Stourhead Illustrated list of pictures and sculpture

The Little Dining Room The Picture Gallery

A Family Collection

Like all significant collections of pictures and sculpture in country houses, those at Stourhead have two main elements: the family portraits accumulated over a number of generations, and the paintings systematically commissioned and/or acquired by deliberate collectors. In the case of the Hoares of Stourhead there were really just two of these: Henry II Hoare, known as ‘The Magnificent’ (1705–85), and his grandson, Sir Richard Colt Hoare, 2nd Bt (1758–1838).

The collection was, however, affected by The character of Henry II Hoare’s collection II had a sky-lit picture gallery, but even this three other things: most crucially, by the emerges best from the detailing of it by does not seem to have been reserved either Heirlooms sales of 1883, in which what were Horace Walpole, after a visit made in July for the best pictures, or for a particular type then thought to be the most valuable 1762. It was chiefly composed of pictures by of picture. The large Dughets (Nos 43, 44), pictures were put up for auction. These Italian artists, or painted in Italy, leavened by and the great Maratta were acquired directly included Rembrandt’s nocturnal Flight into a number of landscapes by John Wootton from Italy via an agent, but – apart from the Egypt (now National Gallery of Ireland, (who had also painted the horse in the great paintings that he commissioned – Henry II Dublin), Fra Bartolomeo’s The Virgin and St equestrian portrait of Henry II as a young seems to have made most of his acquisitions Joseph adoring the Christ Child (now National man, then as now dominating the Hall), and through London dealers and salerooms. Gallery, London), Poussin’s Rape of the by pastels by Hoare of Bath (who was no Evidently of equal importance to his Sabines (now Metropolitan Museum of Art, relation, although his daughter later married pictures for Henry II was his sculpture, and it New York), and Carlo Dolci’s Salome (now into the family). Amongst the original likewise elicited the most detailed Glasgow Art Gallery). Then there was the fire pictures listed by Walpole that are still in the consideration from Walpole. Most of this that gutted the house in 1902. The paintings collection are: the two Sebastiano Riccis was – and still is – in structures in the were saved, but, when the Saloon was rebuilt (Nos 356, 191 – though the latter has since grounds, notably Rysbrack’s great Hercules, it was reduced in size, so the large paintings turned out to be a copy), Maratta’s Flight into its body reputedly an amalgam of ‘the best- that had occupied its stucco frames were Egypt (No.25), the pair of Imperialis (Nos 41, formed parts of noted Boxers’. But indoors either banished to the upper landing of the 42), and The Choice of Hercules by Nicolas there was a less than life-size marble Young Staircase or given to the newly created Poussin (No.21). Henry II’s most significant Bacchus, by contrast ‘composed by Rysbrack Victoria Art Gallery in Bath. Though all but acquisitions subsequent to Walpole’s visit from different antiques’ (now in the one were copies, mostly of great Seicento are something rather singular for a British Gulbenkian Museum, Lisbon) and (though paintings, they gave the collection part of its collection: the Lagrenées (Nos 28, 29, 174, unmentioned by Walpole) Rysbrack’s character (two of them can now be seen in 307, 310, 311, 479). terracotta modelli, both in the round (for the the Guildhall in Bath). Finally, to fill some of The paintings were distributed throughout Hercules) and in relief (now over the the gaps left by the Heirlooms sales, Sir the ground-floor rooms of the house, Staircase), as well as busts: Milton Young, Henry Hoare, 6th Bt (1865–1947) and his wife unsystematically – apart from the seven Milton Old and Blind and Alfred the Great. Alda, who gave Stourhead and its contents large copies and one original, Sebastian Henry II also acquired numerous statues, to the National Trust in 1946, brought with Bourdon’s Judgement of Midas (one of those statuettes, and busts, in lead and Plaster. from them a number of pictures from the seat of given to the Victoria Art Gallery, but present John Cheere, ‘the man at Hyde Park Corner’. their line of the family, Wavendon, in whereabouts unknown), in the Saloon. In Sir Richard Colt Hoare – generally known Buckinghamshire. what was advanced taste for the time, Henry as Colt Hoare – was a collector in a very 1 different mould. He acquired pictures more acquisition in Italy, ten of the dozen drawings eclectically, but he arranged them more by Canaletto for the set of engravings of the systematically. He set out of the principles Ceremonies of the Doge, around a portrait of governing the allocation of certain types of Doge Pietro Landi over the chimneypiece of picture to particular rooms, in his description the Library – all, sadly, were dispersed in the of Stourhead in The History of Modern Heirlooms sales, though four are now in the Wiltshire: The Hundred of Mere (1822). Colt Print Room of the British Museum. The Hoare also differed from Henry II in his substitute for this Venetian group made by evident desire to encourage a native school Sir Henry and Alda, Lady Hoare, which they of painting, by giving commissions to British had brought from Wavendon, was probably artists for ‘fancy’ paintings, rather than just their most significant introduction to for portraits or landscapes (an approach Stourhead – and one not inappropriate to a shared by the 3rd Earl of Egremont at family whose wealth was built on banking: Petworth House [NT]. He also encouraged the modello (imported into England early in artists such as Ducros – and, above all, the 18th century) by Pierre Legros for his J.M.W. Turner – to paint watercolours on a large marble relief in the chapel of the Monte scale, and with an ambition, to rival oils (very di Pietà in Rome of Tobit placing money on sadly, Turner’s ten great watercolours of deposit with Gabael. Otherwise, their taste Salisbury Cathedral were amongst the losses seems particularly to have been for in the 1883 Heirlooms sales). architectural capriccios (Nos 3, 196, 202), Unlike Henry II, Colt Hoare himself made complementing the Harding pastiches of the Grand Tour to Italy, on two separate Panini introduced as overmantels by Henry II journeys, in 1785–87 and 1788–91, visiting (Nos 211, 318, 612). In addition – possibly places off the beaten track, such as Elba and fostered by some particular rapport between the further stretches of the Appian Way. He artist and patron – the artist and novelist St kept, and partially published, journals of his George Hare not only painted portraits of Sir travels, and both made sketches of views and Henry, Lady Hoare, and their only son, whose sites himself, and took other artists along death in the First World War was to lead to with him to do so: above all, Carlo Labruzzi, their donation of Stourhead to the National but also Don ‘Tito’ Lusieri, and the Hackert Trust (Nos 160, 161, 139, 459, 460), but also a brothers. Most of his own sketches are series of subject pictures, some of whose preserved in albums in the Library in themes have now come to seem curiously Stourhead, and a few drawings and equivocal – notably Miserere Domini (No.457) watercolours by the other artists are in the and The Gilded Cage (No.458). house, but Labruzzi’s sadly all went in the In the early years of its ownership of Heirlooms sales, and only a couple have been Stourhead, the National Trust thinned the recovered (Nos 582, 589). He also employed hangs of pictures - especially in the Picture the Saxon pioneer of the art, J.C. Gallery – and lent a number of them to other Seydelmann, and his English disciple, John properties – such as Mompesson House, James Rouby, to make large sepia wash Salisbury – without picture collections of copies of heads and other details in their own. More recently, it has clawed back celebrated Old Masters – to which two whole these pictures, and bought others down rooms at Stourhead were given over. from attic stores, to recreate – so far as is Colt Hoare was criticised by artists in possible, given the losses in 1883, and the Rome for only commissioning landscape subsequent introductions by Sir Henry and paintings, and no sculpture, but he did Alda, Lady Hoare – the hangs of the house in acquire major history-pictures in oils from its heyday: at the time of Colt Hoare’s death earlier periods – notably Cigoli’s great in 1838. The Saloon, being the one room that altarpiece of The Adoration of the Magi (No.18) was not rebuilt as it had been before the fire from a destroyed church in Florence. in 1902, is largely given over to the After he got back home, he decided to add introductions and commissions of Sir Henry a semi-detached (prophetically, in case of the and Lady Hoare. Some hangs still remain to main block of the house catching fire) Library be recreated: above all, that of the large (1792), and then a semi-detached Picture sepia drawings by Seydelmann and Rouby in Gallery (completed 1802) – on a much the Italian Room. greater scale than Henry IIs, but regrettably not top-lit – to Stourhead. Having done so, Alastair Laing he proceeded to rearrange the pictures Curator of Pictures and Sculpture systematically (as set out in the quotations before each room in this list). The key changes were: to devote the three main walls of the Entrance Hall to portraits; to house most of the important Old Master paintings in the collection (and later two large pictures by Henry Thomson, Distress by Sea [No.57] and Distress by Land [No.56] in the Picture Gallery; and to turn the Picture Cabinet from a mixed room of history-pictures into a room exclusively devoted to landscape subjects. He hung perhaps his most significant

2 The Hoares of Stourhead

Sir Richard Hoare (1648–1718) = Susanna Austen Lord Mayor of London 1712 Founder of Hoare’s Bank

Henry I = Jane Benson (1677–1725) of Stourhead (d.1741) partner in Bank dau. of Sir bought Stourton and built house William Benson

Henry II ‘the Magnificent’ = (1) Ann Masham Sir Richard Hoare = (1) Susan Tully (1705–85) of Stourhead (2) Susanna (1709–54) (2) Elizabeth Rust partner in Bank Colt (d.1743) partner in Bank made lake and built temples Lord Mayor of London 1745

Henry Susanna = 1st Earl of Anne (1) = Sir Richard 1st Bt = (2) Frances Acland (1730–52) (1732–84) Ailesbury (1737–59) of Barn Elms (d.1800) partner in Bank m.1756 (1735–87) m.1761

Sir Richard Colt = Hester Lyttelton Sir Henry Hugh = Maria Acland 2nd Bt (1758–1838) (d.1785) 3rd Bt (1762–1841) (d.1845) of Stourhead m.1783 of Stourhead m.1784 built Library and Picture Gallery partner in Bank built portico

Henry Sir Hugh Richard Henry Charles Richard (1793–1850) Henry Arthur (1784–1836) 4th Bt (1787–1857) (1790–1852) = (1) Matilda Ottley (1804–73) = Charlotte of Stourhead partner in Bank (d.1826) m.1823 of Wavendon Dering partner in Bank = Anne Ainslie (2) Elizabeth Praed = Julia Lane = Anne Drake m.1834 (d.1847) m.1819

Anne = Sir George Sir Henry Ainslie = Augusta East Sir Henry Hugh Arthur = Alda Mathew 5th Bt (1824–94) (d.1903) 6th Bt (1865–1947) Weston of Stourhead m.1845 of Stourhead (d.1947) MP for Chelsea 1868–74 gave Stourhead to the m.1887 Heirlooms sale 1883 National Trust 1946

Henry Colt Arthur Owners of Stourhead are in Capitals (1888–1917)

3 160 Sir Henry Hoare, 6th Bt, 156 Henry II Hoare on Horseback, SC1 Bust of King Charles I, by St George Hare by Michael Dahl and John Wootton by Hubert Le Sueur

KEY VRXWL ZEOO, RSSRVMWI GLMPQI\SMIGI RQ WLI WEFOI XQHIUQIEWL 153 HEQV H\VMQK (1678–1752/3) SC.1 HXFIUW LI SXIXU (EGWMYI 1602–58) RA Member of the Susan Colt, Mrs Hoare (d.1743) Bust of King Charles I (1625–49) Royal Academy Kentian lobed frame. 127 × 101.5cm. Signed Gilt bronze. H: 68.5cm. and dated 1733. This appears to be a bust that was originally PRA President of the Second wife of Henry II Hoare. Bought for 16 in Charles I’s own collection, in Whitehall Royal Academy guineas in 1733. Palace.

ARA Associate of the 154 SEPXIO WRRHJRUHI, UE (1763–1817) 157 BUMWMVL SGLRRO, early 19th century Royal Academy Richard Fenton (1746–1821) A Member of the Hoare Family (?) 76 × 63.5cm. 76 × 63.5cm. (RCH) Bought by Sir Richard Topographer and poet; friend of Colt Hoare Previously regarded as William Cunnington, Colt Hoare (who paid 20 guineas for the portrait in an antiquarian friend of Colt Hoare’s. 1809). (HH) Bought by Henry II Hoare 158 SEPXIO WRRHJRUHI, UE (1763–1817) 132 FUIHIUMG, LRUH LIMKLWRQ, SUE Frances Ann Acland, Lady Hoare All pictures oil on canvas unless otherwise (1830–96) (1735/36–1800) stated. The order in which they are listed Augusta East, Lady Hoare (d.1903) 76 × 63.5cm. here is generally clockwise, beginning 101.5 × 71cm. Second wife of Sir Richard Hoare, 1st Bt. opposite the entrance to the room, in Wife of Sir Henry Ainslie Hoare, 5th Bt. successive columns, top to bottom. 161 SW GIRUKI HEUI (1857–1933) 160 SW GIRUKI HEUI (1857–1933) Alda Weston, Lady Hoare (d.1947) Sir Henry Hoare, 6th Bt (1865–1947) 127 × 101cm. Signed. The Entrance Hall 127 × 101.5cm. Wife of Sir Henry Hoare, 6th Bt. He gave Stourhead to the National Trust in 1946. 159 MMGLEIO DELO (1656/9–1743) Hon. Ann Masham, Mrs Hoare (d.1727) SMU RMGLEUH CROW HREUI, 2QH BW, 156 MMGLEIO DELO (1656/9–1743) and JRLQ 127 × 101.5cm. said of this, in his History of Modern WRRWWRQ (G.1682–1756) First wife of Henry II Hoare. Wiltshire, vol. I: Hundred of Mere (1822): Henry II Hoare on Horseback (1705–85) 330 × 304.5cm. Signed by both artists and ZIVW ZEOO, OIJW RJ HRRU Its walls are chiefly covered with family dated 1726. 114 JRQEWLEQ RMGLEUHVRQ (1665–1745) portraits, a very appropriate Creator of Stourhead Pleasure Grounds and Sir Richard I Hoare, Kt (1648–1718) decoration for the first entrance into a founder of the picture collection. 127 × 101.5cm. house, as well as for the panels of a Father of Henry I Hoare; Lord Mayor of dining room. They remind us of the London, 1712. genealogy of our families, and recall to our minds the hospitality, &c of its 118 Attributed to JRQEWLEQ RMGLEUHVRQ former inhabitants, and, on the first (1665–1745) entrance of the friend, or stranger, Jane Benson, Mrs Hoare (d.1741) seem to greet them with a SALVE, or 76 × 63.5cm. welcome. Wife of Henry I Hoare.

121 Attributed to JRLQ RMVMQK (1756–1815) Henry Merrik Hoare (1770–1856) 90 × 69cm. Fourth son of Sir Richard Hoare, 1st Bt.

4 115 Henry I Hoare, 129 Ann Hoare, 130 Sir Henry Hoare 3rd Bt, by Michael Dahl by Samuel Woodforde, RA attributed to John Rising

115 MMGLEIO DELO (1656/9–1743) 123 Attributed to JRLQ RMVMQK (1756–1815) 128 PUMQGI HREUI (1755–1834) Henry I Hoare (1677–1725) Peter Richard Hoare (1772–1849) 2nd Lord Lyttelton (1763–1828) 127 × 101.5cm. 90 × 70cm. 76 × 63.5cm. Signed and dated 1784. He bought the Stourhead estate and Fifth son of Sir Richard Hoare, 1st Bt. Exh. RA, 1784. George Fulke Lyttelton, employed Colen Campbell to build the brother-in-law of Colt Hoare. house. There are two versions of this picture: ZIVW ZEOO, RYIU WLI HRRUGEVI in this one the elevation that he holds is 124 EQKOMVL SGLRRO, early 18th century 131 EQKOMVL SGLRRO, 18th century without the steps (which were in the original A Young Girl Maria Acland, Lady Hoare (d.1845) design, but only built much later); the other 76 × 63.5cm. 76 × 63.5cm. version (lent to Hoare’s Bank) shows the Wife of Sir Henry Hugh Hoare, 3rd Bt. steps. SC2 After the Antique Mask of Medusa 117 (?) WMOOMEP HREUI, UE (1707–92) 119 AUWLXU PRQH (1701–58) Marble. H: 60cm. (?) Henrietta Boyle, Mrs O’Neill (1755/56–93) Susanna Hoare, Countess of Ailesbury After the Antique formerly in the Rondanini 127 × 101.5cm. (1732–83) collection in Rome, and now in the Previously – and impossibly – called 76 × 63.5cm. Signed and dated 1757. Glyptothek, Munich. Elizabeth Rust, second wife of Daughter of Henry II Hoare; wife of 1st Earl Sir Richard I Hoare (No.114). More probably a of Ailesbury. The sitter wears an adaptation 685 BUMWMVL SGLRRO, early 19th century portrait listed in 1785 as of Mrs O’Neill, the of the dress in which Rubens portrayed his Two Small Boys singing only child of Susannah Hoare’s first marriage second wife (in a portrait then at Houghton 73.5 × 61cm. to Viscount Dungarvan, who married John Hall, but now in the Calouste Gulbenkian O’Neill in 1777, but died just before his Museum in Lisbon) which was popular for ZIVW ZEOO, UMKLW RJ WLI HRRU creation as Baron O’Neill in 1793, and portraits in England in the mid-18th century, 116 AOOEQ REPVE\ (1713–84) subsequent elevation to Viscount O’Neill in because it skirted the danger of actual dress Sir Richard II Hoare, Kt (1709–54) 1795. (cf. No.303, library Ante-Room). becoming unfashionable. 127 × 101.5cm. Signed and dated 1746. Son of Henry I Hoare, Lord Mayor, 1745. 129 SEPXIO WRRHJRUHI, UE (1763–1817) 122 EQKOMVL SGLRRO, 18th century Ann Hoare (d.1759) Charles Hoare (1767–1851) 127 SEPXIO WRRHJRUHI, UE (1763–1817) 78 × 67.5cm. 76 × 63.5cm. Sir Richard Hoare, 1st Bt (1734/5–87) A copy of the portrait by Cotes (No.251, Third son of Sir Richard Hoare, 1st Bt. 78 × 67.5cm. Little Dining Room). The sitter was the A copy of the portrait by Cotes (No.248, daughter of Henry II Hoare and married her 120 CLEUOIV JIUYEV(G.1675–1732) Little Dining Room). cousin Sir Richard Hoare, 1st Bt. Reputed portrait of William Benson 76 × 63.5cm. 130 Attributed to JRLQ RMVMQK (1756–1815) 316 PUMQGI HREUI (1755–1834) This portrait of around 1730 is unlikely to Sir Henry Hugh Hoare, 3rd Bt (1762–1841) William Hoare, RA (1707–92) represent the pioneering Palladian architect 75 × 70cm. 76 × 63.5cm. William Benson, brother-in-law of Second son of Sir Richard Hoare, 1st Bt; Left to Colt Hoare in the painter’s will. Henry I Hoare, who was born in 1682. It is succeeded his half-brother, Colt Hoare. more probably of his second son, William Earle Benson (1710–62), of Stoke Newington.

5 134 Sir Hugh Richard Hoare, 4th Bt, 135 Sir Henry Ainslie Hoare, 5th Bt, 136 Sir Richard Colt Hoare, 2nd Bt, and his son Henry, English by John Prescott Knight, RA by Samuel Woodforde, RA

QRUWL (GLMPQI\SMIGI) ZEOO RQ WLI PEQWIOSMIGI 133 MEUKEUIW CEUSIQWIU (1793–1872) SC.3-5 After the Antique Henry Hoare (1784–1836) Niobe and three of her Children 127 × 101.5cm. Marble. H: 66cm H: 64cm H: 60cm. Exh. RA, 1830. Son of Sir Richard Colt Hoare, After three of the pieces discovered in Rome 2nd Bt. in 1583, acquired by Cardinal Ferdinando de’ Medici, and in the Uffizi in Florence by 1781. 134 BUMWMVL SGLRRO, 19th century Niobe was punished by Apollo and Diana for Sir Hugh Richard Hoare, 4th Bt (1787–1857) disparaging their mother, and exalting her 127 × 101.5cm. own children.

135 JRLQ PUIVGRWW KQMKLW, UE (1803–81) 137 Attributed to SEPXIO ZRRHJRUHI, UE Sir Henry Ainslie Hoare, 5th Bt (1824–94) (1763–1817) 110.5 × 85cm. Hon. Hester Lyttelton, Mrs Hoare (d.1785) Exh. RA, 1860. 127 × 101.5cm. Wife of Sir Richard Colt Hoare, 2nd Bt. 136 SEPXIO ZRRHJRUHI, UE (1763–1817) Sir Richard Colt Hoare, 2nd Bt (1758–1838), 138 PUMQGI HREUI (1755–1834) and his son Henry (1784–1836) Sir Henry Hugh Hoare, 3rd Bt (1762–1841) 254 × 167.5cm. 127 × 101.5cm. Painted 1795/6. Sir Richard Colt Hoare, Son of Sir Richard Hoare, 1st Bt; succeeded antiquarian, author and amateur artist, his half-brother, Sir Richard Colt Hoare, 2nd 139 Henry Colt Arthur Hoare, by St George Hare added the Library and Picture Gallery at Bt. Stourhead and employed Thomas Chippendale the Younger; he also took on 139 SW GIRUKI HEUI (1857–1933) Henry II’s and the 1st Bart’s patronage of Henry Colt Arthur Hoare (1888–1917) Samuel Woodforde, a number of whose 127 × 101.5cm. Signed. paintings are in the house. Son of Sir Henry Hoare, 6th Bt; died on active service.

6 145 ‘Scrub’, a Shooting Pony, and two Clumber SC6 Bust of William Beckford, Lord Mayor of London, 148 The Bird Nesters, by W.F. Witherington, RA Spaniels, by Abraham Cooper, RA by John Francis Moore the Elder

IEVW (ZMQHRZ) ZEOO, RYIU WLI HRRU 391 T.C. HRJOEQH (1777–1843) OIJW RJ WLI HRRU SC.6 JRLQ FUEQGMV MRRUI WLI EOHIU Windsor and Eton from Clewer Meadows by 113 After ‘BEUNIU’ (d.1809) Moonlight Poor Kate Bust of William Beckford, Lord Mayor of Panel. 20.5 × 30cm. (RCH) Panel. 22 × 17cm. London (1709–70) Plaster. H: 67cm (including 15cm base). 152 BUMWMVL SGLRRO, 19th century 97 EQKOMVL SGLRRO, late 18th century This appears to be Moore’s original model Two Horses in a Stable Two Pack Horses for the head of the statue formerly at nearby Sand drawing. 25.5 × 33cm. Panel. 20.5 × 26cm. Fonthill, but given by the sitter’s son to the Companion to No.96. Ironmongers’ Company for their Hall in 1833.

85 (?) TLRPEV JRQIV BEUNIU (1815–82) IEVW (ZMQHRZ) ZEOO, Travellers attacked by Robbers UMKLW RJ WLI HRRU 29 × 37cm. 162 RRFIUW TUIZMGN BRQI (1790–1840) The Artist grinding his Colours 142 BUMWMVL SGLRRO, 19th century Oil on board. 35 × 29.5cm. (RCH) Two Horses in a Stable Sand drawing. 25.5 × 33cm. 148 W.F. WMWLIUMQKWRQ, UE (1785–1865) The Bird Nesters 143 JRLQ AXKXVWXV AWNMQVRQ (b.1775) Panel. 37.5 × 33cm. Signed and dated 1816. A Tartar (RCH) 47 × 27cm. Atkinson was taken to St Petersburg by an 149 AUWLXU PRQH (G.1700–58) uncle at the age of nine, and did not return Horses in a Stable to London until 1801. (RCH) Panel. 25.5 × 33cm. (RCH)

144 W.F. WMWLIUMQKWRQ, RA (1785–1865) 68 Attributed to CLEUOIV PLMOOMSV The Broken Pitcher (1708–47) Panel. 37.5 × 33cm. Signed and dated 1815. Sarah Tully, Mrs Hoare (d.1736) Witherington specialised in genre subjects, Circular, diam. 30.5cm. but is best known for his painting at The first wife of Sir Richard II Hoare, Kt., Petworth (NT) of the celebration of the 3rd (1709–54), and mother of Sir Richard Hoare, Earl of Egremont’s 80th birthday. (RCH) 1st Bt (1735–87).

145 AFUELEP CRRSIU, UE (1787–1868) 96 EQKOMVL SGLRRO, late 18th century ‘Scrub’, a Shooting Pony, and two Clumber Two Horses by a Manger Spaniels Panel. 20.5 × 26cm. Panel. 25 × 33cm. Colt Hoare commissioned this picture of his 30-year-old pony in 1815. (RCH)

7 The Inner Hall SC11 Sacrifice of a Deer and a Boar 371 Survey of Barn Elms by Nathaniel Hill, 1752 44 × 73cm. Vellum. 53.5 × 38cm. Possibly painted plaster rather than The manor house at Barn Elms (demolished, ORZIU OIYIO terracotta, and, if so, the ‘large bassorilievo’, 1954) had been leased to Sir Francis 361-4 SEPXIO H. GUMPP (1734–94) for which John Cheere was paid ten guineas Walsingham (?1530–90), the Earl of Essex, Four Views of Bruton Abbey in 1766, and a copy of, rather than the model and J.J. Heidegger (?1659–1749), before Watercolours. Each 38 × 56.5cm. Signed and for, one of the two marble overmantels in being acquired by Sir Richard Hoare, 1st Bt dated 1786. the Marble Hall at Clandon Park (NT). (HH) (1735–87), who entirely remodelled it in 1771, Bruton Abbey, Somerset, was turned into a and left it to the son of his second marriage, mansion by the Barons Berkeley of Stratton the 3rd Bt (1762–1841). (from whose London house Berkeley Square and Stratton Street get their names), but The small Lobby on 370 Garden Plan of Barn Elms, Surrey nothing now remains of it. the right Ink and watercolour. 52 × 74.5cm. 343 EQKOMVL SGLRRO, 19th century 335 After AQKIOMGE KEXJJPEQ, UE Stourhead: the South Front 238 BUMWMVL SGLRRO, G.1860 (1741–1807) 44.5 × 59cm. Interior at Wavendon: the Library The Death of Heloise Possibly by Frances Annette Hoare Watercolour. 23.5 × 43.5cm. Circular, diam. 42cm. (1822–1904; elder sister of the 5th Bt), a Wavendon in Buckinghamshire, acquired by Copied from Thomas Burke’s engraving of number of whose watercolours are in the the 3rd baronet, passed to his third son, the the original painting, which is at Burghley house. father of the 5th Bt. The chimneypiece House. shown in the drawing is now in the Column 91 BUMWMVL SGLRRO, 19th century Room at Stourhead. Shipping in a Calm Upper part of the Panel. 38 × 47.5cm. 232 BUMWMVL SGLRRO, G.1860 Interior at Wavendon: the Drawing Room Inner Hall RYIU WLI JMUVW JOMKLW RJ VWEMUV, Watercolour. 23.5 × 41cm. (IQWUEQGI LEOO ZEOO) The chimneypiece, containing Angelica SC7-11 JRLQ MMGLEIO R\VFUEGN Kauffman’s Penelope Sacrificing, is now in the 365 After PEROR VIURQIVI (1528–88) (1694–1770) Saloon at Stourhead, whilst the two large Wisdom and Strength Five painted terracotta reliefs. From left to Dughets on the right-hand wall, which had 261.5 × 175.5cm. right: been at Barn Elms, are now in the Picture An anonymous copy of the picture in the Gallery. Frick Collection, New York. (HH) SC7 The Testament of Eudamidas 28 × 61cm. 372 Plan of a Garden 366 After GXMHR RIQM (1575–1642) Done from an engraving of a painting by Ink and watercolour. 53.5 × 73.5cm. Perseus and Andromeda Nicolas Poussin, now in the National 261.5 × 205.5cm. Museum, Copenhagen. (HH) 465 JENRF PLMOOMS HEGNIUW (1737–1807) The copyist was Jeremiah Davison Italian Lake Scene (c.1695–1745), who was given the privilege of SC8 Sacrifice of a Bull Pencil and sepia wash. 34.5 × 44.5cm. (RCH) access to the originals of this and No.367 in 93 × 118cm. Kensington Palace. They are now in the The model for a marble relief in the Stone 498 SEPXIO WRRHJRUHI, UE (1763–1817) National Gallery, but the Perseus and Hall at Houghton Hall, Norfolk, and for a Virgil reading the Aeneid to Augustus and the Andromeda is itself a copy of the actual bronze overmantel at Petworth Park, Sussex. fainting Octavia original, in the Galleria Pallavicini in Rome. After the Antique; bought by Henry II Hoare, Oil on paper. 12.5 × 17cm. (HH) with SC9 and SC10, at Rysbrack’s sale in An early oil sketch of a quintessentially Neo- 1767. (HH) classical subject by the Hoares’ protégé. 367 After GXMHR RIQM (1575–1642) Acquired with the help of the Art Fund in The Toilet of Venus SC9 The Hunt of the Trajans 1990. 261.5 × 205.5cm. 51 × 68.5cm. The copyist was Jeremiah Davison Recomposed from a relief on the Arch of 657 Three Poodles (c.1695–1745). See No.366. (HH) Constantine. (HH) Pencil and coloured chalk. 27.5 × 38cm. 368 PRPSIR BEWRQM (1708–87), SC10 Sacrifice of a Bull (Xenophon offering a EJWIU GXMHR RIQM tenth of his estate to Artemis/Diana) Salome with the Head of the Baptist 47 × 67cm. 261.5 × 175.5cm. The model for an overmantel formerly at A copy of the picture in the Art Institute of Elmgrove, Roehampton. (HH) Chicago. (HH)

Recross the Hall and pass through the Music Room and Ante-Room to the Library.

8 210 Stourhead Pleasure Grounds, View to the Pantheon, 214 Stourhead Pleasure Grounds, View to the Bristol Cross and Village, by Coplestone Warre Bampfylde by Coplestone Warre Bampfylde

490 EQKOMVL SGLRRO, late 18th century 404 and 656 MEU\ HREUI (1744–1820) The Library A View in a Park A pair of scenes of Putti Playing Watercolour. 22 × 28.5cm. Red and black chalk. Each 17.5 × 44.5cm.

218 WMOOMEP PE\QI (active 1776–1830) 313 SEPXIO WRRHJRUHI, UE (1763–1817) We now enter a very spacious Slate Quarries on the Border of Dartmoor King Alfred apartment, containing a valuable Watercolour. 20.5 × 38cm. Signed. 42 × 59cm. assemblage of books, especially of a Copied from Rysbrack’s bust (SC32). classical, antiquarian and 220 FUEQGIV HREUI (H.1800) topographical nature. The ceiling is Peasants going to Market 209 SMU RMGLEUH CROW HREUI, 2QH FW semi-circular in its form and the Watercolour. 30 × 38cm. (1759–1838) Southern end is decorated with a very A copy of the picture by Gainsborough The Nannau Oak large window of painted glass by formerly at Stourhead, then at Holloway Watercolour. 47 × 35cm. Egginton, which represents divers College, but now in a private collection. A famous tree in Merionethshire (now groups from Raphael’s celebrated Gwynedd), associated with Welsh School of Athens. 221 WMOOMEP PE\QI (EGWMYI 1776–1830) mythology, which fell on the night after Colt Stone Quarry near Plymouth Hoare drew it in 1813. Sir Richard Colt Hoare, Watercolour. 20.5 × 38cm. Signed. History of Modern Wiltshire (1822) 210 CRSOIVWRQI WEUUI BEPSJ\OHI SC12 and SC13 Attributed to JRLQ CLIIUI (1720–91) (1709–87), after LRXMV-FUEQ^RMV RRXFMOMEG Stourhead Pleasure Grounds, View to the (1702–62), and PIWIU SGLIIPENIUV Pantheon, c.1775 (1692–1781) Black ink and watercolour. 37.5 × 54.5cm. IEVW ZEOO (RSSRVMWI GLMPQI\SMIGI) Pair of ‘Library’ busts of Alexander Pope This drawing and No.214 were engraved by 222-223, 359-360, 596 and 607 (1688–1744) and John Dryden (1631–1700). Vivares in 1777. S. CEWWIUVRQ SPMWL (1806–72) Black-patinated plaster. H: 56cm and There is a series of 16 small portrait drawings H: 58cm. ‘M.C.’ An Urn in Stourhead Pleasure Grounds by this artist in the four corners of the Watercolour 53.5 × 38cm. Signed ‘M.C.’ and Library, mostly of friends and employees of dated 184(?)3. Colt Hoare. VRXWL ZEOO The urn was moved to the south garden 215 The Aldobrandini Wedding and Sappho from the pediment of the house when the 485–488 CRSOIVWRQI WEUUI BEPSJ\OHI and her Companions portico was added in 1840. (1720–91) Each 52 × 137cm. Four Coast Scenes The first of these is a copy of celebrated 214 CRSOIVWRQI WEUUI BEPSJ\OHI Ovals. Three in coloured chalks, one with Roman fresco, discovered in 1606, that (1720–91) watercolour, and one in sepia wash. belonged to the Aldobrandini. The other Stourhead Pleasure Grounds: View to the Bristol 21 × 30.5cm. seems to have been invented as a pendant Cross and Village, c.1775 The artist was a Somerset gentleman of to it. Black ink and watercolour. 37.5 × 54.5cm. Hestercombe, where he made a landscape Signed. garden with a spectacular cascade, and a (See No.90, South Apartment). friend of Henry II Hoare (See No.90, South Apartment).

9 SC16 Tobit depositing money with Gabael, by Pierre II Legros

MQ VRXWL ZMQHRZ FE\ RQ WLI PEQWIOSMIGI 237 JENRF PLMOOMS HEGNIUW (1737–1807) SC14 RMGLEUH CRGNOI LXGEV (1800–83) SC17 and 18 JRLQ CLIIUI (1709–87), after Paestum Sir Richard Colt Hoare, 2nd Bt (1758–1838), the Antique Pen, ink and wash. 35 × 46.5cm. Inscribed seated, writing Flora and the Farnese Hercules and dated 1770. (RCH) Marble. H: 45cm. Black-patinated plaster. H: 59cm and 59cm. This is a reduction of the monument in Signed and dated 1751. (HH) 236 JENRF PLMOOMS HEGNIUW (1737–1807) Salisbury Cathedral (1841). Cività Castellana EURXQH WLI GLMPQI\SMIGI Pen, ink and wash. 38.5 × 52cm. Inscribed, ZIVW (GLMPQI\SMIGI) ZEOO EQH RYIUPEQWIO signed and dated 1772. (RCH) SC15 RMGLEUH CRGNOI LXGEV (1800–83) 200 JENRF PLMOOMS HEGNIUW (1737–1807) Model for a Monument to Sir Richard Colt Vallone dell’Inferno near Vesuvius, 1790 SC19 and 20 Hoare, 2nd Bt, (1758–1838) Pencil and sepia wash. 56 × 68.5cm. Signed. A pair of framed sets of plaster casts of Plaster. H: 52cm. Inscribed below: (RCH) Antique and pseudo-Antique intaglios, in FOR/THE/INSCRIPTION/BY/SIR R.C. HOARE verre églomisé frames (back-gilded and black This is the original, more modest idea for his 231 JENRF PLMOOMS HEGNIUW (1737–1807) glass). memorial (see SC14), as a wall-monument in The Temple of Neptune, Paestum relief. Pen, ink and wash. 33 × 47cm. Inscribed and In columns, on strips of wall either side of dated 1770. (RCH) the group round the chimneypiece, from top GLMPQI\SMIGI: RYIUPEQWIO UIOMIJ to bottom: SC16 PMIUUI II LIKURV (1666–1719) 230 JENRF PLMOOMS HEGNIUW (1737–1807) Tobit depositing money with Gabael Minori, Gulf of Salerno Two drawings by William Hoare, RA Patinated plaster. overpainted in white. Pen, ink and wash. 40 × 52.5cm. Inscribed (1701–92), on the left: Salome after Carlo H: 114.5cm. and dated 1770. (RCH) Dolci (1616–86), on the right: Head of Helen The scene is taken from the Apocrypha to of Troy after Guido Reni (1575–1642); Mary the Bible, Tobit, ch.i, v.14. This is the model 254 MEU\ HREUI (1744–1820) Hoare, daughter of William Hoare that Legros made for one of the colossal Unidentified Subject, of the discovery (1744–1820), a pair of Roman Women, and a marble reliefs in the Chapel of the Monte di of a Corpse pair of Cupids, ovals; Sir Hugh Richard Hoare, Pietà (the state bank-cum-pawnshop) in Red and black chalk. 46 × 52.5cm. (RCH) 4th Bt (1787–1857) and his Wife, Mrs, later Lady, Rome, in 1702–05. Eminently suitable as a Hoare. subject for a banker, it was originally 199 JENRF PLMOOMS HEGNIUW (1737–1807) installed by Sir Henry Hugh Hoare, 3rd Bt, in Monte Sarchio RQ VRXWL WEFOI his house at Wavendon, Bucks, and was only Pencil and sepia wash. 57 × 70.5cm. Signed. 71 CEQEOIWWR (1697–1768) brought here in 1913. (RCH) Westminster Bridge on Lord Mayor’s Day Pen, ink and wash. 35 × 74cm. Probably the occasion of the procession on 29 October, 1746, during Sir Richard II Hoare’s last term of office as Lord Mayor.

10 SC21 Hercules at Rest, 589 A ruined Monument near Colonna, by John Michael Rysbrack by Carlo Labruzzi

327 Sir Richard Colt Hoare, SC21 JRLQ MMGLEIO R\VFUEGN (1694–1770) 2nd Bt, in the Library at Hercules at Rest Stourhead, Painted terracotta. H: 59.5cm. by Francis Nicholson Rysbrack made this model in 1744, as a paragon to the Farnese Hercules (see SC18). Just as the Greeks were said to have compiled their classic figures from the perfect individual features of a number of different bodies, Rysbrack, modelling the whole on an engraving of Hercules in the Garden of the Hesperides after Pietro da Cortona, took head, neck, breast, shoulders, etc., from those of seven or eight prize boxers. Henry II Hoare, having seen this model, commissioned the sculptor in 1747 to make a marble statue 6ft 3in high from it. Finished in 1757, it was made the central figure of the Pantheon (built 1753–54). (HH) ZIVW ZEOO, WR UMKLW RJ GIQWUI WEFOI RQ QRUWL WEFOI RQ IEVIOV Glass-topped table case of nine miniatures SC25 and SC26 JRLQ CLIIUI (1709–87), 482 CEUOR LEFUX]]M (1748–1817) and a gold-tooled red morocco-bound A after J.M. R\VFUEGN (1694–1770) Inside the Walls of Terracina Companion to the Altar, 13th edition, 1733. Sir Peter Paul Rubens and Sir Antony van Dyck Pencil and wash. 47.5 × 62cm. Black-patinated plaster. Each H: 60cm. One of the drawings done when Labruzzi RQ GIQWUI WEFOI Rysbrack’s original terracottas of these and accompanied Colt Hoare from Rome to 217 HIQU\ EIHUMHKI, EUE (1769–1821) of another statuette, of François Duquesnoy, Brindisi in 1789. They were all sold in 1883; Sir Richard Colt Hoare, 2nd Bt (1759–1838) were modelled in 1743. Another pair of this one was bought back from a group of Watercolour. 23 × 18.5cm. bronzed plasters, in the York Castle Museum, them that re-surfaced in 1960. (RCH) This must have served as the model for are signed by John Cheere and dated 1749; R.C. Lucas’s monument to the sitter these unsigned plasters could be by another 589 CEUOR LEFUX]]M (1748–1817) (see SC14). modeller, but this seems unlikely, given A ruined Monument near Colonna Henry II Hoare’s repeated employment of Pencil and watercolour. 37× 52.5 cm. SC22 EQKOMVL SGLRRO, 18th century Cheere between 1745 and 1774. (HH) Probably from the same group as No.482; on Faun playing the Flute loan since 1962. (RCH) Bronze. H: 19cm.

327 FUEQGMV NMGLROVRQ (1753–1844) SC23 and SC24 BUMWMVL SGLRRO, Sir Richard Colt Hoare, 2nd Bt, in the Library 19th century at Stourhead Pair of Greyhounds Watercolour. 40.5 × 55cm. Bronze. Each L: 19cm. The set of Canaletto drawings of Venetian ceremonies acquired by Colt Hoare in 1787 and sold in 1883 can be seen round the overmantel.

11 SC27 Petite nature wax bust of Richard Colt Hoare, SC28 Bust of Young Milton, SC29 Bust of Old Milton Blind, 2nd Bt, by Richard Cockle Lucas by John Michael Rysbrack by John Michael Rysbrack

RQ VRXWL-IEVW WEFOI ZIVW ZEOO, (RSSRVMWI ZMQHRZ) SC27 RMGLEUH CRGNOI LXGEV (1800–83) The Library RYIU WLI HRRU Petite nature wax bust of Richard Colt Hoare, SC31 EQH SC32 CREOFURRNHEOI FRXQHU\ 2nd Bt (1758–1838) Ante-room A Pair of Doves on Tree-Stumps H: 44cm. Iron. H: 20cm. On a painted wood socle and pedestal with VRXWL ZEOO gold lettering, under a glass dome: R.C. 211 Attributed to FUEQGMV HEUHMQK SC33 JRLQ CLIIUI (1709–87) HOARE / AETATIS 73.4 / signed R.C. LUCAS / (active 1745–67) Bust of Cicero SCULPt / ANNO / 1832. In 1849 Lucas Architectural Capriccio in the manner of Panini Black-patinated plaster. H: 40cm. (HH) exhibited and offered for sale at the 72.5 × 47cm. Colosseum a full-size bust of Colt Hoare, 205 Attributed to FUEQGMV NMGLROVRQ that has not been seen since. 234 RRFIUW MEUUMV (1750–1827) (1753–1844) Hartland, Bideford Panorama of Stourhead Pleasure Grounds QRUWL ZEOO, EFRYI FRRNVLIOYIV Chalk, pen and watercolour. 43.5 × 80.5cm. Pen and ink. 48.5 × 444.5cm. 246 SEPXIO ZRRHJRUHI, UE (1763–1817), Inscribed, signed and dated 1780. Colt Hoare has added notes in pencil to the after RESLEIO (1483–1520) drawing. (RCH) Parnassus, flanked by the figures of Strength 358 RRFIUW MEUUMV (1750–1827) and Temperance Torrington Vale, North Devon ZIVW ZEOO, (RSSRVMWI ZMQHRZ) Copied from the central portion of one of Chalk, pen and watercolour. WR WLI UMKLW RJ WLI HRRU the two main lunettes in the Stanza della 43.5 × 80.5cm. Signed and dated 1780. 303 (?) WMOOMEP HREUI, UE (1707–92) Segnatura in the Vatican, and from the two (?) Henrietta Boyle, Mrs O’Neill (1755/6–93) flanking personifications in one of the two ZIVW ZEOO, (RSSRVMWI ZMQHRZ) 124.5 × 96.5cm. lesser ones, painted in 1510–11 and 1514, WR WLI OIJW RJ WLI HRRU Although impossibly inscribed as the wife of respectively. (RCH) 302 PUMQGI HREUI(1755–1834) Sir Richard Colt Hoare, evidently a variant of Sir Richard Colt Hoare, 2nd Bt (1759–1838) the portrait tentatively identified as that of SC28 and SC29 JRLQ MMGLEIO R\VFUEGN 124.5 × 100.5cm. Mrs O’Neill in the Hall (No.117). (1694–1770) Bust of the Young Milton and Bust of Old SC30 (?) AOJUIH HRQI (born 1810, active SC34 JRLQ MMGLEIO R\VFUEGN (1694–1770) Milton Blind 1836–52) Bust of Alfred the Great Marble. H: 23cm and H: 26cm. Bust of Sir Richard Colt Hoare, 2nd Bt Marble. H: 91cm. Signed and dated 1764. These two busts were left to Henry II Hoare by (1758–1838) This was the last work that Rysbrack was to his brother-in-law, William Benson Marble. H: 83cm. execute for Henry II Hoare, and at the end of (1682–1754), the notorious supplanter of Wren A posthumous bust, and modelled on, or the the year he was to retire altogether, plagued as Surveyor-General of the King’s Works, who model for, the little bust in pink wax in the by rheumatism. Hoare revered Alfred as the in 1734 had also sold him his self-designed Picture Gallery. (SC57) founder of English liberty; two years later he house, Wilbury, Wilts. The bust of the old began to have King Alfred’s Tower built, Milton is a version of c.1738 of the one of 1766–72. (HH) before 1732 that Benson had acquired for the monument that he put up to the poet in Westminster Abbey in 1738. The bust of the young Milton was carved as a pendant to it around the same time. (HH)

12 395 Stage Design, 344 The Lake of Nemi looking towards Genzano, by Pietro Gonzaga by John Robert Cozens

QRUWL ZEOO, RYIU HRRU 349 IWEOMEQ SGLRRO, late 18th century IEVW ZEOO, WR WLI UMKLW RJ SC35 RMGLEUH PEUNIU (active 1768–after Pisa: the Leaning Tower and Cathedral WLI ZMQHRZ 1776) and/or (?) CLEUOIV HEUUMV (active Pen and watercolour. 75 × 52cm. 340 FUEQGIVGR ZXGGEUIOOM, UE (1702–88) 1772–d.1795) Macbeth and the Witches Bust of John Milton 344 JRLQ RRFIUW CR]IQV (1752–99) ) Pen and wash. 40.5 × 53.5cm. Black-patinated plaster. H: 56cm. Dated 1772 The Lake of Nemi looking towards Genzano Bought from the artist in Florence by Colt on the back. Watercolour. 45 × 63.5cm. Hoare. (RCH) Parker had produced a bust of Milton by This watercolour is based on a study in a around 1770. From sometime between 1774 sketch-book now in the Soane Museum with 235 JRLQ‘WEUZMGN’ SPMWL (1749–1831) and 1776 until sometime before 1781, he and 28 views done in Italy between 1776 and 1778; Italian Landscape Harris were in partnership, with premises in there are a number of other versions of it. It Watercolour. 35.5 × 52cm. Signed and the Strand (so near Hoare’s Bank) and in and No.345 were commissioned by Colt dated 1785. Bath. Between 1787 and 1795 Harris made Hoare. (RCH) Smith, who taught drawing to Colt Hoare, the monument to Henry II Hoare in Stourton was with him in Italy in 1785. (RCH) Church. (HH) 348 IWEOMEQ SGLRRO, late 18th century Pisa: the Baptistery, Cathedral and Leaning 208 An Italian Hill Town IEVW ZEOO, WR WLI OIJW RJ Tower Watercolour. 52 × 35.5cm. Monogrammed WLI ZMQHRZ Pen and watercolour. 47.5 × 83cm. and dated 1794. (RCH) 395 PMIWUR GRQ]EKE (1751–1831) Stage Design 350 IWEOMEQ SGLRRO, late 18th century 229 Italian Landscape Pen and watercolour. 46 × 54.5cm. Signed Florence: Ponte della Trinità Watercolour. 35.5 × 52cm. Signed and dated and dated 1789. Pen and watercolour. 47.5 × 80.5cm. 1785. (RCH) Another version of this watercolour was auctioned in 1988 at Sotheby’s, Monaco. 351 Italian Landscape Watercolour. 35.5 ×52cm. Signed and dated 345 JRLQ RRFIUW CR]IQV (1752–99) 1785. (RCH) Pays de Valais, near the Lake of Geneva Watercolour. 45 × 63.5cm. 212 The Villa of Maecenas at Tivoli See No.344. The view is of the Rhone Valley, Watercolour. 52 × 35.5cm. Monogrammed looking towards Sion and Martigny. Cozens and dated 1783. (RCH) made a brief tour of the Swiss Alps on his first journey to Italy, with Richard Payne 352 Distant View of Loreto Knight, in 1776. (RCH) Watercolour. 35.5 × 52cm. Signed and dated 1785. (RCH)

13 195 FUEQGMV NMGLROVRQ (1753–1844) VRXWL ZEOO, ZMWLMQ QMGLI The Music Room Storm by Land In the niche that once contained the Watercolour. chamber organ that gave this room its name 58.5 × 82.5cm. are a mixture of drawings, watercolours, Bought for 25 guineas in 1813. (RCH) hand-coloured prints, and miniatures, by or This apartment is principally occupied after William Hoare of Bath and his daughter by a pleasing selection of fancy 164 After PEROR VIURQIVI (1528–88) Mary, Angelica Kauffman, Correggio, Guido paintings, by modern Artists of the The Adoration of the Magi Reni, G.P. Panini, Marco Ricci, and Jacques British School, and such as both now 104 × 98cm. Charlier. and hereafter will do credit to them ... A copy of the ceiling originally in S. Nicolò, On the South side of this room is a Venice, for which Colt Hoare believed it to SC37 After GMEPFRORKQE (1529–1608) mixture of old and modern pictures. be a modello. (RCH) Mercury in flight Bronze. H: 68cm. On Siena marble pedestal. Sir Richard Colt Hoare, IEVW (ZMQHRZ) ZEOO Probably an Italian late 18th-century copy of History of Modern Wiltshire (1822) 109 (?) PMIU FUEQGIVGR MROE (1612–66) this celebrated statuette first created in Landscape with the Stigmatisation and Ecstasy 1564. of St Francis 98.5 × 71cm. (HH) VRXWL ZEOO, UMKLW RJ QMGLI QRUWL (GLMPQI\SMIGI) ZEOO 177 JIEQ-BESWMVWI MRQQR\IU (1636–99) 190 Attributed to PMIU FUEQGIVGR MROE 181 JEQ FUEQV VEQ BORIPIQ (OUM]]RQWI) Tulips and summer flowers in a metal urn (1612–66) after TMWMEQ (G.1487/90–1576) (1662–1749) 75 × 63cm. The Assassination of St Peter Martyr Classical Landscape with Figures at a Fountain 124.5 × 71cm. 72.5 × 59.5cm (RCH) 198 JENRF PLMOMSS HEGNIUW (1737–1807) After one of Titian’s most innovative and Rocky Landscape with Anglers celebrated paintings, in the Church of SS 111 P.P. RRRV (RRVE DE TMYROM) (1657–1706) 68.5 × 54.5cm. Signed and dated 1776, and as Giovanni e Paolo (‘San Zanipolo’) in Venice, A Waterfall done in Rome. (RCH) until destroyed by fire in 1867. (RCH) 96.5 × 66.5cm. (HH) 403 MEU\ HREUI (1744–1820) after 197 SMU AXKXVWXV WEOO CEOOGRWW, UE 180 Manner of JEQ FUEQV VEQ BORIPIQ AQKIOMGE KEXJJPEQ, UE (1741–1807) (1779–1844) (OUM]]RQWI) (1662–1749) Fancy Head of a Young Woman A Mill near Llangollen, North Wales Classical Landscape with Figures by Ruins 47 × 31cm. 65.5 × 94.5cm. 72.5 × 59.5cm. (RCH) Exh. RA, 1812. An essay in the manner of Aelbert Cuyp (Dordrecht 1620–1691), done VRXWL ZEOO, OIJW RJ QMGLI from a sketch by Colt Hoare. (RCH) 168 (?) JRLQ OSMI, UE (1761–1807) A Child’s Head 192 SEPXIO WRRHJRUHI, UE (1763–1817) 54 × 44cm. A Shepherdess with a Lamb in a Storm 126.5 × 100.5cm. Exh. RA, 1812. (RCH) 88 PLMOMSV VEQ CRXZIQFIUK (1671–1729) Still-life with fruits, flowers and insects 194 FUEQGMV NMGLROVRQ (1753–1844) 48 × 42.5cm. Signed. Storm by Sea Watercolour. 58.5 × 82.5cm. 75 TLRPEV DEQMIOO, UE (1749–1840) Bought for 25 guineas in 1813. (RCH) Puja performed at a Temple of Shiva Panel. 30.5 × 24cm. Signed and dated 1804. SC36 Endymion asleep Bought by Colt Hoare in 1813. (RCH) Oval marble relief. H: 20cm. This is a reduced copy, with an added 171 PUMQGI HREUI (1755–1834) after landscape setting, of a beautiful rectangular RESLEIO Antique relief that was discovered in Rome Madonna della Sedia in the early 18th century and entered the Circular, 76 × 76cm. great collection of Cardinal Albani; it is now Prince Hoare was the second son of William in the Capitoline Museum in Rome. The size Hoare of Bath, who sent him to Italy from and decorative character of this version of it 1776 to 1782. He is recorded as copying in the suggest that it was once set into something Uffizi in Florence (where the original of this else, such as a chimneypiece. painting was) in November 1776 and in July to September 1779. (HH) 196 After GMRYEQQM PEROR PEQMQM (1691–1765) 178 JIEQ-BESWMVWI MRQQR\IU (1636–99) The Interior of St Peter’s at Rome Flowerpiece 109 × 160cm. 75 × 61cm. A good imitation of the picture in the National Gallery, perhaps by Francis 179 IWEOR-FOIPMVL SGLRRO, G.1700 Harding. Horace Walpole took it for an Classical Landscape, with Ruins, and Peasants original by Panini. (HH) by a Fountain 73 × 61cm. 193 WMOOMEP OZIQ, UE (1769–1825) Anne Hoare, Lady Mathew (d.1872) 125.5 × 99.5cm. Granddaughter of Colt Hoare, and wife of Sir George Mathew. Exh. RA, 1814. 14 167 The Fort of Vellore in the Carnatic, 185 Child with a Goldfinch, 189 Diana and Actaeon, by Thomas Daniell, RA by Samuel Woodforde, RA by William Owen, RA and Sir Augustus Callcott, RA

87 PLMOMSV VEQ CRXZIQFIUK (1671–1729) celebrated pictures of the 18th and 19th Still-life of flowers in a vase, Cape gooseberries centuries. This was less because of its and stag-beetles pictorial qualities, than because it seemed 48 × 42.5cm. Signed. the very embodiment of the innocent victimhood of its supposed subject, who was 80 TLRPEV DEQMIOO, UE (1749–1840) executed, along with her step-mother and Indian Scene: Figures at a Well one of her brothers, for murdering her Panel. 30.5 × 24cm. Signed and dated 1804. father, to avenge his incestuous rape of her. (RCH) (RCH)

ZIVW ZEOO 186 HIQU\ TLRPVRQ, UE (1773–1843) 167 TLRPEV DEQMIOO, UE (1749–1840) A Girl deploring the Death of a Pheasant The Fort of Vellore in the Carnatic 75 × 62cm. 75 × 97cm. Signed and dated 1815. (RCH) Bought by Colt Hoare in 1816. (RCH)

185 SEPXIO WRRHJRUHI (1763–1817) A Child with a Goldfinch 73.5 × 61cm. Exh. RA, 1813. (RCH)

187 JRLQ RMVMQK (1756–1815) A Girl with a Dove 75 × 61cm. (RCH)

189 WMOOMEP OZIQ, UE (1769–1825) and Sir AXKXVWXV CEOOGRWW, UE (1779–1844) Diana and Actaeon 211 × 145cm. Exh. RA, 1810. Bought by Colt Hoare in 1811. Painted in emulation of a celebrated collaboration between Carlo Maratta and Gaspard Dughet on the same subject. (RCH)

172 Manner of GXMHR RIQM (1575–1642) Beatrice Cenci 75 × 61cm. The original of this picture (Galleria Nazionale d’Arte Antica, Rome), now no longer thought to be either of Beatrice Cenci or by Guido Reni, was one of the most

15 165 The Nymph of the Grot, 252 Sir Richard Hoare, 1st Bt, 248 Frances Ann Acland, Lady Hoare, by William Hoare, RA by Francis Coates, RA by Francis Cotes, RA

251 FUEQGMV CRWIV, UE (1725–70) QRUWL ZEOO The Little Anne Hoare, Mrs Hoare (d.1759), playing a 247 Attributed to WMOOMEP HREUI, UE cittern (1707–92) Dining Room Pastel. 75 × 65cm. The Madonna and Child Daughter of Henry II Hoare, ‘the Pastel. 46.5 × 48cm. Magnificent’; married her cousin Richard A copy of a Raphael School picture at Hoare in 1756, as his first wife. He was Holkham Hall, Norfolk. In this apartment we are greeted with created a baronet after her death. the sight of some very fine specimens WMOOMEP HREUI, UE (1707–92): of painting in crayons, a style now 341 SMU JRVLXE RI\QROHV, SUE (1723–92) 256 Henry II Hoare (1705–85), ‘the Magnificent’ quite unfashionable. Thomas Lane (1742–1817), of Coffleet Pastel. Oval, 57 × 47cm. 75 × 62cm. Sir Richard Colt Hoare, Great-grandfather of Julia, wife of Henry 261 Sir Richard Hoare, 1st Bt (1734/5–87) History of Modern Wiltshire (1822) Arthur Hoare. Thomas Lane was the heir of Pastel. Oval, 57 × 47cm. See No.252 (West his uncle, Thomas Veale, of Coffleet, Devon, Wall). whose surname Julia’s father added to his own. 265 Henry Hoare of Beckenham (1744–85) ZIVW (GLMPQI\SMIGI) ZEOO Pastel. Oval, 57 × 47cm. See No.253 (West 165 WMOOMEP HREUI, UE (1707–92) 275 WMOOMEP HREUI, UE (1707–92) Wall). The Nymph of the Grot Head of a Woman Pastel. 60.5 × 81.5cm. Pastel. 44.5 × 36cm. 267 Peter Richard Hoare (1772–1849) A variation on the statue of Henry II Hoare’s Possibly copied from an Italian Madonna. with a Cat ‘favourite sleeping nymph’ (actually Ariadne) Pastel. Oval, 57 × 47cm. in the Grotto here, given to him by the artist 253 Attributed to WMOOMEP HREUI, UE One of a series of portraits of the children of in 1760, in gratitude for other commissions. (1707–92) Sir Richard Hoare, 1st Bt, whose respective (HH) Henry Hoare of Beckenham (1744–85) ages indicate that the pictures must have Pastel. 58.5 × 43cm been done over a span of years. 252 FUEQGMV CRWIV, UE (1725–70) Younger brother of Sir Richard Hoare, 1st Bt, Sir Richard Hoare, 1st Bt (1734/5–87) and husband of the artist’s daughter, Mary. 268 Henry Hugh Hoare (1762–1841) as Mercury Pastel. 75 × 65cm. Signed and dated 1757. Pastel. Oval, 57 × 47cm. See No.267. Son of Sir Richard II Hoare (1709–54), the 254 (?) MEU\ HREUI (1744–1820) Lord Mayor of London (See No.116 in the Unidentified subject, of four Grecian ladies 260 Attributed to FUEQGMV CRWIV, UE Entrance Hall), and nephew of Henry II Pencil and chalk. Circular, 46 × 52.5cm. (1725–70) Hoare, ‘the Magnificent’. Richard Acland Pastel. Oval, 57 × 47cm. 248 FUEQGMV CRWIV, UE (1725–70) Brother of Sir Richard Hoare’s second wife. Frances Ann Acland, Lady Hoare (1735/6–1800) Pastel. 75 × 65cm. 266 WMOOMEP HREUI, UE (1707–92) Only daughter of Richard Acland, brother of Henrietta Anne Hoare (c.1765–1841), as an Sir Hugh Acland, 6th Bt, married Sir Richard Infant Bacchante Hoare, 1st Bt, as his second wife in 1761. Pastel. Oval, 57 × 47cm. See No.267.

250 JRLQ WRRWWRQ (G.1682–1765) 257 Attributed to WMOOMEP HREUI, UE Hunting Picture with Henry II Hoare (1705–85) (1707–92) 188 × 162.5cm. Signed and dated 1729. Ann Burrell, Mrs Acland (1701/2–71) Henry Hoare, mounted, is at the left. Pastel. Oval, 57 × 47cm. Mother of Frances, second wife of Sir Richard Hoare, 1st Bt.

16 WMOOMEP HREUI, UE (1707–92): SC40 HIMQUMGL MEQOMGL (G.1625–98) 262 Charles Hoare (1767–1851) as the Infant Silver-gilt oval dish with Queen Tomyris Hercules preparing to dip the head of Cyrus the Great in Pastel. Oval, 57 × 47cm. See No.267. human blood H: 72cm. 263 Henry Merrik Hoare (1770–1856) as the This spectacular piece of Augsburg silver was Infant Apollo – somewhat surprisingly, in view of its gory Pastel. Oval, 57 × 47cm. See No.267. subject (copied from an engraving after Rubens) – presented to Sir Richard II Hoare 258 (?) Mary Hoare (1744–1820) as Lord Mayor of London in 1745. Its parcel- Pastel. Oval, 57 × 47cm. gilt stand is attributed to the architectural Mary Hoare, the daughter of the artist, and furniture sculptor Sefferin Alken married Henry Hoare of Beckenham (cf. Nos (1717–82), a political refugee from Denmark, 253, 265). who was paid £53 4s for unspecified work in 1747–48. IEVW ZEOO 270 (?) WMOOMEP HREUI, UE (1707–92) SC41 GIUPEQ SGLRRO, 17th century Henry Merrik Hoare as Cupid Silver gilt and agate Imperial Eagle salt cellar Pastel. 77 × 89.5cm. See No.263. H: 52cm. The origins of this sumptuous piece are not JRLQ DRZQPEQ, EUE (1750–1824): known. The double-headed eagle was the 259 (?) Henrietta Anne Hoare, Lady Acland symbol of the Holy Roman Emperors, but, (c.1765–1841) once imported into England, it was the Chalk and wash. 21 × 17cm. Signed and dated perfect acquisition for the Hoares, as the 1792. device of their coat-of-arms that was also Only daughter of Sir Richard Hoare, 1st Bt. the symbol of their bank. Married firstly to Sir Thomas Dyke Acland, 9th Bt (1752–94) in 1785, and secondly to WMOOMEP HREUI, UE (1707–92): Capt. Hon. Matthew Fortescue (1754–1842) 285 A Nymph: ‘Summer’ in 1795. Pastel. 59.5 × 44.5cm. (HH)

264 Maria Acland, Lady Hoare (d.1845) 283 Fancy Picture of a Woman dressed Chalk and wash. 20.5 × 16.5cm. Signed and ‘a la Turque’ dated 1791. Pastel. 58.5 × 44.5cm. Wife of Sir Henry Hugh Hoare, 3rd Bt. Possibly a depiction of Mary Hoare, the artist’s daughter. 269 The Hon. Hester Hoare, née Lyttelton (d.1785) 288 (?) WMOOMEP HREUI, UE (1707–92) Chalk and wash. Oval, 19.5 × 16.5cm. Fancy Picture of a Sleeping Girl Wife of Sir Richard Colt Hoalare, 2nd Bt. Pastel. Oval, 42.5 × 65cm. No. 276 (below) is a replica of this, evidently done by the artist for another member of the VRXWL (ZMQHRZ) ZEOO family, but it has suffered much less from Ten portrait drawings said to be by ‘Anne’ damaging exposure to light. Hoare. Which member of the family this was is uncertain, but they may be juvenile works 276 The Hon. Hester Hoare née Lyttelton by Henrietta Anne Hoare, Sir Richard Colt (d.1785) Hoare’s half-sister, done before her marriage Chalk and wash. Oval, 19.5 × 16.5cm. Signed in 1785 to Sir Thomas Dyke Acland, who, and dated 1784. See No.269. after her second marriage to Capt. Hon. Matthew Fortescue, became an WMOOMEP HREUI, UE (1707–92): accomplished landscape watercolourist, 281 A Nymph: ‘Spring’ under the tutelage of Francis Nicholson (see Pastel. 59.5 × 44.5cm. (HH) the Column Room).

286 Fancy Picture of a Woman with Flowers in her Hair Pastel. 59.5 × 45cm.

284 WMOOMEP HREUI, UE (1707–92) after RXFIQV (1577–1640) The Infant Christ and St John with Angels Pastel. 94 × 124.5cm. After a picture at Wilton House. (HH)

SC38 and SC39 Two figures of the Vestal Virgin upholding torches. Bronze. H: 27cm.

17 90 The Cascade at Hestercombe, 342 The Bloody-Shouldered Arabian, 464 Deauville Beach, by John Inigo Richards, RA by John Wootton by R.X Prinet

IEVW ZEOO The South 467 AXKXVWR SWRSSRORQM (F.1855) The small room in Alda Weston, Lady Hoare (d.1947) Apartment Pastel. 134.5 × 79.5cm. the South Apartment

Colt Hoare devoted this room to the large 184 AJWIU SMU JRVLXE RI\QROHV, SUE Colt Hoare hung drawings and watercolours sepia copies of Old Masters and details of (1723–92) here, including the Canaletto (No.71) and them, by Seydelmann and Rouby, which: Self-portrait Paynes (Nos 218, 221) now in the Library, and ‘From the novelty of the style in which they 61 × 73.5cm. the Cozenses (Nos 344, 345) and ‘Warwick’ are executed, the extraordinary softness and Smiths (Nos 208, 212, 229, 235, 351, 352) delicacy of their finishing, and the wonderful ZIVW ZEOO now in the Ante-Room to it. effect produced merely from one colour … 369 After JRLQ FUIHIUMGN HIUUMQK TLI become highly valuable, and worthy of the EOHIU (1795–1865) JURP VRXWL (ZMQHRZ) ZEOO connoisseur’s notice’. This room, now being The Scanty Meal 382 H.J. YIIQH KMQK, UVE (1855–1924) also used as a private sitting-room, currently 61 × 73.5cm. Six Wells, Stourhead, 1910 has a robuster selection of oils. Board. 51.5 × 35.5cm. IWEOMEQ SGLRRO QRUWL (GLMPQI\SMIGI) ZEOO A group of six 17th-, 18th- and 19th-century 580 TL_RSLMOI SWIMQOIQ (1859–1923) 90 JRLQ IQMKR RMGLEUHV, UE (d.1810) landscape paintings, one of which, by Pietro Le Retour de Permission’ The Cascade at Hestercombe Bianchi (1694–1740), includes the Pyramid of ‛Lithograph. 37.5 × 35cm. 79 × 63.5cm. Cestius. (RCH) ‘Mr Bam’s Waterfall’. C.W. Bampfylde 575 TL_RSLMOI SWIMQOIQ (1859–1923) (1720–91), a friend of Henry Hoare who HIQUMIWWE AQQI HREUI, The Hon, MUV Sonnez Musettes’ helped design the waterfall below the lake at FRUWIVGXI (1765–1841) ‛Lithograph. 35 × 29cm. Stourhead, made a landscape garden at Italian Landscape Hestercombe near Taunton and was an artist Watercolour, after a sketch by Sir Richard 125 SEPXIO WRRHJRUHI, UE (1763–1817) who drew at Stourhead (see Nos 210, 214 in Colt Hoare, her half-brother (see Column Henry, son of Sir Richard Colt Hoare, as a Boy the Library), and painted imaginary classical Room, window wall). (1784–1836) landscapes (No.104, Cabinet Room). 73.5 × 61cm.

342 JRLQ WRRWWRQ (G.1682–1756) 464 R.X. PUMQIW (1861–1946) The Bloody-Shouldered Arabian Deauville Beach 115.5 × 115.5cm. Signed. Panel. 30.5 × 44.5cm. The horse, acquired in Aleppo, was owned by Lord Harley, later 2nd Earl of Oxford, who 415 TL_RSLMOI SWIMQOIQ (1859–1923) owned Wimpole Hall (NT). Vieux Gueux Assis’ ‛Black chalk on brown paper. 652 EQKOMVL SGLRRO, (?) 17th century 57 × 45.5cm. King Charles I (1600–49) Panel. 30.5 × 25cm.

18 463 Papillons Noirs, 455 Self-portrait, 249 Augusta Hoare, by St George Hare by St George Hare by Frederic, Lord Leighton, PRA

381 H. J. YIIQH KMQK, UVE (1855–1924) ZIVW ZEOO, OIJW EQH UMKLW VMHI A Trout Stream The Saloon RJ HRRU 75 × 49.5cm. SC43 EQH SC44 IWEOMEQ, G.1800 (?), after Celebrated by Colt Hoare in the form that it the Antique 416 TL_RSLMOI SWIMQOIQ (1859–1923) was given by Henry II for the ‘just La Zingara and The Piping Faun Deux Passantes’ proportions’ given not only to it, but to Marble. H: 142cm and H: 121cm. ‛Black chalk on brown paper. every feature of it, including the paintings. Just described as ‘from Italy’ by Sir Richard 63.5 × 46cm. All but one of the eight of these were copies Colt Hoare, it seems likely that he himself of celebrated Old Masters, four of which are acquired these copies of celebrated statues 380 H.J. YIIQH KMQK, UVE (1855–1924) now above the stairs of the Inner Hall (Nos then both in Italy, at the Villa Borghese, but Chagford: A Stream with Stepping Stones and 365, 368). They and the others were now in France. Only the body of the Zingara Ducks removed when the room was reduced in size was in fact Antique; the head, arms, hands 35.5 × 51.5cm. after the fire of 1902. The National Trust has and feet, were added later in bronze, to instead elected to concentrate the pictures conform with the notion that the body, SC42 After the Antique commissioned by Sir Henry Hoare, 6th Bt, which was actually probably that of a Diana, The Scythian Slave and Alda, Lady Hoare, here. was instead that of a gypsy (a race unknown, Marble. H: 51cm. On a square marble socle, in fact, to the Ancient Romans). The Piping inscribed EXPLORATOR ZIVW (ZMQHRZ) ZEOO Faun was the pendant in the Little Dining One of the innumerable copies of the 463 SW GIRUKI HEUI (1857–1933) Room of a Young Bacchus by Rysbrack, until Hellenistic marble original, first recorded in Papillons Noirs’ the latter was sold in the 1883 Heirlooms Rome in the early 16th century, but now in ‛Watercolour. 68.5 × 51cm. sales (now in the Gulbenkian Museum, the Uffizi in Florence, where it is known as Papillons Noirs was the title of a poem by the Lisbon). L’Arrotino (the Knife-Grinder). It owed much French Romantic poet, novelist, and of its popularity to the misconception – dramatist, Alfred de Musset (1810–57). VRXWL-ZIVW GRUQIU EQH provoked by the figure’s cocked head – that QRUWL-ZIVW GRUQIU it represented a slave overhearing some 461 SW GIRUKI HEUI (1857–1933) SC45 EQH SC46 GUIGR-RRPEQ, 1st/2nd conspiracy. In fact, it is the attitude of an Lady Hoare, in a White Hat (d.1947) century AD executioner whetting his knife, and awaiting 42 × 37cm. Zeus/Jupiter holding a Thunderbolt and Apollo’s instructions to begin flaying Hera/Juno (or Kore/Proserpine) Marsyas alive. 455 SW GIRUKI HEUI (1857–1933) Marble. H: 81cm and H: 70cm. Self-portrait The origin of these two statuettes is not Pastel. 73.5 × 48.5cm. known, but they were probably acquired together in Italy by Sir Richard Colt Hoare. 249 FUIHIUMG, LRUH LIMKLWRQ, SUE Genuine Antique sculpture (apart from the (1830–96) statue of Livia in the Pantheon, which was Augusta Hoare (c.1845–1922) acquired by Henry II Hoare from Dr Mead’s 59.5 × 46.5cm. Signed and dated 1860. collection), is a rarity at Stourhead, so these Only daughter and surviving child of Sir are a happy survival. Henry Hoare, 5th Bt, married firstly, in 1868 to William Angerstein (d.1892), secondly to Col. J. St Aubyn Hastie (d.1901), in 1894.

19 460 Alda Weston, Lady Hoare in a Green Cloak, 458 The Gilded Cage, 309 Penelope sacrificing to Minerva for the safe return in 1910, by St George Hare by St George Hare of her son, Telemachus, by Angelica Kauffman, RA

QRUWL ZEOO VRXWL (GLMPQI\SMIGI) ZEOO 300 AQKIOMGE KEXJJPEQ, UE (1741–1807) 458 SW GIRUKI HEUI (1857–1933) The Passage to the Frances Ann Acland, Lady Hoare (1735/6–1800) ‘The Gilded Cage’: a female captive 125.5 × 99.5cm. Signed. 127 × 101.5cm. Column Room Second wife of Sir Richard Hoare, 1st Bt. 309 AQKIOMGE KEXJJPEQ, UE (1741–1807) 735 MEUWMQ O[OI\ (F.1961) 203 RMGLEUH COEGN (G.1804–81) Penelope sacrificing to Minerva for the safe The Temple of Apollo, Stourhead Henry Arthur Hoare of Wavendon (1804–73) return of her son, Telemachus Coloured pencils. 80 × 52cm. 142.9 × 101.5cm. Signed and dated 1870. 150 × 126.5cm. Signed and dated 1774. Acquired by the Foundation for Art. Third son of Sir Henry Hoare, 3rd Bt, and Exh. RA, 1774. Kauffman painted a number of father of the 6th Bt. Penelope subjects. This one and its chimneypiece were previously at Wavendon, 454 SW GIRUKI HEUI (1857–1933) but were installed in the Library at The Adieu Stourhead after the fire of 1902, before 170 × 113cm. being transferred to their present situation.

204 HIQU\ GUEQW (EGWMYI 1868–88) 457 SW GIRUKI HEUI (1857–1933) Julia Lane, Mrs Hoare Miserere Domini (Christians in Prison) 143 × 101.5cm. Signed and dated 1868. 170 × 110.5cm. Wife of Henry Arthur Hoare of Wavendon. 299 Attributed to JRLEQQ KIUVIFRRP QRUWL-IEVW GRUQIU EQH (active 1680V–1708) VRXWL-IEVW GRUQIU Portrait of an Unknown Lady SC47 EQH SC48 after the Antique 121.5 × 95.5cm. Busts of a Vestal Virgin and La Zingara Marble. H: 63cm and H: 60cm. RQ IEVIOV Neither the maker nor the origin of these two 493 SW GIRUKI HEUI (1857–1933) marble reductions of well-known Antique, or Cupid in the Landscape Garden, Stourhead pseudo-Antique, sculptures (for La Zingara, 56.5 × 35cm. Signed. see SC43) is known. They may have been Done in commemoration of Sir Henry and done from a pair of busts by Peter Lady Hoare’s Silver Wedding, October 1912, Scheemakers (1691–1781) that the Earl of according to an inscription on the reverse. Radnor bought at the sculptor’s sale in 1756. 665 SW GIRUKI HEUI (1857–1933) IEVW ZEOO Nymphs dancing round a Temple 459 SW GIRUKI HEUI (1857–1933) Watercolour. 57 × 38cm. Signed. Henry Colt Arthur Hoare (1888–1917), aged 21, in 1909 RQ GRUQIU WEFOIV ZMWLMQ WLI URRP, 162 × 95.5cm. VRXWL-ZIVW EQH QRUWL-ZIVW GRUQIUV Son of Sir Henry Hoare, 6th Bt. Died on SC49 EQH SC50 IWEOMEQ, G.1800, active service in 1917. after the Antique The Medici Venus and Venus Callipygos 460 SW GIRUKI HEUI (1857–1933) Marble. H: 70cm and H: 73cm. Alda Weston, Lady Hoare, in a Green Cloak, Two of the most celebrated statue types of in 1910 Antiquity. The Medici Venus is now in the 151 × 91.5cm. Uffizi; the Venus of the Beautiful Derrière, formerly in the Palazzo Farnese in Rome, is now in the Museo Nazionale in Naples.

20 324 The Falls of Tivoli, 328 The Interior of the Colosseum, Rome, by Abraham Louis Ducros by Abraham Louis Ducros

The Column Room VRXWL (GLMPQI\SMIGI) ZEOO 321 Civita Castellana Watercolour. 72.5 × 105.5cm. 332 AFUELEP LRXMV DXGURV (1748–1810) Civita Castellana lies in Latium (now Lazio), The Arch of Titus, Rome to the north of Rome. This is the last of the Having taken a complete view of the Watercolour. 73 × 51cm. first four watercolours acquired from Ducros different paintings in oil-colours which One of Ducros’s most successful in 1786. (RCH) decorate the Mansion-house at compositions. The artist retained the – Stourhead, I shall now advert to a class larger – prime original of c.1782/87, which ZIVW ZEOO of art, which, though from convenience was acquired by public subscription after his 326 The Arch of Constantine, Rome of size and pleasurable effect, is death, and is now in the Musée cantonal des Watercolour. 78 × 110cm. favourably received by the public, yet Beaux-Arts of Lausanne. (RCH) Colt Hoare regarded this ‘as one of the most cannot be considered as worthy of laborious as well as one of the most happy being included in the higher class of 323 The Forum of Nerva with the Colonnacce efforts that were ever made in water- painting. I allude to designs in water- Watercolour. 75 × 52.5cm. colours.’ (RCH) colours, which have made, within these The Colonnacce, or ‘big columns’, are few years past, a most astonishing survivors of a temple dedicated to the 328 The Interior of the Colosseum, Rome progress, and in many instances may be goddess Minerva. (RCH) Watercolour. 76 × 101.5cm. said to have attained the acme of This was the model for a version retained by perfection [alluding to Turner’s eight, 331 Ponte Lucano, with the Tomb of the Plautii the artist and now at Lausanne (see No.332), now dispersed, views of the exterior Watercolour. 64 × 75.5cm. in which he left the figures blank, so as to be and interior of Salisbury Cathedral then Another of Ducros’s very successful subjects, able to update the costume if asked to there] … but the advancement from the larger print version of which shared the complete it at a later date.(RCH) drawing to painting in water-colours did same history as No.332. This is the third of not take place till after the introduction the watercolours acquired from Ducros in 325 The Ruins of Augustus’s Bridge over the Nera into England of the drawings of Louis 1786 by Colt Hoare, though he called it the Watercolour. 77.5 × 113cm. de Cros, a Swiss artist, who settled in ‘Tomb of Munatius Plancus’. (RCH) The Ponte d’Augusto is on the outskirts of the Rome; his works proved the force, as city of Narni in Umbria. (RCH) well as consequence, that could be 324 The Falls of Tivoli given to the unsubstantial body of Watercolour. 66 × 101.5cm. water-colours … Hence have sprung a A view of the most popular site in the numerous succession of Artists in this environs of Rome. This is the second of the line; a Turner, a Glover, a Nicholson, first four watercolours acquired by Colt Reinagle, De Wint, Nash, cum multis Hoare from the artist in Rome in 1786. (RCH) aliis. RYIUPEQWIO Sir Richard Colt Hoare, 612 FUEQGMV HEUHMQK (active 1745–67) History of Modern Wiltshire (1822) Architectural Capriccio 89.5 × 101cm.

329 AFUELEP LRXMV DXGURV (1748–1810) Lake Trasimene: Early Morning Watercolour. 72.5 × 105.5cm. This is the earliest of the first four watercolours by Ducros to be acquired by Colt Hoare in 1786. Lake Trasimene is where Hannibal inflicted a crushing defeat on the Romans. (RCH)

21 322 The Stables of the Villa Maecenas at Tivoli, 394 Stonehenge, by Abraham Louis Ducros by Francis Nicholson

322 The Stables of the Villa Maecenas 497 SEPXIO WRRHJRUHI (1763–1817) 320 AFUELEP LRXMV DXGURV (1748–1810) at Tivoli Interior of the Pantheon, Stourhead The Falls of the Velino into the Nera Watercolour. 75 × 108cm. Coloured chalks. 35.5 × 27.9cm. Watercolour. 78 × 160cm. The ruins of the 1st-century BC Sanctuary of Preliminary drawing for the painting of the Second only in popularity with 18th- and Hercules the Victorious were long thought Pantheon (in Cabinet Room), showing the 19th-century tourists to the Waterfalls of to be part of the Villa of Maecenas, the original colour of the wall. Tivoli, was the Cascata delle Mármore near enormously wealthy friend of the Emperor Terni, where the Velino falls into the Nera Augustus, and patron of Virgil and Horace. BUMWMVL SGLRRO, 19WL GIQWXU\ (see Nos 319, 325, 330). Ducros began to (RCH) Four views of Stourhead, including one of depict this view for British Grand Tourists Peter’s Pump in Six Wells Bottom. Pen, ink around 1784. Colt Hoare regarded it as a 330 The River Nera by an Ilex Grove and colour wash. chef-d’oeuvre of Ducros’s: ‘One of the great Watercolour. 75 × 106.5cm. excellencies of this Artist was the just and The River Nera, which gave its name to the 73 S. CEWWIUVRQ SPMWL (1806–72) natural delineation of water, particularly city of Narni (see No.325), rises on the west Sir Richard Colt Hoare at the age of 73 years where spray and vapour were expressed; and slope of the Monti Sibillini, takes the waters and four months in this subject he has succeeded most of the Velino (see No.320) a little above admirably, and without any of the borrowed Papigno, and debouches into the Tiber near APRV GUIIQ (1735–1807) assistance of white paint [i.e. body colour].’ Orte, in Lazio. (RCH) The Temple of Apollo and the Wooden Bridge A different view of Falls by Ducros is at and The Pantheon Dunham Massey (NT). (RCH) QRUWL (ZMQHRZ) ZEOO Two watercolours of Stourhead, August 1792 Four 19th-century pen-and-ink drawings of 339 FUIHIUMGN NEVL (1782–1856) Stourhead, two signed by the Hon. Mrs IEVW ZEOO The Porch of Malmesbury Abbey Fortescue (c.1765–1841), and dated 1825. 394 FUEQGMV NMGLROVRQ (1753–1844) Watercolour. 67.5 × 98.5cm. Henrietta Anne, daughter of Sir Richard Stonehenge Hoare, 1st Bt, by his second wife, Frances Watercolour. 59.5 × 87.5cm. (RCH) 319 AFUELEP LRXMV DXGURV (1748–1810) Acland, and thus half-sister of Colt Hoare. The Valley of the Nera in a Storm She married, firstly, Sir Thomas Dyke Acland, 166 FUEQGMV NMGLROVRQ (1753–1844) , after Watercolour. 78 × 118cm. 9th Bt, of Killerton (NT), and, secondly, the PLMOMSSI-JEGTXIV DI LRXWLIUFRXUK (cf. Nos 320,325, 330) (RCH) Hon. Matthew Fortescue. (1740–1812) An Avalanche 681 HXKL BXGLEQEQ (F.1958) 736 FUEQGMV NMGLROVRQ (1753–1844) Watercolour. 75 × 107.5cm. View of the Hall from the Music Room The Bristol Cross The original, painted in 1803, belonged to Watercolour. 34.5 × 24cm. Watercolour. 53.5 × 40.5cm. Colt Hoare’s friend, Sir John Leicester of The Bristol Cross was acquired by Henry II Tabley Hall, Cheshire, and is now in Tate 737 BIUQEUH DXQVWEQ (F.1920) Hoare in 1764, and re-erected by him at Britain (a different Avalanche is at NT Concert in the Saloon at Stourhead Stourhead the following year. A solid Petworth). Colt Hoare wrote: ‘This drawing Lithograph. 35.5 × 38cm. detachable base was incorporated to give it redounds to the credit of the worthy veteran extra stability. The cross was removed in [actually only five years older than him!], Mr. 989 HXKL BXGLEQEQ (F.1958) 1981, with the original polychromed statues F. Nicholson’. (RCH) The Temple of Apollo of monarchs, and is now on loan to the Watercolour. 23.5 × 34.5cm. Victoria & Albert Museum for long-term preservation. Nicholson painted a series of 738 JRLQ PMSIU (1903–92) watercolours of Stourhead between 1813-14, The Bristol Cross, Turf Bridge and View of the which are now in the British Museum. Pantheon Watercolour. 53.5 × 58.5cm. Signed and dated 1981.

22 318 The Sacrifice of Iphigenia, 516 Detail from the Expulsion of Heliodorus, a copy 535 Dance to the Music of Time, by Francis Harding of an Old Master, by James Rouby, after Raphael (Wallace Collection), by Nicholas Poussin

703 BUMWMVL SGLRRO, 1848 MQ WLI FIH EOGRYI Stourton Church The Italian Room 501-2, 504-5, 507, 510, 516, 525 and 568 Watercolour. 13 × 21cm. JEPIV RRXF\ (1750–1812) Nine sepia drawings, copies of Old Masters, 704 The RIYH RMGLEUH PIWIU HREUI from a collection of over 40 such drawings (1807–46) (Room not named by Colt Hoare): done in Rome by him, and by his teacher, the Stourton Church, with the originator of the technique, Prof. Bristol Cross, 1842 Entering the next apartment, which Seydelmann of Dresden, that were formerly Drawing with brown wash and tinted sky. contains a numerous collections of hung here and in the South Apartment. 17.5 × 29.5cm. drawings in bistre ... made by Sir (RCH) Richard Colt Hoare, during his travels in Italy, between the years 1785 and The rest of the room is hung with hand- 1790. They were selected with the coloured engravings after Old Masters and intention of forming a series of studies of figures from frescoes found in Pompeii, from the works of the most together with an embroidered picture by distinguished foreign artists. Mrs Bampfylde of Dead Game Birds, and a watercolour-cum-gouache copy of an Sir Richard Colt Hoare, engraving of Poussin’s Dance to the Music History of Modern Wiltshire (1822) of Time (Wallace Collection), in which the (cf. The South Apartment) foliage is represented by dried lichens!

RYIUPEQWIO 318 FUEQGMV HEUHMQK (active G.1745–67) The Sacrifice of Iphigenia 167.5 × 142.5cm. An imitation of Panini (cf. No.2), set in a capriccio of Antique Rome and of Glanum in Provence. Payments were made to the artist by Henry Hoare between 1745 and 1758. Horace Walpole thought that the figures were by Giacomo Amigoni (c.1682–1752), but he was only in England between 1729 and 1739. (HH)

23 22 The Four Elements, 104 A Bay with a Temple and Tower, by (?) Jan Brueghel II and Hendrik van Balen by Coplestone Warre Bampfylde

The Cabinet Room 63 WMOOMEP TEYIUQIU (1703–72), after ZIVW ZEOO, OIJW-LEQH GROXPQ GEVSEUH DXKLIW (1615–75) (WRS WR FRWWRP) Jonah and the Whale 375 Manner of SEOYEWRU RRVE (1615–73) 98 × 134.5cm. Italianate Landscape with two figures on a rock We now proceed … to an apartment The original of this picture is in the Royal before a fortified town called the Cabinet Room, from the Collection. (HH) 50 × 65cm. circumstance of its containing a very The untypical character of the architecture splendid Cabinet, embellished with 5 FUEQGIVGR ZXGGEUIOOM, UE (1702–88) suggests that this may be a later – even an precious stones, marbles, agates, &c. A Pastoral Landscape English – pastiche of Rosa. of every description … This room is 101 × 134cm. dedicated exclusively to Landscapes, Probably acquired, with its pendant, through 357 LXGEV VEQ UHIQ (1595–1672) of which it contains a very pleasing Consul Smith in Venice; hence the fact that Landscape with a Stag Hunt variety. these pictures retain their original Venetian Panel. 53.5 × 86.5cm. frames, bulked out subsequently in England Sir Richard Colt Hoare, to hold their own with the other frames in 22 (?) JEQ II BUXIKLIO (1601–78) and History of Modern Wiltshire (1822) the collection, but not listed at Stourhead HIQHUMN VEQ BEOIQ (G.1575–1632) until the end of the 19th century. Henry II The Four Elements Hoare commissioned a highly finished Copper. 71 × 89cm. picture of Diana and her Nymphs from Each Element is represented by a pagan VRXWL (GLMPQI\SMIGI) ZEOO, OIJW WR UMKLW Zuccarelli, to fit a frame that he believed to deity with appropriate attributes, and in the (WRS WR FRWWRP) be by Grinling Gibbons. background the Creation, as narrated in the 103 WMOOMEP TRPNMQV, EUE (1730–92) Bible, takes place. Cuckoos displacing a Finch’s Egg 2 GMRYEQQM PEROR PEQMQM (1691–1765) Oval, 61.5 × 75.5cm. Classical Ruins with the Arch of Constantine SC51 IWEOMEQ SGLRRO, 18th century, after 97 × 134.5cm. the Antique 201 SEPXIO WRRHJRUHI, UE (1763–1817) The Borghese Gladiator Interior of the Pantheon, Stourhead 4 FUEQGIVGR ZXGGEUIOOM, UE (1702–88) A Bronze. H: 43cm, on a later ebonised 122 × 91.5cm. Pastoral Landscape wooden base. The collection also includes a preliminary 101 × 134cm. The pendant to No.5 drawing for this picture (No.497 in the GIQWUI GROXPQ Column Room), which provided guidance 104 CRSOIVWRQI WEUUI BEPSJ\OHI for the recent interior redecoration of the (1720–91) Pantheon. A Bay with a Temple and Tower Oval, 69 × 94cm. 35 Studio of JRVISL VIUQIW (1714–89) Initialled and dated 1766. Praised by Colt Midday: Storm and Shipwreck Hoare as: ‘A Large Landscape, and the chef- 65 × 97cm. d’oeuvre of this amateur artist’. Placed by Not the picture described in a letter from Henry II Hoare in a particularly fine Rococo Vernet’s Irish father-in-law to Henry II Hoare frame. (HH) as in the course of being painted in 1765, which went in the Heirlooms sales of 1883, but an acquisition of Colt Hoare’s. A replica of one of four Times of Day painted in 1760. (RCH)

24 308 Lot and his Daughters, 311 Heureuse Vieillesse, 101 Barn Owls, by Samuel Woodforde, RA, by L.J.F. Lagrenée, RA by William Tomkins, ARA after L.J.F. Lagrenée, RA

RMGLEUH WMOVRQ. UE (1713/14–82) 479 L.J.F. LEKUIQ_I (1725–1805) OIJW GIQWUI GROXPQ The Lake of Nemi, with Diana and Callisto Charity 83 Manner of JEGTXIV CRXUWRMV, known as 75.5 × 97cm. Copper. 15 × 18cm. Signed and dated 1771. IO BRUKRKQRQI (1621–76) Forfeited in the Heirlooms sales of 1883, An escapee from the original set of View of Ariccia (?) with Horsemen rescued by Charles Hoare, and now lent by Lagrenées at Stourhead, which was 43 × 43cm. the Trustees of Jane, Lucy and Charles rediscovered in 1963, and returned by an Hoare. (HH) anonymous donor. (HH) 105 JEQ FUEQV VEQ BORIPIQ (OUM]]RQWI) (1662–1749) UMKLW-LEQH GROXPQ RYIUHRRU A Classical Landscape 86 IWEOMEQ SGLRRO, G.1700 70 WMOOMEP SPMWL of CLMGLIVWIU 38 × 48cm. The Tomb of the Plautii and the Ponte Lucano (1707–64) 59 × 84.5cm. Campfire Scene by Moonlight 307 L.J.F. LEKUIQ_I (1725–1805) 62 × 75cm. Signed and dated 1750. Susannah and the Elders 24 After JEQ II BUXIKLIO (1601–78) Copper. 41.5 × 32.5cm. Signed and dated The Garden of Eden Panel. QRUWL (GEFMQIW) ZEOO, OIJW-LEQH GROXPQ 1771. (HH) Copper. 55.5 × 85.5cm. (WRS WR FRWWRP) A late version, possibly by the artist’s great- 82 PEROR MRQEOHM (1710–EJWIU 1779) UMKLW GIQWUI GROXPQ nephew, Jan II van Kessel (1654–1708), of this A Peasant being shaved 84 Manner of JEGTXIV CRXUWRMV, known as popular composition. 38.5 × 30cm. Initialled. IO BRUKRKQRQI (1621–76) View of a River with a ruined Castle Beyond 336 (?) JEQ II BUXIKLIO (1601–78) and 77 FUEQ] DI PEXOE FIUK (1689–1740) 33.5 × 43cm. HIQHUMN VEQ BEOIQ (G.1575–1632) Classical Landscape with Obelisk, Woman and One of the Four Elements: Air Rider 107 JEQ FUEQV VEQ BORIPIQ (OUM]]RQWI) Copper. 50 × 66cm. 33 × 26.5cm. (1662–1749) A repetition of the painting of 1621 by Jan I A Classical Landscape Brueghel (1568–1625) and Hendrik van Balen 308 SEPXIO WRRHJRUHI, UE (1763–1817), 38 × 48.5cm. in the Louvre, from the set of the Four after L.J.F. LEKUIQ_I (1725–1805). Elements commissioned by Cardinal Federico Lot and his Daughters 311 L.J.F. LEKUIQ_I (1725–1805) Borromeo. 40.5 × 33cm. ‘L’Heureuse Vieillesse’ Henry II Hoare deliberately hung this copy Copper. 40.5 × 33cm. Signed and dated 1771. OIJW RJ HRRU, WRS WR FRWWRP by his protégé of an original by Lagrenée as a The ‘happy old age’ is that of St Joseph. 174 L.J.F. LEKUIQ_I (1725–1805) pendant to Lagrenée’s own picture (No.307), (HH) Philosophy unveiling Truth to demonstrate its ability to deceive – as it Copper. 15 × 18cm. Signed and dated 1771. did until recently, when the original RYIUHRRU This and the other paintings by Lagrenée the reappeared on the art market. (HH) 101 WMOOMEP TRPNMQV, EUE (1730–92) Elder in this room and the Picture Gallery Barn Owls were bought directly from the artist by Oval, 61.5 × 75.5cm. Henry II Hoare, who appears in his list of his works as ‘M. Hors, anglais’. They had originally been commissioned by the duc de Choiseul, who abandoned them when sent into internal exile, after being dismissed by Louis XV from being his first minister. (HH)

25 354 Old Woman with Pestle and Mortar, 48 The Annunciation; The Adoration of the Shepherds and Magi; The Madonna Italian Caravaggesque School Adoring the Child, by Jan Provost

UMKLW-LEQH GROXPQ 374 Manner of SEOYEWRU RRVE (1615–73) 64 Imitator of BEUWRORPIR MEQJUIHM 81 PEROR MRQEOHM (?1710–after 1779) Italianate Landscape with Rocky Waterfalls and (1582–EJWIU 1622) Peasants by a Shelter: Coney Catchers Fishermen Gamesters with a Fortune-teller 38.5 × 28.5cm. 50 × 65cm. 95.5 × 131cm. (RCH) Though now framed differently, this may 76 FUEQ] DI PEXOE FIUK (1689–1740) once have been the pendant of No.375 FRWWRP Landscape with a Tomb and Figures (opposite wall). 48 JEQ PURYRVW (1462–1529) 33 × 26.5cm. TRIPTYCH: The Annunciation; The Adoration of the Shepherds and the Magi; The Madonna 310 L.J.F. LEKUIQ_I (1725–1805) Adoring the Christ Child La Mère Complaisante’ The Ante-room to the Panels, centre: 86.5 × 71cm. (transferred to ‛Copper. 40.5 × 33cm. Signed and dated 1771. canvas). The ‘indulgent mother’ is the Virgin Mary. Picture Gallery The centre panel of the triptych may not (HH) have originally been associated with the ZIVW (RSSRVMWI ZMQHRZ) ZEOO, OIJW WR wings, which have grisailles of St John the IEVW (ZMQHRZ) ZEOO, OIJW RJ ZMQHRZ UMKLW, WRS Baptist and St Margaret on their outer faces. (WRS WR FRWWRP) 99 TLRPEV BEUNIU (1769–1847) 355 Dutch or Italian, CEUEYEKKIVTXI 353 AQWZIUS SGLRRO, A Rocky Landscape SGLRRO, early 17th century early 16th century 70 × 103cm. A Man with a Wine-flask TRIPTYCH: The Annunciation; Circular, diam. 68.5cm. The Adoration of the Magi; The Flight 110 IWEOR-FOIPMVL SGLRRO, G.1700 Although painted as a pendant to No.354, into Egypt Wooded Landscape with Herdsfolk resting under this does not quite seem to match up to it in Panels, centre: 88.5 × 55cm. Trees near a Monument theme, handling or quality. 49 × 73.5cm. RYIU HRRU WR SMGWXUI KEOOIU\ 354 Italian, CEUEYEKKIVTXI SGLRRO, early 126 Attributed to JXVWXV SXVWIUPEQV 79 Attributed to GEVSEUH DXKLIW, 17th century (1597–1681) formerly known as GEVSEUH PRXVVMQ Old Woman with Pestle and Mortar St Cecilia (1615–75) Circular, diam. 68.5cm. 65 × 47.5cm. Classical Landscape with Figures on a Road This crone is making – and tasting – salsa St Cecilia was a 3rd-century Christian 48.9 × 64cm. verde or pesto. martyr, who became the patron saint of Probably the picture bought by Henry II music and musicians. Hoare in 1758 at the sale of Sir Luke Schaub, 69 Imitator of BEUWRORPIR MEQJUIHM who had acquired Italian pictures cheaply in (1582–EJWIU 1622) Spain. (HH) Maidservant, from a ‘Denial of St Peter’ Fragment. 98 x 101cm. (RCH) UMKLW RJ ZMQHRZ 95 TLRPEV BEUNIU (1769–1847) Landscape, wrongly called Hampton Cliffs, near Bath 70 × 103cm.

112 IWEOR-FOIPMVL SGLRRO, G.1700 A Wooded Landscape with Peasants and Herdsfolk by a Monument 50 × 73.5cm.

26 50 Old Parr, 16 Marchese Niccolo Maria Pallavicini guided to the Temple of Virtue, by Samuel Woodforde, RA by Apollo, with a Self-Portrait of the Artist, by Carlo Maratta

ZMQHRZ ZEOO, OIJW RJ ZMQHRZ 45 AJWIU GMRYEQQM AQWRQMR BE]]M, known 7 JEGTXIV CRXUWRMV, known as IO The Picture Gallery as IO SRHRPE (1477–1549) BRUKRKQRQI (1621–76) Christ at the Column A Battle Scene 58 × 51.5cm. 81.5 × 114.5cm. (HH) A 19th-century copy (possibly by William This spacious room, which forms the Hilton, RA) of the detached fresco of 1514 94 DEYMH TIQMIUV TLI YRXQKIU (1610–90) extremity of the Northern wing, was now in the Pinacoteca in Siena. and HIUPEQ SEJWOIYIQ (1609–85) built by Sir Richard Colt Hoare, for the A Kitchen in a Barn purpose of containing a selection of 19 SEOYEWRU RRVE (1615–73) Panel. 43 × 68.5cm. Signed: D. Teniers. his best paintings, which before had Head of a Philosopher called ‘Democritus’ One of handful of collaborations between been dispersed and injudiciously 66 × 48.5cm. the Antwerp-based signer of the painting, associated in a different apartments, A typical testaccia of the kind that Rosa who just did the figure of the woman, and and not seen to the best advantage. painted, in his mid-career in Rome, for his the Utrecht-based Saftleven, who painted The walls are thickly covered with friends in Florence. (RCH) the setting. pictures, many of which are of a superior class … 23 FUIQGL SGLRRO, 17th century, UMKLW RJ ZMQHRZ after RESLEIO (1483–1520) 47 (?) GMUROEPR DE PRQWI (BEVVEQR) Sir Richard Colt Hoare, The Holy Family of François I (1566–1621) History of Modern Wiltshire (1822) Panel. 62 × 43cm. Spring The original, which was a jewel of the French 80 × 112cm. Royal Collections, is now in the Louvre. This A late variant of one from a set of The Four picture is in a correspondingly fine French Seasons first devised by Girolamo’s father, ZIVW (GLMPQI\SMIGI) ZEOO, OIJW RJ frame, topped by the Virgin’s Crown of Stars. Jacopo Bassano, but frequently repeated by GLMPQI\SMIGI, OIJW-LEQH GROXPQ (HH) his elder brother, Francesco (1549–92). 50 SEPXIO ZRRHJRUHI, UE (1763–1817) Old Parr GIQWUI RJ OIJW-LEQH VMHI 478 GIUEUH HRIW TLI EOHIU (1648–1733) 75 × 62.5cm. 16 CEUOR MEUEWWE (1625–1713) The Judgement of Paris Called ‘Old Parr’ in 1822. Thomas Parr was Marchese Niccolò Maria Pallavicini guided to Panel. 41.5 × 54.5cm. said to have been born in 1483, to have lived the Temple of Virtù by Apollo, with a Self- in the reigns of ten sovereigns, to have portrait of the Artist RYIU HRRU WR GEFMQIW URRP married a second wife when he was 120 and 299.5 × 212cm. Signed and dated 1705. 173 JIEQ-BESWMVWI MRQQR\IU (1636–99) to have had a child by her, and to have died The picture celebrates the glory Niccolò Still-life with Flowers after being brought to London as a curiosity, Maria Pallavicini achieved by his 124.5 × 99cm. in 1635, aged 152. encouragement of art in Rome. Bought by Horace Mann from his heirs, the Marchesi Arnaldi, in Florence in 1758, for Henry II Hoare. (cf. Nos 43, 44, the Dughets). William Kent, the marchand-amateur, was simultaneously acquiring lesser pictures from the Pallavicini/Arnaldi collection for Sir Nathaniel Curzon, 1st Baron Scarsdale, which are mostly still at Kedleston Hall (NT). The picture is in its original Italian frame, called a ‘Salvator’ [Rosa] in Italy, but a ‘Maratta’ in Britain. (HH)

27 51 The Madonna and Child, 26 The Mystic Marriage of St Catherine, 18 The Adoration of the Magi, by Francesco Trevisani by Antonio Cavallucci, after Correggio by Ludovico Cardi (Cigoli)

AJWIU LIRQEUHR HE VMQGM (1452–1519) OIJW RJ GLMPQI\SMIGI, UMKLW RJ GLMPQI\SMIGI, The Virgin and the Child with St Anne UMKLW-LEQH GROXPQ OIJW-LEQH GROXPQ 40 × 27.5cm. 11 G.F. CMSSIU (IO TRHIVGLMQM) (1664–1736) 12 G.F. CMSSIU (IO TRHIVGLQM) (1664–1736) The original famous painting by Leonardo, An old Woman singing A Boy with a Mouse from which this fragile painting derives, was 96 × 70cm. 96 × 70cm. commissioned for the high altar in the Santissima Annunziata, Florence in 1508 and 51 FUEQGIVGR TUIYMVEQM (1656–1746) 31 Attributed to AQHUIE DIO BUIVGMEQMQR is now in the Louvre, Paris. St Anne sits The Madonna and Child (active 1507–25) serenely in a landscape with her daughter, the 84.5 × 65.5cm. (HH) The Madonna and Child with a Pomegranate Virgin Mary, sitting on her mother’s lap, whilst Panel. 112 × 83cm. stretching towards her son, the Christ Child, 26 DIQ\V CEOYEIUW (1540–1619) Henry II Hoare and Colt Hoare thought this who grasps a sacrificial lamb on the right. The Mystic Marriage of St Catherine to be by Palma Vecchio. (HH) Copper. 47.5 × 38cm. 49 JIEQ TEVVIO (1608–67) Left by Henry II Hoare in its superb French 14 SIFEVWMEQR CRQGE (1680–1764) (?) The Departure of Jacob Rococo frame, put on when this exquisite The Genius of History, or Fame Writing History 71 × 103cm. little painting was thought to be by the more Copper. 24.5 × 19.5cm. Probably painted by the artist in Italy, under celebrated Federico Barocci (1562–1612). This relates to a large painting in the the influence of his Neapolitan (HH) Accademia di S. Luca in Rome, which used contemporaries, c.1634–6. It was thought by wrongly to be thought the artist’s reception- Henry II Hoare to be by Pier Francesco Mola SC53 EQKOMVL SGLRRO, 18th century piece. (HH) (1612–66), and to show Tobit and the Angel. The Finding of Moses, with Urania and another (HH) Muse 33 EPMOMEQ SGLRRO, G.1600 Marble. 23 × 47cm. David with the Head of Goliath 389 IWEOMEQ SGLRRO, 16th/17th century The strange coupling of elements in this Panel. 56.5 × 41.5cm. St John the Baptist praying in the Wilderness suggests that it was not a chimneypiece- Henry II Hoare thought this to be by Giulio Paper. 51 × 42cm. relief but a trial piece. Romano (1499–1546). (HH) Believed by Colt Hoare to be a sketch by Titian for the painting of the standing figure RYIU GLMPQI\SMIGI of John the Baptist now in the Accademia in 18 LXHRYMGR CEUHM (CMKROM) (1559–1613) Venice. (RCH) The Adoration of the Magi 345.5 × 233.5cm. Signed and dated 1605. Formerly the altarpiece in the Albizzi Chapel, San Pietro Maggiore, Florence. The church was destroyed in 1784, and this picture was acquired in 1790 by Colt Hoare, who had its superb ‘Maratta’ frame, topped by a ram’s head, made for it by Chippendale the Younger in 1802. (RCH)

RQ GLMPQI\SMIGI SC54 and SC55 IWEOMEQ SGLRRO, c.1800 Apollo and the Medici Venus Bronze. H: 51.5cm and H: 51cm Probably acquired by Sir Richard Colt Hoare. The figure of Apollo used to be called ‘Adonis’, making more sense of the pairing.

28 17 Octavius Caesar (Augustus) and Cleopatra, 25 The Flight into Egypt ? 38 An Old Woman with a Distaff, by Anton Raphael Mengs from the studio of Carlo Maratta by Bartolomé Esteban Murillo

GIQWUI RJ UMKLW-LEQH VMHI 25 CEUOR MEUEWWE (1625–1713) UMKLW RJ GLMPQI\SMIGI, 17 AQWRQ RESLEIO MIQKV (1728–79) The Flight into Egypt UMKLW-LEQH GROXPQ Octavian and Cleopatra Copper. 51.5 × 37.5cm. 58 SEPXIO WRRHJRUHI, UE (1763–1817) 299.5 × 212cm. A reduction, based on the picture in S. after GXMHR RIQM (1575–1642) Commissioned by Henry II Hoare in 1759 as a Isidoro, Rome. (HH) Head of St Peter companion to the Maratta (No.16). This was 73.5 × 61cm. not only a pioneering work of Neo- 61 DEYMH VMQGNIFRRQV (1576–?1672) The original of this has not been identified. Classicism, but also in introducing St John the Baptist preaching archaeologically correct Egyptian motifs. Panel. 48 × 66cm. Initialled and dated 1614. 40 AJWIU BIUQEUHMQR LXMQM (active The picture represents Octavianus 1507–d. before 1532) Augustus Caesar, nephew and adoptive son 72 By or after CEUOR MEUEWWE (1625–1713), St Catherine of Julius Caesar, then known as Octavian, MQ WLI PEQQIU RJ GXMHR RIQM (1575–1642) Panel. 57.8 × 45.5cm. but later as the Emperor Augustus, coming The Madonna and Child with Two Adoring Inscribed on the back L:D:V:, in the false to show mercy to the Queen of Egypt, after Putti-angels belief that this was by Luini’s inspirer, the defeat of the Battle of Actium (31 BC) of Canvas laid down on panel. 48 × 38cm. Leonardo da Vinci, as used to be thought her ally, Mark Anthony, and his suicide. (HH) According to an old label on the back, this too of the best of the many versions of this picture was given by Maratta to the picture, that in the Royal Collection. (RCH) celebrated violinist, composer, and collector, Arcangelo Corelli (1653–1713), whose widow 38 BEUWRORP_ EVWIFEQ MXUMOOR (1617–82) sold it – but actually, she did not survive An Old Woman with a Distaff him. (HH) 58.5 × 47cm. Colt Hoare could not decide whether this was by Murillo or by Velázquez, but it is an early work by the former. A copy of it is in the Prado, Madrid. (RCH)

36 After FUEQGIVGR AOFEQM (1578–1660) The Annunciation 58.5 × 45.5cm. There is no exact original of this picture, which may therefore just be a pastiche. (RCH)

29 41 The Sacrifice of Noah, 44 Landscape with Eurydice (?), by Francesco Fernandi (Imperiali) by Gaspard Dughet

QRUWL ZEOO, WRS PMHHOI 405 BRORKQIVI SGLRRO, 17th century 41 FUEQGIVGR FIUQEQHM (IPSIUMEOM) 44 GEVSEUH DXKLIW, formerly known as Allegory of Hope (1679–1741): GEVSEUH PRXVVMQ (1615–75) 43 × 53.5cm. (RCH) The Sacrifice of Noah Mountainous landscape with Eurydice (?) 137 × 255.5cm. 152.5 × 222cm. 34 VIQIWMEQ SGLRRO, G.1700 This and its pendant are still in the fine Bought by Horace Mann from the Marchesi The Madonna and Child with Four Saints English Rococo frames that Henry II Hoare Arnaldi in Florence in 1758, for Henry II 64 × 47cm. (RCH) must have had made for them, and have Hoare, along with its pendant (cf. No.16, the always hung in these positions, since the Maratta). For Hoare these ‘Gaspard Poussins’ 20 (?) VIQIWMEQ SGLRRO, G.1600 Picture Gallery was created by Sir Richard were the next best thing to a genuine Apollo with a Lyre Colt Hoare. (HH) Claude, which he desperately wanted, but 54.5 × 47cm. only later obtained (sold in 1883). Thought by Colt Hoare to be by Paolo 42 Rachel sitting on the Household Gods Nonetheless, these pictures were given to Veronese. (RCH) of Laban his son-in-law, Sir Richard Hoare, 1st Bt, who 137 × 255.5cm. hung them at Barn Elms, from whence they 191 After SIFEVWMEQR RMGGM (1659–1734) When Jacob finally escaped from the service went to Wavendon, and were not brought to Christ healing the Man Blind from Birth of his uncle Laban with his two wives, Rachel Stourhead until the end of the 19th century. 53.5 × 68cm. and Leah, the latter’s daughters, the younger It is by no means certain that Eurydice is The original, which was until recently thought of them, Jacob’s favourite, stole her father’s shown in this picture. (HH) to be this painting, was formerly in the household gods. When Laban caught up celebrated collection of Dr Mead (1673–1754), with them, Rachel hid the stolen items in the 43 GEVSEUH DXKLIW, formerly known as re-surfaced in the early 1990s, and was camel’s tack in her tent and sat on them, GEVSEUH PRXVVMQ (1615–75) acquired by the National Gallery of Scotland whilst pretending that it was her time of the Italianate landscape with travellers on a path in 1994. (HH) month, so that she could not get up. (HH) 152.5 × 222cm. The pendant to No.44. Dughet was the brother-in-law and pupil of IEVW (ZMQHRZ) ZEOO, JEU OIJW-LEQH VMHI Nicolas Poussin, hence the name by which (WRS WR FRWWRP) he was always known in the past. Unlike his 30 After AQHUIE DIO SEUWR (1486–1531) senior, he consecrated himself virtually The Madonna with St John and Angels entirely to landscape. (HH) (‘Madonna Corsini’) 110.5 × 92cm. FRWWRP The original is now in the collection of Lord 356 SIFEVWMEQR RMGGM (1659–1734) Egremont at Petworth. (RCH) The Prodigal Son 59.5 × 51.5cm. 52 SEPXXIO WRRHJRUHI (1763–1817) Probably acquired by Henry II Hoare in A Group from Nicolas Poussin’s ‘Rape of England, like No.191. This is a late, sketchy the Sabines’ work. (HH) 113.5 × 109cm. Poussin’s painting, lost to Stourhead in the Heirlooms sales of 1883, is now in the Metropolitan Museum of Art, New York. (RCH)

30 29 Telemachus and Thermosiris, 56 Distress by Land, 57 Distress by Sea, by L.J.F. Lagrenée by Henry Thomson, RA by Henry Thomson, RA

29 L.J.F. LEKUIQ_I (1725–1805) 56 HIQU\ TLRPVRQ, UE (1773–1843) RYIU WLI HRRUGEVI Telemachus and Thermosiris Distress by Land SC56 JRLQ CLIIUI (1709–87) 109 × 86.5cm. Signed and dated 1770. 237.5 × 145.5cm. Exh. RA, 1811. Bust of Joseph Addison (1672–1719) Exhibited as the pendant of No.28. in the The scene – like No.57 – illustrates lines from Black-patinated plaster. H: 55.5cm. 1771 Salon. The subject is taken from the poet James Thomson’s Seasons, but the Another ‘Library’ bust, en suite with those of Fénélon’s Télémaque. The sage Thermosiris inclusion of Stonehenge was in deference to Pope (SC12) and Dryden (SC13) in the Library teaches the hero, Ulysses’s son, the art of Colt Hoare’s archaeological interests. (RCH) itself. being happy even in slavery. (HH) JEU UMKLW-LEQH VMHI VRXWL ZEOO, WRS GIQWUI OIJW-LEQH VMHI 59 Studio of FUEQGIVGR TUIYMVEQM 100 Attributed to JRLQ POMPPIU (active 54 AQWRQMR CEYEOOXGGM (1752–95) after (1656–1746) 1755– d.1760/1), after COEXHI (1600–82) CRUUIKKMR (1489–1534) The Holy Family with the Infant John the Baptist Procession to the Temple of Apollo at Delos The Mystic Marriage of St Catherine 117 × 91.5cm. A copy of the picture in the Galleria Doria- 136.5 × 105cm. This was one of Trevisani’s favourite Pamphilj in Rome; painted for Henry II Copied from a much smaller painting in the compositions, of which he produced a Hoare. (HH) Museo di Capodimonte, Naples. (RCH) number of variants. (RCH) 74 After CRUUIKKMR (1489–1534) 57 HIQU\ TLRPVRQ, UE (1773–1843) 53 SEPXIO WRRHJRUHI, UE (1763–1817) Mercury, Venus and Cupid (The School of Love) Distress by Sea A Group from Poussin’s ‘Rape of the Sabines’ 134 × 102.9cm. 237.5 × 145.5cm. Exh. RA, 1804. 113.5 × 109cm. See No.52 (far left-hand side). A copy of the painting in the National The scene illustrates lines from the (RCH) Gallery, London. (HH) ‘unrelated’ poet James Thomson’s Seasons (1726–30). (RCH) 28 L.J.F. LEKUIQ_I (1725–1805) ‘La Lacédémonienne’ (The Spartan Mother) GIQWUI UMKLW-LEQH VMHI 110.5 × 86.5cm. Signed and dated 1770. 55 AQWRQMR CEYEOOXGGM (1752–95), after This illustrates a passage from Plutarch’s Life LXGE CEPFMEVR (1527–85) of Lycurgus. A Spartan mother gives her son a Grieving Charity shield, saying: ‘Bring this back from battle, 136.5 × 105cm. or be brought back upon it [dead]’. This and A copy of the picture formerly in the No.29 were amongst the pictures originally Giustiniani collection in Rome, and now in painted for the duc de Choiseul (see No. the Gemälde–Galerie, Berlin, with the 174). (HH) addition of a landscape setting. (RCH)

.

31 60 The Arrest of Christ, by Jacopo da Ponte (Bassano)

78 Attributed to AQHUIE LRGEWIOOM 21 NMGROEV PRXVVMQ (1594–1665) SC57 (? AOJUIH) HRQI (born 1810) (?1695–?1741) after COEXHI (1600–82) The Choice of Hercules Little Bust of Sir Richard Colt Hoare, 2nd Bt The Mill 91 × 71cm. (1758–1838) 150 × 198cm. Possibly the picture that once belonged to Pink wax. H: 17cm, on white marble socle, A variant copy of the picture in the Galleria the architect François Blondel (1617–86). under a glass dome. Signed Hone/Sculpt. Doria-Pamphilj in Rome. (HH) Bought by Henry II Hoare at the Alfred Hone was probably son of the author, posthumous sale of the magnificent builder, William Hone; but he is not known to have PMHHOI collector, and patron, the 1st Duke of worked in wax. 202 Attributed to the MRQRKUEPPMVW Chandos, in 1747. (HH) GAE (active G.1700) Antique Sacrifice amongst Ruins 10 IWEOMEQ SGLRRO, G.1600 97 × 134.5cm. Head of a Bishop Bears this monogram, as do nine or more Paper laid down on canvas. 34.5 × 25.5cm. other paintings, which, like it, used to be (RCH) attributed to Giovanni Ghisolfi (1623–83) or Alberto Carlieri (1672–after 1720). 390 IWEOMEQ SGLRRO, 17th century Two Children embracing 3 After GMRYEQQM PEROR PEQMQM (1691–1765) 36 × 30cm. (RCH) The Marriage at Cana, in an imaginary Architectural Setting 60 JEGRSR DE PRQWI (JEGRSR BEVVEQR) 97 × 134.5cm. (G.1510–92) A copy of the original in the J.B. Speed The Arrest of Christ Museum, Louisville. 114.5 × 94cm. A night-piece typical of the late work of this FRWWRP founder, and most creative member, of the 8 (?) LRPFEUH SGLRRO, G.1600 Bassano family practice. Head of St Francis in Ecstasy Paper laid down on canvas. 28.5 × 24cm. 13 AJWIU BEUWRORPIR SGLIHRQM Admired by Colt Hoare and by Waagen as a (1570–1615) work by Guido Reni. (RCH) St John the Baptist as a Boy with a Lamb Panel. 30 × 22cm. 9 FUIQGL SGLRRO, 1555 Based on a similar picture with an adult John A Young Man of Twenty-One the Baptist, now in the Museo di 33 × 25cm. Dated 1555. Capodimonte, Naples. (RCH) Inscribed with the appropriate motto: NOSCE TE IPSUM (‘Know Thyself’). 37 After BEUWRORPIR SGLIHRQM (1570–1615) The Holy Family Panel. 32 × 23.5cm. There is no certain original of this picture. (RCH)

32 Lighting and labelling in National Trust houses

Why is the level of lighting in certain rooms individual ways of handling, was much less so low as to make it difficult to see pictures widely diffused. Only a small proportion of clearly? And why are old and misleading pictures was engraved, and the labels or inscriptions kept on pictures or engravings themselves were often wrongly their frames? titled. It is also not uncommon in historic The National Trust puts on display all the oil collections of family portraits to find that paintings in its care (unlike most museums, later generations have over-optimistically we do not have quantities of paintings in inscribed early portraits that had lost their store and not on view). At the same time it true identities, as of significant ancestors of tries to protect textiles and other fragile whom no image was otherwise known. things from damage by exposure to too Inaccurate ascriptions and identifications much light, whilst giving visitors some idea thus arose, which may be perpetuated by old of how most pictures were seen in the past. labels and inscriptions. These are retained, Before the invention and cheap availability however, because they, along with the of electric light, light levels in houses were frames that they are on, are part of the much lower. Those looking at pictures were history of a picture, and because more more concerned with the effect of the whole accurate information (to the best of our – with composition, psychological truth, and knowledge, at least) is available in beauty – than with detail and (except in rare guidebooks and picture lists such as this cases) handling. The varnishes then used one, and from room stewards. tended to darken quite quickly, successive The Trust does, however, attempt to place coats of varnish compounding the effect. the more important pictures in the This, the level of lighting, and the height at collections in its care in locations in which which many pictures were hung, all they can be seen well. It also pursues contributed to viewing a picture as part of programmes of cleaning (though there is an array. It also meant that a copy of a good never enough money for it to do everything painting was more highly rated than an that it would like to!), to render paintings as original picture by a lesser artist. This ‘broad visible as possible, so far as it is compatible brush’ approach to viewing pictures meant with harmony and balance, both in that connoisseurship, which often depends themselves, and in relation to one another upon the recognition of detail and of and their setting.

Illustrations National Trust/David Cousins NTPL/Prudence Cuming front cover; Text written by Alastair Laing, pp.4 (centre), 5 (left, centre and right), 6 NTPL/Rick A.W. Godley p.20 (right); co-ordinated by Louise Newstead, (left, centre), 7 (left), 9 (right), 10, 11 (top NTPL/John Hammond pp.6 (top right and and edited by Claire Forbes. right, bottom right), 12 (left, centre and bottom right), 16 (right), 18 (left), 19 (left), 20 right), 13 (left and right), 15 (left, centre and (centre), 21 (left and right), 22 (left), 23 (left), © 2010 The National Trust right), 18 (centre and right), 19 (centre), 20 24 (left), 25 (left), 27 (right), 31 (left); Registered charity number 205846 (left), 22 (right), 23 (centre right), 24 (right), NTPL/Matthew Hollow p.29 (right); 25 (centre, right), 26 (left and right), 27 (left), NTPL/Angelo Hornak p.16 (left); NTPL/Horst Designed by Level Partnership 28 (left, centre and right), 29 (centre), 30 Kolo p.29 (left); NTPL/Charlie Waite p.4 (left and right), 31 (centre and right), 32; (left). National Trust Photo Library pp.9 (left), 11 (top left), NTPL/Bill Batten p.1 (left and JURQW GRYIU right); NTPL/John Bethell pp.4 (right), 16 The Choice of Hercules, (centre); NTPL/A.C. Cooper p.7 (right); by Nicolas Poussin 33 34