Turner Ruskin 876477

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Two Glasses Commemorating Queen Christina of SwedenAuthor(s): Joseph PhilippeSource: The Burlington Magazine, Vol. 112, No. 811 (Oct., 1970), pp. 695-698Published by: The Burlington Magazine Publications, Ltd.Stable URL: http://www.jstor.org/stable/876477

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SHORTER NOTICESprobable, though generally his drawing style is somewhatlooser.'3 In any case, the drawing is influenced by Algardi likesheet 124314 in the Gabinetto Nazionale delle Stampe in Romewhich represents a single angel carrying a sarcophagus.A second comparable sheet by Ciro Ferri, now at the Metro-politan Museum in New York, shows a design for an altar(Fig.47).14 Here two angels, flanked by putti, hold a cross. TheMalta reliquary is certainly connected to the series of ideasrepresented in these drawings, as, in a freer way, is Ferri'sciborium in S. Maria in Vallicella.Ferri's reliquary in Malta shows by the borrowings fromBernini, Rubens and Algardi an eclectic character. Nonethelessthe particular combination of the different elements producesone of the most beautiful works at the end of the seventeenthcentury. The reliquary fully confirms the opinion of NicodemusTessin, who writes: 'Sonsten ist der Sig : r Ferri sehl universel..undt ist er in allerhandt Ornamentem o reich,prompt undt bizzar, alssich heut zu tage keinenseinesgleichenwuste.... 15On the front of the Oratorium's altar is a bronze roundelrepresenting the Beheading of St John the Baptist (Fig.5i).16 Likethe ciborio itself the altar is decorated with the arms of GregorioCarafa and belongs to the same complex. The theme of theroundel repeats that of Caravaggio's canvas which stands behindthe altar, but the artist of the bronze was not influenced by thepainting. The bronze was cast in Rome and the artist never sawthe altar-piece.Comparisons with other works by Ciro Ferri strengthen ourattribution of the work to this artist. Most important is the re-lationship to the Ferri designed roundels in S. Maria Maddalenade' Pazzi in Florence.'7 The spatial background as well as thedrapery style is very similar in both. The figure of the servantcarrying the head of St John the Baptist is very much like theMadonna who holds out the veil to Maria Maddalena de'Pazzi. 8The problem of the identity of the executing master is just ashard to answer for this piece as for the reliquary. One mightthink of Foggini. But by 1677 he had already returned to Flor-ence. He became court sculptor to the Medici in 1687 and wouldprobably not have been interested in such a commission after thisdate.19 However, since the commission may have been given inthe early eighties, Foggini, who was closely connected with CiroFerri in the project of S. Maria Maddalena de' Pazzi, cannot beexcluded.

13 The difference between this drawing and most drawings by Ferri knownuntil now may be due to the fact that this sheet is a finished drawing. A pre-paratory drawing by Ferri in Diisseldorf for an engraving recently published byECKHARD SCHAAR also differsconsiderablyrom Ferri's usual looserdrawingstyle (Meisterzeichnungener SammlungKrahe, Catalogue, Dilsseldorf [1969],No.78 Fig.7o).14The drawing was kindly brought to my attention by MissJennifer Montagu,London. The sheet (3I by 27.3 cm) is executed in black chalk, brown inkand brown wash. The drawing was acquired by the Rogers Fund for the Metro-politan Museum in 1965 at Colnaghi in London.15 OSVALD SIREN: NicodemusTessind.y. Studieresor Danmark,Tyskland,Holland,Frankrike chItalien,Stockholm [1914], p.194-16 Diameter 54 cm.17 LANKHEIT, op. cit.,Figs.5, 6, 9.18 LANKHEIT,op. cit., Fig.9.19 We know from Baldinucci that Foggini made a relief of the beheading ofSt John the Baptist; he is said to have done this work at the age of thirteen;but it is not stated that this work was a roundel (cited in LANKHEIT,op.Cit.,p.233). One can hardly relate this reference to the relief in Malta. Soldani, ac-cording to his Vitaby P. M. Conti (LANKHEIT,Op.Cit.,p.241), is also said to havedone a relief of the beheading of the Saint. But in this case, too, there is noreason to connect the reference with the roundel in Malta.

Two GlassesCommemoratingQueenChristina f SwedenBYJOSEPH PHILIPPEONLY aughter of King Gustavus Adolphus, champion of Pro-testantism during the Thirty Years' War, and herself Queen in1632 at the age of six, Christina of Sweden is a central figure inthe history of her time. To do her justice, she deserves to beregarded, in the history of Europe, as an intelligent, independentand artistic sovereign who broke innumerable traditional bonds,not the least of which was the religion of her people. Christinarenounced her right to the Swedish thronein 1654-It was then that her longjourneys across Europe began, in theLow Countries, in France and Italy. Throughout the last thirtyyears of her life she settled in Rome where she played a leadingpart in intellectual and artistic circles.All those, in Sweden and abroad, who were able to visit thegreat exhibition devoted to the memory of Christina of Sweden,organized in Stockholm in 1966, at the National Museum, willrecall the crucial importance of this manifestation which pre-sented a vast panorama of European cultural life in the seven-teenth century, allotting a special place to the life and activity ofChristina as a woman, as a queen, and as a patronessof the arts.In I654, Queen Christina moved to the Low Countries. Thememory of her journey to Antwerp is preserved in a wheel-engraved glass (Fig.53) with a portrait of her on horseback(detail, Fig.56), including the arms of the city and a horn-blower (detail, Fig.57) who seems to be announcing the sove-reign's arrival. The armorial bearings of Philip IV which appearthere remind us that the Southern Netherlands were at that timeunder the Spanish crown.This glass, acquired in Brussels n August 1931 and preservedin the Glass Museumat Liege (Inv. No. B/2283), is apparently theproduction of the Bonhomme workshop, master-glaziers ofLiege who, about the middle of the seventeenth century acquiredthe monopoly of the manufacture of glasses 'd lafafon de Venise'for the whole of the Low Countries. It was at the special requestof the King of Sweden, on a visit to Liege on 2oth April 1966, thatit was brought to the Stockholm exhibition.'Since then, a second glass with two images of Queen Christinahas made its appearance. This is a fltfte certainly engraved inthe North Netherlands in the seventeenth century (Fig.52).Like the other glass, this one comes from the ancient Liegecollection of Armand Baar, now housed in the Glass Museumat Liege. It is a transparentchampagne glass2 (36.7 by 6.9 cm)of the seventeenth century coming from the Li*ge collectionof Schuermans (1908). Its tall bowl is separated from a cir-cular ridged foot by a hollow pearshaped stem. It has twoengravings cut by a diamond showing two busts of QueenChristina, one dressed as a woman (detail Fig.55),3 the otheras a man (detail, Fig.54). We must remember that the painterJustus van Egmont (1602-74) did a portrait of the Sovereignin armour in 1654.4

1 Christina Queen of Sweden', Exhibition Catalogue, Stockholm [1966], No.543. See also: A. BAAR: 'Verrieries des Flandres, Fabrication li6geoise', Revuebelged'archeologiet d'histoirede l'art [1938], p.225; R. CHAMBON:istoirede laVerrerienBelgique[I9551, p.32I (pl.27).2 Cf. 'Trois mill6naires d'Art verrier', Exhibition Catalogue, Liege [1958],No.587, illus.3 For the hairstyle, see catalogue 'Christina Queen of Sweden', No.43, pl.3.4 Catalogue 'Christina Queen of Sweden', No.546, pl.33.

69595

Two GlassesCommemoratingQueenChristina f SwedenBYJOSEPH PHILIPPEONLY aughter of King Gustavus Adolphus, champion of Pro-testantism during the Thirty Years' War, and herself Queen in1632 at the age of six, Christina of Sweden is a central figure inthe history of her time. To do her justice, she deserves to beregarded, in the history of Europe, as an intelligent, independentand artistic sovereign who broke innumerable traditional bonds,not the least of which was the religion of her people. Christinarenounced her right to the Swedish thronein 1654-It was then that her longjourneys across Europe began, in theLow Countries, in France and Italy. Throughout the last thirtyyears of her life she settled in Rome where she played a leadingpart in intellectual and artistic circles.All those, in Sweden and abroad, who were able to visit thegreat exhibition devoted to the memory of Christina of Sweden,organized in Stockholm in 1966, at the National Museum, willrecall the crucial importance of this manifestation which pre-sented a vast panorama of European cultural life in the seven-teenth century, allotting a special place to the life and activity ofChristina as a woman, as a queen, and as a patronessof the arts.In I654, Queen Christina moved to the Low Countries. Thememory of her journey to Antwerp is preserved in a wheel-engraved glass (Fig.53) with a portrait of her on horseback(detail, Fig.56), including the arms of the city and a horn-blower (detail, Fig.57) who seems to be announcing the sove-reign's arrival. The armorial bearings of Philip IV which appearthere remind us that the Southern Netherlands were at that timeunder the Spanish crown.This glass, acquired in Brussels n August 1931 and preservedin the Glass Museumat Liege (Inv. No. B/2283), is apparently theproduction of the Bonhomme workshop, master-glaziers ofLiege who, about the middle of the seventeenth century acquiredthe monopoly of the manufacture of glasses 'd lafafon de Venise'for the whole of the Low Countries. It was at the special requestof the King of Sweden, on a visit to Liege on 2oth April 1966, thatit was brought to the Stockholm exhibition.'Since then, a second glass with two images of Queen Christinahas made its appearance. This is a fltfte certainly engraved inthe North Netherlands in the seventeenth century (Fig.52).Like the other glass, this one comes from the ancient Liegecollection of Armand Baar, now housed in the Glass Museumat Liege. It is a transparentchampagne glass2 (36.7 by 6.9 cm)of the seventeenth century coming from the Li*ge collectionof Schuermans (1908). Its tall bowl is separated from a cir-cular ridged foot by a hollow pearshaped stem. It has twoengravings cut by a diamond showing two busts of QueenChristina, one dressed as a woman (detail Fig.55),3 the otheras a man (detail, Fig.54). We must remember that the painterJustus van Egmont (1602-74) did a portrait of the Sovereignin armour in 1654.4

SHORTER NOTICES

13 The difference between this drawing and most drawings by Ferri knownuntil now may be due to the fact that this sheet is a finished drawing. A pre-paratory drawing by Ferri in Diisseldorf for an engraving recently published byECKHARD SCHAAR also differsconsiderablyrom Ferri's usual looserdrawingstyle (Meisterzeichnungener SammlungKrahe, Catalogue, Dilsseldorf [1969],No.78 Fig.7o).14The drawing was kindly brought to my attention by MissJennifer Montagu,London. The sheet (3I by 27.3 cm) is executed in black chalk, brown inkand brown wash. The drawing was acquired by the Rogers Fund for the Metro-politan Museum in 1965 at Colnaghi in London.15 OSVALD SIREN: NicodemusTessind.y. Studieresor Danmark,Tyskland,Holland,Frankrike chItalien,Stockholm [1914], p.194-16 Diameter 54 cm.17 LANKHEIT, op. cit.,Figs.5, 6, 9.18 LANKHEIT,op. cit., Fig.9.19 We know from Baldinucci that Foggini made a relief of the beheading ofSt John the Baptist; he is said to have done this work at the age of thirteen;but it is not stated that this work was a roundel (cited in LANKHEIT,op.Cit.,p.233). One can hardly relate this reference to the relief in Malta. Soldani, ac-cording to his Vitaby P. M. Conti (LANKHEIT,Op.Cit.,p.241), is also said to havedone a relief of the beheading of the Saint. But in this case, too, there is noreason to connect the reference with the roundel in Malta.

probable, though generally his drawing style is somewhatlooser.'3 In any case, the drawing is influenced by Algardi likesheet 124314 in the Gabinetto Nazionale delle Stampe in Romewhich represents a single angel carrying a sarcophagus.A second comparable sheet by Ciro Ferri, now at the Metro-politan Museum in New York, shows a design for an altar(Fig.47).14 Here two angels, flanked by putti, hold a cross. TheMalta reliquary is certainly connected to the series of ideasrepresented in these drawings, as, in a freer way, is Ferri'sciborium in S. Maria in Vallicella.Ferri's reliquary in Malta shows by the borrowings fromBernini, Rubens and Algardi an eclectic character. Nonethelessthe particular combination of the different elements producesone of the most beautiful works at the end of the seventeenthcentury. The reliquary fully confirms the opinion of NicodemusTessin, who writes: 'Sonsten ist der Sig : r Ferri sehl universel..undt ist er in allerhandt Ornamentem o reich,prompt undt bizzar, alssich heut zu tage keinenseinesgleichenwuste.... 15On the front of the Oratorium's altar is a bronze roundelrepresenting the Beheading of St John the Baptist (Fig.5i).16 Likethe ciborio itself the altar is decorated with the arms of GregorioCarafa and belongs to the same complex. The theme of theroundel repeats that of Caravaggio's canvas which stands behindthe altar, but the artist of the bronze was not influenced by thepainting. The bronze was cast in Rome and the artist never sawthe altar-piece.Comparisons with other works by Ciro Ferri strengthen ourattribution of the work to this artist. Most important is the re-lationship to the Ferri designed roundels in S. Maria Maddalenade' Pazzi in Florence.'7 The spatial background as well as thedrapery style is very similar in both. The figure of the servantcarrying the head of St John the Baptist is very much like theMadonna who holds out the veil to Maria Maddalena de'Pazzi. 8The problem of the identity of the executing master is just ashard to answer for this piece as for the reliquary. One mightthink of Foggini. But by 1677 he had already returned to Flor-ence. He became court sculptor to the Medici in 1687 and wouldprobably not have been interested in such a commission after thisdate.19 However, since the commission may have been given inthe early eighties, Foggini, who was closely connected with CiroFerri in the project of S. Maria Maddalena de' Pazzi, cannot beexcluded.

1 Christina Queen of Sweden', Exhibition Catalogue, Stockholm [1966], No.543. See also: A. BAAR: 'Verrieries des Flandres, Fabrication li6geoise', Revuebelged'archeologiet d'histoirede l'art [1938], p.225; R. CHAMBON:istoirede laVerrerienBelgique[I9551, p.32I (pl.27).2 Cf. 'Trois mill6naires d'Art verrier', Exhibition Catalogue, Liege [1958],No.587, illus.3 For the hairstyle, see catalogue 'Christina Queen of Sweden', No.43, pl.3.4 Catalogue 'Christina Queen of Sweden', No.546, pl.33.


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Ruskinand Turner:A riddleresolvedBY LUKE HERRMANN

WHENworking on Ruskinand Turner' t proved impossible tolocate any information other than that given by Cook andWedderburn2 about the Mrs Cooper from whom, in 1858,Ruskin purchased the Loire drawings which formed the nucleusof his 1861 gift of Turner drawings to Oxford. By an extra-ordinary coincidence a clue to her identity was discovered,within a few days of the publication of the book, by Dr Kurt F.Pantzer, of Indianapolis. At that time he purchased in Americaa series of six notebooks containing various lists and other detailsof the Turner collections of Charles Stokes, friend and stock-broker of J. M. W. Turner, and, as has now been revealed,uncle of Mrs Cooper.3From the second of these notebooks it appears that MrsCooper inherited from her uncle, who died on 28th December1853, a considerable collection of drawings and water-coloursby Turner, and some examples by several of his contemporaries.Though Mrs Cooper is included as one of his monetary heirs inCharles Stokes'sWill, there is no specificmention of the drawings,and it must be presumed that these came to Hannah Cooper asthe result of a wish expressedby Stokes during the last weeks ordays of his life (his Will was signed on I Ith June 1853). Nor doesthe Will in any way refer to Mary Constance Clarke, who re-ceived Stokes'swell-known collection of Turner'sLiberStudiorum,4probably under the same circumstances. Mary Clarke does notappear to have been a relative, and it has so farproved impossibleto discover any more concerning her.As was already known, Mrs Cooper was the wife of the Rev.James Cooper, who was Third Master at St Paul's School from1824 until his retirement in 1861. She was the daughter of MaryAnna and Thomas Hughes, her mother being the sister ofCharles Stokes. The Hughes's eldest son, also Thomas, wasStokes's residuary legatee, and in the event of his predeceasinghim this would have been Hannah Cooper. Her brother,ThomasHughes, and her husband, James Cooper, were the two execu-tors to whom administration of the Will was granted on 7thJanuary 1854. From James Cooper's Will, which was drawn upin April 1872, we know that Hannah Cooper had died by thatdate.5

The majority of the pages which have been used in the secondof the six notebooks are devoted to several lists, in Hannah

Cooper's hand, of the drawings which she received from heruncle. Among these pride of place was clearly given to theseventeen drawings engraved for Turner'sAnnual Tour - TheLoire n 1833. We learn that there were originally twenty-fourof these drawings,and that they were purchased by Stokes fromTurner through Mr Thomas Griffithof Norwood for 6oo guineason 31St May 1850; Stokes 'parted with and exchanged some ofthem during his lifetime'. Some idea of the paper having fadedwith great rapidity is given by Mrs Cooper's descriptionof thedrawings as 'on blue, or as it is sometimes called grey, paper'.On folio 9 of this notebook we find full confirmation of Ruskin'spurchase of these drawings in the terse entry: '17 EngravedDrawings of the Loire parted with Febr. i Ith 1858 to MrRuskin for 1000 gs.'7 These seventeen drawings are Nos.29, 31,35, and 38 to 51 in the Catalogue f the TurnerDrawings n theAshmoleanMuseum.Four of the unengraved Loire drawings atOxford (Nos.32, 33, 34, and 36), and the drawing of the CoastofGenoa No.28), were among the ten unengraved drawingswhichRuskin had purchased from Mrs Cooper on the preceding dayfor 50 guineas each. Three of these ten drawings, Namur,Huy,and Orleans,ater formed part of his 1861 Gift to the FitzwilliamMuseum. Mrs Cooper had herselfacquired some of these draw-ings by exchange on I3th February 1854.Unfortunately Mrs Cooper's lists are somewhat confused andrepetitive, and the titles she uses are too indefinite to makepossible firm identifications of other drawings which may havebeen acquired from her by Ruskin. His long letter to Dr Acland,written in March I86I,8 describinghis gift to Oxford, states thattwo furtherdrawings, (?) Yarmouth,orfolk (No.23) and Scene nthe Meuse(No.27), were definitely purchased from Mrs Cooper.From Ruskin we also learn that Mrs Cooper gave him the earlysketch of The Towerof OxfordCathedral,rom theGarden f CorpusChristiCollege,which was No.77 in the 1878 Exhibition of hisTurner drawings,9and from his note on that sheet we ascertainthat three other drawings in the same Exhibition (Nos.56, 55,and 53) were purchased from Mrs Cooper. Two of these three,Rouenand Dinant,can be identified in Mrs Cooper'slists. This isthe first reference by Ruskin to Mrs Cooper since several madein March I861, at the time of his gift to Oxford. In a letterwritten that month to his father, Ruskin gives his reasons fordeclining (against the elder Ruskin's wishes) an invitation fromLord Palmerston to stay at Broadlands, but continues: 'If youare really set upon it, give me four more of Griffith's or MrsCooper'ssketches (which will, I suppose,be soon on the market)for the four days I lose . . .'.10 The Rev. James Cooper resignedfrom St Paul's School in 1861, and this is presumablythe reasonfor Mrs Cooper's being likely to undertake further sales of herdrawings.Our knowledge of Mrs Cooper remainsminimal, but we haveone furthervaluable piece of informationconcerningher contactswith Ruskin. This comes from an unpublished letter written toRuskin on 31Ist uly 1858, by the artist GeorgeJones, friend andexecutor of Turner. Having commented favourablyon Ruskin'srecent arrangement of a selection of drawings from the TurnerBequest at Marlborough House, Jones continues: 'The mode inwhich you directed Mrs Cooperto have her collection preserved,is certainly the best I have ever seen, for security and con-LUKE HERRMANN: Ruskinand Turner, London [1968].2The Works of John Ruskin, edited by E. T. COOK nd ALEXANDERWEDDERBURN,Vol.XIII, p.462, n.4.3 I am most grateful to Dr Pantzer for sending me copies of the Cooper Note-books, and for allowing me to publish the information concerning the Oxforddrawings in this note. The earlier history of the Notebooks is, as yet, uncertain,but they were definitely seen, and perhaps owned, by W. G. Rawlinson.*See Notes amd Memoranda espectinghe Liber Studiorum f J. M. W. Turner,R.A. writtenand collected y the lateJohn Pye, edited by J. L. ROGET[1879], pp.

92-3; and w. G. RAWLINSON: Turner's Liber Studiorum[19o6], pp.1-li and 6.5 I am also indebted to Dr Pantzer for sending me copies of Charles Stokes'sWill and family tree and of the Rev. James Cooper's Will. These were locatedfor him by Mr C. Matthew Farrer.

6 Cooper Notebooks, Vol.II, fol.Io. The faded condition of the paper of theLoire drawings is discussed on pp.29 and 71 of Ruskinand Turner.7 See also Ruskinand Turner,p.28.8 Quoted in full on pp.32-4 of Ruskinand Turner.o The Worksof John Ruskin,Vol.XIII, pp.462-3.10Loc.cit., Vol.XXXVI, p.36o.

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SHORTER NOTICESThus in Liege, where other artistic connections5with Swedenare recorded, two glassescommemorate a Queen who was a greatEuropean avant la lettre, an exceptional Sovereign who stillintrigues and fascinates us.

5 Cf. J. PHILIPPE: 'La Suedeet l'anciennePrincipaut6 de Liege. Correspond-ances esth6tiques', Konsthistorisk idschrift1967], pp.143-149.

SHORTER NOTICES

1 LUKE HERRMANN: Ruskinand Turner, London [1968].2The Works of John Ruskin, edited by E. T. COOK nd ALEXANDERWEDDERBURN,Vol.XIII, p.462, n.4.3 I am most grateful to Dr Pantzer for sending me copies of the Cooper Note-books, and for allowing me to publish the information concerning the Oxforddrawings in this note. The earlier history of the Notebooks is, as yet, uncertain,but they were definitely seen, and perhaps owned, by W. G. Rawlinson.*See Notes amd Memoranda espectinghe Liber Studiorum f J. M. W. Turner,R.A. writtenand collected y the lateJohn Pye, edited by J. L. ROGET[1879], pp.92-3; and w. G. RAWLINSON: Turner's Liber Studiorum[19o6], pp.1-li and 6.5 I am also indebted to Dr Pantzer for sending me copies of Charles Stokes'sWill and family tree and of the Rev. James Cooper's Will. These were locatedfor him by Mr C. Matthew Farrer.

Thus in Liege, where other artistic connections5with Swedenare recorded, two glassescommemorate a Queen who was a greatEuropean avant la lettre, an exceptional Sovereign who stillintrigues and fascinates us.

Cooper's hand, of the drawings which she received from heruncle. Among these pride of place was clearly given to theseventeen drawings engraved for Turner'sAnnual Tour - TheLoire n 1833. We learn that there were originally twenty-fourof these drawings,and that they were purchased by Stokes fromTurner through Mr Thomas Griffithof Norwood for 6oo guineason 31St May 1850; Stokes 'parted with and exchanged some ofthem during his lifetime'. Some idea of the paper having fadedwith great rapidity is given by Mrs Cooper's descriptionof thedrawings as 'on blue, or as it is sometimes called grey, paper'.On folio 9 of this notebook we find full confirmation of Ruskin'spurchase of these drawings in the terse entry: '17 EngravedDrawings of the Loire parted with Febr. i Ith 1858 to MrRuskin for 1000 gs.'7 These seventeen drawings are Nos.29, 31,35, and 38 to 51 in the Catalogue f the TurnerDrawings n theAshmoleanMuseum.Four of the unengraved Loire drawings atOxford (Nos.32, 33, 34, and 36), and the drawing of the CoastofGenoa No.28), were among the ten unengraved drawingswhichRuskin had purchased from Mrs Cooper on the preceding dayfor 50 guineas each. Three of these ten drawings, Namur,Huy,and Orleans,ater formed part of his 1861 Gift to the FitzwilliamMuseum. Mrs Cooper had herselfacquired some of these draw-ings by exchange on I3th February 1854.Unfortunately Mrs Cooper's lists are somewhat confused andrepetitive, and the titles she uses are too indefinite to makepossible firm identifications of other drawings which may havebeen acquired from her by Ruskin. His long letter to Dr Acland,written in March I86I,8 describinghis gift to Oxford, states thattwo furtherdrawings, (?) Yarmouth,orfolk (No.23) and Scene nthe Meuse(No.27), were definitely purchased from Mrs Cooper.From Ruskin we also learn that Mrs Cooper gave him the earlysketch of The Towerof OxfordCathedral,rom theGarden f CorpusChristiCollege,which was No.77 in the 1878 Exhibition of hisTurner drawings,9and from his note on that sheet we ascertainthat three other drawings in the same Exhibition (Nos.56, 55,and 53) were purchased from Mrs Cooper. Two of these three,Rouenand Dinant,can be identified in Mrs Cooper'slists. This isthe first reference by Ruskin to Mrs Cooper since several madein March I861, at the time of his gift to Oxford. In a letterwritten that month to his father, Ruskin gives his reasons fordeclining (against the elder Ruskin's wishes) an invitation fromLord Palmerston to stay at Broadlands, but continues: 'If youare really set upon it, give me four more of Griffith's or MrsCooper'ssketches (which will, I suppose,be soon on the market)for the four days I lose . . .'.10 The Rev. James Cooper resignedfrom St Paul's School in 1861, and this is presumablythe reasonfor Mrs Cooper's being likely to undertake further sales of herdrawings.Our knowledge of Mrs Cooper remainsminimal, but we haveone furthervaluable piece of informationconcerningher contactswith Ruskin. This comes from an unpublished letter written toRuskin on 31Ist uly 1858, by the artist GeorgeJones, friend andexecutor of Turner. Having commented favourablyon Ruskin'srecent arrangement of a selection of drawings from the TurnerBequest at Marlborough House, Jones continues: 'The mode inwhich you directed Mrs Cooperto have her collection preserved,is certainly the best I have ever seen, for security and con-

5 Cf. J. PHILIPPE: 'La Suedeet l'anciennePrincipaut6 de Liege. Correspond-ances esth6tiques', Konsthistorisk idschrift1967], pp.143-149.

Ruskinand Turner:A riddleresolvedBY LUKE HERRMANN

WHENworking on Ruskinand Turner' t proved impossible tolocate any information other than that given by Cook andWedderburn2 about the Mrs Cooper from whom, in 1858,Ruskin purchased the Loire drawings which formed the nucleusof his 1861 gift of Turner drawings to Oxford. By an extra-ordinary coincidence a clue to her identity was discovered,within a few days of the publication of the book, by Dr Kurt F.Pantzer, of Indianapolis. At that time he purchased in Americaa series of six notebooks containing various lists and other detailsof the Turner collections of Charles Stokes, friend and stock-broker of J. M. W. Turner, and, as has now been revealed,uncle of Mrs Cooper.3From the second of these notebooks it appears that MrsCooper inherited from her uncle, who died on 28th December1853, a considerable collection of drawings and water-coloursby Turner, and some examples by several of his contemporaries.Though Mrs Cooper is included as one of his monetary heirs inCharles Stokes'sWill, there is no specificmention of the drawings,and it must be presumed that these came to Hannah Cooper asthe result of a wish expressedby Stokes during the last weeks ordays of his life (his Will was signed on I Ith June 1853). Nor doesthe Will in any way refer to Mary Constance Clarke, who re-ceived Stokes'swell-known collection of Turner'sLiberStudiorum,4probably under the same circumstances. Mary Clarke does notappear to have been a relative, and it has so farproved impossibleto discover any more concerning her.As was already known, Mrs Cooper was the wife of the Rev.James Cooper, who was Third Master at St Paul's School from1824 until his retirement in 1861. She was the daughter of MaryAnna and Thomas Hughes, her mother being the sister ofCharles Stokes. The Hughes's eldest son, also Thomas, wasStokes's residuary legatee, and in the event of his predeceasinghim this would have been Hannah Cooper. Her brother,ThomasHughes, and her husband, James Cooper, were the two execu-tors to whom administration of the Will was granted on 7thJanuary 1854. From James Cooper's Will, which was drawn upin April 1872, we know that Hannah Cooper had died by thatdate.5

The majority of the pages which have been used in the secondof the six notebooks are devoted to several lists, in Hannah

6 Cooper Notebooks, Vol.II, fol.Io. The faded condition of the paper of theLoire drawings is discussed on pp.29 and 71 of Ruskinand Turner.7 See also Ruskinand Turner,p.28.8 Quoted in full on pp.32-4 of Ruskinand Turner.o The Worksof John Ruskin,Vol.XIII, pp.462-3.10Loc.cit., Vol.XXXVI, p.36o.

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52. Flute, showing QueenChristina f Sweden n male Costume.Netherlandish, seven-teenth century. Engraved with diamond. (Musee du Verre, Liege.) CopyrightACL Brussels.53. Glass,showing Equestrian ortrait f QueenChristina f Sweden ndArhomme. Netherlandish, mid-seventeenth century. (Mus6e du Verr


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54. Detail from FlUte reproduced in Fig.52, showing QueenChristinaofSwedenn male costume. hoto.Cl. Dessart. 55. Detail from Flute reproduced in Fig.52, showing QueenChristinaofSwedenn Femalecostume. hotoCl. Dessart.

56. Detail from Glassreproduced in Fig.53, showing Equestrian ortraitofQueenChristina f SwedenbetweenheArmsof Spainand thoseof Antwerp.Enlargement. Photo.Cl. Dessart.57. Detail from Glass reproduced in Fig.53, showing Armsof Antwerp ndHorn-blower. nlargement. PhotoCl. Dessart.

Turner Ruskin 876477

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