Half-length, turned to the left. In his left hand he holds a paper. He wears a blue coat and a white waistcoat. His face is shaven, his hair grey, and his head bald in front. On canvas, 2½ ft. high, by 2 ft. wide.

Behind is written:—“Received from Mrs. Joseph, 18th June, 1814.”

This is a posthumous likeness, taken from a mask after death, but considered by all who knew him to be a faithful resemblance. When Queen Charlotte went to see it, and the curtain which covered it was withdrawn, she was so struck with its truth, that she burst into tears. Many copies with slight variations were executed; one of them is now in the National Portrait Gallery. It is engraved in mezzotint by Turner. It is a fair specimen of George Francis Joseph, an indifferent artist, who was elected an associate of the Royal Academy after painting this portrait. He died in 1846.

Perceval, who became Prime Minister in October, 1809, was assassinated in the lobby of the House of Commons by Bellingham, on May 11th, 1812. The official documents he holds in his hand remind us that his state papers were not at all to the taste of the Prince Regent, who remarked, “that it was a great misfortune to Mr. Perceval to write in a style which would disgrace a respectable washerwoman.”

Bust, nearly a full face, slightly inclined to the right. He is seated in a purple-covered chair, in the robes of a Chancellor of the Garter, with the chain of the order on his breast. On canvas, 2 ft. 8 in. high, by 2 ft. 2 in. wide.

He was a half-brother of Lord North, the Prime Minister; was born in 1741; and was successively appointed Bishop of Lichfield and Coventry, Worcester and Winchester, and died in 1820.

Bust, turned to the left, facing and looking in front. Dressed in a bishop’s canonicals, with a small, but full, curly wig. Painted in an oval. On canvas, 2 ft. 6 in. high, by 2 ft. 1 in. wide. Compare No. 371.

Bust, to the right, looking to the front His left hand is on his breast, holding his gown. Dressed in canonicals, with a bushy wig. On canvas, 2 ft. 6 in. high, by 2 ft. 1 in. wide.

He was the son of a farmer at Congreve, Staffordshire, and was born in 1720. He was appointed preceptor to the Prince of Wales and the Duke of York, and was nominated Bishop of Worcester in 1781; but declined the primacy offered by George III., with whom he was a great favourite. He wrote many moral and religious works, long since relegated to the limbo of insipid mediocrities. Engraved by Holl in 1774? Perhaps the picture exhibited in 1781.

Bust, to the right. He wears a dark dress, and cap with flaps; his beard is long. On canvas, 2 ft. 6 in. high, by 2 ft. 1 in. wide.

This was in Gainsborough’s possession at his death, and was exhibited at Schomberg House, 1789.

Full-length, turned to the right. She holds a child in her arms on an altar in front of her. She is dressed in white with an orange-coloured mantle, lined with light blue; she wears sandals. On canvas, 8 ft. 11 in. high, by 5 ft. 11 in. wide.

On the left at the foot of the column is the signature:—“Angelica Pinx Aº. 1767.” To the left, on a vase, the inscription:—

Carol. ILLE de Bruns. & Priñ. Hered.
A. MDCCLX M. Jul. apud Enisdorff VICTORIA.
et A. MDCCLXIV M. Jan. apud Lond. AMORE. Coron.

Augusta, the eldest daughter of Frederick, Prince of Wales, was born on the 31st of July, 1737, and was married to the Duke of Brunswick on the 17th of January, 1764. By him she became the mother, among other children, of Caroline, Princess of Wales, and of Duke William Frederick, “Brunswick’s fated chieftain,” who fell at Quatre-Bras. In 1767, when this portrait was painted, she was in England on a visit.

The child in her arms must be her eldest son Charles George Augustus, who was born 8th February, 1766, and died in 1806.

Bust, turned to the left, facing in front. He wears a blue sash over his coat. See ante, No. 4.

Seated figures, on a couch by a table, the Prince of Wales on the left. On canvas, 3 feet 3½ inches high, by 4 feet 1½ inches wide. Lent by the trustees of the National Portrait Gallery.

The Duke of York was born in 1739, became an admiral in 1759, and died at Monaco in 1767.

“Item to Richard Hawkesmore, Clerk of the Workes, for making up an account [an estimate?] of the King’s New Gallery at Kensington—£5.”

“More to him for Pasteboard and other Materialls for making a modell of the said Gallery for the King—£5 2s.”

“Cha: Houghton for rating, casting up, and engrossing the Books of the said Building for the Auditor—£5.”

“To Grinling Gibbons, carver, for worke done in the new Gallery building, in the King’s great and Little Closet, in three Roomes under the King’s apartment, in the King’s Gallery, and other places about the said Pallace—£839 0s. 4d.”

“To Rob^t Norden for his paines in drawing a map for the chimney-piece and for attending the painters—£5.”

“We have caused an estimate to be made of the charge of painting the wainscot of the sd. Gallery and little closets in the same manner as the Bedchamber and closets are already painted, amounting to £32: 16:

Gilding the same—£154: 4:

Providing Scaffolds for the Painters and covering the floors with Boards to prevent their being damaged, etc., £233: 3:”

“We crave leave to lay before your Lordships a letter that we have received from Sir James Thornhill, Serj^t Painter to his Majesty, in which he complains that the gilding of the cornishes, which hath hitherto been done by himself, and his predecessors, is by my Lord Chamberlain’s Letter directed to be done by another person, which letter we have hereunto annexed.”

The dock is on the left, terminated by a fort in the centre of the picture. On the left are a large man-of-war and a disabled ship towed by a barque.

This and Nos. 204, 232, 233, and 236 are pieces of dockyards, painted by Paton more than a hundred years ago. They are each on canvas, 3 ft. 4 in. high, by 4 ft. 10 in. wide.

On the left are three French vessels,? The Formidable, Scipion, Mont Blanc, or Duguay Trouin, two of them utterly dismantled; to the right is the English fleet.

The engagement took place off Ferrol, about a fortnight after Trafalgar, the French ships being under the command of Rear-Admiral Dumanoir, who had escaped from that battle.

In the centre is a large man-of-war, the “Barfleur”: near it the “Worcester” firing a salute, and beyond a line of men-of-war, the “Royal Oak” and “Lennox” being distinguishable on the right. On canvas, 4 ft. 10 in. high, by 7 ft. wide. Signed “D. Serres, 1776.”

Greenwich is seen in the background; the dock buildings on the right; and on the left various ships, one firing a salute.

A large vessel is seen broadside, and in front an officer’s gig; other vessels are behind. Signed in lower right-hand corner, “D. Serres, 1789.”

The “Arethusa,” with its stern to the spectator, is to the left; “La Belle Poule” is on the right. They are discharging heavy broadsides at each other. The moon is seen in the distance between them.

The action took place on the 17th of July, 1778, off the Lizard, and lasted two hours at close quarters without intermission. The “Belle Poule” got away, though the English had got the best of the fight.

On the right is an English frigate bearing away; on the left one coming in. A fair specimen of this good marine painter.

A large man-of-war in the centre; smaller craft on each side.

The Royal Yacht is in the centre of the picture, attended by a convoy of twelve vessels. It had been re-named “The Royal Charlotte,” and was newly ornamented with a profusion of carving and gilding for the occasion. They embarked at Stade on the 24th of August, and landed at Harwich on September 6th.

Richard Wright was a painter of marine subjects.

In the centre, towards the left, is an English man-of-war firing a salute; other smaller craft are to the right and left. 1 ft. 8 in. high, by 2 ft. 11 in. wide.

This is an excellent specimen of Peter Monamy, an imitator, and probably pupil, of the Vandeveldes. Though much cracked, it is beautifully painted, “showing a fine quality of texture, with great precision of touch; the calm plane of the ocean level receding into the extreme distance, without that set scenic effect of passing cloud-shadows, which even the best masters have used to obtain the appearance of recession and distance; this work well deserves notice, and might puzzle the best painters of such subjects to rival.”—(Redgrave’s Century of Painters.)

She has twenty-six guns, and lies across the picture; other craft are to the right and left. Behind is seen Portsmouth. Signed “J. T. Serres, 1820.”

A man-of-war is on the left engaged with two of the enemy’s vessels; behind are others shown in action. (See No. 219.)

To the left is an English vessel, the “Cornwall,” firing at a fort in the centre of the picture. More to the left is a small ship burning; on the right are other vessels attacking the fort.

The fire-ship of the enemy was towed clear of the squadron by the boats, and left to burn and blow up at a distance from the fleet. The fort surrendered in the evening, and was blown up. The English lost seventy men.

In the centre is a large vessel (? the “Victory”) with rigging much shot away and torn. Others are seen behind in action.

These are two of three pictures, painted for William IV.; the third is now at St. James’s Palace.

In the background is the battle-line of the enemy, under Vice-Admiral Reggio, against which the British fleet is bearing. The action began at two o’clock. Although defeated, nearly all the Spaniards got into port; they lost eighty-six men. Knowles, when he came home, was tried by court-martial for not pursuing the enemy with more vigour, and was reprimanded.

The vessel is surrounded by boats, and is responding to their musketry by a fierce cannonade. 3 ft. 4 in. high, by 4 ft. 2 in. wide.

Half length, in robes, turned to the left. His right hand holds up his cloak, his left is seen underneath. His hair is gray.

He commanded the fleet which, in 1795, captured the Cape of Good Hope, and performed other brilliant services. He died in 1823.

In front are some eight large vessels, some with the yards manned, others with their sails partly set; other ships are seen behind.

On the frame in front is written:—“To the R^t. Hon^ble. W^m. Pitt this view of the British Fleet, which secured to England the uninterrupted navigation of the Southern Ocean is dedicated.” William Elliot was a bad marine painter in the style of Serres.

In the centre is a British flag-ship, shown at the end of a long line of vessels. On the right is one of the enemy on fire, to which boats are hastening. On the left is a ship with the name “WASSANAER.”

It represents the storm which separated the squadron the day after the battle. On the right is a dismantled vessel rolling over; on the left is the “Victory.” On canvas, 8 ft. high, by 10 ft. wide.

The English fleet is ranged in three lines about to begin the action by breaking the line of the enemy ranged beyond them. The enemy have already opened fire. On canvas, 3 ft. high, by 4 ft. wide. Signed, “J. T. Serres, 1793.”

John Thomas Serres was the son of Dominic Serres, who brought him up as a marine painter. In the year in which this picture was painted he succeeded, on his father’s death, to the office of marine painter to the King, and one of his duties in this post was to make sketches of the harbours on the enemy’s coast. He married the soi-disant Princess Olive of Cumberland, who lost him his appointment, and brought him to misery, destitution, imprisonment, and madness. (Redgrave’s Dict. of Artists.)

Three full-rigged men-of-war and others partially rigged are in front; beyond is a port. In front is a label:—“To the Earl of Chatham this view of the expeditious equipment of the British Fleet in 1790 is dedicated.”

Crossing the picture to the left, following another going into the picture.

This appears to be a copy of a picture in Lord Lichfield’s possession at Shugborough in Staffordshire, by Thomas Hudson, a portrait painter, who flourished from 1701 to 1779, and who is chiefly remembered now as the master of Reynolds.

Anson was a victorious admiral in the reign of George II., well known for his famous voyage round the world in the years 1740-44, and for his great exploit of capturing, in 1743, the Spanish galleon “Manilla,” which had a cargo on board valued at £313,000. He was created a peer in 1747 for his victory over the French fleet, and was First Lord of the Admiralty during the Seven Years’ War.

He is here represented in peer’s robes, which approximately fixes the date of the picture.

Bockman, by profession a mezzotint engraver, was in England about 1745-50, when he executed copies of various portraits of admirals, which had been painted by Kneller for James II., and G. Dahl, a Swedish painter, for William III. The originals were presented by William IV. in 1835 to Greenwich Hospital.

In the centre is a large three-masted vessel, with the Union Jack flying, and the royal party on board. Many others are behind.

On the left is a large vessel about to be launched; the dock buildings are behind.

The dock is on rising ground to the right; on the left is seen the Medway. Various ships are on the river.

To the right is a large line-of-battle ship firing a salute. Several yachts with officers and spectators on board are seen.

This, and Nos. 203, 209, and 231 pieces were painted by Dominic Serres, a native of Gascony, who, after running away from home, becoming a sailor, and then master of a trading vessel, and being captured by an English frigate, settled in England and took to painting marine pieces to earn a living. He was one of the original members of the Royal Academy, and frequently exhibited. He is to be distinguished from his son, J. T. Serres (see No. 225).

Woolwich church is seen in the centre background; the dock buildings are on the right.

Knighted by Queen Anne in 1704, died in 1743, and is buried in Westminster Abbey.

He was given the command of a ship by James, Duke of York, for his bravery. In 1702, when in command of the West India squadron, he sustained, almost alone, the fire of the whole French fleet under Du Casse; his cowardly officers, two of whom were afterwards tried by court-martial and shot, having basely deserted him. He died at Jamaica very soon afterwards from a wound received in the action.

A brother of the Duke of Marlborough’s. He died in 1708.

The celebrated admiral of the reigns of Queen Anne and George I. He was especially distinguished for his services against the Pretender, and for his great victory over the Spanish off Sicily in 1718. His son was the famous Admiral Byng, who was shot, as Voltaire said, “pour encourager les autres.”

Half length, to the right; in blue. His left hand is on his hip, his right has a bâton.

This is the famous admiral in the reign of William and Mary, who gained the victory of La Hogue against the French fleet under Tourville.

This portrait is one of the series of admirals painted for William III.

Three-quarters in length. Bareheaded, with grey hair. His right arm rests on a table, on which is his cocked hat; his left is in his belt. He wears a general’s uniform, a red coat with blue facings, a long white waistcoat with brass buttons, and white breeches.

I can find nothing about Spalken.