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Updated: May 9, 2025
When REYNOLDS returned from Italy, warm with all the excellence of his art, and painted a portrait, his old master, Hudson, viewing it, and perceiving no trace of his own manner, exclaimed that he did not paint so well as when he left England; while another, who conceived no higher excellence than Kneller, treated with signal contempt the future Raphael of England.
Here are examples of the works of Sir Joshua Reynolds, de Mytens, Tintoretto, Teniers, Snyders, Bassano, Wyck, de Vos, Greffier, Francks, Berghem, Zucchero, Wootton, Breughel, Dirk Maas, Netscher, Gagnacci, Gerard Honthorst, Van der Meulen, Rigaud, Vandyke, Holbein, Kneller, Lely, Dahl, M. Shee, Knapton, West, Jansen, Verelst; in fact not only in the picture-gallery, but in all parts of the Abbey are scattered treasures of art and vertu.
Further down were Sir Isaac Newton and Sir Godfrey Kneller opposite Andre, and Paoli, the Italian, who died here in exile. How can I convey an idea of the scene?
Many of the pictures were interesting as portraits, rather than as works of art, although there were good specimens of Vandyke, Jansen, Kneller, and Lely amongst the collection; and Clarendon was probably able to pursue his hobby of collecting portraits of the outstanding men in English history at no great cost.
But, like several eminent men whom we could name, both living and dead, he sometimes appeared strangely deficient in the power of distinguishing rational from fanciful analogies, analogies which are arguments from analogies which are mere illustrations, analogies like that which Bishop Butler so ably pointed out, between natural and revealed religion, from analogies like that which Addison discovered, between the series of Grecian gods carved by Phidias and the series of English kings painted by Kneller.
There he painted portraits with great success; his prices being fifteen guineas for a head, twenty if with one hand, thirty for a half, and sixty for a whole-length portrait. Charles II, sat at the same time to Kneller and to Lely.
We found some fine old portraits and other paintings by Vandyke, Sir Peter Lely, Sir Godfrey Kneller, and a strange head by Rubens, amid all which I walked wearily, wishing that there were nothing worth looking at in the whole world. My wife differs altogether from me in this matter; . . . . but we agreed, on this occasion, in being tired to death.
So the servant ushered us through a hall, where were many family pictures by Lely, and, for aught I know, by Vandyke, and by Kneller, and other famous painters, up a grand staircase, and into the library, the inner room of which contained the ponderous volumes which John Evelyn used to read.
At this time he was twenty-eight, and may therefore be assumed to be accurately represented in the portrait painted by Kneller in 1716, and mezzotinted a year later by Smith. Here he appears as a slight, delicate young man, wearing a close-fitting vest or tunic, and, in lieu of a wig, the dressing or "night-cap" which took its place.
The furnishings were in keeping, but dust obscured the mirror-like surface of the mahogany tables, the heavy draperies were in need of renovation, while a housewife would have viewed with despair the condition of brass and ebony inlaid cabinets, ancient tapestries, and pictures, well-nigh defaced, but worthy, even in their faded aspect, of the brush of Sir Godfrey Kneller, Benjamin West and the elder Peale.
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