PREFACE.

It will look, I fear, a little like arrogance in a private man to give a printed description of his villa and collection, in which almost every thing is diminutive. It is not, however, intended for public sale; and originally was meant only to assist those who should visit the place. A farther view succeeded; that of exhibiting specimens of Gothic architecture, as collected from standards in cathedrals and chapeltombs, and showing how they may be applied to chimney-pieces, ceilings, windows, balustrades, loggias, &c. The general disuse of Gothic architecture, and the decay and alterations so frequently made in churches, give prints a chance of being the sole preservatives of that style.

Catalogues raisonnés of collections are very frequent in France and Holland; and it is no high degree of vanity to assume for an existing collection an illustration that is allowed to many a temporary auction: an existing collection,-even that phrase is void of vanity. Having lived, unhappily, to see the noblest school of painting, that this kingdom beheld, transported almost out of the sight of Europe, it would be strange fascination, nay, a total insensibility to the pride of family, and to the moral reflections that wounded pride commonly feels, to expect that a paper fabric and an assemblage of curious trifles, made by an insignificant man, should last or be treated with more veneration and respect than the trophies of a palace deposited in it by one of the best and wisest ministers that this country has enjoyed.

Far from such visions of self-love, the following account of pictures and rarities is given with a view to their future dispersion. The several purchasers will find a history of their purchases; nor do virtuosos dislike to refer to such a catalogue for an authentic certificate of their curiosities. The following collection was made out of the spoils of many renowned cabinets; as Dr. Meade's, Lady Elizabeth Germaine's, Lord Oxford's, the Duchess of Portland's, and of about forty more of celebrity. Such well-attested descent is the genealogy of the objects of virtù,-not so noble as those of the peerage, but on a par with those of race-horses. In all three, especially the pedigrees of

peers and rarities, the line is often continued by many insignificant

names.

The most considerable part of the following catalogue consists of miniatures, enamels, and portraits of remarkable persons. The collection of miniatures and enamels is, I believe, the largest and finest in any country. His Majesty has some very fine, the Duke of Portland more in no other is to be seen, in any good preservation, any number of the works of Isaac and Peter Oliver. The largest pieces by the latter, in the royal collection, faded long ago by being exposed to the sun and air. Mons. Henery, at Paris, and others, have many fine pieces of Petitot. In the following list are some most capital works of that master, and of his only rival Zincke. Raphael's missal is an unique work, in miniature, of that monarch of painting; and the book of psalms, by Julio Clovio, the finest specimen extant of illumination. The drawings and bas-reliefs, in wax, by Lady Diana Beauclerc, are as invaluable as rare.

To an English antiquary must be dear so many historic pictures of our ancient monarchs and royal family: no fewer than four familypieces of Henry V., VI., VII., and VIII.; of Queen Mary Tudor and Charles Brandon; of the Duchess of Suffolk and her second husband; and that curious and well-painted picture of Charles II. and his gardener. Nor will so many works of Holbein be less precious to him, especially Zucchero's drawing from his Triumphs of Riches and Poverty.

To virtuosos of more classic taste, the small busts of Jupiter Serapis in basaltes, and of Caligula in bronze, and the silver bell of Benvenuto Cellini, will display the art of ancient and modern sculpture-how high it was carried by Greek statuaries, appears in the eagle.

To those who have still more taste than consists in mere sight, the catalogue itself will convey satisfaction, by containing a copy of Madame du Deffand's letter in the name of Madame de Sevigné; not written in imitation of that model of letter-writers, but composed of more delicacy of thought, and more elegance of expression, than perhaps Madame de Sevigné herself could have attained. The two ladies ought not to be compared; one was all natural ease and tenderness, the other charms by the graces of the most polished style, which, however, are less beautiful than the graces of the wit they clothe.

Upon the whole, some transient pleasure may even hereafter arise to the peruser of this catalogue. To others it may afford another kind of satisfaction, that of criticism. In a house affecting not only obsolete architecture, but pretending to an observance of the costume even in the furniture, the mixture of modern portraits, and French porcelaine, and Greek and Rome sculpture, may seem heterogeneous. In truth, I did not mean to make my house so Gothic as to exclude convenience, and modern refinements in luxury. The designs of the inside and outside are strictly ancient, but the decorations are modern.*

* And the mixture may be denominated, in some words of Pope,

"A Gothic Vatican of Creece and Rome."

Would our ancestors, before the reformation of architecture, not have deposited in their gloomy castles antique statues and fine pictures, beautiful vases and ornamental China, if they had possessed them?— But I do not mean to defend by argument a small capricious house. It was built to please my own taste, and in some degree to realize my own visions. I have specified what it contains; could I describe the gay but tranquil scene where it stands, and add the beauty of the landscape to the romantic cast of the mansion, it would raise more pleasing sensations than a dry list of curiosties can excite: at least the prospect would recall the good humour of those who might be disposed to condemn the fantastic fabric, and to think it a very proper habitation of, as it was the scene that inspired, the author of the Castle of Otranto.

DESCRIPTION OF THE VILLA

OF

MR. HORACE WALPOLE,

AT

STRAWBERRY-HILL NEAR TWICKENHAM..

WHERE the Gothic castle now stands, was originally a small tenement,* built in 1698, and let as a lodging-house: Cibber once took it, and wrote one of his plays here, The Refusal or the Lady's Philosophy. After him, Talbot bishop of Durham had it for eight years:† then, Henry Bridges marquis of Carnarvon, son of James duke of Chandos, and since duke himself. It was next hired by Mrs. Chenevix,‡ the noted toy-woman, who, on the death of her husband, let it to Lord John Philip Sackville, second son of Lionel duke of Dorset: he kept it about two years, and then Mr. Walpole took the remainder of Mrs. Chenevix's lease in May 1747, and the next year bought it by act of parliament, it being the property of three minors of the name of Mortimer. Along with this house and some other tenements was another small one,§ then occupied by Richard Francklin, printer of The Craftsman, who had been taken up for printing that paper during the

It was built by the Earl of Bradford's coachman, and was called by the common people, Chopp'd-Straw Hall, they supposing, that by feeding his lord's horses with chopped straw, he had saved money enough to build his house; but the piece of ground on which it stands is called in all the old leases, Strawberry-Hill-Shot, from whence it takes its name.

†The bishop kept a large table here; which is scarce conceivable, as he had no kitchen but that little place which is now the china-room.

Pere Courayer lodged here with her for some time.

It has since been pulled down, and a cottage built on the same spot. The garden too has been newly laid out by Mr. Walpole since it came into his hands by Francklin's death.