John Locke's troublesome portrait

29th August, 1632, is the birthday of philosopher and scholar, John Locke.  He was born in Wrington, near Bristol in this cottage - which looks somewhat decayed in this much later print. This was the childhood home of his mother Agnes Keene, who had come here to be with her mother for the birth.  It has since been pulled down and is now marked by a commemorative plaque set against the churchyard wall nearby.  His father was a country attorney and a few days later mother and child returned to Belluton, near Pensford, which remained Locke's home until he left for Westminster School, followed by Christ Church college, Oxford in 1652.
 In 1665 he was employed as a minor secretary on a diplomatic mission to Cleves near Brandenberg and on his return to England became part of Sir Anthony Ashley-Cooper's household at Exeter House in the Strand, as physician and confidential secretary.

John Locke c. 1672  by John Greenhill

© National Portrait Gallery, London

 Locke was rising forty when this portrait was painted, and Ashley-Cooper, now Lord Shaftesbury, had his portrait painted by Greenhill around the same time.

Sir Anthony Ashley-Cooper c. 1672-3,  after John Greenhill

© National Portrait Gallery London

Three years later Locke's health, always worse in the heavily polluted London air, forced him abroad in November 1675 to winter in Montpellier.  Before he left he made arrangements for his books and other belongings, including a portrait,  to be cared for in Oxford and at Exeter House, not knowing that he would be abroad for over three years.

So, is this the famous portrait of Locke left in safekeeping with his colleague and friend, Shaftesbury's steward Thomas Stringer, along with his books and other effects, over which he and Mr & Mrs Stringer quarrelled when Locke asked for its return some years later?

While Locke was abroad Exeter House  had the builders in in 1676 and then the Shaftesbury family and staff moved to Thanet House in Aldersgate Street and to Wimborne St Giles, the family seat.  Stringer would have been dealing with all these relocations of people and goods, as well as moving to lodgings in St. Martin's Lane himself.

Locke returned to Shaftesbury's service in 1679, but then following Shaftesbury's death in disgrace in 1683,  he also fled to the Netherlands for safety for the next six years.  No wonder there was some confusion over the painting's ownership by 1688 when Locke asked a friend to retrieve it for him*, but this does not entirely explain Thomas Stringer's unfriendly and adamant claim that it had been a gift.
He writes to Locke's go-between, Edward Clarke in March, arguing at length:
 "…wee are now too old for Children's play to have a thing given and then to have it called for againe;"

This sense of umbrage remained between both parties, and the identification of the painting remains uncertain.   

John Greenhill was also a Somerset man, who trained with Peter Lely before setting up his own London studio about the time he painted this showy self portrait.  It was probably intended to attract potential patrons, and he holds Lely's drawing of him like  a reference. 

Self Portrait, c. 1665, aged 20

© Trustees of Dulwich Gallery

By the time he painted Locke,  Greenhill  was an established portrait painter, but was to die young after a fall returning home from a heavy night out, in 1676.  Many of his portraits of Stuart worthies are now in public collections, as are his and other artists' portraits of Locke. 

*Locke wanted an engraving made for the frontispiece to his Essay concerning Human Understanding,   and admitted his vanity in liking this image of his younger self.

"And a few friends, and many books,…" Abraham Cowley

Abraham Cowley,  Sir Peter Lely, 1666-67
© National Portrait Gallery

Highly regarded in the seventeenth century, there are portraits of Cowley in several Oxford and Cambridge Colleges, and he was buried in pomp in Westminster Abbey. His reputation as a poet dwindled in later centuries, but he should also be remembered for his influence amongst those who founded the Royal Society; his Proposition for the Advancement of Learning was published in 1661 and he and his friend John Evelyn shared their interest in botany. 

THE WISH

"Well then! I now do plainly see

This busy world and I shall ne'er agree.

The very honey of all earthly joy

Does of all meats the soonest cloy;

And they, methinks, deserve my pity

Who for it can endure the stings,

The crowd, and buzz, and murmurings,

Of this great hive, the city.

"Ah, yet, ere I descend to the grave,

May I a small house and large garden have;

And a few friends, and many books, both true,

Both wise, and both delightful too!

And since love ne'er will from me flee,

A Mistress moderately fair,

And good as guardian angels are,

Only beloved and loving me.

"O fountains! when in you shall I

Myself eased of unpeaceful thoughts espy?

O fields, O woods!  when, when shall I be made

The happy tenant of your shade?

Here's the spring-head of Pleasure's flood:

Here's wealthy Nature's treasury,

Where all the riches lie that she

Has coin'd and stamp'd for good.

"Pride and ambition here

Only in far-fetch'd metaphors appear;

Here naught but winds can hurtful murmurs scatter,

And naught but Echo flatter.

The gods, when they descended, hither

From heaven did always choose their way:

And therefore may we boldly say

That 'tis the way too thither.

"How happy here should I

And one dear She live, and embracing die!

She who is all the world, and can exclude

In deserts solitude.

I should have then this only fear: 

Lest men, when they my pleasures see,

Should hither throng to live like me,

And so make a city here." 

Abraham Cowley,  1618-1667.  

Cowley was a staunch Royalist, carrying secret letters between Henrietta-Maria from exile in France and Charles I.   Having lived through the political and religious upheaval under Charles I, Cromwell  and Charles II, it is not surprising that Cowley echoes Virgil and Horace in his picture of a quiet rural life (although he never married).  But for the modern reader, Andrew Marvell says it so much better.