Background dark foliage. This, like the last, is a remarkable picture, both for its fine quality, and as a presentment of a singular union of dignity and personal beauty. Dr. Oliver named this a portrait of Thomas, eldest son of the Lord Treasurer Clifford, who died in Florence in 1671, æt. 19; but Charles, the eighth Lord Clifford, with greater probability, considers that it represents the Duke. He observes: "Most pictures of him that I have seen, though taken at various periods of his youth, all bear a very strong resemblance, and Lely has, no doubt, portrayed with accuracy the weak, irresolute, characterless, but singularly beautiful face of the unfortunate son of the lovely Lucy Walters." Another portrait of the Duke, in the collection at Great Fulford, was described in last year's Report. Two others are in the National Portrait Gallery, one of them the work of Sir Peter Lely. All these differ from the one at Ugbrooke. Anne, Duchess of Monmouth and Duchess of Buccleuch, second daughter and co-heiress of Francis second Earl of Buccleuch. Married James, the unfortunate Duke of Monmouth, 1663; and, secondly, Charles third Lord Cornwallis. She died 1732, æt. 90. "For she had known adversity, Though born in such a high degree; In pride of power, in beauty's bloom, Lay of the Last Minstrel, Introduction. Three-quarter length. Life-size, 4 by 34. Oil on canvas. In Seated with hands in lap; full face, inclined to right, looking towards the spectator. Light, direct; apparent age about 23. satin, orange-red dress, with broad yellowish lights; the original colour probably once more positive. Arms bare half way from wrists towards elbows. Background, dark curtain. To right a circular pedestal, on which a vase of red bronze, very well rendered. A very agreeable portrait, but a certain awkwardness in the pose and unpleasing arrangement of light and dark, detract from the merit of the picture; whilst, at the same time, they confirm the identity of the portrait as representing the duchess. Dr. Oliver, however, calls it a portrait of Elizabeth (who died in 1709), daughter and co-heiress of William Martyn, of Lindridge, Esq., and wife of the Lord Treasurer Clifford; but there is a note in the handwriting of Charles, eighth Lord Clifford, to the following effect: "At the National Portrait Gallery, South Kensington, the Duke of Buccleuch exhibited an exact fac-simile of this picture, about one-half the size, as the portrait of Anne Scott, Duchess of Monmouth (whose husband's portrait hangs opposite), and after his execution, Duchess of Buccleuch. It was also by Sir Peter Lely." The duchess was esteemed the greatest heiress and finest woman of the time. The portrait represents a very fair woman in a curious half-sitting, half-standing position. As the duchess was said to be the smallest woman in the court of Charles II., this attitude, which is well calculated to conceal the defect, was doubtless chosen by a painter who was, above all things, a courtier. An engraving of a portrait of the Duchess by Lely was produced in mezzotinto by P. Schenck, in 1688. Sir Thomas Clifford, Knight (about 1667), afterwards Lord Treasurer and first Lord Clifford. Born 1630; created Baron Clifford of Chudleigh 1672; died 1673. Three-quarter length. Life-size, 4 by 3. Oil on canvas. Standing. In ermine and crimson robes, with wand of office in right hand, as Comptroller of the Royal Household; left hand depending by the side of the figure; nearly full face, inclined to left. Light falls from the right; the eyes regard the spectator. The locks of a full auburn wig fall over the shoulders; apparent age about 40. Background of dark curtain and pillar. A picture of high quality; its merits somewhat obscured by the darkening of the varnish, especially over the head and upper parts of the figure. From a note by Charles, eighth Lord Clifford, it appears that "a duplicate of this picture is at Ham House, the seat of the Earl of Dysart, near Richmond, and is there said to be the portrait of Henry Bennet, Earl of Arlington, the friend and patron of Sir Thomas Clifford, and his predecessor in the office of Lord Treasurer, and it resembles other portraits of him." There is also a similar picture at Hampton Court, which is there called Lord Maynard. The portrait is believed to have been painted about 1667, and this corresponds with the age of Sir Thomas Clifford at that date. Artist unknown; probably a Florentine. Hugh, Second Lord Clifford, 1663-1730. Three-quarter length. Life-size, 4 by 3. Oil on canvas. Standing in court dress with hat on; face to left; eyes looking front at spectator; the hands half concealed; the right hand on stick; left at waist; light from the right; dark landscape and sky * This must have been an error. All portraits of Arlington shew the large patch covering a scar on the nose, of which Grammont's Memoirs give particular notice. (See vol. ii. p. 50, ed. 1809, 3 vols.) in background. Interesting, but of far inferior quality to the works around it. The style and handling recall the works of Dutch and Flemish contemporaries, of whom many practised their art in Italy. VAN SCHOOTEN, GEORGE. Born at Leyden, 1587. Scholar of Conrad Vander Maes, whom he surpassed. Died 1658. Fruit and Fish Piece. Life-size, 5 ft. by 63. Oil on canvas stretched on panel. This picture is signed and dated 1620 on the rim of the table, which is covered with vegetables, fish, and fowl. Near the centre of this picture, and looking to left, stands a girl with arms bared to elbows preparing the vegetables for the kitchen, and listening to a young man behind her on the right, who is tuning his violin. The light is from the left. A painting of wonderful detail and finish by an artist whose works are little known. A capital piece, the life-size figures rendered with skill not usually exercised in similar pictures of still-life. The face of the man has sustained some injury, and has been carefully restored. SIBERICHS OR SYBRECHT JOHN. Landscape painter. Antwerp, 1625. London, 1703. A Farmyard Piece. 6 by 8. Oil on canvas. A farmyard; figures and distant landscape, undoubtedly Dutch. The figures in the foreground are about a foot high; the light falls from the right. The painter's name "John Siberichs, 1661 "is marked on a cart to left of the painting. A powerful picture of unusual size and spirit. The farm-buildings just such as may yet be observed in retired parts of Holland and Belgium; yet the cattle and general character of the scene immediately around the distinctly Dutch figures are very suggestive of Devonshire. In the journals of the Lords, March 20th, 1679, we read thus: "Ordered that John Siberichs, a Dutchman and limner of pictures, who, being a Papist, ought to remove out of the cities of London and Westminster, may have liberty to stay in town for some time for the recovery of some debts owing to him before his removal out of the kingdom." He was allowed to remain six months. IN THE DRAWING-ROOM. LELY, SIR PETER. Ante. Sir Thomas, afterwards First Lord Clifford. Ante. Three-quarters to knee. Represented in his study therefore before he was a peer. A to left, with loose grey-blue robe over white sleeves. The right hand holds on the lap a book, from which Sir Thomas looks up at the spectator. The left elbow rests on the uppermost of two books laid on a table; the left hand supports the head. light moustache; own dark flowing hair falling on left shoulder. The light is from the right, and the background is plain and dark. The most attractive of all this fine series of Lelys. The expressive head wears a look in perfect keeping with meditative attitude. The grey-blue morning robe is very agreeable in colour, and skillfully cast. A part (to the waist, excluding the hands) of this striking picture was very poorly engraved for Lodge's Portraits by W. Holl. JANSEN, CORNELIUS. Portrait painter. Amsterdam, 1590– 1665. In England 1618-48. Rev. Thomas Clifford, D.D., 1572-1634. Prebendary of Exeter Cathedral, 1625. Grandfather of the Lord Treasurer. Three-quarter length. Life-size, 4 by 3. Oil on canvas or panel. Standing with thoughtful and somewhat worn face regarding the spectator, but inclining to right; the left hand gloved, and holding the other glove; right hand, hanging down, holds a book. Own dark hair, and short beard. Light from the left; age about 55. A table to left has the following inscription: "Sic cum transierint mei A very powerful piece. The sombre countenance, with dark moustache and trimmed beard, set in a deep ruff. The figure clad, as usual in this artist's works, in unrelieved black. The whole treatment evinces high artistic ability. TITIAN. Venetian painter. Born 1477; died of the plague, 1576. The Woman Taken in Adultery. (St. John viii. 3.) Almost life-size, 5 by 6. Oil on canvas. The woman (of about 26) is on the right, bending meekly towards our Saviour in the centre; the Pharisee, whom He is addressing, is on the left (aged about 45); and about ten other figures are in the rear of the three principal ones, before a background of dark architecture, with sky visible in the centre. Though the colours are slightly faded, and the arm of the woman slightly out of drawing, it is a painting of wonderful power. The prevailing colour is red, and the flesh tones recall the well-known Diana and Calisto in the Academy of St. Luke, at Rome. The treatment is conventional, and not indicative of deep religious sentiment. St. Mary of Egypt. Three-quarter length to knee. Life-size, 4 by 3. Oil on canvas. St. Mary of Egypt, who lived about the fifth century, is represented with face turned slightly to right; one hand at her breast, the other holding her very voluminous tresses, as her only covering, around her body. Light is confined wholly to the figure, and an unpleasing effect results from the intricate folds of the abundant hair, which, crossing and recrossing the body, multiply small detached lights. RUBENS, PETER PAUL. Flemish historical and portrait painter, 1577-1640. The Virgin and Divine Infant. blue skirt, and holds The Divine Infant's Three-quarter length. Life-size, 4 by 2. Oil on canvas. The Virgin is seated in a red dress with a the naked Child in her lap on a white cloth. right hand is raised to the mother's face as she looks lovingly down on it. Light direct; plain dark background. This picture, though attributed to Rubens, is more probably a copy from Vandyke. VAN LINT, PETER. Flemish painter. Antwerp, 1609–68. This picture is signed and dated 1643. Our Saviour is with face to right, laying His left hand on the head of a child presented by a woman, kneeling before Him in the centre; His right hand raised in the act of blessing. Another child is immediately behind, and on the right two women, a man, and several children, one of whom is trying to mount a lamb. The light is direct, and the principal figures are about a quarter of life-size. In the background is the court of a palace, with the broad avenue walk of an Italian garden seen through a semicircular arch in the centre of the picture. This is an interesting example of the treatment of scriptural subjects by artists of the Low Countries; the personages are essentially Flemish. The nude figure of the child in the foreground to right. is painted with much skill; the flesh tints pure and delicate. An interesting portrait of this artist, by his wife, is still in the possession of a direct descendant, Signor Van Lint, an able sculptor, residing in Pisa. BRIECKLAER, JOACHIM. Flemish painter. Antwerp, 15301610. Nephew of Peter Autsin. Christ Presented to the Multitude by Pilate. (John xix. 5.) 4 by 5. Oil on panel. A market-place in the foreground, crowded with figures in varied costumes, fruit, vegetables, carts, &c. In the background a mystery, |