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Home , Duke of Lennox, Earl of Dysart, Ham House, Isaac Oliver, Jan Wyck, Richard Gibson (painter)

Ham House The Green Closet miniatures and cabinet pictures The Green Closet miniatures and cabinet pictures A HISTORIC HANG REVIVED

The collection of miniatures at Ham House is one of the largest accumulations of miniatures by one family to have remained substantially intact. Its display with small paintings and other images in an early 17th-century picture closet is without surviving parallel in . By 1990, however, almost all the pictures and miniatures were displayed elsewhere, and the original purpose of the Green Closet was no longer evident. The substantial restoration of the historic groupings on its walls, with the kind agreement of the Victoria & Albert Museum, has revived the spirit, and much of the appearance, of the traditional arrangement.

Designed to display both cabinet fring’d’ hanging from ‘guilt Curtaine rods dismantled) that extended even to the pictures and miniatures on an intimate round the roome’,which could be drawn sides of the chimneybreast. This was the scale, in contrast to the arrays of three- to protect the paintings from light and arrangement in 1844, when 97 pictures quarter-length portraits in the adjoining dust. The table and green-upholstered were listed, a considerable increase on Long Gallery, the Green Closet is of the seat furniture were also provided with 1677, when there were 57, but the spirit greatest rarity, not only as – in its core – sarsenet case-covers. Modern copies of all of the 17th-century room was a survival from the reign of Charles I these decorative and practical furnishings undoubtedly preserved. It may be that (whose own closets for the display of and fittings have recently been provided. the bones of the hang (e.g. the upper small works of art have long since The pictures and miniatures are hung register of ebony-framed pictures with disappeared), but also because it retains from copies of the original gilt and their lower edges aligned and a many of its 17th-century, as well as later, lacquered pins, of which a few original concentration of miniatures below, on contents. The carved woodwork and the examples survive. The room originally the long east wall) were filled out as ceiling paintings were installed by Franz relied entirely upon natural light or on further additions were made during the Cleyn during William Murray’s lamps or candles brought in for 18th and early 19th centuries. In 1677 refurbishment of 1637–9. occasional use. The present display lights there was a similar mix of pictures Architecturally, the room has remained are reproductions of the 9th Earl of framed in gilt and ebony: ‘Nynteine unchanged since about 1672, when the Dysart’s electric picture-lights, installed pictures with guilt frames / Therttie door into the North Drawing Room was before 1904. The ‘fire pan garnished with eight of black Abinie frames’. opened up. Previously, the only access silver’ and the ‘brasse fender guilt’ listed Comparison with the 1683 ‘Estimate of was from the Long Gallery: it was in 1683 still stand in the grate. Pictures’ reveals that 22 of the pictures designated the ‘Closet within the Photographs of 1904 and c.1920 show then hung in the Green Closet are still at gallerie’ in 1655. an immensely rich hang of cabinet Ham, and that another ten, now In 1655 the room was hung with pictures and miniatures (since hanging here, were listed elsewhere in ‘greene stuffe’; the present silk damask the house in 1683. It is still possible to hangings and upholstery are copies of the marshal approximately the same post-1672 ‘3 peices of green damask’, number of pictures as in 1677: of the 97 whose pattern matches the 17th-century recorded in 1844 (of which 36 had been damask in the Queen’s Antechamber. The in the Closet in 1683), 60 are still at fringing survives from a 19th-century Ham. The 1844 arrangement has been replacement of the room’s textiles. The used as a basis for the new hang, single window (a second window in the although certain more vulnerable centre of the east wall was blocked either miniatures have had to be hung together c.1637–9 or c.1672) faces north, an in glazed frames. orientation thought desirable by contemporary theorists (with the The first number refers to the hanging sanction of Vitruvius) for its ‘steady light’. diagrams; the second in square brackets is It also has the advantage of reducing the the Ham inventory number. An asterisk risk of light damage. In 1679 there were indicates inclusion in the 1683 ‘Estimate ‘Two window Curtaines of White damusk of Pictures’, drawn up for the Duchess of fring’d’ and ‘six green sarsnet curtaines Lauderdale after the death of her husband.

1 NORTH (WINDOW) WALL

2 2 18 1 3 4

5 6 10 19 20 7 9 8

WINDOW

11 21 12 13

14 22 23 24

15 17 16 25

3. A Man consumed by Flames, by , c.1610

LEFT OF WINDOW (ABOVE, IN EBONY FRAME): 2 [383] These two locks of hair, with Painted c.1610; the unknown sitter is 1 [397] RICHARD GIBSON (1615–90) jewelled mounts, are apparently c.1600, consumed by the flames of religious, or Elizabeth Mitton, Lady Wilbraham and by tradition were cut from the head (most probably) amorous, passion. Isaac (c.1631–1705) of Robert Devereux, 2nd Oliver was the son of a refugee Watercolour and bodycolour on vellum (1566–1601), who was executed for Huguenot goldsmith from Rouen. He Wife of Sir Thomas Wilbraham, 3rd Bt rebellion against his former great patron, learnt the art of limning from Nicholas (see no.4), and mother-in-law of the 3rd . A tuft of a loved one’s hair, Hilliard, whose great rival he became, Earl of Dysart, painted c.1662. Gibson attached to a jewel, was sometimes worn though he predeceased him. He was also began his career as a page and dwarf in as an ear-ring at this period. a sensitive draughtsman. the service of Queen , but was taught to paint by Francis 3 [379] ISAAC OLIVER (c.1565–1617) 4 [391] Attributed to NICHOLAS DIXON Cleyn. He married another dwarf, but A Man consumed by Flames (active 1667–1708) had five regular-sized children, one of Watercolour on vellum Sir Thomas Wilbraham, 3rd Bt whom, Susannah Penelope Rosse, also Inscribed: Alget qui non ardet (‘He (c.1630–92) became a miniature-painter. freezes who does not burn’). Watercolour and bodycolour on vellum

2 5. Elizabeth I, by , c.1590 8. An Unknown Child, by Isaac Oliver 9. Sir Théodore Turquet de Mayerne, after Jean Petitot

Father-in-law of the 3rd Earl of Dysart, 6 [377] PETER CROSS (c.1645–1724) impossibly – ‘King Edward ye 6th’.The probably limned in the 1690s by Queen Mary of Modena (1658–1718) lace collar dates it to the second decade Nicholas Dixon, after an earlier painting Watercolour and bodycolour on vellum of the 17th century. The child holds a by John Riley (1646–91). Dixon James II’s second, Catholic, wife, whom stick of coral set in metal, which served succeeded (after he married in 1673 when . as a dummy, but was also supposed to Richard Gibson had held the post for The birth of a male child (the future be a protection from malign influences. just one year), as ‘Limner’ to Charles II, ‘Old Pretender’) to her in 1688 helped from 1673 to 1678, and may, like him, precipitate the ‘’ and LEFT OF WINDOW (BELOW, IN EBONY FRAME): have been taught by John Hoskins. He their exile in France. Peter (formerly 9 [389] After JEAN PETITOT (1607–91) gave his female sitters characteristically miscalled Lawrence) Cross succeeded Sir Théodore Turquet de Mayerne languorous almond-shaped eyes. He was Nicholas Dixon as Charles II’s ‘Lymner (1573–1655)* also Keeper of the King’s Picture Closet in Ordinary’ in 1678, but, despite that, Watercolour on vellum – the royal model for Ham’s – and took this miniature is based on a portrait in French Huguenot doctor and scientist, to picture-dealing and copying Old oils by William Wissing. born in Geneva and with an estate in the Masters in miniature. Sir Thomas was of Pays de Vaud, with a special interest in Woodhey, Cheshire, and married 7 [396] JEAN PETITOT (1607–91) artists’ pigments, who, after setbacks in Elizabeth Mitton (see no.1), the heiress Sophia Amalia of Brunswick-Lüneberg, Paris, settled in England, where he of Weston-under-Lizard, Staffordshire. Queen of Denmark (1628–85)* became chief physician to Anne of Their daughter, Grace, married Sir Enamel on copper. Initialled Denmark, James I, Charles I and Lionel Tollemache, 3rd Bt, later 3rd Earl Identified as ‘The Queen Mother of Henrietta Maria, as well as to many of of Dysart, in 1680. Denmarke’ in the 1683 ‘Estimate of the nobility and gentry. He left numerous Pictures’,and given the second highest unpublished manuscripts, supplied 5 [375] NICHOLAS HILLIARD (1547–1619) value among the miniatures, this must colours to Petitot for his enamels, and Elizabeth I (1533–1603)* show the daughter of Duke George of information to Edward Norgate for his Watercolour on vellum Braunschweig-Lüneburg, who was treatise on miniature-painting. This is one of the finest, and the largest, married to King Frederick III of of the last type of miniature of the Denmark, as his second wife, in 1643. 10 [381] Studio of DAVID DES GRANGES Queen, the so-called ‘Mask of Youth’, Their younger son, George, married (1611–71/2) produced by her most sensitive and Princess – later Queen – Anne in 1683; Charles II (1630–85) as consistent portrayer. It combines an and her brother Ernst became the father Watercolour and bodycolour on vellum idealised depiction of her youthful of King George I. Though baptised in as the son appearance with the bejewelled and of a Huguenot from Guernsey, Des costumed majesty of state. Executed 8 [378] ISAAC OLIVER (c.1565–1617) Granges subsequently became a around 1590, it was the inspiration for An Unknown Child* Catholic. He was somehow related to such later paintings of her as the Watercolour on playing card Hoskins and Cooper. He made copies of ‘Rainbow Portrait’ at Hatfield House Seemingly the miniature just described Old Master paintings for Charles I (e.g. and the great whole-length at Hardwick as ‘A Child’s Head, of Hilliard’s’ in 1683, no.37), and in 1651 he became Limner Hall (NT). but later inscribed on the backing as – to Charles II in Scotland, making a

3 12. Captain the Hon. John Tollemache, RN, by James Scouler

number of miniatures of him for miniatures between 1761 and 1787. the Prince Regent, and a great collector. distribution amongst his supporters. Tollemache appears to be shown in, and His latter years were clouded by insanity. to have commissioned, The Roman 11 [426] ENGLISH SCHOOL, c.1740–50 Conversation-Piece now attributed to 15 [418] CHRISTIAN FREDERICK ZINCKE Lionel Tollemache, 4th Earl of Dysart John Brown (Steward’s Hall). (1683/4–1767) (1708–70) John Carteret, 2nd , KG Watercolour on ivory, in a gold locket 13 [416] ENGLISH SCHOOL, c.1750 (1690–1763) adorned on the back with the Dysart fret Lionel Tollemache, 5th Earl of Dysart Enamel, in gold bracelet locket engraved and motto of the . (1734–99), as a boy on the back with an earl’s coronet. In 1729, two years after succeeding his Watercolour on ivory, in a gold locket Father of the wife of the 4th Earl of grandfather and a year after returning engraved on the back with the Dysart fret Dysart (no.11), John, 2nd Baron from the , the 4th Earl The first of the two sons and a daughter Carteret, of a Jersey family, succeeded married Lady Grace Carteret, daughter to succeed the 4th Earl, the 5th Earl had, his father in 1695, and his mother, of the future 2nd Earl Granville (see when still Lord Huntingtower, married daughter of John Granville, Earl of Bath, nos.15, 18). She was an amateur artist without his father’s approval, as his first created Countess of Granville in her and bold dresser. Together, they wife, Charlotte (subject of the Reynolds own right, in 1744. Originally one of the transformed and updated Ham House, in the Great Hall), illegitimate daughter two foreign secretaries in Sir Robert outside and in. Possibly painted to of Sir Edward Walpole, and niece of Walpole’s administration, he fell out celebrate his being made a Knight of the Horace, who said that he maintained the with him and became leader of the Thistle – whose star and green riband house in a ‘state of pomp and tatters’. opposition, serving as a foreign are prominent – in 1743. His second wife was Magdalena Lewis, secretary again after his fall in 1742. sister of the wife of his brother, the 6th Zincke trained as a goldsmith in 12 [415] JAMES SCOULER (1740?–1812) Earl. He wears so-called ‘Vandike’ dress. Dresden, but came to England to assist Captain the Hon. John Tollemache, RN the Swedish enameller Charles Boit, (1748–77) 14 [414] RICHARD COSWAY,RA whose practice he took over when the Watercolour on ivory (1742–1821) latter fled for debt in 1714, dominating One of the sixteen children of the 4th Lionel Robert Tollemache (1775–93) his profession for the next two decades. Earl of Dysart (no.11), and the fourth Watercolour on ivory, signed on the son to survive infancy. He was killed in a backing-card 16 [425] Attributed to ANDREW PLIMER duel in New York with the 1st Baron Only son of Captain John Tollemache (1763–1837) Muncaster. He had married in 1773 the (see no.12), killed at the siege of Lionel Tollemache, 5th Earl of Dysart widow Lady Bridget Fox Lane, daughter Valenciennes. Born at Okeford, Devon, (1734–99) of the 1st , who bore Cosway learnt to paint in oils (a Self- Watercolour on ivory in a gold bracelet him a son (no.14) and a daughter. Portrait is at Attingham Park, NT), but locket Scouler was the son of an Edinburgh became the supreme miniature-painter For the sitter, see no.13. Andrew and his turner, and began by making musical and draughtsman of his day, as well as, elder brother, Nathaniel (1757–1822), instruments, but then studied drawing with his wife, Maria Hadfield, one of the were sons of a Shropshire clock-maker. in London, where he exhibited leading figures in society and a friend of Both worked for, and learnt from,

4 20. John Maitland, Duke of Lauderdale, by David Paton, 1669

Richard Cosway (see no.14), but of his profession, and Director of the Countess of Dysart (1713–55), dated Andrew was the more gifted and Society of Artists in 1773. 1744; (22) Wilbraham Tollemache, 6th successful of the two. This would be an Earl of Dysart (1739–1821), dated 1749; early work of his. 19 [400] DAVID PATON (active later (24) Lady Frances Carteret, Marchioness 1660s–1708) after SAMUEL COOPER of Tweeddale (d.1788); (25) Sophia, 17 [417] CHRISTIAN FREDERICK ZINCKE (1609–72) Countess Granville (1721–45), dated (1683/4–1767) Charles II (1630–85)* 1744; and (23) a relief (c.1750) Frances Worsley, Baroness Carteret Plumbago on vellum depicting Hercules seated on a lionskin. (1693/4–1743) Initialled and dated 1668 Enamel on copper Ham House has an unrivalled collection Daughter of Sir Robert Worsley, 4th Bt, of the graphite drawings of this Scottish of Appuldurcombe, Isle of Wight, and miniaturist, who accompanied Capt. the the Hon. Frances Thynne (of whom Hon. William Tollemache, third son of there is also a miniature in the the Duchess of Lauderdale, on his grand collection, but not on show, of 1708, as tour of Italy in the late 1670s, attracting an apple-woman). In 1710 she became the attention of the Grand Duke, the first wife of John, Baron Carteret Cosimo III. Portraiture, and copying (see nos. 15, 18), but died suddenly in paintings, in graphite was his forte, as Hanover, whilst playing the harp, the can be seen not just here, but in the year before he succeeded his mother as Duchess’s Private Closet. The original of Earl Granville. This and the miniatures this miniature is at Goodwood, and was of her husband are here because their copied by Paton several times. It was daughter, Grace, became the wife of the limned in 1665. 4th Earl of Dysart. 20 [399] DAVID PATON (later 1660s–1708) RIGHT OF WINDOW: John Maitland, Duke of Lauderdale 18 [461] Attributed to ISAAC GOSSET (1616–82)* (1713–99) Plumbago on vellum John Carteret, 2nd Earl Granville, KG Signed and dated 1669 (1690–1763) It may well have been the Duke who Wax encouraged Paton to come down to Nephew and pupil of Matthew Gosset, London from Scotland. This drawing wax-modeller and frame-maker, Isaac appears to have been done from the life. was a Huguenot with a special affinity with his sitter (for whom, see no.15), RIGHT OF WINDOW (BELOW IN EBONY FRAME): since his father had fled from Normandy 21–5 [462, 463, 466, 464 AND 465] This to Jersey on the Revocation of the Edict group of English ivories comprises of Nantes (1685). He became the leader portraits of (21) Lady Grace Carteret,

5 EAST WALL (FACING FIREPLACE)

26 27 28 29 30 31 32

37 43 35 36 42 38 39 33 34 40 41

45 47 46 48 44

49 51 50

52 53 54 55 56 5857 59 61 62 60

28. with the Head of St John the Baptist, by Jacques Stella, 1637

TOP ROW (ALL IN EBONY, OR EBONISED WOOD, the signature and Post’s authorship guild, Pictura. His speciality was low-life FRAMES): being recognised by the artist and art- scenes, sometimes including a self- 26 [364] FRANS POST (1612–80) appraiser Jan Wyck, this picture was portrait. Three of his sons, Herman, A Village in Brazil* ascribed to the better known Gaspar de Simon and Johannes, were painters, and Oil on panel Witte in the 1683 ‘Estimate of Pictures’. all three settled in England. Signed lower right: F. POST Between 1637 and 1644 Post travelled to 27 [275] PIETER VERELST (1618–after 28 [271] JACQUES STELLA (1596–1657) Brazil in the retinue of Count Johan 1668) Salome with the Head of St John the Maurits of Nassau-Siegen, who had been Boors playing at Cards* Baptist* sent to colonise the north-east of the Oil on panel Signed: Stella f. 1637 country; he was probably the first Signed and dated 1653 Oil on slate European to paint landscapes of the New Pieter Verelst was probably born in Stella – or Stellaert – was of Flemish World. This picture, however, dates from Dordrecht, where he became a member stock, but born in Lyons. He went to the last decade of his life, when he was in of the Guild of St Luke in 1638. Between Italy when young, at first, by 1616, to decline and repeating himself. So little 1653 and 1668 he was at The Hague, Florence – where he probably learnt the known was he in England that, despite where he was a co-founder of the artists’ art of painting on hardstones – and

6 31. Boors smoking and drinking, after (?) Adriaen Brouwer

30. The Virgin and Child with St John the Baptist and 34. Head of Erasmus, Child Angels, by Jacques Stella after Hans Holbein the Younger then, around 1622/3, to Rome, where he 31 [276] After (?) ADRIAEN BROUWER MIDDLE ROW: stayed until 1634 and befriended (1606–38) 33 [365] NORTH ITALIAN, 1546 Poussin, who strongly influenced his Boors smoking and drinking* Portrait of a Young Painter* later style. Although this picture must Oil on panel Oil on panel. Inscribed: AETATIS 18 / have been painted after he had settled in Regarded as an original in 1683, this was ANNO 1546 Paris for the rest of his life, it is still (at £60) one of the most highly valued The pose suggests this is a self-portrait, strongly Italianate in character. pictures at Ham. Versions catalogued as but no identification of the artist has copies are in the Staatliche ever been put forward. It was just called 29 [363] Attributed to SIMONDE Gemäldegalerie in Kassel and in the ‘A Painters Head’,and valued at a mere VLIEGER (1601–53) Uffizi. Cleaning and further £2, in 1683, when it appears to have Landscape with a Wood* investigation are needed, to see whether hung in the Withdrawing Room on the Oil on panel this may not be the missing original. It ground floor. There seems little reason to doubt the is one of a number of pictures 17th-century attribution of this picture belonging to the Duchess that made 34 [279] After HANS HOLBEIN the to ‘Devlega’ in the 1683 ‘Estimate of those less fortunate than herself objects Younger (1497/8–1543) Pictures’,even though Simon de Vlieger of aesthetic contemplation. Head of Erasmus (c.1466–1536)* is known almost exclusively as a painter Oil on copper of marine subjects (one of his largest 32 [371] Attributed to ADRIAEN Derived, not as previously said, from the pictures is in the Cabinet Room at BROUWER (1606–38) portrait in the Radnor collection on Felbrigg [NT]). It was not, however, in A Boor holding an Ale-jug and loan to the National Gallery, but from the Green Closet, but apparently in the brandishing a Pipe* one of the later autograph and studio Duchess’s Dressing Room. Oil on copper variants of this, in which Erasmus is Closer to Brouwer, to whom Jan Wyck shown looking outwards, rather than 30 [272] JACQUES STELLA (1596–1657) ascribed it (in a fragmentary valuation with an inward gaze suggested by The Virgin and Child with St John the of c.1683), than to David Teniers hooded eyes – most probably the one Baptist and Child Angels* (1610–90), to whom the 1683 Estimate formerly in the collection of the Earl of Oil on slate gave it, at only half Wyck’s valuation Arundel and now in the Lehman Though unsigned, this picture has always (£2, instead of £4; the discrepancy with Collection of the Metropolitan Museum been known as, and is unquestionably by, the high valuation put on no.31 is of Art, New York. The use of copper Jacques Stella. It is a reinterpretation in a surprising). Alcohol and tobacco were suggests a later period. The elaborately more classicising idiom – absorbed from regarded as signs of moral laxity in the carved limewood frame is a good Poussin – of a naïver representation on Netherlands in the 17th century: plus ça contemporary imitation of the work of an octagonal piece of slate, now in the change! Grinling Gibbons. It appears to have Uffizi, that was almost certainly painted had its centre cut out, to take this in Florence, whereas this picture was painting, at some later date. probably done in Paris.

7 37. The d’Avalos Allegory, 38. Unknown Lady, possibly Lady Sydenham, 39. Putti enacting a Baccanalian scene, by David des Granges, 1640 by Samuel Cooper, c.1645 by ‘Octavo Rene’ (?Otto van Veen)

35 [372] After HANS ROTTENHAMMER to be in the collection of the Kings (later described as ‘A Ladys Head, of Samuel (1564–1625) Emperors) of Prussia, to whom it had Cooper’ in the 1683 ‘Estimate of Danäe and the Shower of Gold* probably descended from Princess Mary Pictures’,but as ‘Lady Sidnam’ in the Oil on copper Stuart, Princess of Orange. Lady 1844 inventory. This may have been the Zeus turned himself into a shower of Katherine was daughter of the 2nd Earl wife of Sir Edward Sydenham, Knight gold to impregnate Danäe, who had of Suffolk and married Lord George Marshall in succession to Sir Edmund been locked up in a tower by her father. Stuart, seigneur d’Aubigny (who was to Verney of Claydon (NT). Samuel This picture was highly valued (at £40), die at the Battle of Edgehill) in 1638. In Cooper was the greatest of the Stuart as an original, when it was in the Green 1648 she married James, 1st Earl of miniature painters, whose best works Closet in 1683. A painting of the same Newburgh, as his first wife. She died in are half-finished works on a larger scale subject and size, also on copper and exile at The Hague. than this that he kept in his studio and catalogued as an original, was in the are now in the . He was collection of Charles I, to whom it had 37 [394] DAVID DES GRANGES the elder son of Barbara, the sister of been given by the Earl of Ancram. That (1611–71/2) after (1488/9–1576) John Hoskins (see nos.36, 47, 53, 58), was either the same as this picture, The d’Avalos Allegory* with whom he and his brother which both owners were mistaken in Signed and dated: David des Granges Alexander, as orphans, were put to live regarding as the original, or this was 1640, and inscribed Titiano (both in and be trained. His reputation extended copied from that. Intriguingly, Charles I gold) far beyond England, and he was also owned an oval Venus, Cupid and Watercolour and bodycolour on vellum particularly prized by Grand Duke Satyrs painted on copper by Either a copy of the painting by Titian Cosimo III of Tuscany. Rottenhammer, that had been given to of c.1530–5 bought by Charles I in him by William Murray. Spain and now in the Louvre; or of Peter 39 [370] ‘OCTAVO RENE’ (= ? OTTO VAN Oliver’s miniature after that, painted for VEEN [1556–1629]) 36 [395] Studio of JOHN HOSKINSTHE Charles I in 1629, when the central Putti enacting a Bacchanalian Scene* ELDER (c.1590–1664/5) after SIR figure was already identified as Charles Oil on copper, with the stamp of Peeter (1599–1641) V’s general, Alfonso d’Avalos, Marquis Stas (c.1565–after 1616) Lady Katherine Howard, Lady d'Aubigny, del Guasto (d.1546), with his wife, Mary Ascribed to ‘Octava Rene’ in the 1683 later Countess of Newburgh (d.c.1650)* of Aragon, and which is still in the Royal ‘Estimate of Pictures’,and inscribed as Watercolour and bodycolour on vellum, in Collection. This copy was probably by ‘Octavo Rene’ on the back, but no an octagonal blackened fruitwood frame. given to or commissioned by William such painter is known. The name may One of three (with nos.53, 58) Murray. (For Des Granges, see no.10.) be a corruption of that of one of miniatures by Hoskins or his assistants Rubens’s teachers, Otto van Veen, who after portraits by Van Dyck of ‘Beauties’ 38 [382] SAMUEL COOPER (1609–72) worked in a variety of modes and used at the court of Charles I and Henrietta Unknown Lady, possibly Lady copper plates by Peeter Stas in Antwerp. Maria, or closely related to such images, Sydenham* Hoskins (who originally painted in oils) Initialled in gold. Watercolour on having been strongly influenced by the vellum, in an ebonised fruitwood frame Court Painter. The original of this used Painted c.1645; the miniature was just

8 Left 40. Bust of an Old Man, by Gerard Dou, 1635

Right 41. The Suicide of , by Toussaint Gelton, 1671

40 [280] GERARD DOU (1613–75) whose behalf he painted portraits at the 44 [547] ENGLISH SCHOOL, 18th-century, Bust of an Old Man* courts of Dresden, Heidelberg and Cassel. after 16th-century Flemish (?) original Oil on panel. Signed, or bears signature: It is not impossible that the present An Unknown Man in Black, with a GDOU (the G and D in ligature). picture was done on an unrecorded visit Goffered Collar Inscribed on the back of the frame in ink: to England. The only other painting by Watercolour on vellum. Oval A Head by Jerar and (formerly – since him in a public collection in Britain is in Inscribed on the back as a portrait of removed by a water stain) 1635 fecit. the Fitzwilliam Museum, Cambridge. The the Emperor Charles V, but this is The carved limewood frame is a coarser present picture was retained by the family clearly impossible. The sitter looks more imitation of that on no.34, but, unlike in 1948, but recovered for Ham thanks to like William the Silent (1553–84), the that, was made specifically for this their offer of it in lieu of inheritance tax originator of Dutch independence from picture. It pays tribute to the fact that in in 2002. Spain. As the pendant to no.48, it would 1683, when this picture hung, not in the seem likeliest to be a copy of a portrait Green Closet, but in the Green Drawing CENTRAL GROUP OF MINIATURES (TOP TO of some contemporary of his, though it Room (now the Queen’s Antechamber) BOTTOM, LEFT TO RIGHT) looks as if done from the life. Its it was the most valuable picture (£30) in 42 [384] DUTCH SCHOOL, 1640–50 technique, however, suggests a later the room – but still only valued half as Unknown Gentleman in a Violet Jerkin production altogether. highly as the Brouwer (no.31). and Broad White Collar Oil on copper. Oval 45 [552] ENGLISH SCHOOL, 41 TOUSSAINT GELTON (c.1630–80) The sitter is probably a courtier of the 18th-century (?) The Suicide of Lucretia* House of Orange. It is not known how Unknown Man, in Armour, with a Lace Oil on panel. Inscribed on the back as or why this miniature in oils got to Ham Collar done by Gelton in 1671, and valued at £4. House. The 17th-century ebony case has Watercolour on vellum. Oval Lucretia’s suicide followed her violation a back carved with a rosette pattern, like This looks like a copy of an earlier by Tarquinius Sextus (see no.78). Gelton nos.3, 7, 43 (which, like this one, has a portrait, of around 1600. The previous was an eclectic and peripatetic artist, gilded sight-edge), 51 and 85: yet only identification as the 2nd Earl of Essex is sometimes working in the exquisitely two of them (7 and 85) appear to be untenable. detailed manner of the so-called identifiable in the 1683 ‘Estimate of ‘Fijnschilder’ such as Gerard Dou (see Pictures’. no.40), and sometimes in the less precious manners of Cornelis van 43 [385] DUTCH SCHOOL, c.1645–50 Poelenburgh (1586–1667) and Pieter Unknown Lady in White Verelst (see no.27), as well as painting Oil on copper. Oval portraits. He was certified as a member of This is framed as a pendant to no.42, the painters’ guild at The Hague in 1659, but does not appear to be by the same but had already made the first of three hand; the sitters might, therefore, be journeys to the Court at Stockholm in husband and wife, painted separately 1658. In 1673 he was appointed painter to before their marriage. She could as well the court of Christian V of Denmark, on be English as Dutch.

9 Left 46. Maria Lewis, Mrs Tollemache, as Miranda, by Henry Bone, RA, 1809

Right 47. Unknown Woman, called Mrs Henderson, by the Studio of John Hoskins the Elder, 1649

46 [424] HENRY BONE, RA (1755–1834) inscription on the wooden backing: Mrs topped by the Swedish crown, and after SIR JOSHUA REYNOLDS,PRA Henderson inscribed with the sitter’s details on the (1723–92) Mrs Henderson was ‘a distant kinswoman’ back Maria Lewis, Mrs Tollemache, as Miranda of Elizabeth Murray, Countess of Dysart A courageous, but reckless, warrior, Enamel, dated and inscribed on the and Duchess of Lauderdale, and lived at Charles assumed the throne at the age of enamelled reverse, 1809, and with Henry Ham House – where a room is named fifteen, and had to spend most of his life Bone’s name and address (No.15 Berners after her – from the 1640s until the latter’s defending Sweden against Denmark, St.) on the backing paper, along with an death. Although it is tempting to identify Saxony, Russia and Poland. Forced into identification of the sitter in another – her this sour-faced woman with a disgruntled five years’ exile in the Crimea after the widowed husband’s? – hand, beginning: poor relation and spinster companion (in Battle of Poltava (1709), he made an ‘Softness, Sweetness, Simplicity, Grace’. the past ‘Mrs’ was used for unmarried extraordinary incognito return. He died Daughter of David Lewis, of Malvern women too) of the imperious Duchess, invading Norway. Axel Sparre was a field Hall, near Solihull, Anna Maria that is improbable, since she would have marshal in the Swedish army, as well as a (1745–1804) was married to the Hon. been a young woman in the 1640s, when skilful miniature-painter. Wilbraham Tollemache, later 6th Earl of this was limned. Dysart in 1773, the year in which the 51 [386] Attributed to JEAN PETITOT original of this portrait, showing the 48 [546] ENGLISH SCHOOL, 18th- (1607–91) sitter as in The Tempest, Act I, Scene 2, century, after FRANÇOIS CLOUET Unknown Lady in a Yellow Dress was painted. Reynolds’s picture passed (c.1510–72) Enamel on copper to the 1st Baron Tollemache, by whom it Henri II, King of France (1519–59) Not identifiable in any early inventory, was sold; it is now in the Iveagh Bequest, Watercolour on vellum nor by obvious resemblance, but a later Kenwood. Henry Bone was from This is a simplified copy – probably via inscription on a piece of paper stuck to Cornwall and first painted china in another copy – of the bust of the whole- the back, calling the sitter ‘Henrietta Plymouth. Coming to London around length portrait of Henri II by François Maria, wife of Charles I’,may have been 1779, he developed a new speciality of Clouet. The stippled technique indicates a misinterpretation of an earlier one, copying portraits and celebrated oil an 18th-century origin – as does the identifying her as Henrietta (‘Minette’), paintings in enamel. In 1801 the Prince giltwood frame. Duchess of Orleans, the beloved sister of of Wales gave him the new nomination Charles II. of his Painter in Enamel, which he 49 [553] ENGLISH SCHOOL, c.1650 retained when the Prince became King, Unknown Man 52 [427] Attributed to GEORGE PERFECT and under William IV.A large collection Oil on panel. Oval HARDING (1779/80–1853) of his enamels is at Kingston Lacy (NT). Possibly intended as a retrospective Robert Dudley, , KG portrait of Shakespeare. (1532?–88) 47 [392] Studio of JOHN HOSKINSTHE Watercolour on paper ELDER (c.1590–1664/5) 50 [423] Attributed to AXEL SPARRE Fifth son of John, and Unknown Woman, called Mrs Henderson (1652–1728) , Edward VI’s Watercolour and bodycolour on vellum Charles XII, King of Sweden (1682–1718) Lord Protector, who attempted to make Initalled JH and dated 1649. A later Oil on vellum, in a gilt copper frame the wife of his fourth son, Lady Jane Grey,

10 54. Philip Melanchthon, by the German School, 1525–50

Queen instead of Mary, Robert was in-Waiting to Queen Henrietta Maria, later inscription on the wooden backing sentenced to death with her, his brother and granddaughter of Thomas, 1st Earl states, but is too richly dressed to be any and father, but reprieved. He redeemed of Suffolk, as do those on copies of the other English woman. If she was his fortune by becoming and remaining painting at Blickling (NT) and Schloss traditionally called Elizabeth, rather the favourite of Elizabeth I, despite Mosigkau (see also nos.36, 58). than named as her because of her suspicions of having his first wife, Amy costume, she might be Elizabeth of Robsart, poisoned, and a bigamous 54 [428] GERMAN SCHOOL, second Austria (1554–92), the wife of King marriage to his third. Condignly, he is quarter of the 16th century Charles IX of France. said to have died of poison intended for Philip Melanchthon (1497–1560)* her. A copy of a portrait attributed to Oil on panel. Round 57 [380] DAVID DES GRANGES (1611–71/2) Steven van der Meulen (active 1543–68) This portrait, though usually said to be a after ADRIAEN HANNEMAN (c.1601–71) in the Yale Center for British Art. Harding copy of the roundel by Holbein Charles II (1630–85) as a Young Man* specialised in watercolour copies of (Niedersächsiches Landesgalerie, Watercolour and bodycolour on vellum, historical portraits, often for grangerised Hanover), may in fact (since Holbein did in an octagonal ebonised fruitwood volumes of English or county histories; not meet the sitter, but probably painted frame many of them were also engraved. his portrait in England, around 1535) After a portrait by Hanneman, the have been the model for it. It was original of which is possibly the one at 53 [393] Studio of JOHN HOSKINSTHE ascribed to Cranach in the 1683 ‘Estimate Southside House, Wimbledon, painted ELDER (c.1590–1664/5) after SIR of Pictures’,but does not resemble his – when Charles – still only Prince of ANTHONY VAN DYCK (1599–1641) much-multiplied – portraits of Wales – was in exile in Holland. There Called ‘Miss Cary Maid of Honour’*, but Melanchthon either. Melanchthon was a are many versions of this miniature by actually Elizabeth Howard leading Protestant Reformer, but always a Des Granges, as well as others by Watercolour and bodycolour on vellum in force for moderation. Nathaniel Thach (b.1617; active until an ebonised fruitwood frame the ). They were probably Only called ‘A Ladys Picture, after 55 [550] ENGLISH SCHOOL, c.1600/10 distributed to loyal supporters of the Vandyke in Lymming’ in the 1683 An Unknown Peer (?) exiled king. ‘Estimate of Pictures’,but in an Watercolour on vellum (?) inscription on the back dating from the Much oxidised and repaired, so that the 58 [387] Studio of JOHN HOSKINSTHE Duchess of Lauderdale’s lifetime: ‘Miss sitter is not recognisable. The layers of ELDER (c.1590–1664/5) after SIR Cary / by Hoskins / Maid of Honour / ermine that he wears suggest that he ANTHONY VAN DYCK (1599–1641) after Vandyke’.Were this to be reliable, may have been a ruler, rather than Lady Dorothy Sidney, Countess of the sitter would be the Hon. Anne Cary, merely a peer. Sunderland (1617–84)* daughter of the 1st Viscount Falkland, Watercolour and bodycolour on vellum in who later became a nun, but in the 56 [551] FRENCH SCHOOL, an octagonal ebonised fruitwood frame. three-quarter-length painting that this is late 16th-century With nos. 36 and 53, this is one of a – taken from (private collection, USA), Unknown Lady, formerly called Elizabeth I probably once larger – series of female the inscription denotes the sitter as ‘Mrs Watercolour on vellum (?) Beauties by Hoskins derived from Howard’,i.e. Elizabeth Howard, Lady- The sitter cannot be Elizabeth I, as a paintings by Van Dyck, in this case from

11 a portrait now at Petworth (NT). 60 [548] FRENCH or SWISS SCHOOL, 18th- 62 [545] ENGLISH SCHOOL, 18th-century Unrequited love for Lady Dorothy century, after TITIAN (1488/9–1576) Edward Seymour, 1st inspired Edmund Waller (1606–87) to The (c.1506–52) address her as ‘Sacharissa’ in his poetry. Watercolour on vellum Oil on panel Her mother is the sitter in no.85. A variant copy of Titian’s Venus of Previously unidentified, this rare but Urbino, in the Uffizi, Florence, which posthumous portrait of the one-time 59 [421] Attributed to NICHOLAS DIXON achieved great popularity amongst those effectively ruler of England, Edward VI’s (active 1667–1708) after SIR making the Grand Tour. This version, guardian, ‘Protector Somerset’,indicates (1618–80) however, substitutes a landscape that historical – or would-be historical – George Monck, 1st Duke of Albemarle, background for the interior with a maid portraits were a significant element of KG (1608–70) at a cassone. the collection in the Green Closet. Watercolour and bodycolour on vellum After Lely’s portrait of Monck in the set 61 [430] NORTH ITALIAN SCHOOL, c.1600 of ‘Flagmen’ at Greenwich. He played a Unknown Man crucial role in the Restoration of Charles Oil on copper. Painted oval II, for which he was rewarded with the The origin of this sensitive portrait is Garter and a Dukedom. not known. It may be Venetian, or perhaps Parmesan. It is unfortunately rather damaged.

12 SOUTH WALL (FACING WINDOW)

63 DOORS

64 66

65 67

WALL OPPOSITE WINDOW (LEFT OF DOOR): poisoned on the orders of Tiberius. His 67 [544] ? FLEMISH or GERMAN SCHOOL, 63 [219] ENGLISH SCHOOL, second son Caligula later became Emperor. early 16th-century quarter of the 18th century Adapted from Poussin's celebrated Old Man praying* Carlo and Ubaldo removing Rinaldo painting formerly in the Barberini Oil on panel from Armida collection in Rome, and now in the Inscribed on the ledge: DICTIO Watercolour and gouache on paper laid Minneapolis Institute of Arts. DOMINI SVPER (‘[it is] the Word of down on canvas the Lord above’) Previously misidentified as Agrippina 65 [543] ? FLEMISHOR GERMAN SCHOOL, Nothing is known of either artist or landing with the Ashes of Germanicus, early 16th-century sitter of this picture, but both may be this gouache seems to have been derived Man in a White Cap the same as for no.65. It too has suffered from an early 17th-century French Oil on panel bad damage. painting, possibly via an engraving. It is Nothing is known of either artist or scored in an arc as if for a fan, but never sitter of this little picture, which has appears to have been made into one. suffered much damage.

64 [220] JOSEPH GOUPY (c.1680–c.1770) WALL OPPOSITE WINDOW (RIGHT OF DOOR): The Death of Germanicus 66 [218] JOSEPH GOUPY (c.1680–c.1770) Gouache on paper laid down on canvas Germanicus embarking with Agrippina (?) Germanicus was the son of the Emperor Gouache on paper laid down on canvas Tiberius’s brother, the great general After defeating Arminius (Hermann) in Drusus, who died after campaigning Germany, Germanicus was sent by his successfully against the Germans, whose uncle and adoptive father, the Emperor name became the honorific of his Tiberius, as Governor of the East to family. Germanicus was adopted by quell uprisings in Armenia. His virtuous Tiberius, and continued his father’s wife Agrippina (the Elder), campaigns, defeating Arminius granddaughter of Augustus, (Hermann). Sent then as Governor of accompanied him. the East, he died in Syria, probably

13 WEST (FIREPLACE) WALL

74

70 79

68 75

76 71 72 73

77 80 81 82

83 84 69 86 85 87 78 FIREPLACE

LEFT OF CHIMNEYPIECE: Elder (1573–1621), painted this. belonged to the Duchess of Lauderdale, 68 [193] After DANIEL MYTENS but were not kept at Ham. (c.1590–1647/8) ABOVE CHIMNEYPIECE: James, 2nd Marquess of Hamilton, KG 70 [354] After DANIEL MYTENS 72 [314] ? BARTHOLOMEUS BREENBERGH (1589–1625)* (c.1590–1647/8) (c.1598–1657) Oil on panel James VI and I (1566–1625) in the Robes Landscape with Playing Satyr Children Father of the 1st and 2nd Dukes of of the Order of the Garter and Goats* Hamilton, he was one of those behind Oil on canvas Oil on panel Prince Charles's journey to Spain to The prime surviving, life-size, version of Signature formerly visible: B. Breenbergh woo the Infanta in 1623. The life-size this portrait, of 1621, is in the National (to which a 19th-century label adds the original whole-length is in the Royal Portrait Gallery. The inscription above date: 1639) Collection. Mytens was the dominant his head, BEATI PACIFICI (‘Blessed are The fact that the signature has portrait-painter in England before the the Peacemakers’), the seventh Beatitude disappeared might indicate that it was a arrival of Van Dyck. (St Matthew’s Gospel, chapter V, verse later addition, so more easily removed, 9), denotes the role in which James I but it could also have been taken off by 69 [313] AMBROSIUS IIBOSSCHAERT regarded himself in his later years, the thief who stole the picture in 1969, (1609–45) or ABRAHAM BOSSCHAERT instead of supporting his son-in-law intending to pass it off as by another (1612/13–43) and daughter, the ‘Winter King’ and artist. The most recent expert on the Blackbird, Butterfly and Cherries* ‘Queen’,and the Protestant cause, in the artist, Marcel Roethlisberger, has Oil on panel; signed: A. Bosschaert Thirty Years War. This picture belonged accepted it as by this artist in his The carved oak frame with putti and to the Duchess of Lauderdale, but was catalogue raisonné, but in the 1683 swags is similar to those on the Great not then kept at Ham. ‘Estimate of Pictures’,when his Staircase, where it originally hung. It is signature ought to have been clearly difficult to reconcile the style of this 71 [368] DUTCH SCHOOL, visible, it was described as a ‘Landscape unusual work and the form of the mid-17th-century by Crabish’.This means that it was then signature, so as to be sure which of the Portrait of a Woman ascribed to Jan Asselyn (after 1610–52), two sons of the pioneering painter of Oil on panel who was known as ‘Crabetje’ (‘little flower pieces, Ambrosius Bosschaert the This picture and its pendant (no.73) crab’) because of his claw-like left hand

14 Above 72. Landscape with Playing Satyr Children and Goats, by Bartholomeus Breenbergh, 1639

Right 74. Katherine Bruce, Mrs Murray with Ham House behind her, by Alexander Marshal, 1649

– but he is even less likely as the artist BELOW IN GILT FRAME: ascribed to Adam Elsheimer than Breenbergh. 75 [367] ? ITALIAN SCHOOL, (1578–1610), and it is possible that it is early 16th-century a copy of a lost composition by him, 73 [369] DUTCH SCHOOL, St Elizabeth of Hungary* since there is a surviving drawing, and mid-17th-century Oil on panel records of two paintings on copper, by Portrait of a Man St Elizabeth of Hungary, or Thuringia, him, of other moments in the story of St Oil on panel (1207–31) was the daughter of King Peter’s denial of being an associate of The simplicity of the dress of this man Andreas II of Hungary, and wife of Christ, after the latter had been arrested. and his – presumably – wife (no.71) – Ludwig, Landgrave of Thuringia. She she wears no jewellery at all – suggests became a Franciscan tertiary on his BOTTOM: that they may have been Quakers. death in Italy on the way to a crusade, 78 [406] DAVID PATON (active 1660–95), devoting herself to the care of the poor after TITIAN (1488/9–1576) or PALMA FIREPLACE WALL (SIDE OF CHIMNEYBREAST): and sick in Marburg (see the little early VECCHIO (1480–1528) 74 [2] ALEXANDER MARSHAL (c.1620–82) painting by Elsheimer in the Wellcome Tarquin and Lucretia after JOHN HOSKINS (c.1590–1664/5) Institute). She was especially venerated Plumbago on vellum Katherine Bruce, Mrs Murray (d.1649), in the Rhineland and Flanders; the three Signed and dated 1668 with Ham House behind her crowns in this picture both allude to her After ’s miniature copy, once Watercolour and bodycolour on vellum royal birth, and are symbolic of her in Charles I’s collection, and now in the Signed on the front, and signed and holiness in the three stages of virgin, Victoria & Albert Museum, of the oil dated 1649 on the reverse wife and widow. She was rapidly painting once also in Charles I’s A posthumous variant of the portrait by canonised, in 1235. collection, and now in the Hoskins (in the Duchess's Private , Vienna, Closet); a view of Ham is substituted 76 [429] Manner of ADRIEAN BROUWER whose attribution is the subject of here for the castle in Hoskins's portrait. (1606–38) debate. In the legendary history of early Marshal was a gentleman garden- Head of a Boor* Rome, Tarquinius Sextus, sixth son of designer and chemist, but is best known Oil on panel the tyrant Tarquin the Proud, raped as a superlative botanical painter. Though demoted from its ascription to Lucretia, wife of his kinsman, Although Marshal was resident at Ham Brouwer himself in the 1683 ‘Estimate Tarquinius Collatinus, thus causing her in 1650, this miniature was not of Pictures’ – though it was only valued suicide, which led to Tarquin’s expulsion historically part of the collection there, at £2 – the painting is dirty and from power. but turned up around 1920, with an damaged, so may be better than it now Irish provenance. It was bought at seems. FIREPLACE WALL (RIGHT OF CHIMNEYPIECE): auction by the Victoria & Albert 79 After DANIEL MYTENS (c.1590–1647/8) Museum for Ham House in 1979. The 77 [549] GERMAN SCHOOL, early 17th- Ludovick Stuart, 2nd Duke of Lennox and vine curling round a bay tree-trunk seen century , KG (1594–1624)* behind the sitter is probably symbolic. It The Denial of St Peter Oil on panel evokes the Solomonic columns in the Oil on metal Favourite and kinsman of James I. The North Drawing Room. This little painting was formerly life-size original whole-length is in the

15 86. Henry Rich, 1st Earl of Holland, KB, KG, attributed to Samuel Cooper

collection of the at who had been ‘in mind [untouched] by 84 [419] Style of JEAN PETITOT Longford Castle. any old age’,could indicate that the (1607–91), c.1690–1700 portrait was a posthumous one. Unknown Woman miscalled Mme de BELOW IN CARVED WOOD FRAME, C.1640: Montespan (1641–1707) 80 [422] CATHERINE DA COSTA, née 82 [390] CHRISTIAN PETER WILLMAN Enamel on copper RACHEL MENDES (1679–1756) (d.1665) This appears to have been a late entrant An Imaginary Likeness of Mary, Queen of Portrait of an Unknown Lady, possibly to the collection, and nothing certain is Scots Princess Louisa Henrietta of Orange known of it or the sitter. Watercolour on ivory, signed Oil on copper According to George Vertue, Peter Cross Monogrammed CHPW 1646 85 [412] Style of JEAN PETITOT (see no.6) ‘improved’ an original The monogram has been identified as (1607–91) after SIR ANTHONY VAN DYCK miniature of Mary for the Duke of that of Christian Willman, who worked (1599–1641) Hamilton, and this corresponded so well at Königsberg in Prussia. The sitter used Lady Dorothy Percy, Countess of Leicester with how people liked to imagine the to be identified as Princess Mary Stuart, (1598–1659)* Queen that it was ‘coppyd in water- the mother of William of Orange Enamel on copper colours and enamel many & many times (William III), but artist and lack of This head is copied from that of the for all persons’.One such copyist was likeness make this impossible. She may Countess in the double portrait with her Bernard Lens (1682–1740), one example instead be Louisa Henrietta, daughter of sister, Lucy, Countess of Carlisle, at of whose copies, dated 1713, is in the the Stadholder, Frederick Henry of Sudeley Castle. They were daughters of Royal Collection; Catherine da Costa, Orange, who was married in 1646 to Henry, 9th Earl of Northumberland; in daughter of a Jewish doctor from Frederick William of Prussia, the ‘Great 1615 she entered into a secret marriage Portugal, and for many years a pupil of Elector’,as his first wife. with Robert Sidney, later 2nd Earl of Lens’s, in turn copied him. Leicester (1595–1677). Their daughter, 83 [388] FRENCH or DUTCH SCHOOL, Lady Dorothy, Countess of Sunderland, 81 [411] ENGLISH SCHOOL, c.1650 c.1625 was ‘Sacharissa’ (no.58). Portrait of an Unknown Man, called Sir A Knight of the Order of the Saint-Esprit Lionel Tollemache, 2nd Bt (1591–1640) Oil on copper 86 [376] Attributed to SAMUEL COOPER Oil on copper. Inscribed on the tree- A latecomer to Ham House, the sitter in (1609–72) trunk: animo quam nulla senectus Theb.II. this little miniature painting was Henry Rich, 1st Earl of Holland, KB, KG A later inscription identifies the sitter as identified as George, 1st Duke of (1590–1649)* Sir Lionel Tollemache, 2nd Bt Buckingham, to whom he does bear a Watercolour and bodycolour on vellum (1591–1640), but this identification is physical resemblance. But the blue riband Listed in the 1683 ‘Estimate of Pictures’ problematic, as the man’s dress is of of the Saint-Esprit over his right shoulder as by ‘Old Hoskins’ (i.e. John Hoskins around 1650. The quotation, however, (not left, which denotes the Garter) the Elder, see no.36), in whose studio his purportedly from the second book of makes this impossible. Possibly the nephew Samuel Cooper worked, hence Statius’s Thebais, but actually from the marquis d’Effiat, Louis XIII’s favourite. the old ascription. Stylistically, however, third part of the fifth book of his Silvae, it fits better into Cooper’s oeuvre. After the lament for the poet’s dead father, equivocal conduct in the early days of

16 the Civil War, Holland became a Text by Christopher Rowell; extensively prominent Royalist, and was beheaded revised by Alastair Laing soon after Charles I. Illustrations Photo 87 [413] FRENCH SCHOOL, c.1675 Library/Andreas von Einsiedel front cover, Personification of Astronomy p.1; NTPL/John Hammond pp.2, 3 (left, Enamel on copper centre and right), 4, 5, 6, 7 (left, centre and right), 8 (left, centre and right), 9 (left and This female personification of right), 10 (left and right), 11, 15 (left and Astronomy (then often called Astrology right), 16. – no firm distinction was made between the two) holds an astronomical globe © 2009 The National Trust with signs of the Zodiac. Her dividers Registered charity no.205846 point to the constellation of Draco – shown, amusingly, in the form of a sea- Designed by Level Partnership horse! Front cover Detail of the north wall of the Green Closet

17