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Frances, 2nd Year

College Paintings

120 paintings shown below:

  • Thumbnail of painting of ? Balderston, William (1)
  • Thumbnail of painting of ? French, John (2)
  • Thumbnail of painting of ?Hornby, Walter (3)
  • Thumbnail of painting of Allcock, Walter Burt (4)
  • Thumbnail of painting of Alleyne, John (5)
  • Thumbnail of painting of Allix, John Peter (6)
  • Thumbnail of painting of Annesly, Arthur (7)
  • Thumbnail of painting of Archdall-Gratwicke, George (9)
  • Thumbnail of painting of Ash, Francis (10)
  • Thumbnail of painting of Ash, Francis (11)
  • Thumbnail of painting of Askew, Anthony (12)
  • Thumbnail of painting of Askew, John (13)
  • Thumbnail of painting of Bacon, Sir Edmund, Bart (14)
  • Thumbnail of painting of Balderston, John (15)
  • Thumbnail of painting of Barnes, Joshua (16)
  • Thumbnail of painting of Baylay, William Frederick (136)
  • Thumbnail of painting of Bennet, William (17)
  • Thumbnail of painting of Black Prince, The (18)
  • Thumbnail of painting of Blakiston, Peyton (19)
  • Thumbnail of painting of Bradshaw, John (so called) (26)
  • Thumbnail of painting of Branthwaite, William (22)
  • Thumbnail of painting of Breton, John (23)
  • Thumbnail of painting of Brewer, Derek Stanley (24)
  • Thumbnail of painting of Browne, Edward Harold (25)
  • Thumbnail of painting of Calvert, Sir William (27)
  • Thumbnail of painting of Creighton, Mandell (30)
  • Thumbnail of painting of Cromwell, Oliver (31)
  • Thumbnail of painting of Cudworth, Ralph (32)
  • Thumbnail of painting of Cust, Sir Pury (33)
  • Thumbnail of painting of Dawkins, Richard McGillivray (34)
  • Thumbnail of painting of Dixie, Sir Wolstan, Bart (35)
  • Thumbnail of painting of Dudley, William (36)
  • Thumbnail of painting of Edmondes, Sir Thomas (37)
  • Thumbnail of painting of Fane, Charles, Third Earl of Westmorland (38)
  • Thumbnail of painting of Fane, John, Tenth Earl of Westmorland (39)
  • Thumbnail of painting of Fane, Mildmay, Second Earl of Westmorland (40)
  • Thumbnail of painting of Farmer, Richard (41)
  • Thumbnail of painting of Farmer, Richard (42)
  • Thumbnail of painting of Ffowcs Williams, John Eirwyn (148)
  • Thumbnail of painting of Forder, Benjamin Christmas (44)
  • Thumbnail of painting of Forder, Benjamin John Herfield (45)
  • Thumbnail of painting of Frankland, Joyce (46)
  • Thumbnail of painting of Gardiner, James (47)
  • Thumbnail of painting of Giles, Peter (49)
  • Thumbnail of painting of Hackett, Cecil Arthur (155)
  • Thumbnail of painting of Hall, Joseph (52)
  • Thumbnail of painting of Hewitt, Thomas (53)
  • Thumbnail of painting of Hill, Geoffrey William (54)
  • Thumbnail of painting of Hill, Geoffrey William (157)
  • Thumbnail of painting of Holbech, Thomas (55)
  • Thumbnail of painting of Hopkins, Sir Frederick Gowland (56)
  • Thumbnail of painting of Hort, Fenton John Anthony (57)
  • Thumbnail of painting of Hothersall, Burch (58)
  • Thumbnail of painting of Hubbard, Henry (60)
  • Thumbnail of painting of Hubbard, Henry (61)
  • Thumbnail of painting of Hurd, Richard (62)
  • Thumbnail of painting of Jackson, Charles (63)
  • Thumbnail of painting of Kidder, Richard (65)
  • Thumbnail of painting of King Charles II (66)
  • Thumbnail of painting of King Charles II (67)
  • Thumbnail of painting of King Edward III (68)
  • Thumbnail of painting of Kingsley, William (69)
  • Thumbnail of painting of Leman, Thomas (70)
  • Thumbnail of painting of Long, Roger (71)
  • Thumbnail of painting of Longden, Sir Gilbert (153)
  • Thumbnail of painting of Middleton, Benjamin (73)
  • Thumbnail of painting of Mildmay, Mary (76)
  • Thumbnail of painting of Mildmay, Sir Anthony (74)
  • Thumbnail of painting of Mildmay, Sir Walter (75)
  • Thumbnail of painting of Mildmay, Sir Walter (78)
  • Thumbnail of painting of Mildmay, Sir Walter (79)
  • Thumbnail of painting of Mildmay, Sir Walter (80)
  • Thumbnail of painting of Mildmay, Sir Walter (81)
  • Thumbnail of painting of Mildmay, Sir Walter (82)
  • Thumbnail of painting of Mildmay, Sir Walter (83)
  • Thumbnail of painting of Mildmay, Sir Walter (161)
  • Thumbnail of painting of Norrish, Ronald George Wreyford (84)
  • Thumbnail of painting of Palmer, John (160)
  • Thumbnail of painting of Parkinson, Cyril Northcote (85)
  • Thumbnail of painting of Parr, Samuel (87)
  • Thumbnail of painting of Parr, Samuel (86)
  • Thumbnail of painting of Pemberton, Jeremiah (88)
  • Thumbnail of painting of Pemberton, Sir Francis (89)
  • Thumbnail of painting of Porter of Luddenham, Lord (163)
  • Thumbnail of painting of Potter, Edward (91)
  • Thumbnail of painting of Preston, John (92)
  • Thumbnail of painting of Preston, John (93)
  • Thumbnail of painting of Queen Elizabeth I (94)
  • Thumbnail of painting of Richardson, William (95)
  • Thumbnail of painting of Richardson, William (101)
  • Thumbnail of painting of Sancroft, Alice (102)
  • Thumbnail of painting of Sancroft, William (103)
  • Thumbnail of painting of Sancroft, William (104)
  • Thumbnail of painting of Sands, Edward (152)
  • Thumbnail of painting of Shaw, Sir William Napier (106)
  • Thumbnail of painting of Smythies, Henry Yeats (109)
  • Thumbnail of painting of St John of Fawsley, Lord (110)
  • Thumbnail of painting of Sudbury, John (112)
  • Thumbnail of painting of Sudbury, John (135)
  • Thumbnail of painting of Sutherland, Sir Gordon (156)
  • Thumbnail of painting of Symons, Ralph (108)
  • Thumbnail of painting of Temple, Sir William, Bart (113)
  • Thumbnail of painting of Thackeray, Frederick (114)
  • Thumbnail of painting of The Return of the Prodigal Son (115)
  • Thumbnail of painting of The Seven Bishops (159)
  • Thumbnail of painting of Thorp, George (116)
  • Thumbnail of painting of Thorp, George (117)
  • Thumbnail of painting of Toller, John (118)
  • Thumbnail of painting of Unidentified Clergyman (122)
  • Thumbnail of painting of Unidentified Lady (123)
  • Thumbnail of painting of Unidentified Man (119)
  • Thumbnail of painting of Wallis, John (124)
  • Thumbnail of painting of Wallis, John (125)
  • Thumbnail of painting of Welbourne, Edward (96)
  • Thumbnail of painting of Whichcote, Benjamin (97)
  • Thumbnail of painting of Whichcote, Benjamin (126)
  • Thumbnail of painting of Whitwell, John (127)
  • Thumbnail of painting of Williams, Sir David (154)
  • Thumbnail of painting of Wilson of Dinton, Lord (164)
  • Thumbnail of painting of Young, Thomas (128)
Painting of ? Balderston, William (1)

? Balderston, William

By Mary Beale
Oil on canvas, 74cm x 61cm
Reference: ECP 43


Biography

c.1652-1702. From Middlesex, admitted sizar at Emmanuel 1670. B.A. 1674, M.A. 1677. Vicar of Northbourne with Shoulden, Kent, 1678-1702.


Description

Attributed by Richard Jeffree (in 1967) to MARY BEALE. Bust, within painted scrolled oval; turned right, facing and looking half right. Drapery of old rose colour fastened on his right shoulder with a jewelled brooch; open-necked shirt; long wavy hair.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. Masters lists in the Gallery, north side: "12. William Balderston, A.M., brother of the Master". But identification of the present portrait with this entry is but tentative - based mostly on elimination.

Painting of ? French, John (2)

? French, John

By John Saunders, c.1730?
Pastel on cartridge paper, mounted on linen, 40cm x 30cm
Reference: ECP 38


Biography

Of Sudbury, Suffolk. Admitted pensioner at St Catherine's College 1727. B.A. 1730-2, M.A. 1735. Ordained deacon at Lincoln in 1732-3, priest 1736. One of these names was Rector of Creeting All Saints', Suffolk, 1737-43.


Description

Head and shoulders of a young man, turned slightly to right, looking front. Wears light blue coat, yellow embroidered waistcoat, lace cravat. Inscription in pencil at top left: "Saunders pinxit. No. 1479."


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. Manner and date of acquisition unrecorded. But in an MS list (E.C.A. LIB.2.5) of his books and furniture made by Henry Hubbard there are listed: Picture of Dr E.H. in Crayons ) by Saunders 2-2-0 Picture of Mr French in Do ) 2-2-0 It seems more than likely that "Dr E.H." refers to Henry Hubbard's brother Edward, Master of St Catharine's 1736-41, whose portrait in crayons, similarly signed "Saunders pinxit. No. 1438" survives in that College. Henry Hubbard's books and most of his estate (presumably including the portrait of Mr French) came to Emmanuel at his death. "Mr French" was doubtless a friend of Henry Hubbard, and perhaps (we may conjecture) a contemporary in the University. Henry Hubbard was an undergraduate at St Catharine's from 1724, B.A. 1728-9, and a Fellow there from 1730 to 1732 before he came to Emmanuel. A John French who matriculated from St Catharine's in 1728 (B.A. 1730-1) is the only man of that surname in Venn who fits in date; and since, moreover, he came from Sudbury, he may well have been a friend of the Hubbard's, whose home was not far off at Ipswich. According to Sir Ellis Waterhouse, Dictionary of British Eighteenth Century Painters (1981), the artist John Saunders (1682-1735) was working in the Cambridge area in the 1720s. Sir Ellis mentions the Emmanuel picture, and illustrates a comparable crayon portrait by Saunders. See J.H. Hutton, Pictures in the possession of St Catharine's College (C.U.P. 1950) p.26.

Painting of ?Hornby, Walter (3)

?Hornby, Walter

By Unidentified Artist
Oil on canvas, 74cm x 61cm
Reference: ECP 44


Biography

Admitted to Emmanuel as fellow-commoner, 1683. The College possesses a silver tankard given by him. There was also a William Hornby admitted as a pensioner in 1682; but a fellow-commoner is more likely to have had his portrait painted at that period.


Description

By Richard Jeffree, in 1967, to MARY BEALE. Bust, within a painted oval, turned and facing half right, looking front. Long curly wig, lace cravat; violet/pink mantle fastened on his right shoulder with a cameo brooch. An inscription in white roman capitals, "Mr Thornby", probably added (as were many others) by Joseph Freeman, in the 1770s, was removed in 1947, as being probably an error for "Hornby". No member of the name of "Thornby" is traceable.


Sources

A voucher for the 1779 accounts, dated 7 May 1779, shows a payment to Freeman for "writing 594 letters on the several pictures at 6d per dozen". The 1775 inventory of the Gallery lists "Mr Thornby" (E.C.A. CHA.1.8).

Painting of Allcock, Walter Burt (4)

Allcock, Walter Burt

By Isabella Hamblin-Smith, ?1930
Oil on canvas, 76cm x 56cm
Reference: ECP 93


Biography

1857-1929. Entered Emmanuel as a Scholar 1876. Youngest of three distinguished brothers at the College (Arthur Edmund, matric. 1870, later Headmaster of Highgate School, and Charles Howard, matric. 1874, later Fellow, then Housemaster at Eton (see E.C.M. XXXIII (1950-1) 80f.)). B.A. (3rd Wrangler) 1880, Fellow 1881, Lecturer in mathematics 1885, Tutor 1893-1912. He was the prime mover in the laying out of the College playing-fields and pavilion at Adams Road, 1908-10. Bequeathed his whole estate to the College. It was the generosity of the Allcock brothers that in 1930 made possible the conversion of the College lecture-rooms block into the present Library.


Description

Bust, turned very slightly right, facing and looking front. Wears dark suit with high-buttoned waistcoat; white shirt with turn-down collar, grey knotted neck-tie. Dark hair and moustache. This painting so closely resembles the photograph (enlarged from a group) published in E.C.M. XXVI that it may well have been copied from it, after the sitter's death.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. E.C.M. XXVI (1928-9) 69-78, 86, with photograph opp. p.69. Bourlet's label on frame dated 15 Apl. 1930, with ref. no. 22789.

Painting of Alleyne, John (5)

Alleyne, John

By Joseph Webster
Oil on canvas, 75cm x 62cm
Reference: ECP 116


Biography

1657-1739. Born at Derby. Entered Emmanuel 1675. B.A. 1678; M.A. 1682; B.D. 1689. Fellow 1682-96. Rector of Loughborough 1696-1739. Prebendary of Lincoln 1705. Gave £50 towards the Westmorland building in 1719, his wife also contributing £20.


Description

Attributed by W.G. Dimock Fletcher, The Rectors of Loughborough (1882) to Joseph Webster of Loughborough. Bust, turned and facing half left, looking front. Wears gown and bands; chestnut hair.


Sources

Bought by the College in 1978 from Mrs Norah Hurdman (a descendant of the sitter) of Battle, Sussex.

Painting of Allix, John Peter (6)

Allix, John Peter

By Joseph Freeman (copyist), c.1780-90
Oil on canvas, 74cm x 62cm
Reference: ECP 14


Biography

1679-1758. The sitter's father, Peter Allix, b.1641, a distinguished French protestant divine who worked with Claude on the French translation of the Bible, came to England on the revocation of the Edict of Nantes in 1685 and founded a church in London for French protestant refugees. He took a Cambridge D.D. from Emmanuel in 1690. He was befriended by Archbishop Sancroft. The son, John Peter, born at Alen?on, was brought up in England. B.A. from Queens' College 1703; M.A. from Jesus 1706; D.D. 1717. Fellow of Jesus 1705-14. Vicar of Swaffham, Cambs., 1712-53. Chaplain to George I, 1721. Dean of Gloucester 1729, of Ely 1730-58. Built the "old" vicarage at Swaffham Prior; bought and improved Swaffham Prior House 1751.


Description

Bust, turned and facing half right, looking front. Wears black gown, wide bands. Inscribed, to right of figure, "Peter Allex [sic] D.D." Copy from an original at Swaffham Prior House.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. R.C.H.M., N.E. Cambs. pp.120b, 123a. Not in the 1775 inventories, but listed in Masters c.1790 (in Gallery, S. side). Presumably commissioned, like other copies by Freeman, by Dr Richard Farmer, perhaps in the belief that it represented Peter Allix senior, who had been a member of the College. Masters, however, names the picture as of "Peter Allix D.D., Dean of Ely".

Painting of Annesly, Arthur (7)

Annesly, Arthur

By Joseph Freeman (copyist), 1779
Oil on canvas, 72cm x 61cm
Reference: ECP 9


Biography

1614-86. Born at Dublin. Sat in the Long Parliament. Was Parliamentary Commissioner for Irish affairs during the Civil War, but sided with the royalists after the execution of Charles I. Created a peer at the Restoration, he urged moderation towards the regicides. Lord Privy Seal 1673-80. Amassed a fine library, sold after his death.


Description

Bust in painted oval. Turned and facing half right, looking front. Wears the black gold-braided robes of the Lord Keeper; deep lace cravat. The copy was made in 1779 from a portrait at Fulbourn Manor, Cambs. Believed (until the 1950s) to be of Sir John Finch (1584-1660), Lord Keeper of the Privy Seal 1640, sometime of Emmanuel. The National Portrait Gallery has a portrait of Anglesey closely similar to the Emmanuel one.


Sources

Dictionary of National Biography Bursar's accounts 1779: "Freeman, for Ld K. Finch £4-9s-0d" (E.C.A., BUR.8.6). For the portrait of Anglesey in the National Portrait Gallery, see D. Piper, Seventeenth century portraits in the N.P.G., pl.10(a), no. 3805. For Sir John Finch see N.P.G. 2125 (ibid, pl.3(a)).

Painting of Archdall-Gratwicke, George (9)

Archdall-Gratwicke, George

By Unidentified Artist
Oil on card, 8cm x 6cm
Reference: ECP 67 and ECP 67a


Biography

1787-1871. George Archdall (or Archdale) was about 24 when admitted to Emmanuel in 1811, having been interned while travelling in France, and released only in 1810. B.A. 1815, B.D. 1825, D.D. 1835. Fellow from 1817; Master 1835-71. Canon of Norwich 1842-67. Vice-Chancellor 1835 and 1841. Assumed the additional surname Gratwicke in 1863.


Description

Two identical miniatures, 3 x 2_f(1,2) in, oval. Turned half right, facing quarter right, looking front. Wears dark blue coat, high white collar and cravat. Black hair, balding in front. Presented in 1908 by the Revd. R.V.C. Kinleside.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. E.S. Shuckburgh, Emmanuel College, 1904, pp. 175-179. E.C.M. LXII (1979-80) p.30. Governing Body Minutes, 2 May 1908. REPRODUCED: Cambridge Portraits from Lely to Hockney. Catalogue of an exhibition at the Fitzwilliam Museum, 1978, no. 52; F. H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel Men, 1983, no. 35.

Painting of Ash, Francis (10)

Ash, Francis

By Unidentified Artist
Oil on canvas, 109cm x 93cm
Reference: ECP 6


Biography

Floruit c.1645-60. Francis Ash was an Alderman of the City of London, Prime Warden of the Goldsmiths' Company 1649-50, and Master of the Muscovy Company, in which office he worked to regain the trade concessions annulled by the Czar in 1646. He was very wealthy and singularly generous. Anthony Tuckney (Master 1645-53) records that his charitable gifts totalled as much as £300 per annum. Besides the maintenance of poor ministers' widows and the endowment of a lectureship in London, he made gifts to the grammar schools at Derby (where he was born) and Ashby de la Zouch (where he was educated). To Emmanuel he made gifts of books in 1651 and 1653; and in 1654 he settled on the College the manor of Shamborne in Norfolk, to endow ten exhibitions of £10 per annum, with preference to pupils from Derby and Ashby de la Zouch. In 1659 the College agreed to devote part of the income of this endowment to the purchase of more books for the Library.


Description

Half length, standing, turned and facing half right, looking front. Wears skull-cap, dark gown with brown fur facings, white collar and cuffs. Neat beard, moustache, bushy hair. His left hand holds a book upright on a table, his right holds gloves. Apparently acquired in 1659. Bursar's accounts record "Paid for a box and bringing Mr Ash's picture ... 10s.0d." First mentioned in inventories 1662.


Sources

E.S. Shuckburgh, Emmanuel College, 1904, 218, 192. J.C.T. Oates Cambridge University Library (1986) 273-4, with fig. 22. Masters says "Qu. Dobson" (scil. William Dobson, born 1610); and this is followed by Le Keux (Memorials II, Emmanuel p.11). Finberg suggested Jan Lievens (working in England 1630-33); Sir Henry Hake proposed Edward Bower or Francis Barlow. E.C.A. BUR.8.2, expenses since 28 Oct. 1659. E.C.A. CHA.1.4 fol.89.

Painting of Ash, Francis (11)

Ash, Francis

By Joseph Freeman (copyist), c.1775-1790
Oil on canvas, 74cm x 62cm
Reference: ECP 61


Biography

Floruit c.1645-60. Francis Ash was an Alderman of the City of London, Prime Warden of the Goldsmiths' Company 1649-50, and Master of the Muscovy Company, in which office he worked to regain the trade concessions annulled by the Czar in 1646. He was very wealthy and singularly generous. Anthony Tuckney (Master 1645-53) records that his charitable gifts totalled as much as £300 per annum. Besides the maintenance of poor ministers' widows and the endowment of a lectureship in London, he made gifts to the grammar schools at Derby (where he was born) and Ashby de la Zouch (where he was educated). To Emmanuel he made gifts of books in 1651 and 1653; and in 1654 he settled on the College the manor of Shamborne in Norfolk, to endow ten exhibitions of £10 per annum, with preference to pupils from Derby and Ashby de la Zouch. In 1659 the College agreed to devote part of the income of this endowment to the purchase of more books for the Library.


Description

Copied from E.C.P. 6, to waist level only, some time between 1775 and 1790, when Masters records it as hanging with other Freeman copies in the Combination Room.


Sources

E.S. Shuckburgh, Emmanuel College, 1904, 218, 192. J.C.T. Oates Cambridge University Library (1986) 273-4, with fig. 22. Masters p.16; cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge," in Proceedings of the Cambridge Antiquarian Society XLII (1948), pp. 80-81.

Painting of Askew, Anthony (12)

Askew, Anthony

By Allan Ramsay, 1750
Oil on canvas, 124cm x 102cm
Reference: ECP 29


Biography

1722-74. Son of a successful Newcastle physician. M.B. from Emmanuel 1745. Travelled abroad, studying at the then prominent medical school at Leyden. While there projected a new edition of Aeschylus; visited established classical scholars in Germany, and in 1746 travelled to Constantinople and thence to Mt Athos in hopes of acquiring further MSS of Aeschylus. Old books and MSS were perhaps his greatest love; but in 1750 he took the M.D. degree; became physician to St Bartholomew's and Christ's Hospitals; eventually Registrar of the Royal College of Physicians, and inherited the gold-headed cane of his predecessor (as bibliophile as well as medical man) Dr Richard Mead (1673-1754). His extensive library was dispersed at his death.


Description

Three-quarter length, standing, turned half right, looking front. Wears grey-green coat, and the M.D. "congregational habit". Wig, bands. On a table to his left is propped an open folio book, with heading: IPPOKRATHS PERI CUMWN. Signed "A. Ramsay. 1750". Apparently received by the College in 1786, when there is an entry in the Michaelmas accounts for carriage of the picture (E.C.A. BUR.8.6).


Sources

Dictionary of National Biography. J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Camb. Bibliographical Soc. Trans. VI (1976) 306-22. REPRODUCED. Cambridge Portraits from Lely to Hockney. Catalogue of an exhibition at the Fitzwilliam Museum, 1978, no. 7; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 22.

Painting of Askew, John (13)

Askew, John

By Unidentified Artist
Oil on canvas, 75cm x 61cm
Reference: ECP 95


Biography

1735-1812. Son of Thomas Askew of Cartmel, Lancs. Admitted sizar of Emmanuel 1754. B.A. 1758, M.A. 1761, B.D. 1768, D.D. 1793. Fellow from 1760, Tutor from 1766. Rector of North Cadbury (where he is buried) 1785-1812. His son's names Anthony Adam increase the probability that he was related to Dr Anthony Askew (E.C.P. 29). Was succeeded at N. Cadbury by Samuel Blackall (on whom see E.C.M. XLVII (1964-5) p.44).


Description

Possibly attributed to Thomas Beach of Bath. Half-length, turned and facing half left, looking front. Wears cassock, scarlet D.D. gown, bands and scarf. Thin white hair. Presented in August 1962 by a descendant, Miss Ethel M. Askew of 39 Moor Lane, Strensall, York.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M XLV (1962-3) p.25

Painting of Bacon, Sir Edmund, Bart (14)

Bacon, Sir Edmund, Bart

By Henry Walton
Oil on canvas, 66cm x 53cm
Reference: ECP 35


Biography

1749-1829. Ultimately descended from Lord Keeper Sir Nicholas Bacon (1509-1579) father of the illustrious Sir Francis; was son and heir of Castell Bacon of Raveningham, Norfolk, and his wife Elizabeth Dashwood of Cockley Cley. Succeeded to his father's estate 1770; and succeeded his uncle Sir Richard in 1773 as 7th Baronet of Redgrave and 8th Baronet of Mildenhall. Married, 1778, Anne daughter of Sir William Beauchamp-Proctor, Bart. Admitted to Emmanuel (as "Edward Bacon") 1767. Matriculated 1770, M.A. 1776. Gave £100 towards rebuilding after the 1811 fire.


Description

Bust, turned, facing, and looking right, almost in profile. Blue-grey coat with gold buttons, mole-coloured waistcoat, white neckcloth and frill. According to Finberg acquired in 1788, but he quotes no evidence. Certainly it was in the College by 1790 (Masters, Dining Room, no.4). Another portrait by Walton, three-quarter length, mentioned by Finberg as in 1917 in possession of the sitter's great-grandson Sir Hickman Bacon of Thorrock, Gainsborough, was in 1963 in possession of Sir Edmund Castell Bacon at Raveningham. Both portraits were exhibited in the Henry Walton exhibition at Norwich in 1963.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. REPRODUCED. J.W. Goodison, "Cambridge Portraits III, Later 18th and Early 19th Centuries", in The Connoisseur 143 (1959), p. 88.

Painting of Balderston, John (15)

Balderston, John

By Thomas Fry, 1732
Oil on canvas, 127cm x 99cm
Reference: ECP 40


Biography

1642-1719. Of Thurning, Huntingdonshire. Admitted to Emmanuel 1659. B.A. 1663, B.D. 1673, D.D. 1681. Fellow from 1665. Master 1680-1719, a long but seemingly uneventful tenure. Vice-Chancellor 1687-8 and 1706-7. Incorporated B.D. Oxon. 1673. Canon of Peterborough 1681.


Description

Three-quarter length, seated, turned and facing half right, looking front. Wears cassock, scarlet gown, bands. Right hand rests on arm of chair. Inscription at right-hand side: "Johannes Balderston, S.T.P. Emmanuelis Collegii Magister et Ecclesiae Petriburgensis canonicus. Nat. 23tio Maii 1642. obt. 4to 7bris 1719. T. Fry pinxit: 1732. Ab origin: min: pictura delin. per D. Loggan 1684". Painted, as the inscription indicates, posthumously, after a 1684 miniature by David Loggan, perhaps specifically for the college, but the first mention in an inventory seems to be of 1775, in the Gallery.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.A. CHA.1.8.

Painting of Barnes, Joshua (16)

Barnes, Joshua

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 17


Biography

1654-1712. B.A. 1676, B.D. 1686. Incorporated at Oxford 1706. Fellow of Emmanuel 1678-1701. Regius Professor of Greek 1695-1712. F.R.S. 1710. Buried at Hemingford, Cambs. Barnes was from his schooldays a fluent writer of verse in Greek, Latin, and English (largely unpublished). Besides editions of Euripides, Anacreon, and Homer, he produced (1688) a big folio history of Edward III and the Black Prince. Portraits of these worthies acquired by him are preserved in the College (nos. E.C.P. 45 and 46).


Description

Bust, in painted oval, turned and facing half right, looking front. Wig, gown and bands. Inscription in white capitals on the oval, above, JOSHUA BARNES. Date and manner of acquisition unrecorded. It occurs in the Gallery inventory first in 1719. Francis Blomefield lists it there in 1750, adding: "The arms of his professorship impaling his own, viz. Arg. a chev.c or. a Lyon ramp. Az. crowned of the second. Under the arms of the Professorship, Haec mihi musa dedit. Under his own, Vix ea nostra voco.." Perhaps these arms were carved above or below, on the frame; neither arms nor mottoes appear anywhere now. ENGRAVED. By Robert White, quarto, with the Barnes arms below, and the inscription: "Vera effigies Josuae Barnes, S.T.B. Emmanuelis Collegii apud Cantabrig: socii maxime senioris. Aetat. suae 40. 1694. r. White ad vivum fecit", followed by four lines of Greek verse. A smaller engraving, by George White (1671-1734, son of Robert (1645-1704)), was published as a frontispiece to Barnes's Anacreon (Cambridge 1705). This has the two impaled coats of arms and mottoes below, as described by Blomefield. It is presumably copied from Robert White's 1694 print; and it is conceivable that George White, who had practised as a painter of portraits, executed also the oil-painting, after the same original, either for Barnes himself or for the College.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. E.S. Shuckburgh, Emmanuel College, 1904. E.C.A. CHA.1.4 fol. 109v. Collectanea Cantabrigiensia (1750) p.116.

Painting of Baylay, William Frederick (136)

Baylay, William Frederick

By James Northcote
Reference: ECP 131


Description

Text in preparation


Painting of Bennet, William (17)

Bennet, William

By Charles Gilbert Stuart (probably)
Oil on canvas, 74cm x 61cm
Reference: ECP 23


Biography

1746-1820. Admitted to Emmanuel 1763, from Harrow. B.A. 1767, M.A. 1770, B.D. 1777, D.D. 1790. Fellow 1769-90. Bishop of Cork and Ross 1790-94, and of Cloyne 1794-1820. F.S.A. 1790. Diligent as a College antiquary; among his MSS left to the College are two volumes (known as Bennet's Book) which besides lists of past members contain valuable transcripts and notes relevant to the College's history. His MS account of Roman roads in Britain was based on his own travels and observations in the company of his College friend Thomas Leman. He owed his preferment in Ireland to his former pupil John Fane, 10th Earl of Westmorland (E.C.P. 48), Lieutenant-Governor of Ireland 1790-94.


Description

Half-length, turned slightly to right, facing and looking half-right. Wears wig, bands, scarf, lawn sleeves. His hands rest on a book with the spine-title "MS LECTUR. TACIT." MS 168 in the College Library is an interleaved Tacitus, Germania and Agricola (1788) with lecture notes by Bennet. Acquired in 1793, when Michaelmas accounts record "Carriage of the Bishop of Cork's picture £4-3-9."


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. REPRODUCED: J.W. Goodison, "Cambridge Portraits III, Later 18th and Early 19th Centuries", in The Connoisseur 143 (1959), pp.86-7 no. 10; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 25; Cambridge Portraits from Lely to Hockney. Catalogue of an exhibition at the Fitzwilliam Museum, 1978, no. 16.

Painting of Black Prince, The (18)

Black Prince, The

By Unidentified Artist
Oil on canvas, 76cm x 64cm
Reference: ECP 46


Biography

1330-76. Eldest son of King Edward III.


Description

Half-length, turned and facing half-left, looking front. Bearded, wearing helmet with plume to right; plate armour with gilt borders, gold-embroidered surcoat, and red and gold mantle over shoulders. Right hand holds a lance, vertical. An oval pendant (St George and Dragon) hangs by a wide ribbon round his neck.


Sources

First appears in the 1775 Gallery inventory (E.C.A. CHA.1.8). Masters lists it in the Library, as "The Black Prince, copied for Joshua Barns [sic] from picture at Windsor". It presumably was left to the College at Barnes's death in 1712, like the portrait of King Edward III (E.C.P. 45). It is not the same picture as the full-length engraved for Barnes's Life of Edward III and the Black Prince (1688).

Painting of Blakiston, Peyton (19)

Blakiston, Peyton

By Douglas Yeoman Blakiston, 1853
Oil on canvas, 51cm x 37cm
Reference: ECP 94


Biography

1801-78. Son of Sir Matthew Blakiston. Entered Trinity College 1819, but migrated to Emmanuel 1820. Scholar 1821, B.A. 1823, M.A. 1827 Dixie Fellow 1823. Ordained 1824; became curate of Bilton, Warwicks.; Vicar of Lymington, Hants.; but gave up the ministry owing to loss of his voice. Then studied medicine at Cambridge (M.L. 1837, M.D. 1841) and at Paris. Practised at Birmingham and St Leonard's-on-Sea 1848-71. F.R.S. 1840. F.R.C.P. 1843.


Description

Small full-length, seated; turned and facing half left. Hands on knees; a silver-headed cane in his right hand. Small dog sitting by his left foot. Wears dark clothes, with long fur-collared coat; wing collar and black tie. Painted by DOUGLAS YEOMAN BLAKISTON (1832-1914), son of the sitter (active as a painter 1850 to 1865, when he entered Downing College and took holy orders (see Venn)). Exhibited at the R.A. 1854. Bequeathed in 1933 by Arthur Lionel Baly, whose father Charles Baly (a Harley Street dentist) was Peyton Blakiston's ward.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. REPRODUCED. Carlyle Newsletter no. 9 (Spring 1988) p.53. Mentioned in Punch vol. 26 (1854) p.248, "Our critic among the painters, No. 5" - written by or in the manner of W.M. Thackeray. E.C.M. XXIX (1933-4) pp.7 and 11. See also letters to Dr Giles, Master, of 1934, from H.E.D. Blakiston, President of Trinity College Oxford, and son of the painter, in E.C.A.

Painting of Bradshaw, John (so called) (26)

Bradshaw, John (so called)

By Edward Patry (copyist), 1890
Oil on panel, 32cm x 27cm
Reference: ECP 69


Biography

1602-59. President of the court which judged King Charles I. Bradshaw has been supposed a member of Emmanuel. Two of his name were at the College at roughly suitable dates, but neither quite fits the identification. (1) John Bradshaw, admitted 1619, B.A. 1622, was probably son of William of Market Bosworth, who was admitted to Emmanuel in 1588 and became an original Fellow of Sidney Sussex. The son became Rector of Etchingham, Sussex. (2) John Bradshaw, admitted 1623, B.A. 1628, M.A. 1631, B.D. 1663.


Description

Small head and shoulders, facing half right. Bushy brown hair, very slight moustache, otherwise clean-shaven. Wears broad plain white collar. Brown eyes. Inscribed on back "A copy by Edw. Patry of the Chesnuts, Sydenham Hill". The likeness does not agree with that engraved by M. Van der Gucht in Clarendon's History of the Great Rebellion Compleated (1715). The identity of another in the National Portrait Gallery is "very suspect" (see D. Piper in Cat. of 17th century portraits in the N.P.G. (1963) no. 2131).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography (for Regicide). College Order Book 12 June 1891 (E.C.A. COL.14.4); inscription on frame.

Painting of Branthwaite, William (22)

Branthwaite, William

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 4


Biography

c.1560-1619. Entered Clare College in 1578. B.A. 1583. Fellow of Emmanuel (chosen by the Founder) 1585. M.A. 1586, B.D. 1593, D.D. 1598. In 1607, when the Mastership of Gonville and Caius fell vacant, there was some irregularity over the election of his successor, and the Chancellor therefore intervened and appointed Branthwaite, despite his not being a Fellow of Gonville and Caius. He filled the office with credit. He was Vice-Chancellor 1618-19. By his will he endowed scholarships at Caius, and left that College a library of about 1,000 volumes. At Emmanuel he endowed two scholarships, and bequeathed a silver cup, and about twenty books for the library. He was one of the translators of the 1611 English Bible.


Description

Bust, turned and facing half right. Moustache and square beard. Wears skull-cap, ruff, scarlet gown with closed white fur cappa (the "congregational habit" of a D.D.). Within a painted oval.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. C.N.L. Brooke, Hist. of Gonville and Caius Coll., ch.VI (1985). Date of acquisition not traced, but appears in inventories from 1719 (E.C.A. CHA.1.4 fol. 109V). Another portrait of him at Gonville and Caius is a panel, which favours a date in the sitter's lifetime, and it might be expected that the Emmanuel picture was copied from it; but there are various small differences; the Caius version is smaller, not showing full shoulder-width; the nose is a little shorter and a little sharper; the cappa shows no central seam or opening; the robe beneath it has the fur edgings meeting in an inverted V. REPRODUCED. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 4.

Painting of Breton, John (23)

Breton, John

By Unidentified Artist
Oil on canvas, 212cm x 132cm
Reference: ECP 1


Biography

c.1612-76. Of Leicestershire. Admitted to Emmanuel 1629. B.A. 1633, M.A. 1636, D.D. by royal mandate 1661. Master 1665-76 (in succession to Wm. Sancroft). Prebendary of Worcester 1660-75. Vice-Chancellor 1670-71. Bequeathed many books to the College Library.


Description

Full-length, standing, turned and facing half-left, looking front. Right hand rests on books on a table, left hand raised to waist-level. Wears cassock, scarlet D.D. gown, stole, wide bands. Behind, through window, left, the College chapel, which was under construction during his Mastership. Behind, right, drapery and column; small shield with Breton arms, viz., azure a bend between six mullets or.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Date of acquisition uncertain but appears in the Gallery inventory 1719 and later (E.C.A. CHA.1.4 fol. 109v).

Painting of Brewer, Derek Stanley (24)

Brewer, Derek Stanley

By Andrew Festing, 1985
Oil on canvas, 91cm x 61cm
Reference: ECP 114


Biography

1923- . Entered Magdalen College Oxford as a Demy in 1942, from Crypt School Gloucester, to read English. Captain and Adjutant 1st Battalion Royal Fusiliers in Italy, 1944-45. Returned to Oxford to complete his B.A. 1947. Assistant Lecturer in English at Birmingham 1949. Ph.D. 1956. Taught at International Christian University near Tokyo 1956-58. Returned to Birmingham as Senior Lecturer. Lecturer in English at Cambridge 1965, and Fellow of Emmanuel. Tutor; Tutor to Advanced Students. Reader in Mediaeval English 1976. Master of Emmanuel 1977. Litt.D. 1980, Professor of English 1983- . F.S.A, Hon. LL.D. Keio, Tokyo, and Harvard, 1984. Has published numerous works, esp. on Chaucer and his world. In 1972 founded D.S. Brewer Ltd. for publication of academic books.


Description

Three-quarter length, seated, turned slightly left, facing very slightly to left, looking front. Right hand on his knee, left elbow on arm of chair with forearm vertical. Wears scarlet Litt.D. gown, Emmanuel College tie (dark blue and cerise stripe). Books piled on table to left, also a coloured view of Park Terrace, purchased by the College in 1984. Commissioned by the College in 1984.


Sources

Who's Who.

Painting of Browne, Edward Harold (25)

Browne, Edward Harold

By G. F. Watts
Oil on canvas, 65cm x 52cm
Reference: ECP 68


Biography

1811-91. Entered Emmanuel from Eton 1828; B.A. 1832, M.A. 1836, D.D. 1864. Fellow 1837-40; senior tutor 1838. After a period of parochial ministry was Principal of St David's College, Lampeter, 1843-9. Norrisian Professor of Divinity 1854-64. Canon of Exeter 1857-64. Bishop of Ely 1864-73; of Winchester (in succession to Samuel Wilberforce) 1873-90.


Description

Bust, turned, facing and looking half left. Black coat and vest, white neckcloth. Pectoral pendant on wide ribbon.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Commissioned by the College, with a replica, for 500 guineas, in 1873 (College Orders 10 Oct. and 9 Dec. 1873 (E.C.A. COL.14.3). According to A.J. Finberg (E.C.P. 68) a portrait of Dr Browne by Watts was presented to him "by the clergy and laity of the Diocese of Ely upon his translation to the see of Winchester" - presumably the replica of the present portrait - and exhibited at the Royal Academy 1876.

Painting of Calvert, Sir William (27)

Calvert, Sir William

By Unidentified Artist, ?1754
Oil on canvas, 127cm x 102cm
Reference: ECP 62


Biography

1704-1761. Son of William Calvert Esq. of Furneaux Pelham, was admitted to Emmanuel 30 March 1722. B.A. 1725-6, M.A. 1729; incorporated at Oxford 1729. Fellow of Emmanuel 1728. Sheriff of London 1744; knighted at St James's 18 Feb. 1744 on presentation of a loyal address from the Lord Mayor, Aldermen, and Council of the City of London, on the threatened invasion of the Pretender's son. Lord Mayor of London 1749: M.P. for London 1742 and 1747, for Old Sarum 1755. He was among "persons of distinction" present at the installation of the Duke of Newcastle as Chancellor, July 1749, and was subsequently admitted honorary LL.D. From letters in the Gentleman's Magazine (XIX p.315) on this occasion we learn that he was proprietor of a brewery. At the time of his death (3 May 1761) he was described as Alderman of the City and Colonel of the Red Regiment of Militia.


Description

Three-quarter length, seated in carved and upholstered armchair; turned and facing slightly to right, looking front. Wears claret-coloured velvet coat with gold-braided facings; lace cuffs and neckcloth. Holds papers in his right hand; on table to right, a bundle of papers tied with red tape, with a roll beside it. On the paper in his hand is written "April 10. 1754 / John Good ..." - the turned-up edge obscuring the rest of the name (so read by Finberg (E.C.P. 62), but the writing is by no means clear). Mrs Charlotte Crawley suggests (1988) that the style resembles that of William Hoare.


Sources

W.A. Shaw, Knights of England (1905); Gentleman's Magazine, locc. citt. J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. The portrait was formerly called "William Romney", but the only Emmanuel man of that name was admitted in 1588. Finberg first identified it with that described in Masters (Gallery, S. side, no. 7) as "Sir William Calvert, Fellow, and afterwards Lord Mayor of London. _f(1,2) length." College accounts for 1788 record "Carriage of Sir W. Calvert 7s.0d" (E.C.A. BUR.8.6, Lady Day audit 1788).

Painting of Creighton, Mandell (30)

Creighton, Mandell

By H. Harris Brown
Oil on canvas, 109cm x 84cm
Reference: ECP 55


Biography

1843-1901. Graduated B.A. from Merton College, Oxford, in 1866, and was elected a Fellow there about the same time. After parochial ministry at Embleton on the Northumberland coast he came to Emmanuel in 1884 as the first holder of the Dixie Professorship of Ecclesiastical History. Canon of Worcester 1885, of Windsor 1890. Bishop of Peterborough 1891, of London 1897. Honorary D.D. 1891. Author of a monumental History of the Papacy and first editor of the English Historical Review (1886-). A statue of him stands in the south choir aisle of St Paul's Cathedral.


Description

Three-quarter length, seated on chair with open arms and carved back; facing front. Bearded, wearing spectacles. Purple cassock; pectoral cross. Holds an open book in his hands. A replica (made after Creighton's death, by the artist himself) of a picture painted at Peterborough, for the Bishop's family, which was exhibited at the R.A. in 1896 9see Governing Body Minutes 1 Nov. 1902). Both original and replica had by 1937/8 deteriorated (especially the colour of the cassock) and were made good by the artist himself (see correspondence between Harris Brown and the Master, Jan.-Feb. 1938).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography

Painting of Cromwell, Oliver (31)

Cromwell, Oliver

By J. W. Sage (copyist) from an original by Samuel Cooper
Oil on panel, 22cm x 17cm
Reference: ECP 66


Biography

1592-1658.


Description

Bust, facing front, but head turned and looking half right. Wears armour cuirass, white collar. Copied from a miniature by Samuel Cooper, of 1656 (identified by a label, without date, on the back) now in the National Portrait Gallery and formerly in the British Museum, of which there are many repetitions and variations. The original from life is believed to be an unfinished miniature in the collection of the Duke of Buccleuch. Presented by the Revd George Philip Haydon, graduate of the College (B.A. 1868).


Sources

For the National Portrait Gallery miniature, see D. Piper, Cat. of 17th cent. portraits in the N.P.G, pl. 31 (f), no. 3065.

Painting of Cudworth, Ralph (32)

Cudworth, Ralph

By Joseph Freeman (copyist), 1781
Oil on canvas, 74cm x 61cm
Reference: ECP 16


Biography

1617-88. Admitted to Emmanuel (where his father, also Ralph, had been a Fellow) in 1632. B.A. 1636, M.A. 1639, B.D. 1646, D.D. (from Clare) 1651. Fellow of Emmanuel 1639; tutor to many pupils. Appointed in 1645 to be Master of Clare, his predecessor having been ejected as royalist, and also to the Regius Professorship of Hebrew. Remained Professor till his death, but resigned the Mastership in 1650, and took the Emmanuel living of N. Cadbury, Somerset. Master of Christ's 1654-88. The most learned of the Cambridge Platonists. His chief published work is, The true intellectual system of the universe (1678).


Description

Bust, turned and facing half left, looking front. Shoulder-length wig, skullcap, gown and bands.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Copied for the College in 1781. Among the vouchers for the Michaelmas audit that year is a receipt dated 27 June "For one three-quarter picture of Doctor Cudworth 3-3-0", signed by Joseph Freeman. The original may well have been the drawing by David Loggan formerly at Christ's College, dated 1684, which was engraved by G. Vertue as frontispiece to Cudworth's A treatise concerning ... morality (1731) (see J.W. Goodison, Catalogue of the Portraits in Christ's, Clare, and Sidney Sussex Colleges. Vol.7 of Cambridge Antiquarian Records Society, 1985, no. 101) There is another drawing by Loggan, pencil on vellum, signed and dated 1666, in the British Museum: Prints and Drawings, L.B.6 E.C.M. 7: 1857.5.9. 31; F.IN.ENG.C124 PERIOD 1.

Painting of Cust, Sir Pury (33)

Cust, Sir Pury

By Unidentified Artist, 1670
Oil on canvas, 76cm x 64cm
Reference: ECP 15


Biography

1654-99. Son of Sir Richard Cust of Pinchbeck, Lincs., who was M.P. for Lincoln 1653, but excluded for his royalist sympathies. Admitted to Emmanuel 1670, B.A. 1673. Admitted at Inner Temple 1673. In 1676-7 travelled in France, Italy, Germany, Spain. In 1688 contributed a troop of horse for the regiment raised in the Midlands by the Duke of Devonshire, and was probably among those who welcomed William of Orange at Torbay. Attended William III on his 1689 expedition to Ireland. Knighted 1690. Took part at Battle of the Boyne. High Sheriff of Lincs. 1695.


Description

Bust in painted oval; turned and facing half right, looking front. Wears long curled wig, armour cuirass, lace cravat. Painted inscription in white at top: Sr Pury Cust Kt. 1670".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. X (1898-9) 1-14 Lady Eliz. Cust, Records of the Cust Family (1898). Date and manner of acquisition unknown. Appears first in 1775 Gallery inventory (E.C.A. CHA.1.8). There is a separate likeness, by Wyck, at Belton House, probably taken somewhat later in life; and another at Cockayne Hatley (So Lady Eliz. Cust, op.cit. 381).

Painting of Dawkins, Richard McGillivray (34)

Dawkins, Richard McGillivray

By William Roberts, 1940
Oil on canvas, 43cm x 33cm
Reference: ECP 97


Biography

1871-1955. Studied electrical engineering at King's College, London, but in 1898 came to Emmanuel to follow his true bent for languages. B.A. 1901, M.A. 1905. Fellow 1904. Further study at the British School at Athens, of which he became Director 1906. He pursued a wide interest in all things Greek - prehistoric antiquities, folklore, history, and especially language. Resigned 1914. War service as R.N.V.R. intelligence officer in Crete. Professor of Byzantine and Modern Greek at Oxford 1920-39. Fellow of Exeter College 1922-39; Hon. Fellow 1939-55; Hon. Fellow of Emmanuel 1922-55.


Description

Head and shoulders; head slightly inclined to left, facing and looking half left. Presented by Professor N.H.R.A. Coghill of Exeter and Merton Colleges, Oxford, June 1964.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. REPRODUCED: Cambridge Portraits from Lely to Hockney. Catalogue of an exhibition at the Fitzwilliam Museum, 1978, no. 32; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.43.

Painting of Dixie, Sir Wolstan, Bart (35)

Dixie, Sir Wolstan, Bart

By Unidentified Artist
Oil on canvas, 74cm x 61cm
Reference: ECP 71


Biography

1525-94. Born at Catworth, Huntingdonshire. Apprenticed to Sir Christopher Draper of the Ironmongers Company, whose daughter Agnes he married. Acquired property in Leicestershire. Purchased the Manor of Market Bosworth from Henry, Earl of Huntingdon, like whom he became one of Emmanuel's first benefactors. He gave £600 to buy land to endow scholars and Fellows who had been pupils at Market Bosworth Grammar School (of which also he was a benefactor). The endowment was commuted in 1884 to provide for the Dixie Professorship of Ecclesiastical History. Dixie was also a benefactor of Christ's Hospital, of which he was President in 1590. Lord Mayor of London in 1585.


Description

Bust, turned and facing half right. Wears Tudor cap, ruff, gown and gold chain as Lord Mayor. Full beard and moustache.


Sources

Dictionary of National Biography. J. Schenck Ibish, Emmanuel College, the founding generation (Harvard Ph.D. dissertation 1985) pp.111ff. Date of acquisition unknown. Apparently copied from the portrait in the possession of Christ's Hospital (hung in the 1960s in their Court Room at Great Tower Street). ENGRAVED. The Christ's Hospital portrait was engraved by T. Trotter, 1795, for Nichols's History of Leicestershire, vol.IV Pt.2 pl. LXXVIII (p.497). Other engravings: a set of Lord Mayors, from the first years of Q. Elizabeth to 1601; and a head by H. Holland, 1585.

Painting of Dudley, William (36)

Dudley, William

By Unidentified Artist, 1681
Oil on canvas (oval), 75cm x 64cm
Reference: ECP 91


Biography

c.1663-1726. Son of Sir William Dudley, Bart., of Clapton; admitted fellow-commoner at Emmanuel 1681, from Oundle School. M.A. by royal mandate 1682. Admitted to Middle Temple 1683, Inner Temple 1685. Ordained 1711, became Rector of Clapton.


Description

Bust, turned and facing half left, looking front. Long brown hair to shoulders; lace cravat; fawn-coloured drapery with jewelled clasp on left shoulder. Inscription painted in white roman capitals at top: "Wm Dudley Esqr. 1681."


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts. in 10 vols., 1920-54. Date and manner of acquisition unknown. Appears first in 1775 Gallery inventory (E.C.A., CHA.1.8).

Painting of Edmondes, Sir Thomas (37)

Edmondes, Sir Thomas

By Unidentified Artist
Oil on canvas, 124cm x 99cm
Reference: ECP 53


Biography

?1563-1639. Born at Plymouth, son of Thomas Edmondes of Fowey. Patronised by Sir Francis Walsingham. From 1592 employed as English agent at the French Court. Knighted by James I, 1603. Ambassador at Brussels 1604; at Paris 1610. His third daughter Mary married Robert Mildmay (of Overstone, Northants., d.1646), a great-grandson of Sir Walter, and their son Benjamin became the first Earl Fitzwalter.


Description

Three-quarter length, standing, turned and facing half-right, looking front. Wears gown drawn in at the waist with a leather sword-belt; ruff and lace cuffs. Thin wand of office in his right hand. Wide-brimmed hat on table to right.


Sources

Dictionary of National Biography. Bought by the College in 1852 from Miss Brigham of Loughborough, as a likeness of the Founder, Sir Walter Mildmay (though doubts were already expressed about this identification). Her father had bought it about sixty years before, at a sale of Earl Ferrers at Staunton Harold, Ashby de la Zouch (the Ferrers family were connected with the Mildmays) (cf. a letter of 29 Oct. 1852 from Rector of Emmanuel Church Loughborough to Mr Castlehow, Bursar of Emmanuel). In the Staunton Harold sale catalogue of 1787, however, the only picture at all corresponding to this was described as "A Burgormaster highly finished by Nogari" (cf. a letter of 21 Nov. 1895 from Earl Ferrers to the Bursar of Emmanuel). A replica from Dogmersfield Park, also formerly mis-called "Sir Walter Mildmay" was acquired in 1968 by the National Portrait Gallery. (no. 4652), where it is rightly identified, and attributed to Mytens (cf. a letter of 8 Aug. 1906 from H. St John Mildmay to J.B. Peace, Bursar of Emmanuel). The Emmanuel picture may be a late copy of that (so J.F. Kerslake of the National Portrait Gallery) who examined the portrait in 1969.

Painting of Fane, Charles, Third Earl of Westmorland (38)

Fane, Charles, Third Earl of Westmorland

By Unidentified Artist, c.1690
Oil on canvas, 213cm x 132cm
Reference: ECP 11


Biography

1635-91. Son of Mildmay Fane, the second Earl, and his first wife Grace (daughter of Sir William Thornihurst, of Herne, Kent). Succeeded to the title 1665. Entered Emmanuel as fellow-commoner 1649. M.P. for Peterborough 1660,1661-6.


Description

Full length, standing, turned and facing half left, looking front. In peer's robes; right hand on draped table to left, touching a coronet; a dog before the table. Background of heavy drapery to top left, column and stormy sky to right. It has been suggested by A.J. Finberg that the painting is by J.B. Closterman (E.C.P. 11).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Apparently acquired in 1690, when accounts record "for a frame for my Lord Westminster's [sic] picture £2-16.0 (E.C.A. BUR.8.2). Occurs in Gallery inventory 1719 (E.C.A. CHA.1.4 fol.109v).

Painting of Fane, John, Tenth Earl of Westmorland (39)

Fane, John, Tenth Earl of Westmorland

By George Romney, 1789
Oil on canvas, 152cm x 121cm
Reference: ECP 48


Biography

1759-1841. Eldest son of John Fane, the ninth Earl, succeeded to the title at age 15. Educated at Charterhouse. Admitted to Emmanuel 1776, where his tutor was William Bennet (E.C.P. 23). M.A 1778. At Cambridge he was a friend of William Pitt. Appointed Joint Paymaster-General 1789; Privy Councillor; Lieut. Governor of Ireland 1790-95. Master of the Horse 1795-8. Lord Privy Seal 1798-1827. Married Sarah Anne, daughter of Robert Child the banker, after elopement.


Description

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Three-quarter length, standing, frontal, but head turned and looking half right. Wears peer's robes, embroidered yellow satin waistcoat, red velvet breeches, sword. Architectural background, with trees to right.


Sources

The Earl sat to Romney November-December 1789; payment of 60 guineas made in December 1789. Picture despatched to Emmanuel 5 June 1792. According to Ward and Roberts this was "intended to be a copy of the portrait painted in 1782-3" (collection of Earl of Jersey at Osterley Park, Isleworth) but the costume is different (see H. Ward and W. Roberts, Romney vol.II 170. College accounts Michaelmas 1792 (E.C.A. BUR.8.6)). Lord Jersey's portrait was engraved in mezzotint by John Jones, 1792. REPRODUCED. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.29.

Painting of Fane, Mildmay, Second Earl of Westmorland (40)

Fane, Mildmay, Second Earl of Westmorland

By Unidentified Artist, 1640
Oil on canvas, 204cm x 124cm
Reference: ECP 81


Biography

c.1600-1665. Son of Sir Francis Fane, First Earl of Westmorland, by his wife Mary, who was the only child of Sir Walter Mildmay's eldest son Sir Anthony. Entered Emmanuel as fellow-commoner 1618; M.A. 1619. Admitted at Lincoln's Inn 1622. M.P. for Peterborough 1620-2, 1626, 1628-9. M.P. for Kent 1625. K.B. 1625/6. Succeeded to the Earldom 1629. Took his seat in the Lords in the Short Parliament (April-May 1640). In that year he joined the King at York and was active in the royal cause. Prisoner in the Tower 1642-3; then signed the Covenant and retired to private life until the Restoration, when he was appointed Lord Lieutenant for Northamptonshire. Author of poems privately printed as Otia sacra and Fugitive poetry (1648). His silver steeple-cup is still in the College's possession.


Description

Full-length, standing, facing half right, looking front. Moustache and vandyke beard. Wearing peer's Parliament robes. Inscription at bottom right: "Apparuit sic in Parlamento xvito Caroli I Mildmaius Comes de Westmorland Anno 1640 Aetatisque suae 39". His right hand rests on a table draped with a heavy pink cloth. On the table a high-crowned black hat with jewelled band; behind it a column on a high plinth.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Presented in 1954-5 by Robert W.A. Fane, M.B.E., graduate of the College (E.C.M. XXXVII (1954-5) p.17f.).

Painting of Farmer, Richard (41)

Farmer, Richard

By George Romney, 1777-84
Oil on canvas, 74cm x 62cm
Reference: ECP 73


Biography

1735-97. Born at Leicester. Entered Emmanuel 1753. B.A. 1757, M.A. 1760. Tutor from 1760. F.S.A. 1763. Master of Emmanuel 1775-97. Vice-Chancellor 1775-6 and 1787-8. University Librarian from 1778. Prebendary of Lichfield, 1780, of Canterbury, 1782, of St Paul's, 1788. Declined the offer of his friend William Pitt to obtain him a bishopric. He had strong antiquarian tastes, was a notable book-collector, and unusually learned in earlier English literature, especially drama, but published little apart from a celebrated Essay on the Learning of Shakespeare (1766). Under his Mastership the college became the centre of Cambridge social life, and a haunt of the learned from a wider world. Dr Johnson visited Cambridge to consult him on questions of Shakespearean scholarship.


Description

Bust, turned and facing half right, looking front. Wears bushy wig, scarlet doctor's gown, bands, black scarf.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. Gunning, Reminiscences of ... Cambridge (1854) E.S. Shuckburgh, Richard Farmer D.D. (1884) G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948) 67-91. S.C. Roberts, Richard Farmer (Arundell Esdaile Lecture 1960). Entries in Romney's diaries and account books show the portrait was begun in 1777 (see H. Ward and W. Roberts, Romney ii, p.52). Later sittings in November and December 1784. Paid for (£21) on 23 Dec. 1784 (Farmer's cheque survives with the Michaelmas audit accounts for 1785: E.C.A. BUR.1.Oc.(ii). An entry of the same date "To a Picture and Frame £24-18-6" (BUR.8.6) probably refers to this portrait). Its completion after so long an interval was probably prompted by the College's bicentenary celebration in 1784. There is a copy at St Catharine's College; and another was presented to the University Library by Mrs Claude Leney, a descendant, in 1961. ENGRAVED. (1) Mezzotint by J. Jones 1785. (Farmer himself is said to have invited subscriptions for this, at the bicentenary dinner at Emmanuel; cf. E.S. Shuckburgh, Richard Farmer D.D. (1884) pp.57-8). (2) Mezzotint by T. Hodgetts, 1816, for Dibdin's edition of Ames's Typographical Antiquities. (3) In line, by Burnet Reading, for 1821 edition of Farmer's Essay.

Painting of Farmer, Richard (42)

Farmer, Richard

By Silvester Harding, 1790
Water colour on paper., 13cm x 11cm
Reference: ECP 88


Biography

1735-97. Born at Leicester. Entered Emmanuel 1753. B.A. 1757, M.A. 1760. Tutor from 1760. F.S.A. 1763. Master of Emmanuel 1775-97. Vice-Chancellor 1775-6 and 1787-8. University Librarian from 1778. Prebendary of Lichfield, 1780, of Canterbury, 1782, of St Paul's, 1788. Declined the offer of his friend William Pitt to obtain him a bishopric. He had strong antiquarian tastes, was a notable book-collector, and unusually learned in earlier English literature, especially drama, but published little apart from a celebrated Essay on the Learning of Shakespeare (1766). Under his Mastership the college became the centre of Cambridge social life, and a haunt of the learned from a wider world. Dr Johnson visited Cambridge to consult him on questions of Shakespearean scholarship.


Description

Oval miniature. Bust, turned and facing half right, looking front. Wearing bushy wig, doctor's scarlet gown, bands, black scarf, over black cassock. Inscription on back of paper in faded red ink, in the artist's hand: "Rev Dr Farmer, master of Emanuel College, Cambrige. Drawn by S. Harding 1790." Perhaps also by Harding is the portrait engraved for a composite plate (by Thomas Holloway) in Malone's edition of Shakespeare, 1790. See Isaac Reed's Diary ed. C.E. Jones (Univ. of California 1946) under date 1 October 1788. Presented by Mr T.R. and Miss K.M. Peace (son and daughter of J.B. Peace, Bursar of Emmanuel 1893-1920) 22 Jan. 1945. Its acquisition was the occasion of Prof. G.R. Owst's important article in C.A.S. Proceedings XLII (1948) pp.67-91.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. H. Gunning, Reminiscences of ... Cambridge (1854). E.S. Shuckburgh, Richard Farmer D.D. (1884). G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948) 67-91. S.C. Roberts, Richard Farmer (Arundell Esdaile Lecture 1960). ENGRAVED. Stipple, by William Ridley, published 20 March 1791, for Shakespeare illustrated ... (published by E. and S. Harding 1793). REPRODUCED: G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), pl.IV; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 23.

Painting of Ffowcs Williams, John Eirwyn (148)

Ffowcs Williams, John Eirwyn

By Louise Riley-Smith, 1999
Reference: ECP 132


Description

Text in preparation


Painting of Forder, Benjamin Christmas (44)

Forder, Benjamin Christmas

By Unidentified Artist
Oil on canvas, 61cm x 51cm
Reference: ECP 111


Biography

1873-1962. Son of B.J.H. Forder (see below), entered Emmanuel 1891. B.A. 1894, M.A. 1898. Called to the Bar (Lincoln's Inn) 1900. Justice of the Peace.


Description

Half-length, turned slightly to his left, but facing forwards. Neat grey moustache and beard; wearing grey suit, grey-blue tie, white handkerchief in breast-pocket. On back of canvas: "Benjamin Christmas Forder M.A., J.P. Barrister-at-Law. 20.12.73-9.4.62".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XLIV (1961-2) p.94; XLVI (1963-4) p.50. Bequeathed 1978 by the sitter's widow, Mrs E.C. Forder (Governing Body Minute 221 of 23 Oct. 1978).

Painting of Forder, Benjamin John Herfield (45)

Forder, Benjamin John Herfield

By Ernest S. Carlos, 1909
Oil on canvas, 198cm x 107cm
Reference: ECP 79


Biography

c.1845?-1917. Of Petersfield, Hampshire, industrialist. He established in 1897 near Peterborough the firm known since 1936 as the London Brick Company Ltd, now the world's biggest manufacturers of bricks. By his will he bequeathed to Emmanuel the reversion of his very substantial estate, subject to the life interest of his son B.C. Forder (see E.C.P. 111), in token of his esteem for the education provided in the College, and his appreciation of its care for his son when a student. A considerable part of the estate was transferred to the College, with the generous consent of the son, in 1954.


Description

Full length, standing, turned and facing half right. Dressed for shooting, with gun under right arm, hat in left hand. Grey hair, moustache, and beard.


Sources

Governing Body Minute 121 of 29 July 1954; E.C.M. XLVI (1963-4) p.50; H. Button, Guinness Book of the Business World. Given to the College by Benjamin Christmas Forder in 1920 (Governing Body Minutes 19 June 1920, p. 293).

Painting of Frankland, Joyce (46)

Frankland, Joyce

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 5


Biography

1531-86/7. Daughter of Robert Trapp or Trapps, a London goldsmith, and his wife Joan. Married Henry Saxey, and after his death William Frankland. Founded scholarships and Fellowships at Gonville and Caius College, and at Emmanuel. Benefactress also of Brasenose and Lincoln Colleges, Oxford, and foundress of the Free Grammar School at Newport, Essex.


Description

Half length, turned and facing somewhat to left, looking front. Wears black gown and cap, wide ruff; jewelled pendant. Holds in her hands an open pocket-watch. Arms on a lozenge, top left: Quarterly: (1 and 4) argent 3 caltraps sable (for Trapp); (2 and 3) sable a chevron between 3 crosslets formy or (for Fordham or Hildersham?); motto below: "suffer and serve". A similar lozenge of arms appears on the ring on her right index-finger. The same jewel is worn by her mother, Joan Trapps, in her portrait at Gonville and Caius, on which see J. Venn, Gonville and Caius College Biogr. Register vol.III pp.294-5.


Sources

C.N.L. Brooke, History of Gonville and Caius College pp.95-6; J. Schenck Ibish, Emmanuel College, the founding generation (Harvard Ph.D. dissertation 1985), pp.102 ff. Apparently copied from an original (on panel) at Gonville and Caius College, to whom it was bequeathed by the sitter, together with portraits of her father and mother. See Venn, loc.cit., with pls.XII-XIV in his vol.IV. He mentions another portrait of her at Brasenose College, and one in the family's possession. One at Newport Grammar School is a copy (made 1957) of that at Gonville and Caius. The Emmanuel picture appears first in the Gallery inventory of 1719 (E.C.A. CHA.1.4, 109v).

Painting of Gardiner, James (47)

Gardiner, James

By Unidentified Artist
Oil on canvas, 124cm x 99cm
Reference: ECP 26


Biography

1637-1705. Admitted to Emmanuel 1649. B.A. 1652/3, M.A. 1656, D.D. 1669. Chaplain to Duke of Monmouth and Rector of Epworth, 1660. Prebendary of Lincoln 1661-98, of Salisbury 1666-71. Bishop of Lincoln 1695-1705. Antiquary; assisted Simon Patrick in deciphering Peterborough charters and muniments.


Description

Perhaps by or after MICHAEL DAHL (see A.J. Finberg, E.C.P. 26). Half length, seated in upholstered arm-chair, turned, facing, and looking half right. Left hand on book on a table. Wearing rochet and chimere, with bands.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. Dictionary of National Biography. Date of acquisition unknown. Appears in 1775 Gallery inventory (E.C.A. CHA.1.8). ENGRAVED. A large folio engraving of Bishop Gardiner by G. White after M. Dahl is perhaps of the Emmanuel portrait (see H. Bromley, Catalogue of engraved British portraits (1793) p.219; cf. Dictionary of National Biography).

Painting of Giles, Peter (49)

Giles, Peter

By Alfred Hayward, 1934
Oil on canvas, 91cm x 71cm
Reference: ECP 78


Biography

1860-1935. Son of an Aberdeenshire farmer, Giles received his first education at the parish school of Strichen, from which he entered Aberdeen University in 1878. After graduating there he came in 1882 to Gonville and Caius College Cambridge as a Scholar, as had several other able classics from Aberdeen. Fellow of Caius 1887, of Emmanuel 1890. (James Adam had preceded him from Aberdeen via Caius to Emmanuel.) Master of Emmanuel 1911-35. Vice-Chancellor of Cambridge 1919-21. Reader in Comparative Philology for forty-four years, and with an international reputation in that subject. Hon. Fellow of Caius; hon. doctorates of Aberdeen and Harvard; Fellow of the British Academy.


Description

Half-length, seated, turned and facing half right, looking front. Wears Litt.D. scarlet gown; moustache, thin-rimmed spectacles. Presented by members of the Parlour, 1934 (E.C.M. XXIX (1933-4) p.10). A replica was painted by the artist for Dr Giles's own possession.


Sources

E.C.M. Suppt. to XXIX (1934-5); Proc. Brit. Academy XXI (1935) 406-32. REPRODUCED: E.C.M. XXIX (1933-4).

Painting of Hackett, Cecil Arthur (155)

Hackett, Cecil Arthur

By Unidentified Artist
Reference: ECP 136


Description

Text in preparation


Painting of Hall, Joseph (52)

Hall, Joseph

By Unidentified Artist
Oil on canvas, 75cm x 61cm
Reference: ECP 30


Biography

1574-1656. Educated at Ashby de la Zouch, where Henry Hastings Earl of Huntingdon was his patron. Entered Emmanuel 1589. Fellow 1595. M.A. 1596, D.D. 1612. Incumbent of Hawstead near Bury St Edmunds 1601; of Waltham, Essex 1608. A Chaplain to Prince Henry 1608; Chaplain to the English Ambassador at Paris 1616. Dean of Worcester 1616. Delegate to Synod of Dort 1618. Bishop of Exeter 1627-41. Appointed Bishop of Norwich 1641, but sent to the Tower along with other bishops before he could take up residence. Ejected 1647. Author of Virgidemiae (satire) 1597, 1598; Meditations (1605); Characterisimes of Vertues and Vices (1608). In 1640 his Humble Remonstrance to Parliament produced a famous pamphlet war, with "Smectymnuus" and John Milton as his chief opponents.


Description

Possibly by MARY BEALE after J. Payne's engraving (so J.W. Goodison, c. 1967). Half length, within a painted oval; turned and facing slightly right, looking front. Wears skullcap, square beard, ruff, rochet and chimere. His gold Synod of Dort medal (now the property of Emmanuel College) pinned to his breast; right hand holds a book.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-1954. Dictionary of National Biography. Date of acquisition unknown; appears in 1719 Gallery inventory (E.C.A. CHA.1.4 fol. 109v). REPRODUCED: J. Ingamells, The English Episcopal Portrait (Paul Mellon Centre for Studies in British Art, 1981), no. 19; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 6.

Painting of Hewitt, Thomas (53)

Hewitt, Thomas

By Unidentified Artist
Oil on canvas, 51cm x 41cm
Reference: ECP 89


Biography

1835-1911. Migrated to Emmanuel from Queens' College 1855. Scholar 1855. B.A. (13th Wrangler) 1858. Ordained 1859. Fellow of Emmanuel 1859. M.A. 1861, B.D. 1868. Bursar 1864-70. Junior Proctor 1867-8. Rector of Preston, Suffolk (a College living) 1870-93. Chaplain at Alassio, Italy, 1893-1903. Subsequently lived at Godalming and at Hove. In 1907 established a fund for the building of a new College Library.


Description

Small three-quarter length, seated in armchair, turned half right, facing and looking almost front. White hair, moustache, and short beard.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10.vols., 1920-54. Presented by Mrs Crofts, 1934, to be hung in the College Library (Governing Body Minutes 12 March 1934; E.C.M. XXIX (1933-4) p.11).

Painting of Hill, Geoffrey William (54)

Hill, Geoffrey William

By Jenny Polak, 1983
Oil on canvas, 71cm x 71cm
Reference: ECP 126


Biography

1932-2016. The poet Geoffrey Hill graduated in 1953 from Keble College, Oxford, of which he is now an Honorary Fellow. On academical staff at Leeds 1954-80, holding the chair of English Literature 1976-8. Came to Cambridge as University Lecturer in English and Fellow of Emmanuel in 1981. In 1989 migrated to a Professorship at Boston University, U.S.A, returning to Cambridge in 2006. Was Professor of Poetry at the University of Oxford 2010-15. His poetical works have won a number of major literary prizes, including the Truman Capote Award for Literary Criticism in 2009. He has been a visiting lecturer at Michigan, Ibadan and Bristol.


Description

Half-length, seated, turned and facing half right, looking front. Left elbow rests on the flat arm of his chair, with the left hand raised to his temple. Right hand holds a pen and rests with a pad of writing paper on the right-hand chair arm. Hair black, grizzled; close-cut beard and moustache. Wearing a black shirt, with a patterned coloured neckerchief. The composition is somewhat unusual in that the figure is for the most part to the right of the centre of the canvas. Purchased by the College from Roy Davids Ltd., Great Haseley, Oxon. 1996.


Sources

Who's Who. REPRODUCED: P. Robinson (ed.), Geoffrey Hill, Essays on his work (dust jacket), 1985.

Painting of Hill, Geoffrey William (157)

Hill, Geoffrey William

By Gail McNeillie, 2007
Reference: ECP 138


Description

Text in preparation


Painting of Holbech, Thomas (55)

Holbech, Thomas

By Unidentified Artist
Oil on canvas, 210cm x 102cm
Reference: ECP 34


Biography

1606-80. Born in Warwickshire. Entered Emmanuel 1622. B.A. 1625/6, M.A. 1629, B.D. 1636, D.D. (by royal mandate) 1660. Fellow 1629. Vicar of Epping 1641-3; sequestered, but restored 1660. Master of Emmanuel 1675-80, and active in the completion of the new chapel (dedicated in 1677). Prebendary of St Paul's 1660-80; Rector of St Augustine's, London, 1662-80.


Description

Full length, standing, turned and facing half right, looking front. Wears skull cap, surplice, scarf, scarlet hood. Right hand holds a small book, left hand gloved and holding the other glove. Background of heavy curtain, with doorway to right, and appearing through it a draped female figure (? Astraea redux). Shield of arms at top left: Vert five escallops in saltire argent (Holbech), impaling an unidentified shield charged with three cushions. Presumably acquired in or immediately after Holbech's mastership. It appears in the 1681 inventory of the Gallery (E.C.A. CHA.1.4 fol.97), which had just been completed, and over the entrance door of which are carved his arms, along with those of his predecessors William Sancroft and John Breton.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54.

Painting of Hopkins, Sir Frederick Gowland (56)

Hopkins, Sir Frederick Gowland

By Bernard Dunstan, 1967
oil on canvas, 97cm x 76cm
Reference: ECP 100


Biography

Born 1861. Enrolled as medical student at Guy's Hospital at age 27, qualified 1894 and worked in the physiology department there. Came to Cambridge 1898 to teach chemical physiology. College lecturer at Emmanuel 1899, Fellow and Tutor 1906-10. Univ. Reader in chemical physiology 1902-14. Fellow of Trinity 1910-47. Professor of Biochemistry 1914; Sir William Dunn's Professor 1921-43. F.R.S. 1905, President 1930-35. Hon. Fellow of Emmanuel 1911. Knighted 1925. Nobel Prize for discovery of vitamins 1929. Hon.Sc.D. Cantab. 1933. O.M. 1935. Died 1947.


Description

Half-length, standing behind laboratory bench, turned, facing, and looking half right. Right hand holds test-tube containing violet fluid. Chemical formula on blackboard behind. Apparatus, notebook, and characteristic unfinished cigarette on bench. Painted for the College in 1967. The artist worked from photographs and other portraits and information supplied by Emmanuel men and former colleagues of the sitter. Those who knew him well considered this an excellent likeness. Other portraits: (1) Canvas by Meredith Frampton, at the Royal Society (reproduced in colour in Endeavour 15 (1956) p.129). (2) Charcoal drawing by Edmond Kapp, 1943, at Fitzwilliam Museum (reproduced in 49 Lives no.40). (3) Canvas by George Henry, 1926, at Cambr. Univ. Biochem. Laboratory. (4) Another drawing (pen and wash) by Edmond Kapp, perhaps a preliminary sketch for the Fitzwilliam Mus. portrait, was sold by the artist in 1966 to an "American scientist and collector".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography.

Painting of Hort, Fenton John Anthony (57)

Hort, Fenton John Anthony

By G. P. Jacomb Hood, 1891
Oil on canvas, 89cm x 70cm
Reference: ECP 65


Biography

1828-92. Educated at Rugby and Trinity College, Cambridge, where his close friends included J.B. Lightfoot (later Bishop of Durham) and B.F. Westcott. M.A. 1853, B.D. 1875, D.D. 1879. Rector of St Ippolyts near Hitchin from 1857 to 1871, when he was elected Fellow of Emmanuel (the College's first married Fellow) and lecturer in theology. Hulsean Professor of Divinity 1878-87; Lady Margaret Professor 1887-92. Actively involved in the redecoration of the College Chapel 1883-4. Edited with Westcott the revision of the Greek text of the New Testament (1881) and was for ten years on the committee for the Revised Version of the English Bible (1881).


Description

Three-quarter length, seated, turned, facing and looking half right. Soft grey hair, moustache, whiskers, and beard. Wears D.D. gown and hood. Holds open book on his knees. Shield of Emmanuel arms at top right.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. A.F. Hort, Life and Letters of F.J.A. Hort. E.C.M. XXIX (1956-7) 33ff. Painted for the College and presented by the Fellows and other friends (College Order of 6 oct. 1891; E.C.M. III (1891) p.41). A copy hangs in the Divinity School (Goodison no. 88). Jacomb Hood also painted a separate portrait of Hort immediately after this, to be given by the College to Mrs Hort. This latter portrait was reproduced in an engraving by Dew Smith in E.C.M. (E.C.M. IV (1893) opp. p.45; see also p.71), and was also engraved in mezzotint by William Strang, 1895 (see D. Strang, Wm Strang, Suppl. to the Cat. of his etched work 1882-1912 (1923) no. 743. Prints in College Library).

Painting of Hothersall, Burch (58)

Hothersall, Burch

By Unidentified Artist
Oil on canvas, 74cm x 56cm
Reference: ECP 39


Biography

From Barbados; entered Emmanuel as fellow-commoner in 1681/2. M.A. 1682 by royal mandate. Incorporated at Oxford in the same year. Gave the College £120 or more to defray the cost of the chapel organ, 1682.


Description

Seated, turned and facing half left, looking front. Red gown, lace cravat. Left hand on his knee.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. VIII (1896-7) p.99 and XVII (1906-7) pp.95-6. Presumably acquired soon after his benefaction; but earliest reference in inventories is of 1775 (in Gallery, E.C.A.. CHA.1.8).

Painting of Hubbard, Henry (60)

Hubbard, Henry

By Thomas Gainsborough, Mid or late 1750s
Oil on canvas, 74cm x 62cm
Reference: ECP 22


Biography

1707-78. Born at Ipswich. B.A. from St Catharine's College 1729. Fellow there 1730-32. Fellow of Emmanuel 1732-78. B.D. 1739. Tutor for thirty-five years. University Registrary 1758-78. Lady Margaret Preacher 1752-4. Substantial benefactor of the College.


Description

Bust, turned and facing half right, looking front. Wears wig, black gown, cassock, bands.


Sources

J. and J.A. Venn, Alumni Cantabrigiensis, 2 parts, in 10 vols., 1920-1954 E.C.M. XIV (1902-3) 55-64. Hubbard and his friend the Rev. Richard Canning (1708-75) Rector of St Lawrence, Ipswich, were both painted by Gainsborough c.1757, and exchanged portraits: in an inventory of his property (E.C.A. LIB.2.5) Hubbard lists Canning's portrait with the date 1757. Hubbard's portrait was bequeathed to the College by Canning's son (also the Rev. Richard) in 1789 (see E.C.M. XIV (1902-3) 63). After Hubbard's death (1778) there seems no trace of Canning's portrait till it appeared in the sale-room in 1956 and was acquired by Ipswich Corporation. For other portraits of Hubbard, by D. Heins and John Downman, see J.W. Goodison, Catalogue of Cambridge Portraits: I. The University collection, 1955, nos. 113 and 336, and F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.20.

Painting of Hubbard, Henry (61)

Hubbard, Henry

By Joseph Freeman (copyist), c.1788
Oil on canvas, 74cm x 62cm
Reference: ECP 57


Biography

1707-78. Born at Ipswich. B.A. from St Catharine's College 1729. Fellow there 1730-32. Fellow of Emmanuel 1732-78. B.D. 1739. Tutor for thirty-five years. University Registrary 1758-78. Lady Margaret Preacher 1752-4. Substantial benefactor of the College.


Description

A copy of ECP 22.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XIV (1902-3) 55-64. This is listed by Masters (1790) along with other copies by Freeman in the Parlour (see Masters p.16; cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), p.81, with n.9.

Painting of Hurd, Richard (62)

Hurd, Richard

By Thomas Gainsborough, 1782
Oil on canvas, 75cm x 62cm
Reference: ECP 33


Biography

1720-1808. Entered Emmanuel 1733. B.A. 1739, D.D. 1768. Fellow 1741-57. Rector of Thurcaston, Leics. 1757. Chaplain to Wm. Warburton, Bishop of Gloucester, 1762. Archdeacon of Gloucester 1767. Bishop of Lichfield and Coventry 1774. Tutor to Prince of Wales 1776. Bishop of Worcester 1781. Declined the Archbishopric of Canterbury 1783. Established a literary reputation by his Moral and political dialogues (1759) and Letters on chivalry and romance (1762), now seen as a precursor of the Romantic Movement. Formed an important library and collection of portraits at his episcopal residence, Hartlebury Castle.


Description

Half-length, turned half left, facing slightly left, looking front. Wears light grey wig, rochet, scarf, and bands. Within a painted oval. Date 1782 at top left, below arms of Hurd (argent, on a chief or a raven close proper) impaled with the See of Worcester (argent, ten torteaux, four, three, two and one).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983. Given by the sitter in 1783 to Dr Richard Farmer "for the Master's Lodge" at Emmanuel (see J. Nichols, Literary Anecdotes VI, 491). It is listed as hanging in the Master's dining-room both in Masters (1790) and in the 1797 inventory (E.C.A. CHA.1.8.). It is a studio copy of Gainsborough's 1781 portrait, painted for Queen Charlotte and exhibited that year at the Royal Academy (no. 39), now at Buckingham Palace. Another studio copy of the same is at Hartlebury Castle, made in 1788 (James Nankivell, The Collection of portraits ... of Bp. R. Hurd at Hartlebury Castle (1953), frontispiece, and p.45 quoting MS notes of Hurd himself). There is a separate portrait by Gainsborough, not identical, at Windsor; this was formerly confused with the Buckingham Palace one (e.g., by Charles Henry Collins Baker, Cat. of pictures (Royal collection) p.143, and perhaps by E.K. Waterhouse, Gainsborough nos. 390-392). That the latter is the true original was established by Oliver Millar, Surveyor of the Queen's pictures, in 1964 (see letters from him to F.H. Stubbings, at Emmanuel; cf. The Times, 28 Febr. 1967). A third copy, commissioned by Hurd from Gainsborough's nephew Dupont, was sold from Hartlebury about 1840, and by way of Viscount d'Abernon's collection passed eventually in 1929 to a relative of the Bishop, Mr Richard M. Hurd of New York (cf. Nankivell, op.cit., and correspondence between him and Prof. G.R. Owst, at Emmanuel).

Painting of Jackson, Charles (63)

Jackson, Charles

By Thomas Gainsborough, c.1759-74
Oil on canvas, 74cm x 62cm
Reference: ECP 21


Biography

c.1714-90. Born at Cookham, Berkshire. At Eton College 1728-31. Admitted to Emmanuel 1731. B.A. 1735/6, M.A. 1739, B.D. 1746, D.D. 1759. Fellow of Emmanuel from 1739. Chaplain to the Duke of Bedford, Lord Lieutenant of Ireland, and Bishop of Ferns 1761-5. Bishop of Kildare 1765-90. Dean of Christ Church. Dublin, 1765-90. Gave £100 towards improvements of the College buildings in 1760.


Description

Attributed to the artist's "Bath period" (1759-74). Bust, turned half left, facing slightly left, looking front. Wears wig, rochet, scarf, bands. Within a painted oval.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Date of acquisition unknown, but appears in Masters(1790). E.K. Waterhouse, Gainsborough (1958) no. 397. REPRODUCED: Country Life 4 Nov. 1933 p.475 fig.12.

Painting of Kidder, Richard (65)

Kidder, Richard

By Mary Beale, c. 1690?
Oil on canvas, 74cm x 62cm
Reference: ECP 72


Biography

1633-1703. Entered Emmanuel 1649. B.A. 1652, D.D. 1690. Fellow 1655. Vicar of Stanground 1659, ejected 1662. Rector of Rayne, near Braintree, 1664. Preacher at the Rolls 1674. Prebendary of Norwich 1681-91; a royal chaplain 1689; Dean of Peterborough 1689-91. Bishop of Bath and Wells 1691-1703 in succession to the non-juring Bishop Ken. Killed by the fall of a chimney stack at the Bishop's palace during a violent storm, in which Bishop Ken's house had a fortunate escape.


Description

Turned and facing half left, looking front. Wears surplice, scarf, and bands. Signed at bottom right, "Mary Beale pinx.", without date (Masters lists it as "by Mrs Beale, before made Bp."). Later white painted inscription on oval, above: "Ricd Kidder D.D. Bishop of Bath and Wells 1691". Within painted sculptural oval.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. First listed in inventory of Gallery 1719 (see E.C.A. CHA.1.4 fol.109v). ENGRAVED. By R. Clamp for Silvester Harding's Biographical Mirrour, 1794, from a copy by Harding.

Painting of King Charles II (66)

King Charles II

By Unidentified Artist
Oil on canvas, 74cm x 61cm
Reference: ECP 47


Biography

1630-85. Eldest son of Charles I. After the royalist defeat at the Battle of Worcester in 1651 he was in exile in France until the Restoration of the Monarchy in 1660.


Description

Bust, turned and facing half right, looking front. Slight moustache. Full wig, lace cravat; wearing robes and collar of the Garter. After a Lely type of which one of the best versions is at Boughton; it is somewhat earlier than the next. In E.C.P. this picture was wrongly identified as of King James II.


Sources

The correct identifications, and the relation of ECP 47 and ECP 49 to Lely types, is from information kindly supplied by Mr Robin Gibson of the National Portrait Gallery. The date of acquisition of both portraits is unknown. A "Charles II" entry in the 1775 inventory of the Library might refer to either of them (E.C.A. CHA.1.8.).

Painting of King Charles II (67)

King Charles II

By Unidentified Artist
Oil on canvas, 75cm x 62cm
Reference: ECP 49


Biography

1630-85. Eldest son of Charles I. After the royalist defeat at the Battle of Worcester in 1651 he was in exile in France until the Restoration of the Monarchy in 1660.


Description

Bust, turned half right, facing half left, looking front. Long black periwig, slight moustache. Gown with gold embroidery on his right shoulder; lace cravat. Within a painted oval. After a Lely type of c.1680, of which there are good versions at Lamport Hall and Cirencester Park.


Sources

The correct identifications, and the relation of ECP 47 and ECP 49 to Lely types, is from information kindly supplied by Mr Robin Gibson of the National Portrait Gallery. The date of acquisition of both portraits is unknown. A "Charles II" entry in the 1775 inventory of the Library might refer to either of them (E.C.A. CHA.1.8.).

Painting of King Edward III (68)

King Edward III

By Unidentified Artist
Oil on canvas, 74cm x 61cm
Reference: ECP 45


Biography

Born 1312. Acceded to the throne 1327. Died 1377.


Description

Half-length, turned slightly to right, head in profile to right. Wearing crown, holding sceptre in right hand, orb in left. Scarlet mantle with golden braiding. Within a painted oval. Inscription at top left and top right: "Edward III D.G.Angl.& Fr.R.& D.Hib.Reg.An.L.Men.IV Dies XXVIII. Ob.An.Aetat.LXV.An.Dm. 1377". To right of head, a shield of arms of France and England quarterly, within the Garter. Below it, a miniature painting of a castle with three turrets, and underneath the name QVINBROUGH.


Sources

Copied from a picture at Windsor for Joshua Barnes and presumably bequeathed by him in 1712 (see Masters; cf. E.C.P. 46 (The BLACK PRINCE), and the biographical note on BARNES, E.C.P. 17). Appears first in the 1775 inventory of the Gallery (E.C.A. CHA.1.8). It is not the same portrait as that engraved for Barnes's history of Edward III and the Black Prince (1688).

Painting of Kingsley, William (69)

Kingsley, William

By Unidentified Artist
Oil on canvas, 75cm x 61cm
Reference: ECP 42


Biography

?c.1690-1739. From Hertfordshire. Admitted to Emmanuel 1706. B.A. 1710/11, LL.B. 1714. Ordained priest 1719/20. Rector of Caldecot, Herts. 1719-24. Rector of Willian 1725-39.


Description

Oval. Bust, turned and facing half right, looking front. Wearing periwig, gown and bands. Inscription in white roman capitals at top: "Wm Kingsley A.M.".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Date of acquisition unrecorded. It appears first in the Gallery inventory of 1775, as does the portrait of EDWARD POTTER (E.C.P. 77), which it in general resembles (see E.C.A. CHA.1.8.). E.S. Shuckburgh, Emmanuel College (1904) p.224 attributed it to Mary Beale, but this is untenable on grounds both of style and date.

Painting of Leman, Thomas (70)

Leman, Thomas

By Unidentified Artist
Oil on canvas, 77cm x 65cm
Reference: ECP 76b


Biography

?1654-1703. Son and heir of Thomas Leman of Wenhaston, Suffolk. Admitted to Emmanuel as a pensioner 1672, later became a fellow-commoner.


Description

Bust, in sculptural painted oval. Turned and facing half left, looking front. Long wavy fair hair, light red drapery, lace cravat. Inscription painted in white (probably later than the portrait itself) on upper part of oval: "Thos. Leman Esqr, 1671" (Cf. E.C.P. 76A, John Toller).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Date of acquisition uncertain. First occurs in inventory in 1775, in the Gallery 9see E.C.A. CHA.1.8). In the 20th century it shared a large oblong frame with JOHN TOLLER (E.C.P. 76A), but was separated in 1966 (hence the numbering in E.C.P.). Masters, p.15, attributed it to Mary Beale; but this was not accepted by Mr Richard Jeffree who examined the picture in 1967.

Painting of Long, Roger (71)

Long, Roger

By Joseph Freeman (copyist), 1783
Oil on canvas, 75cm x 62cm
Reference: ECP 24


Biography

1680-1770. Entered Pembroke College 1696/7. Fellow there 1703. M.A. 1704, D.D. 1728, F.R.S. 1729. Master of Pembroke 1733-70. Vice-Chancellor 1733. First Lowndean Professor of Astronomy 1750-70. "He had a passion for musical and mechanical invention". At Pembroke he built a planetarium, and also contrived a "waterwork" on which he exercised himself on a "water-bicycle". His connexion with Emmanuel is only that in 1704 he resigned his Pembroke fellowship to come to Emmanuel as a fellow-commoner while tutor to Sir Wolstan Dixie.


Description

Bust, turned, facing, and looking half right. Gown and bands. To right, a globe. According to A.J. Finberg it is inscribed "1769 aetat.88" and signed "Freeman pinxt. 1783, after B. Wilson". But the former inscription is now barely visible, at the right-hand bottom edge of the canvas; and the signature seems to have disappeared, possibly as a result of re-lining.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.C. Roberts, Dr Johnson and others (1958) p.113. Copied for the College from the original at Pembroke. The painter Freeman's receipt for 5 guineas is preserved (E.C.A. Bursar's accounts 1784, BUR.8.6). Listed in Masters, 1790. ENGRAVED. The original was engraved in mezzotint by E. Fisher, 1769, and again, in line, by T. Cook, 1786.

Painting of Longden, Sir Gilbert (153)

Longden, Sir Gilbert

By Robert Anning Bell, 1930
Reference: ECP 134


Description

Text in preparation


Painting of Middleton, Benjamin (73)

Middleton, Benjamin

By Charles Beale (attributed to), 1668
Oil on canvas (oval), 74cm x 61cm
Reference: ECP 41


Biography

Son and heir of Thomas, of St Olave's, Hart Street, London. Admitted to Emmanuel 1668. M.A. by royal mandate 1671. Admitted to Gray's Inn 1670. Perhaps F.R.S. 1687.


Description

Bust within painted sculptural oval. Wears dark blue mantle with braided border, over reddish coat; plain white neckcloth, loosely tied. Inscription in white roman capitals on oval, at top: "Benj: Middleton Esqr. 1668".


Sources

Date of acquisition unrecorded. Appears in 1775 Gallery inventory (E.C.A. CHA.1.8). By Richard Jeffree, 1967.

Painting of Mildmay, Mary (76)

Mildmay, Mary

By Unidentified Artist, 1574
Oil on panel, 81cm x 61cm
Reference: ECP 64


Biography

1528-76. Born Mary Walsingham, daughter of William Walsingham and sister of Sir Francis, Queen Elizabeth's Minister of State. Married to Sir Walter 1546.


Description

Half length, standing, turned, facing, and looking half left. The sitter wears a black gown, apparently open to the waist, the facings matching the partlet or smock beneath. The white linen has inset bands of drawn threadwork or net. A jewelled carcanet is worn beneath the ruff and a fine gold chain is caught up at the front beneath a jewelled cross. She carries a folding fan. The ruff is edged with lace. Green-covered table corner to left; column at back left, green curtain at back right. Painted inscriptions: at top, left of head: "ANO DINI [sic] 1574. Aetatis suae. 46"; at bottom, right, "Lady Mildmay wife to Sir Walter".


Sources

Purchased 1892 from the Earl of Westmorland, as was that of Sir WALTER MILDMAY (E.C.P. 63), to which it is a pair, similarly framed (see Parlour Book, 9 June 1892 (E.C.A. FEL.9.11)). The description of the costume owes much to the kind advice of Miss Janet Arnold.

Painting of Mildmay, Sir Anthony (74)

Mildmay, Sir Anthony

By Unidentified Artist
Oil on canvas, 221cm x 137cm
Reference: ECP 19


Biography

c.1545-1617. Son and heir of Sir Walter. Admitted fellow-commoner at Peterhouse 1562, Gray's Inn 1579. M.P. for Wiltshire 1584-6. Knighted 1596. Ambassador to France 1596-7. Married, in 1567, Grace daughter of Sir H. Sherington of Lacock, Wilts. Died 1617; buried at Apethorpe.


Description

Full length, standing, turned and facing half left, looking front. Left hand on sword-hilt, right on corner of table on which lie a standish and two packets of letters inscribed on their covers: "To my Honble and loving friend Sr Anthony Mildmaye Knight, her Maties Ambassadour unto the French Kinge. Ro. Cecyll" and "Monsieur, Monsieur de Mildmay, Ambassadeur pour la Reyne d'Angleterre, pres du Roy. Henry de Latten. 1596". Armour lies in a heap to right of his feet, on the carpeted floor, and a wheel-lock firearm in front. He stands at the opening of a tented pavilion. Inscription on a label on curtain to left: "Reip. causa & Principis Iussu semper in utrumque paratus fui". Dressed in embroidered doublet with lace collar and cuffs, full breeches, riding-boots. Wears ruff. Beard, moustache and whiskers.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XIX (1908-9) 102f, 110. Dictionary of National Biography. College accounts for 1617 have entries implying that this is the date of acquisition: To John Newton for the frame of Sir Anthonie's picture the paynting and gilding .. 40s.; A frame for Sir Anth: picture .. 20s.; a rodd and greene cloth for Sr A's picture .. 12s.6d.' A curten and rings with the making for Sr Anthonie's picture .. 14s (see E.C.A. BUR.8.1). The picture itself is in the Library furniture inventory of 1621 (E.C.A. BUR.8.1 p.116). L. Cust, in Publications of the Walpole Soc. vol.3 (1913-14) suggested the painting could be attributed to Marcus Gheeraerts Jr. Finberg rejected this, proposing Robert Peake, painter of a full-length of Charles I (when Prince of Wales) in the University's possession (Goodison no. 17). Masters had ascribed it to D. Mytens.

Painting of Mildmay, Sir Walter (75)

Mildmay, Sir Walter

By Unidentified Artist
Oil on canvas, 57cm x 45cm
Reference: ECP 12


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Bust, probably copied from the full-length, E.C.P. 18. Like that, it bears the inscription: Ano Dni 1588 Aetatis Suae 60 [sic] Virtute non V [sic]."


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Date of acquisition unknown; it is possibly referred to in the 1612-13 accounts: "For a new picture to stand in the parlour xiijs For a green cloth rodd hooks and making xxd" or in the 1621 accounts (see E.C.A. BUR.8.1 pp.67, 107. Cf. E.C.A. BUR.8.2 (expenses since 4 May 1713) "for refreshing ye Founders lesser picture Ñ 0-10-0"): "Our Founder's lesser picture 21s 0d" In 1681 an inventory of things "in the Chamber next the Hall" lists "The Founder's picture halfe", and in 1719 there is a similar entry "In the great wainscot chamber" (ÊE.C.A. CHA.1.4, foll.89, 109v). Both must refer to the principal room of the Master's Lodge, above the Parlour, which is now called the Chaderton Room.

Painting of Mildmay, Sir Walter (78)

Mildmay, Sir Walter

By Unidentified Artist
Oil on panel, 45cm x 37cm
Reference: ECP 112


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Head and shoulders, very closely similar, especially in the face, to the preceding portrait, though differing slightly in the edge of the ruff. The pattern on the gown is more clearly visible than in the full-length. Very probably a studio copy, or even the studio original from which the full-length was worked up.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Sir Roy Strong wrote (in 1981): 'As a pretty general attribution I might suggest George Gower, but all its primitive schematic features would perhaps favour more a follower of his, John Bettes the younger." Purchased in November 1981 from Mr Jack B. Gold of 123 St George's Road, Southwark, SE1 6HY, who had bought it about ten years before that, misdescribed as Lord Burghley. REPRODUCED: Emmanuel College, An historical guide, 1983, fig.3.

Painting of Mildmay, Sir Walter (79)

Mildmay, Sir Walter

By Unidentified Artist, 1588
Oil on panel, 194cm x 118cm
Reference: ECP 18


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Full length, facing half left, looking front. Dressed wholly in black (except for white ruff and cuffs), with a heavy gown, and wearing a Tudor bonnet. His right hand rests on a book standing on a table; left hand held horizontal. Red curtain to right, woven rush matting on floor. Through a window at top left, view of a castle with trees and water in front. Inscription to right of window: "Aetat. suae 66. Anno Dom, 1588. Virtute non vi"; in gilt letters around the black-painted contemporary frame: "Effigies honoratissimi viri Gualteri Mildmaii Equitis aurati Cancellarii fisci regii. Reginae majestatis a consiliis Et liberalissimi huius Collegii Emmanuelis fundatoris. Anno Dni. 1584".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Painted for the College. Accounts for 1588-9 contain the following entries (E.C.A. BUR.11.1 p.29): To the mar wch made or Founders picture £6.13s.8d For a curtayne for the picture of or founder 4s For rings, tape, and making 3s To the paynter for wryting about it and carriage to the carrier and other charges wch Mr Probye layd out about it 14s.4d In the College's earlier days the portrait hung in the Library; from (?)1681 in the Gallery 9see E.C.A. BUR.8.1 p.191, "The Founder's Picture with a curtayne of blew saye and an iron Rodd"; CHA.1.4 fol.97). Masters says "supposedly Vansomer", but that artist came to England only in 1606. L. Cust in Walpole Soc. vol.3 (1913-14) ascribed it to Marcus Gheeraerts Jr. See also on E.C.P. 112 below. ENGRAVED. I. Faber, 1714, publ. Thomas Bakewell. Mezzotint (Upper half, reversed). Also for R. Ackermann's Hist. of Cambridge (1815) (upper half). The latter is reproduced in F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 1. REPRODUCED: Walpole Society vol.3 (1913-14) pl. XXI(a). Country Life 28 Oct. 1933 p.447 fig.8.

Painting of Mildmay, Sir Walter (80)

Mildmay, Sir Walter

By Unidentified Artist, 1579
Oil on panel, 72cm x 57cm
Reference: ECP 37


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Half-length, standing, turned, facing and looking half left. His right hand rests on a book, his left beside a table to the right. Black clothes, Tudor bonnet, small ruff. Inscription at top left: "Virtuti non vie [sic] Ao.Dni. 1579". The panel has been cropped at the top, so that the top of the bonnet is missing.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). This is probably the portrait of Sir Walter given to the College in 1770 by the Earl of Sandwich (see his letter quoted in reference to the unidentified portrait no. E.C.P. 20), and referred to in the Bursar's accounts under date 17 May 1770 (E.C.A. BUR.8.6): "Carr. of the Founder's Picture £0.1s.6d." According to Granger the portrait had been given to Sandwich by the Revd Henry Jerom de Salis, a connexion of the Fane family (cf. J. Granger, Biogr. history of England (first published 1769)), but the quarto engraving by J. Faber there referred to is after the College's 1588 portrait (E.C.P. 18), not that owned by Sandwich.

Painting of Mildmay, Sir Walter (81)

Mildmay, Sir Walter

By Unidentified Artist
Oil on canvas, 69cm x 55cm
Reference: ECP 54


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Bust within painted oval, turned and facing half length. Probably copied from the 1588 full-length (E.C.P. 18). Inscription on two painted scrolls: "Vera effigies Walter Mildmay Equitis Collegii Emmanuelis Catabridgiae [sic] Fundator".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Date of acquisition unknown.

Painting of Mildmay, Sir Walter (82)

Mildmay, Sir Walter

By Unidentified Artist, 1574
Oil on panel, 97cm x 70cm
Reference: ECP 63


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Half length, standing, turned and facing half left, looking front. Wears Tudor bonnet, black gown with fur facings. His right hand rests on a green-covered table; wears rings on third and fourth fingers of his left hand. Inscriptions: at bottom right "Sir Waler [sic] Mildmay"; at top left "Ao Dni 1574: Aetatis 53. Virtute non vie [sic]".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Purchased on 2 June 1892, along with the portrait of MARY MILDMAY (E.C.P. 64), from the Earl of Westmorland (see Parlour Book, 9 June 1892 (E.C.A. FEL.9.11)).

Painting of Mildmay, Sir Walter (83)

Mildmay, Sir Walter

By Joseph Freeman (copyist), c. 1775-1790
Oil on canvas, 75cm x 62cm
Reference: ECP 74


Biography

c.1520-89. Youngest son of a Chelmsford merchant. Entered Christ's College 1538, but took no degree, and by 1540 had joined an elder brother, Thomas, in the work of the Court of Augmentations. Remained in public service all his life, and by 1551 was sufficiently wealthy to acquire the estate of Apethorpe near Oundle, Northamptonshire. Under Q. Elizabeth I became a Privy Councillor, and Chancellor of the Exchequer 1566-89. Used his influence to assist and protect Puritans and Protestant refugees from the Continent. In 1548 assisted in re-foundation of Chelmsford Grammar School; in 1568 made substantial benefactions to his old College, Christ's. In 1584 founded Emmanuel College.


Description

Bust, within painted oval, copied from the full-length, E.C.P. 18, it seems, though varying in details of ruff, etc.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. S.E. Lehmberg, Sir W. Mildmay and Tudor Government (1964). F.H. Stubbings, The Statutes of Sir W.M. for Emmanuel College (1983). Date of acquisition uncertain. Freeman copied a number of portraits for the College between 1775 and 1790, not all specifically named (see entries in Bursar's accounts, E.C.A. BUR.8.6; cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), pp.80-1). An entry at Michaelmas 1788, "Freeman for Benefactors £40.9s.6d" 9see E.C.A. BUR.8.6), can be expanded from surviving vouchers of that date to cover "5 Three Quarter Pictures at four guineas each" and "seven Three Quarter Carlomaratte Burnished Gilt Frames at £2.12s.6d", plus some minor items. Thereafter we learn from Masters that the Parlour was decorated with six copies by Freeman - of the Founder, Francis Ash, John Sudbury, Benjamin Whichcote, Henry Hubbard, and George Thorp - presumably in uniform frames (Masters, p.16, Combination Room; cf. Owst p.81).

Painting of Mildmay, Sir Walter (161)

Mildmay, Sir Walter

By Unidentified Artist
Reference: ECP 142


Description

Text in preparation


Painting of Norrish, Ronald George Wreyford (84)

Norrish, Ronald George Wreyford

By William Evans, 1968-9
Oil on canvas, 76cm x 64cm
Reference: ECP 99


Biography

1897-1978. Born at Cambridge and educated at the Perse School. Entered Emmanuel as Scholar 1919, after wartime military service. B.A. 1921; Research Fellow 1925; University Lecturer in Chemistry 1926; Sc.D. 1936; F.R.S. 1936. Professor of Physical Chemistry 1937-65. A pioneer researcher in photochemistry and the mechanism of chain reactions. Awarded Nobel Prize for Chemistry in 1967, together with George Porter (also Fellow of Emmanuel) and Max Eigen, for research on flash photolysis.


Description

Bust, turned, facing and looking half right. Wearing scarlet Cambridge Sc.D. gown.


Sources

Who's Who. E.C.M. LX (1977-8) 93-6. Commissioned by the College in commemoration of his Nobel prize award (E.C.M. LI (1968-9) 6-7) and exhibited at the Royal Society of Portrait Painters, April 1969. REPRODUCED. E.C.M. LI (1968-9) opp. p.7; F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 48.

Painting of Palmer, John (160)

Palmer, John

By Unidentified Artist
Reference: ECP 142


Description

Text in preparation


Painting of Parkinson, Cyril Northcote (85)

Parkinson, Cyril Northcote

By S Morse-Brown, 1967
Oil on canvas, 76cm x 64cm
Reference: ECP 123


Biography

1909-1993. From St Peter's School, York, he entered Emmanuel in 1929. B.A. 1932, M.A. 1936. Research Fellow 1935. Wrote authoritatively on maritime history, and from 1950 to 1958 was Raffles Professor of History at the University of Malaysia, Singapore. Most widely known for his "discovery" of Parkinson's Law, that "work expands so as to fill the time available for its completion", first published in The Economist in 1958. Thereafter held visiting professorships at Harvard, Illinois and California, and was in wide demand for his writing and lecturing on both serious and humorous themes.


Description

Half-length, seated, turned and facing half-right, looking front. Clean-shaven, somewhat bald. Wears grey jacket, brown waistcoat. Holding between his hands two books, resting on his right knee. The upper volume (now in the College Library) is a copy of Parkinson's Law (9th impression, John Murray, 1959, illustrated by Osbert Lancaster), bound in vellum - an old indenture document - with red ties. On the wall behind hangs a framed text, done in embroidery, of Parkinson's Law, which was bequeathed by him to the College, as was the portrait.


Painting of Parr, Samuel (87)

Parr, Samuel

By George Romney, 1788
Oil on canvas, 74cm x 62cm
Reference: ECP 75


Biography

1747-1825. Educated at Harrow. Entered Emmanuel 1765, but left before completing B.A. degree. M.A. 1771. Assistant Master at Harrow, and on failing to succeed to the headmastership in 1771 opened at Stanmore a school of his own, which did not last long. Master of Colchester Grammar School 1776, and of Norwich 1779. LL.D. 1781. Prebendary of St Paul's 1783. Perpetual Curate of Hatton, Warwicks., 1786-1825. Political writer on the Whig side. Was well-known in literary circles, and famed for his Latin scholarship, his talk, and his smoking. Collected works and correspondence published 1828. Benefactor of the College and its Library.


Description

Turned and facing half left, looking upwards. Wears wig, scarlet gown of Doctor of Laws. Right arm rests on table, right hand holds a folded paper.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Warren Derry, Dr Parr ... the Whig Dr Johnson (1966); E.C.M. L (1967-8) pp.5-14. Sittings for the portrait are recorded in Romney's diaries from 2 April to 5 May 1788. It was paid for on 29 April, and sent to Jones the engraver on 7 August. The College received a copy in 1792, but Parr sent the original in exchange for that in 1811 9see E.C.A. BUR.8.6, "Carriage of Dr Parr, 2s.6d"). A letter of thanks from R.T. Cory, Master, states "It is, indeed, a most excellent painting, and so far superior to the copy, that I only fear you will regret the exchange" (cf. Parr's Works, vol.VII, p.450).

Painting of Parr, Samuel (86)

Parr, Samuel

By Unidentified Artist, 1787
Oil on canvas, 76cm x 61cm
Reference: ECP 125


Biography

1747-1825. Educated at Harrow. Entered Emmanuel 1765, but left before completing B.A. degree. M.A. 1771. Assistant Master at Harrow, and on failing to succeed to the headmastership in 1771 opened at Stanmore a school of his own, which did not last long. Master of Colchester Grammar School 1776, and of Norwich 1779. LL.D. 1781. Prebendary of St Paul's 1783. Perpetual Curate of Hatton, Warwicks., 1786-1825. Political writer on the Whig side. Was well-known in literary circles, and famed for his Latin scholarship, his talk, and his smoking. Collected works and correspondence published 1828. Benefactor of the College and its Library.


Description

Turned and facing half right, looking front. Right hand rests on a book standing on a table before him, fore-edges to front. Black clothes, bands, bushy grey wig.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Warren Derry, Dr Parr ... the Whig Dr Johnson (1966); E.C.M. L (1967-8) pp.5-14. Found in store-room in College c.1993. Date of acquisition unknown: it has not been identified in any earlier list of Emmanuel portraits. In 1996 during re-lignin at the Hamilton Kerr Institute it was noted that the original canvas bore a duty-stamp "75" suggesting a date of 1787 (i.e., 75 years after the 1712 introduction of the duty). Colourman's mark "J. Poole, High Holborn, London." On the stretcher was inscribed "Mr Johnson, Temple Row." The image is a version of a portrait of Parr at Harrow School, recorded in R. Walker, Regency Portraits at the National Portrait Gallery, 1985, p. 384. ENGRAVED. By Holl, 1 Aug 1800, published by H.D. Symonds, 20 Paternoster Row.

Painting of Pemberton, Jeremiah (88)

Pemberton, Jeremiah

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 13


Biography

1711-1800. Grandson of Chief Justice Pemberton. Entered Emmanuel 1732; B.A. 1735. Fellow 1739, but resigned within three months on his runaway marriage with the ward of Dr Richardson, the Master. Rector of Little Shelford 1756-8, of Girton 1758. Buried at Trumpington, of which he was Lord of the Manor.


Description

After GEORGE ROMNEY. Bust, turned and facing half left, looking front. Wears wig, gown and bands.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XV 98. Date of acquisition unknown. It appears in the 1797 Gallery inventory (E.C.A. CHA.1.8). The original, at Trumpington Hall, was painted in 1786 (Humphrey Ward and W. Roberts, Romney, ii 120).

Painting of Pemberton, Sir Francis (89)

Pemberton, Sir Francis

By Unidentified Artist
Oil on canvas, 74cm x 61cm
Reference: ECP 10


Biography

1624-97. Admitted to Emmanuel 1640, B.A. 1644. Barrister of Inner Temple 1654, Bencher 1671. Serjeant-at-Law 1675. Puisne Judge of King's Bench 1679-80; Lord Chief Justice 1681-3; Chief Justice of Common Pleas 1683. Removed from the Bench and the Privy Council 1683, for lack of zeal in prosecution of Lord Russell. Defended the Seven Bishops 1688. Imprisoned 1689 for attacking Parliamentary privilege. Purchased Trumpington Hall 1675; memorial in N. transept chapel at Trumpington. Married Anne Whichcote, niece of Benjamin Whichcote, 1667.


Description

Head and shoulders, turned and facing half left, looking front. Wears judge's scarlet robes, with S-collar.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. Date of acquisition unknown. Listed in Masters (Gallery, N. side, no. 3), and in 1797 inventory (see E.C.A. CHA.1.8).

Painting of Porter of Luddenham, Lord (163)

Porter of Luddenham, Lord

By Susan Ryder, 1994


Description

Text in preparation


Painting of Potter, Edward (91)

Potter, Edward

By Claudius Guynier, 1713
Oil on canvas (oval), 75cm x 64cm
Reference: ECP 77


Biography

c.1682-1715. Born at Ogliston, Derbyshire. Admitted to Emmanuel as sizar 1699. B.A. 1703, M.A. 1708. Fellow 1708-15. Ordained deacon 1705. Died 1715.


Description

Bust, turned and facing slightly right, looking front. Wears periwig, gown and bands. Inscription painted in white roman caps round top "Edward Potter M.A. 1708". Painted on back of canvas: "Claudius Guynier pinxit 1713". Guynier also painted John Covel, Master of Christ's College, in 1716. Cf. J.W. Goodison, Catalogue of the Portraits in Christ's, Clare, and Sidney Sussex Colleges. Vol.7 of Cambridge Antiquarian Records Society, 1985, no.13.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Date of acquisition unrecorded. It appears first in the Gallery inventory of 1775, as does the portrait of WILLIAM KINGSLEY (E.C.P. 42) which it in general resembles (E.C.A. CHA.1.8).

Painting of Preston, John (92)

Preston, John

By Unidentified Artist
Oil on panel, 56cm x 47cm
Reference: ECP 25


Biography

1587-1628. Entered at King's College as a sizar 1604. B.A. from Queens' 1608, M.A. 1611, B.D. 1620. Fellow of Queens'. Chaplain to Prince Charles 1620. Professor of Theology (Dublin) 1621. Preacher at Lincoln's Inn (successor to John Donne) 1622-8. Elected Master of Emmanuel 1623. He was persona grata at court, and it was perhaps in the hope of promoting Puritan interests in high places that Chaderton, the first Master of Emmanuel, resigned in Preston's favour. Preston was a noted preacher, and his published sermons, etc. ran into many editions.


Description

Bust, turned, facing and looking half right. Wears skull-cap, dark high-shouldered gown, plain white collar. Right hand holds a small book, with index finger between the leaves. Moustache and pointed beard.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. W. Dillingham, Vita Laurenti Chadertoni (1700), transl. by E.S. Shuckburgh (1884) pp.14-16. Irvonwy Morgan, Prince Charles's Puritan Chaplain (1957). Date and manner of acquisition unknown. Appears in 1775 Gallery inventory (E.C.A. CHA.1.8). ENGRAVED. There are two engraved portraits of Preston, one as frontispiece to his New Covenant (1629), the other, by W. Marshall, in his Doctrine of the Saints' infirmities (1637); but neither is clearly after this painting. REPRODUCED: F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.8.

Painting of Preston, John (93)

Preston, John

By Unidentified Artist
Oil on panel, 11cm x 9cm
Reference: ECP 9a


Biography

1587-1628. Entered at King's College as a sizar 1604. B.A. from Queens' 1608, M.A. 1611, B.D. 1620. Fellow of Queens'. Chaplain to Prince Charles 1620. Professor of Theology (Dublin) 1621. Preacher at Lincoln's Inn (successor to John Donne) 1622-8. Elected Master of Emmanuel 1623. He was persona grata at court, and it was perhaps in the hope of promoting Puritan interests in high places that Chaderton, the first Master of Emmanuel, resigned in Preston's favour. Preston was a noted preacher, and his published sermons, etc. ran into many editions.


Description

Bust, turned and facing half left, looking front. Wears black gown with two small buttons in front; wide white ruff. Left hand holds small book, with forefinger between the leaves. Moustache and small pointed beard. The identity of the sitter has been questioned by Finberg (E.C.P. no.9(a)) but the likeness is not seriously divergent from those of the two well-attested engraved portraits (see previous entry).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. W. Dillingham, Vita Laurenti Chadertoni (1700), transl. by E.S. Shuckburgh (1884) pp.14-16. Irvonwy Morgan, Prince Charles's Puritan Chaplain (1957).

Painting of Queen Elizabeth I (94)

Queen Elizabeth I

By Unidentified Artist, c.1570
Oil on panel, 61cm x 50cm
Reference: ECP 28


Biography

Born 1533, daughter of Henry VIII and Anne Boleyn. Acceded to the throne 1558, died 1603. In 1584 she granted to her Chancellor of the Exchequer, Sir Walter Mildmay, a charter authorising the foundation of Emmanuel College. She is annually commemorated as first among the College's benefactors for an annual Exchequer grant first made in 1585.


Description

Bust, turned and facing slightly left, looking front. The Queen wears a black high-bodied gown, probably of velvet. Beneath her starched ruff of fine linen bordered with a narrow strip of needle lace, matching the wrist ruffs, is a carcanet of gold jewels set with diamonds, with links of two pearls between them, and three large pendent pearls. The girdle is made en suite and attached to it is a white ribbon, which the Queen holds in her left hand: it may be attached to a fan, pomander, girdle prayer book or jewel, not visible in the picture. In her right hand Elizabeth holds a brown leather (?) glove, the cuff in buff leather (?) with one border snipped and the other cut in scallops. The veil is of finest silk gauze or perhaps cobweb lawn, decorated on the edge with narrow spangled gold braid. It is caught to the jewelled carcanet worn in the hair. The jewel worn on the front of the gown has three pointed diamonds in a gold and white enamelled (?) setting, with three pendent pearls. The face is a re-painting of the original.


Sources

Date of acquisition unknown, but could be in the Queen's own reign. Apparently unmentioned in inventories, etc. until 1790, when Masters records: "Gallery, North side. I. Queen Elizabeth on board, small". The identity of the figure has been questioned in the present century, but in 1948 Sir Henry Hake, Director of the National Portrait Gallery, confirmed it as a portrait of Q. Elizabeth of a type current c. 1570. Description of costume generously supplied by Miss Janet Arnold.

Painting of Richardson, William (95)

Richardson, William

By Unidentified Artist
Oil on canvas, 124cm x 99cm
Reference: ECP 27


Biography

1698-1775. After schooling at Oakham and Westminster, entered Emmanuel 1716. B.A. 1720, M.A. 1723, D.D. 1735. Prebendary of Lincoln 1724-60. F.S.A. 1735. Never a Fellow of Emmanuel, but Master 1736-75. Vice-Chancellor 1737 and 1769. Royal Chaplain 1746-75. Precentor of Lincoln Cathedral 1760-75. A diligent antiquary. Edited Godwin's DeÊpraesulibus Angliae commentarii 1743. Compiled a meticulous register of Emmanuel alumni, preserving useful historical data.


Description

By or after VAN DER MIJN. Half length, seated, turned and facing half right, looking front. Wears wig, cassock, gown and bands. Left hand holds a folded paper, his right a quill pen. Left elbow rests on a table on which stands an inkpot with another quill pen in it.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. E.S. Shuckburgh, Emmanuel College (1904). Date of painting and acquisition unknown. Apparently the original for Freeman's copy (ECP 56) and perhaps already in the College's possession in 1775 when that was made.

Painting of Richardson, William (101)

Richardson, William

By Joseph Freeman (copyist), 1775
Oil on canvas, 74cm x 62cm
Reference: ECP 56


Biography

1698-1775. After schooling at Oakham and Westminster, entered Emmanuel 1716. B.A. 1720, M.A. 1723, D.D. 1735. Prebendary of Lincoln 1724-60. F.S.A. 1735. Never a Fellow of Emmanuel, but Master 1736-75. Vice-Chancellor 1737 and 1769. Royal Chaplain 1746-75. Precentor of Lincoln Cathedral 1760-75. A diligent antiquary. Edited Godwin's DeÊpraesulibus Angliae commentarii 1743. Compiled a meticulous register of Emmanuel alumni, preserving useful historical data.


Description

After VAN DER MIJN. Bust only, in painted oval, apparently copied from the preceding.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. E.S. Shuckburgh, Emmanuel College (1904). Masters p.15 lists "William Richardson D.D. a copy from Vandermine". College accounts at Easter 1776, with a receipt from Joseph Freeman for five guineas, dated 24 Oct. 1775, show that he was commissioned to copy a portrait of Richardson within a year of the latter's death (E.C.A. BUR.8.6). Where the original then was, and whether it was in fact E.C.P. 27 is not clear from the record. In Farmer's mastership Freeman was employed to make copies both from paintings already in the College and from originals elsewhere; cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), pp. 80-81.

Painting of Sancroft, Alice (102)

Sancroft, Alice

By Bernard Lens, 1650
Oil on canvas, 76cm x 89cm
Reference: ECP 84


Biography

Sister of William Sancroft (1617-93).


Description

Half-length, turned and facing slightly to right, looking front. She wears a black dress with white lace-trimmed yoke and cuffs, and a large bow of black and gold ribbon at the breast; black veil over head and shoulders. Green curtain behind. The portrait is a companion piece to that of her brother William by the same artist (E.C.P. 83).


Sources

Presented in 1957 by Mrs Mary Keith, along with E.C.P. 83 (see E.C.M. XXXIX (1956-7) 9; XL (1957-8) 17f.).

Painting of Sancroft, William (103)

Sancroft, William

By Peter Paul Lens, 1754
Oil on canvas, 224cm x 147cm
Reference: ECP 8


Biography

1617-93. Entered Emmanuel 1634, while his uncle William Sandcroft (1582-1637) was Master. B.A. 1637, M.A. 1641, B.D. 1648. Elected a Fellow 1642. Left the College in 1651 to avoid expulsion for his royalist sympathies. Travelled on the continent, especially in Italy. Returned to England at the Restoration, and was appointed Master of Emmanuel 1662. Dean of St Paul's, London, 1665. Archbishop of Canterbury 1678. As Master, and subsequently, he was the prime mover and subscriber in the building of the Wren chapel and the conversion of the old chapel for library use. In 1688 Sancroft was leader of the Seven Bishops who opposed James II's "Declaration of Indulgence" as un-constitutional. Refused the oath of allegiance to William III on grounds of conscience, and was consequently suspended from the Archbishopric in 1689, and deprived in 1691. Retired to his native Fressingfield, in Suffolk. Shortly before his death presented to the College his splendid library of about 6,000 volumes.


Description

Full length, seated, turned and facing half right, looking front. Wears skull-cap, very wide bands, rochet. On a table to right lies a paper addressed "To the king", alluding to Sancroft's petition against the "Declaration of Indulgence" in 1688. Behind, heavy curtain and bookcases. At top left the arms of Sancroft impaled with the See of Canterbury; motto below: Rapido contrarius orbi. Signed and dated "P.P. Lens pin.1754" (according to Finberg, E.C.P.)


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. G.D. Oyly, Life of Abp. Sancroft (1821). Apparently painted for the College, witness entries in the accounts: 1753, Dec.20: Coach to Ld Westmorlands abt Abp's Picture & to pay Mr Alleyne, £0-10-0; 1754, Apr.6: Lens ye Painter £35-19-6; 1755, Mar.13: Gillam for ye Carr. of Abp Sandcroft's Picture £0-10-0 (see E.C.A. BUR.8.6). In this posthumous portrait the head apparently derives from a chalk drawing from the life by David Loggan of 1680, at Lambeth Palace; cf. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 16 A copy of it was made between 1768 and 1783 for Lambeth Palace, slightly reduced in scale (three-quarter length, seated, 50 x 40 in). There is another chalk drawing of Sancroft, by E. Lutterel, at the National Portrait Gallery (no. 301).

Painting of Sancroft, William (104)

Sancroft, William

By Bernard Lens (the elder), 1650
Oil on canvas, 84cm x 64cm
Reference: ECP 83


Biography

1617-93. Entered Emmanuel 1634, while his uncle William Sandcroft (1582-1637) was Master. B.A. 1637, M.A. 1641, B.D. 1648. Elected a Fellow 1642. Left the College in 1651 to avoid expulsion for his royalist sympathies. Travelled on the continent, especially in Italy. Returned to England at the Restoration, and was appointed Master of Emmanuel 1662. Dean of St Paul's, London, 1665. Archbishop of Canterbury 1678. As Master, and subsequently, he was the prime mover and subscriber in the building of the Wren chapel and the conversion of the old chapel for library use. In 1688 Sancroft was leader of the Seven Bishops who opposed James II's "Declaration of Indulgence" as un-constitutional. Refused the oath of allegiance to William III on grounds of conscience, and was consequently suspended from the Archbishopric in 1689, and deprived in 1691. Retired to his native Fressingfield, in Suffolk. Shortly before his death presented to the College his splendid library of about 6,000 volumes.


Description

Half-length, within painted oval; turned, facing, and looking half right. Full brown hair, small tuft of beard below lip; wears black gown with plain white collar and cuffs. Holds in his right hand a book, of which the left-hand open leaf bears as page-head, in Hebrew characters: "48 49 Psalms 20 21" (Psalms 20 and 21 - "The Lord hear thee in the day of trouble ..." and "The King shall rejoice in Thy strength ..." - were among those appointed for morning prayer on the first Sunday after the execution of Charles I, i.e., 4 February 1648/49.) Sancroft wears a mourning ring (gold banded with black, with a death's-head on the bezel) on his right hand - either for the King, or for his father who died very shortly after. The frame in which the picture came to the College bore the date 1650, and Sancroft's motto Rapido contrarius orbi (compare Ovid, Metamorphoses ii.73).


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. G.D. Oyly, Life of Abp. Sancroft (1821). Presented in 1957, along with E.C.P. 84 (ALICE SANCROFT) by Mrs Mary Keith. The donor was a daughter of Major Everard Knatchbull-Hugessen of Littlebourne, Kent, formerly of Gawdy Hall near Harleston, Suffolk, the home of Sancroft's daughter 9see E.C.M. XXXIX (1956-7) 9; XL (1957-8) 17). There is a water-colour miniature copy (? by Silvester Harding) in the University Library, with the sitter's name in Richard Farmer's handwriting (cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII, 1948, p.82 and n.4. d; J.W. Goodison, Catalogue of Cambridge Portraits: I. The University collection, 1955, no. 42. A note reads: "The original is at Gawdy Hall, Suffolk"; cf. J.J. Raven, History of Suffolk, 1907, p.218.

Painting of Sands, Edward (152)

Sands, Edward

By Unidentified Artist
Reference: ECP 133


Description

Text in preparation


Painting of Shaw, Sir William Napier (106)

Shaw, Sir William Napier

By Sir W. W. Russell, 1921
Oil on canvas, 76cm x 64cm
Reference: ECP 80


Biography

1854-1945. Entered Emmanuel 1872 from King Edward's School Birmingham, 16th Wrangler 1876, Fellow 1877-1906; held various College offices, Senior Tutor from 1890; Univ. Proctor 1888. Research in Physics under Clerk Maxwell; Demonstrator 1880-7, Lecturer 1887-99, Assistant Director of Cavendish Laboratory 1898-9. Secretary to Meteorological Council 1899-1905, Director of Meteorological Office 1905-20. Knighted 1916 for his pioneer work in the organisation of the Meteorological Office, which made Britain a world-leader in this field. Honorary Fellow of Emmanuel 1906-45. F.R.S. 1891, Royal Medal 1923; honorary Doctorates of Aberdeen, Edinburgh, Dublin, Harvard, Manchester.


Description

Seated, half-length, profile, to left. White hair, partly bald, bushy moustache; high stiff white collar.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. E.C.M. XXXIII (1950-51) 77ff. This is a replica (by the artist himself) of a portrait commissioned by the staff of the Meteorological Office on the retirement of Napier Shaw in September 1920. It was presented to Lady Shaw, and came to the College after her death in 1923 (actually delivered to Emmanuel in 1925: see E.C.M. XXXIII (1950-51) 78). Exhibited at the Royal Academy 1921. REPRODUCED: F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.39.

Painting of Smythies, Henry Yeats (109)

Smythies, Henry Yeats

By John Simpson (senior)
Oil on canvas, 76cm x 64cm
Reference: ECP 82


Biography

1765-1842. Born at Blewbury, Berks., where his father was Vicar. Entered Emmanuel 1781, from Merton College, Oxford, where he had matriculated at the age of 15. B.A. 1786, M.A. 1789, B.D. 1796. Ordained deacon 1787, priest 1792. Elected Fellow 1788; Bursar 1799 to 1809, when he was presented to the College living of Stanground with Farcet. Subscribed 20 guineas towards rebuilding after the 1811 fire. J.P. for Huntingdonshire.


Description

Half-length, turned and facing half left, looking front. Wears high white collar and cravat; a monocle hangs from a ribbon against his chest.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Bequeathed in 1948 by Major R.H. Raymond Smythies (a grandson of the sitter) "in memory of his ancestors who have at various dates since 1617 been members of Emmanuel College" (see Governing Body minute 133 of 1948). Venn records thirteen members of the family as of Emmanuel.

Painting of St John of Fawsley, Lord (110)

St John of Fawsley, Lord

By The Hon, George Bruce, 1996
Oil on canvas, 127cm x 97cm
Reference: ECP 127


Biography

the Rt Hon Norman Anthony Francis St John-Stevas, Baron St John of Fawsley (cr 1987). 1929-. Educated at Ratcliffe; Fitzwilliam House, Cambridge; Christ Church, Oxford; Yale. B.A. 1950, M.A. 1954, Litt.D. (Oxon and Cantab) 1993/4. Barrister of the Middle Temple 1952. Lecturer, Southampton 1952-53; King's College, London, 1953-56. Joined staff of The Economist 1959 to edit the works of Walter Bagehot (15 vols, 1966-80). M.P. for Chelmsford 1964-87. Minister for the Arts, 1973-74 and 1979-81. Chairman, Royal Fine Art Commission, 1985-. Master of Emmanuel 1991-96.


Description

Seated, turned right, facing half-right, looking front. Wears Cambridge festal Litt.D. gown. Right hand rests on a model (standing on a small table) of the Queen's Building at Emmanuel, built during his Mastership.


Sources

Commissioned by the College (see Governing Body minute 174(4j), 1994, and minute 356(1), 1995).

Painting of Sudbury, John (112)

Sudbury, John

By Joseph Freeman (copyist)
Oil on canvas, 74cm x 62cm
Reference: ECP 60


Biography

1604-84. Born at Bury St Edmunds. Entered Emmanuel 1620, B.A. 1624, M.A. 1628. Ordained 1629. Probably Vicar of Leigh, Kent, 1639; sequestered 1642. At the Restoration appointed a prebendary of Westminster, and Dean of Durham 1661-84. Established a fund in Suffolk for apprenticing boys and girls; benefactor of Bury Grammar School. Endowed a Greek lectureship at Emmanuel, and an annual prize (in plate) for the best commencing bachelor. At Durham built a spacious library, and gradually restored the Cathedral fabric.


Description

Bust in painted oval. Wears black skull-cap and square white bands. Inscription in white painted at top of canvas: IOHN SUDBURY D.D. Dean of Durham.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XV (1903-4) 99; XL (1957-8) 18; XLII (1959-60) 34. Date and manner of acquisition not known. Listed in Gallery inventory by 1775 (see E.C.A. CHA.1.8). From the pose and detail of the head it seems quite likely that it is copied from the full-length in the Chapter Library at Durham (of which an engraving was published in T. Zouch, Memoir of the Life of John Sudbury, 1808).

Painting of Sudbury, John (135)

Sudbury, John

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 2


Biography

1604-84. Born at Bury St Edmunds. Entered Emmanuel 1620, B.A. 1624, M.A. 1628. Ordained 1629. Probably Vicar of Leigh, Kent, 1639; sequestered 1642. At the Restoration appointed a prebendary of Westminster, and Dean of Durham 1661-84. Established a fund in Suffolk for apprenticing boys and girls; benefactor of Bury Grammar School. Endowed a Greek lectureship at Emmanuel, and an annual prize (in plate) for the best commencing bachelor. At Durham built a spacious library, and gradually restored the Cathedral fabric.


Description

Bust in painted oval. Wears black skull-cap and square white bands. Inscription in white painted at top of canvas: IOHN SUDBURY D.D. Dean of Durham.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XV (1903-4) 99; XL (1957-8) 18; XLII (1959-60) 34. Date and manner of acquisition not known. Listed in Gallery inventory by 1775 (cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), p.81 and n.9. From the pose and detail of the head it seems quite likely that it is copied from the full-length in the Chapter Library at Durham (of which an engraving was published in T. Zouch, Memoir of the Life of John Sudbury, 1808).

Painting of Sutherland, Sir Gordon (156)

Sutherland, Sir Gordon

By Bernard Dunstan, 1968
Reference: ECP 137


Description

Text in preparation


Painting of Symons, Ralph (108)

Symons, Ralph

By Unidentified Artist
Oil on canvas, 72cm x 62cm
Reference: ECP 7


Biography

Floruit 1580-1610. In a deed of 1587 Simons is described as "of Barkhamstedd in the Countie of Hartford, Freemason"; but he had already by that date worked for several years at Emmanuel, where his task was the adaptation and rehabilitation for College use of the ruinous Dominican priory buildings on the site. Other College work followed: in 1595 he was taken on by Trinity for a re-planning project which produced the Great Court; in 1604 he was working there on the hall and kitchen, and probably designed Nevile's Court a little later. In 1596-8 he was building the newly-founded Sidney Sussex; in 1598 he designed the second court of St John's.


Description

Bust, turned and facing half right, looking front. Short hair and beard, moustache turned up at ends; ruff, doublet with braided borders. Holds in right hand a large pair of dividers. The canvas includes a painted frame around the portrait, bearing the inscription: [above] Effigies Rodulphi Simons architecti sua aetate peritissimi, qui praeter plurima aedificia ab eo praeclare facta, [below] duo collegia Emmanuelis hoc Sydnii illud extruxit integre magnam etiam partem Trinitatis reconcinnavit amplissime.


Sources

R. Willis and J.W. Clark, Architectural history of the Univ. of Cambridge, 1886. Date and manner of acquisition unknown. It occurs in inventories of the Gallery from 1719 (see E.C.A. CHA.1.4 fol.109v). Masters refers to Francis Blomfield's Collectanea Cantabrigiensia (Norwich 1750) p.116, which quotes the inscription in full. The inclusion of the picture of the inscribed frame suggests that it may be copied from an Elizabethan original which had the inscription painted on a wooden frame; but no such prototype is now traceable. A portrait of Simons recorded at Sidney Sussex from 1639 to 1746 is now missing; cf. J.W. Goodison, Catalogue of the Portraits in Christ's, Clare, and Sidney Sussex Colleges. Vol.7 of Cambridge Antiquarian Records Society, 1985, no. 195. ENGRAVED. A line and stipple engraving by Facius closely resembles this portrait, except for details of the doublet and the dividers, but without the inscribed frame (there is a copy at the National Portrait gallery; also an artist's proof, without the engraved titling, in the College Library, no. EP.a.2. The engraved titling reads: "Ralph Simons, Architect. From an original picture which was in the possession of the late Mr Essex, at Cambridge. Published August 1st 1803, by W. Richardson, York House No. 31 Strand. Ths Kerrich del. Engraved by Facius". There seems no possibility that the Emmanuel painting was ever owned by Essex (doubtless James Essex, the architect, who was closely associated with Thomas Kerrich). Could Essex have acquired the one formerly at Sidney Sussex? REPRODUCED. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 2; Country Life 28 Oct. 1933 p.448 fig. 10.

Painting of Temple, Sir William, Bart (113)

Temple, Sir William, Bart

By Unidentified Artist
Oil on canvas, 74cm x 62cm
Reference: ECP 36


Biography

1628-99. Son of Sir John Temple, Master of the Rolls. Entered Emmanuel 1644, under tutorship of Ralph Cudworth. Took no degree. Travelled abroad and studied foreign languages. Married Dorothy Osborne 1655. Until the Restoration lived quietly in Ireland, then moved in 1663 to Sheen, Surrey. Employed in various diplomatic missions: negotiated the Triple Alliance 1666, and in 1673 the peace concluding the Second Dutch War. In 1674 arranged the marriage of William of Orange and Charles II's young niece Mary. In 1680 acquired Moor Park, Farnham, and devoted much care to horticulture and literature. Published an account of the Netherlands, memoirs of his diplomatic missions, etc. Had the young Jonathan Swift as his amanuensis. Benefactor of Emmanuel, especially by refurnishing the dining hall 1693.


Description

After Sir PETER LELY. Bust, facing half right, looking front. Long wavy hair, slight moustache. Draperies supported at bottom right by his gloved hand.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983. Acquired by the College in 1753, when accounts ( E.C.A. BUR.8.6) show: Oct.6. Copying Sir Wm Temple's Picture etc. £6-14-3 Oct.9. Carriage of Do. 1s-6d. The original is apparently the Lely (from the Moor Park Collection), now the property of Earl Mountbatten, exhibited at the R. Academy winter exhibition 1960-61. Another copy, not quite identical in details of drapery (the gloved hand is absent) is in the National Portrait Gallery (N.P.G. no.152; D. Piper, Cat. of 17th Cent. Portraits p.340, no. 152. Another in the N.P.G., no. 3812, by Gaspar Netscher, 1675, shows Temple in later life). ENGRAVED. The Lely original has been engraved by P. Vanderbank 1679, R. White 1700, G. Vertue 1720, J. Houbraken 1738, etc; cf. D. Piper, loc.cit. REPRODUCED: F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 17.

Painting of Thackeray, Frederick (114)

Thackeray, Frederick

By Unidentified Artist, c.1840
Oil on canvas, 88cm x 79cm
Reference: ECP 92


Biography

1774-1852. Son of Thomas Thackeray (1736-1826) surgeon to Addenbrooke's Hospital, to whom the son was apprenticed and who in 1796 resigned in his favour. In 1800 Frederic entered Emmanuel as a fellow-commoner, intending to qualify as a physician. In 1804 however Sir Isaac Pennington, the Regius Professor of Physics, refused to allow him to keep an act for the M.B. degree, on the ground that he had been engaged in professional practice during his student years, and obtained from the Vice-Chancellor and Heads of Houses an alleged "interpretation" of the Elizabethan statutes to support this decision. This was widely regarded as arbitrary and unfair, but it was not until 1815 that the obnoxious "interpretation" was rescinded, and Thackeray took his M.B., to be followed in 1820 by the M.D. In 1817 he resigned the post of surgeon at Addenbrooke's, but remained a Governor of the hospital and in 1827 was appointed physician there. A ward there was named after him. He was a strong advocate of vaccination against smallpox; he also did sterling work in the cholera outbreak at Ely in 1833. He inherited his father's Cambridge practice, and his house in St Andrew's Street. He was active in the Cambridge Philosophical Society in its early days. The novelist W.M. Thackeray's father was his first cousin.


Description

Half-length, seated, facing front, though the head is turned very slightly to right. Almost bald; dark clothes, high white neckcloth. Bookshelves in right background.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. H. Gunning, Reminiscences (1854) vol.II, 191-6; A. Rook "The Thackerays and medicine" in Medical History 15 (1971) 12-22. Presented in 1930 by Charles Collison of 33 Northdown Ave., Margate, the sitter being his maternal grandfather (see Governing Body Minutes 5 May 1930 (E.C.A. COL.11.6 p.110). Said by the donor to be copied from an original at Addenbrooke's Hospital (see letter to the Bursar dated 16 April 1930), but the portrait there, presented in 1855 by the sitter's son the Rev. Frederick Thackeray, is different (see A. Rook, loc.cit. supra, where the Addenbrooke's portrait is reproduced). In the latter, the head is turned and looking half left, and the sitter holds a letter franked T.R. 1824 (?) - perhaps the painter's initials and the date of painting.

Painting of The Return of the Prodigal Son (115)

The Return of the Prodigal Son

By Giacomo Amigoni, 1734
Oil on canvas, 229cm x 218cm
Reference: ECP 52


Biography

Amigoni (1682-1752) worked in England between 1729 and 1739; he executed murals at Moor Park, which survive, and is known to have painted for 50 guineas a ceiling at Wentworth Castle, Yorkshire, in 1735 (receipt dated 14 June 1735 in Strafford papers, B.M.Add.MSS 2258 fol.426, quoted in E.C.P. no.52). The donor, born in 1708, son of Christopher Nevile of Lincoln, was admitted a fellow-commoner of Emmanuel in 1728, though he did not matriculate as a member of the University until 1731. Little is known of his career. He died in 1758(?).


Description

The Prodigal, dressed in red, in the centre of the picture, facing left, falls to his knees before his father, who leans forward with arms outstretched to receive him. Behind them stands a woman (his mother?), to the right a man (his brother?) and two women, one bearing a tray. At bottom left two attendants are busy with the fatted calf. Behind them stands a tall female figure, and further back, shorter figures blowing trumpets. The figure groups occupy only the lower half of the canvas; the upper part is filled by an elaborate architectural setting of an open vaulted porch with arches resting on double pairs of Tuscan columns supporting Doric entablature. In front of the Prodigal a dappled dog is mounting the step; to right, a round carved stone pedestal.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. The picture, presumably painted for its present position, was acquired in 1734. College accounts for the half year from 22 April 1734 include an entry "for carriage of the Chappell Picture from London 0.1.6"; and a payment in the same half year of £19 to the architect James Essex perhaps includes the cost of framing and setting it up (E.C.A. BUR.8.4). The date is near to that of the gift of the Chapel chandelier (cf. F.H. Stubbings, Emmanuel College Chapel 1677-1977 p.14). The donor's name is preserved in the register compiled by Dr William Richardson: "Christopher Nevile Esq, Fell.Comr. gave the painting for the Altar wch cost 63.0.0" (see E.C.A. COL.9.2 p.163). The earliest mention of the picture's subject and the artist's name appears to be that in the Cambridge guide-book Cantabrigia depicta (1763) p.92. REPRODUCED: Burlington Magazine 102 (1960) fig. 29; R.C.H.M. Cambridge City I, pl. 117.

Painting of The Seven Bishops (159)

The Seven Bishops

By Unidentified Artist
Reference: ECP 140


Description

Text in preparation


Painting of Thorp, George (116)

Thorp, George

By Mary Beale
Oil on canvas, 74cm x 62cm
Reference: ECP 32


Biography

1638-1719. Admitted to Gonville and Caius (aet.15) in 1653, from Felsted School. Scholar 1653-9. B.A. 1657, M.A. 1660, B.D. 1667, D.D. (Lambeth) 1678. Fellow of Caius 1659-63 and 1667-78; of Emmanuel 1663-7. Curate of All Saints, Cambridge, 1662. Vicar of Babraham 1669. Chaplain to Archbishop Sancroft. Rector of Bishopsbourne, Kent, 1679-1719; of Ickham 1687-1719. Prebendary of Canterbury 1680-1719. Elected Master of Emmanuel 1719, but declined office. Left to Emmanuel property at Ash, Kent (Chequer Court Farm) to promote studies in theology.


Description

Bust, turned and facing half left, looking front. Wears gown and bands. Within a painted scrolled oval. Older photographs show signature "Mary Beale fecit" on the oval, bottom right; but this is now lost.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XV (1903-05) p.105f. College Statutes XXXIII. Earliest mention traced in inventories is of 1775 (E.C.A. CHA.1.8, in Gallery).

Painting of Thorp, George (117)

Thorp, George

By Joseph Freeman (copyist), 1788
Oil on canvas, 74cm x 62cm
Reference: ECP 58


Biography

1638-1719. Admitted to Gonville and Caius (aet.15) in 1653, from Felsted School. Scholar 1653-9. B.A. 1657, M.A. 1660, B.D. 1667, D.D. (Lambeth) 1678. Fellow of Caius 1659-63 and 1667-78; of Emmanuel 1663-7. Curate of All Saints, Cambridge, 1662. Vicar of Babraham 1669. Chaplain to Archbishop Sancroft. Rector of Bishopsbourne, Kent, 1679-1719; of Ickham 1687-1719. Prebendary of Canterbury 1680-1719. Elected Master of Emmanuel 1719, but declined office. Left to Emmanuel property at Ash, Kent (Chequer Court Farm) to promote studies in theology.


Description

After MARY BEALE. A copy of E.C.P. 32, probably made in 1788, for the Parlour, where it hung with other Freeman copies in 1790. Painted inscription to left: Geo. Thorp Prebendary of Canterbury.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. E.C.M. XV (1903-05) p.105f. College Statutes XXXIII.

Painting of Toller, John (118)

Toller, John

By Unidentified Artist
Oil on canvas, 70cm x 62cm
Reference: ECP 76a


Biography

Born c.1662, son of a gentleman of property at Billingborough and Ryhall in Lincolnshire. Admitted to Emmanuel as fellow-commoner, 1679, from Oundle School. M.A. 1681 (by royal mandate). High Sheriff for Lincolnshire 1707.


Description

Bust, turned and facing half right, looking front. Within a painted oval. Wears long curled brown wig; light red mantle with small jewelled clasp on his right shoulder; lace cravat. Painted inscription (probably later than the painting) in white letters round top of oval: "John Toller Esqr. 1679".


Sources

Date of acquisition uncertain. Masters mentions a portrait of "John Teller" [sic] with the date 1679, probably referring to the present picture (see Masters p.25: Gallery, S. side, no. 6). In the 20th century it shared a large oblong frame with THOMAS LEMAN (E.C.P. 76b), but was separated in 1966.

Painting of Unidentified Clergyman (122)

Unidentified Clergyman

By Unidentified Artist, First half of 19th century
Oil on canvas, 133cm x 102cm
Reference: ECP 119


Description

Three-quarter length, standing, turned, facing and looking half right. Short hair, clean shaven. Wears cassock, gown, and bands. Left hand raised across front of body; his right hand holds upright on a table a small book lettered on the spine "LEO.ST.MAT.", resting on another volume similarly titled.


Sources

Bequeathed to the College in 1986 by Mrs I.A.H. Rogers of Chislehurst, widow (second wife) of Michael James Rogers, sometime of Emmanuel (B.A. 1930), along with the portrait of JOHN WHITWELL (E.C.P. 118). The executors could provide no information as to the identity of the sitter.

Painting of Unidentified Lady (123)

Unidentified Lady

By Unidentified Artist, 1569
Oil on panel, 74cm x 57cm
Reference: ECP 20


Description

Three-quarter length, turned and facing half left, looking front. She wears a black gown fitting closely to the body, held out below the waist by a Spanish farthingale. The short sleeves are decorated with gold enamelled (?) jewels and 'pullings-out' of gold tinsel (?). The partlet is embroidered with black and gold thread, bordered with lace, and fastened across the centre V with four fine gold chains. The ruff and wrist-ruffs are made in two separate layers and match the partlet. The undersleeves are of black network with 'pullings-out' of white. The French hood is heavily jewelled, with a plume of black feathers (?) at the back. Her left hand touches a large disc-shaped pendant (perhaps of moss agate), gold mounted, hanging from a narrow black ribbon. Inscription at top left: "Ano.Dni.1569. Aete.Suae.34".


Sources

There seems no doubt that this is a portrait presented to Emmanuel by the Earl of Sandwich in 1771. His letter to the Master (Dr Richardson), dated 13 April 1771, refers to the sitter as 'Your Foundress [doubtless meaning 'Founder's wife'] Lady Mildmay", and mentions the Earl's having already presented a portrait of Sir Walter Mildmay (E.C.P. 37) (see letter transcribed by William Bennet in E.C.A. COL.9.1A, p.222). The picture is similarly identified in Masters as the Founder's "Lady, sister of Sir Fra. Walsingham, on Board, _f(1,2) length" (see Masters p.16). The identification is surely false; for the likeness does not agree with the unquestioned portrait of Lady Mildmay, sister of Sir Francis Walsingham (E.C.P. 64) and the dates do not fit: Lady Mildmay was born in 1528/9, the present sitter (according to the painted inscription) in 1535/6. We do not know how Sandwich acquired the painting. The likeness of Sir Walter Mildmay which he had already presented came to him as a gift from the Rev. Mr Henry Jerome de Salis (see J. Granger, Biogr. history of England (1804 edition) vol.I, 233). The de Salis family were linked with the Fanes (Earls of Westmorland}, and they with the Mildmays (the first Earl of Westmorland having married Mary, daughter of Sir Anthony Mildmay). If the present picture also came from the de Salis family, the misidentification may first have occurred while it was still in that family's possession. In the present century it has been proposed that the likeness is of Grace, nee Sherington, the wife of the Founder's son Sir Anthony Mildmay; but neither is this tenable, for it would make her eleven years older than her husband, when in fact she was much younger (cf. E.C.M. XVI (1905-6) 177). It is at least possible that the figure in the present picture, though not Sir Francis Walsingham's sister Mary (Lady Mildmay), is nevertheless some other member of his family. He had in fact five sisters, but all were older than he, and he was born c.1532. This rules them out, since the sitter was not born till 1535/6. Could she then be Sir Francis's wife? His first wife, Ann Carleill, died in 1564, before the date of the painting. His second wife, Ursula (nee St Barbe) was the widow of Sir R. Worsley of Appuldurcombe, who died in 1564, and was married to Walsingham in 1566 (cf. K. Stahlin, Die Walsinghams biszur Mitte des 16 Jahrhunderts (Heidelberg 1905)). Ursula died in 1602, and had at that date a daughter Frances aged 34 (see Inqu. post mortem 44 Eliz. Part i no.105, quoted in E.A. Webb, G.W. Miller, and S. Beckwith, History of Chislehurst (1899)). Were Ursula the subject of our portrait, and therefore born in 1535/6, she would be 67 at her death, which makes sense; but so far no independent evidence has been found for the date of her birth. The National Portrait Gallery has an alleged portrait of Ursula Walsingham but the identity is questionable (see R. Strong, Tudor and Jacobean Portraits at the National Portrait Gallery, no. 640). To the present writer the sitter for that portrait looks rather like the authenticated likeness (E.C.P. 64) of Sir Walter Mildmay's wife (nee Mary Walsingham). Could the lady at Emmanuel be the real Ursula Walsingham?

Painting of Unidentified Man (119)

Unidentified Man

By Unidentified Artist, Latter half of 17th century.
Oil on canvas, 72cm x 61cm
Reference: ECP 31


Description

Bust, turned and facing half-left, looking front. Full wavy brown hair, brown eyes. Wears academical gown, bands. Red curtain behind. This painting has long been labelled as "Samuel Ward, d.1643", doubtless meaning the Samuel Ward who entered Christ's College in 1588/9, became a Fellow of Emmanuel in 1595, and was Master of Sidney Sussex 1610-43. Such identification is certainly wrong, for the portrait is clearly of someone of late 17th century date; and a portrait of Samuel Ward at Sidney Sussex shows he was quite different in appearance.


Sources

Masters lists, in the Emmanuel Gallery, S. side no. 10: "Samuel Ward D.D. Fellow and Mr of Sydney, 1609"; and a portrait identified as Samuel Ward appeared already in the 1775 inventory of the Gallery 9see E.C.A. CHA.1.8). So, if these entries refer to the present picture, the misidentification is of very long standing.

Painting of Wallis, John (124)

Wallis, John

By Unidentified Artist, c.1640-50
Oil on canvas, 77cm x 60cm
Reference: ECP 117


Biography

1616-1703. Entered Emmanuel 1632, B.A. 1636-7, M.A. 1640. His precocious learning as a schoolboy in the subjects usually reserved for the university left him time at College to devote himself to other studies, especially mathematics. In 1642 while a private chaplain he made his name by breaking the code of intercepted Civil War despatches. From 1644 he was secretary to the Westminster Assembly of Divines. Though used and respected by Cromwell he signed the remonstrance against the execution of Charles I. In 1649 he was appointed Savilian Professor of Geometry at Oxford, an office he continued to hold after the Restoration. He was closely associated with Robert Boyle and others whose meetings led to the founding of the Royal Society. "The greatest of Newton's precursors in mathematics", he adumbrated the integral and differential calculus; he introduced the symbol ° for infinity; he wrote on gravitation; he evaluated ¹ by the interpolation of terms in infinite series. He is remembered also for a book on English grammar and phonetics from which he went on to develop a method for teaching the deaf to speak.


Description

Bust, turned and facing half right, looking front. Right hand holds a small book with gold-tooled binding, apparently the New Testament in Greek, open at one of the Epistles. The book resembles Buck's Cambridge printing of the Greek Testament, 1632, of which William Sancroft's copy, similar in binding to the one in the portrait, survives in the College Library. Long brown hair, clean shaven. Wears a gown of green damask with fellow-commoner's heavy gold braiding on the sleeve; white shirt with wide collar and pleated front. Red curtain behind.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. It is difficult to identify this picture either in earlier College inventories or in modern lists of the portraits. By elimination, the most likely is an alleged portrait of John Wallis referred to in the College accounts for Easter 1791 (see E.C.A. BUR.8.6): Dr Wallis' Picture 4 - 4-0 Frame for do. 2-16-0 The note is in Richard Farmer's hand; the picture was presumably newly acquired, and Farmer is known to have been collecting portraits of Emmanuel worthies (see G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948) 67-91). A portrait of "Wallis, Mathemn" recurs in a 1797 inventory of pictures in the Gallery (see E.C.A. CHA.1.8). After that there seems no documentary trace of the canvas except in a reminiscent account of pictures hung in the rooms of G.A. Greenhill when he came to the College as a Fellow in 1873: "There was an earlier picture, in a curious beautiful stamped leather frame, but in a very perished state, as if from fire, of a fellow-commoner in his gown, and a date I think like 1623". The writer also mentions the sitter's "puritanical appearance" (see E.C.M. XXII (1919-20), p.8). He must be referring to the picture under discussion, since the College has no other oil portrait "of a fellow-commoner in his gown". The reference to its damaged condition remained wholly apt until its restoration in 1987-8; it seems to have lain neglected in store-cupboards for most of the past century. It bears no date, and when rediscovered in 1986 had no frame (see E.C.M. LXX (1987-8) pp.16-18). What evidence Farmer had for identifying the portrait as of John Wallis we do not know. Its apparent date would fit John Wallis as a young man; but he did not enter the College as a fellow-commoner, although perhaps he might have become one after taking his M.A. in 1640. The face bears some resemblance to the young William Sancroft (cf. E.C.P. 83); but this could be no more than a similarity of period and style. There are of course authentic likenesses of John Wallis, but at a much later age. Best known are that by Kneller commissioned by Samuel Pepys for the University of Oxford (see previous entry) and one by Gerard Soest at the Royal Society. REPRODUCED: E.C.M. LXX (1987-8) p.16.

Painting of Wallis, John (125)

Wallis, John

By Sir Godfrey Kneller (studio of), 1701-2
Oil on canvas, 127cm x 102cm
Reference: ECP 121


Biography

1616-1703. Entered Emmanuel 1632, B.A. 1636-7, M.A. 1640. His precocious learning as a schoolboy in the subjects usually reserved for the university left him time at College to devote himself to other studies, especially mathematics. In 1642 while a private chaplain he made his name by breaking the code of intercepted Civil War despatches. From 1644 he was secretary to the Westminster Assembly of Divines. Though used and respected by Cromwell he signed the remonstrance against the execution of Charles I. In 1649 he was appointed Savilian Professor of Geometry at Oxford, an office he continued to hold after the Restoration. He was closely associated with Robert Boyle and others whose meetings led to the founding of the Royal Society. "The greatest of Newton's precursors in mathematics", he adumbrated the integral and differential calculus; he introduced the symbol ° for infinity; he wrote on gravitation; he evaluated ¹ by the interpolation of terms in infinite series. He is remembered also for a book on English grammar and phonetics from which he went on to develop a method for teaching the deaf to speak.


Description

Three-quarter length, turned and facing half-left, looking front; left arm bent across body, right arm by his side, with academical cap in hand. He wears a black skull-cap, scarlet D.D. gown and hood, black scarf, square bands. To the left, a table on which lies a book, and on that a green pouch, and hanging from it a large medal. This is perhaps the gold medal given him by the King of Prussia and shown in another Kneller portrait of him (see Dictionary of National Biography). Architectural and curtain background.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. This is a studio-copy of the full-length commissioned by Samuel Pepys for presentation to the University of Oxford, where it hangs at the Examination School (formerly in the Bodleian) (see R. Lane-Poole, Cat. of Oxford Portraits (Oxford Historical Society LVII (1912)) p.74 no. 184; R.G. Howarth (ed.) Letters and Second Diary of S. Pepys (1932)). It was made for Sir John Blencoe, Wallis's son-in-law, and remained in his family until 1988, when it was purchased by the College through Historical Portraits Ltd. of Old Bond Street, London (for biography, see Dictionary of National Biography). Another studio-copy (head and shoulders only) is N.P.G. no. 578 (see F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.13). ENGRAVED. The full-length was engraved by Faber, David Loggan, and William Faithorne junior (D.N.B.).

Painting of Welbourne, Edward (96)

Welbourne, Edward

By Ernest, R.H.A. Hayes, 1958
Oil on canvas, 76cm x 61cm
Reference: ECP 85


Biography

1894-1966. Entered Emmanuel as a Scholar, from de Aston School, Market Rasen 1912. B.A. 1915, M.A. 1920. After war service in France, where he won the Military Cross, returned to Emmanuel for historical research. Allen Scholar 1919, Thirlwall Prize, Seeley Medal, and Gladstone Prize 1921. Fellow 1921, Tutor 1927, Senior Tutor 1938, Master 1951-64.


Description

Bust, facing half right. Wearing M.A. gown.


Sources

E.C.M. XLVIII (1965-6) pp.6-12, 21-34. Presented in 1958 by Thomas Swann, M.A., LL.B., graduate of the College (E.C.M. XLI (1958-9) pp.5, 19).

Painting of Whichcote, Benjamin (97)

Whichcote, Benjamin

By Mary Beale, 1682
Oil on canvas, 74cm x 61cm
Reference: ECP 3


Biography

1609-83. Born at Stoke, Shropshire. Entered Emmanuel 1626. M.A. 1633. Fellow 1633. Ordained 1636; Lecturer at Holy Trinity, Cambridge. B.D. 1640. Rector of N. Cadbury, Somerset, 1643. In 1644 appointed Provost of King's College in place of Samuel Collins, who was ejected as a royalist. Chief of the "Cambridge Platonists". At the Restoration was dismissed from the Provostship of King's, but after subscribing to the Act of Uniformity was appointed to St Anne's, Blackfriars, and later to St Lawrence, Jewry.


Description

Bust, within painted scrolled oval. Turned and facing half left, looking front. Wears skullcap, black gown, square bands. Inscription in white roman letters at top: "Benjmn Whichcot D.D." Signed at bottom right "Mary Beale fecit 1682".


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography. First listed in Gallery inventory of 1719 (E.C.A. CHA.1.4 fol. 109v). ENGRAVED. By R. White as frontispiece to Whichcote's Several Discourses (1701-7). REPRODUCED: F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no.12; R. Jeffree and E. Walsh, The Excellent Mrs Mary Beale (1975).

Painting of Whichcote, Benjamin (126)

Whichcote, Benjamin

By Joseph Freeman (copyist), c.1788
Oil on canvas, 74cm x 62cm
Reference: ECP 59


Biography

1609-83. Born at Stoke, Shropshire. Entered Emmanuel 1626. M.A. 1633. Fellow 1633. Ordained 1636; Lecturer at Holy Trinity, Cambridge. B.D. 1640. Rector of N. Cadbury, Somerset, 1643. In 1644 appointed Provost of King's College in place of Samuel Collins, who was ejected as a royalist. Chief of the "Cambridge Platonists". At the Restoration was dismissed from the Provostship of King's, but after subscribing to the Act of Uniformity was appointed to St Anne's, Blackfriars, and later to St Lawrence, Jewry.


Description

A copy of E.C.P. 3, probably made in 1788, for the Parlour, where it hung with other Freeman copies in 1790 (see Masters p.16; cf. G.R. Owst, "Iconomania in Eighteenth-century Cambridge", in Proceedings of the Cambridge Antiquarian Society XLII (1948), p.81 and n.9). Inscription to left: Benjn Whichcot. D.D.


Sources

J. and J.A. Venn, Alumni Cantabrigienses, 2 parts, in 10 vols., 1920-54. Dictionary of National Biography.

Painting of Whitwell, John (127)

Whitwell, John

By Samuel Barling Clarke, 1848
Oil on canvas, 91cm x 71cm
Reference: ECP 118


Biography

1772-18... Of Huntingdon.


Description

Three-quarter length, seated, turned and facing half left, looking front. Dark clothes, high collar and wide black cravat tied in bow; grey hair; left hand on knee, right resting within the breast of his coat. Inscription painted on back of canvas: "This likeness of John Whitwell Esq of Huntingdon, taken in the 76th year of his age, and completed by Mr Clarke Artist on the 10th of August 1848 was presented to Miss Betsey Bradley at the same time by me [signed] John Whitwell. Witnessed: Samuel Barling Clarke." Painted on stretcher: "Stewart Whitwell Rogers".


Sources

Bequeathed to the College in 1986 by Mrs I.A.H. Rogers of Chislehurst, widow (second wife) of Michael James Rogers, sometime of Emmanuel (B.A. 1930). Doubtless the Whitwell and Rogers families were linked by marriage, but the executors were unable to provide precise information as to this connexion, or about John Whitwell himself.

Painting of Williams, Sir David (154)

Williams, Sir David

By Louise Riley-Smith, 2000
Reference: ECP 135


Description

Text in preparation


Painting of Wilson of Dinton, Lord (164)

Wilson of Dinton, Lord

By Paul Brason, 2007
Reference: ECP 139


Description

Text in preparation


Painting of Young, Thomas (128)

Young, Thomas

By Thomas Lawrence (after)
Oil on canvas, 90cm x 70cm
Reference: ECP 70


Biography

1773-1829. From earliest childhood Young was a precocious scholar, both in languages and natural science. He had studied at London, Edinburgh and Gottingen, and was a qualified medical man before he came to Emmanuel in 1797 to acquire the M.B. degree (1803) which was then essential for admission to the Royal College of Physicians. A paper on accommodation of focus in the human eye made him a F.R.S. by the age of twenty. At Cambridge he engaged in research on sound and light. He was first to establish a wave-theory of light (in his Bakerian Lectures of 1801 and 1803) and an explanation of colour-vision. By 1801 he had established a medical practice in London and was appointed Professor of Natural Philosophy at the Royal Institution. His non-medical researches included valuable work on tides, on the theory of elasticity, and in the decipherment of Egyptian hieroglyphics.


Description

Three-quarter length, seated, facing, but with head turned and looking half right. Wears deep-collared double-breasted coat, high white neckcloth. Right hand holds spectacles.


Sources

Lawrence's original painting was executed in 1822 for Hudson Gurney, Young's life-long friend (see G. Peacock Life of Thomas Young, p.459). A copy was made for the College in 1884 by Miss Minna Tayler (see A.J. Finberg, E.C.P. no. 70), but according to the late Dr T.S. Hele (Master 1935-51) that was destroyed, and the existing copy was obtained as a replacement (personal information). ENGRAVED. Lawrence's original was engraved by G. Adcock for Young's Rudiments of an Egyptian dictionary (1831) and reproduced in F.H. Stubbings, Forty-Nine Lives, an anthology of portraits of Emmanuel men, 1983, no. 33. The head was engraved by G.R. Ward, in mezzotint, for G. Peacock's Life of Thomas Young (1855). The latter is reproduced in Alex Wood's Thomas Young (1954).

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