 87 1 1 4 1 1 5 1 26 1 31 1 32 1 39 g M d, d , , , h , , , Ric , a e I I as a r n of art s . p o Med ina o n a s 1 or e enr 202 J m , t , , Sir , 41 ar owe e , J h B pti t , H l , G g H y i 203 50 a eso n Geor e 67 7 6 , , e a or ear n s arv e 1 46 J m g , M w , E , H y , t l k ly gli h ervas ar es 1 37 1 38, 1 46 1 5 37 n en a n o er J , Ch l , , , , a do , j b H y B mi R t ' Mie evelt ae Jansz 69 203 206 -21 2 21 3 , M h , , , , ic l o n d e Att ilard , 1 9 7 i‘ a an Fran s 1 7 8 J h H ym , ci , d 1 o n e Ch estre , 9 a s o n ere t 258 a e r Sir e or e 27 4 J h M , J h Ev , , y , , ill i t H t G g o n d e Lich e fi eld 1 9 26 o as 1 7 9 241 243 J h , 0 earn e , , , H , Th m o n of or ha on, 32 e D 27 2 eere as d e 52 54 61 J h N t mpt M , F . . , , , ill t , H , Luc n of O r 5 o . e , Miniat nrists eor an 1 49 a e r 27 3 h S m , g , . J t , H em , G i y, C N pi s 6 8 on on, orn e s 7 , 0 1 50 204 I I as a ron of art J C liu , , enr I . H y , p t , o f ar er o 7 6 83 2 1 1 1 2 AUFMANN n e a 1 7 8 1 93 d , , , , K , A g lic , , Stu t p i or s o o o f 58 art r n re n - d , enr IV. d e e 27 3 Tu ch l H y , u i g ig K mp W lch , Lucy, Monam Pe er 1 46 1 62 o f 29 ens ngt on Pa a e 1 31 1 48 y , t , , , K i l c , , on o k e o f on of art 30 , 1 25 enr V . as a e n W a 1 46 1 47 1 48 M , p r , m uth Du H y , t K t, illi m , , , o ore er 269 t r n re n , , enr VI . ar d n e e r Sir o re 1 25 1 26 M Alb t H y , u i g ig K ll , G df y , , , enr 27 3 0 , of 3 1 37 1 38 1 40 1 42 . H y , , , , ore Sir n on 5 3 54 H enry VII art during reign M , A th y , , a o 1 88 of 35 , , ADB ROK E o e r 228 J c b L , R b t , or an eor e 226 f art 38 d , , 1 enr VI II . as a ron o M H y , p t , a erre 1 25 1 29 1 33 l G g 3 L gu , , , o ser ar 1 9 3 enr re er Pr n e o f M , M , H y F d ick , i c a er e or e 1 46 1 51 u y L mb t , G g , , read a 21 4 2 1 a es art o e ons o f 7 4 , , , 2 W l , c ll cti , an s a e a n n of oor Mul y Willi m L d p p g G 222 enr d e Denec oumbe 1 8 c i ti H y , an era 1 57 226 gi , , rra a r a 265 H erbrech t ans 25 M , F , , H , an seer S ir n 27 3 u y i f x L d , Edwi , o as 1 40 27 3 , H e rkomer e H . , , an er o as 89 Th m 2 L i , Nich l , ons Danieli s 69 err n o n re er , 7 3 M , , , F d La e en H 2 yt H i g J h ick Th an u r . 73 g , H y , i o re ose 1 46 1 55 H ghm , J ph , , a er Ro e r o 27 2 L ud , b t N ll , A MY TH e an er 233 o as 1 39 1 55 S , d , Th m , , a er o n 2 7 2 N Al x L v y , J h , P a r 233 Nl ch olas 53 58 65 c , ard , , , t i k , J Hilli a e ss a e . 265 L wl , M tth w , Ne ud e o as 1 41 ton W a 21 0 , , Hil , illi m , a ren e Sir o as 1 94 Nich l L w c , Th m , , e on er a r 214 s or a a n e rs o f eor an w , , , p 2 01 - 202 N t Gilb t Stu t Hi t ic l i t G gi 224 era 206 , a son e G 27 3 L w , C cil . , S ir W a 05 o ar a 1 46 1 61 2 , W , , , illi m J H g th illi m ea er en a n W . 27 3 L d , B j mi , e o f W n es er 5 1 644 7 1 1 89 1 93 21 4 h , , , , e on Sir re er 261 Nig l i c t L ight , F d ick, , or an rne s 269 o e n ans 44 54 58 9 4 d , , H lb i , H , , , , 267 - 269 27 5 N m E t , or o e a es 206 209 l an 27 3 ‘ , , , , o r , N thc t J m H l , F k Lel Sir Pe er 1 1 6 1 25 1 26 y, t , , , , 21 0 H ondh u rst Gerrardt z 69 7 4 , , , 1 32 n a a n on o o o d el 43 H eck a es ar 27 3 T , , J m Cl k , ns ernar 1 86 204 Nu zi t A t i t e , d , , o f Par a en e ora L B ses o , d - H u li m t c Les e ar es R. 21 4 222 223 li , Ch l , , OLI VE R saa 59 65 7 6 ons o f 269 , I , , , , c ti e s . F. 257 L w , , n 5 - i J o 8 H O ne r o n 1 94 1 96 1 97 , pp , J h , , nne o n Wlll iam 234 J h Li ll , J h , P e er 59 65 7 6 7 9 89 H orembou t Gh errart s van 43 , , , , , , , i o as 59 t , o e , , as van 43 L ck y N ch l 98 Luc , , o and 59 R wl , O o n 1 94 1 97 -1 98 n an 43 e J , , san a v , p , h Su Lou t h erbou rg P e Jac i , hilipp ardson Sir a 27 0 Orch , H orsl e Joh n C . , W y , es d e 229 illi m qu , er 27 2 os n s o n 7 6 , 85 98 1 07 Q , H ki , J h , , , L nne ard 69 61 uill y , Rich , , O Wi a 27 3 dso n T h omas r en, , H u , , p lli m e W 2 ABU E Jan Gossart or Ou less a r . 7 3 M S , , , W lt , 27 9 BRITISH PAINT ERS

PATON av d 140 andb Tho as 241 242- 243 orian era ain ers of 256 , D i , S y , m , , Vict , p t , P 6 9 80 ar en o n n r 274 2 ea e Sir o er 7 , 7 , , , e , 7 5 o pe Vincenzio 41 42 k , R b t, S g t J h Si g V l , , , 98 oo s of Art 27 1 27 2 Sch l , , o Penn ar o o eo , 41 S a e 1 46 WALKER re er 27 3 i , B t l m c tt, S mu l , , , F d ick , 9 Per in . E . 26 Ro er 7 6 7 9 ug i , C , b t , , , Pe e r as e r 26 Scourg all a 1 40 t , M t , , D vid , of a n 5 eor e 1 40 Wa e r of r a 5 Sp i , G g , lt Du h m , , Pe e o n 27 2 o n 1 40 ar a es 2 29 tti , J h , J h , W d , J m , J i 2 n n es . P pe d e Marz eres 5 an o a , 27 6 dward a hew 27 0 hilip , Sh , J m E M tt , P lime r n re 205 a a 265 a er o o r , d w , w , , W pa n n A Sh By m t c l u i ti g , a han e 205 hee Sir ar n 202 267 r s 240 N t i l , S , M ti , , B iti h , P d 81 89 e ar a 1 09 a e r or er En ymio n , , d , , o se J ohn ia t , Sh pp Willi m W t h u , Will m , ’ Portra s s o f e or e I I I . s e s Fre er 265 27 0 iti t G g Shi ld , d ick , 0 rei n 1 94 e o n 6 a er oo S ir A . E 27 3 g , Shut , J h , W t l , , Po n er S ir ard o n 269 ar o n 205 a s re er r , Edw J , , , W , F d eo e 265 y t h Sm t J h tt ick G g , P re- a ae e ro er oo r s ar 21 4 217 - 21 8 266 R ph lit B th h d , Smi k , Rich d , , 2 9 260 2 61 265 o er Pa s an 69 7 0 7 4 We s t h e 258 5 , v , , b t e Th o as 214 223 , , , , S m , ulu , m , , P rinse a en ne a eron S omerscal es o as 27 3 e s genr T 27 3 p, V l ti C m , , Th m , W ll y . , 269 ta ne l ass ear En s Wes en a n 206 207 208 S i d g , ly gli h, t, B j mi , , , Pro a e 241 251 252 1 9 22 36 West minste rAbbe a n in s ut , S mu l, , , , , y, p i t g anfi e . ar son 241 and e ora ons of 1 32 36 St ld , W Cl k , , d c ti , , , RAE enr e a 269 253 es ins er a 1 5 22 , H i tt , W tm t H ll, , ae rn Sir enr 1 94 1 95 an o e enser 265 Wat t a o d e 1 41 R bu , H y , , St h p , Sp , , J c b , 1 9 6 e en o f n sor 1 5 W ea l e ran s 21 4 St ph Wi d , h t y , F ci , 9 a sa an 1 86 evens re er G. 25 s er a es er R m y , All , St , F d ic , Whi tl , J m Alb t M‘N il a e Jan . See or s ar 60 e l 27 5 R v , C vu Rich d , , es o ra on th e 1 05 one enr 7 6 82 e a 1 08 1 09 R t ti , , St , H y , , Whit h ll , , , Re nolds Sir osh u a 1 58 1 7 3 ar s 27 2 27 3 1 34 y , J , , , M cu , , 1 7 8 1 81 1 89 1 93 2 10 267 Stot h ard T h omas 2 l 4 218-21 9 e Sir av 21 4 21 9-221 , , , , , , , , Wilki , D id , ,

ar I I art r n re n rea e r o e r 1 08 1 09 a 1 1 1 . as a ron of art Rich d du i g ig St t , R b t, , Willi m p t , o f 2 1 22 Stre tes 48 49 50 , , , Gwillim , , ,

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