The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-10-29
ING TIIEGRAPR ADELPHIA TUEsDAY ooroBER 20 lse7

Joseph Williamson, by Kneler, and remind the |
reader that it was he who received that famous |
ep'stle from the Countess Of Pembroke
whose portrait was here last year; resolute |
looking little wOman-when he pressed her |
about the nomination Of oourtier for the |
borough Of Appleby:-"I have been bullied |
by an usurper, neglected by court, but | |
won't be dictated to by a subjects your man |
sha'nt stand. Ann Dorset, Pembroke, and |
montgomery" But just look at edward |
hyde, Earl OF Clarendon, Governor Of New /
York" 13O. 1t shows a dreadlully ugly |
male mortal in womans dress, with fan in |
his hand, lOng-bodied gown, and females |
cap ON. The original was the grandson of no |
less person than the great minister Claren- |
don. To such degradation did he come that |
this picture represents one of his follies In an
pearing thus dressed before the New Yorkers
to represent Queen Anne in proper person. He
seems TO have been half crazy.
We come now upon another class of per-
sons. In No. 30 we have George IL full
length by Kneller, and oddly illustrating Mr..
Carlyle's description of him as always show
ing one of his little legs, putting it forward to
be noticed; rather an impudent than heavy
looking man, but most happy in self-satsfac-
tion. In No. 255 we have, thanks to Wander
bank, Georges better-lool1ing wife,
bright-faced woman with very fair hair.
dressed in velvet, ropes of silk, lace.
and the rest Of such things, which is as
hideous but not so splendid as that Of Queen
Elizabeth herself, who was really a woful
dresser From Augusta, Princess of Wales
(264, by Vanloo), in unhappy combination
with Frederick Lewis, son of George II CIT,
by Amiconi), were derived the trumpeter's
cheeks, sloping forehead, weak chin, and mar
row-fronted skull of George III, who in Van
loo's picture is seated with his mother and
although mere baby, is yet almost comically
like his mother, and still more like himself
when grown to manhood.
That portrait of Frederick Lewis, Prince of
Wales, by Amieoni (27O, is worth writing
about, if it were only to show what imbecile
creatures have sometimes the misfortune to
be influential in this world. There he sits,
the beau ideal Of petit maftre, shaved SNUG
as a new deal-board A tight and rather
small whitish wig goes fairly with his very fair,
almost white, eyebrows and lashes; the cheeks
are plump and full, the eyes without sign of
mind in them. Here what they thought of him
in his own days, and in his own household
Lady Cover carried niece to Leicester Fields
(where the prince resided) the other day, to
present her; the girl trembled-she pushed
her. What are you afraid of Don't you
see that musical clock Can you be afraid of
a man that has a musical clockP" Let us
hope the damsel took heart and faced the dap
per prince with the fair eyelashes. When
this man died, the people lamented that it
Cumberland, victor at Culloden, whom, not
only for his cruelties at that time,
but also on account of his appearance
Che looks like a great SQUAD of flesh, and fat
and blood) men called "the Butcher" ooh
that it were but the Butcherl'' was the cry on
'Change when they heard Frederick Lewis was
dead. Here is the fat Duke on horseback. a
very greasy, sanguinary-looking mortal (281),
with Lord Cathcart, his aid-de-camp riding
behind, and showing on his cheek that black
patch of which he was so proud, because it
covered the hole made by the bullet of Fon-
tenoy. 1t appears again in 298, the present
Lord Cathcart's superbly toned portrait of his
ancestor by Reynolds. Reynolds also painted
'the Butcher in a 'whole-length" (31S)-one
of the most masculine of his many masculine
pictures, wherein, with consummate art, he
has refined upon that which seemed unre-
Unable.
The Duke of Cumberland's portraits are not
the only illustrations of the "45" present
here. This is no less a person than "Simon
Fraser, Lord Lovat" (320), the half-French
Scotchman of evil fame, the very picture
which Hogarth painted at st. Albans, whittier
he was taken to meet the captured Highland
fox, in order that he might paint his unlovely
countenance. When Hogarth came to his
sitter's room Lovat jumped up and kissed
him; and, while he sat, he counted on his fin
gers, as this picture shows, the names and
ANiSO0 VI IhO lONOlbCu SlduSs w ullo hONdt WAS
going to trial, woman looked into the coach,
and said, ''You ugly old dog, don't you think
you will have that frightful head cut offi'
He replied, 'You ugly old -, believe l
shall" After many doubles, shifts, and
schemes which put one in mind of the death
of that creature with which he has been most
frequently compared, he went to execution
bravely, and was despatched at blow" No
performer in that sad drama of the "'45" has
a stronger hold upon many memories than
Flora Macdonald, whose portrait is here (312,
from the hands of Allan Ramsay, son of ''the
Gentle Shepherd" very curious and inter-
esting picture, quite other in the features ii
represents than that sentimental heroine who
so commonly appears in pictures. Being dated
1749, it shows her when the bloom of lassie-
hood had passed away, leaving the expression
of an extraordinarily resolute will in hard-set
grey eyes, notwithstanding lips, and cheeks
that had begun to wither. 1t is a most striking
face, bitter resentful, soured, and with all its
intensity, narrow in look. The other ''Flora
Macdonald" by Hudson (314), is the picture
of round-faced young English lady, OF Allan
Ramsay as painter we have Walpole's rather
superfluOus testimony in letter to Sir David
Dalrymple:-"I have discovered another very
agreeable writer among your oountrymen,
and in profession where l did not look for
an author; it is Mr.. Ramsay the painter, whose
pieces being anonymous, have been over
looked. He and Mr. Reynolds are our favorite
painters, and two of the very best we have
ever had" He adds that Ramsey painted
women better than Reynolds, but can hardly