m^f lid^M htf ^^ ilR¥EETI4AN DICKINSON PEAR: BARONET J — ~^ _ lb Carlton Mou^e Terrace Yale Center for British Art and British Studies # I EX E A ^ VlIBr,! 5/ ° Iri '% ^ SAMUEL COOPER AND THE ENGLISH MINIATURE PAINTERS OF THE XVII CENTURY The Edition Royale of this work is limited to Twenty copies, of which this is Number I. Lady Mary Villiers Samuel Cooper. Duke of Portland. PLATE I. 2. Portrait oJ HimselJ .... Samuel Cooper. Duke oJ Portland. SAMUEL COOPER AND THE ENGLISH MINIATURE PAINTERS OF THE XVII CENTURY BY J. J. FOSTER, F.S.A. AUTHOR OF "the STUARTS IN XVI, XVII, AND XVIII CENTURY ART," "MINIATURE PAINTERS, BRITISH AND FOREIGN," "THE TRUE PORTRAITURE OF MARY STUART," "FRENCH ART FROM WATTEAU TO PRUd'hON," ETC., ETC. ILLUSTRATED BY OVER TWO HUNDRED EXAMPLES FROM THE MOST CELEBRATED COLLECTIONS " It is better to have real portraits than Madonnas without end " Walpole's Anecdotes of Pamting DICKINSONS FINE ART PUBLISHERS TO HER MAJESTY THE LATE QUEEN VICTORIA 37 BEDFORD STREET, LONDON, W.C. MCMXIV-VI HIS MOST GRACIOUS MAJESTY GEORGE V OF THE UNITED KINGDOM OF GREAT BRITAIN AND IRELAND AND OF THE COLONIES AND DEPENDENCIES THEREOF KING EMPEROR OF INDIA DEFENDER OF THE FAITH THIS WORK IS BY SPECIAL PERMISSION MOST RESPECTFULLY DEDICATED Preface ONG-FELT admiration for the genius of the " incomparable " Samuel Cooper, the unique historical interest of the gallery of portraits he has left us, and the fact that no book devoted to him and his work has yet appeared so far as I know, are amongst the reasons which have led me to undertake the laborious task this volume has entailed. Realising that the difficulties of identification only increase as time goes on, I have attempted to make this description raisonni of works by him and his followers as comprehensive and accurate as I could, but must ask indulgence on this score, more especially in regard to the ascription and changes of ownership of examples. In the production of other books on miniatures, I have had oppor tunities of personally examining a large proportion of the works now described, but I am conscious that the lists this volume contains are, almost inevitably, full of imperfections. Upon consideration it seemed preferable to print every credible reference met with, trusting to those who own the originals to make corrections if and where necessary ; I may add I should thankfully receive intimation ofthe same. In every case I have endeavoured to furnish such reliable information as could be gleaned ; but it would be futile to ignore the fact that the high prices obtainable for works of the period dealt with have led to the produc tion of endless copies and forgeries, against which the collector cannot be too often and seriously warned ; nor can we escape the conclusion, such is Preface the number of examples of certain portraits, that it is highly improbable that all can be genuine and rightly attributed. It is true that in the case of portraits of Royalty, it was customary to give them as diplomatic presents ; this practice was carried to great length in the days of " Le Grand Monarque," for example, when portraits of Louis were painted by the dozen, and were mounted on snuff boxes with settings of diamonds and other precious stones of a value proportioned to the status of the recipient of the gift. Dates being often of such importance in determining the ascription of portraits, to have some biographical information at hand, without having to search for it, seemed a desideratum, and so I have given brief details of this nature. For these I have relied largely on the Catalogues of the National Portrait Exhibitions at Kensington, and, in doubtful cases, when dates have differed, have quoted the invaluable and monumental Dictionary of National 'Biography. In all other important cases, I have attempted to acknowledge my indebtedness. There remains the pleasing duty of thanking the many Royal, noble and private owners of miniatures whose names are appended to the list of illustrations to this volume ; to them I tender my thanks, with grateful appreciation of their kindness. To His Majesty, the King, I owe gracious permission to examine the Royal collection at Windsor ; to Her Majesty, the Queen of the Netherlands, I owe gracious permission to reproduce a number of interesting works from Her Majesty's private collection ; his Grace the Duke of Buccleuch granted me like facilities at Montagu House ; his Grace the Duke of Devonshire has done the like at Chatsworth ; his Grace the Duke of Portland has again afforded me access to the con tents of Welbeck ; whilst Earl Beauchamp gave me carte blanche with the miniatures at Madresfield. I have to thank for loans and valuable suggestions the Marquis of Bristol, the Marchioness of Exeter, the Earl of Gosford, Lady Northcote, Mrs. Fleischmann, Mr. H. Pfungst, Mr. Francis Wellesley, Mr. John Charrington, Mr. R. Goulding and many others. VI Preface To the officials of the Victoria and Albert Museum, and of the Print Room of the British Museum, I am indebted for information courteously given, as I am also to M. Paul Lambotte, Ministre des Arts, Brussels ; Dr. E. Gigas, Royal Librarian, Copenhagen ; M. Bering Liisberg, Inspector of Rosenborg Castle, Copenhagen ; Dr. John Bottiger, Keeper of the Archives in the Royal Palace, Stockholm ; M. Bernhard Lundstedt, Royal Librarian, Stockholm ; Dr. George Gothe, Director of the Swedish National Museum ; M. E. Hildebrand, Director of the State Archives of Sweden ; Jhr. B. H. W. Van Riemsdyk, Director of the Rijks Museum, Amsterdam ; and the " Direction " of the Kaiser Friedrich Museum, Berlin. Whilst this work has been going through the Press, special researches in relation to Alexander Cooper have been made in Stockholm, the results of which will be found in the Appendix. The extracts are taken from the original documents. The appeal he made to his Royal Highness " not to despise him in his poverty-stricken pride" and his statement that "his days had been spent in great misery," and that " during six years and a half he had never got a farthing for his work," give a sad significance to his letters. Nor in his own distress, does he forget his pupil. J. J. FOSTER. Aldwick, Sutton, Surrey. Contents List of Illustrations Introductory CHAPTER I John Hoskins Chronological List of his Work PAGE xi 5 13 CHAPTER II Alexander Cooper ic CHAPTER III Samuel Cooper 24 CHAPTER IV Concerning the Sitters of Samuel Cooper, his Method of Work, Etc 35 Chronological List of his Works 47 b ix Contents CHAPTER V PAGE Nicholas Dixon, Sir Balthazar Gerbier, David des Granges, Richard Gibson, Mary Beale, Charles Beale and Bartholomew Beale, Thomas Flatman, John Greenhill, Mathew T. Snelling, Lawrence Crosse, Paolo Carandini, Edmund Ashfield, William Faithorne, David Loggan, Robert White, David Paton, John Faber, C. Janssen (or Johnson), Joseph Michael Wright 4.9 Conclusion 8 5 APPENDIX Extracts from Swedish Archives relating to Alexander Cooper 89 General Index 95 List of Illustrations and Owners No. of No. of Plate Subject Artist Frontispiece I Samuel Cooper I 2 >» Title Page II 3 Alexander Cooper Headpiece to Introduction Extra Plate John 1 Hoskins III 4 >) IV 5 Samuel Cooper Tailpiece to Introduction V 6 John Hoskins Headpiece, Chap. , /. VI 7 j> 8 >> 9 >i ID »i I I i> 12 >' VII 13 »> VIII 14 >) 15 » 16 >> 17 >» IX 18 >> Tailpiece , Chap. /. X 19 11 Headpiece, Chap. . //. XI 20 1 1 21 1 )> 22 »» 23 )> XII 24 »> xiii 25 »i 26 )5 27 1> 28 )J 29 »> XIV 30 11 Subject Lady Mary Villiers Portrait of Himself Owner Duke of Portland Frederick V., Elector Pala- Kaiser Friedrich Museum, tine and Family Berlin Charles I. Mr. H. Pfungst Henrietta Maria Rijks Museum, Amsterdam Countess of Suffolk Marquis of Bristol Portrait of Himself Lady Unknown Arabella Stuart Lady Dorothy Percy John, Earl of Rutland Sir E. Nicholas Gentleman Unknown Dr. Trotter Mr. W. Forester Mrs. W. Forester Lady Glenham Viscount Falkland Princess Elizabeth Ann Temple Viscount Falkland Elizabeth, Mrs. Cromwell Charles I. Elizabeth Claypole Sir Francis Drake Duke of Hamilton John, 1st Duke of Rutland Countess of Pembroke A Young Man, Unknown Dr. Gauden Portrait of a Lady,Unknown Duke of Buccleuch Duke of Beaufort Mrs. Fleischmann Mr. J. J. Foster Duke of Portland Mr. H. Pfungst H.M. The Queen Netherlands Mr. R. Goldsmith Mr. H. Pfungst Lady Northcote H.M. The King Viscount Cobham of the H.M. The K m£ Earl Beauchamp Mr. A. B. Burdett-Coutts Earl of Gosford Earl Beauchamp Duke of Rutland Earl Beauchamp >> Lady Northcote Mrs. Fleischmann XI List of Illustrations and Owners No. of No. OF PiATE Subject Artist Subject Owner XV 31 John Hoskins Teresia Shirley Duke of Portland 32 » Henrietta Maria Mr. H. Pfungst 33 »> Edward Montagu Duke of Buccleuch 34 >> Robert Carr H.M. The King XVI 35 )) Portrait of a Young Man Mr. F. A. Hyett XVII 36 >' George Monck, Duke of Albemarle Lady Northcote 37 » Sir Robert Carr Marquis of Bristol 38 » Duke of Buckingham Duke of Portland 39 >) Charles II. Lord Aldenham XVIII 40 5» I ,ady Bruce,Countessof Dysai •t Earl of Dysart XIX 41 » Henrietta Maria Earl Beauchamp XX 42 5> 2nd Earl of Thanet Duke of Buccleuch 43 )J Lady Isabella Scott » 44 Jl Elizabeth, Countess of South ampton )> 45 L. Crosse Titus Oates >> XXI 46 Cornelius Janssen Head of a Nun Duke of Rutland 47 Alexander Cooper A Lady Unknown H.M. The Queen of th< Netherlands 48 » »j 55 49 1) James II. Rijks Museum 50 Cornelius Janssen A Man Unknown Mr. Fairfax Murray XXII 51 Alexander Cooper Count Creutz Gothenburg Museum 52 Samuel Cooper John Evelyn Duke of Buccleuch S3 Alexander Cooper Count Magnus Gabriel de la Gardie Gothenburg Museum 54 i> Queen Hedwig Elenore j> 55 5> Charles X., Gustavus J) 56 )J Gustavus Adolphus National Swedish Museum Stockholm XXIII 57 ») A Lady Unknown Mr. Francis "Wellesley XXIV 58 Samuel Cooper Sir John Maynard Duke of Buccleuch Headpiece, Chap. III. xxv 59 )' Lord Romney Duke of Portland XXVI 60 5> Oliver Cromwell Duke of Buccleuch XXVII 61 >' Portrait of Himself V. and A. Museum, Dyct Bequest 62 )» John Milton Duke of Buccleuch 63 J> Oliver Cromwell Earl of Warwick 64 )' Mary, Daughter of Oliver Cromwell Duke of Buccleuch 6S >> Henry Cromwell j> XXVIII 66 >> Mrs. S. Cooper Duke of Portland XXIX 67 A. L. Hertocks Oliver Cromwell's Mother Mr. R. G. Clarke 68 Samuel Cooper Oliver Cromwell (profile) Lady Northcote 69 )) Mrs. Cromwell Duke of Buccleuch 70 )5 Oliver Cromwell (sketch) Duke of Sutherland XXX 71 >) Oliver Cromwell Sidney Sussex College, Cambs, XXXI 72 )> Richard Cromwell in Armour V. and A. Museum 73 5J Mrs. Claypole Duke of Buccleuch 74 )> » Earl of Gosford 75 ') Richard Cromwell V. and A. Museum xn List of Illustrations and Owners No. OF No. OF Plate. Subject Artist Subject Owner XXXI 76 Samuel Cooper Elizabeth, daughter of Oliver Duke of Buccleuch continued Cromwell XXXII 77 J) Earl of Arran Duke of Portland XXXIII 78 JJ Sir Thomas May V. and A. Museum 79 J) Earl of Pembroke »> 80 >j Robert Walker H.M. The King 81 5> A Lady Unknown Lord Heneage XXXIV 0 X 83 JJ JJ JJ James II. H.M. fhe King XXXV 84 Tailpiece, Chap. III. Ann Temple Viscount Cobham XXXVI 85 )> Mr. Speaker Lenthall Col. Sir George Holford 86 JJ Sir Harry Vane Duke of Buccleuch 87 JJ Anthony Ashley, ist Earl of Shaftesbury V. and A. Museum XXXVII 88 Headpiece Chap. IV. Catherine of Braganza H.M. The King XXXVIII 89 ij 2nd Earl of Bristol Lady Northcote 90 JJ Anne, Countess of Sunderland Earl Beauchamp 91 J> Mary, Lady Carr Marquis of Bristol 92 JJ John Pym Mr. F. R. Astley 93 )> Sir Freschville Holies Duke of Portland 94 >J Lucy Carr, Lady Holies >» XXXIX 95 JJ Col. Matthew Fiennes Earl Beauchamp 96 JJ General Fleetwood Mr. Gery Milner-Gibs< 97 XL 98 Alex. Cooper 99 N. Dixon too T. Flatman toi Samuel Cooper XLI XLII [02[03t04 JJ J' >j 105106 JJ »5 XLIII [07[08[09 JJJJ XLIV 1 tic J' XLV II 112 JJ JJ ^3 JJ [14 J' XLVI ] 1516 JJ XLVII 1 CLVIII ] 17 18 JJ JJ Archbishop Sheldon A Man Unknown Duke of Leeds Christopher Simpson A Man in Armour General Fleetwood John Holies, Earl of Clare Dr. Woodford Earl of Sandwich Frances Stuart, Duchess of Richmond A Gentleman Unknown Countess of Sandwich Charles II. Duchess of Cleveland La belle Stuart A Young Man, probably Richard Cromwell Viscountess Purbeck Duchess of Buckingham Sir John Carew Mrs. Middleton Duke of Monmouth when young Frances Stuart, Duchess of Richmond Cullum Duke of Portland H.M. The Queen of the Netherlands Earl Beauchamp Duke of Portland Mr. A. Palmer Morewood Earl of Gosford Duke of Portland Mr. Skilbeck V. and A. Museum Rijks Museum, Amsterdam Sir L. J. Jones, Bart. Mr. H. Pfungst Duke of Richmond an Gordon H.M. The King JJ V. and A. Museum Earl Beauchamp Duke of Buccleuch V. and A. Museum Earl Beauchamp H.M. The King Duke of Beaufort xin List of Illustrations and Owners No. OF No. OF Plate S subject Artist Subject Owner XLVIII 119 Sam uel Cooper Lord Fairfax Mr. Fairfax Murray continued 120 JJ Lady Leigh >5 121 11 Cardinal Mazarin Mr. Skilbeck 122 JJ The Earl of Lindsay Mr. Fairfax Murray 123 11 Sir H. Blount Countess of Caledon XLIX 124 JJ Margaret Lemon Mr. H. Pfungst L 125 J) James II. Duke of Beaufort 126 Jl Prince Rupert H.M. The King 127 JJ Charles II. (sketch) Mrs. A. E. Hiles 128 JJ Mary of Modena Duke of Beaufort 129 JJ Miss Kirk JJ LI 130 JJ Duchess of Buckingham Duke of Buccleuch 131 JJ Lady Heydon » 132 JJ Lady Mary Fairfax JI 133 JJ Samuel Butler JJ LII 134 JJ Ann Temple Viscount Cobham LIII 135 11 Oliver Cromwell Duke of Devonshire LIV 136 JJ Prince Rupert Duke of Buccleuch Tailpiece, ( :hap. IV. LV 137 Joh n Z. Kneller Countess of Ossory Duke of Beaufort Headpiece, Chap. V. LVI 138 Nicholas Dixon Mrs. Knott Mr. H. Pfungst LVII 139 An Unknown Man Sir L. J. Jones, Bart. 140 DuchessofPortsmouth and Child Earl Spencer 141 Catherine of Braganza Mr. J. Ward Usher 142 2nd Duke of Albemarle Marquis of Bristol LVIII 143 Mr. Trotman of Shelswell Mr. H. Pfungst LIX 144 Thomas Flatman Earl of Ossory Earl Beauchamp 145 JJ Portrait of Himself Earl of Carlisle 146 Nicholas Dixon Sir Henry Blount Earl Beauchamp 147 JJ A Lady Unknown Duke of Richmond 148 Thomas Flatman James, Duke of Ormonde Mr. C. W. Reynolds 149 Nicholas Dixon Samuel Pepys V. and A. Museum LX 150 'J Spencer, Earl of Sunderland Duke of Buccleuch LXI 151 M . Wright " Henley " Earl Beauchamp 152 — Bellamy Oliver Cromwell Mr, Francis Wellesley 153 Sir Balthazar Gerbier Teniers the Younger V. and A. Museum 154 JJ Charles I., when Prince of Wale S J, LXII 155 David des Granges Albertine, Agnes of Nassau Rijks Museum, Amste 156 JJ Inigo Jones Duke of Portland 157 ij Henrietta Stuart, wife of Stadtholder William IU. 11 158 11 Charles II. when young Eari Bathurst 159 11 Henrietta Maria H.M. The King 160 JJ General Fleetwood Earl Beauchamp LXIII 161 R. Gibson Portrait of a Child British Museum LXIV 162 11 Elizabeth, Countess of Car narvon Duke of Beaufort 163 Jl Charles, Earl of Carnarvon JJ 164 Jl A Young Lady Countess of Yarborouj 165 'J Ann, Countess of Bedford Earl Beauchamp 166 ij Duchess of St. Albans Hawkins Collection 167 Jl Portrait of a Divine Duke of Beaufort XIV List of Illustrations and Owners No. OF No. OF Plate Subject Artist LXV i68 Mary Beale LXVI 169 JJ LXVII 170 JJ LXVIII 171 JJ LXIX 172 Charles Beale 173 JJ 174 Mary Beale 175 Charles Beale LXX 176 JJ LXXI 177 Thomas Flatman LXXII 178 15 179 JJ 180 J5 181 Edmund Ashfield LXXIII 182 Thomas Flatman LXXIV 183 Edmund Ashfield LXXV 184 Mathew Snelling 185 JJ 186 JJ 187 11 LXXVI 188 E. Ashfield LXXVII 189 Lawrence Crosse 190 JJ LXXVI II 191 John Greenhill LXXIX 192 E. Ashfield LXXX 193 Lawrence Crosse 194 JJ 195 ij 196 ij 197 55 LXXXI 198 15 199 Jl 200 15 LXXXII 201 !J LXXXIII 202 S. Cooper (attributed to) 203 Paolo Carandini 204 JJ 205 Signed P. C. LXXXIV 206 David Loggan LXXXV 207 208 LXXXVI 209 LXXXVII 210 211 LXXXVIII 212 ij Subject Portrait of Herself Archbishop Tillotson Duchess of Somerset Charles Beale Mrs. Anne Jennens Duchess of Buckingham Henry, ist Duke of Beau fort Anthony Triest, Bishop of Ghent, after Van Dyck Sir Peter Lely Portrait of a Divine Dr. Woodford Constantine Lyttelton John Egerton, 3rd Earl Bridgewater William, Lord Russell Portrait of Himself Duke of Lauderdale Sir John Hervey Isabella May, Lady Hervey 5 th Earl of Dorset Frances, Countess of Dorset A Man in Armour Portrait of a Lady Mrs. Catherine Boevey A Young Man Duchess of Mazarin John Holies, Duke of New castle Viscount Halifax Duchess of St. Albans Bridget Cromwell (Mrs. Ireton) Lady Mary Cromwell (Lady Fauconberg) A Lady Unknown Duke of Monmouth Captain Roper Lady Williams Frances, Duchess of Rich mond Countess of Warwick Mary of Modena Lady Carr Sir Gilbert Verney Charles II. Earl of Clarendon Cardinal Mazarin Archbishop Sancroft Thomas Barlow, Bishop of Lincoln Bishop Cudworth Owner British Museum Mr. H. Pfungst V. and A. Museum Earl Beauchamp V. and A. Museum Mr. J. J. Foster Mr. H. Pfungst Viscount Cobham Duke of Portland Duke of Rutland V. and A. Museum Earl of Dysart Marquis of Bristol JJ Earl Beauchamp JJ British Museum Mrs. Fleischmann Mr. H. Martin Gibbs British Museum Mr. Francis Wellesley Duke of Portland Mr. H. Pfungst Earl Beauchamp H.M. The King Duke of Portland 55 Mrs. H. Pfungst Duke of Portland Mr. A. Radford Earl Beauchamp Mr. H. Pfungst Marquis of Bristol V. and A. Museum British Museum JJ Mr. Francis Wellesley British Museum XV List of Illustrations and Owners No. OF No. OF Plate Subject Artist Subject Owner ..XXXVIII 213 David Loggan Sir L. Jenkins Mr. Francis Wellesley continued 214 J' Mrs. Bailey British Museum LXXXIX 215 11 Robert Stafford yy 216 ij Sir Robert Isham yy XC 217 Robert White Thomas Otway Rev. Dr. Wellesley 218 JJ George St. Lo British Museum 219 35 William III. Duke of Portland XCI 220 Jl Portrait of Himself 55 221 John Greenhill Portrait of Himself Dulwich College 222 Wm. Faithorne Portrait of Himself Walpole's " Anecdotes " XCII 223 Thomas Forster John, Duke of Marlborough Lord Tweedmouth Tailpi 'ece fo Conclusion. XCIII 224 55 Edward Coke Mr. H. Pfungst XCIV 225 John Seller St. Paul's and the Piazza, St. Martin's Public Library Tailp iece to App endix. Covent Garden XVI TABLE giving the dates, where ascertainable, of the births and deaths of the Artists whose works are described in this Volume. I. Edmund Ashfield, worked in London 1675, died 1700. 2. Mary Beale, b. 1632, d. 1697. 3. Charles Beale, b. 1660, d. Bellamy, unknown. Henry Byrne, unknown. Paolo Carandini, flourished as late as 1677. 7. Alexander Cooper, b. , d. 1660 ? ^ 8. Samuel Cooper, b. 1609, d. 1672. 9. Lawrence Crosse, b. 1650 (?),d. 1724. 10. Nicholas Dixon, was working about 1667, d. 171 5. II. David des Granges, b. 1613, d. 1675. 12. John Faber, b. about 1660, d. 1721. 13. William Faithorne, b. 1616, d. 1691. 14. Thomas Flatman, b. 1637, d. 1688. 15. Thomas Forster, flourished 1695-1727. 16. Sir Balthazar Gerbier, b. I592,d. 1667. 17. Richard Gibson, b. 1615, d. 1690. 18. John Greenhill, b. before 1646, d. 1676. 19. John Hoskins, b. , d. 1664. 20. Cornelius Johnson or Janssen, b. 1 593, d. 1664 [Dictionary of Nat. Bio graphy). 21. John Zachary Kneller, b. i635,d. 1702. 22. David Loggan, b. about 1630, d. 1705. 23. David Paton, flourished between 1650 and 1700. 24. Mathew Snelling, practised in the reign of Charles II. 25. Robert White, b. 1645, d. 1704. 26. Joseph Michael Wright, b. 1625 (O' d. 1700 [Dictionary of Nat. Bio graphy) . ^Vide "Amtliche Berichte" Kaiser Friedrich Museum, Oct. 1909. PLATE H. 3. Frederick v.. Elector Palatine and Family .' Alexander Cooper 1 Kaiser Friedrich Museum. Berlin. Introduftory HE period covered by the life of Samuel Cooper, that is to say from 1609 to 1672, coincides with what may be justly termed the most important epoch in English history. When our artist was born, the horror of the discovery of the Gunpowder treason was fresh in men's minds. Bacon had just brought out his " Advancement of Learning," and Shakespeare was still Uving. Cooper was seven years old when the great painter of mankind passed away, and Sir Walter Raleigh made so brave an end in Palace Yard. Our Samuel Cooper Great Limner was a youth of sixteen when Charles the First ascended the throne, and only in his prime when that ill-fated monarch mounted the scaffold before his own Banqueting House. In the twenty years which preceded this tragedy, and in the twenty years which followed it and saw the second Charles enjoying his own again, it is not too much to say that Samuel Cooper painted almost everybody of importance about the Court, in the Parliament, and in the highest social life of the period. And, as we shall see, he drew, not only the men who guided the destinies of the State during those unsettled times, but also numbers of the gentlewomen of his day. It may be noted in passing that it is often said Cooper was not so successful with portraits of women as he was with those of men ; there is probably a good deal of truth in the remark ; it is a topic which may be more appropriately discussed when we come to consider Cooper's technique, but it must at once be admitted that for virile force in his portraiture, and capacity to seize and render the very essence of the character of the man he portrays, he is almost without a rival, certainly entirely so in his own particular branch of art. When we consider the extremely limited space that the Miniature Painter has at his command, often two or three inches, at most, of vellum or ivory or card, as the case may be, it is extraordinary how the life-story of a man, as it were, can be told and packed in so small a space. " The more," said the late Dr. Propert, " I have studied Cooper's work, the more the conviction has grown upon me that he was probably the greatest portrait-painter that ever lived, with the possible exception of Velasquez." " Good wine needs no bush," and I do not deem it necessary frirther to eulogise Cooper. He has not been recently discovered — indeed for over two centuries now he has had the epithet " incomparable " applied to him without question. Samuel Cooper lived to witness the Great Fire, and may have heard the sound of the guns of the Dutch men-of-war in the Medway. PLATE HI. 4. Henrietta Maria John Hosiiins. Rijks Museum.^ Amsterdam. Introductory So then, we see that it was not only the Great Rebellion, the Common wealth and the Anarchy, but also the roystering times of the Restoration which followed that he has illustrated, and this it is that gives his work such exceptional historical interest. The value to students and to lovers of history of such portraits has been well expressed by Thomas Carlyle. Writing to David Laing regarding the " Project of a National Exhibition of Scottish Portraits," May, 1854, he says : — " In all my poor Historical investigations it has been, and always is, one of the most primary wants to procure a bodily likeness of the personage inquired after ; a good Portrait., if such exists ; failing that, even an indifferent if sincere one. In short, any representation, made by a faithful human creature, of that Face and Figure, which he saw with his eyes, and which I can never see with mine, is now valuable to me . . . All men, just in proportion as they are ' Historians ' (which every mortal is, who has a memory., and attachments and possessions in the Past), will feel something of the same, — every human creature, something." Thanks to the liberality of many owners, I am able to reproduce a large number of portraits affording means of comparison, which, being better than any description, minimises the risk of confusion apt to arise in dealing with bygone personages. These examples present a well-filled gallery, taken from the finest collections in the country, of reliable por traiture of the period to which they belong. Foremost amongst the miniature painters of the time must always be ranked John Hoskins, who was the Master of the Coopers, both Alexander and his younger brother Samuel. Moreover, he was their uncle. It is fitting, therefore, that I should deal first with him, and it is to this excellent artist that I propose to devote my first chapter. Whilst writing this volume, I have become aware of works hitherto scarcely known, at any rate I believe to the general reader. This has led to the extension of the scope of the book, which now contains, in addition to what I hope may justly be termed a 3 Samuel Cooper comprehensive illustration of Cooper, a number of works by other artists, his contemporaries, and, in some cases, his pupils, and all worthy of study and consideration. PLATE W. 5. Countess oJ Suffolk Samuel Cooper, Marquis oJ Bristol. PLATE r 6. Portrait oJ HimselJ ' . . . . John Hoskins. Duke of Buccleuch. , , Chapter I JOHN HOSKINS HILST, as we have seen, there was ample recognition of the powers of Samuel Cooper as a portrait painter in his own day, and the renown that he then enjoyed has been consistently maintained ever since, it is not so certain that the claim of his Uncle Hoskins to have shaped and fashioned his nephews as artists has been adequately recognised; be that as it may, there can be no doubt that both the Coopers owed very much to their Uncle's tuition, and that 5 Samuel Cooper their own manner of painting was largely formed upon his manly style of portraiture, so well adapted to render the type of men of their day. " For the life of this valuable master I find fewer materials than almost of any man in the list who arrived to so much excellence," says Walpole, and he adds, in a note, " there is not even a portrait of him extant." The deficiency as far as regards a portrait of the artist is made good in this Volume, and the headpiece to this chapter shows a remarkable example from the Duke of Buccleuch's famous collection, described in Mr. M'Kay's catalogue as "John Hoskins by himself" I am not prepared to discuss the fidelity or otherwise of this portrait ; there is none other that I am aware of with which to compare it, but at any rate it is without doubt a signed work by John Hoskins. The shirt, edged with lace and open at the breast, appears to be a rather favourite way of treating costume at the time ; e.g. Mr. Henry Pfringst possesses a portrait of " Edward Courtenay Marquis of Exeter," which is ascribed to Isaac Oliver, and was once the property of Mr. W. C. Morland of Lamberhurst, Sussex. Mr. Morland, who owned several fine miniatures of the period with which we are dealing, was wont to describe this example as above named ; its present owner, I believe, terms it " a portrait of George Villiers, Duke of Buckingham," an opinion I am unable to endorse. One thing is at any rate noteworthy in these portraits, viz. their similarity to one another ; each is painted in a white shirt edged with lace, and there is a striking general resemblance in the features, the ears are identical in shape, and the beard is precisely the same in each. The paucity of biographical material of which Walpole complained in his day still exists ; for example, I have been unable to discover a single reference to Hoskins in the British Museum Library Catalogue, and, what appears more remarkable, there is a total absence of any reference to his distinguished nephew. I propose to give Walpole's account of this " valuable master " Hoskins in his own words, and at length, as being still the ftillest information available, and because there are one or two 6 PLATE VI. 7. Lady Unknown John Hoskins. Duke of Beaufort. 8. Arabella Stuart John Hoskins. Mrs. Fleischmann. 9. Lady Dorothy Percy . . . . John Hoskins. Mr. J. J. Foster. 10. John, Earl of Rutland . . . John Hoskins. Duke of Portland. II. Sir E. Nicholas John Hoskins. Mr. H. Pfungst. 12. Gentleman Unknown . . John Hoskins. H.M. The Queen of the Netherlands. John Hoskins points arising out of it not without interest in connection with our subject : — " Vertue knew no more of him than what was contained in Graham's English School, where we are only told * that he was bred a face-painter in oil, but afterwards taking to miniature, far exceeded what he did before ; that he drew King Charles, his queen, and most of the court, and had two considerable disciples, Alexander and Samuel Cooper, the latter of whom became much the more eminent limner.' Hoskins, though surpassed by his scholar, the younger Cooper, was a very good painter : there is great truth and nature in his heads ; but the carnations are too bricky, and want a degradation and variety of tints. I have a head of Serjeant Maynard by him, boldly painted and in a manly style, though not without these faults ; and another good one of Lord Falkland, more descriptive of his patriot melancholy than the common prints ; it was in the collection of Dr. Mead. There is indeed one work of Hoskins that may be called perfect ; it is a head of a man, rather young, in the gown of a master of arts, and a red satin waistcoat. The clearness of the colouring is equal to either Oliver ; the dishevelled hair touched with exquisite freedom. It is in the possession of Mr. Fanshaw, but not known whose portrait. Vertue mentions a son of Hoskins of the same name, and says, that this mark Iff distinguishes the works of the father from those of the son, which have I. H. simply. I meet with no other hint of a son of that name except in Sanderson, who barely names him. One Peter Hoskins is entered into the register of Covent Gardens as buried July I, 1681. Hoskins the father was buried in that church February 22, 1664. In the Catalogue (p. 75) of King Charles are mentioned two drawings by Hoskins for the great seal. Colonel Sothby has a head of Sir Benjamin Rudyard by him, and a profile, which Vertue thought might be Hoskins himself. Prefixed to Coryat's Crudities is a copy of verses with his name to them." To these meagre details I am now in a position to make what must be regarded as an important addition, viz., a summary of the will of John 7 Samuel Cooper Hoskins. It is dated December 30, 1662 ; in it he describes himself as of the parish of Saint Paul's, Convent Garden, and as being " weak in body but of good and perfect memory." He bequeaths to his well- beloved son John the sum of twenty pounds for a ring, or "to be ex pended otherwise as he may think fit " ; he appoints his wife Sarah Hoskins sole executrix. The witnesses to this document are R. A. Wyatt, John Browne, and Taylor. On the fifteenth of February, 1664, a memorandum is appended " relating to the will of John Hoskins the elder, limner of Bedford Street," confirming the disposition of his property to his wife, to which John Parker and Wyatt and Eliza Maddox (who makes her mark) are pre pared to make oath. As we have seen, Walpole mentions the two Hoskins, but only to dismiss the probability of there being a younger son named John at all. Had the author of the " Anecdotes " known of the existence of the Will to which reference has just been made, he must have modified his state ments ; but I submit he would not have been in a position to bring forward any more tangible proof of the younger man being a miniature painter., which, I conceive, is now the real point at issue. The existence of the Will of " Hoskins the elder," and the specific bequest therein made to his son John places the identity of the man beyond all question, but, judging from the tenour of remarks by reliable critics like the late Sir Richard Holmes and the late Dr. Propert, it is, in the opinion of the present writer, by no means certain that they would allow that the younger man painted miniatures. The former authority's remarks on this point are so judicious that I may quote his views as expressed in the Burlington 3Iagazine., vol. viii. : " He (Hoskins) is said to have had a son who painted in 1686 the portrait of James II., but of this date confirmation is much to be desired. If there was such a son, he would simply be a copyist of his father, and the comparison of the work with the varying signature * I. H. ' leave us in a state of doubt as to the identification of father and son." PLATE vn. 1 3 . Dr. Trotter John Hoskins. Mr. R. Goldsmith. John Hoskins Dr. Propert*s view may be gathered from the following which appeared in the Magazine of Art, December, 1900 : " He (John Hoskins) signed his work more frequently than most of his contemporaries, and the variety of monogram he made from the two letters * J. H.' probably gave rise, in the first instance, to what I believe to be the myth of his having had a son who followed the same profession. There is no mention made anywhere of there having been two artists bearing the name of Hoskins." (The italics are mine.) In the chapter on the miniature room at Ham, in Mrs. Roundell's book,^ it is said that the series of miniatures in that beautifiil old mansion " enables us to be quite certain about the existence of two artists of the name of Hoskins, inasmuch as there are contemporary inscriptions written on the back of several of them, which speak of the artists as * Old Hoskins ' and * Young Hoskins.' There are references in these inscriptions to the prices paid for the miniatures, and it is of the very greatest rarity to find such references." * Having been privileged to examine the Earl of Dysart's collection more than once, I am not prepared to accept these statements. The inscriptions do not speak of " Young Hoskins " at all ; it is true certain of them have the words " Old Hoskins " on the back, but the writing is by no means contemporary with the miniatures ; on the contrary, it is believed by its owner to be the handwriting of a member of the femily of much later date. The minia tures in question also have the word ";^ pr ," so much, on the back ; but it is incredible that these words denote the sums paid as commissions ; they are, I submit, the price the purchaser gave for them when they were acquired, whether by private treaty or of a dealer, or by other means. It has been urged by some that the mark + distinguishes the works of the father from those of the son, but in the miniatures shown at the Old Masters Exhibition, BurUngton House, in 1879, there were four different signatures, viz. : " H " only. " I. H. fc." " I. H. 1645." " I.H " connected. 1 Ham House : its History and Art Treasures, by Mrs. C. Roundell ; with supplementary chapters on the Library by W. Y. Fletcher, Esq., F.S.A., and the Minature Room, Dr. G. C. Williamson. B 9 Samuel Cooper This last is on the limning of Lucius Cary, Viscount Falkland, which belonged to Walpole, and is now at Windsor. As to the lack of evidence with regard to the existence of J. Hoskins, junior, as a painter of miniatures, in spite of the numerous examples in various collections which have been ascribed to him, I am not aware of a single one which is signed distinctly "J. Hoskins, jr," and the absence of any contemporary reference to him whatsoever as an artist, so far as I know, is a very important fact. It seems to point to his not having followed his father's profession. It may be that the existence of some portrait of James II. ascribed to Hoskins, coupled with the fact that the elder man was born so many years before James ascended the throne, has led to its being too hastily assumed that the work was so late as James's accession, i.e. subsequent to 1685. There is one other point which may be mentioned in this connection, arising out of the question of dates, and it is this, Hoskins was uncle of Samuel Cooper, who died in 1672, having been born in 1609 ; we do not know the date of Hoskins's birth, but it is improbable that he was born after his nephew, whom he instructed, as we know. If, then, we have to account for work by him in 1686, and he was born several years, as he must have been, before Cooper, we arrive at an age which, to say the least, is improbable. Equally improbable, too, does it seem that the work of a man in such a well-known position as the Hoskins were, should come to a sudden end in 1664, and reappear in one solitary example thirty-two years after. The reputation of the elder man was well established, and we find Sir Kenelm Digby in his " Discourses " comparing Sir A. Van Dyck and John Hoskins, and saying " the latter pleased the most by painting in little." Thus the miniaturist is ranked with, and given higher praise to, than the foremost painter in England, indeed Van Dyck was perhaps the most distinguished in Europe in his day. But no mention whatever is made of the younger Hoskins. Like the Olivers, Hoskins made small copies from the Old Masters, and there is an example of his powers in this direction at Burghley 10 PLATE VIIL 14. Mr. IV. Forester John Hoskins. Mr. H. Pfungst. 15. Mrs. IV. Forester . . . . John Hoskins. Mr. H. Pfungst. 16. Lady Glenham John Hoskins. Mr. H. Pfungst. 17. Viscount Falkland John Hoskins. Lady Northcote. John Hoskins House, where may be seen a copy of Correggio's " Mercury, Venus and Cupid." With the exception of the passage I have just quoted there would thus seem to be an absence of contemporary reference to the elder Hoskins. As to his son, there is a total absence of information relating to him which is somewhat remarkable, considering the position of the man, and that he was termed by Pepys " eminent in his way," as we may see by an entry in the Diary which appears to have been overlooked hitherto. What this " way " was we can only conjecture. The passage I have referred to runs thus : " 19th July 1668. Come Mr. Cooper. Hales, Harris, Mr. Butler that wrote Hudibras and Mr. Cooper's cosen jfacke, . . . and there we dined, a good dinner, and company that pleased me mightily, being all eminent men in their way . . . spent all the afternoon in talk and mirth." One more contemporary reference may be given, and although it conveys but slight personal detail, it is of unquestionable authority ; moreover, I believe it to be absolutely fresh. It is to be gleaned inciden tally from Samuel Cooper's will (of which I give some account in another chapter) ; by it we learn that John Hoskins, junior, was married, and had a daughter Mary, that there was a Francis Hoskins, and a Mary Hoskins, presumably brother and sister to John. I have been careful to specify such works as are ascribed by their owners to John Hoskins the Younger in the following Hsts, thus all those who have opportunity of examining the originals vnW be able to test the matter for themselves ; so, too, with the problem which has long exercised the minds of many interested in Old Miniatures, viz., " did both the Hoskinses paint miniatures " ? I have striven to set forth the " pros and cons," and my readers will doubtless draw their own conclusions ; mean while let us pass on to consider briefly the quality and nature of John Hoskins's work. " It was," says Sir Richard Holmes in the article which I have quoted above, " at its best not inferior to that of any contemporary ; he rarely indulged in depth of colour, but his modelling of the head was masterly ; his treatment of the hair skilftil and correct ; above all, his II Samuel Cooper miniatures are remarkable for the broad and striking manner in which he painted the draperies of lace and linen, the texture and fineness of which seem to appeal most strongly to his sense of delicate colour. Mrs. Crom well, the mother of Oliver, shows his knowledge of the texture and folds of fine linen, in the delineation of which he is quite unrivalled." During the progress of this work it has been my good fortune to see, and to examine, specimens of Hoskins's miniatures in fine condition, due, there can be no doubt, to their having been protected from the light. I have one such in my mind at the moment, viz., the portrait of Dr. Trotter, belonging to Mr. R. Goldsmith. This beautifiil miniature is still in a leather gilt and stamped case of the Stuart period ; its flesh colours are as perfect as when they were first painted. The difference between a miniature such as this which has escaped the destructive effect of light, when compared with others not so protected, is startling, and must be seen to be believed, or, at any rate, to be fiilly realised. In such a miniature, whatever may be the excellence of the accessories which Sir R. Holmes praises, and seems to imply is the principal merit of Hoskins's work, I say without hesitation it is the masterly drawing of the face, the admirable truth of the flesh tones, and the sober realism of the portrait, which you feel depicts the man himself; these are the qualities which demand our admiration. Until I saw this miniature of Dr. Trotter I had never realised the fiiU force, beauty, and value of Hoskins's portraiture. 12 John Hoskins Dated Works attributed to John Hoskins. Chronologically arranged. i6oi(? ) Gentleman unknown. 1620. Elizabeth, Countess of Southamp ton. 1623. Nicholas, ist Earl of Thanet. 1632. Queen Henrietta Maria. Charles I. 1636, A young man. 1638. Countess of Dysart. Earl of Lindsey. Unknown man. 1640. Oliver Cromwell. 1642. Earl of Bristol. 1643. Unknown lady. 1644. A daughter of the King of Bohemia. Cecil David, son of 4th Earl of Exeter. Mary of Orange (2). 1645. A lady unknown. Sir Charles Lucas. 1646. Richard Cromwell. General Davison. Duke of Newcastle. A young man in armour. A young lady in a green dress. 1647. Dr. Trotter. 1648. Rachel, Countess of Southampton. Lady Glenham. 164.0. Mrs. Henderson. 1649. Mts. Forester. 1 65 1. Sir Edward Astley. A lady unknown. A young man. 1652. Sir Arthur Hesilrige. Portrait of unknown man. 1653. Lady Anne Barrington. Viscount Conway. Sir Charles Lucas. Frances, Countess of Rutland. A young man. 1654. Sir Robert Carr, 3rd Bart, of Slinford. Unknown young lady. Unknown young man. 1655. Earl of Carnarvon. Bishop Gauden. Lady Mansfield when young. Richard Cromwell. Viscountess Tara. 1656. Unknown man (3). Unknown lady (2). Earl of Rutland. 1657. Duke of Albemarle. Lady Fanshawe. Sir J. Maynard. Unknown man. 1658. Duke of Albemarle. 13 Samuel Cooper Dated Works attributed to John Hoskins. Chronologically arranged. Continued. 1658. Sir Edward Nicholas. 1659. Richard Cromwell. Algernon Sidney. 1660. Barbara, Countess of Suffolk. 1 66 1. Thomas Hobbes. Portrait of an old man. 1663. Portrait ofan unknown man (2). Sir E. B. Godfrey. PLATE IX. 1 8. Princess Elizabeth John Hoskins. H.M. The King. PLATE ^X. 19. Ann Temple'' .i. . . .- . .^. John Hoskins. Viscount Cohham. Chapter II ALEXANDER COOPER LTHOUGH Alexander was the elder of the Coopers, the abilities and fame of Samuel so far transcend that of his brother, that it seemed only fitting to give, in this book, pride of place to the younger and better known artist. It is noteworthy that in spite of research, both at home and abroad, so little that can be regarded as authentic has been gleaned about the work of Alexander Cooper. Even the painstaking research of Vertue, to whom we are so much indebted for information regarding our subject, appears to have yielded but very little about him, indeed, as given by Walpole, it barely amounts to half-a-dozen Hues. He says : " Alexander Cooper was interested in water-colours, and painted landscapes in this manner 15 Samuel Cooper as well as Miniatures." In the index of Artists in the ^''Anecdotes'''' he is described as a " Landscape painter of the time of Charles Ist." The mention of a " Diana and Acteon " as painted by A. Cooper ; the statement that he went abroad, residing some time at Amsterdam, and, later on, entered the service of Queen Christina in Sweden, is the sum total of the knowledge derivable from this source. In like manner the examples in this country of Alexander Cooper's skill as a limner appear to be very few. Of these, Mr. Francis Wellesley's " portrait of an unknown lady," reproduced in this volume, is perhaps the most important ; possessing as it does a quality hardly attained by other specimens of the artist known to the present writer. There is a work at Windsor which was long ascribed to Alexander Cooper, viz., the portrait of the Duke of Richmond, but I know of no proof of this ascription, and judging by the technique the evidence points to a contrary conclusion. Nevertheless, it may be assumed that Alexander Cooper's reputation was established in England in 164 1, by which time his brother, Samuel, had been painting for some years ; as we know that Henry Hondius, according to Walpole, engraved a print of William, Prince of Orange, after him (A. Cooper). If we look abroad we shall see that Alexander Cooper's stay in Stockholm extended over several years, and that as Hof Maler, or Court Painter, he was employed officially ; it might hence be expected that more of his work would be known on the Continent ; there seems, however, to be but little extant there also, and claims have been made with respect to some of it which are by no means admitted on all sides, as will be shown later. In view of the conflicting statements that one finds in print on this subject, I shall content myself with quoting some of the authorities who have written upon it. Regarding the interesting problem of what work was done abroad by the two Coopers, I have made special enquiries on the subject at Brussels, Amsterdam, The Hague, Stockholm, and in Paris and Copenhagen, and the result can be given in comparatively few words. As to the Coopers' sojourn in Belgium, I have the authority of M. 16 PLATE XL 20. Viscount Falkland John Hoskins. H.M. The King. 21. Elizabeth, Mrs. Cromwell . . . John Hoskins. H.M. The King. 22. Charles I. John Hoskins. Earl Beauchamp. 23. Elizabeth Claypole John Hoskins. Mr. J. B. Burdett-Coutts. Alexander Cooper Paul Lambotte, Ministre des Beaux Arts, for saying there is no record in the Belgian State archives. He writes : "J'ai le regret de vous dire que les recherches faites aux archives de I'Etat k Bruxelles, n'ont pas donn6 de resultat." Dr. E. Gigas, Royal Librarian, Copenhagen, informs me that in the Manuscript collection of the Royal Library there is nothing to be found concerning the two Miniature Painters of the name of Cooper, nor of John Hoskins. From Jhr. Van Riemsdyk, of the Rijks Museum, Amsterdam, amongst other information for which I am indebted to him, I gather that there is one document referring to Alexander Cooper with which he is acquainted, viz., " In the account books (Ordonnantie boeken) of the Stadt-holder Prince Frederick Henry of Orange during the years 1637-50 Cooper's name is mentioned once." His Highness orders "to Alexander Coper Painter (should be paid) the sum of one hundred florins for the picture mentioned in the memoir," The Hague, 1645. That Memoir, the Director adds, he fears is lost. The Nineteenth Century, Oct. 1905, contained an interesting article on "Queen Christina's Miniature Painter," by Dr. G. C. Williamson (pp. 667-673), and in it a statement is made that "it is probable that shortly after 1633 Alexander Cooper must have been in England, for there are two miniatures in Holland representing James II. as a young lad " ; if by these the examples in the Rijks Museum, Amsterdam, be meant, the catalogue (19 10, p. 527, No. 2834c) states that one of them is inscribed on the back " Du Guernier pinxit, 1656." It would be interesting if reliable evidence of Alexander Cooper's return to England were forthcoming, but there is a noteworthy absence of any work which, in the present writer's opinion, can be said to have been painted in this country by Cooper at this period of his life. Miss Swinburne and Dr. Morrison own several interesting portraits which have been the subject of much discussion. They were formerly the property of Mr. Bull, who was a collector and friend of Walpole's and of Miss Svdnburne's family. They are named as follows : Henry, Prince de Gaule, La Duchesse de Lennox, Le Marquis de Gordon, Madame Killigreu, 17 Samuel Cooper Portrait of a young lady. La Comtesse de Buchanne, La Marquise de Hamilton, La Duchesse de Buckinghame, La Comtesse de Portland, Mademoiselle Kirk. Of these, the first six belong to Miss Swinburne. They are all in bistre, heightened by sparse touches of gold and colour, alike in treatment and size, namely, 3 x 2f . Propert attributed them to Hollar ; to me they seem to be without his stiffness and hard treatment. Dr. Williamson, I am told, has described them as the work of Alexander Cooper, and catalogued them as such at the Rome Exhibition. A close examination leads me to attribute them to Isaac Oliver, to whom two of them, namely, the Countess of Buchan and the Marquis of Gordon, are given in Pinkertons Scotish Gallery. It will be noticed they are all named in French, and we know the Olivers were of foreign extrac tion, Peter Oliver sometimes signing his name Olivier. Moreover — and this is a fact outweighing a good deal of theory — the portrait inscribed Henry, Prince de Gaule, is identical in every detail with a fine miniature of this Prince which, remembering to have seen many years ago at the Stuart Exhibition, I found again in the Duke of Buccleuch's collection signed with the well-known monogram of Isaac Oliver. Alexander Cooper worked at the Hague for a time, as we shall see later. In the National Museum, Stockholm, there is a well-painted miniature of Gustavus Adolphus, signed A. C, and there exists a replica in the Gothenburg Museum. Both are reproduced in this volume. Research in the Royal Library at Stockholm might reasonably be expected to yield some results ; but M. Bernhard Lundstedt, principal Librarian, assures me that " no information is to be found in the Royal Library about either John Hoskins or his nephews." To the " Direction " of the Kaiser Friedrich Museum, Berlin, I am indebted for an illustration of a most interesting series of the Elector Palatine Frederick V., his wife, EHzabeth Stuart, the "Queen of Hearts," and seven of their thirteen children. Some remarks upon them by Dr. Posse, pubUshed in the Official Report (Amtiiche Berichte), Oct. 1909, are subjoined ; 18 PLATE XII. 24. Sir Francis Drake John Hoskins. Earl of Gosford. PLATE XIH. 25. Duke of Hamilton . . . •. John Hoskins. Earl Beauchamp. 16. John, 1st Duke of Rutland John Hoskins. Duke of Rutland. 27. Countess of Pembroke . . . John Hoskins. Earl Beauchamp. 28. A Young Man, Unknown . . John Hoskins. Earl Beauchamp. 29. Dr Gauden John Hoskins. Lady Northcote. Alexander Cooper AMTLICHE BERICHTE AUS DEN KONIGL. KUNSTSAMMLUNGEN Uber Einige Neu Ausgestellte Miniaturen im Kaiser-Friedrich-Museum Dann aber ist ein wahres Kleinod der Miniaturmalerei zum erstenmal ausgestellt worden, ein Zylinder aus zwolf Medaillongliedern mit den in Wasserfarben auf Pergament gemalten Brustbildnissen Friedrichs V. von der Pfalz, des bohmischen " Winterkonigs," seiner Gattin Elisa beth, Tochter Jakobs I. von England, und ihrer Kinder. Und diese sieben ernsthaften Kinderkopfchen, fiir deren Ahnlichkeit ein Vergleich mit den Bildnissen der Eltern zeugt, zart und mit geduldiger Feinheit behandelt, anspruchslos in lichtem, braunlichem Ton gehalten, doch vor den schonsten farbigen Griinden (Karminrot, Griin, Ultramarinblau, Gelb, Violett), verleihen der Kette den Charakter liebenswiirdiger Anmut. Dieses Werk eines geborenen Miniaturisten umschliesst eine Fassung von hoher Delikatesse, auch kunstgewerblich eine Seltenheit. Die Aussenseiten des zusammengelegten Zylinders sind schwarz und weiss emailliert, die Seiten mit weissen Schragbandern, die beiden Deckel mit dem Namenszug des Konigs, iiberragt von der Krone, und der Jahreszahl 1633 geziert. Auf den Riickseiten der vergoldeten Medailloneinfassungen findet man die Namen der dargestellten Personen eingraviert zusammen mit dem Tage der Portratierung. Danach sind alle Bildnisse (drei von ihnen gingen, wie es scheint, verloren, da die Riickseiten gleichmassig Angaben iiber die ehemals auf der Vorderseite Dargestellten enthalten) zwischen dem 26. Oktober 1632 und dem 4. Januar 1633 entstanden, das Bildnis Konig Friedrichs selbst am 16. August 1632, dem Jahre seines Todes (gest. 28. November). Die konigliche Familie weilte damals im Haag. Dort hatte Friedrich, abgesetzt und geachtet, nach unstetem Umherirren eine Zuflucht gefunden. Und dort muss auch die Reihe der Bildnisse entstan den sein. Drei der Kinderportrate sind bezeichnet A C. So hat sich auch der Name des Malers ermitteln lassen (vgl. Williamson, The History of Portrait Miniatures; dort 1904 zum erstenmal pubHziert). Es ist 19 Samuel Cooper Alexander Abraham Cooper, ein Glied jener in der Kunst der Miniatur malerei wohlbekannten englischen Malerfamilie, der Bruder des beriihm- teren Samuel Cooper, der Neffe und Schiiler von John Hoskins, von dem unsere Sammlung eines seiner charaktervollen Bildnisse Cromwells aus dem Jahre 1649 bewahrt. Uber Abraham Coopers Lebenslauf war nur wenig bekannt. Er ist angeblich 1605 geboren, von jiidischer Abstam- mung, und man weiss, dass er einige Zeit zu London tatig war. Dann taucht er (wie unsere Miniaturen bezeugen) im Haag auf Sandrart hatte ihn auch zu Amsterdam kennen gelernt und in seinem Atelier Bildnisse von englischen Hofleuten hochlichst bewundert. Am besten ist man seit Williamsons Urkundenforschungen iiber Coopers Aufenthalt in Schweden unterrichtet. Dorthin ist er, etwa 1646, in die Dienste der Konigin Christine von Schweden berufen worden. Er starb 1660, wahrscheinHch in Stockholm.^ ^ A real treasure of miniature painting is for the first time exhibited. A cylinder with twelve medallions linked together with head-and-bust portraits in water-colours, on vellum, of Frederick V. of Pfalz, the Bohemian "Winter King"; of his wife, Elizabeth, daughter of James I. of England, and of their children. A comparison of these seven serious little children's heads shows their resemblance to the portraits of their elders. These miniatures are soft and delicate in their handling, unpretentious in their lighting, harmonious in their light brown tints, with most beautiful grounds of brown, carmine, green, ultra-marine, yellow and violet, which lend a charm of lovely character to the chain. This work of a born miniature painter is surrounded by a setting of great delicacy, which is itself a rare piece of art industry. The outsides of these united cylinders are enamelled black and white. The sides have white oblique bands ; both covers bear the King's monogram, surmounted by a Crown, and the year 1633 inscribed at the sides. On the back of the gilded settings we find the name of the person represented, together with the date when the portrait was painted. Three of these works, it would seem, arc lost, but formerly bore on the back similar inscriptions. All the pictures were executed between the 26th October, 1632, and the 4th January, 1633; that of King Frederick himself was painted the i6th August, 1632, the year of his death (he died on the 28th November). The Royal family were then at the Hague, where Frederick, dethroned and banished, had found a refuge, and there also must the series of portraits have been painted. Three of the children's portraits are signed A. C, from which the name of the artist has been discovered. (Compare Williamson, The History oJ Portrait Miniatures, published in 1904.) The name is Alexander Abraham Cooper, a member of the well-known English artist family of miniature painters and brother of the more celebrated Samuel Cooper, the nephew and pupil of John Hoskins, of whom there is in our collection a portrait of Cromwell, full of character, ofthe year 1649. About Abraham Cooper's life very little was known. He is supposed to have been born in 1605 of Jewish extraction, and we know that he was a little time in London. Then he found his way, as our miniatures show, to the Hague. Sandrart made his acquaintance at Amsterdam, and much admired portraits in his studio of English people of rank. One is well-informed since Williamson's record-searching about Cooper's residence in Sweden. Thither he was called, about 1646, into the service of Queen Christina. He died in 1660, probably at Stockholm. 20 PLATE XIV. 30. Portrait oJ a Lady, Unknown . John Hoskins. Mrs. Fleischmann. PLATE XV. , 3 T . Teresia Shirley John Hoskins. Duke oJ Portland. 32. Henrietta Maria John Hoskins. Mr. H. Pfungst. 33. Edward Montagu John Hoskins. Duke of Buccleuch.^ 34. Robert Carr _. . John Hoskins. H.M. The King. PLATE XVL 2S- Portrait oJ a Young Man . . . John Hoskins. Mr. F. A. Hyett. PLATE XVIL ¦;i,6. George Monck, Duke oJ Albemarle . John Hoskins. Lady Northcote. 37. Sir Robert Carr John Hoskins. Marquis of Bristol. 38. Duke oJ Buckingham John Hoskins. Duke oJ Portland. 39. Charles II. John Hoskins. Lord Aldenham. PLATE XVin. 40. Lady Bruce, Countess of Dysart . John Hoskins. Earl of Dysart. Alexander Cooper In the foregoing description the painter is spoken of as Alexander Abraham Cooper, not Abraham Alexander. It is, of course, obvious that if Alexander Cooper was a Jew, so was his brother Samuel, but we do not meet with any suggestion of the kind in contemporary references to him nor to his uncle, John Hoskins, both Christians, as shown by their v^dlls. Ernst Lemberger in his important work. Die Bildnis ^iniatur in Scandinavien^ pubHshed 191 2, quotes (pp. 28 and 29, vol. i.) the article in the Nineteenth Century^ to which I have already referred, and states that Alexander Cooper was born in 1605 and died in 1660. Herr Lemberger's book contains two illustrations of a young man with a proftision of feir curly hair, both are named as the Graf Magnus de la Gardie — one of them belonging to the Koniglichen Reichsbank, Stockholm ; the other in scribed on the back " Cuper pinxit " belongs to the Gothenburg Museum, and is figured in this volume. Olof Granberg, in his Inventaire Gdndral des trdsors d''art en Su^de, tome I , describes the miniature of the Countess Elsa Brahe, owned by the Comte M. Brahe, Skokloster, but in the very few remarks he makes on Cooper does not add anything to our knowledge on the subject. Seeing that the number of ascertained or even suggested works by Alexander Cooper is so limited, it is desirable that we should have reliable data in the ascription of those which are known. Hence a letter from the Director of the picturesque old Castle of Rosenborg, Copenhagen, will be read with interest. In this he contends that an important and interesting series of six miniatures, viz., Frederick IIL, his Queen Sophia Amalie, and their four children, which are attributed to Alexander Cooper in the article from the Nineteenth Century to which I have already referred, are given to this artist upon insufficient grounds. In short, the attribution is disputed by the Keeper of the Danish Royal Collection, whose opinion on the subject may be stated in his own words. "The ascription to A. Cooper," he states, ofthe "six miniatures in our collection stands alone on the authority of Mr. Williamson. In his book on miniatures, he says that six portraits of oval shape, each in 21 Samuel Cooper a medallion with enamelled back, a monogram and the date 1656, are painted by A. Cooper, who, as proved by documents in the Archives of State in Copenhagen, was paid for portraits of the Royal Family. When I saw this I wondered that I never should have met with the name of Cooper in the numberless documents I had to go through some twenty years ago, all relating to questions of art of this period. And I was rather astonished, too, to see these portraits attributed to Alexander Cooper, of whose works I had a very different impression. I have now gone through all these documents again, and far more, but with the same negative result. I suppose that Mr. Williamson, who does not seem to have visited the Archives here, has not seen the document himself; he does not give the number of any document in his quotation . . . " The King's portrait has in my opinion been made after a beautiful print made by Jeremias Falk, 1656, in Hamburg, where all the miniatures doubtless were painted. The background of the portrait of Prince Christian (X) is white, but shows reddish tones close to the edge. All the rest have a light blue background. " The goldsmith's accounts of the King's privy purse from the year 1656 do not mention the medallions at all — another proof that neither the portraits nor their * collets ' or enclosures have been made here in Denmark." The views held by the Director of the Archives in Sweden, upon the stay of Alexander Cooper in that country may be gleaned from a letter which I subjoin. RiKSARKIVARIEN, Stockholm, izth Sept., 19 13. Dear Sir, The papers kept in the State Archives have not much to tell regarding Alexander Cooper's sojourn in Sweden. There are no letters extant from him to Queen Christina, and in the diaries or indexes to issuing royal letters his name does not appear. Thieme's statement, however (Allgem. Lexicon der bild. Kiinstler), that his sojourn in Sweden 22 PLATE XIX. 41. Henrietta Maria John Hoskins. Earl Beauchamp. PLATE XX. 42. 2nd Earl of Thanet John Hoskins. Duke of Buccleuch. 43. Lady Isabella Scott John Hoskins. Duke of Buccleuch. 44. Elizabeth, Countess oJ Southampton . John Hoskins. Duke of Buccleuch. 45- Titus Oates z,. Crosse. Duke of Buccleuch. PLATE XXI. 46. Head oJ a Nun Cornelius Janssen. Duke of Rutland. 47. A Lady Unknown .... Alexander Cooper. H.M. The Queen of the Netherlands. 48. A Lady Unknown .... Alexander Cooper. H.M. The Queen of the Netherlands. 49. James II. Alexander Cooper. Rijks Museum. 50. A Man Unknown .... Cornelius Janssen. Mr. Fairfax Murray. PLATE XXII 5 1 . Count Creutz Alexander Cooper. Gotiienburg Museum. 52. John Evelyn Samuel Cooper. Duke of Buccleuch. 53. Count Magnus Gabriel de la Gardie . Alexander Cooper. Gothenburg Museum. 54. Queen Hedwig Elenore Alexander Cooper. Gotiienburg Museum. 5<;. Charles X., Gustavus Alexander Cooper. Gotiienburg Museum. 56. Gustavus Adolphus . . ... Alexander Cooper. National Swedish Museum, Stockholm. PLATE XXIII. c,"]. A Lady Unknown Alexander Cooper. Mr. Francis Wellesley. Alexander Cooper can be verified from 1647 onward is corroborated by the fact that in the general estimates for the years 1648-51 there is returned " conterfeijaren Alexander Cooper" with a yearly salary of 1200 daler. But in the estimate for 1653 there appears no "conterfeijare," and from the year 1653 the members of the royal household are no longer specified. That he never theless continued in service is evident by some accidentally found notices. In the year 1653 there exists a letter from Cooper to Count Magnus Gabriel de la Gardie, wherein the former, referring to his being ill and bedridden, supplicates for his still due salary of 165 1 and the half of the salary for the running year (in all 1200 daler). In the state ledger for 1653 in the Archives of the Exchequer Alexander Cooper appears with a salary of 900 daler. Thieme's statements that Cooper in 1656 had been in Copenhagen, but since returned to Stockholm, and there expired in 1660, are not to be verified by here existing papers. It is barely possible that in the Archives of the Exchequer or of the Royal Palace some further particulars could be discovered. EMIL HILDEBRAND, Director of the State Archives. Finally, the present writer has had special researches made in Swedish Archives, the results of which will be found in Appendix B, which contains quotations from the original documents. And now, leaving Alexander Cooper in his employment at the Court of Sweden, let us, in the following chapter, turn to his probably more fortunate, and certainly more femous brother, Samuel. 23 Chapter III SAMUEL COOPER T was pointed out in the last chapter that there is almost a total absence of biographical details with regard to John Hoskins, uncle of the artist whose works we shall now proceed to consider ; commenting upon this paucity of material, Horace Walpole, in the course of his interesting remarks on the subject, has observed that " the anecdotes of Cooper's life are few, nor does it signify, his works are his history." Considering the ample recogni tion which Samuel Cooper undoubtedly won in his own day, which, as we all know, is by no means the lot of every artist, it is certainly somewhat remarkable that so very little can be gleaned about him ; but the con temporary references, if few and slight, are nevertheless illuminating, so much so, indeed, that it is possible to glean from them a tolerably definite idea of the man and the secrets of his success. The principal clue may be gathered from the pages of the Diary of Mr. Samuel Pepys. As I shall 24 PLATE XXIV. f3 58. Sir John Maynard '_.f;.r. . . i_ Samuel Cooper. Duke of Buccle'tch. PLATE XXV. 59. Lord Romney Samuel Cooper. Duke of Portland. PLATE XXVI. 60. Oliver Cromwell Samuel Cooper. Duke of Buccleuch. PLATE XXVIL 6 1 . Portrait oJ Himself . . . . Samuel Cooper. V. and A. Museum, Dvce Bequest. 62. John Milton Samuel Cooper. Duke of Buccleuch. 63. Oliver Cromwell ... ... Samuel Cooper. Earl of n arwick. 64. Mary, Daughter of Oliver Cromwell . Samuel Cooper. Duke of Buccleuch. 65. Henry Cromwell Samuel Cooper. Duke of Bucclcucii. Samuel Cooper have occasion to quote this indispensable work on the period again, especially when I come to treat of Cooper's sitters and his work, I will for the present only remark that Pepys evidently found the Artist congenial, indeed there were things about Cooper which no doubt endeared him to the diarist, especially his love of music. It was in the spring of 1668 that they became acquainted ; a little later we find Pepys speaking of the painter thus : " Now I understand his great skill in musick, his playing and setting to the French lute most excellently, and he speaks French, and indeed is a most excellent man." There can be no doubt also that Cooper was a man of the world, had travelled much, and was accustomed to polite society ; we have Pepys' word for it that he was " good company." These are qualifications of a nature calculated to be of infinite service to a portrait painter — indeed, one may almost say, essential to complete success : it is by such accomplishments that he is enabled to place his sitters at their ease, to melt their reserve, to draw out their souls into their faces, and, in a word, to show them at their best. It is evident that Cooper was gifted in this way, and that he was persona grata to his numerous patrons, and on good terms with them in the most troublous times through which he lived, when passions ran so high as they must have done during the reign of the first Charles and the years of anarchy which followed. The period of the Restoration would not offer such difficulties to a man of his temperament, but the fact that he painted so many of the leaders of the Commonwealth, and was an especial favourite with Oliver Cromwell (who, together with his family, seems to have sat to him oftener than anyone else), may be taken as a proof that he knew how to make himself acceptable to men of every shade of opinion, whether political or religious, since we find him in great favour at the Restoration, as is shown in the pages of John Evelyn's Diary and elsewhere. Samuel Cooper was born in London, 1609, ^^^ instructed, with his brother Alexander, by their Uncle Hoskins, who, says Graham in his Short Account of the Most Eminent Painters., was jealous of him, and D 25 Samuel Cooper whom he soon surpassed. This author mentions a portrait of one Swing- field (so Walpole calls him), a capital work which recommended the Artist to the Court of France, where he painted several pieces larger than his usual size, and for which his widow received a pension during her life. These particulars are taken from the Anecdotes of Painting., in which the frirther information is given that " he lived long in France and Holland." There never seems any doubt cast on the statement that Samuel Cooper lived long on the Continent, at the same time the rarity of work by him abroad is somewhat remarkable. At home his fame is well established, and in Aubrey's Lives of Eminent Men., we find that well-known antiquary speaking thus of the artist, apropos of Hobbes : " Amongst other of his (Hobbes's) acquaintances, I must not forget our common friend Mr. Samuel Cooper, the prince of limners of this last age, who drew his picture as like as art could afford, and one of the best pieces that ever he did, which His Majesty, at his return, bought of him, and conserves as one of his greatest rarities in his closet at Whitehall. " Note. This picture I intend to be borrowed of His Majesty for Mr. Loggan to engrave an accurate piece by which it will sell well both at home and abroad." Graham has been quoted above ; he speaks of Cooper being universally known in all parts of Christendom, and his tribute to the accomplishments and capabilities ofthe artist may be given in his own words : " He (S. C.) was bred up, together with his elder brother Alexander, under the care and discipline of Mr. Hoskins his uncle, but derived the most considerable advantages from the observations which he made on the works of Van Dyck. His pencil was generally confined to a head only ; and, indeed, below that part he was not always so successftil as could be wished. But for a face and all the dependencies of it, viz., the gracefiil and becoming air, the strength, reHevo and noble spirit, the softness and tender liveliness of flesh and blood, and the loose and gentile management of the hair, his talent was so extraordinary, that for the honour of our nation it may 26 PLATE XXVIII 66. Mrs. S. Cooper . . . . . Samuel Cooper. Duke oJ Portland. Samuel Cooper without vanity be afiirmed he was (at least) equal to the most famous Italians ; and that hardly any one of his predecessors has ever been able to show so much perfection in so narrow a compass. Answerable to his abilities in this art was his skill in Music ; and he was reckon'd one of the best lutenists as well as the most excellent limner in his time." A sidelight upon the vogue which Cooper must have enjoyed, upon the way in which he travelled about the country, and how his fame pre ceded him, is to be found upon an inscription on the back of a frame pertaining to a crayon sketch, once in the Bodleian Library, and now in the Ashmoleah Museum. It runs as follows : " This picture was drawn for mee at the Earle of Westmoreland's house at Apethorpe in North amptonshire by the Create (tho' little) Limner, the then famous Mr. Cooper of Couent Garden ; when I was eighteen years of age. Thomas Alcock ; Preceptor." Now that we are dealing with what contemporaries thought about Cooper, let us hear what that famous dilettante, the grave John Evelyn, has to say. He makes but one reference to the artist in the whole of his Diary, but that, it must be owned, is a very interesting one. It was a winter's day in January, 1662, and Mr. Evelyn was " called into His Majesty's Closet, where Mr. Cooper, ye rare limner, was crayoning of the King's face and head to make the stamps for the new milled money now contriving. I had the honour to hold the candle whilst it was doing ; he choosing the night and candlelight for the better finding out the shadows." In Dorothy Osborne's charming letters to Sir William Temple there are one or two passages which show in the clearest manner the light in which both Hoskins and Samuel Cooper were regarded in their own day. The first speaks of a copy to be made by Cooper or Hoskins, this was written from Chicksands in 1653, and is as follows : — " If I had a picture that were fit for you, you should have it. I have but one that's anything like, and that's a great one, but I will send it some 27 Samuel Cooper time or other to Cooper or Hoskins, and have a little one drawn by it, if I cannot be in town to sit myself." The next letter is written a year later, and speaks of her having had the intention of being " drawn " by Cooper. The last passage in it implies that the painter was very fiilly employed, as was no doubt the case. She writes to Temple the 13th of June, 1654, and tells him " I shall go out of town this week, and so cannot possibly get a picture drawn for you till I come up again, which will be within these 6 weeks, but not to make any stay at all. I would have had one drawn since I came, and consulted my glass every morning when to begin, and to speak freely to you that are my friend, I could never find my face in a condition to admit on't, and when I was not satisfied with it, I had no reason to hope that anybody else should. But I am afraid, as you say, that time will not mend it, and therefore you shall have it as it is as soon as Mr. Cooper will vouchsafe to take the pains to draw it for you." One more contemporary reference may be given, it is brief but pregnant, and is an entry in the Diary of Mr. Beale, husband of that estimable woman and fairly-accomplished artist, Mary Beale, of whom more hereafter. The date is the 5 th of May, 1672, and it runs thus : " Dyed this day Samuel Cooper the most famous limner of the world for a face." How Samuel Cooper attained such universal recognition, and came to acquire such popularity, especially when we bear in mind the times in which he lived, and the temperaments ofthe men amongst whom he worked, is a matter on which we can only conjecture, unless we accept as one reason (as we probably may safely do) the compelling power of the great ability of this man as a portrait painter, " the most famous limner of the world," as Mr. Beale ungrudgingly calls him. No doubt the well- merited fame of his uncle, John Hoskins, paved the way to occupation, he (Hoskins) had a good connection, as a glance at the names of his sitters given in this work makes abundantly clear, but the reputation of the uncle never equalled that of the nephew. A few words may here be said 28 PLATE XXIX. 67. Oliver -CromweWs Mother . . A. L. Hertocks. Mr. R. G. Clarke. 68. Oliver. Cromwell {profile) . . . Samuel Cooper. Lady Northcote. 69. Mrs. Cromwell Samuel Cooper. Duke oJ Buccleuch. 70. Oliver Cromwell {sketch) . . Samuel Cooper. Duke of Sutherland. PLATE XXX. 71. Oliver Cromwell Samuel Cooper. Sidney Sussex College, Cambs. Samuel Cooper on Cooper's appearance, I speak of Samuel ; of the elder brother, Alexander, no portrait exists that I am aware of ; but in the Dyce collec tion at the Victoria and Albert Museum will be found two portraits both ascribed to the younger artist himself, a Crayon and a Miniature ; the latter is signed S. C. in the usual manner, and dated 1657, thus showing him in his forty-ninth year. This portrait has no history known to the Museum authorities, but vidth the larger work in chalk the case is some what different, as a good deal is known about it after 1737, that is, when it appears to have been in the possession of a Mr. Greame. There is a third portrait, and one of much interest, viz. a miniature by Lens ; this is in the collection of the Duke of Portland; both the miniatures are reproduced in this volume. The reader may have observed that Mr. Alcock (who was very likely at Lord Westmorland's house as a tutor, since he terms himself a " Pre ceptor," although only eighteen years of age). I say he speaks of Cooper as "the Create (tho' little) Limner." This reference to the stature of Cooper is all that there is to be gleaned, so far as I know, on the subject. Neither the miniature at Welbeck nor that at Kensington helps us in respect of his figure. In the more important matter of the face, the miniatures must be owned to be a little disappointing, both being some what heavy and dull looking. The one in the Dyce collection may be said to have an unhappy ex pression. The painter is much older in this than in the one at Welbeck, and may have suffered ill-health, in fact the features seem to indicate that he had undergone some painfiil illness. Having now taken a glimpse of the man, we may endeavour to realise where he lived. About this, at any rate, there is no obscurity whatever. We know that he resided, and, for many years, in Henrietta Street, Covent Garden, then a fashionable part of the town. There is, however, no ground for supposing that Samuel Cooper ever lived in such state as did Sir Anthony Van Dyck, whose ostentation and luxury so impressed Pepys as to move him almost to indignation. But, needless 29 Samuel Cooper to say, Covent Garden and the whole neighbourhood thereof, was very different in those days from what it is now. For example, Thomas Wentworth, Earl of Strafford, lived on the south side of Henrietta Street, on the same side as Samuel Cooper, and it was from thence that the Minister whom Charles sacrificed to his fears went to his doom on Tower Hill one May morning in 1640. The street itself had been laid out some three years before, viz., in 1637. It was named after Queen Henrietta Maria. This of course was done before the outbreak of the Civil War. Mr. H. B. Wheatley in his valuable work on London Past and Present., quotes Hatton as describing it as "a very broad and pleasant street." We know that Samuel Cooper was living in Henrietta Street as early as 1642, because in that year he was rated to make up a sum of ;^2 50, required by the Vicar and Churchwardens of St. Paul's, Covent Garden. He was still living in the same street some twenty-five years later when Mr. Samuel Pepys commissioned him to paint his wife's portrait in March, 1668. The impression made by the artist's work on the worthy Secretary to the Admiralty may be given in his own words. He records how he went " by coach to Common {sic) Garden Coffee- House, and thence presently to Mr. Cooper's house to see some of his work, which is all in little, but so excellent as, though I must confess I do think the colouring of the flesh to be a little forced, yet the painting is so extraordinary as I do never expect to see the like again. I did see Mrs. Stewart's picture, a very young maid, and now just done before her having the small-pox, and it would make a man weep to see what she was then, and what she is likely to be by people's discourse now." Apropos "Common Garden," as Pepys calls it, a certain decided artistic character seems to have appertained to this quarter of the town at that time. From a litde book on Gerrard Street and its neighbourhood (also by Mr. Wheatley, whose knowledge of old London is unrivalled) we may reahse what this side of London looked like in the days of which we are speaking. If we turn to Aggas's map, we shall see that in early Stuart 30 *PLATE XXXI. -jl. Richard Cromwell in Armour Samuel Cooper. V. and A. Museum. 73. Mrs. Claypole . . Samuel Cooper. Duke of Buccleuch. 74. Mrs. Claypole Samuel Cooper. Earl of Gosford. 75. Richard Cromwell . Samuel Cooper. V. 'tind A. Museum. 76. Elizabeth, daughter of Oliver Cromwell . . Samuel Cooper, Duke of Buccleuch. Samuel Cooper times the Lammas Fields stretched north of what we now call Charing Cross ; Leicester Square was built on these fields later. William Faithorne's map, engraved in 1658, shows how far the town had extended at the time of the Restoration. " After that event occurred," says Mr. Wheatley, " the builder was busy preparing houses for the men whose old residences in the City, which they had been obliged to leave during the troubles, were unfitted for them under the altered circumstances." There is a small view engraved by J. Maurer, showing the Royal Mews standing as late as 1753 on the site now occupied by the National Gallery, as to which it may be observed that very few houses, and those mean ones, stand around St. Martin's Church. Pall Mall was made a thoroughfare in 1656, when, according to the author quoted above, only eight persons were rated to the poor. Piccadilly was commenced eight years later, and St. James's Square planned out at the same time. Apart from associations with its great market, a decided Theatrical atmosphere seems to hang about Covent Garden, and there was formerly an artistic character pertaining to Henrietta Street which it retained for many years. For instance, we find that Hoskins lived in Bedford Street, round the corner, and was thus a very near neighbour of his nephew, S. Cooper. Lawrence Crosse, who was distinctly a fashionable painter, lived at the sign of the Blue Anchor in Henrietta Street. Dorothy Osborne writes to Mrs. Paynter " at her house in Bedford Street next ye Goat in Covent Garden." The famous mezzotint engraver, J. Faber, jun., lived at the " Green Door " in the Great Piazza Covent Garden. J. Smith was at the sign of ye Lyon and Crown in Russell Street, Covent Garden. E. Cooper sold prints at the Three Pigeons in Bedford Street. We find M'Ardell, the engraver, living at " The Golden Head," and we read of Horace Walpole writing to Governor Bedford asking him to call on M'Ardell about a print. It was in 1764 that fine engraver published his well-known plate of " David Garrick and Mrs. Cibber, as Jafiier and Belvidera," from the same address, namely the corner of 31 Samuel Cooper Henrietta Street, as we may gather from the inscription at the foot of the plate. Another great engraver. Sir Robert Strange, lived, as did Lely and Kneller, close by. Covent Garden appears in the background of "Morning," one of the most familiar of Hogarth's engravings, and it was in the Castle Tavern, in Henrietta Street, that Richard Brinsley Sheridan "fought and disarmed Major Mathews, his rival for the fair Miss Linley's love." Mr. Wheatley tells me that he knows of no view of Henrietta Street, but that it was a pleasant place at one time is suggested by the fact that the houses in it had gardens south of them, which reached back to Maiden Lane, as late as the years 1850 or i860. I am glad to be able to show a view which, though not important in scale nor of Henrietta Street in fijll, yet gives an adequate idea of the locality at the period of which I am writing. The figures help us to realise that it was a genteel — one may say, fashionable neighbourhood. The fa9ade of the church which adorns the western side of the Garden is well shown, and here I may remark the registers of " the handsomest barn in England " — as St. Paul's, Covent Garden, has been termed — record the names of many people well known in the annals of art. To mention two or three only, but all connected with the subject of this book : Sir Peter Lely, who lived in such state hard by, was buried here, and his bust is in the church. Wright was buried there, and so also was Gibson the Dwarf; whilst the interment of John Hoskins in 1672 has already been recorded in the extract from the "Anecdotes" on a preceding page. Samuel Cooper's Will was proved 4th of July, 1672. He describes him self therein as of St. Paul's, Convent Garden, and leaves " to my cozon John Hoskins 20 shiUings to buy him a ring, also to his wife (i.e., J. H.'s wife) and daughter Mary, 20 shillings a-piece to buy them rings, and to my cozon Francis Hoskins and Mary Hoskins 20 shillings a-piece to buy them rings." He appoints Christina Cooper, " his dearly loved wife," sole executrix. He expresses a wish to be buried in St. Pancras (as was done). He leaves 32 PLATE XXXII. 77. Earl oJ Arran Samuel Cooper. Duke of Portland. PLATE XXXIII. 78. Sir Thomas May Samuel Cooper. V. and A. Museum. 79. Earl oJ Pembroke Samuel Cooper. V. and A. Museum. 80. Robert Walker Samuel Cooper. H.M. The King. 81. A Lady Unknown . ... Samuel Cooper. Lord Heneage. 82. A Lady Unknown .... Samuel Cooper. Lord Heneage. PLATE XXXIV. 53. James II . . Samuel Cooper. H.M. The King. Samuel Cooper to John Hayles, and Elizabeth Hayles, and Catherine Hayles, daughters of John Hayles, 20 shillings each for rings. He appears to have lent money on mortgage, and he was possessed of various lands in or near Coventry which he bequeaths to his wife. Some of these were situate in the parish of Folshill or Foxhill in the County of the City of Coventry. Artists had flattering verses addressed to them by Poets in the days of which I am writing. Pope and Addison lauded Kneller to the skies, as Cowley did Lely ; and Dryden wrote an ode to Mrs. Anne Killigrew who died of smallpox, as did her friend Mrs. Katherine Phillips. " Heaven by the same disease did both translate ; As equal were their souls, so equal was their fate." The last-named lady wrote a poem to Cooper of which a few stanzas are given below. The authoress of these lines was known as the " Matchless Orinda." She died two years after they were written. She was recognised as " the greatest poetess England could boast of then." To Mr. Samuel Cooper. {Having taken Lucasia's picture, given Dec. 14, 1662.J If noble things can noble thoughts infuse. Your art might even in me create a Muse, And what you did inspire you would excuse. A pencil from an angel newly caught, And colours in the morning's bosom sought, Would make no picture if by you not wrought. I by a passive way may do you right, Wearing in what none ever could indite, Your panegyrick and my own delight. But enough of this halting verse, it is clear that even if we did not possess the testimony of Mrs. Mary Beale, Pepys and others, and quite E 33 Samuel Cooper apart from any question of domicile, there is irrefragable evidence as to how Cooper was regarded in his own time, and that is to be derived from the names of the sitters themselves, of which my readers vrill find some hundreds in the Supplementary List of Miniatures. 34 PLATE XXXV. 84. Ann Temple . . .... Samuel Cooper. Viscount Cobham. PLATE XXXVI. 85. Mr. Speaker Lenthall Samuel Cooper. Col. Sir George Holjord. 86. Sir Harry Vane . Samuel Cooper. Duke of Buccleuch. 87. Anthony Ashley, ist Earl of Shajtesbury . Samuel Cooper. V. and A. Museum. PLATE XXXJII. 88. Catherine oJ Braganza .... Samuel Cooper. H.M. The King. Chapter IV CONCERNING THE SITTERS OF SAMUEL COOPER, HIS METHOD OF WORK, ETC. LTHOUGH it may not be apparent at first sight, acquaint ance with the long list of Samuel Cooper's sitters, given in the Appendix and Supplement, reveals an aspect of the Civil War which may not have been realised by all my readers, viz. the varied pursuits of the men who took part in the Great Rebellion. To any one who is accustomed to regard the troopers of Cromwell and the formidable " Ironsides " as having been recruited from the lower middle classes for the most part, and to have been confined almost exclusively to Dissenters of one sect or another, scrutiny of these portraits may come almost as a revelation, since they show that a large proportion of the combatants was drawn from the upper classes and gentry who served in the armies of the Commonwealth. 35 Samuel Cooper An analysis of the lists to which I refer yields some interesting information on this point. Of course, the whole of Samuel Cooper's work in portraiture is not here recorded, but I think there is little doubt that it may be taken as a fair sample, and that the proportion which these Hsts disclose would equally apply to the whole of his work if we were in a position to ascertain what that actually was. Taking the record then as it stands, we see that the ladies' portraits are roughly one- third less in number than those of the men. When we remember the stormy times in which a large proportion of these portraits were painted, I think that fact may be considered as somewhat remarkable in itself The women of Cooper are only less interesting than his men, and it will be found that they are, as is the case with the male portraits, drawn from people who were far as the poles asunder in character and in life, e.g. the blameless Catherine of Braganza and the infamous Duchess of Cleveland, gambler, bad mother, and worse wife ; or again, Anne of Austria and the humble Mrs. Beale the Miniature painter ; all the women of Cromwell's family, Henrietta Maria ; the brave Lady Derby, the mischievous Countess of Carlisle ; Margaret Lemon, mistress of Van Dyck, and La belle Henriette, Duchess of Orleans ; the Duchess of Richmond (La belle Stuart) and Ann Temple ; Nell Gwynne and her Catholic rival the Duchess of Portsmouth, and I know not how many more. A great deal has been written about the heroes of the Rebellion, whether we look for them in the ranks of the stern Republicans or in the camps of the roystering Cavaliers. So, too, with many of the women who attained eminence, whether bad or otherwise, in those stirring times; but what of the women whose footsteps never learned to stray, the noise less tenor of whose way was in the cool sequestered vale of life ? — the mothers, the wives, the sisters of those who went to the war. Who has sung their praises } who recorded their virtues ? Yet it was in the homes of England that the patriots were bred, those men who broke the power of FeudaHsm once and for all. Who can measure the infiuence 36 PLATE XXXVIII. 89. 2nd Earl oJ Bristol Samuel Cooper. Lady Northcote. 90. Anne, Countess oJ Sunderland . Samuel Cooper. Earl Beauchamp. 91. Mary, Lady Carr Samuel Cooper. Marquis of Bristol. 92. John Pym .... . . Samuel Cooper. Mr. F. R. Astley. 93. Sir Freschville Holies .... Samuel Cooper. Duke of Portland. 94. Lucy Carr, Lady Holies . . Samuel Cooper. Duke of Portland. PLATE XXXIX. 95. Col. Matthew Fiennes . . . Samuel Cooper. Earl Beauchamp. 96. General Fleetwood .... Samuel Cooper. Mr. Gery Milner-Gibson-Cullum. 97. Archbishop Sheldon .... Samuel Cooper. Duke of Portland. Concerning the Sitters of Samuel Cooper of the mothers in those days of strife and bloodshed, in that fierce struggle between Charles and his people in which the whole course of English history was changed. At any rate Cooper has painted them, and such is the dignity, almost austerity, of some of them, that we feel in stinctively they are the fitting mates of the grave men who fought at Marston Moor, and on many a bloody field beside, and who hesitated not to send their monarch to a scaffold erected outside his own banqueting-house of Whitehall. With thoughts such as these uppermost in our minds when we look at the reticent sober style of Samuel Cooper's portraits, we see they must, they do, reflect the characters of his sitters with absolute fidelity, and there sounds something almost incongruous in saying that he was " a fashionable painter." But as such it is clear he was regarded in his own day ; the references Dorothy Osborne and Samuel Pepys make to him leave us in no doubt on the point, and his charges were very high. There is evidence that he was as highly paid as the favourite Court painter Sir Anthony Van Dyck, or at any rate approximately so. We may learn what his prices were from Walpole, who says he (Van Dyck) had ;^40 for a half- and ^60 for a full-length, and from the office-book of the Lord Chamberlain, Philip, Earl of Pembroke, it appears that in 1632 Van Dyck was paid ^40 " for the picture of the Queene presented to Lord Strafford." I have spoken of the very liberal patronage bestowed on Samuel Cooper by the Protector and his family, and there is a well-known story about Oliver Cromwell and his portrait which Dr. Propert has somewhere told as follows : " Cromwell had a rooted objection to sitting for his portrait, and was only induced to do so under protest. When the work was finished, Mrs. Claypole, his fevourite daughter, saw it, and asked Cooper to copy it for her, to which he agreed. Whilst staying at Hampton Court, the artist proceeded to do this. One day Oliver entered the room. Looking 37 Samuel Cooper over Cooper's shoulder, he said, * So ho ! Master Cooper, this is what you are after,' and carried off the two miniatures, one finished, the other unfinished. They both repose in the Duke of Buccleuch's cabinet." A writer in the " Athenaeum " (Sept. lo, 1898) states that " two Minia tures of Oliver Cromwell, which were being painted at Hampton Court, were snatched from the artist by the Protector, indignant because he found Cooper making a copy of the original His Highness had sat for. Lady Fauconbridge [sic~\ inherited one or both of her father's captures, which in the course of a divided inheritance parted company for about a century and a half only, to be reunited at Montagu House." Oliver Cromwell was generally painted in armour ; he is said to have worn it constantly in his later days from a fear of assassination, and it is somewhat remarkable that such a large proportion of the men Cooper painted are also wearing armour ; but of course the portraits are of those who took leading parts in the contest between the Commons and the Crown, and were the men who bore the brunt of the day, and were in the thick of the fight. These comprise such men as George Monck, afterwards Duke of Albemarle ; Prince Rupert ; Oliver Cromwell repeatedly, of w^hom it might be expected ; Richard Cromwell, his son, of whom it may not be expected ; The Marquis of Montrose ; Lord Charles Herbert ; Colonel Lilburne ; The Earl of Loudon. As fighting men, it is not surprising to find these wearing a breastplate ; but amongst the men we are not accustomed to class as warriors we find Shaftesbury, and it is noteworthy that both Cromwell's sons, though essentially men of peace, were painted wearing armour. In fact it seems to have been de rigueur at the time to be so depicted. In this connection, viz. the fact of men of war sitting for their pictures, 38 PLATE XL. 98. A Man Unknown . Alex. Cooper. H.M. The Queen of the Netherlands. 99. Duke of Leeds N. Dixon. Earl Beauchamp. IOC. Christopher Sifnpson . . T. Flatman. Duke of Portland. IOI. A Man in Armour . . Samuel Cooper. AI)'. A. Palmer Moreivooil. 102. General Fleetwood Samuel (hooper. Earl of Gosford. PLATE XLI. 103. John Holies, Earl of Clare . . Samuel Cooper. Duke oJ Portland, PLATE XLII. 104. Dr. Woodford Samuel Cooper. Mr. Skilbeck. 105. Earl of Sandwich Samuel Cooper. V. and A. Museum. 106. Frances Stuart, Duchess of Richmond . . Samuel Cooper. Rijks Aluseum, Amsterdam. 107. A Gentleman Unknown Samuel Cooper. Sir L. J. Jones, Bart. 108. Countess of Sandwich Samuel Cooper. Mr. H. Pfungst. Concerning the Sitters of Samuel Cooper I may remark that an analogous case is to be found in the days of the French Revolution, when, even during the Terror itself, and when, as we know, blood was poured out like water, men found time to have their portraits painted ; and their heads were taken off on canvas as well as by the guillotine. Amongst the most interesting portraits of ladies may be regarded one of that long-suffering and very handsome woman Mrs. Pepys. Unfortunately I am unable to trace this Miniature. It is mentioned in the "Art Journal," Sept., 1850, as being in existence, but that is all I am at present able to say about it. The history of its production is circumstantially given in the Diary, and from what is therein said we may conclude that as in clothes, so in other things, including pictures, Mr. Samuel Pepys was always determined to be in the fashion. Accordingly we find him calling on the femous limner in July, 1668, " to know when my wife shall come and sit for her picture." This was on the first day of the new half-year, when Mr. Secretary had probably been paid his salary. On the sixth of the month Mrs. Pepys gives her first sitting, her husband, W. Hewer, and " Deb " (Mrs. Pepys' maid) being present. Pepys observes that Cooper was " a most excellent workman." Two days later he is at the studio in Henrietta Street again, after dinner : " Then with my wife to Cooper's, and there saw her sit, and he do extraordinary things indeed." Two days later again, the picture would appear to be approaching completion, for we find the following entry : " To Cooper's, and there I find my wife (and W, Hewer and * Deb ') sitting, and painting ; and here he do work finely, though I fear it will not be so like as I expected." Three days later the diarist is there again, and by this time has formed a more favourable opinion of the prospects of the portrait, as the following entry shows : " 13th. To Cooper's, and spent the afternoon with them, and it will be an excellent picture." How it ultimately turned out we learn from an entry dated August loth : "To Cooper's, where I spent all the afternoon with my wife and girl, seeing him make an end of her 39 Samuel Cooper picture ; which he did to my great content, though not so great as I confess I expected, being not satisfied in the greatness ofthe resemblance, nor in the blue garment, but it is most certainly a rare piece of work as to the painting. He hath jT'^o for his work, and the chrystal and case and gold case comes to ^8, 3s. 4d., which I sent him this night that I might be out of his debt." Before taking leave of the sitters to Samuel Cooper, some of whose features one gets to know so well that parting with them has in it some thing of personal regret, I may dwell for a moment on a point which has its significance for all, viz. that, as is the case with so many other artists, there are numbers of works by Cooper which have to be classed as " anonymous," through the fault of former owners. Many of the portraits described in the following lists are pieces of undoubted quality, but whom they represent no man can say. It is not improbable, however, that the inclusion of them in this volume may facilitate identification hereafter, a consummation devoutly to be wished. I may add that some interesting identifications have been made during the progress of the book. Although many of the opinions expressed by Horace Walpole on art matters would not be accepted by critics of the present day, such as, for example, when he denies to William Hogarth the merit of being a painter, and extols Mrs. Damer to the skies, yet some of his dicta with regard to the men whose work he knew seem eminently true, and especially is this so with regard to Samuel Cooper, they are indeed of such value that they ought not to be omitted in any work pertaining to the Master. I therefore give them in Walpole's own words. Extract from '-'- Anecdotes of Painting.''^ " Samuel Cooper owed great part of his merit to the works of Vandyck, and yet may be called an original genius, as he was the first who gave the strength and freedom of oil to miniature. Oliver's works are touched and retouched with such carefiil fidelity, that you 40 PLATE XLIII. 109. Charles II. Samuel Cooper. Duke of Richmond and Gordon. PLATE XLIV. I ro. Duchess of Cleveland .... Samuel Cooper. H.M. The King. I r I . La belle Stuart Samuel Cooper. H.M. Tiie A'/«o. PLATE XLV. 112. A Toung Man, probably Richard Cromwell . Samuel Cooper. V. and A. Museum. 113. Viscountess Purbeck . , Samuel Cooper. Earl Beauchamp. I 14. Duchess of Buckingharn . Samuel Cooper. Duke of Buccleuch. 115. Sir John Carew . Samuel Cooper. V. and A. Museum. Concerning the Sitters of Samuel Cooper cannot help perceiving they are nature in the abstract ; Cooper's are so bold, that they seem perfect nature only of a less standard. Magnify the former, they are still diminutively conceived ; if a glass could expand Cooper's pictures to the size of Vandyck's, they would appear to have been painted for that proportion. If his portrait of Cromwell could be so enlarged, I do not know but Vandyck would appear less great by the comparison. To make it fairly, one must not measure the Fleming by his most admired piece, * Cardinal Bentivoglio ' ; the quick finesse of eye in a florid Italian writer was not a subject equal to the Protector ; but it would be an amusing trial to balance Cooper's * Oliver ' and Vandyck's * Lord Strafford.' To trace the lineaments of equal ambition, equal intrepidity, equal art, equal presumption, and to compare the skill of the masters in representing the one exalted to the height of his hopes, yet perplexed with a command he could scarce hold, did not dare to relinquish, and yet dared to exert ; the other, dashed in his career, willing to avoid the precipice, searching all the recesses of so great a soul to break his fall, and yet ready to mount the scaffold with more dignity than the other ascended the throne. This parallel is not a picture drawn by fancy ; if the artists had worked in competition, they could not have approached nigher to the points of view in which I have traced the characters of their heroes. " Cooper with so much merit had two defects. His skill was confined to a mere head ; his drawing even of the neck and shoulders so incorrect and untoward, that it seems to account for the numbers of his works unfinished. It looks as if he was sensible how small a way his talent extended. This very poverty accounts for the other, his want of grace, a signal deficience in a painter of portraits ; yet how seldom possessed I Bounded as their province is to a few tame attitudes, how grace atones for want of action ! Cooper, content, like his countrymen, with the good sense of truth, neglected to make truth engaging. Grace in painting seems peculiar to Italy. The Flemings and the French run into opposite extremes. The first never approach the line, the latter F 41 Samuel Cooper exceed it, and catch at most but a lesser species of it, the genteel ; which if I were to define, I should call familiar grace, as grace seems an amiable degree of majesty. Cooper's women, Hke his model Vandyck's, are seldom very handsome. It is Lely alone that excuses the gallantries of Charles II. He painted an apology for that Asiatic court." The comparison of Cooper's work with that of Van Dyck, to whom, as we have seen, by the extract quoted above, the former is said to owe a great part of his merit, is distinctly interesting, if not convincing. The passage would have been still more interesting had the dilettante owner of Strawberry Hill made the comparison between Cooper and the great master of portraiture. Sir Joshua Reynolds, so many of whose works he had an opportunity of seeing when they were in their pristine condition, before time had played such havoc with them as it has in so many cases, this owing, alas it must be said, not so much to the ravages of time as to the deplorable experiments which Sir Joshua made with his pigments. Moreover, to Walpole would have fallen the advantage of comparing these works with the originals, whose contemporary he was, and many of whom he met when, leaving Twickenham for the nonce, he went into Society. Not that this question of likeness is one of extreme importance in the case either of Cooper and Sir Joshua, or of Cooper and Van Dyck. All three of these pre-eminent portrait-painters may be credited with an undoubted power of seizing the character of their sitters and of expressing it upon canvas, vellum or card. The comparison, it must be owned, is an interesting one. If degrees are to be expressed, then we must, I think, give the palm of superlative truth to Cooper. The courtly grace which seems inseparable from Van Dyck's portraits, and which it is hard to believe the originals possessed in so marked a degree, is almost absent from Cooper. With Sir Joshua, on the other hand, we seem to find the middle course pursued. Nothing can exceed the aristocratic refinement of his ladies, especially those " frill lengths " such as Mrs. Carnac, Lady Bamfylde, Mrs. Pelham, and 42 PLATE XI AA. II 6. Mrs. Middleton . . . Samuel Cooper. Earl Beauchamp. PLATE XIAII. I If. Duke of Monmouth when young . . Samuel Cooper. H.M. The King. PLATE XLVni. rr8. Frances Stuart, Duchess of Richmond . Samuel Cooper. Duke of Beaufort. [19. Lord Fairfax . . . Samuel Cooper. Air. Fairfax .VJurray. 1 20. Lady Leigh . . . . . . . Samuel Cooper. Mr. Fairfax .Vlurray. 12 1. Cardinal Mazarin .... ... Samuel Cooper. Mr. Skilbeck. 12 2. The Earl of Lindsay Samuel Cooper. .VJr. Fairfax Murray. 123. Sir H. Blount Samuel Cooper. Countess of Caledon. His Method of Work many more in which he and the great engravers of his day have immortalised the grace mixed with sweetness of the English lady of the eighteenth century. And yet nothing could be finer in its way than his dignified Burke, or David Garrick, with the sparkling eyes, resting his entwined hands on the table from which he gazes at us with such an arresting glance in the picture engraved by Thomas Watson, or that ponderous Samuel Johnson which Doughty's mezzotint has so finely rendered. In Cooper we have no ambitious work, so to speak, at all. He hardly ever goes beyond head-and-bust portraits, and even then he seems too impatient to finish his pictures. It is not, I am persuaded, for want of ability. And against Horace Walpole's statement, as set forth in the laboured com parison which I have quoted above, that " his drawing even of the neck and shoulders was incorrect," and that he. Cooper, " was sensible how small a way his talent extended ! " I would urge, surely the artist who has drawn the human face with such subtlety, force, and truth could, had he chosen, have drawn necks and shoulders ! The explanation seems to be that what little of the figure is shown in his portraits is often more than he cares to take the trouble to complete. Once he has got a man's head, or I should say his face, and the mind which speaks through its lineaments, once he has seized those, he seems in different to the rest. Yet the costume of the period, of men at any rate, was excessively picturesque. So again with his portraits of women. He seems to have " no feeling," as we say, for the charm of drapery, the dress, coiffure and pose of his female figures being constantly treated in a way which is uninteresting, not to say monotonous. The picture of Mrs. Cooper from Welbeck which adorns this volume may be regarded as an exception proving the rule, it being attractive and unusually vivacious ; moreover, it has a landscape background to it. In conclusion, a few remarks may be offered upon Cooper's manner of work. Sir Richard Holmes made what he terms " a long and prolonged 43 Samuel Cooper study " of the work of both Hoskins and his nephew, and writing in the " Burlington Magazine," vol. vii., he says : " Cooper when young had imbibed all the knowledge possible for him to acquire. This is conclusively proved by the examination of his earliest dated work. One of these dated 1642 is a large miniature preserved at Burleigh House, of Elizabeth, Countess of Devonshire, half length, the head and hair finely drawn and painted with Cooper's peculiar mastery, but the hands, which are carelessly posed across the waist, are very weakly drawn. They more resemble the work of Hoskins. Cooper to the end of his career never succeeded in painting a hand, and nearly always left them out. The background and figure generally suggest Van Dyck, and the work was probably done in Hoskins' studio. A long study of the work of the two seems to point to the fact that till he was thirty Cooper was employed by Hoskins to paint the faces only, and that many of the works signed by the uncle owe a great measure of their merit to the nephew. This, if true, will account for the rarity of early signed works by Samuel Cooper, and the great difficulty there is in deciding on the authorship of the unsigned works of painters of this period, evidently of the first rank. It may also have been the cause of the estrangement between the two artists." As to the earliest dated work, to which reference has been made above, Messrs. Duveen exhibited at the Brussels Exhibition of Miniatures a por trait of Henry Frederick XIIL, Earl of Arundel, which formerly belonged to Mr. Philip Howard of Corby. This is signed and dated 1642, and in 1905 Mr. E. M. Hodgkins exhibited a portrait of Col. Lilburne which was dated 1640, or two years earHer than the above named. There was a portrait of Richard Cromwell in the collection of the late Mr. Charles Butler dated 1643, and there is a "portrait of a lady — unknown — of the time of Charles I." shown in the Rijks Museum, Amsterdam, which came from the Mauritshuis ; this is also dated 1643, otherwise I have not met with dated examples, except those named, until we come to 1647, of which year several exist, as will be seen on reference 44 PLATE XLIX. 124. Margaret Lemon . . . Samuel Cooper. Mr. H. Pfungst. PLATE L. 125. James II. Samuel Cooper. Duke of Beaufort. 126. Prince Rupert Samuel Cooper. H.M. The King. 127. Charles II. {sketch) . . . Samuel Cooper. Mrs. A. E. Hiles. 128. Mary of Modena . . . Samuel Cooper. Duke of Beaufort. 129. Miss Kirk Samuel Cooper. Duke of Beaufort. PLATE LI. 130. Duchess of Buckingham . . . Samuel Cooper. Duke oJ Buccleuch. 131. Lady Heydon Samuel Cooper. Duke of Buccleuch. 132. Lady Mary Fairfax .... Samuel Cooper. Duke of Buccleuch. 133. Samuel Butler Samuel Cooper. Duke of Buccleuch. PLATE LIL 134. Ann Temple. ... . . Samuel Cooper. Viscount Cobham. PLATE LHI. 135. Oliver Cromwell Samuel Coope;. Duke of Devonshire. ^^.*- -.''F"-#t^p His Method of Work to the chronological list appended to this chapter. By this time the artist, being thirty-eight years old, had come to a plenitude of his powers. Nothing by his hand is finer or more masterly, to my mind, than the portrait of Colonel Fleetwood belonging to Mr. Gery Milner Gibson Cullum, which is dated 1647. In spite of the contemporary appreciation of Cooper, of the fact that many of his works have been engraved, and that his genius has been generally recognised by students of such matters, he yet remains, I have good reason to assert, comparatively unknown to many readers, and even to a considerable proportion of students of art. Unquestionably, too, there is a remarkable and most regrettable absence of examples of his work in our great public collections. It is true that in the Victoria and Albert Museum there are now, thanks to that munificent collector the late Mr. Salting, some good specimens of Cooper's skill ; but until quite lately his works at Kensington could be counted on the fingers of one hand, whilst in the rich Wallace collection there are only two portraits assigned to him. If we turn to the provincial galleries, which of late years have assumed so much importance and bear evidence of the wealth and patronage of art in many centres of industry, such as Manchester, Liverpool, Birmingham and Glasgow, not to speak of Edinburgh and Dublin, to the best of my knowledge there is not one to be found in them, and the most striking omission of them all is in that collection in which of all others one might expect to find him adequately represented, namely the National Portrait Gallery. There we have a collection expressly designed to show the great men and women of this nation, and yet of the works of Cooper there is but one solitary and indifferent example. Nor is this dearth confined by any means to Cooper himself; as I have also pointed out in the Introduction to this volume, there is quite a number of contemporary artists whose work may be considered supplementary to that of Samuel Cooper. Some of these artists were his direct followers, such as Flatman, and many no doubt were influenced by the style of the fashionable painter of the day, 45 Samuel Cooper for such it must be conceded Cooper undoubtedly was, as the avaricious Samuel Pepys discovered when he had to pay thirty pounds for his wife's picture, for, as we know, this sum is equivalent to several times the amount in these days, and is in truth a considerable amount to pay for a Miniature. And now we must pass on to consider in another chapter the works of other artists who may be styled English limners of the seventeenth century, although to be sure they were not all born in this country. None of them can be said to have shown the transcendent ability of Samuel Cooper, but much of what has survived of their work is of value and interest to lovers of Art and students of History alike, and deserves our careful study. 46 PLATE LIV. iT,6. Prince Rupert Samuel Cooper. Duke of Buccleuch. Dated Portraits Dated Portraits ascribed to Samuel Cooper described in this work and chronologically arranged. 1638. Carlisle, Lady Lucy Percy, Countess 1650. of. 1640. Lilburne, Col. Robert. 1651. Unknown man. Do. lady. 1642. Arundel, Henry Frederick, 15th Earl. Devonshire, Countess of. 1643. Cromwell, Richard- Lady, time of Charles I. 1652. 1644. Snelling, Matthew. 1645. Ireton, General. 1647. Brooke, Robert, 3rd Lord. Cromwell, Richard. Fanshawe, Miss Aline. Fleetwood, Colonel George (2). Mary, Princess of Orange. 1653. Rochester, Anne, ist Countess of. Do. Henrietta Boyle, Countess of. St. Albans, Earl of (2). Sandwich, Jemima, ist Countess of. 1648. Leigh, Margaret. Rochester, Anne St. John, ist Countess of. Unknown lady (2). 1649. Cromwell, Richard. Fairfax, Lord. 1654. Ireton, Gen., Henry. Young man in armour. Lindesay, Earl of. 1650. Buckingham, Lady Mary Fairfax, 2nd Duchess of. Graham, of Esk and Netherby, Sir Richard. 47 Manners, Lady Grace. Scrope, Coddrington, Sir Adrian of. Cromwell, Elizabeth (nee Bourchier). Fleetwood, Lieut.-Gen. Charles. Southampton, Thomas Wriothes- ley. Earl of. Unknown man. Do. lady, Claypole, Mrs. (Elizabeth Crom well). Cromwell, Bridget (Mrs. Iretori). Lenthall, William. Townshend, Viscount, Do. Viscountess. Unknown girls (2). Cowley, Abraham. Cromwell, Elizabeth! (Mrs. Do. do. j Claypole). Cromwell, Oliver, as Lord Pro tector. Cromwell, Richard. A young man ; surmised to be Richard Cromwell. Isham, Sir Justinian, 2nd Bart. Gentleman in armour. Earl of Pembroke. Buckingham, Lady Mary Fairfax, 2nd Duchess of. Gloucester, Prince Henry, Duke of. Holies, Frances, Lady. Milton, John. Richmond and Lennox, Charles, 3rd Duke of. Richmond, James Stuart, Duke of. Samuel Cooper 1654. Wallop, Col. Robert. 1655. Brooke, Robert Greville,2nd Baron. Cromwell, Richard. Digby, Venetia, Lady. Gentleman, unknown, in armour ; qr. Oliver Cromwell. Gloucester, Prince Henry, Duke of Lady, unknown ; after Van Dyck. Rich, Lord. Richmond, Frances, Duchess of. 1656. Albemarle, Geo. Monck, Dukeof. Bedingfield, Sir Henry. Clare, John Holies, 2nd Earl of. Charles II. Cromwell, Oliver. Dartmouth, George Legge, ist Baron. Fleetwood, Lieut.-Gen. Charles. Gainsborough, Countess of. Lady, unknown, in blue dress. Man do., in black doublet, Rutland, John, Sth Earl of 1657. Cooper, Samuel. Cromwell, Henry. Cromwell, Oliver. Fanshawe, John. Fiennes, Colonel Nathaniel. Gainsborough, Earl of. Elderly gentleman in armour. Albemarle, Geo. Monck, Duke of. 1658. Borlase, Sir John ("about 1658 "). Cromwell, Richard. Albemarle, Geo. Monck, Duke of Portrait of a gentleman. 1659. Lilburne, Col. Robert. Mazarin, Cardinal. Sandwich, Edmund Montague, ist Earl of 1660. Charles IL Unknown man in armour. Wiseman, Richard. 1 66 1. Lady, unknown. Southampton, Thomas Wriothes- ley, 4th Earl of Tomkins, Sir Thomas. Woodford, Dr, 1662. Cutts, John, Lord. Fauconberg, Viscount. 1664. Cleveland, Barbara, Duchess of. Cromwell, Richard (2). Carr, Right Hon. Sir Robert ("about 1664"), Thomas Hobbes. 1665. Charles II. , aged 35. Do. in Garter robes (2), Chesterfield, Countess of. Leeds, Duke of, assuming that 1 665 is the date and not 1685. (See 1685.) Richmond, Charles, Duke of. 1667. Arran, Earl of Charles II, in armour, wearing Garter. Chesterfield, Philip Stanhope, 2nd Earl of. Dover, Henry Jermyn, ist Lord 1668. Gwynne, Eleanor. Mrs. Samuel Pepys. 1669. Holies, Sir Freschville, Romney, Earl of. Sandwich, ist Earl of. 1670. Unknown lady, time of Charles II, John, Earl of Digby. 1 67 1. Derby, Charlotte, Countess of 1674. Shaftesbury, Earl of, 1685. Leeds, Thos. Osborne, ist Duke. As Cooper died in 1672, this must be wrongly described ; 1665 being probably correct. It is further to be remembered that this nobleman was not created Duke of Leeds until 1694. 48 PLATE LV. 137. Countess of Ossory .... John Z. Kneller Duke of Beaufort. Chapter V NICHOLAS DIXON SLIGHT acquaintance with the Miniatures which were painted in the Restoration period and onward, suffices to show that Samuel Cooper stood head and shoulders over his contemporaries, that he was succeeded by no one whose ability will bear comparison with his, and also that many years elapsed before any name approaching his in importance appears in the history of Miniature painters in this country. There was ability, nevertheless, possessed by his pupils and followers, amongst whom the foremost place perhaps, on the whole, must be given to Nicholas Dixon, who succeeded Cooper as Miniature Painter in Ordinary to the King. The remarks made in preceding pages as to the unfamiliarity of the present generation with the works of many artists of this period apply with special force to Nicholas (not Nathaniel, as he is often wrongly called) Dixon. It seems to the present writer time that this artist was given his proper place, and I am glad to be able to describe in this volume eighty G 49 Samuel Cooper or ninety examples from his brush, belonging to some of the most celebrated collections in this country, such for example as those of the Duke of Buccleuch at Montagu House and of the Duke of Portland at Welbeck Abbey. The want of acquaintance with Dixon is the more remarkable because Walpole knew of him, only he terms him John Dixon, and Redgrave, in his "Dictionary of Artists of the EngHsh School," follows him, as do the compilers ofthe " Dictionary of National Biography." But without pursuing this matter further, it may be said, and must be admitted, that Dixon was a good Miniaturist and a competent artist. He was a pupil of Sir Peter Lely's, At Welbeck, that stately home of so much art of the period, still remain some thirty water-colour copies of " histories," as Walpole terms them, such as " Sleeping Venus and Satyrs," and especially " Diana and her Nymphs bathing." There was originally double this number, when the collection was formed by Lord Oxford. Dixon painted some of the most distinguished people of his day, as may be seen by the titles of the Miniatures described in this book. He was in favour with the Court circle, in fact Keeper of the King's (William the Third's) Picture Closet, and when in 1698 he started a " bubble " Lottery, the Princess Anne was an adventurer therein. Walpole gives some particulars of this business, which did not turn out well. One feature of it deserves mention in this work, viz. that amongst the prizes was a collection of limnings valued so highly by Dixon that he offered to give ;^2000 in lieu of it to the person to whom it might fall. The painter got into debt, left his residence in St. Martin's Lane, and retired, first to the Temple, and then to Thwaite, near Bungay, in Suffolk. He died there in 17 15. His widow and children were living there ten years later. Judging from the Lottery episode, and a picture- dealing transaction with the Duke of Devonshire which Vertue relates, Dixon would seem to have been of a speculative turn. His late work is distinctly inferior, but on the whole, and taken at his best, he may be bracketed with Lawrence Crosse, whose style is very similar to his own. 50 PLATE LVI. 138. Mrs. Knott Nicholas Dixon. Mr. H. Pfungst. PLATE LVII. 139. An Unknown Man Nicholas Dixon. Sir L. J. Jones, Bart. 140. „ Duchess oJ Portsmouth and Child . Nicholas Dixon. Earl Spencer. 141. Catherine oJ Braganza . . . Nicholas Dixon. Mr. J. Ward Usher. 142. 2nd Duke oJ Albemarle .... Nicholas Dixon Marquis of Bristol. PLATE LVIII 143. Mr. Trotman oJ Shelswell . . Nicholas Dixon. Mr. H. Pfungst. Sir Balthazar Gerbier To Mr. Collins Baker and to Mr. Robert Goulding, Librarian at Welbeck Abbey, belongs the credit of the discovery that Nicholas Dixon was Miniature Painter in Ordinary to Charles II. in succession to Samuel Cooper, each being described as " Miniculator Regis " in documents quoted in the " Burlington Magazine " (October, 191 1). In the Public Record Office are preserved some particulars of a pension of £200 per annum paid to Christine Cooper, relict of Samuel Cooper, and, further, there was " paid to Nicholas Dixon, Miniculator Regis, for his annuity at £200 per annum for three quarters of a year, ended at the Feast of the Annunciation of the Blessed Mary the Virgin, 1675, ^^150," etc. Further payments are specified as having been made up to the end of 1678. At Welbeck the Duke of Portland possesses, continues the same authority in the article quoted, " an indenture of bargain and sale dated Nov., 1700, whereby Nicholas Dixon ofthe parish of St. Martin's in the Fields mortgaged seventy of his limnings for the considerable sum (when allowance is made for the different value of money) of ^527, 13s. 6d., to James Beschefer in trust for James Pigou and Stephen Pigou. These were transferred to the collection of John Holies, Duke of Newcastle, for ^430, from whom they passed to his daughter Henrietta, Countess of Oxford, at whose death they were inherited by her daughter Margaret, wife of William Bentinck, second Duke of Portland." Thirty of these, mostly Mythological subjects and copies of Old Masters, are in the possession of the Portland family still, as I have said, and the Marquis of Exeter possesses a copy of the " Wise Men's Offering " by Dixon at Burghley. It should be observed that the John Dixon with whom Nicholas Dixon has been confiised was born many years later than the Miniature painter. He was an Irishman and a well-known and fine Mezzotint engraver. SIR BALTHAZAR GERBIER Owing to the difficulty, in so many cases, of ascertaining the date of birth of the artist, it has not been practicable to adopt a chronological 51 Samuel Cooper arrangement in this book. Had it been otherwise, in the second portion of it, viz. that which deals with painters other than Cooper belonging to this period, we should probably have had to commence with Sir Balthazar Gerbier, who, in some respects, is by no means the least interesting character in the Hst. He was born at Middelburg in 159 1 or 1592. It was as a retainer of the Duke of Buckingham that he came to this country, and he went with " Steenie " and Charles the First to Spain on that romantic but fiitile business known as " the Spanish match." Among the Harleian MSS. is a letter from the Duchess of Buckingham to her lord in Spain : " I pray you, if you have any idle time, sit to Gerbier for your picture that I may have it well done in little." Bishop Tanner had a MS. catalogue of the Duke's collection drawn up by Gerbier, who had been employed by the Duke in several of the purchases. When in Madrid Gerbier painted a portrait of the Infanta. Probably he made himself useful in the intrigues connected with this affair, which, as we all know, ended in failure, to the great joy of this nation. Evidently he retained the Royal favour, and we hear of his entertaining Charles the First and his Queen, Henrietta Maria, in 1628, at vast expense. Some five years afterwards he was in Spain with Charles. The year 1628 saw the murder of Buckingham, and Gerbier was knighted in it. Subsequently he was appointed Master of the Ceremonies, He appears to enjoy the reputation of being an adventurer. Be that as it may, it is clear that he was a man of many parts. Leaving England in the days of the Commonwealth, he returned to this country after the Restoration and applied himself to Architecture, Sir Balthazar is said to have designed the triumphal arches with which the streets of London were adorned when Charles IL made his public entry at the Restoration. If the quality of Gerbier's work as a Hmner had to be measured by the portrait of Charles I. as Prince of Wales, which is in the Jones collection and here reproduced, we should not esteem it very highly, and compari- 52 PLATE LIX. 144. Earl of Ossory . . . Thomas Flatman. Earl Beauchamp. 145. Portrait of Himself . . Thomas Flatman. Earl of Carlisle. 146. Sir Henry Blount .... Nicholas Dixon. Earl Beauchamp. 147. A Lady Unknown . . Nicholas Dixon. Duke of Richmond. 148. James, Duke of Ormonde . Thomas Flatman. Mr. C. It Reynolds. 149. Samuel Pepys . ... Nicholas Dixon. V. and A. Museum. PLATE LX. 1 50. Spencer, Earl of Sunderland . . . Nicholas Dixon. Duke of Buccleuch, PLATE LXI 151. "Henley" M. Wright. Earl Beauchamp. 152. Oliver Cromwell — Bellamy. Mr. Francis Wellesley. 153. Teniers the Younger Sir Balthazar Gerbier. V. and A. Museum. 154. Charles I, when Prince of Wales . Sir Balthazar Gerbier. V. and A. Museum. PLATE LXII 155. Albertine, Agnes of Nassau David des Granges. Rijks Museum, Amsterdam. 156. Inigo Jones David des Granges. Duke of Portland. 157. Henrietta Stuart, wife of Stadtholder William III. David des Granges. Duke of Portland. 158. Charles II. when young .... . . David des Granges. Earl Bathurst. 159. Henrietta Maria . . . ... David des Granges. H.M. The King. 160. General Fleetwood ... David des Granges. Earl Beauchamp. David des Granges sons between it and the Miniatures of Hoskins, say, would be very much to the disadvantage of the Middelburg painter, so badly drawn is this lumpish face. On the other hand, the portrait of David Teniers the elder (and not, as he is called in the Victoria and Albert Museum Catalogue, the younger) is full of character and work of a different and superior nature. As to the title of this portrait, which is signed B. G. 1627, i^ ^^ quite clear that the elder Teniers is represented, since the younger would be only seventeen at that date, and this is a man of middle age, exactly corresponding apparently to the years of the original. The error is no doubt traceable to the Catalogue of the Hawkins Sale, whereat this Miniature was bought in 1904. DAVID DES GRANGES David des Granges is one of the group of Miniature painters who worked in this country who are comparatively unknown at the present day, or were so until quite recently. Redgrave does not mention Des Granges at all, but, as with Dixon, so with him, recognition has come of late years, and at Windsor, at Welbeck, and at Montagu House examples of his very respectable powers may be found, whilst at Brussels, in the Exhibition of the Spring of 19 12;, there were half a dozen works by him contributed by various owners, which in the judgment of the present writer fully vindicate the claim which has been put forward on his behalf. These comprised some portraits of historical interest. Moreover, as will be seen on looking at the list of his works appended, I have been able to trace a considerable number more, so that his powers and his position can now be said to be ascertained and allowed, although Propert spoke so disparagingly of him, due probably to a want of acquaintance with his works. The reference to Des Granges in the " Dictionary of National Biography " is extremely brief. But from Jhr. Van Riemsdijk's admirable Catalogue of the Rijks Museum at Amsterdam (where, by the way, a couple of examples of David des Granges' work may be seen) we may learn that he was baptized in 53 Samuel Cooper London, 20th January, 16 13, died in 1675, and was a pupil of Peter Oliver. The Director of the Museum adds that Des Granges is supposed to have visited Switzerland and England : he went also to Scotland, where he was appointed Miniature painter to King Charles II. In view of the number of portraits of EngHsh people by this artist which I have traced, we may probably safely conclude he was in this country after the Restora tion. In the Catalogue of the Brussels Exhibition of Miniatures he is said to have been born probably in 1 6 1 1 , and to have been baptized in the Huguenot Church in London. The Catalogue states that he became a Romanist, and received commissions from French Dominican Friars to paint benefactors of their Order. From the same source we may learn that he was a great friend of Inigo Jones, and that Charles II. procured him many commissions. Amongst the examples at Brussels to which I have already referred is one of that monarch, wearing the Order of the Garter, which belongs to Earl Beauchamp, and there is a portrait extant of Catherine of Braganza dressed as a Pilgrim, which was shown at Kensington in 1865. That he achieved reputation before the Restoration would appear probable from the portrait which Mr. Henry Pfiingst exhibited at Brussels of Robert, the third Earl of Essex, who died in 1646, and also of one of Lieut.-Gen. Fleetwood which is dated 1656, and is part of the collection at Madresfield. As to Des Granges' friendship with Inigo Jones, that may very well have existed, since there is a good portrait by him of the famous architect at Welbeck, which I have reproduced as a favourable example of the powers of the artist, it being, indeed, the best thing that I know by him. The head is full of force and character and the features well modelled. RICHARD GIBSON As an artist, it must be admitted, Gibson does not attain to the rank of several of the painters mentioned in this book. Nevertheless he was held in good repute in his own day, and was a special protege of Royalty. 54 PLATE LXIII. i6r. Portrait of a Child . . . . . R. Gibson. British Museum. PLATE LXII . i6i. Elizabeth, Countess of Carnarvon . R. Gibson. Duke of Beaufort. 163. Charles, Earl of Carnarvon . . . R. Gibson. Duke of Beaufort. 164. A Toung Lady R. Gibson. Countess of Tarborough. 165. Ann, Countess of Bedford . . . . R. Gibson. Earl Beauchamp. 166. Duchess of St. Albans .... R. Gibson. Hawkins Collection. 167. Portrait of a Divine R Gibson. Duke of Beaufort. PLATE LXV. 1 68. Portrait of Herself Mary Beale. British Museum. PLATE LXVI. 169. Archbishop Tillotson ... . Mary Beale. British Museum. PLATE LXVII. 170. Duchess of Somerset . . . Mary Beale. Mr. H. Pfungst. V v/ > ATV..\'A 5'd Vi\J . TO'JI' i.s\ A( \ PLATE LXVIII. I J I. Charles Beale .... . . Mary Beale. V. and A. Museum. Richard Gibson This arose no doubt from the fact that he and his diminutive wife were attached to the Court as " Dwarfs." The marriage of Gibson with Anne Shepherd, who, like himself, was just three feet ten inches in height, was celebrated in the presence of Charles I. and Henrietta Maria. Edmund Waller wrote a poem on the subject commencing thus : " Design or Chance makes others wive, But Nature did this match contrive." They had several children — no less than nine — five of whom lived to maturity and were of proper size, one of them being Susan Penelope Gibson : she was a painter, of whom more hereafter. The artistic training of Robert Gibson was derived from De Cleyn, who was Superintendent of the Tapestry Works at Mortlake, and Gibson was employed as a page by a lady at the same place, but he was born in Cumberland in 1615. This lady placed Gibson with Cleyn, and he must have profited by his opportunities. We find him mentioned in Mr, Beale's Diaries as visiting Mary Beale's studio with Mr, Lely and " commending her works." This was in 1672. As the fashionable portrait-painter of the day, which Sir Peter Lely then was, Gibson showed his discrimination in associating himself with him, and we learn that he devoted himself to copying the works of Sir Peter, whose approbation he seems to have won, as the great man drew his — the dwarfs — picture leaning on a bust in 1658, and. Mrs. Gibson " in black." Lely also painted the little couple hand-in-hand for the Earl of Pembroke ; this was in the style of Van Dyck. Dobson also painted him. There is another small picture on record of Gibson with his master, Francesco Cleyn, in green habits as archers, with bows and arrows ; and there was a drawing of Gibson by Van Dyck, formerly owned by Sir William Hamilton. Lastly, I may mention that Mr. Gibson is represented with the Duchess of Richmond in a picture by Van Dyck at Wilton. Thus we see that the Httle couple were very much-painted people. Gibson lived to be seventy-five, dying in 1690 : he was buried in St. Paul's 55 Samuel Cooper Church, Covent Garden. His wife lived on till 1709, when she was eighty-nine years old. Vertue asserts that Cromwell was painted several times by Gibson, but I have not met with any Miniatures of the Protector by him. There are representative works by the little limner at Badminton and at Madres field. His daughter, Susan Penelope, married a jeweller named Rose, and I have a shrewd suspicion that he was the " Mr. Rose " whose portrait is among the contents of the pocket-book now shown at the Victoria and Albert Museum, and long labelled as the pocket-book of, and containing works by Samuel Cooper, a heresy which other writers on Miniatures still cling to. Miss Gibson had Bishop Burnet as a sitter, and painted him in his robes as Chancellor of the Order of the Garter. This Miniature fetched ^^5 at the Strawberry Hill Sale. There was also another Gibson, a Miniature painter of this period, viz. William (b. 1644, d. 1702). He was probably a nephew of the dwarf He was a pupil of Sir Peter Lely's and must have been well-to-do, as he bought most of that artist's collection when it was dispersed in 1682. This was a very important sale, and lasted forty days ! It reaHsed the then very large sum of ^^ 2 6,000. Lastly, speaking of the Gibson family, I may mention Edward, whom Vertue assumes to have been brother to Susan Penelope ; he died at the age of thirty- three. He " began with painting portraits in oils, but changed that manner for crayons." MARY BEALE, CHARLES BEALE, AND BARTHOLOMEW BEALE Whilst there is but little known of the works of Susan Penelope Gibson (Mrs, Rose), and Penelope Cleyn remains a shadowy person to whom, as some think, many works have been attributed in error owing 56 PLATE LXIX. I J 2. Mrs. Anne Jennens . Charles Beale. Earl Beauchamp. 173. Duchess of Buckingham Charles Beale. Earl Beauchamp. 174. Henry, ist Duke of Beaufort Mary Beale. Earl Beauchamp. 175. Anthony Triest, Bishop of Ghent, after Van Dyck Charles Beale. V. and A. Museum. PLATE LXX. 176. Sir Peter Lely Charles Beale. V. and A. Museum. PLATE LXXI. 177. Portrait of a Divine . . . Thomas Flatman. Mr. J. J. Foster. PLATE LXXII. 178. Dr. Woodford . . Thomas Flatman. Mr. H. Pfungst. 179. Constantine Lyttelton . . . . Thomas Flatman. Viscount Cohham. 1 80. John Egerton, ^rd Earl of Bridgewater Thomas Flatman. Duke of Portland. r 8 I . William, Lord Russell Edmund Ashfield. Duke of Rutland. PLATE LXXIII 182. Portrait of Himself . . . . Thomas Flatman, V. and A. Museum. Mary Beale, Charles Beale, and Bartholomew Beale to her initials — P. C. — being the same as those of Paolo Carandini (see posted)^ I say, whilst our information about these lady artists remains scanty and nebulous, in the case of their contemporary, Mary Beale, we are left in no doubt whatsoever. She lived and died in an odour of sanctity, and her husband sang her praises loudly and, what is more, with justice. It has been said of an artist's life that nothing matters but his work, and this is a truth which soon makes itself felt in the minds of those who seek to write about artists' careers, as Walpole found out. The less heroic, the less swayed by strong emotions likely to disturb the even tenor of their way, the better are they enabled to devote themselves to their peacefiil pursuit, viz. the practice of their art ; — the offspring of leisure and of luxury is she, a damsel easily affrighted by war's alarms. Not that the lives of artists are necessarily more uneventful than those of other men, judged from their own standpoint ; they have their hopes and fears, their triumphs — often how few ! — their disappointments — alas how many ! but their struggles are not seen, their sufferings are unknown or only guessed at. No ! the unsuccessful artist does not seek to excite public sympathy, for praise and admiration are the breath of his nostrils, but indifference and neglect — God help him, how well he knows them ! — to parade his failures would be Maranatha. Sympathy with the struggles of artists has made me digress. What I am now concerned to say is something about the work of a successful lady artist, Mary Beale to wit, and she, judging from her husband's testimony, was one of the gentlest of her sex. If to be mentioned in Horace Walpole's famous "Anecdotes of Painting" confers distinction, not to say immortality (and in a sense it may be said to do so), then Mary Beale is relatively a very distinguished artist. This arises not so much from her artistic merits, which were by no means transcendent, as from the fact that her husband kept a Diary, from which Vertue made somewhat copious extracts, and on which Walpole remarks that he offers them " to the reader without apprehension of their H 57 Samuel Cooper being condemned as trifling or tiresome. " If they are so," he asks, " how will this whole work" {i.e. his "Anecdotes of Painting") "escape.? When one writes the Hves of artists who in general were not very eminent, their pocket-books are as important as any part of their history." Encouraged by this remark, we may proceed to glance at these extracts and see what they disclose of these worthy people, who appear, by the way, to have spent some ten per cent, of their income in charity. We are concerned with Mary Beale and her son Charles. She had another son Bartholomew, but he had no inclination for painting, and, relinquishing it, studied physic under Dr. Sydenham and practised at Coventry, where he and his father died. The entries in the Diaries were made by Beale p^re^ who was employed at the " Board of Green Cloth," and it is pleasant to see the affection he evidently bears to his wife, who is never referred to without an affectionate epithet, such as " My Dearest," " My Heart," My dearest Heart," and the like. Mr. Pepys was well acquainted with Mr. Beale. Thus, on the 13th of July, 1660, he tells us, " Up early the first day that I put on my camlett coat with silver buttons to Mr. Spong, whom I found in his night-gown writing of my patent. It being done we carried it to Mr. Beale for a dockett," etc. The diarist adds, " I did give him two pieces, after which it was strange how civil and tractable he was to me " — from which it would seem that worthy Mr. Beale was amenable to " une douceur.'''' Beale was evidently acquainted with many well-known men of his day, especially clergy and artists, and the names ofthe Earl of Clarendon, the Earl of Athol, Sir Stephen Fox (Charles II.'s paymaster-general, who had so much to do with the founding of Chelsea Hospital) ; the Duke and Duchess of Newcastle ; Lords Halifax, Bolingbroke, Shaftesbury, and I know not how many more lords and ladies ; Dr. Tillotson, Dr. Cradock, Dr. StiHingfleet, and the Lord Bishop of Chester ; Lady Fauconberg (Oliver Cromwell's daughter), and amongst artists Sir Peter Lely, Gibson, GreenhiU, Mathew Snelling, and Thomas Flatman, who was a frequent visitor, and, last but not least, Samuel Cooper, occur in 58 PLATE LXXIV. 183. Duke of Lauderdale . . . Edmuna Ashfield. Earl of Dysart. PLATE LXXV. 184. Sir John Hervey Mathew Snelling. ' Marquis of Bristol. 185. Isabella May, Lady Hervey . . Mathew Snelling. Marquis of Bristol. r86. c,th Earl of Dorset .... Mathew Snelling. Earl Beauchamp. 187. Frances, Countess of Dorset . . . Mathew Snelling. Earl Beauchamp. PLATE LXXVI. 1 88. A Man in Armour . . . . E. Ashfield, British Museum. PLATE LXXVII. 189. Portrait oJ a Lady Lawrence Crosse. Mrs. Fleischmann. 190. Mrs. Catherine Boevey .... Lawrence Crosse. Mr. H. Martm Gibbs. PLATE LXXVIII. 191. A Young Man John Greenhill. British Museum. Thomas Flatman these pages. As regards the last-named the entry is short but very much to the point. It runs thus: "Sunday, May 5, 1672. Mr. Samuel Cooper, the most famous limner of the world for a face, dyed." Many were the notables in the clerical world who sat to Mary Beale, and that she had a good connection in the Church is evident. Vertue supposed her fether, Mr. Cradock, to have been minister of Walton-on-Thames, where Mr. Beale erected a monument for him, says Walpole, but, according to Mr. Collins Baker, this is not correct [vide " Lely and the Stuart Portrait Painters," vol. u. p. 34). Mary Beale herself lived nearly to the end of the seventeenth century, dying December 28, 1697, and she rests from her labours in St. James's Church, Piccadilly, beneath the communion table. She was paid ^5 for a head and ^10 for a half-length in oils, " which was her most common method of painting," and in 1676-7 earned £^\2q^ for pictures, a very considerable sum indeed, allowing for the different value of money. I do not propose to give a list of her portraits, as they were not Miniatures for the most part. There are seven oil paintings by her now at Melbury and Holland House, seats of the llchester femily. A great many of her sitters' names may be gleaned from the entries in the pocket-books to which I have already referred. We read of Mathew Snelling presenting artist's colours to Mrs. Beale on two or three occasions. We find " my worthy and kind friend Dr. Belk " lends his picture by Van Dyck of Endymion Porter, his wife and three sons, " so that my dear heart might have an opportunity to study it," etc. In 1672 he takes his boys to see "Mr. Lely's rare collection," Charles Beale was sent to Flatman's, by the way, in 1666-7 ^° learn to limn. THOMAS FLATMAN In speaking of the Beales, mention has several times been made of their friend Thomas Flatman. We may see for ourselves what the man was like by Lely's picture of him in the National Portrait Gallery, to 59 Samuel Cooper which I shaU refer later ; as to his work, probably the most salient feature of it — I refer to his Miniatures — is the way in which he closely and deliberately copies Samuel Cooper, without, it must be added, ever reaching the excellence of his master. Nevertheless his work has merit and his sitters were numerous. As will be seen, I have identified and given particulars of between fifty and sixty examples in this book. It is when we come to compare these portraits with Cooper's that we reaHse their inferiority, their main defect being a certain hotness, " brickiness," and opacity of colouring. But there is another reason which constitutes a claim upon our notice when dealing with Flatman, viz. that he was a man who essayed three vocations. Educated at Winchester and New College, Oxford (of which he was elected a Fellow in 1654, but left without taking a degree ^), he was bred a barrister at the Inner Temple. The Law, however, was not to his taste, Poetry and Painting being more to his liking. His poems, though now forgotten, at any rate attracted the notice of his contemporaries. Accord ing to Walpole he received a mourning ring with a diamond worth jT^oo for his poem on the death of Lady Ossory ; and the same writer quotes an epigram written by Mr. Oldys to this effect : " Should Flatman for his client strain the laws, The painter gives some colour to the cause ; Should critics censure what the poet writ, The pleader quits him at the bar of wit." Lord Rochester seems unduly censorious and speaks of him " As that slow drudge in swift Pindaric strains, Flatman, who Cowley imitates with pains, And rides a jaded Muse, whipt, with loose reins." But it is as painter and not as poet that we are concerned with him in these pages. Flatman was born in Aldersgate Street, London, in 1637, ^^^ ^i^^ i^^" > According to the " Dictionary of National Biography " he was M.A. (Cambridge). 60 PLATE LXXIX. 192. Duchess oJ Mazarin . . . E. Ashfield. Mr. Francis Wellesley. PLATE LXXX. 193. John Holies, Duke oJ Newcastle .... Lawrence Crosse. Duke oJ Portland. 194. Viscount Halifax Lawrence Crosse. Mr. H. Pfungst. 195. Duchess of St. Albans Lawrence Crosse. Earl Beauchamp. 196. Bridget Cromwell {Mrs. Ireton) .... Lawrence Crosse. H.M. The King. igf. Lady Mary Cro7nwell {Lady Fauconberg) Lawrence Crosse. H.M. The Kin?. Thomas Flatman testate in 1688, being buried in St. Bride's. Administration was granted to Susannah, his wife. He may be said to belong exclusively, in period of time, to the Restoration, but, like his friends the Beales, he hardly seems in harmony with it. Like them, too, he had friends in the Church. Thus Walpole says, Mrs. Hoadley, first wife of the late Bishop of Winchester and " a mistress of painting herself," had a likeness of him (Flatman) by himself. Mr. H. Pfungst owns a portrait of Dr. Woodford, and I am indebted to a descendant of that pious man for a photograph of a Miniature of him. Samuel Woodford lived with Flatman for a time, as he did also with the Beales ; they evidently formed a coterie, as may clearly be discerned from the pages of Mr. Beale's Diaries. Flatman's sitters appear to belong to the graver sort, and amongst all the Miniatures I have met with by him, there are but few of the Court set, and, mirabile dictu^ not one of Charles's mistresses. There is a Mezzotint of Flatman holding a drawing of Charles II. , according to the " Anecdotes," but Challoner Smith asserts that the head, a profile with laurel wreath, is probably that of Virgil or some other Classic poet. This plate is interest ing as being, or supposed to be, Faithorne's earliest print.* In the list of Flatman's works several portraits of himself by Sir Peter Lely will be found, and there is an attractive example in oils in the National Portrait Gallery. This depicts him with a somewhat womanish face, a pale complexion, dark grey eyes, and long curling hair ; altogether a decidedly " aesthetic "- looking man, as we say nowadays. An engraved portrait of Flatman after Lely adorns Dallaway's edition of Walpole's " Anecdotes of Painting." Before leaving Flatman we may, in justice to him, quote what Graham says, viz. " a man must want eyes who ceased to admire his painting " ; and Vertue considers him equal to Hoskins. This must be allowed to be high praise indeed. 1 " Brit. Mezzotint Portraits," by W. C. Sniith, p. 464 etc. 61 Samuel Cooper JOHN GREENHILL John Greenhill is another of the artists of the period of whom it would be too much to say that he is forgotten ; his work, however, is but Httie known, and its merits, there is reason to think, are by no means generally recognised. Some doubt exists as to the precise date of his birth ; according to the " Dictionary of National Biography " he was an elder brother of Henry Greenhill, a Commissioner of the Navy and Governor of the Gold Coast, in which case he (John) would have been born before 1646. Walpole, by the way, speaks of Henry as "a Merchant of Salisbury," where the painter, according to the same authority, was born " of a good family." As " the most promising of Lely's Scholars," Greenhill had a successful career before him, but it was cut short by excesses which resulted in his premature death. The story of his life, and of the fate of his handsome and indigent widow, who died insane soon after him, belongs to the sad side of artists' careers, and is thus briefly told in the " Anecdotes " : " At first he was very laborious ; but becoming acquainted with the players, he fell into a debauched course of Hfe, and coming home late one night from the Vine Tavern, he tumbled into a kennel in Long Acre, and being carried to Parrey Walton's, the painter, in Lincoln's Inn Fields, where he lodged, died (May 19, 1676) in his bed that night in the flower of his age. He was buried at St. Giles's, and Mrs. Behn, who admired his person and turn to poetry, wrote an elegy on his death." Sir Peter Lely is said to have settled ^40 a year on the widow. Greenhill appears to have excelled in Crayon heads, though he worked also in oils, and in his native city, Salisbury, painted Dr. Seth Ward as "Chancellor ofthe Garter." He also painted Anthony, Earl of Shaftesbury, a picture engraved in mezzotint by E. Lutterel. In Mr. ColHns Baker's able work on " Lely and the Stuart Portrait Painters " over twenty examples by Greenhill are specified, but these are, I believe, all oil paintings, and therefore do not strictly belong to this 62 PLATE LXXXI. 198. A Lady Unknown .... Lawrence Crosse. Duke of Portland. 199. Duke of Monmouth . . . . Lawrence Crosse. Duke of Portland. 200. Captain Roper Lawrence Crosse. Mrs. H. Pfungst. Mathew Snelling work ; but it is interesting to know that so many of his portraits are identified. In his Diary for the year 1676 Mr. Beale records the death of GreenhiU as follows : " May 19. Mr. Greenhill the painter dyed." There is a portrait of GreenhiU at Dulwich, described in Cartwright's Catalogue as " GreenhiU's Pictur to ye knees in read, dun by himselfe." This has been engraved and is here given. As will be seen from this illustration, he had a striking and animated face ; and the quality of his work is fiilly evidenced by the other illustra tion, here given, which is from a drawing in the Print Room of the British Museum, where also, according to the Dulwich Catalogue, there is a crayon of Greenhill by Sir P. Lely — his master. The same authority states that his first portrait was one of his paternal uncle, James Abbot of Salisbury. MATHEW SNELLING Mention has been made of the coterie which seems to have gathered round the worthy Beales and their artistic friends in their home in Covent Garden, and we have seen the intimacy of Flatman, Lely, and others with them. From the fact of Mathew Snelling having made Mrs. Beale pre sents of colours, there is Httle doubt that he was one of their circle, but the information which is to be gleaned about him is meagre in the extreme. The " Dictionary of National Biography " knows him not, and Redgrave devotes but a few lines to him, based on Walpole's "Anecdotes." In this he speaks of a portrait of Charles I. as being exhibited at Kensing ton (giving the wrong date, by the way). This portrait was reproduced in my " British Miniature Painters." The same authority speaks of " a passable portrait by him at the College of Physicians." This picture, which is a canvas measuring fifty by forty inches, was shown at the National Portrait Exhibition of 1866. It is a half-length portrait of Baldwin Harvey, Jun., D.D.,a benefactor to the College of Physicians, to which he presented the oak-carving by Grinling Gibbon now in the Censor's Room. Walpole's 63 Samuel Cooper reference to SnelHng is brief and somewhat significant. He says " he was a Gentleman who painted in Miniature, and that (being very gallant) seldom but ladies." The feet that Samuel Cooper painted SnelHng seems to show that he was also on terms of intimacy with that artist. Walpole says of this head that it was finely painted, but the hands and drapery poor. It was executed in 1644, and sold at Mr. Rose's sale in 1723. From one of Mr. Beale's pocket-books we learn that SnelHng offered him thirty guineas for a "Venus and Cupid," after Rottenhamer. Whether this means that Snelling was given to picture-dealing, or whether he was only an amateur, I cannot say, but it shows him, at any rate, to have been a man of some means. For a long time his work has been considered excessively rare, but during the progress of this book I have come across several examples, e.g. three belonging to the Marquis of Bristol, at Ick- worth, and two others of the Earl and Countess of Dorset, belonging to Earl Beauchamp, at Madresfield. Candour compels one to add that the work does not reach a very high standard, as will be seen by an examina tion of the portraits of the Herveys reproduced in this volume. LAWRENCE CROSSE It can hardly be said that Lawrence Crosse is another of those artists belonging to our period who has been lost sight of Nevertheless, comparatively speaking, his work had gone out of fashion. There is now a greater appreciation of his merits, as is shown by the prices fetched at auction, e.g. the portrait of Miss Wells in the Victoria and Albert Museum fetched forty guineas when sold at Christie's, May, 1906, Compared with the very large prices paid of late years for old Miniatures of ladies, this appears quite a small sum; nevertheless, relatively, it is a great advance upon the price a Crosse would have realised not so long ago. There is in collectors' minds, I suspect, a well-founded conviction that he is only a second- or third-rate artist ; but his ability was recognised in his own day, and he must have been very fully employed, judging by 64 PLATE LXXXII. 20 1. Lady Williams . Lawrence Crosse. Duke of Portland, PLATE LXXXIII 202. Frances, Duchess of Richmond . S. Cooper {attributed to). Mr. A. Radford. 203. Countess of IV arwick .... Paolo Carandini. Earl Beauchamp. 204. Mary of Modena Paolo Carandini. Mr. H. Pfungst. 205. Lady Carr Signed P. C. Marquis of Bristgl. Lawrence Crosse the number of his sitters and their high social standing, as may be seen by a perusal of the eighty or ninety or more examples given in this book. When one looks at a number of portraits by Crosse together, as the present writer, and all visitors to the Exhibition of Miniatures in Brussels in the Spring of 19 12, had an opportunity of doing, one cannot but feel how much the artist was handicapped by the preposterous fashions of the time, especiaUy in the matter of wigs; all distinctiveness seems buried beneath the enormous curls, all the character given by the manner of wearing hair, or by the absence of it, and by the shape of the head is quite lost. In a word, all individuality is taken away. I am speaking of men's portraits, but, in truth, it is not very much better with regard to women's. We have in them the same lack of individuaHty, but it does not proceed from periwigs altogether. The insipid style of Lely and of Kneller, their fondness for " The sleepy eye that spoke the melting soul," gives a monotony, to say the least of it, which goes fer to rob the portraiture of the time of interest, and brings it down to a dead level of sameness; and this uniformity of treatment extends to the draperies also. " The night-gown fastened with a single pin " that Lady Mary Wortley Montagu talks about is the uniform feature of them all. If, however, we can overcome the feeling which this uniformity of treatment gives rise to, and study the feces and the work in specimens of Lawrence Crosse, in individual examples we shall find good qualities to repay us. There is, in truth, a good deal of force in his portraiture, derived from his unaffected style, there is character also, whilst his colouring, always vigorous and fresh, seems to have stood the test of time exceptionally well, so that his portraiture impresses us as being that of living beings and not that of ghosts, as appears to be the case with only too many Miniatures in which improper pigments have been used. The well-known portrait de fantaisie of Mary Stuart — " the head in black velvet trimmed with Ermine " — which has been copied and multiplied to such an incredible extent that scarcely any collection of Miniatures is without one, is the work of Crosse, who had, it seems, a I 65 Samuel Cooper little picture of the Queen of Scots, which belonged to the Duke of Hamilton, to repair, and he was ordered " to make it as handsome as he could." Having thus carte blanche and, it must be presumed, notions of his own as to what the unfortunate Mary really looked like, he made the original limning, which came from the Duchess of Hamilton's collection at the Manor House, East Acton, into the extraordinary libel which I have described. According to Vertue's statement, the Duke of Hamilton " valued it most extremely." Perhaps a round face was His Grace's type of beauty, as it would appear by this travesty to have been Crosse's. The date of the birth of Lawrence Crosse (not Lewis, as Walpole erroneously calls him) is not known ; the " Dictionary of National Biography" gives it tentatively as 1650. It seems not to have been the practice of Crosse to date his works. They are generally signed with the cypher L. C, but bear no date as a rule. Out of the considerable number described in this book only three have the year upon them, viz. Robert Danvers 1683, R. King 1700, and Joseph Addison 1710. Thus the date 1650 as that of his birth would seem to be approximately correct. Like Samuel Cooper, Crosse lived in Henrietta Street, Covent Garden. His house bore the sign of the Blue Anchor, and here he had a valuable collection of Miniatures by Hoskins, Peter Oliver, and by Cooper. These were sold in 1722, two years before his death, which was in October, 1724. Amongst the examples of the last-named Miniaturist was a fine picture of Lady Sunderland : it is probably the one now in Earl Beauchamp's collection at Madresfield. PAOLO CARANDINI Until recently it was customary to ascribe any seventeenth-century EngHsh Miniatures bearing the initials P. C. to Penelope Cleyn, who is supposed to have been a daughter of Francesco Cleyn, a designer employed 66 Paolo Carandini at the well-known Tapestry Works at Mortlake, estabUshed by Sir Francis Crane and supported by Charies I. up to the outbreak of the Civil War. Walpole, foUowing Vertue, has a good deal to say about Francesco Cleyn, who, he teUs us, instructed Dobson, and mentions his having sons and daughters, especially one " probably born in London and called Penelope." (Cleyn, by the way, had a house near the church in Covent Garden,) Vertue saw a Miniature, "like Cooper's manner, but not so well," of Dorothea, youngest daughter of Richard CromweU, cet. 4, 1668, with these letters P. C, which he thought signified Penelope Cleyn, and he adds, there is "at Burleigh a head of Cecil, Lord Roos, 1677, with the same letters." Here then we have, doubtless, the origin of the belief that Miniatures of the " Restoration " period signed P. C. are the work of the fair Penelope — but judges are now disposed to assign them to Paolo Carandini. This man, according to Nagler's " Kiinstler Lexicon," was " a Miniature Painter of exceptional excellence who came to England in the suite of Mary of Modena " and died here young. With this information before us, it is especially interesting to turn to the portrait of Mary of Modena, which bears on its fece the initials P. C. and the date 1677, and has the following written on the back (in the writing ofthe period, according to its owner, Mr, H. Pfungst), " Mary of Modena, Paolo Carandini pinxit." What adds interest to the problem is my being able, by the courtesy of Mr. Radford, to show another Miniature, an exact replica of the for e- going, which the owner claims to be not only by a different artist but of a different person, viz. Frances Stuart, Duchess of Richmond, " La belle Stuart " as she was commonly called. Nevertheless the present writer feels by no means sure that the portrait to which these conflicting ascriptions are given by their respective owners is that of Mary of Modena, and still less convincing does he find the attribution to Frances Stuart. As regards the latter famous beauty, besides the beautiful Miniature at Windsor by Samuel Cooper, reproduced 67 Samuel Cooper in this work, in which her blue eyes and fair hair are noticeable, we have the testimony of Samuel Pepys, who, as we all know, was her great admirer, as to her features. He speaks of seeing her in " WhitehaU in 1663 in the Queen's presence, with her hat cocked, with a red plume, with her sweet eye, little Roman nose., and exceUent taille." No one can fairly describe the nose as " Roman " in either of these Miniatures, to say nothing of other details. Having thus placed the evidence, and a reproduction of each portrait before my readers, I may leave the solution of the problem to them, and will only observe that, if the date may be taken as correct, and as being that at which the portrait termed Mary of Modena was painted, viz. 1677, the Queen would have been nineteen, whilst the Duchess of Richmond was eleven years older, she having been born in 1647 ; ^^ must, I think, be admitted that the lady, whoever she was, can hardly be said to appear thirty years of age. The difficulty of identification of the work of bygone artists which, as is too frequently the case, is both undated and unsigned, is one with which all collectors are constantly confronted. In the " Magazine of Art," in an article upon the Exhibition ofthe Burlington Fine Art Club Exhibi tion in 1889, the late Dr. Lumsden Propert, who drew up the Catalogue, relates how he frequently took good judges up to three Miniatures hung on the same line at this Exhibition ; they were signed respectively N. D., S. C, and P. C. When asked to name them, the aforesaid " good judges " hardly ever gave a correct answer. These artists, I must explain, were Nicholas (he calls him Nathaniel) Dixon, Samuel Cooper, and Penelope Cleyn. Propert assumes without question that P. C. stands for Penelope Cleyn, and proceeds to bracket her with Mary Beale, remarking that " both were excellent artists, and their work as broad and firm as many of their male competitors." Personally I always had accepted work assigned to her with reserve not because of any doubt as to her personal existence, but because, being 68 PLATE LXXXIV. 206. Sir Gilbert Verney .... David Loggan. V. and A. Museum. Bellamy sceptical as to the identification of her work, I have felt that a great deal more proof was required before I was prepared to accept everything signed P. C. as painted by Penelope Cleyn. Returning to Carandini, I have given all the information procurable at present ; but with the clue as to the initials in our hands, we may look with some confidence to further discoveries of his work. BURNE OR BYRNE I am indebted to Mr. Richard Goulding, the Librarian of Welbeck Abbey, for information respecting a Miniature painter whose name is hitherto unknown, or, at any rate, not to be found in books of reference, viz. H. Burne or Byrne. Henry, Duke of Newcastle, and his Duchess, in the list of Miniatures at the end of this volume, are both by him, and there are records of payment for the same in the Welbeck Archives. It must be owned Byrne's portraits do not come up to the standard of the fine work by which they are surrounded in the Duke of Portland's superb collection, and, judging by the examples given, are not of much merit ; but the identification of names and signatures often furnishes clues and affords important information which collectors and students know how to appreciate and value. BELLAMY Another artist about whom I have been unable to glean any informa tion is Bellamy. The portrait of Oliver Cromwell, which the kindness of Mr. Francis Wellesley enables me to reproduce, is the only example I have met with of his work, and, like Byrne, his name is absent in ordinary works of reference. The portrait of the Protector does not stand comparison with the wonderfiil renderings of him which Samuel Cooper has given us, all so full of force and character. 69 Samuel Cooper JOHN ZACHARIAS KNELLER A third name to be quoted in this connection is that of John Zacharias Kneller. He is not an unknown man by any means, for he was the elder brother of Sir Godfrey, and like him was born in Lubeck ; he came to this country, where he settled and died, some twenty years before his more distinguished brother, with whom I believe he lived in Great Queen Street. He, John Zacharias, was buried, as were so many other artists of this period, in the Church of St. Paul, Covent Garden. Kneller's Miniatures are comparatively rare, at any rate Redgrave terms him an " ornamental painter." The portrait of the Countess of Ossory, of which by the courtesy of the Duchess of Beaufort I am able to give a reproduction, shows his style of work, and is one in which we may trace the influence of Sir Godfrey. Earl Beauchamp possesses another example at Madresfield, viz. a man in armour signed I. Z. K. EDMUND ASHFIELD Probably to many readers of to-day the name of Edmund Ashfield does not convey very much. Modern books of reference contain a few lines only about him, and the information contained therein is of the most meagre description. Nevertheless he did excellent work, as is shown by the beautiful drawing owned by the Print Room of the British Museum and reproduced in this volume. Walpole describes Ashfield as being " well descended," and as a scholar of Michael Wright, " pictor regius," he adds that " Ashfield painted both in oils and crayons, and is credited with great improvements in multiplying the tints of the latter medium." Vertue speaks of a head of Lord Ossulston (Sir John Bennett) as being "painted neatly though not in a good manner," dated 1673 by the way, and allusion is made to Ashfield's practice in crayons ; reference is also made to a small portrait of a Lady Herbert, highly finished and well 70 Edmund Ashfield painted, as being at Burghley. Judging from such examples of this artist as are to be met with, they aU show his partiality for what may be termed crayon handling. Even the charming " Duchess of Mazarin," owned by Mr. Francis Wellesley and reproduced in this volume, suggests a crayon drawing in small ; there is chalk in its textures so to speak, which lack the transparency we look for in Miniatures, although this is strictly a Miniature also. The head of the " Duke of Lauderdale," which is in the valuable collection at Ham House, is a masculine and vigorous work. I under stand from its owner, the Earl of Dysart, that it was long regarded as the work of Samuel Cooper, whose style it closely resembles. It is an important addition to the series of contemporary illustrations of the many remarkable men who played leading parts in our national life during the seventeenth century. The career of John Maitland, grand nephew of William Maitland of Lethington, was chequered indeed, and having been, before he was thirty years of age, " the hope of the Covenanters," he was taken prisoner at Worcester fighting on the side of Charles II. , who at the Restoration made him Secretary for Scotland, a post he held for twenty years, and in 1672 he was created Duke of Lauderdale. The Duke of Buccleuch owns a fine Miniature of him by Samuel Cooper showing him in the prime of life and wearing a huge red wig. The Catalogue of the Exhibition of Drawings, held in Bloomsbury 191 2- 1 3, gives the last quarter ofthe seventeenth century as the time in which Ashfield " flourished." Mr. Collins Baker terms him " a remarkable draughtsman barely known " save by the example in the British Museum to which I have just referred ; this writer quotes ^ a passage from Norgate's treatise on limning (Harleian MSS. 6000) in which, apropos crayons, Ashfield is mentioned as being " at the Red Ball in Lincoln's Inn Field in Holben Row, the first house ; Master of this art." 1 "Lely and the Stuart Portrait Painters," vol. ii. p. 187. 71 Samuel Cooper WILLIAM FAITHORNE " A Faithorne sculpsit is a charm can save From dull oblivion, and a gaping grave." Amongst the most distinguished of the group of ad vivum artists is undoubtedly William Faithorne the elder, who, according to the " Dictionary of National Biography," was born in London in 1616. " He was bred under Peake, painter, and print-seller, afterwards Knighted," says Vertue, and Walpole comments on the disorders of the times confounding all professions, and " no profession being more bound in gratitude to take up arms in the defence of King Charles, Sir Robert Peake entered into the Service and was made a lieutenant-colonel, and had a command at Basing House when it was besieged." This matter is referred to in a letter from Oliver Cromwell to the Speaker of the House of Commons on the capture of this femous mansion. Peake induced his disciple Faithorne to enlist under him. He was made prisoner, confined in Aldersgate, and, according to Graham, was banished for refusing to take the oath to Oliver Cromwell. The same authority states he was allowed to return to England in 1650, and became established as a print-seller in London, " at the sign of the Ship next to the Drake opposite to the Palgrave's Head without Temple Bar." He was well known to Pepys, and readers of the Diary may recall mention of him several times. Thus, January 2, 166 1 : " To Faithorne's, and there bought some pictures of him." Again in November, 1666 : "Called at Faythorne's to buy some prints for my wife to draw by this winter, and here did see my Lady Castlemaine's picture done by him from Lilly's in red chalke. The finest thing I ever saw in my life, and I did desire to buy it." The steadfast admirer of the Duchess of Cleveland was immensely enamoured of" this blessed picture," as he terms it. It was probably the same one the critical but amorous diarist saw at Sir Peter Lely's, when that " mighty proud man, so full of state" treated Pepys so cavalierly. Then he pays another visit in December ofthe same year, 1666. "By coach home in the evening, 72 PLATE LXXXV. 207. Charles II. David Loggan. British Museum. 2d8. Earl of Clarendon . ¦ David Loggan. British Muu-uni. William Faithorne caUing at Faythorne's, buying three of My Lady Castlemaine's heads, which indeed is, as to the head, I think a very fine picture, and Hke her," Pepys evidentiy greatly admired Faithorne's work, and would seem to have treated himself occasionally to New Year's gifts, as it were, for again on the 2nd January in 1666 occurs this entry : " To Faythorne's and bought a head or two, one of them My Lord of Ormond's, the best I ever saw." And three years later he recalls yet another visit to his (Faithorne's) " workhouse," as he calls it. The lines I have quoted at the commencement of this notice are attributed to Thomas Flatman, who evidently held Faithorne's powers in high esteem. Indeed there is no question about his ability. He drew in Crayons as well as engraved, having had the advantage of instruction by Nanteuil at Paris. It is, however, by his work in plumbago that he comes within the range of this book, and collectors are well aware of its value. He must be distinguished from his son William, who, whether he died before his fether or not (a disputed point), was a Mezzotint engraver of repute, whose ladies, according to Challoner Smith, are " very pleasing," and who came to a premature end owing to his excesses. Besides the elder Faithorne's work in black and white, Graham says he drew "in Miniature, of which there are many instances," and he is undoubt edly to be reckoned amongst the limners, although it is upon his engravings that his feme must be said to rest. A large number of titles of them are given in the Manuscript of Vertue, the original of which is in the Manuscript Department of the British Museum, much of it written in extremely small writing, difficult to decipher. The source of the information was derived from Mr. Bagford, Librarian to Lord Oxford, who was intimate with Faithorne, and from another of his friends, Mr. W. Hill Clarke. To give a Hst of the engravings would lead us too fer afield ; but besides the drawings which I have mentioned as referred to by Walpole, I have added four others which are preserved in the Print Room in the British Museum, These are of unequal merit, but the portrait of Sir Orlando Bridgman, the half-length in " plumbago," is an admirable drawing of its kind, and a K 73 Samuel Cooper highly finished Miniature in black and white. It has been engraved. The portrait of Sir Edmund King is of rather unusual type, being a bust, with pedestal, but coloured from life ; that is to say, whilst it takes the form of Statuary, it is coloured in gouache. The effect is somewhat unusual, and certainly striking. DAVID LOGGAN In grouping the artists of the Commonwealth and of the Restoration according to the characteristics of their work, we should come to several men who perhaps may not be regarded as Miniature painters at all in the ordinary acceptance of the word ; nevertheless they drew Miniatures from the life, of admirable quality and of great interest. Only, they adopted a different medium ; that is to say, instead of painting in gouache they drew their portraits in lead pencil, or as it is called technically, and perhaps more strictly, in plumbago. This is a style of art which, if not peculiar to this period, was at any rate brought to the greatest possible perfection in it. Without stopping to discuss why this should be, I may observe that it was a time when certain eminent engravers flourished, and that these men were in the habit either of themselves preparing or of procuring for their use elaborate pencil drawings, preparatory to their undertaking the many beautiful works they have left to us, which are the admiration, I might almost say the despair, of their successors and followers in this branch of art. The delicacy and beauty of this plumbago work is now fiiUy admitted. Many of the portraits of the time were done from life and known under the name of ad vivum work. It is satisfectory to find that EngHshmen had a fair share of the renown which belongs to this kind of portraiture. Some of the artists, however, were foreigners, as was David Loggan, probably the best known, and also the earliest, among them. He was born at Dantzig about 1630; some authorities say 1635. Opinions differ also as to when he came to London. According to Walpole he arrived here before the Restoration, and must have been estabUshed by 1663, since Mr. Francis Wellesley possesses and exhibited at Brussels a portrait of Mrs. 74 PLATE LXXXVI. 209. Cardinal Mazarin . . . Davia Loggan. Mr. Francis Wellesley. David Loggan Perwick, the music mistress, dated 1663. Belonging to the same owner is a fine portrait of Cardinal Mazarin, dated six years later. He died in the artists' quarter of the time, viz. Leicester Fields, in 1693 or 1700: Vertue gives both dates. In the Catalogue of the International Exhibition of Miniatures at Brussels, 1912, 1705 is given as the year of Loggan's death. NOTE The following are engravings by or after D. Loggan. Many of them are taken from Vertue, who does not always make it clear whether he is speaking of original portraits or prints ; but where the letters a. v. are appended (i.e. ad vivum — from life) we know that an original drawing was made. Albemarle, Duke of, a. v., 1661. De scribed as " one of his best works." AUestry, Dr. Richard, Provost of Eton, a. V. A group of three after Sir P. Lely belonging to Christ Church, Oxford. Do, Do, Dolben, John, Archbishop of York. Fell, John, Bishop of Oxford. Andrewes, Bishop Lancelot, 1675. Angus, Archibald Douglas, Earl of, Argyll, Archibald, Earl of, a. v. Ashmole, Elias. Barlow, Thomas, a. v.^ 1672. Barrow, Isaac, a. v., 1676. Bathurst, Dr. Ralph, Dean of Wells, a. V. Bishops, the Seven, after White, copied by Vanderbank. Blagrave, John (title to " Planispherium Catholicum "). Blount, Sir Henry, a. v., 1679. With only his initials and arms. Bobart, Jacob, the elder, 1675. Boyle, Michael, Archbishop of Armagh. Brome, Alexander, a. v., 1664. Two prints, one with a band, the other with a neckcloth, Bulfinch, John, a. v. Print-seller, temp. Charles II, See Granger. Catherine of Braganza, Queen. Chardin, Sir John, a. v. Charleton, Dr. W., a. v., 1679, Charles II. in armour. Do. Do. Do. without his name and only " Fidei defensor," probably done before the Restoration. Charles II. leaning his hand on Arch bishop Sheldon, at bottom a small head of Monck. This is the frontis piece to Richard Atkyns' " Growth of Printing." 75 Samuel Cooper Christian of Denmark (in mezzotint). Clarendon, Edward, Earl of. In Dugdale's " Origines Judiciales," a. v., 1671. Cockshutt, John (or Cockshuit). Coke, Sir Edward. In Dugdale's " Origines Judiciales." Compton, Lord Henry, Bishop of London. Crewe, Nathaniel, Bishop of Durham, after Kneller. Cromwell, Oliver, full-length, in armour, emblematic. Cudworth, R. D. D., 1684, Derby, James, Earl of. Divine, head of, no name. Dolben. See AUestry. Fell. See AUestry. Fuller, Thomas, 1661. Galle (or GallcEus), Servatius. George, Prince of Denmark, a. v. Guildford, Lord Keeper, a. v. " One of his best prints," says Vertue. Frontispiece to his " Life," by Hon. R. North. Gunning, Peter, Bishop of Ely, a. v. Henrietta Maria, Queen, Hibbert, Dr, Henry. Hicks, William, 1658, Holder, William, F,R.S., a. v. Vertue thought the face by Vanderbank. Holt, John, of Grislehurst. Holt, Judge. See Youth, Innocent XL, Pope, Isham, Sir Thomas, a. v. Do, Vertue thinks engraved by Valck, 1676. Do, after Lely (in mezzotint). Jackson, Reverend Arthur, James, Duke of York, Full-length, wear ing Garter robes. Kara, Mustapha. Lake, John, Bishop of Chichester, 1688. Laud, Archbishop, after Van Dyck. Do, Do, a mezzotint, Lloyd, William, Bishop of St, Asaph, Louse, mother, of Louse Hall. Mayow, John, Meggott, Richard, Dean of Winchester. Mews, Peter, Bishop of Winchester, a. v. Monmouth, James, Duke of. Young, in robes of the Garter, " The hand somest print of him," (Vertue). Moone, Joshua, More, Dr. Henry, Oates, Titus. Ormonde, James, Duke of, a. v. Do, Do, in an oval. Paule, Mrs,, a. v. Pearson, John, Bishop of Chester, a. v., 1682, Physician, A, at. 45, supposed to be Dr. Willis. Playford, John. Plukenet, Leonard, 1690, Pole, Reginald, after Holbein. Reynolds, Bishop of Norwich. Query if not by T. Cecil. (Walpole). Rochester, Earl of. Saint Albans, Henry Jermyn, Earl of, a. v. Sancroft, Archbishop, a. v. 76 Robert White Sanders, Thomas, after B. Flessiers or Fleeshiere. See Granger. Sanderson, Robert, Bishop of Lincoln, 1662. Sharpe, James, Archbishop of St. Andrews, a. v. Sheldon, Gilbert, Bishop of London, a. v. Sparrow, John, 1653, (Mystic), Spratt, Thomas, Bishop of Rochester, Stafford, Robert, a. v. Sternburg, Count Ernest, of Vienna. Strangways, Col, Giles, a. v. Unknown man, head of, in high-crowned hat. Do. Do. Do. Unknown man, head, 1660. Do, Do, in robes and wig. Unknown youth, supposed ancestor of Judge Holt. Ussher, Archbishop. Verney, Sir Grevillc. Walker, George, of Londonderry. Wallis, Dr. John, the mathematician, a. v. Ward, Seth, Bishop of Salisbury, a. v. Waterhouse, Sir Edward, a. v. Wharton, Sir George, No name, 1657. Do, Do, at. 46, Willis, Dr, He also engraved many frontispieces, including one to a Prayer-Book, folio, 1687 ; "Academy of Pleasure," 1665 ; frontispiece to Guidott's " De Thermis Britannicis " ; and the frontispiece to Rea's " Florist." ROBERT WHITE The history of this admirable draughtsman and engraver, so fer as it can be gleaned from works of reference, may be given in a very few lines. He was born in London in the year in which Naseby was lost and won (1645), w^s a pupil of David Loggan, and, according to Challoner Smith, died suddenly in his house in Bloomsbury in 1704. The British Museum Catalogue puts his death a year earlier. He is well known by his engravings " in the line manner," and scraped several Mezzotints after Sir Godfrey Kneller. It is of course his beautifully finished work on vellum in pencil which makes him rank so highly in this branch of Art. Not long since, the present writer discovered two very fine portraits by White of William III. and Mary on a Charter given to the town of Tenby. In his account of Robert White, the dilettante owner of Strawberry 77 Samuel Cooper Hill compares himself to " a doorkeeper at the Temple of Fame taking a catalogue of those who have only attempted to enter." But although Walpole may have appeared as such to himself, or pretended to think so, he well deserves the gratitude which collectors often must feel for the patience with which he transcribed the titles of nearly three hundred prints, many ad vivum, from Vertue's list. By them we may realise the truth of Walpole's remark, that " no man perhaps has exceeded Robert White in the multiplicity of English heads," and he proceeds to copy Vertue's long list, " as it would be," he says, " defrauding curious collectors if I refiised to transcribe it." I do not propose to give the titles of these three hundred portraits, which will be found described in Walpole's " Anecdotes," to which the reader may be referred ; but a few remarks about the character and execution of Robert White's work may not be without interest ; many of his heads were taken by himself with a black-lead pencil upon vellum ; Vertue thought them superior to his prints. This art of drawing portraits in pencil was acquired from Loggan. Many of the portraits were hastily and cheaply done as titles to the chapters of books, and this led to deficiency in point of neatness ; but Granger observes that this was compensated for by the truth of his drawing, which was never exceeded. After forty years' diligent labour, he had saved ^4000 or ^^5000, which by some means he lost, and he died in indigent circum stances, suddenly, at his house in Bloomsbury in 1704, He had a son, George White, who finished some of his father's plates, and also painted in oil and Miniature according to Walpole, but as I have never met with any of his works, I am unable to describe them. THOMAS FORSTER The absence of details procurable about the lives of several artists dealt with in this book is especially noteworthy in the case of Thomas Forster. This admirable worker ad vivum is admitted on all sides to 78 PLATE LXXXVII. 2 ID. Archbishop Sancroft David Loggan. British Museum. 2 11. Thomas Barlow, Bishop of Lincoln . David Loggan. British Museum. Thomas Forster have been an excellent draughtsman, and, according to the British Museum Official Guide (which agrees with the " Dictionary of National Biography "), he flourished between 1695 and 1712. That seems to be aU the informa tion to be gleaned at present, beyond the fact that Van der Gucht engraved some of his portraits. The Print Room authorities say of him that " he was rightly reputed in his time for his smaU pencil portraits." That repute has been well maintained, is, indeed, enhanced nowadays, and his delicate drawings in plumbago on vellum are admirable and much sought after. Mr. Francis Wellesley's collection, so rich in work of this nature, contains nothing finer in its way than the portrait of Dr. Hay, Professor of Anatomy at Oxford : it is dated 1696. The same owner lent to the Brussels Exhibition of Miniatures an interesting portrait of General Crofts, son ofthe Duke of Monmouth and Anne Needham, dated 1707. Vertue mentions a picture by Vandiest, the landscape painter, as being in the hands of Mr. Forster, drawn by him in black lead. It is to be observed that Walpole makes no mention of Forster. The Victoria and Albert Museum possesses two examples of Forster's skUl with the pencil, both on veUum, viz. the Duke and Duchess of Marlborough, signed and dated 1709 and 17 12 respectively. I find it difficult to concur in the personal ascription of these portraits, the latter especially, which has none of John Churchill's weU-known good looks. An illustration of another portrait of the Great Duke is here given ; it was in Lord Tweedmouth's collection ; this is dated 1 7 1 3 : at that time Marlborough would be sixty-three ; it must be owned that, after allowing for the difference the enormous wig might make, he looks not more than half that age ; nor, again, is he made handsome enough. I may note that it brings Forster's work down a year later than the date given above. The portrait of the Countess of Tyrconnell, from the same collection, is pleasing : it is dated 1706. The other example is the beautifiil drawing of George St. Lo, in the British Museum Print Room, dated 1701, a work of superlative quality. 79 Samuel Cooper DAVID PATON OR PATTON This Scottish artist, who flourished between 1650 and 1700, " executed portraits and medallions," and is admitted to have been a feirly accomplished artist in plumbago ; Mr. Francis Wellesley owns a drawing by him in that medium of Sir Leoline Jenkins, the Diplomatist, Judge, and Member of Parliament. It is reproduced in this work and shows Paton to be a capable artist. In Caw's " Scottish Gallery " will be found a portrait of Genl. Thomas Dalzell, which is said to be from a rare contem porary print. The original seems to be lost. Originals of Paton's work are but seldom met with. The present writer recalls a portrait of Charles II. after Cooper in the Duke of Buccleuch's collection. There was nothing attributed to his pencil at Kensington in 1865 nor at the Burlington Club Exhibition in 1889. Walpole mentions a portrait of Sir James Dalrymple of Stair, President of the Court of Session, as " poorly done by Robert White from a good drawing in Indian Ink by David Paton, as in the possession of David Paton." JOHN FABER Probably few names are more familiar in seventeenth-century English Art than that of Faber. This arises from the very large number of engravings (there are considerably over four hundred extant) by John Faber, Junior, whose works, as Challoner Smith has justly remarked, " are speciaUy important as so extensively illustrating the portrait art of England between the time of Kneller and that of Reynolds." But it is with the elder John Faber that we have to do in this book, and not with his better- known son, who, coming to London very young, became a Mezzotint engraver of recognised abiUty. John Faber, Senior, came from Holland, of which he was a native, at the end of the seventeenth century. The year of his arrival is disputed, some putting it as early as 1687. "He was then," according to the authority I have quoted above, " and for long 80 PLATE LXXXVIII. 2 12. Bishop Cudworth David Loggan. British Museum. 213. Sir L. Jenkins David Loggan. Mr. Francis Wellesley. 214. Mrs. Bailey David Loggan. British Museum Cornelius Janssen Van Ceulen afterwards a Miniature painter. Some of his works in this manner are extant and possess great merit, especially those in black on vellum." He visited Oxford early in the eighteenth century, and also Cambridge later, when he engraved portraits of the Founders, an important series of forty-five plates. Mr. Francis Wellesley contributed several "plum bagos " by John Faber to the Brussels Exhibition of Miniatures. These are dated 1703-5 and are mostly signed. CORNELIUS JANSSEN VAN CEULEN Although this sound and admirable artist is reckoned as an oil painter, I am able to show good examples of his work on a small scale from the Duke of Rutland and Mr. Fairfax-Murray's collections, and I may append a few notes about the man. His career is well known and told at some length by Walpole, whilst thirty-two of his works are described in Dallaway's notes to the " Anecdotes," of which the editor says " he wUl mention none concerning which he has not obtained a certain degree of satisfaction," According to the " Dictionary of National Biography," Janssen, or Jonson, was born in 1593 (the Dulwich Catalogue gives the date three years earlier), and died 1664. As to the latter date, Sandrart puts his death a year later. Janssen emulated Van Dyck's style of painting, and in an animated portrait of himself, engraved in Dallaway, this is very obvious. His fame is said to have declined after the more distinguished artist came to England, and, yielding to the importunity of his wife, CorneUus left this country during the CivU War. His pass is thus recorded in the Journals ofthe House of Commons : " October 10, 1648. Ordered, that Cornelius Johnson, picture-drawer, shaU have Mr. Speaker's warrant to pass beyond the seas with Emanuel Passe, George Hawkins ; and to carry with him such pictures and colours, bedding, houshold stuff, pewter, and brass, as belongs unto himself" He retired first to Middelburg and then to Amsterdam, where he con- Samuel Cooper tinned to paint, and died in 1665. His wife's name was EHzabeth Beck. They had a son Cornelius bred to his father's profession, which he foUowed in Holland, where he died poor. A. HERTOCKS One other name occurs in the Hst of Ulustrations belonging to our period, viz. A. Hertocks. The only work by him known to me is a portrait, of no great merit and hard in treatment, of Oliver Cromwell's mother. It was shown at Kensington in 1865 and sold, unless I am mistaken, at Christie's, 19 13. JOSEPH MICHAEL WRIGHT Hitherto it has not been customary to rank this artist amongst the Miniature painters, but the discovery at Madresfield of a good Miniature of a man, which is termed a portrait of Henley, makes it desirable to say a few words about this capable Scottish artist, whose work, whether in oils or in the example belonging to Earl Beauchamp, to which I have just referred, deserves attention as possessing sterling qualities, and an indi viduality of its own which marks it off agreeably, and distinctly, from the sameness and insipidity of much of the portraiture of the Stuart period. Although Wright was known in his own day as " a great painter," on the testimony of so good an authority as John Evelyn, his work is not much in evidence nowadays, always excepting the series of the Judges at GuUdhall. There is a portrait of Brian Duppa, D.D,, at Christ Church, Oxon, ascribed to Wright, and there are three or four in the National Portrait Gallery ; Hobbes the Philosopher, a small picture of Elizabeth Claypole, and one of Thomas Chiffinch, " Keeper of the King's Jewels," not to be confiised with his brother William Chiffinch of " back-stairs " notoriety ; and at Welbeck there is a " Death of Cleopatra." The painter seems to have been well known to Vertue, who devotes some space to him, and states that he was born in Scotland, but came to 82 PLATE LXXXIX. 215. Robert Stafford. ... . David Loggan. British Museum. 216. Sir Robert Isham ... . David Loggan. British Museum. Joseph Michael Wright London at the age of sixteen or seventeen. Thence he went to Italy as an Art student. He remained in Italy some years, working at Florence and in Rome. In 1648 he was made a member of St. Luke's Academy in the former city. Mr. Collins Baker,^ who in a recent work has devoted a chapter to Wright, and is fiiU of appreciation of his merits, says that he came to England about 1652 ; ten years later he was painting a series of Judges ; and from 1670-5 he painted a second series of portraits of Judges. Late in his career he attended Roger Palmer, Eari of Castiemaine, as steward of his household on an embassy to the Pope. We have seen the distinct assurance given by that virtuoso John Evelyn relative to the status enjoyed by Joseph Wright in his day, as is shown by the entry in his Diary, which is as follows : " On the 5 th April, 1659, came the Earle of Northampton and the famous painter Mr. Wright to visit me." Other entries relating to him also occur, thus: "On the 3rd of October, 1662, visited Mr. Wright, a Scotsman, who had liv'd long at Rome and was esteemed a good painter. The pictures of the Judges at Guild-hall are of his hand, and so are some pieces in White-hall, as the roofe in his Majesty's old bed-chamber, being Astrea, the St. Catherine, and a chimney-piece in the Queen's privy- chamber ; but his best, in my opinion, is Lacy, the famous Roscius or Comedian, whom he has painted in three dresses, as a gallant, a Presby terian Minister, and a Scotch Highlander in his plaid.^ It is in his Majesty's dining-room at Windsor. He had at his house an excellent collection, especially that small piece of Corregio, Scotus of de la Marca, a designe of Paulo, and above all those ruines of Polydore, with some good achates and medailles, especially a Scipio, and a Caesar's head of gold." "On the 6th June, 1664, went to see Mr, Wrighte the painter's collection of rare shells, etc." I have referred to the series of the Judges portraits : for these Wright received the then considerable sum of ^{'60 apiece. This commission, by 1 " Lely and the Stuart Portrait Painters." - There is a portrait of a Highland chieftain at Clumber. 83 Samuel Cooper the way, was to have been given to Sir Peter Lely, but that great man, as he thought himself, refiised to wait upon the Judges at their own chambers, and so the work fell to Wright. Like so many of the artists described in these pages, Joseph Michael Wright rests in the churchyard of St. Paul's, Covent Garden. Pepys' reference to Wright is distinctly depreciatory, as the following extract from his Diary will show : " 1662, June I Sth. Up early . . . walked to Lilly's the painter's, where I saw, among other rare things, the Duchesse of York, her whole body, sitting in state in a chair, in white sattin, and another of the King's, that is not finished ; most rare things. I did give the fellow something that showed them us, and promised to come some other time, and he would show me Lady Castlemaine's which I could not then see, it being locked up ! Thence to Wright's the painter's : but, Lord ! the difference that is between their two works ! " 84 PLATE XC. 217. Thomas Otway Robert White. Rev. Dr. Wellesley. 218. George St. Lo . . ¦ British Museum. Robert White. 219. William in. Robert White. Duke of Portland. Conclusion N the Preface to this book I alluded to the difficulties in separable from attempts to deal exhaustively with its subject. These obstacles arise from the magnitude of the task ; from the long period which has elapsed since the works referred to were executed ; from the uncertainty which so often attaches to their ascription ; and the paucity of material which exists relating to the lives of those who painted them. It may be observed in passing, in connection with the last-named and serious difficulty, that the times in which these limners Hved were unsettled, and highly unfevourable to such records being preserved, and I asked in dulgence for the shortcomings of which I am conscious this volume must be full. Nevertheless, every effort has been made to secure accuracy and to present a body of fects relating to the lives and works of the EngHsh limners of the seventeenth century ; it will be for others to add to and correct this volume in the future when and where necessary. The laborious research entailed has brought one thing clearly into view, and that is the status and importance of the portrait-painter in England in those seventeenth-century days ; we get a gUmpse of this through the impression made upon Samuel Pepys when he goes, Oct. 20, 1662, "to Mr. Lilly's, the great painter, who come forth to us, but believing that I come to bespeak a picture, he prevented it by telling us that he should not be at leisure these three weeks, and then to see in what pomp his table was laid for himself to go to dinner!'' Sir Peter Lely lived in 85 Samuel Cooper Drury Lane, and was buried in St. Paul's, Covent Garden, close to Cooper's house. These portrait-painters knew everybody ! We have seen Gerbier, courtier, architect, and artist, going with Charles and Buckingham to Spain on that knight-errant expedition to woo the Infanta ; we have seen John Hoskins painting Charles and his Queen in their days of happiness at Hampton Court and elsewhere, before the war-cloud broke over their heads ; Flatman, poet, lawyer, and artist, the house friend of the worthy Beales ; Lawrence Crosse and Sir Peter Lely, collectors of Art as weU as successfiil painters ; Carandini, the young ItaUan who came in the suite of Mary of Modena, but died in London young. Then the "incomparable Samuel Cooper," who must have known the Cromwell femily so well, seeing that he painted them aU and so often ; yet we meet with him again in the King's Closet, but a few months after the Restoration, with grave John Evelyn. But although thus attached to the Court as Miniature Painter to the King, we never hear of Cooper associated with any of its excesses or revelries, and I should account him a sober citizen by the side of Pepys for example. Of the purely social side of the life of these artistic folk dwelling in Henrietta Street and round about it, we get a little insight also, in the visits of " Mr. Lilly " to the Beales, and of Pepys to Samuel Cooper's, where the Secretary to the Admiralty, his wife, friend, and the painter spend the afternoon in singing. These old Stuart houses were pleasant in those days, and hand some too, with their cedar wainscots and carved pillars. Macaulay tells us of some one who spent ;r40oo on the furniture of his reception rooms in Basinghall Street, and the same writer reminds us apropos Covent Garden that "a filthy and noisy market was held close to the dweUings of the great. Fruit women screamed, carters fought, cabbage stalks and rotten apples accumulated in heaps at the thresholds of the Countess of Berkshire and of the Bishop of Durham." From the pocket-books of Mr. Beale, of which some have been pre- 86 PLATE XCI 220. Portrait of Himself .... Robert White. Duke of Portland. 22 1. Portrait of Himself . . John Greenhill. Dulivich College. 222. Portrait of Himself . . ¦ VVm. Faithorne. Walpole's " Anecdotes." Conclusion served, we may learn almost the daUy life of the Beales. We find the clergy frequent visitors, and on terms of intimacy ; thus the Dean of Peterborough is "my worthy friend," and the Archbishop of Canterbury, Dr. Tillotson, " my most worthy friend," and so on. Then that staunch Cavalier, Colonel Giles Strangways, was a liberal patron of Mary Beale's. We read of his paying for five pictures at once. These, with a Miniature' by Cooper of himself, are at Melbury, the femily seat of the Ilchesters, near Dorchester, to this day. Enough has been said, I think, to prove that there were other phases of London life, even in the riotous days of the Restoration, besides the dicing, drinking, dissolute world of which Evelyn has left us that vivid picture in his account of Charles's last Sunday at Whitehall, when he saw " the inexpressible luxury and prophanesse, the King toying with his concubines ; Portsmouth, Cleveland, and Mazarine, etc. ; a French boy singing love songs in that glorious gallery, whilst about twenty of the greate courtiers and other dissolute persons were at Basset round a large table, a bank of at least ^2000 in gold before them." Another abiding impression, and perhaps the strongest of all made upon the present writer after studying many of the originals referred to in these pages, is what one feels to be the truth of the portraiture, which with its force and its sober reality carries absolute conviction with it. These portraits, I repeat, compel our acceptance without question ; yet they aU differ, just as our acquaintances differ ; and this is especially the case with Hoskins' and Cooper's men. In stinctively we reaHse that they are not disguised by flattery, or made tame by the mannerisms of the artist, as in the case of portraits by Sir Thomas Lawrence or Richard Cosway. They are simply true, and, looking at them, do we not feel that we are in accord with that adept at literary portraiture, Thomas Cariyle, when he says, " Often I have found a portrait superior in real instruction to Haifa dozen written biographies as biographies are written, or rather I have found that the portrait was as a smaU lighted candle by which the biographies could 87 Samuel Cooper for the first time be read, and some human interpretation be made of them " ? Here, then, in this book a thousand such candles are offered, or at least some help and guidance where to find them : that the reader may make pleasant and usefiil interpretation of History by their means is the sincere wish of its writer. 88 PLATE XCII. 223. John, Duke of Marlborough . . . Thomas Forster. Lord Tweedmouth. Appendix ALEXANDER COOPER Details of the employment and remuneration of A. Cooper in the Court of Sweden, 1647-54, taken from the original documents. In the Riksarkivet. Riksregistraturet (the registry ofthe kingdom). The lists of private collections. The books of M. G. de la Gardie, 1646-60 (kept in the Riksarkiv). The Archives of the Exchequer fKammararkivet). National Balance sheet (rikshufvudboken). Archives ofthe Royal Palace. Royal Household (hofstatens hufvudbok). Hofstatens hufvudbok 1656. Conterfeijaren Cupert. DEBET. In decemb. Till balancen effter 1656 ahrs book at fordra - - 87 450 CREDIT. 62 In januar. Aff hofstatens balance effter 1655 ahrs book - - 3 450 Parti 62. Dato. Idem debet conterfeijaren Cupert d:r 450 solfvermyndt sassom han effter 1655 ahrs bookz balance opa sin resterandhe lohn hafver at fordra -------- 45° Hofstatens hufvudbok 1657. Conterfeijaren Cupert. DEBET. In decemb. Till Kongl. May : tz rachningecammer for restens afbetal. 65 450 credit. In januar. Af hofstatens balance effter 1656 ahrs book - - - 4 45° 89 Appendix Hofstatens hufvudbok 1650. credit. Conterfeijare och Mahlare. I januarij. Aff H. K, M:tz. hoffstats capital efter hoflohningzstaten Alexander Kuper penningelohn - - - d. 1 200 Daffved Bock sammaledes _ _ _ - 900 Piere Sinach dess lijkess - - - - 900 Valarie sammaledes- - - - - - JS'^ 4 3750 Hofstatens hufvudbok 1651. credit. Conterfeijare och Mahlare. 56 In januario. Af hofstatens balance efter 1650 ahrs bok P:re Signach 3 450 Dato. Af H. K. M:tz hoffstats capital, som underskr:ne for deras 1 65 1 ahrs lohn efter hoflohningz staten hafua bore. Alexander Cuper - - - - - - d. 1 200 Dafvidh Back ______ 900 Hindrich Monichoffen - - _ _ _ 900 5 3000 Summa - - - 3450 Hofstatens hufvudbok 1652. Alexand. Cuper -___-_ d. 1200 Hofstatens hufvudbok 1653. CREDIT. Conterfeijare och Mahlare. 65 In januario, Af hoffstatens ballance effter 1652 ahrs b [ok] - - 3 4200 1 Dato, af hoffstatens capital, som dhe for sine 1653 ahrs lohner effter staten hafva bore. Alexander Cupert- _ _ _ _ _ d. 900 Piere Signach ______ ^qo Hendrich Monichoff _____ roo 6 2300 Summa - - - 6500 90 Appendix Hofstatens hufvudbok 1654. CREDIT. Conterfeijare och Mahlare. 83 In januario, Af hoffstatens balance effter 1653 ahrs b[ok] - - 3 rggg Af hoffstatens capital, som desse for deres 1654 ahrs lohn effter staten hafva bohre. Mahlaren Cupert till den i julij - - - d, 4501 Dito Monichhoffen sammaledes Dito Signach for \ ahr 25o[ 5 825 125J CREDIT. In januario. Af Kongl. May:tz hofftstatz capital, som han till lohn effter staten hafua bohr --_____ Summa - - - 6814 Hofstatens hufvudbok 1655. Conterfeijaren Cupert. DEBET. 451 In decemb. Till Kongl. May: tzhoffstatz besparningh - - - 88 450 Dato, Till ballancen effter 1655 ahrs book at fordra _ _ _ ^^ 4^0 Summa _ _ _ goo 900 Summa - - d. 900 Parti 451. Dato, Conterfeijaren Mignatur debet Idem dal:r 450 solfvermyndt, sa som till chronones nytto emot den summ honom for hela ahret deputerat ahr, icke mehra ahn for halft ahrs lohn bekommet, som hoff cammererarens inlefvererade cassa rakningh till uthgifft folio 46 innehaller ---___ .r^ Erleuchter hochwolgebohrner Herr Graff Gnadiger Herr etc In ermangelung meiner gesundtheit werde ich genotiget anstat miindtlicher vohrtragung meiner desiderioz, Ew. hochgr. Exell. mit dieser vnterthanigen supplication zu behelligen, auch benebenst vnterthanigh zu bitten, weiln ich nunmehr durch Gottes willen, kranck vndt bettlegerig worden, vndt also meines restirenden geldess vndt besoldung sehr hochst benotiget bin, Ew. Hochgrafl. Exell. vohr dehro abreisen in der Konigl, Cammer gnadigst ordre stellen wolten, dass mihr pro A:o 1651, mein gantzess vndt dan auf gegenwertigess Jahr mein halbes salarium zusammen sich auf 1200 rthlr. erstreckendt vnfehlbahr gereichet werde ; Solchess wie ess zuersetzungh meiness mangelss dienet, will ich mit vnterthanigen diensten hinwieder vmb. Ew. hochgrafl. Exell. zubeschulden mihr hogst angelegen sein lassen, alss Ew. Hochgrafl. Excell. vnterthaniger Knecht Alexander Cooper. M 2 91 Appendix Sijn Koniglijcke Hocheit, mijn gnadige FiJRST, ende allerlieste heerr. Kan ick niet vorenthauden, huo ick gott betert exit hochdringende noth, klagen muet, want het mijn wunderlijck gaet dat ick het niet genoch schreiven kan ; oeck sijn cammereer, Daniell Bencsen, kan ick niet over einskummen, to dem gaet het also hier ant hoof, dat ick seker ende waerachtig noiegt, so miserabell van mijn dage gehadt hebbe, want ick in 2 Jaren geen pension, noch in 6-^ Jaren, geen penning van mijn werck gehat, derhalven bidde ick an mijn allergnadigste heerr, sijn konigl. hocheit wauden myn niet verargen, myne arme stautigheit, dat ick mijn dissipel, met noch een kleinche in minuatiir van sijn konigl. hocheit gesonden hebbe, in hoep dat het mijn allergnadigste herr well gefallen wurdt, int versterck ende hopening sijn konigl. hocheit sal mijn met een bitche behiillich sijn ; van de cammererer f halven, got bewaert mijn, ick sal hem niet meer mueigen, hebbe ock van hem gans niet met allgehat noch hebben konnen ; Onse liefe heerr segene sijn konigl. hocheit, want ick met Godes hiilpe, so hast mijn discipul, van sijn konigl. hocheit, weerkompt, van hier op Brabant ende so met gelegenheit op Engellandt t. vertrecken, in dien ick mijn allergnadigste heer, noch meer vor mijnem afreisen dienen kan, duen ick het seer gern, in Tiiscken, will ick gott bidden dach ende nacht omt wellgaen ende bewaring van sijn konigl. hocheit, mijn gnadister Fiirst ende heerr, ick verblievend Ew. konigl. hocheit vnderdanigste diener Alexander Cooper. Stockholm 22 januarij anno 1653. A tergo : An Sijn Koniglijke Hocheijt mijn AUergnadige Furst ende herr. A Borcholm. Psent. in Borgkholm den 17 februarij 1653. Note.— " Alexander Cooper— by Royal Letters of appointment— entered Queen Christina's service the 31st May, 1647, as ' conterfeijare ' (miniature painter) at a yearly salary of 800 riksdaler, being entitled to extra pay for every piece of work." In 1648-51 he is returned in the national balance sheet with a salary of 1200 daler. 1652 there is no entry. In 1653 no "conterfeijare" is mentioned in the Royal household accounts. 1650-52 in the Archives of the Royal Palace Household he is returned with a salary of 1200 daler. 1653 with 900 daler. 1654, up to July ist, he gets 450 daler ; from that date the grant ceases. 92 PLATE XCIII. 224. Edward Coke ¦ ¦ ¦ Thomas Forster. Mr. H. Pfungst. Appendix Utdrag air 1652 ars mantalslangder i Stockholms stads arkiv. Staden, Inre kvarteret. Conterfeijere-Mons. Coprj och Anthonj medh 3 st. drengiar. Extract from the schedules of population of the year 1652 in the " Record Office " ot the town of Stockholm. The Town, The inner quarter (not far from the castle). Painters— Mons. Coprj et Anthonj, with three men-servants. A translation of the foregoing pathetic letters is appended : To the Illustrious, Well-Born Lord, Count, Noble Lord, etc Owing to the failure of my health, Your Excellency, I am compelled, instead of putting my wishes before you in person, to make them clear to you in this signed document, and in the same way to beg kindly of you, because I am now through the will of God ill and bedridden, and am also in the very greatest need of the money and salary due to me. Your Excellency will you be good enough to give an order to the royal treasury that for the year 1651 my whole salary and for the present year my half salary, together amounting to 1 200 riksdaler, may be paid to me without fail. And because this will serve to alleviate my need I shall be in the very greatest degree indebted to your honour able Excellency. With my humble service, I am, your Excellency's servant, Alexander Cooper. His Royal Highness, My Gracious Prince and Dear Sir. I cannot refrain from complaining to-day in my extreme need, now that I am well enough to write. I dare not again approach your Chamberlain, Daniell Bencsen ; I therefore appeal to-day to your court. I beg to tell you ihat I am approaching my undoubted end ; that my days have been spent in great misery, and that during six years and a half I have never got a farthing for my work. I pray, therefore, my most gracious prince, that your royal highness will not despise me in my poverty-stricken pride, and will arrange so that I can leave my disciple at least a very small sum from your royal highness. I hope that to-day my most gracious prince will assent to my demand and will under stand and lend me his assistance. Heaven guard me from the Chamberlain. I cannot trouble him any more. Besides I cannot get anything from him. May our dear Lord 93 Appendix bless your royal highness and may I and my disciple, with God's help, get some protec tion from your royal highness so that we may start from here to Brabant and when the moment is favourable go over to England. Meanwhile I offer you further services before my departure which I should also be glad to do in Tuscany. I pray God that he may guard his royal highness and my most gracious prince and sir during night and day. I remain. Your Royal Highness's humble servant, Alexander Cooper, PLATE XCIV. 225. St. Paul's and the Piazza, Covent Garden . John Seller. St. Martin's Public Library. Index " Ad Vivum," meaning ofthe term, 75. Alcock, T., S. Cooper's portrait of, 27. Amsterdam, Rijks Museum collection, 17, 44, 53. Ashfield, Edmund — his personality but little known, 70. His work, 7 1 . Ashmolean Museum, Oxon., portrait of Alcock in, 27. Aubrey, acquainted with S. Cooper, 26. Beale, Mr. — his diary, 57. „ Mary — her work and death, 56, 57, 58, 59. „ Charles, 58. Beauchamp, Earl, collection of, referred to, 54, 64, 66, 70, 82. Beaufort, Duke of, collection of, referred to, 70. Bellamy, portrait by, 69. Berlin, Kaiser Friedrich Museum collection, 18, 19. Brahe, Comte M., miniature belonging to, 21. Bristol, Marquis of, collection of, referred to, 64. British Museum, exhibition of drawings at, 71. Print-Room collection, 63, 70, 73, 79. Brussels Exhibition, references to, 54, 65, 75, 79. Buccleuch, Duke of, collection of, referred to, 6, 18, 38, 50, 71, 80. Burghley, miniatures at, see Exeter. Burne or Byrne, H., portraits by, at Welbeck, 69. Carandini Paolo — his memoir, 67. His signature, 67. Portraits by, 67. Carlyle on portraits, 3, 87. Charles II., S. C. crayoning his head, 27. His Court at Whitehall, 87. Charles X., Gustavus, A. Cooper's letter to. Appendix. Christina, Queen, Alex. Cooper enters service of, 16. Cleyn, Francesco, 66. „ Penelope — her initials, 66. Confusion of them with those of Paolo Carandini, 66-7. Mention by Walpole, 67. Cooper, Alexander — little known about, 15. Enters service of Queen Christina, 16. His pay, 23. Reputation of, 16. Stay in Stockholm, 16, 23. Alleged Jewish origin, 20. Work done by him abroad, 17. Work by Oliver (?) wrongly attributed to A. C, 18. Employed at the Hague, 18. His portraits of Frederick V. and family, 19. His letter to Count Magnus de la Gardie, 23. Dr. Hans Posse on, 19. His death, 20, 23. Absence of portraits of, 29. See also Appendix. Cooper, Christina, wife of Samuel, mentioned in his will, 32. Cooper, Samuel — his epoch, i. His numerous sitters, 2. His genius, 2. Paucity of facts relating to his life, 24. Birth and temperament, 25. His accomplishments and love of music, 25, 27. Jealousy of Hoskins, 25. Recommended to French Court, 26. Graham's account of, 26. Mentioned in Evelyn's diary, 25. Pepys becomes acquainted with and visits him, 25, 30. His numerous pictures ofthe Cromwell family, 25. Rarity of work abroad, 26. His life on the Continent, 26. A friend of Aubrey, 26. Mentioned in Dorothy Osborne's letters, 27. Portraits of, 29. His appearance, 29. His abode, 29. Covent Garden in his time, 30. His death mentioned by Beale, 28. His will proved, 32. Relatives mentioned in it, 32. 95 Index Cooper, Samuel — holds property in Coventry, 33. Poem on, by Mrs. Katherine Phillips, 33. Copenhagen, Alex. Cooper at, (?) 23. Rosenborg Castle collection, 21. Covent Garden — fashionable in Cooper's day, 31. Residents in neighbourhood of in the seventeenth century, 32. Picture of, 86. St. Paul's Church in, 32. Coventry, Samuel Cooper owns property in and near, 33. Cromwell family, frequently painted by S. Cooper, 86. Crosse, Lawrence, memoir of, 64. Portraits by, 65. A fashionable painter, 65. His sitters, 65. Monotony of his style, 65. His false portrait of Mary Stuart, 65. His work shown at the Brussels Exhibition, 65. His home, 66. His collection and sale of ditto, 66. His death, 66. De la Gardie, Count, letter from Alex. Cooper to, 23. See Appendix. Dysart, Earl of, collection of, 9, 71. Elector Palatine, see Frederick. Elizabeth Stuart, portrait of, by Alex. Cooper, 18, 19. Evelyn, John — his reference to S. Cooper, 27, to J. M. Wright, 83, and Whitehall, 87. Exeter, Edward Courtenay, Marquis of, 6. Marquis of, collection of, 10, 51, 67, 70. Faber, John — his arrival in London, and career, 80. Number of portraits by, 80. Faithorne, William — his birth and career, 72. Pepys' frequent visits to, 72. His work, 73. His son, 73. Falck, Jeremias — his engraving of Frederick IIL, 22. Fols hill or Fox hill, Samuel Cooper's property in, 33. Forster, Thomas, portraits by, 78. Frederick III., portraits of his Queen and children, 21. Frederick V., Elector Palatine, his wife and family, portraits of by Alex. Cooper, described, 18-20. Greenhill, John — memoir, 62. A pupil of Lely, 62. His dissolute life, 62. His death, 62. Works by, at Salisbury and Dulwich, 62. Gustavus, Adolphus, at National Museum, Stockholm, 18. Ham House, collection at, referred to, 9. Hayles (the painter) and his family mentioned in Cooper's will, 33. Henrietta Street, Covent Garden, Cooper's residence in, 30. Character of, 32. Hildebrand, Emil, on Alexander Cooper's stay in Sweden, 22-3. Hobbes, Samuel Cooper's portrait of, 26. Holmes, Sir R., quoted, 1 1. Hoskins, Francis, 11, 32. Hoskins, John — his rank as a miniature painter, 3. Portrait of, 6. Walpole's remarks on, 6, 7. His nephews and disciples, 7. His son, 7. His wife, 8, 32. His signature, 7, 9. His will, 7, 8. His residence, 31. His burial, 7. Sir R. Holme's opinion on, 11, 12. Mentioned in Dorothy Osborne's letters, 27, 28. Chronological list of his work, 13, 14. Junior, 8, 11. Absence of work by, 10. Dines with Pepys, 11. His daughter, brother and sister, 11. Mentioned in Cooper's will, 32. Hoskins, Mary, 11, 32. Hoskins, Peter, mentioned, 7. Hoskins, Sarah, 8, 32. llchester. Earl of, collection of, referred to, 59. Janssen, Jonson or Johnson, 81. Judges, the, Wright's portraits of, 83. Gigas, Dr., quoted, 17. Goldsmith, Mr. R., collection of, referred to, 12. Gothenborg Museum, example of A. Cooper in, 18. Goulding, Mr. R., quoted, 69. Graham's account of the Coopers and Hoskins, 26. Kaiser Friedrich Museum, see Berlin. Kneller, John Zacharias — his birth and death, 70. Rarity of his miniatures, 70. Koniglichen Reichsbank, Stockholm, miniature belong ing to, 21. 96 Index Lambotte, M. P., quoted, 17. Lely, Sir Peter — his portrait of Duchess of York, 84. Pepys on his way of living, 85. Loggan, David — his birth, 74. His death, 75. Engravings by or after, 75-7. Lundstedt, M., quoted, 18. Mary of Modena, painted by P. Carandini, 67. Mead, Dr., collection of, 7. Melbury, paintings by Mary Beale, at, 59. Modena, see Mary. Montagu House, miniatures at, see Buccleuch. Morland, Mr. W. C., his collection referred to, 6. Morrison, Dr., his portraits by Oliver, 17. Mortlake Tapestry Works, employment of the Cleyns at, 55. Murray, Mr. Fairfax, collection of, 81. National Portrait Gallery, works in, 82. Oliver, I., works by, 18. Osborne, Dorothy, mentions Samuel Cooper and Hoskins in her letters, 27, 28. Paton or Patton, David — artist in plumbago, 80. Rarity of portraits by, 80. Pfungst, Mr. H., his collection referred to, 6, 54, 61, 67. Phillips, Mrs. C, her poem on S. Cooper, 33. Plumbago, remarks upon work in, 73. Portland, Duke of, collection of, referred to, 29, 50, 51, 69. Portrait painter, importance of, in the seventeenth century, 83. Posse, Dr., quoted, 19. Propert, Dr., quoted, 2, 9. Richmond, Frances Stuart, Duchess of, Mr. Radford's portrait of, 67. S. Cooper's portrait of, at Windsor, 67. Riemsdyk, Jhr. van, quoted, 17, 53, 54. Rijks Museum, see Amsterdam. Rosenborg, see Copenhagen. Royal collection, see Windsor. Rutland, Duke of, collection of, referred to, 81. Snelling, Matthew — his memoir, 63. His friends, 63. Walpole's reference to, 64. His portraits, 64. Sophia Amalie, Queen, and children, portraits of, 21. Stockholm, National Museum collection referred to, 18. Swedish archives, reference to A. Cooper in, 22 and Appendix. Swinburne, Miss, her portraits by Oliver, 17. Swingfield, portrait of, described by Walpole, 26. Tweedmouth, Lord, collection of, referred to, 79. Victoria and Albert Museum, collection at, 29, 45, 56, 64, 79. Welbeck, miniatures at, see Portland. Wellesley, Mr. Francis, collection of, referred to, 16, 69. 71. 74, 79, 80, 81. White, Robert — his birth, death, and work, 77, The number of his portraits, 77. His savings, 78. His son, 78. Whitehall, Evelyn's picture of Charles's last Sunday at, 87. Windsor, royal collection at, referred to, 10, i6, 67. Wright, Joseph Michael — nature of his work, 82. Portraits by, 82. His birth and career, 82, 83. 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