surface of the ground, we found a structure which we called a British or Druid sepulture, which was formed of 4 massy stones, one for each side and one for each end, making an oblong square area, 3 feet 3 inches long, 1 foot 8 inches wide, and 1 foot 2 inches deep. The area was covered by 3 longish stones placed parallel across it; the whole was surmounted, covered, and kept firm together by a single stone, 4 feet 2 inches long, 2 feet 8 inches wide, and 1 foot 2 inches deep. This stone we think might weigh from 6 to 700 pounds. The cavity was very carefully uncovered, and its contents were a few fragments of human bones, and some charcoal and ashes, which we conceive time, and the access of rain water through the crevices, had adulterated with earth, the general substance of it appearing of a dark earthy compound. We found no teeth nor hair, nor any weapon or instrument, nor in short any other vestige of humanity. It was stated to us that, in another barrow, which had been lately dug for stones to mend the roads, an urn had been discovered, but immediately broken to pieces and scattered by the unthinking and ignorant persons who dug it up.""-Kingsbridge and Salcombe, pp. 199-201. STONEHOUSE. "That the ancient Britons had a settlement in this neighbourhood is clear from a discovery made in 1815. Near to the turnpike gate between this place [Stonehouse] and Plymouth, on digging six feet below the surface, a kistvaen was found in perfect condition, made by six slabs of stone, four of which formed the sides, the others the top and bottom. It measured three feet six inches long by two feet two inches wide, and two feet three inches deep. Within it were found some fragments of bones, and a rude urn of baked clay containing a quantity of ashes."-MSS. of HENRY WOOLLCOMBE in the Library of the Devon and Exeter Institution, cited by J. Davidson in Notes on the Antiquities of Devonshire. See Huish, South. SOUTH HUISH. TRENTISHOE. "There are many barrows scattered over the desolate moors of this remote parish."-J. DAVIDSON. Notes on the Antiquities of Devonshire, p. 79. WEST ALVINGTON. See Alvington, West. SIXTH REPORT OF THE COMMITTEE ON WORKS OF ART IN DEVONSHIRE. SIXTH REPORT of the Committee-consisting of the Right Hon. Lord Clifford (Chairman), Dr. T. N. Brushfield, Messrs. A. Champernowne, R. Dymond (Secretary), A. H. A. Hamilton, G. Pycroft, J. Shelly, and R. N. Worth— appointed to prepare a Report on the public and private collections of Works of Art in Devonshire. Edited by R. DYMOND, F.S.A., Hon. Secretary. (Read at Seaton, July 1885.) IN continuance of their former labours the Committee now present a Report on 172 Works of Art contained in some private collections, of various degrees of importance, in the south-eastern part of the county. These include: The most important portion of this series is the valuable collection of paintings at Ugbrooke Park, belonging to Lord Clifford, the Chairman of the Committee, who has personally devoted much time and attention to the preparation of the materials for this Report. To these the Secretary has added many descriptive details, whilst Mr. Sidney T. Whiteford has appended critical annotations, which his extensive knowledge of art and artists renders valuable. The account of the works of art at Poltimore Park is based on two visits of inspection by Mr. Whiteford and the Secretary, whose notes have been reviewed by the noble owner of the collection. All the works described in the present Report have been personally inspected by the Secretary, whose task of description has been greatly aided by Mr. Whiteford's critical knowledge, and the facilities afforded by the owners of the pictures. Whatever may have been their motive, it is unfortunate that so many of the artists, of periods anterior to the present century, should have habitually sent forth their works without either date or signature. An age which is strict in its demand of proofs of authorship remains somewhat unsatisfied when these are wanting. It is apt to be sceptical of mere family tradition, and requires that this shall be supported by well-authenticated facts in the history of a work of art. An endeavour has accordingly been made in this Report to supply the authority upon which the unsigned pictures have been ascribed to the several artists whose names are mentioned. In every instance where an attempt has been made to identify an artist whose name does not appear on the canvas, and is unknown to the owner of the picture, it has not been done without data afforded by acquaintance with the authenticated works of the painter, and a careful examination of dates and other attainable facts. CLIFFORD, Chairman. ROBERT DYMOND, Secretary. UGBROOKE PARK, THE SEAT OF THE RIGHT HONOURABLE LORD CLIFFORD, CHAIRMAN OF The greater portion of the more valuable pictures at Ugbrooke were collected by Thomas, the first Lord Clifford of Chudleigh, the minister of Charles II., whose initial forms the first letter of the Cabal, of which he was a member. A memoir of this nobleman, by Mr. Edward Windeatt, will be found in the last volume of our Transactions (1884). Concerning Thomas Lord Clifford's collection, the late Rev. Dr. Oliver observed in his Cliffordiana: "Ferdinand II., and his son Cosmo III., Grand Dukes of Tuscany, presented, I believe, many of the choicest pictures at Ugbrooke. Formerly the collection here was much more considerable than at present; about thirty are said to have perished in the flames which consumed Mr. Anderson's premises in Covent Garden, London, about the year 1760. (See Gentleman's Magazine, vol. xxix. p. 605.) Many of these I take to be the hunting pieces mentioned by Evelyn (Memoirs, vol. i. p. 438): “18th August, 1673. My Lord Clifford being about this time returned from Tunbridge, and preparing for Devonshire, I went to take my leave of him at Wallingford House. He was packing up pictures, most of which were hunting wild beasts, and vast pieces of bull-baiting, bear-baiting, &c." Of these latter pieces none now remain, unless we except a picture of a wounded mastiff (now hanging in the billiard-room) which bears the marks of fire, and is evidently a part of a larger picture. Dr. Oliver calls it a Sneyders; but in this case, and in that of the Titians and other unsigned pictures by old masters of the Italian school, the painters' names have been taken from the list prepared by the learned Doctor, who carefully examined the family archives, and may have there found evidence, not now available, in support of the traditionary history of the paintings. The collection is exceptionally rich in genuine works of Sir Peter Lely. Two of these are portraits of the Lord Treasurer Clifford at different periods of his career, whilst the other six represent persons of royal blood or connexions, with whom he was in frequent communication at the court of Charles II. The collection is also remarkable for the completeness of its series of peers and peeresses of the house of Clifford, the only absentees being Elizabeth (Martyn), wife of the Lord Treasurer, and Hugh, the third Lord Clifford, who died in 1732, at the early age of 32. IN THE DINING-ROOM. LELY, SIR PETER. A German. Court painter. 1617-80. In England from 1641. King Charles II. in State Robes. Died 1685, at 55. Three-quarter length. Life-size, 4 by 3. Oil on canvas. Standing; full face, inclined to right; eyes looking at spectator; in background a fluted column. This fine and well-preserved portrait was probably painted not long before the king's death. Queen Catherine of Braganza, Infanta of Portugal, and wife of Charles II. of England. Married 1662. Returned to Portugal 1692. Died at Lisbon 1705, æt. 67. Three-quarter length. Life-size, 4 by 3. Oil on canvas. A graceful and well-preserved picture in Lely's best manner, representing the queen as St. Catherine, standing in conventional costume, with a broken wheel beside her, and a palm in her right hand; the left hand on wheel. These were the emblems of St. Catherine of Alexandria. Nearly full face, inclined to right, as also are the eyes; pearl earring visible; light direct; apparent age about 28. A dark curtain behind the figure with distant view of a roof and bell turret to right. Lely painted a portrait of this queen, which is in the collection of the Duke of Gordon, and engraved by J. Freeman for Lodge's Portraits; but the treatment and accessories differ from those of the Ugbrooke picture. Catherine of Braganza had certain lead mines in Derbyshire, granted to her on her marriage for three lives, and on leaving England she assigned them to Sir Thomas Clifford's family in recompense for his care of her household. Anne Hyde, daughter of Edward, Earl of Clarendon, and first wife of James, Duke of York, afterwards James II. married 1660. Died 1671, æt. 34. Three-quarter length. Life-size, 4 by 31. Oil on canvas. Seated; full face, inclined to left; thin curls on forehead; eyes looking at the spectator; light direct; apparent age about 35. Costume a brown dress; pearl necklace on bare bust; right hand touching shoulder; left pointing downwards; both arms bare nearly to elbows. Dark brown curtained background. This portrait is similar in many points to two others by Lely, one being in Lord Clarendon's collection, and engraved for Lodge's Portraits by J. J. Agar, whilst the other is in the National Portrait Gallery. It is a fine picture, and an agreeable likeness of the lady, of whom Grammont observes that she was 66 no great beauty," at the same time praising her dignity and generous nature. 1633-1701. Oil on canvas. James, Duke of York, afterwards James II. Three-quarter length. Life-size, 4 by 34. Represented standing, in armour, as Lord High Admiral, when apparently about 50 years old. The right hand holds a stick, leaning against a table with brown cover to left; the left hand on hilt of sword at hip; nearly full face; eyes to left. The tresses of a full brown wig fall on the shoulders. A blue ribbon, passing over right shoulder, crosses the breast. A coronet on table to left. Dark background. An excellent picture; the countenance so handsome that the artist's popularity may be easily understood. James, Duke of Monmouth, Son of Charles II., and Lucy Walters. Born at Rotterdam 1649. Beheaded on Tower Hill 1685. Three-quarter length. Life-size, 4 by 3. Oil on canvas. Standing, with full face, turned slightly to left; eyes regarding the spectator; light direct. Right hand on head of mastiff in left corner of picture; left hand on sword hilt; apparent age about 21. Costume a brown cloak over white sleeve on left arm. |