Chapter XV: Appendix: I

PORTRAITS OF SAMUEL PEPYS.

PAINTINGS BY

1. _Savill_ (a painter in Cheapside). 1661. See “Diary,” Nov. 23.

Jan. 6, 1661–62: “I sent my lute to the Paynter’s, and there I
staid with him all the morning to see him paint the neck of my lute
in my picture, which I was not pleased with after it was done.”

Pepys appears to have sat to this same painter for a miniature or “picture in little,” which cost _£_3. See “Diary,” Feb. 20, 1661–62, June 11, 1662.

Jan. 28, 1661–62: “The Paynter, though a very honest man, I found
to be very silly as to matter of skill in shadows, for we were long
in discourse, till I was almost angry to hear him talk so simply.”

2. _John Hales._ 1666.

March 17, 1666: “This day I began to sit, and he will make me, I
think, a very fine picture. He promises it shall be as good as my
wife’s, and I sit to have it full of shadows, and do almost break
my neck looking over my shoulder to make the posture for him to
work by.”

March 30, 1666: “To Hales’s, and there sat till almost quite darke
upon working my gowne, which I hired to be drawn in: an Indian
gown.”

April 11, 1666: “To Hales’s, where there was nothing to be found to
be done more to my picture, but the musique, which now pleases me
mightily, it being painted true.”

This picture was bought by Peter Cunningham, at the sale of the Pepys Cockerell collection in 1848, and it was purchased by the trustees of the National Portrait Gallery in 1866. The eyes look at the spectator, and the face is turned three-quarters to the left. The music is Pepys’s own song, “Beauty Retire.”

“There is a similar picture belonging to Mr. Hawes, of Kensington,
which Mr. Scharf, the Keeper of the National Portrait Gallery,
thinks is either a replica or a good old copy.”--REV. MYNORS
BRIGHT’S edition of the “Diary,” vol. iii. p. 423 (note).

Walpole mentions Hales in his “Anecdotes of Painting,” and says that he lived in Southampton Street, Bloomsbury, and died there suddenly in 1679.

3. _Sir Peter Lely._ Pepysian Library, Magdalene College, Cambridge.

4. _Sir Godfrey Kneller._ Andrew Pepys Cockerell, Esq. This picture was lent to the First Special Exhibition of National Portraits, 1866, and was numbered 950.

5. _Sir Godfrey Kneller._ The Royal Society.

6. _Sir Godfrey Kneller._ Hall of Magdalene College, Cambridge.

7. A small portrait attributed to _Kneller_, representing a seated figure; with a globe in one corner, and a guitar (or lute) and compasses on a table, and a ship in the distance at sea. Mr. Scharf suggests the possibility of this being the portrait by _Savill_ described above (No. 1), and this suggestion seems highly probable. Mrs. Frederick Pepys Cockerell.

8. _Anonymous._ 1675.

“The picture is beyond praise; but causes admiration in all that
see it. Its posture so stately and magnificent, and it hits so
naturally your proportion and the noble air of your face, that I
remain immovable before it hours together,” &c. T. Hill to Pepys,
Lisbon, July 1, 1675.--SMITH’S “Life of Pepys,” vol. i. p. 161.

9. The picture by Verrio at Christ’s Hospital, of James II. on his throne receiving the mathematical pupils of the school, contains a portrait of Pepys. The original drawing for the picture by Verrio is in the possession of Andrew Pepys Cockerell, Esq.

ENGRAVINGS BY

1. Robert White. Kneller, painter. Portrait in a carved oval frame, bearing inscription SAM. PEPYS. CAR. ET. JAC. ANGL. REGIB. A. SECRETIS. ADMIRALIÆ. Motto under the frame, “Mens cujusque is est quisque.” Large book-plate.

2. Robert White. Kneller, painter. Portrait in an oval medallion on a scroll of paper. Motto over his head, “Mens cujusque is est quisque;” underneath the same inscription as on No. 1. Small book-plate.

These two engravings are described by Granger.

3. J. Bragg. Kneller, painter. Frontispiece to vol. i. of the first edition of the “Diary,” 1825 (4to.). “From the original in the possession of S. P. Cockerell.” Picture described as No. 7, now in the possession of Mrs. Frederick Pepys Cockerell.

4. J. Bragg. Kneller, painter. Frontispiece to vol. i. of the second edition of the “Diary,” 1828; much worn in the third edition, 1848. “From the original picture in the possession of S. P. Cockerell.” Picture described as No. 4, now in the possession of Andrew Pepys Cockerell, Esq.

5. W. C. Edwards. Kneller, painter. Frontispiece to vol. i. of the fourth edition of the “Diary,” 1854. From the same original as the preceding article.

6. Charles Wass. Walker, painter. In Smith’s “Life, Journals, and Correspondence of Pepys,” vol. i. 1841, said to be in the collection of the Royal Society, but this is a mistake.

PHOTOGRAPHS.

1. From the portrait by Kneller (No. 4), series of photographs published by the South Kensington Museum under the superintendence of the Council of the Arundel Society.

2. From Edwards’s engraving of Kneller’s Portrait, “Diary,” ed. Mynors Bright, vol. i. 1875.

3. From Hales’s Portrait (No. 2), “Diary,” ed. Mynors Bright, vol. iii. 1876.

BUST.

The following extracts from the “Diary” refer to a bust which was made for Pepys:--

Feb. 10, 1668–69: “So to the plaisterer’s at Charing Cross that
casts heads and bodies in plaister: and there I had my whole face
done; but I was vexed first to be forced to daub all my face over
with pomatum: but it was pretty to feel how soft and easily it is
done on the face, and by and by, by degrees how hard it becomes,
that you cannot break it, and sits so close, that you cannot pull
it off, and yet so easy, that it is as soft as a pillow so safe is
everything where many parts of the body do bear alike. Thus was the
mould made; but when it came off there was little pleasure in it,
as it looks in the mould, nor any resemblance whatever there will
be in the figure when I come to see it cast off.”

Feb. 15, 1668–69: “To the plaisterer’s, and there saw the figure of
my face taken from the mould: and it is most admirably like, and I
will have another made, before I take it away.”