ILLU STRATE D CATALOGUE OF A LOAN COLLE CTION OF PORTRAITS W M A NRY FR DE . E O . H , PUBLISHER TO THE UNIVE RSITY OF OX FORD D H LONDON, E INBURG YORK A ND TORONTO ILLU STRATED CATALOGUE OF A LOAN C OLLE CTION OF P OR TRAITS O F ENG L ISH H ISTORICAL PERSONAG ES W H O DIED BETW EEN 1 6 2 5 AND 1 7 1 4 EXHIBITED S S IN THE EXAMINATION CHOOL , OXFORD MDCCCCV APRIL AND MAY, O X F ORD AT TH E C LARE ND O N PRE S S OXFORD PRINTED AT THE CLARENDON PRESS H RT M . BY HORACE A , A PRINTER TO THE UNIV ERSITY G E NE RAL C OM M ITTEE TH E IS UNT G H EN CH N TH E P V ST W ST . V CO OSO , A CELLOR RO O OF ORCE ER TH E P P T . OF THE UNIVERSITY . RINCI AL OF HER FORD T M . TH H HE P IN IP ST . E UN E E HA LSB UR Y ARL OF , HIG R C AL OF D D HALL ST W THE W N . E ARD . ARDE OF KEBLE TH E R T L N N I THE C NS N N - C T EC OR OF I COL , V CE E OR OF O OLLEGIA E H STU N TS . C ANCELLOR . DE * - THE E S L L U TH E ST TH E T MP . ARL OF JER EY , ORD IE MA ER OF E LE * S H W L TENANT OP OX FORDSHIRE . DR . AD E L. T R A B . H E L D . T ORD BISHOP OF OX FORD . J U LER * TH E LI I T ME . ST OX O . N CU D MAYOR OF F RD O EL , REC OR THE THE T P T T ARCHBISH OP OF CANTERBURY. OF NA IONAL OR RAI TH E DUK U H K. G . G E OF MARLBORO G , ALLERY . * THE H S . MR . A . H D . C E R S K. C U ARL OF O EBERY, G H RC , , TH E E I P SS CH MIST IN TH E ARL OF AB NGDON . ROFE OR OF E RY TH E IS M A TS . UNT NTI M. P. R A V CO VALE A, OYAL CADE Y OF R T W K R IST HE IS UNT D N . DR . C V CO ILLO J LAR , EG RARY OF TH E L T I M H E U I SIT M . ORD E GN OUTH . T N VER Y OF CA BRIDGE SIR G D SHW B T . SI N C V N K P EORGE A OOD, AR . MR D EY OL I , EE ER OF TH E LA W P TS WI S TH E DY ANTAGE . RIN AND DRA NG IN TH E L B M B T SH S M . S . P. U U ORD ALCARRE , RI I M E SIR W T G P SS B WS AL ER RAY . ROFE OR URRO . L W S P SS I TH . U T M . P. F MR E I HARCO R , ROFE OR R . G . P SS G N . R M . P. MR H MOR ELL, ROFE OR ARD ER * P S R . A . A R A . S O N F. S . E . MR BBEY, ROFE OR DLI G, TH P S S M E ST UN V O N . MA ER OF I ERSITY . ROFE OR A TH E ST B . SS MA ER OF ALLIOL PROFE OR RALEIGH . TH W E N OP E T N . TH E REV B K ST . ARDE M R O . H . E . D . LA I ON THE T EX R W R T . THE EV TT . EC OR OF E ER . H . HU ON TH E P ST P * V O O I . E . G M . E . B K Hon. T asu RO O R EL A ER ( re rer) . ‘ ’ * TH E P V ST U N S . T W KS . RO O OF Q EE MR . JAC ON W N EW . A . ARDEN OF COLLEGE MR MACDONALD . TH W E E ALL S . N U S . D . ARD OF O L MR. F MA AN * TH E P SI NT N . P. RE DE OF MAGDALE MR . F MORRELL Chairman * . R . S . ( ) M J L. MYRE TH E P N IP OP B S N S . R . L. P RI C AL RA E O E MR. OOLE . TH E P S T P W N C US . MR . R P RE IDE OF OR R A ER . THE D N CH IST CHU H . R . EA OF R RC MR . F. YMAN HALL TH E P S NT T N T . W S . S . T WH TT. RE IDE OF RI I Y MR . YR I ’ TH E P S T ST "l W N . HN S R W TH E EV . RE IDE OF JO . ARNER. THE P IN P OE U S S . W R CI AL JE MR . H . E . OOLDRIDGE . THE W N OE W H M * . MR S . L. P H . S c ARDE AD A . R OOLE on e re THE ST M * P K . ME B . C . F. ta i s MA ER OF E BRO E ELL r e . embers Of the Exe utiv mmi t e M c e Co t e . 5 IN TR OD U C TION B L I N L CUST M A F S A Direc or o f O E . t y , the National Portrait G all er u rv e or of the y , S y ’ k i K s Pictures and W o r s of A rt &.c in . g , N the introduction to the Catalogue of the first Exhibition i x i i of Histor cal Portraits at O ford, the h story of portra t painting in England was lightly sketched from early days down i i i i to the accession of Charles I . Dur ng the re gn of th s k ng, whose true appreciation and cultivated patronage of the Fine Arts have done much to temper the critic ism of posterity on the in i his disastrous part played by Charles the h story of country, i i al in a most mportant event occurred, wh ch fin ly closed an epoch i i — i in the h story of portra t paint ng England, and opened another, i i hi which has continued w th ep sodes up to the present day . T s i event was the arrival in England of Anthony Van Dyck, as pa nter ff to the Court and aristocracy of England . The e ect of Van ’ Dyck s appearance in English art may be compared to that at i a later date of Byron in the world of l terature . W i in 1632 hen Anthony Van Dyck arr ved England in , the art of i - was portra t painting, which at the time the only one of the ic i i i i in d p tor al arts wh ch could be sa d to be flourish ng Englan , was still hide - bound in the stilted formulas of the Netherlandish c c M tens Mierev eldt s hools, as represented by the s hools of y , , and Hontho rst Van ek did . Dy himself not anywhere destroy the x i i i formulas and conventions which he found e ist ng, but ass m lated his o wn i w w them to style, and by so do ng laid do n a ne set i c of formulas and convent ons, whi h have been followed more or s - less continuou ly by portrait painters up to the present day . The immense influenc e exercised by Van Dyck is the more remarkable seeing that of his Short life of forty- one years only INTRODUCTION six in his i some and a half were spent England, and that c rcle of patronage was almost entirely c onfined to the Court and to the great territorial families of the aristoc racy with whom the Court f is i i was chie ly associated . It not surpr s ng therefore to find that the Universities were but little affected by the dazzling incursion i of Van Dyck nto the world of art in England . S w as hort, however, as the career of Van Dyck in England, ff w as its e ect of instantaneous importance. Among his numerous i hi pupils and assistants, who were employed in turn ng out of s workshop the many repetitions and c opies of such portraits as were most in demand by the King or Queen or the nobility or a i by the royalist dherents during the Civ l War, there were i i painters of English b rth, l ke Dobson, and others, whose deri i is ffi vat on from Van Dyck su ciently obvious, such as Robert i i i Walker and John M chael Wr ght, to say noth ng of the greatest i - i i S is i Of all portra t pa nters in min ature, amuel Cooper. It a hab t, i i which rec ent historians such as Dr. Gard ner and Professor F rth i i have done someth ng to d spel, to look upon the years of the Commonwealth as a period of gloomy negation with regard to art is the study and practice of .