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In the eleventh panel, is a sweet miniature of two Children.

In the twelfth panel-A child; a Countess of Rutland; the second Lord Granby of the present generation, as an infant, born Aug. 20, 1813.

In the thirteenth panel-The present Duke, as a child, from Reynolds; Lord Robert Manners; William Herbert, Earl of Pembroke, by Oliver; Mary Isabella, Duchess of Rutland; Lady Frances Cecil, Countess of Cumberland, by John Hoskins.

PETER OLIVER, the son and disciple of Isaac, his father, a successful painter of portraits in miniature, of the most distinguished personages of his time, was born in 1601; and, though so young at the time of his father's death, in 1617, he had so well profited by his instruction and example, that he attained a degree of perfection in miniature portrait painting, indisputably superior to his father, or to any of his contemporaries, especially as he did not confine his subjects to a head only. He likewise painted historical pictures, nineteen of which were in the collection of Charles I. and James II. Seven of these are still preserved in Queen Caroline's closet at Kensington. There is at Burleigh, the seat of the Marquis of Exeter, an admirable copy of the Venus and Adonis by Titian, in water colours, by Peter Oliver, dated 1631; and a valuable collection of portraits in miniature, by the same artist, of the Digby family, purchased by Walpole, and bequeathed, with the other treasures of art at Strawberry-hill, to the Earl of Waldegrave. Peter Oliver died in 1664, and was buried with his father, in the Blackfriars.

In the fourteenth panel-The late Duchess Dowager, when quite a young woman (knee-piece); three Children, two in one miniature, and one singly, daughters of the late Earl of Carlisle; two Heads of Ladies.

In the fifteenth panel-A Lady (knee-piece); Henry Percy, Earl of Northumberland, 1585, a copy by John Hoskins; one male and two female Heads.

In the sixteenth panel-Cupid with a butterfly (Psyche).

The door opposite the entrance to the Elizabeth Saloon communicates with the

GRAND DINING ROOM,

a magnificent apartment, occupying the space (with the exception of the short portion of the gallery at this end of the corridor) from the Elizabeth Saloon to the north-east tower. It is 55 feet long, 31 feet wide, and 19 feet high. If there is a fault in its proportions, it is, that there is scarcely sufficient height; a deficiency that is the more observable, from the circumstance of the ceiling being formed of deep panels and ribs, the former being filled with flowers of various character, in high relief. Notwithstanding its great length and breadth, comfort appears well amalgamated with magnificence. Thirty persons are the ordinary number seated at the table; but there is evidently sufficient space for an elongation of the tables, so as to accommodate from ten to twenty more. It is lighted by four spacious windows, with an aspect towards the stables at the bottom of the hill: which stables, by the way, will in a few years' time be invisible from the Castle, his Grace having ordered a plantation on the lowest terrace, as a At each end of the room there is a shallow recess with circular arch, bounded by broad pilasters of Derbyshire marble, and filled with plate glass, from the ceiling to the slab of the sideboard placed in it. Three similar recesses, with sideboards, are on that side of the room, which faces the windows. On this side are also two fire-places, with chimney-pieces of statuary marble, sculptured in an appropriate manner, and in the first style of the art. The frieze is decorated with two thyrsi meeting in a horizontal direction on a bowl. The supporters on each side are Egyptian Bacchi. Between the windows are deep

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niches, the soffits of the arches of which are formed of large gilded shells. Lamps, with columns and pedestals, are placed in these niches. In the front of the centre niche, is a magnificent marble side-table for a punch-bowl, covered in appearance with a table napkin, the folds of which are so accurately represented in the marble, as to require a close inspection to convince the observer of the solidity of the material. The sides are decorated with flowers and fruit, in Florentine mosaic. This is a splendid specimen of the skill of the artist, Matthew Wyatt. When it was first placed in the dining room, some fears were entertained, that its enormous weight (between two and three tons) would render additional support to the floor necessary; which is consequently underpropped in this particular part, and in such a manner, that the capability of the floor to sustain the weight would be amply tested. Experience has proved that no such additional security was required.

Passing through a small anteroom, which is accessible to the domestics of the Castle by a staircase contained in a species of interior tower, we enter a room, which has received the denomination of the

HUNTERS' DINING ROOM,

from its appropriation to small parties of this class, who, after their laborious amusement, are desirous of the comfort without the state of a dinner party. Its dimensions are 20 feet by 17; and, with the exception of some first-rate pictures, nothing in the shape of decoration has been attempted. Over the fire-place is a whole-length portrait of the present Duke, when a young man. The face is very pleasing, and the action less studied than usual. The

sky and the background are rather dark and indistinct; but I would not be understood as giving any positive opinion, as the picture hangs in an unfavourable light. I believe it was painted by Hoppner.

Near the above is a head of "Eliz. wife of Charles Noel, 4th Duke of Beaufort, baroness of Bottetourt," by Sir J. Reynolds. At the bottom of the picture are the following lines:

"Whatever adorned this dome, thy love bestowed;

But, more than wealth or birth-thy precepts pure,
And more than precepts-thy EXAMPLE, gave.

"Accept this tribute of thy daughter's love.

"M. J. RUTLAND."

"Written by Thos. Bowdler esq."

Head of the Duke of Beaufort, by Sir J. Reynolds.
Head of another Duchess of Beaufort, over the door.
Duchess of Somerset (knee-piece).

Head of a Man.

Girl and Jay. Peters. The subject was suggested by Sir John Thoroton. It is a pleasing example of the artist's style. There are much simplicity and nature in the expression of the head, and in the attitude of the girl.

Sea-piece. Marlow. A large oval picture. £30. Called in a manuscript catalogue," Fresh breeze, off Flushing." On an isolated portion of a rugged coast, is seen a fortification, and small vessels sailing in different distances. In the middle foreground, a fisherman is leaning on his boat, which lies high and dry on the shore. Behind him, to the right, are a man, woman, and boy. There is much natural ease in the figures; the sea, agitated by a fresh breeze, has peculiarly liquid character; and a wild sky harmonizes with the whole.

Large Sea-piece-Dutch Admiral's Flag. Van de Velde. Besides the admiral's ship, another large ship is seen burning. This picture, as well as most of the pictures in this room, is hung in a bad light. The room itself is, indeed, ill calculated for good pictures.

Death of Lord Robert Manners. Stothard. A small picture. £30. The heads, grouping, action, and colouring, are admirable. From some unaccountable cause, this picture has suffered more than any other in the Castle. The colouring is slightly faded, but cracked all over in the most minute manner.

Of the "gifted Stothard," as Dr. Waagen calls him, various opinions have been formed. One writer laments, that the Raffaelesque purity of Stothard's early designs was afterwards exchanged for the prettinesses of Watteau. Others do not admit of this exclusive change of style. And, perhaps, a more just appreciation of his talents cannot be found in any author, than in Dr. Waagen's "Art and Artists in England:"-" Amongst all the English painters, none perhaps has so great a power of invention as Stothard. His versatile talent has successfully made essays in the domains of history, of fancy and poetry, of humour, and lastly, even in domestic scenes in the taste of Watteau. this may be added, much feeling for graceful movements, and cheerful, bright colouring." Mr. Rogers has pictures by this artist in almost all his varied styles. (Vol. II. pp. 133, 134.) The grand staircase at Burleigh is painted by Stothard, with a degree of boldness and strength, that clearly evince the hand of a superior master.

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Returning through the grand dining room into the gallery of the grand corridor, a door at the end admits us into the picture gallery, at the opposite end to that by which we entered from the grand staircase. Proceeding straight across, we enter, by another door, the Sitting Room of a suite of apartments called the

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