DOI Page / Citation link:
https://doi.org/10.11588/diglit.66024#0221
SOME NOTABLE PICTURES 127
The dejected-looking eagle drinking out of the cup was a favourite theme
with her, and a frequent accessory of paintings of Hebe and other classical
subjects.
Lord Morley possesses at Saltram several interesting pictures, among
others the portrait of Reynolds alluded to in a previous chapter. Lord Exeter
has still at Burghley many fine works, perhaps the best and most interesting
being the beautiful portrait of Anne Montgomery, Marchioness Townshend,
and her eldest son Lord William Townshend, represented as Cupid holding a
dove. This Anne Montgomery was the daughter of Sir William Montgomery,
Bart., of Magbie Hall, Peebles. She was a famous beauty and is the figure
in white on the right of Sir Joshua Reynolds’s picture of “ The Three Graces,”
in the National Gallery. She was the second wife of George, first Marquis
Townshend. Angelica’s picture was engraved by T. Cheesman, and a good
impression of the print is regarded as one of the collector’s prizes.
Lady Yarborough also possesses another smaller version of the same picture,
purchased from the sale of the Townshend Collection in 1904 at Christie’s.
At Burghley also are some of Angelica’s representations of the story of
Abelard and Heloise—always a favourite subject with her; and also some good
examples of what were called her “ classicalities,” with the well-known picture
of “ Fame adorning the Tomb of Shakespeare.” Lord Exeter has in addition
to all these a very large collection of engravings after Angelica’s works, of
great interest and value. At Burghley is the fine portrait of Angelica, by
her great admirer the excellent painter Nathaniel Dance. In it the artist has
represented her more as a woman than as a Muse, and it was probably an
excellent likeness of the artist as she was when she first appeared in London.
Lord Home possesses, at “ The Hirsel,” an important collection of pictures
by Angelica, including two classical scenes, “ Paris and Helen ” and “ The
Power of Love.” The most notable work, however, is a characteristic self-
portrait of Angelica, depicting her as a woman in early life, with a somewhat
serious expression. Her hair, in this picture, is darker than it is in any other
portrait she painted of herself. Angelica was a personal friend of Abigail,
Countess of Home, and the tradition in the family is that she stayed at “ The
Hirsel ” when she painted the portraits of Lord and Lady Home.
Perhaps, however, the most beautiful collection of Angelica’s portraits is
at Althorp, where one of her greatest patrons, Lord Spencer, lived. Here is
a delightful group—George John Lord Althorp, afterwards Earl Spencer;
Georgiana, afterwards Duchess of Devonshire; and Henrietta, afterwards
Countess of Bessborough. Another important portrait in the same house is
that of Margaret, Countess of Lucan.
There is one reason why in the present day many of Angelica’s works do
not receive the honour to which they are entitled. It is because so many of
them have been cleaned, restored, and renovated; and Angelica’s touch was so
light, and her glazes were so thin, that the act of restoration frequently spells
ruin to her best pictures. It is only when we see a charming portrait, unrestored,
The dejected-looking eagle drinking out of the cup was a favourite theme
with her, and a frequent accessory of paintings of Hebe and other classical
subjects.
Lord Morley possesses at Saltram several interesting pictures, among
others the portrait of Reynolds alluded to in a previous chapter. Lord Exeter
has still at Burghley many fine works, perhaps the best and most interesting
being the beautiful portrait of Anne Montgomery, Marchioness Townshend,
and her eldest son Lord William Townshend, represented as Cupid holding a
dove. This Anne Montgomery was the daughter of Sir William Montgomery,
Bart., of Magbie Hall, Peebles. She was a famous beauty and is the figure
in white on the right of Sir Joshua Reynolds’s picture of “ The Three Graces,”
in the National Gallery. She was the second wife of George, first Marquis
Townshend. Angelica’s picture was engraved by T. Cheesman, and a good
impression of the print is regarded as one of the collector’s prizes.
Lady Yarborough also possesses another smaller version of the same picture,
purchased from the sale of the Townshend Collection in 1904 at Christie’s.
At Burghley also are some of Angelica’s representations of the story of
Abelard and Heloise—always a favourite subject with her; and also some good
examples of what were called her “ classicalities,” with the well-known picture
of “ Fame adorning the Tomb of Shakespeare.” Lord Exeter has in addition
to all these a very large collection of engravings after Angelica’s works, of
great interest and value. At Burghley is the fine portrait of Angelica, by
her great admirer the excellent painter Nathaniel Dance. In it the artist has
represented her more as a woman than as a Muse, and it was probably an
excellent likeness of the artist as she was when she first appeared in London.
Lord Home possesses, at “ The Hirsel,” an important collection of pictures
by Angelica, including two classical scenes, “ Paris and Helen ” and “ The
Power of Love.” The most notable work, however, is a characteristic self-
portrait of Angelica, depicting her as a woman in early life, with a somewhat
serious expression. Her hair, in this picture, is darker than it is in any other
portrait she painted of herself. Angelica was a personal friend of Abigail,
Countess of Home, and the tradition in the family is that she stayed at “ The
Hirsel ” when she painted the portraits of Lord and Lady Home.
Perhaps, however, the most beautiful collection of Angelica’s portraits is
at Althorp, where one of her greatest patrons, Lord Spencer, lived. Here is
a delightful group—George John Lord Althorp, afterwards Earl Spencer;
Georgiana, afterwards Duchess of Devonshire; and Henrietta, afterwards
Countess of Bessborough. Another important portrait in the same house is
that of Margaret, Countess of Lucan.
There is one reason why in the present day many of Angelica’s works do
not receive the honour to which they are entitled. It is because so many of
them have been cleaned, restored, and renovated; and Angelica’s touch was so
light, and her glazes were so thin, that the act of restoration frequently spells
ruin to her best pictures. It is only when we see a charming portrait, unrestored,