been engraved after Martin Heemskerck; or rather, an Essay towards such Catalogue," 8vo, pp. 126. Of the works of Heemskerck, who has been termed the Raphael of Holland, Mr. Kerrich was an ardent admirer, almost from his childhood; having become possessed of some of the prints after that master at a very early age. Mr. Kerrich possessed a somewhat extensive library, particularly rich in old wood-cut books. His very curious collection of antient paintings in panel he bequeathed to the Society of Antiquaries; and his extensive manuscript collections and sketches, for a History of Gothic Architecture, and on Ancient Costume, to the British Museum *. A very good portrait of Mr. Kerrich, taken by H. P. Briggs, was engraved by G. S. Facius, in folio, and is copied in the present Volume (p. 552). There is an etching by Mrs. Dawson Turner, representing him at a more advanced age. List of the Pictures bequeathed to the Society of Antiquaries by Mr. Kerrich. 1. An antient Portrait on board, representing a person of colour in a scarlet cap furred, dressed in a robe of cloth of gold, with an ermined collar. It is probably an imaginary portrait of the fifteenth century, as upon the frame is written the name CHARLE MAINGNE. This, with the eight pictures which immediately follow, all upon board, are arched at the top. 2. A Portrait of Ferdinand King of Arragon, in a dress of cloth of gold, the under-dress black, with a cross of gold and pearls, pendant by a red string from his neck. On the frame are the words Fernandus Hispania Rex. 3. A Portrait of Louis the XIIth of France, in a cap or head-dress fitted close. His dress consisting of a scarlet robe furred, with an under-dress of cloth of gold. Louis the XIIth of France was husband of Mary, sister to King Henry the VIIIth, and afterwards Duchess of Suffolk. She became the bride of Louis the XIIth on the 10th of October 1513, and in eighty-two days became his widow. The frame is inscribed Le Roy Loys. 4. A Portrait of Francis the Ist, the successor of Louis the XIIth, young and without a beard. He is dressed in a robe of scarlet, with a black square cap upon his head, richly ornamented, and a fleur-de-lis of gold pendant by a black string *They are contained in forty-eight volumes of various sizes,—Additional MSS. 6728 to 6773 inclusive. The volumes 6760 to 6773 are architectural MSS. of Mr. Essex. from his neck. His shirt is edged with a border of gold, and his under-dress is of cloth of gold. The face looking to the left. 5. Edward the IVth of England *, in a black cap, with a rich ornament and pearl above the forehead. His outer dress cloth of gold, with an under-dress of black, ornamented with rows of pearls and pendants. In his right hand the rose of York. On the frame is inscribed in antient characters, Edward' Rex quart'. 6. Richard the IIId of England +. This Portrait is a companion to the former. He wears a black cap with a pearled ornament; his hair brown and long. His robe cloth of gold, with an under-dress of scarlet; the right hand engaged in placing a ring upon the third finger of the left hand. The inscription, in part obliterated, Ricard' Rex terci'. Mr. Kerrich became possessed of this and the preceding Portrait, with the Numbers 2 and 8,in 1787. 7. Is an antient Portrait, well painted, and probably executed in the early part of the 16th century, inscribed in a very old character, LE ROY DE DENEMARQVE. It is possibly a portrait of Christian the Third. The king, whoever he was, is represented in an ornamented robe of cloth of gold furred. His beard large and red. A collar, probably of some Order, round his shoulders; a pink in his right hand. S. Is the Portrait of a person of middle age, in a square black cap with an ornament and pearls pendant in front. His robe dark; the collar of the Golden Fleece suspended from his shoulders; a cross and pearls below. A book in the left hand. An old inscription on the frame assigns this portrait to MONSOVR DE NASSOV. 9. Represents a Figure in a black dress and cap, the gown furred; a chain of gold with a pendant round the neck; a roll of paper in the left hand. On the lower part of the frame, the name MONSOVR DE RAVESTEIN. Freher, in his Theatrum Virorum Eruditione Clarorum, mentions one Jodocus Ravesteyn, a Fleming, an eminent scholar and theologian; he was a Canon of the Collegiate Church of Louvain, Provost of Walcheren in the diocese of Namur, and one of the defenders of the Council of Trent, who died in 1570. Possibly the same. The picture might have been painted much earlier. * An engraving of this picture, from a drawing by Mr. Kerrich, forms, the frontispiece to the fourth volume of the Paston Letters. + Printed in lithography in the fifth volume of the Paston Letters, where it is remarked in the preface, "The head of Richard is a very antient picture; and in addition to its own intrinsic merit and strength of expression and character, it possesses this circumstance which renders it particularly interesting in the present work. It was formerly the property of the Paston family; and was sold, with many others, at Oxuead in Norfolk, once the magnificent seat of that family, after its property had been dissipated by the extravagance of the last Earl of Yarmouth of that name. Many valuable pictures of more modern date were sold at the same time, some of the principal of which are now in the passession of Sir Robert Buxton. The portrait in question was probably an original, or at least a contemporary picture, and had been in the possession of the Pastons from the time of its being painted.” 10. Is another Portrait of King Richard the IIId, with a dagger or short sword in his right hand. A very antient picture, half-length. He is dressed in a black robe with sleeves of black and crimson, apparently wearing an under-dress of cloth of gold; a small black cap upon his head. The dimensions of this picture, one foot seven inches by fourteen inches. Mr. Kerrich became possessed of this picture in 1783. 11. Henry the VIIth, in a cap with a pearled ornament in front, a robe of scarlet, with a collar of roses. Half-length; on board. The rose of Lancaster in his right hand. 12. Another Portrait of Henry the VIIth, similar to the former, but apparently of more advanced age. The right hand also holding the red rose. 13. Henry the VIIIth, in advanced life, with hat and feather, in a black robe furred, the sleeves having slash openings; underdress of scarlet. A half-length, on board. 14. A smaller Portrait of Henry the VIIIth, similar in dress except that the under-robe appears of cloth of gold. 15. A half-length Portrait on board, companion to the preceding, supposed of Queen Anna of Cleve*. The head-dress and gown of cloth of gold. This and the last-mentioned portrait of Henry the VIIIth were purchased by Mr. Kerrich in 1781. 16. A very fine Portrait, three-quarter-length, of Queen Mary the First, richly dressed; a hood upon her head; at the lower corner on the right of the figure is the monogram of Lucas de Heere, HE, with the date 1554. This portrait Mr. Kerrich bought in February 1800 from the collection of Mr. Smith, of Boston in Lincolnshire, which was then sold in London. It is said formerly to have come from Kensington Palace. 17. A small half-length, on board, of Philip the Good, Duke of Burgundy. He is dressed in a black robe and cap, and wears the collar of the Order of the Golden Fleece. 18. Mary Queen of Hungary, in a rich dress of cloth of gold, with a large head-dress profusely ornamented. Inscribed, Maria Regina, 1520, on one side of the head; and the words, Anno Etatis 14, on the other. 19. Is a small round Portrait of a Man with a red beard, dress of black, and sword. At the sides of the head, ANNO D'NI 1558, and ÆTA. SUE 45. Round the edge of the frame, MATER QVÆ QVONDAM NVNC EST FORTVNA NOVERCA, 20. A round Picture in a square frame, the size of life, on board; inscribed in a character of the time, "ANT. MORVS, PHI. HISP. REGIS PICTOR, 10. SCORELIO PICTORI. Ao. MDLX." John Schorel or Schoreel, so called from the village of that name in Holland, was born in 1495. He studied for a time as a * Misnamed Jane Seymour in the Archæologia, vol. XXII. p. 450. painter under Mabuse and Albert Durer, and afterwards pursued his art during a pilgrimage to Palestine. He is said to have been the first of the Flemish painters who introduced the Italian taste into Holland. He died in 1562. Sir Antonio More, who painted this picture, was a pupil of Schorel. 21. From a half obliterated inscription at the back, is appropriated by Mr. Kerrich, as the Portrait of Bartolomeo Liviano de Alviano. It is large, and on board, and similar in dress and appearance to some of the figures in the pictures of Raphael. 22 and 23. Two Pictures, each in two compartments, formerly belonging to the old conventual Church of Ely, and representing a portion of the legend of St. Etheldreda, the Foundress of that Monastery. The first or upper compartment of the first picture, represents the marriage of Etheldreda with her second husband Egfrid King of Northumberland. The second represents her as overlooking the workmen who are carrying on the buildings of the Church of Ely. In the upper compartment of the second picture, Etheldreda is seen obtaining Egfrid's consent to depart the court, whence she is said to have retired to the Abbey of Coldingham. Beneath are the words, Hic Rex dat votum, quod Sancta petit fore totum, Etheldreda is stated to have persevered with both her husbands to live in a state of virginity. In the last, or lower compartment of the second picture, her interment is represented. Not the first interment in a wooden coffin in the common cemetery of the Nuns of Ely in 679; but that which is so minutely described by Bede in his Ecclesiastical History, consequent upon the translation of her body by the Abbess Sexburga into the Church of Ely in 695, when it was deposited in a marble coffin. From the general appearance of these pictures they may be ascribed to a date at least as early as the reign of Henry the Sixth. 24. Is a Picture upon board of the Martyrdom of St. Erasmus. At bottom, in the old English letter, Per fr'em Jo'm Holynburne 4o D'ni 1474. 25. Is an antient Picture painted upon canvass laid upon board; and was brought from Palestine by the late Dr. Edward Daniel Clarke of Cambridge, by whom it was presented to Mr. Kerrich. At the back of this picture is the following account of it in Dr. Clarke's hand-writing: "This Picture was found by Dr. Edward Daniel Clarke on the 3d day of July 1801, at the Church of Safouri or Sephori in the Holy Land, about five miles from Nazareth, and between that place and St. John d'Acre. The Church, once a magnificent building in the form of a Greek cross, is now in ruins. It was in a vaulted stone chamber, where the natives now keep their empty bee-hives, that this picture, with others, formerly a part of the sacred ornaments of the church, were discovered under a heap of rubbish. One of them had been taken out, and placed on a rude temporary altar among the ruins formed of loose stones. It is not certain when the Church of Safouri was destroyed. It was dedicated by the primitive Christians to St. Joachim and St. Anne, the parents of the Virgin; who were Isaid to have resided there. E. D. C." 26. The last Picture is a Portrait of Henry the Sixth, marked Henricus Sextus, but certainly not so old as his time *. 1. Mr. KERRICH to the Rev. WM. COLE †. "DEAR SIR, Magdalen college, Cambridge, Dec. 27, 1780. "The view of the Play-house in Dorset-gardens that is in our Library is not a drawing but a print; and the letters are cut off, so that there may be some reason to doubt whether or not it be really that theatre. "The other views Mr. Walpole speaks of, are, I apprehend, six small drawings with a pen by Hollar. They are rather slight, little more than outlines; but may probably enough be really by Hollar, and, if they have not been engraved, I should guess are curious. "Suffolk House; York House; Durham, Salisbury, and Worcester Houses; Savoy; Somerset House;' are written on them; but in a hand more modern than the drawings themselves. I make * Of this also a lithographic plate is published in the fifth volume of the Paston Letters. "It is certainly a very early portrait, if not an original; and it possesses this peculiarity which renders it valuable, that, while the expression of the countenance indicates the vacancy of mind and weakness of character which belonged to the amiable but unfortunate original, it contains more of marked individuality of character than the other representations of his countenance which have been transmitted to posterity."-" These two engravings have been recently executed in lithography from drawings made [in Nov. 1821 and Jan. 1822] by the very spirited and correct pencil of Mr. Kerrich." The editor, Mr. Frere, previously remarks that "This gentleman's taste and judgment in the arts of Engraving, and knowledge of Antiquities, particularly those connected with Architecture, have long been well known to the world. He is to be enumerated among the distinguished characters whose friendship Sir John Fenn possessed. This circumstance led him to contribute a portrait of Edward the Fourth to the former part of this work; and I have to express to him my best thanks for the great kindness and liberality with which he has supplied the three portraits to the present volume."-The third is a head of Margaret of York, Duchess of Burgundy, the "Dido" of the history of King Henry the Seventh. This painting is inscribed, MARGAR' DE ORC. 3 UXOR CAROLI DUCIS BOURGON'. It was engraved by Facius (from a drawing by Mr. Kerrich) and published by Richardson in 1804; and the same plate was purchased for the "Paston Letters at Mr. Kerrich's suggestion. This painting was not included with those sent to the Society of Antiquaries the wood being so completely decayed as scarcely to bear a touch + From the British Museum, Additional MSS. 6401. |