Notes and Queries, Number 74, March 29, 1851 | Page 2

testing the authenticity of reputed likenesses of the same individual;
further, the printed lists would survive after all the family traditions had
been forgotten, and passed away with the antiquated housekeeper, and
her worn-out inventory. The practice, too, of inscribing the names of
the artist and person represented on the backs of the frames, would
probably be better observed; and I may mention as a proof of this
precaution being necessary, the instance of a {234} baronet in our day
having inherited an old house full of pictures, which were one and all
described, in laconic and most unsatisfactory terms, as "Portraits of
Ladies and Gentlemen Unknown." The losses of works of art and
interest by the lamentable fires that have occurred so frequently within
the memory of man, may furnish a further motive for using every
endeavour to preserve those pictures that remain to us; but probably a
far greater number have perished from damp or neglect, and a strange
combination of mischief and ignorance. Let us hope that in this respect
the times are improving. For one, I cannot consent to the wanton

destruction of a single portrait, though Horace Walpole assures us--
"That it is almost as necessary that the representations of men should
perish and quit the scene to their successors, as it is that the human race
should give place to rising generations; and, indeed, the mortality is
almost as rapid. Portraits that cost twenty, thirty, sixty guineas, and that
proudly take possession of the drawing-room, give way in the next
generation to the new married couple, descending into the parlour,
where they are slightly mentioned as my father and mother's pictures.
When they become my grandfather and grandmother, they mount to
the two pair of stairs, and then, unless dispatched to the mansion-house
in the country, or crowded into the housekeeper's room, they perish
among the lumber of garrets, or flutter into rags before a broker's shop
at the Seven Dials."--Lives of the Painters, vol. iv. pp. 14, 15.
I am tempted to add, that many years ago I saw a large roll of canvass
produced from under a bed at a furniture shop in "Hockley in the
Hole," which, when unfolded, displayed a variety of old portraits, that
had been torn out of their frames, and stowed away like worn-out
sail-cloth; the place was so filthy that I was glad to make my escape
without further investigation, but I noticed a whole-length of a judge in
scarlet robes, and I could not help reflecting how much surprised the
painter and the son of the law whom he delineated would have been,
could they have anticipated the fate of the picture.
Having made these remarks, I am not unaware how much easier it is to
point out a grievance than to provide a remedy; but perhaps some of
your readers more conversant with such matters, may form an opinion
whether it would answer to any one to undertake to compile such a
catalogue as I have described. Though much would remain to be done,
a great deal of information is to be gleaned from printed works, and
doubtless lists of portraits might be in many instances procured from
the persons who are fortunate enough to possess them. It should also be
remembered that amongst the MSS. of Sir William Musgrave in the
British Museum, there are many inventories of English portraits,
affording a strong presumption that he may once have meditated such a
publication as I have pointed out.

But, whether we are ever to have a catalogue or not, some advantage
may arise from the discussion of the subject in "NOTES AND
QUERIES;" and if it should lead to the rescue of a single portrait from
destruction, we shall have advanced one step in the right direction.
BRAYBROOKE.
Audley End, March 18.
* * * * *
STORY OF A RELIC.
P. C. S. S. found, some days ago, the following curious story in a rare
little Portuguese book in his possession, and he now ventures to send a
translation of it to the "NOTES AND QUERIES." The work was
printed at Vienna in 1717, and is an account of the embassy of
Fernando Telles da Sylva, Conde de Villa Mayor, from the court of
Lisbon to that of Vienna, to demand in marriage, for the eldest son of
King Pedro II. of Portugal, the hand of the Archduchess Maria Anna of
Austria. It was written by Father Francisco da Fonseca, a Jesuit priest,
who accompanied the ambassador in quality of almoner and confessor,
and is full of amusing matter, particularly in reference to the strange
opinions concerning our laws, government, and religion, which the
worthy padre appears to have picked up during his short stay in
England.
The original of the annexed translation is