Depiction of the dream of Horace Walpole that inspired him to write The castle of Otranto. The fantastic scene involves a large armored hand perched atop an enormous staircase ascending four levels within a Gothic castle. Two suits of armor stand guard at the junctions of the staircase with each level, and two more are present in the foreground, suggesting that the staircase continues downward. Arched windows and a painting of a mounted knight are seen on the wall to the left of the staircase; a bat is seen flying above
Description:
Title written below image., Signed and dated by the artist in lower left corner of image., Place of production inferred from artist's city of residence during this time period., Page reference for quotation written below title: Page 93., and Bound as page 195 in volume 4 of M.C.D. Borden's extensively extra-illustrated copy of: Horace Walpole and his world / edited by L. B. Seeley ... London : Seeley, Jackson, and Halliday, 1884.
SH Contents C323 no. 2 Framed, shelved in LFS Bin 68
Image Count:
1
Resource Type:
still image
Abstract:
Watercolor drawing representing the procession in the romance of the Castle of Otranto by Horace Walpole
Description:
John Carter (1748-1817), British draughtsman and antiquary., Signed and titled by the artist, lower center. Same text transcribed in another hand on verso., and Later label on verso: This picture was painted by John Carter (1748-1817) and was exhibited at the Royal Academy of 1790. It belonged to Horace Walpole and was at Strawberry Hill until the sale in 1842 when it was bought by the Reverend Horace Cholmondeley from whom it came through his daughter and grand-daughter to H.C.J.
"Portrait of William Murray, 1st Earl of Mansfield, head and shoulders to right, looking to front, wearing long wig, dark coat, waistcoat, neckerchief and frill, in an oval, surrounded by emblems."--British Museum online catalogue
Alternative Title:
Mr. Murray and Satirical illustration of "Memoires of the last ten years of the reign of George the Second"
Description:
Title from text above and below image., Plate from: Walpole, H. Memoires of the last ten years of the reign of George the Second. London: J. Murray, 1822., 1 print : engraving on wove paper ; sheet 15.1 x 17.9 cm., Imperfect; sheet trimmed within plate mark with loss of text above image., Window mounted (with one other print) to 39 x 28 cm., and Bound in as page 191 in volume 7 of M.C.D. Borden's extensively extra-illustrated copy of: Horace Walpole and his world. London : Seeley, Jackson, and Halliday, 1884.
Publisher:
J. Murray
Subject (Name):
Mansfield, William Murray, Earl of, 1705-1793, and Walpole, Horace, 1717-1797.
"Portrait of William Murray, 1st Earl of Mansfield, head and shoulders to right, looking to front, wearing long wig, dark coat, waistcoat, neckerchief and frill, in an oval, surrounded by emblems."--British Museum online catalogue
Alternative Title:
Mr. Murray and Satirical illustration of "Memoires of the last ten years of the reign of George the Second"
Description:
Title from text above and below image. and Plate from: Walpole, H. Memoires of the last ten years of the reign of George the Second. London: J. Murray, 1822.
Publisher:
J. Murray
Subject (Name):
Mansfield, William Murray, Earl of, 1705-1793, and Walpole, Horace, 1717-1797.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
From Horace Walpole's 1784 edition of Description of the villa, he describes the Beauclerk drawings thus: "The beauty and grace of the figures and of the children are inimitable; the expression of the passions most masterly, particularly in the devotion of the countess with the porter, of Benedict in the scene with Martin, and the tenderness, despair, and resolution of the countess in the last scene; in which is a new stroke of double passion in Edmund, whose right hand is clenched and ready to strike with anger, the left hand relents. In the scene of the children, some are evidently vulgar, the others children of rank; and the first child, that pretends to look down and does leer upwards, is charming. Only two scenes are represented in all the seven, and yet all are varied; and the ground in the first, by a very uncommon effect, evidently descends and rises again. These sublime drawings are the first histories she ever attempted, were all conceived and executed in a fortnight."
Description:
Title, date and artist name written by Horace Walpole on the verso, in ink., One of six Beauclerk drawings for Mysterious mother in The Lewis Walpole Library., and Lady Diana Beauclerk, English artist, 1734-1808.
