€nm\\ Uttirmitg Jilrt;atg THE GIFT OF PnjCr^A/iffl!T-.il..>Jsl....2>..Qjyy\^ a .-2.5-1 551 .Vi\!x!^.V\ Cornell University Library N1070 .A6 1896 Descriptive and historical catalogue of olin 3 1924 030 639 979 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030639979 DESCRIPTIVE AND HISTORICAL . CATALOGUE OF THB PICTURES IN THE NATIONAL GALLERY; WITH iSioqravtical i^otite^ of f^eBtcea^sJi J^&inuvs, BRITISH AND MODERN SCHOOLS. Us ^utijadti;. SEVENTIETH EDITION. LONDON: PRINTED FOR HER MAJESTY'S STATIONERY OFFICE, AND SOLD AT THE GALLERV. 1896. Price Sixpence. fyxntW W^nivmii^ Jib^^t^g THE GIFT OF .PjX«&)ah!e/t....>A. ..NAT. .55aLfY«a*afe5V\.- hZS^SS.'J 1 ?/■£(..,.<■■ DESCRIPTIVE AND HISTORICAL CATALOGUE OP THE PICTURES IN THE NATIONAL GALLERY; WITH ^iogvavftienl 0otiee» of tl^e tBtteaneti l&siijnttv«. BRITISH AND MODERN SCHOOLS. Sp j rStanfield, Clarkson 408 Landseer, Charles 409-| 4JJ f- Landseer, Sir Adjoin 412J 413] 414 > Landseer, Sir Edwin 415 i ^^^Vickexagm, Henry W. 2i g f Lee, Frederick if. 115} Witherington, William F. 422") I33 I Macllse, I)a7iiel 484 Hart, Solomon A. 425 Herbert, ./oA» ie. 427 1 Webster, Thomas 428 Redgrave, Richard 429 CreSWick, Thomas 4301 431 ^Ward, Edward M. 432J 433-1 434 1 Williams, Pe»8ry 436 r Cooper, Thomas S. 437 Danby, Francis 4381 43g ILinnell, ^oA« 440 Lane, Theodore 4411 442 > Lance, Georae 443 1 444 Egg, Augustus L. 445 Pictersgill, Frederick R. 446 Horsley, ^oA« C. HI I Cooke, Edward W. 449 Jolinston, Alexander 451}^°°*^ i'VerfmcA No. 452 Herring, ^oA?t i^". 453 Fraser, Alexander 4541 455 ^ Rippingille, Edward V. 456 Haghe, Louis 457 Dubnfe. CTaarfe Jtf. 458"^ 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498J Turner, Joseph M. w. 12 INDEX TO NAMES OF MASTEBS. No. 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 J ■ Turner, Joseph M. w. •Turner, Joseph M. w. No. 547 "1 548 549 550 551 552 553 554 555 556 557 558 559 560 561 561a 562 563 Seddon, Thomas 600 Dyckmans, John L. 601 Boxall, Sir William 6031 604 605 606 607 608 609. 610] 611 >'Laudseer, Charles, 612] 614 Etty, William 615 Frith, WHUam P. 616 Ward, Edwara M. 617 Douglas, w. 618 O'NeiU, G. B. g2Q I Lee and Cooper 621 Bonheur, Rosa 662 Williams, Penr^ 675 Hogarth, waiiam 676 Sleap, Joseph Axe 677 Shee, Sir Martin A. 678 Gainsborough, Thoma» 681 Reynolds, Sir j»shua Landseer, Sir Edwin INDEX TO NAMES OF MASTBJiS, 13 No. 682 Hayden, Benjamin R. 584 1 Gainsborough, Thomas 688 Ward, James Crome, John Wright, Joseph, of Derby Uwins, Thtmas Thomson, John Copley, John s. Tschaggeny, Charles p. , GrOr Aon, Sir John W. Keynolds, Sir Joshut Armitage, Edward Gainshoroagh, Thomas 689 725 730 731 733 738 743 764 759 760 761 762 763 764 765j 784 785 786 787 789 791 792 793 795 799 •Smirke, Robert Opie, John Lawrence, Sir TTiomas Haydon, Benjamin R. Copley, John s. Gainsborough, Thomas Pickersgill, Henry w. Barker, Thomas Martin, John Cruikshank, George West, Benjamin gQj I Jones, George 810 FoUSSin, Charles 813 Turner, Joseph M. W. gj5 j Clays, Pien-eJ^. 8851 886 887 ggg ■ Reynolds, Si>./o»AMa 890 891 892j 893 Lawrence, Sir Thomas No. 894 897 898 899 900 916 917 918 921 922 925 926 1,026 1,027 1,028 1,029 1,030 1,037 1,038 1,039 1,040 1,043 1,044 1,046 1,064 1065 1,066 1,067 1,068 1,069 1^070 1,071 1,072 1,073 1,076 1,091 1,097 1,110 1,111 1,112 1,142 1,146 Wilkie, Sir David Crome, John Eastlake, Sir Charles I.. Daniell, Thomas Hoppner, John "Good, Thomas S. Wilkie, Sir David Lawrence, Sir Thomas Gainsborough, Thomas Crome, John Opie, John j- Singleton, Henry Linton, William Morland, George Crome {John) Ilulready, William Barker, Thomas Miiller, William J. Ward, James Gainsborough, Thomas Hogarth, William Wilson; Richard [•Constable, John Morland, George Romney, George [■StOthard, Thomas Wilson, Richard [■Copley, ^oAn s. Unknown. Poole, Paul F. Unknown. Blake, William Cotman, John S. Linnell, John Lawson, Cecil Raeburn, Sir Henry 14 INDEX TO NAMES OF MASTERS. No. 1,153 Hogarth, William 1,156 Arnald, George 1,158 Ward, James I'JII} Hogarth, WiUiam 1.163 Stothard, Thmnai 1.164 Blake, William 1,167 Opie, ^oA« l'l7§}Scheffer,^r.v 1,174 Gainsborough, Thomas 1,176 Ward, James 1,1761 l'l78 fNasmjrth, Patrick l',179j 1.180 Turner, Joseph M. W. 1.181 Mulready, William 1.182 Leslie, Charles R. 1.183 Nasmyth, Po'-^'\ Ascribed to 1,198 Abbott, Xmue/ K 1.204 Stark, James 1.205 BrideU, Frederick L. 1.207 Constable, ./oAn 1.208 Opie, John 1.209 Walker, FrerfertcA 1.210 Rossetti,C?a6ne/C.X». 1.223 Scott, Samuel 1.224 Hudson, Thomas 1.225 Webster, Thomas 1.226 Landseer, ^SeV ^dwtn 1,228 Fuseli, Henry No. 1,2351 1.236 \ 1.237 J 1,238 1,242 1,2441 1.245 \ 1.246 J 1,249 l,-250 1,253 1,254 1,259 1,271 1,2721 1,273 1,274 1,275 1,276J 1,279 1,281 1,283 1,285 1,290 1,306 1,307 1,322 1,328 1,3491 1,350/ 1,351 1,354"] 1,355 1.356 I 1.357 > 1358 1359 1,360 1,361 1,362 1,363 1,364 Constable, John Lawrence, Sir 'thoma» Nasmyth, Alexander Constable, John Dobson, William Maclise, Baxiel Holland, James Unknown. Reynolds, Sir Joshua Gainsborough, Thomas Constable, John Kossetti, Gabriel C. V. Cotes, Francis Gainsborough, Thomas Vernet, Emile J. H. Wilson, Richard Barker, Thomas Lawrence, Sir Thomas Scott, William. Bell Scott, Samuel Landseer, Sir Edwin Morland, George Unknown. Wilson, Richard Battoni, Pompeo O. Brompton, Richard Unknown. Wilson, Richard INDEX TO NAMES OF MASTERS. 15 No. 1.365 Reynolds, Sir Joshua 1.366 Devis, Arthur William 1368 f ^0^^*°^) ^'^^^^^ 1.369 Devis, Arthur William 1.370 Morton, Andrew 1.371 Zoflfany, Johann 1.372 Halls, John J. 1.373 Unknown. 1.374 Hogarth, Wm. 1,379 Woodward, Thomas 1,382 Jackson, John 1.384 Nasmyth, Patrick 1.385 Egg, Augustus L. 1.388 Mason, George H. 1.389 WillCOCk, George B. 1.391 Walker, Frederick 1.392 Bell, John Zephaniah 1.394 Brown, Ford Madox 1.395 Eastlake,StV Charles K, 1.396 Romney, George 1,398 Eastlake,Si'-CAarZesL. No. 1,403 1 1,403; 1,404 1,405 1,407 1,408 1,413 1,414 1,426 1,428 1,435 1,448 1,452 1,453 1,458 1,460 1,463 1,464 1,467 1,474 1,475 Morland, Henry R. Jackson, John Lewis, John F. Dyce, William Opie, John Lawrence, Sir Thomas Westall, Richard Dyce, William Lancaster, R- H. Raebnrn, Sir Henry Bonvin, Francois S. StubbS, George Nebot, B. Cotman, John S. Ibbetson, Julius Casar Miiller, William J. Hogarth, William Ladbrooke, Robert MfiUer, William J. Brooking, Henry ( 16 ) THE BRITISH AND MODERN SCHOOLS AS KBPRE- SENTED IN THE NATIONAL GALLERY. DECEASES MASTERS. Dobsou, William Hogarth, William - Scott, Samuel - Hudson, Thomas Nebot, B. - Eattoni, Fompeo Grirolamo Wilson, Richard, R.A. Brompton, Richard - Reynolds, Sir Joshua, P.Ti.A . Stubbs, Greo., R.A. - Cotes, Francis - Gainsborough, Thomaa, R.A. norland, Henry R. - Zoffany, Johonn, R.A. Wright, Joseph Ronmey, George Copley, John Singleton, R.A. Puseli, Henry, R.A. - Daniell, Thomas, R.A. Beaumont, Sir George, Bart. Stothard, Thomas, R.A. ■ Raeburn, Sir Henry, R.A. Blake, William Nasm3rth, Alexander 1610-46 1697-1764 1772 1701-79 ? ? 1708-«7 1713-82 1782 1723-92 1724^1806 1725-70 1727-88 1730 P-1797 1733P-1810 1734-97 1734-1802 1737-1816 1741-1825 1749-1840 1753-1827 1765-1834 1756-1823 1757-1827 1758-1840 BEITISH AND MODERN SCHOOLS. 17 Hoppner, John, B.A. Abbott, Lemael F. - Opie, John Morland, George Aruald, George, A.R.A. Devis, Arthur William Westall, Richard, R.A. - Glover, John Crome, John Lawrence, Sir Thomas, P.R.A Barker, Thomas Ward, James, R.A. - Halls, John J. - Phillips, Thomas, R.A. - Shee, Sir Martin A., P.R.A. Turner, Joseph M. W., R.A. Constable, John, R.A. Schetky, John 0. Jackson, John, R.A. Callcott, Sir Augustus W., R.A Cotman, John Sell - Fickersgill, Henry W., U.a. Wakie, Sir David, R.A. - Nasmyth, Patrick - Unlready, William, R.A. Etty, William, R.A. Collins, William, R.A. Vernet, Emile Jean Horace Good, Thomas Sword Linton, William 1759-1810 1760-1803 1761-1807 1763-1804 1763-1841 1763-1822 1765-1836 1767-1849 1769-1821 1769-1830 1769-1849 1769-1859 ? P 1770-1845 1770-1850 1775-1851 1776-1837 1778-1874 1778-1831 1779-1844 1782 P-1842 1782-1876 1785-1841 1786-1831 1786-1863 1787-1849 1788-1847 1789-1863 1789-1872 1791-1876 18 BRITISH AJSTD MODERN SCHOOLS. Linnell, John - Craikshaiik, George Danby, Francis, A.E.A. Eastlake, Sir Charles Look, P.R.A. Staufield, Clarkson, R.A. - Newton, Gilbert S.,R.A. - Leslie, Charles R., R.A. Stark, James Bell, John Zephaniah Scheffer, Ary - Herring, JohnF. Roberts, David, R.A. Lee, Frederick R., R.A. - Lancaster, R, H. Webster, Thomas, R.A. Holland, James Bonington, Richard F. Woodward, Thomas Morton, Andrew- Lance, Gedrge - Landseer, Sir Edwin, R.A. Lewis, John E., R.A. Hart, Solomon A., R.A. Dyce, William, R.A. - Poole, PaulF.,R.A. Scott, William Bell, H.S.R.A. Cooke, Edward W., R.A. Dyckmans, John L. - Creswick, Thomas, R.A. - Maclise, Daniel, R.A. 1792-1882 1792-1878 1793-1861 1793-1866. 1793-1867 1794-1835 1794-1859 1794-1859 1794-1883 1795-1858 1795-1865 1796-1864 1799-1879 1850' 1800-86 1800-70 1801-28 1801-52 1802-45 1802-64 1802-73 1805-76 1806-82 1806-64 1810-79 1811-90 1811-80 1811-88 1811-69 1811-70 BEITISH AND MODERN SCHOOLS. 19 Willcock, Greorge Barrell - Miiller, William J. - Egg, Augustus L., K.A. Ward, Edward M., R.A. - Aimitage, Edward, R.A. - Bonvin, Fran9ois S. - Mason, George H., A. R.A. Seddon, Thomas Brown, Eord Madox - Rossetti, Gabriel 0. D. Bridell, Frederick L. Walker, Frederick, A.R.A. Lawson, Cecil G. 1811-52 1812-45 1816-63 1816-79 1817-96 1817-88 1818-72 1821-56 1821-93 1828-22 1831-63 1840-75 1851-82* LIVING MASTERS Prith, William Powell, R.A. Goodall, Frederick, R.A. Horsley, John Callcott, R.A. * See Biographical Memoirs of deceased Masters^ iu the Ualaiu^uc, arruuged alphabetically. N.B. — The works of Battoni, Loutherbourg, Ary Scheffer, Mdlle. Rosa Bonheur, Charles Poussin, Syckmans, Clays, Dmile J. Horace Yernet, and Pran^ois S. Bonvin, are at present catalogued with the works of the British School. ABBOTT— AEMITAaE. CATALOGUE. ABBOTT (Lemuel Francis), A native of Leicestershire ; was born in 1760. ,, At the age of fourteen he became a pupil of Francis Hayman, and subse- quently followed Art as a portrait painter. He was an occasional exhibitor at the Boyal Academy between 1788 and 1800. Several of his works, including a portrait of ,Lord Nelson, are in the National Portrait Gallery. He died in 1803. No. 1198. Portrait of Mr. Henry Byne, of Carshaltorif Surrey. Life size ; bust length ; face turned to the left. Painted when, the sitter was, apparently, about thirty years of age. Dressed in a blue coat with brass buttons and a white muslin cravat. The face is clean shaven, and the hair of the head powdered. Dark background. Mr. Byne, a landed proprietor in Surrey, was first-cousin to General Byne Skerrit, who fell at the battle- of Bergen-op-Zoom. On canvas, 2 ft. 5 in. h. by 2 ft. w. Presented in 1885, by Miss Catherine C. Lippincott (late of Brighton). AKKITAGB (Edwaed), K,.A., Was bom on the 20th of May, 1817, in London, where he re- ceived his earliest education ; but it was on the Continent — mainly in France and Germany — that he pursued his later studies, and there, too, probably acquired a taste for art. Having decided to become a painter, he entered the Ecole dea Beaux Arts in Paris, then under, the direction of Paul Delaroche,. who in course of time noticed the zeal and ability displayed by the young Englishman, and employed him as an assistant in executing certain portions of the " Hemicyole," that well-known decorative work which adorns the amphitheatre of the Ecole, and is considered Delaroche's masterpiece. This experience and the natural enthusiasm which it created in Armitage for French art of the neo-classic school, tended to form a taste which he re- .22 AEMITAGE. tained througli life, and wMoh is recognizable in some of tis own _ productions. In 1842, being then only 25 years of age, he exhibited at the Paris Salon his first large picture " Prometheus Bound," which seems to have been received with favour. A year or twolater he -entered into the Competition organized by the British Grovernr ment for cartoons, exhibited in ■Westminster Hall, with a view to the decoration of the Houses of Parliament, and in this venture he achieved a great success. The subject which he selected for illustration was " Csesar's First Invasion of Britain." The design was placed first in the list of those to which a premium of ■300Z. was awarded. In later competitions of the same kind his ■cartoon representing " The Spirit of Eeligion," won a prize of 2001. For a third work, "The Battle of Meeanee," painted in •oil, he received the award of 500Z., and had the additional satis- faction of seeing it pass into Her Majesty's possession. After spending twelve months in stady at Rome, Armitage ■exhibited, for the first time, at the Eoyal Academy in 1848 two pictures, viz., "Henry VIII. and Katherine Parr," and another entitled "Trafalgar," representing the death of Nelson. These were followed in subsequent years by many other works, of "which the most notable were his " Samson," exhibited in 1851 ; *' The Thames and its Tributaries " (study for a fresco at West- aninster), 1862 ; "The Eavine at Inkerman," 1856, and "Retri- bution," painted in commemoration of the Indian Mutiny and its attendant horrors, 1858. A little later the painter seems to have selected religious subjects for illustration, and among these may be mentioned " St. Francis and his Followers," 1859, " The Mother of Moses Hiding," and " Christ with the Twelve . Apostles," 1860. In 1867 Mr. Armitage was elected an Associate of the Royal Academy, and five years afterwards was admitted to the honour of full Membership. In 1875 he was appointed Professor of Paint- ing at the Academy, and in that capacity delivered a series of lectures which have since been published. He was a cultivated, well-read man, possessed of some tastes which are not always -associated with his profession. For instance, he had a scientific love of natural history, and formed a collection of beetles and butterflies, remarkable for its completeness : he also was ex- tremely fond of sailing, and carried his enthusiasm so far as to submit to the Board of Trade examination, which qualified him to ■ command his own yacht. Towards the latter part of his life he inherited a large fortune of which he made good use, not only in the direction of generous hospitality, but towards the substantial -encouragement of art. His closing years were spent in retirement at Tunbridge Wells, where he died on the 24th of May, 1896, aged 79. AEISTALD. 28; No. 759. The Remorse of Judas. "Then Judas which had betrayed him, when he saw that he was condemned repented himself, and brought again the thirty pieces o£ silver to the chief priests^ and elders, saying, I have sinned in that I have betrayed the innocent blood. And they said. What is that to us f see thou to tha.t."— Matthew xxvii., 3, i. Four figures half length ; life size. On canvas, 4 ft 2 in. A. by 6 ft. 7 in. w. Exhibited at the Eoyal Academy in 1866. Presented by the painter in^ the same year. ABNAXI) (Geokge), A.B..A., Born in 1763, was elected an Associate of the Eoyal Academy- in 1810, when he exhibited two works, viz. : — " A view of London from Grreenwich Park," and a figure piece, entitled, "Pyramus and Thisbe." In the following year his name appears in the Eoyal Academy Catalogue as " Landscape Painter to H.E.H. the Duke of Gloucester ," and as an exhibitor of two other pictures, viz.: — " A composition from a description of Poestum, by the Abb^ Dupaty," and a "Yiew in Westmoreland : Morning."" In 1812 he exhibited a view of " Coleorton Hall, the seat of Sir G. Beaumont," a "Cottage scene," "Interior of Howden Church, Yorkshire, with a funeral by torchlight," "A storm,"' and a " Yiew of the Town of Bedford, with the old bridge in a. state of demolition." In 1813 five other works appeared, among- them one illustrating a classic myth: — "The boar that killed Adonis brought before Yenus." From this time Amald contributed for many years annually to the Eoyal Academy Exhibition, sending on one occasion as many as eight pictures, but in 1820 and 1826 his name is absent from the catalogue. He seems to have travelled and painted on the Continent, and among the results of his labours is a series of' views on the Eiver Meuse, from Liege to Mezieres, engraved in mezzotint from his drawings, and accompanied by descriptive text written by the author. The date of this publication is* uncertain, but the drawings for it were probably made after the- peace of 1815. Amald died in 1841. No. 1156. On the Ouse, Yorkshire. A view looking across the river towards the opposite bank, where, on the left of the scene, two sailing barges are moored and a boat has been hauled ashore. To the right is the end of a stone wall or jetty with mooring rings attached. In the middl& distance is a bridge, behind which rises a lofty building, appa- rently erected on the remains of an ancient castle. In th&- ^4 BARKER. background trees and other buildings. The sky, across which storm clouds are drifting, is illumined towards the right by a •sunset glow. Painted on canyas 4 ft. 7 in. h. by 8 ft. 8 in. to. Purchased out of a pecuniary bequest made by the late Mr. Kichard C. Wheeler. BAKEER (Thomas) Was born in 1769 near the village of Pontypool, in Monmouth- shire. His father, also, a painter, afterwards settled in Bath, und here the son found a valuable patron in Mr. Bpackman, a coach builder, who furnished the young painter about 1790 with the means of visiting Rome. This proveS of great advan- •tage_ to him, though Barker's taste was chiefly for landscape and rustic subjects, following somewhat in the steps of Grainsborough, who had gained a gi-eat reputation at Bath. Barker, however, painted also occasionally portraits and religious pieces. His career was a successful one ; he settled at Bath, where, and in the neighbourhood, his works are still principally to be seen, and where he died on the 11th of December 1847.* He exhibited many works at the British Institution, but his name very seldom occurs i in the catalogues of the Royal Academy ; his brother Benjamin, also_ a good landscape painter, settled at Bath, was a more frequent exhibitor there. Thomas Barker's most remarkable work is the large fresco painted in his house at Sion Hill, Bath, representing " The inroad of the Turks upon Soio, in April 1822." A veiy popular picture was his " Woodman," a copy of which in needle- work by Miss Linwood was exhibited for many years in Leicester Square : the subject was described or illustrated by a quotation from Oowper's " Task." No. 1039. Landscape; perhaps on the Somerset Downs. In the foreground a clover field in which peasants are working or resting, and a donkey stands waiting for his load. In the dis- tance a level country, and a river with hills beyond it. On canvas, 2 ft. 2 in. A. by 3 ft. 3 in. w. Purchased in 1878 from Mr. W. Fuller Maitland, M.P out of a j)eouniary bequest made by the late Mr. Richard Charles Wheeler. * Art Union for 1S48. BITTONI. 25, No. 1306. Landscape, with Figures and Cattle. The foreground is occupied by a flock of sheep and a sheep dog followed by rustics on horseback, who have just reached the brow of a hill on a wild road passing through mountainous country. On the right rises a rugged mass of rock. On the left two peasant women sit conversing by the roadside. In th& middle distance is a thibkly wooded glen with undulating moor- land beyond. Above the horizon dark grey clouds are gather- ing, suggestive of a thunderstorm. On eanras, 2 ft. 8 in. h. by 3 ft. 8J in. w. Purchased from Mrs. Briggs, from the interest of the "Lewis Fund" in 1890. BATTOlfl (POMPEO GlEOLAMO) Was born at Lucca in 1708, and for a time followed the busi- ness of his father, who was a goldsmith, but having shown an early taste for pictorial art he was sent to Rome, where he is said to have studied under Sebastian Oonca, and to have greatly admired the works of Raphael. He painted many subject pic- tures which have found place in the public galleries of Europe, but it was in the field of portraiture that he had most practice- and in which he most excelled. During his professional career he seems to have been honoured by an extraordinary number of commissions in this branch of art from Eoyal personages. His good fortune in this and in other directions, though no doubt due in a great measure to his own merit, was perhaps ac- centuated by the fact that in Italy, during the middle of the last century, the standard of taste and skill in painting was not high^ and he had but few rivals. Battoni died at Rome in 1787. No. 1361. Portrait of Sir Richard I/yttelton, K.B. Died 1770. Master of the Jewel Office. Fourth son of Sir Thomas Lyttel- ton, Bart. Life size ; seated ; three-quarter length ; nearly full face. Dressed in a blue velvet coat and breeches, white satin waistcoat embroidered with sprigs, and white cravat. On his breast he wears the Ribbon and Grand Cross of the Bath. His right arm rests on a table, the hand holding a letter addressed to himself. Dark background, with a plumed helmet on the left. Fainted at Rome. On canvas, 4 ft. 5 in. h. by 3 ft. 2\ in. w. Bequeathed by Marianna Augusta Lady Hamilton, with other pictures, to the Nation. 26 BEAUMONT. BEAUMOirT (SiE George H.) Seventh baronet of the ancient family of the Beanmonta, of jStonghton Grange, Leicestershire, was bom at Dunmow, in Essex, -in 1753. He succeeded to the baronetcy in 1762, ^.nd was edn- ■cated at Eton and at New College, Oxford. In 1778 he married l^argaret Welles, gi-anddanghter of Lord Chief Justice Welles, land in 1782 he made a tonr, with Lady Beaumont, in Italy. 'During this tour he improved a taste which he had always shown ■for the fine arts, and became a painter, having already had ■some instruction from Richard Wilson in landscape painting, ■the branch of the art which he adopted. He had, however, a ■generally cultivated taate in all matters of art, and he was ever the kind friend and the liberal patron of artists. His munificent donation of his own collection of pictures to the National Gallery has been already noticed in this catalogue (p. 5). Sir George was -returned to Parliament, for Beeralston, in 1790. He died at the family seat of Ooleorton in Leicestershire, Feb. 7, 1827.* No. 10$. A Small Landscape. The wooded bank of a river, with a dark cluster of trees in the •middle gi-ound ; two figures in full light in the foreground ; ■mountains in the distance, and a stormy sky. BngraTed by K. Brandard, for Jones's National Gallery of Pictures, Sfc. On panel, 7i in. h. by 9^ in. u>. Presented to the National Gallery, in 1828, by the dowager Lady Beaumont. No. 119. ^ Landscape, with Jaques and the wounded Stag. From Shakspeare's "As You Like It," Act ii. " He lay along Under an oak, "whose antique root peeps out Upon the brook that brawls along this wood ; To the which place a poor sequester'd stag, That from the hunter's aim had ta'en a liurt. Did come to languish." A woody landscape, representing a scene in the Ardennes. In the midst is a running stream, arched over by spreading oaks, admitting a gleam of light from the distance. Jaques, part only of whose figure is seen, reclines under the shade of an old oak in • Jones, National Gallery of Pictures, lie. ; there is a life of Sir G Beaumont and some account of the origin of the National Gallery, in Cunningham's Lives of the most Eminent British Painters, Sculptors, and Architects vol \i BEECHEY. 27- the foreground, and is contemplating the wounded stag drinking on the opposite side of the stream. In the middle distance is a small herd of deer, disturbed by the approach of a hnntaman and his dogs. Engraved by J. C. Bentley, for Jones's National Gallery. On canvas, 2 ft. 6 in. A. by 3 ft. 4 in. w. Painted in 1819 ; presented to the National Gallery, in 1828, by the dowager Lady Beaumont. BEECHEY (SiE William), R.A., "Was born at Bnrford, in Oxfordshire, in 1753, and was- originally articled to a conveyancer at Stow. But having a strong love for Art, he determined to follow painting as a profession, and in 1772 he obtained admission as a student into- the Eoyal Academy of Arts in London. He soon obtained reputation as a portrait-painter, and became ultimately one of the most distinguished of that class. In 1793 he was elected an associate of the Eoyal Academy, and was appointed in the same year portrait-painter to the Queen. He was elected an academician in 1798, after the completion of his large equestrian picture of George III., the Prince of Wales, and the Duke of York, attended by G-enerals Dundas, Sir W. Ea,woett, and G-oldsworthy, reviewing the Third and Tenth Dragoons ; for this- picture, which is now at Hampton Court, he was knighted -y being the first artist since Sir Joshua Reynolds who had received^ that honour : West had declined it. Sir William died at Hamp- stead in 1839, at the advanced age of 86.* He has surpassed all other painters in the number of his contributions to the Eoyal i Academy exhibitions, exhibiting in sixty-four years 362 portraits. No. 120. Portrait of Joseph Nollekens, R.A., Sculptor.. NoUekens was a distinguished sculptor of busts, and the pre- decessor of Sir Francis Chantrey in the public favour in this- respect. He died, possessed of great wealth, in London, in 1828,. aged eighty-six.f Engraved hy C. Turner, A.R.A. On canvas, 2 ft. 6 in. h. by 2 ft. 1 in. w. Presented to the National Gallery, in 1835, by the Eev. K. E. Kerriek, * Art Union Journal, 1839. The large picture of the " Review " has been en- graved by J^ames 'Ward, E.A. t J. T. Smith. Nollekens and his Times, &c., London,1828. ■28 BELL. SHImIm (John Zephaniah) Was born at Dundee in 1794 ; his father was a tanner. He -studied at Edinburgh University, and also under private tuition. Although he had chosen Law as his profession, it soon became evident that his talents lay mainly in the direction of Art. He therefore came to London, bringing with him letters of intro- duction to Sir David Wilkie and others, and entered the Schools ■of the Boyal Academy, where he studied under Mr. Shee, the future President. He next visited Paris and worked in the ■atelier of the Baron de Gros. Li that city. Bell found a generous patron in the Earl of Airlie, who commissioned him to decorate the dining room in Oortachy Castle with incidents from the lives of his ancestors. In 1825 he went to Rome, and after working there for fifteen months returned to Scotland, where, in 1831, he married Miss -Jane G-. Hay Campbell, an Argyllshire lady. In 1833 Bell went to Lisbon to paint a full length portrait of the Queen Maria for the Town Hall of Oporto. , On the pressing recommendation of Sir D. Wilkie, in 1837,, he Tindertook the direction of the School of Design in Manchester^, an ofiBce which he held for five years. He then returned to Lon- don and chiefly occupied himself in producing designs on a large scale for the decoration of public buildings. Among these were 'the cartoons he executed for the Great Competition in West- minster Hall — for one of which he received a prize of 2501. He died at his residence in South Kensington on the 28th of January 1883, in the 89th year of his age. No. 139Z. Cardinal Bourchier urging the Widow of Edward IV. to let her Son out of Sanctuary. In the centre of the picture, the youthful Prince, clad in black, clings to the Queen, who is also draped in deep mourning and surrounded by her attendants. Towards the right of the fore- ground the Cardinal, whose back is turned to the spectator, but whose face is seen in profile, raises his hands with an appealing gesture. Near him stand other ecclesiastics and a page or acolyte. On the right, through the open door of the convent hall, are seen the halberds of a troop of soldiers on guard. On ithe left is a servant cording a trunk. On canvas, 4 ft. 4 in. h. by 5 ft. Oj in. w. Presented by the painter's widow id 1893. BLAKE. 29 BLAKE (William). William, the second child of James and Catherine Blake, was born November the 28th, 1757, in London, at No. 28 in Broad Street, Golden Square. His father, who was a hosier, sent him to Parr's drawing school in the Strand, where the boy had opportunity to copy casts from the antiqne. At fourteen years of age he was apprenticed to James Basire, the second engraver of that name, with whom, he remained seven years. His apprenticeship ended, Blake studied for a time in the " Antique Schools " of the then newly founded Royal Academy. He also drew there from the living model. Thrown now upon his own hands, though still living with his father, he accepted employ- ment from pubushers, engraving for various works illustrations designed by others. Thus he became acquainted with Stothard, who, numbering about as many years as Blake, was already making designs for book illustration. Stothard introduced him to Flaxman, between whom and Blake a lasting friendship sprang up. In 1782 Blake married Catherine Boucher, whose steady love and devotion sustained him in many a trying hour. In 1784 his father died ; and in the same year Blake, in company with Parker, an engraver, set up a shop for the sale of prints next door to his elder brother, who now succeeded to the hosiery business. But the partnership did not last long, and Blake re- moved to Poland Street. "Working hard at his profession, and too often engaged on subjects little congenial to him, he con- tinued struggling to gain a livelihood. His drawings occasionally found their way into the exhibitions of the Royal Academy, but probably remained unsold. The death in 1787 of his young brother Robert, whom he had taken to live with and study under him, afflicted him deeply. It was in the following year that Blake produced that remark- able combination of exquisite verse and artistic loveliness of design, the " Songs of Innocence." In the year in which it was published (1789), Blake engraved in a similar manner the mystical "Book of Thel," also a combination of writing and illuminated design. In 1790 appeared tte "Marriage of Heaven and Hell," in which volume the text is printed in tone, the designs gorgeously coloured. In the succeeding year he found a sympathetic publisher in Johnson, of St. Paul's Churchyard, to whom he was introduced by Fuseli. Between 1793 and 1794 "The Gates of Paradise," "A Vision of the Daughters of Albion," and so . BLAKE. "America" appeared, all witli marginal designs. The return from Bome of Ms friend Maxman in the latter year caused Blake to be intrusted ■with the engraving, under Piroli's direction, of Flaxman's designs to the "Odyssey." Then also appeared the "Songs of Experience," a counterpart of the "Songs of Innocence," of similar form, of equal beauty, but in matter graver and sadder. In 1796 he received a commission to draw and engrave illustrations to Toung's "Night Thoughts." In 1821 Blake removed from South Molton Street to 3, Foun- tain Court, Strand, where he resided till his death. He was employed by Dr. Thornton to illustrate an edition of Virgil's "Pastorals," intended for school use. The drawings, small, and highly poetic in conception, were cut on wood by Blake, his first essay in that process. In 1823 Dr. Butts bought from Blake a set of coloured drawings illustrating the book of Job. A repetition of these, with some difierences, was made for the late John Linnell, who had now become Blake's devoted friend. He induced Blake to study the engravings of Divier, Marc Antonio, and Bonasoni ; and the results of that study, so far as method is concerned, are perceptible in Blake's finest set of engravings, — the series from the original "Illustrations to the book of Job." A vivid and weird ideality, a sense of beauty and terror, q,nd a primaeval simplicity pervade these wondrous inventions. Blake was then verging on his seventieth year. Tet he afterwards drew and partly engraved, at Linnell's instigation, the illustrations of Dante's " Inferno," in which the imaginative power appears as strong as ever. Supported by the generous aid of Linnell, who supplied it under the name of advances in hand for the work last named, Blake's mortal frame succumbed, his mind never to the touch of time and disease. He died in the arms of his' faithful wife on the 12th of August 1827. During his later years, appreciating friends surrounded him, most of them younger, some very much younger, than himself; of these were Linnell, Aders, Crabb Eobinson, Calvert, Tatham, Samuel Palmer, and Mr. George Richmond (II.A.) who was amongst the few devoted ones that followed the remains of Blake to their final resting-place in Bnnhill Fields Cemetery. Blake produced an immense number of drawings, as well as several paintings in a method which it pleased him to call fresco. A complete list of his works, carefully composed and annotated by Mr. W. M. Rossetti, will be found appended to Gilchrist's " Life of William Blake," a work which contains all that is known of this pure-hearted, single-minded poet-artist. Of his poetry this is not the place to speak. BONHEUR— BONmGTON. 31 No. 1110. The Spiritual Form of Pitt guiding Behemoth. "Heisthat Angel who, pleased to perfonn the Almighty's orders, rides on the whirlwind directing the storms of war. He is commanding the Reaper to reap the Vine of the earth and the Ploughmen to plough up the cities and towers." On canvas, 2 ft. SJ in. h. by 2 ft. 5 in. w. Purchased in 1882, from the Executors of the late Mr. Samuel Palmer, the landscape painter. No.^ 1164. The Procession from Calvary. The body of Our Lord, rigid in death, and stretched upon a bier, is borne on the shoulders of four disciples, while a fifth (St. Peter P) walks by the side leaning on a staff. The Virgin, whose hands are clasped in prayer, follows the bier. Behind her are two of the holy women. All the figures, which are about seven inches in height, wear long straight robes reaching to the ground. On the Virgin's head is a white linen veil, which descends to her feet. Back- ground of trees and buildings, with Mount Calvary in the dis- tance. Blue sky streaked with white horizontal clouds. Panted on paper affixed to cardboard, 10^ in. h. by 1 ft. 2j in. w. Presented by Mr. Francis T. Palgrave, 1884. BOXTHEUB (Mdlle. Eosaline). No. 621. " The Horse FoAr." Men trotting out horses in the bright sunshine; some riding them, others leading them by cords ; some coming forward, others retiring. To the spectator's right an avenue of trees, with groups of lookers on ; the effect broken up by glimpses of sunshine. On canvas, 3 ft. 11 In. A. by 8 ft. 2 J in. w. Engraved on a large scale by Thomas Landseer, and smaller by G. C. Lewis. Painted in 1848, a repetition from a larger picture. Bequeathed by Mr. Jacob Bell in 1859. BONINGTON (Richakd P.) Was bom in the village of Arnold near Nottingham, October the 25th, 1801. His father, who was a landscape and portrait painter, took him, when only fifteen years old, to Paris, and there procured him permission to copy in the Louvre. Owing to this circumstance, Bonington's education was chiefly French ; 32 BOlSrVIN. he became a student of the Ecole des Beaux Arts, aud attended occasionally the studio of the Baron G-ros. He devoted himself chiefly to landscape painting, -working often in -vp-ater-colours ; his subjects are mostly marine or river views. Having obtained considerable reputation in Paris, Bonington visited Italy, where in Yenice he found ample materials suited to his especial taste, and executed some elaborate views there, both in oil and in water-colours. By the exhibition of some of these works he acquired great reputation also in England. He died of decline, in London, on the 23rd of September 1828, shortly after his return from a second visit to Paris, not having quite completed his twenty-seventh year. Sir Thomas Lawrence, writing to a friend on attending Boning- ton's funeral, remarks, " I have never known in my own time an early death, of talent so promising, and so rapidly and obviously improving."* Bonington exhibited only four pictures at the Royal Academy : " A Scene on the French CoaBt," in 1827; and the three following in 1828 : " Henry III. of IVance," a " Coast Scene," and " The Grand Canal, with the Church of La Vergine della Salute, Venice." No. 374. The Gohmm of St. Mark, Venice. The column supports the winged lion, the attribute of St. Mark, in bronze ; this and the other column on the right, which supports the marble statue of St. Theodore, the first patron of Venice, are known as the Oohnne della Piaazetta. They were brought from the Bast early in the twelfth century, by the Doge Domenioo Micheli, and were erected in their present position by Mccolo Barattieri in 1180. The statue of St. Theodore was placed on the column in 1329 ; the lion of St. Mark, a work of later date, was carried to Paris in 1797, but restored to its orieinal position in 1816. Engraved by J. B. Allen. On canvas, 1 ft. 5^ in. h. by 1 ft. 2i in. w. Exhibited at the British Institution in 1826. Vernon Collection. BONVIir (FKAN901S Saint), inter both of landscape and interio Vaugirard, Paris, on the 22nd „. ^,„,„^„„^ 1817. He was the son of a garde-eham^etre, and received his early art education in the Drawing School of the Rue de I'Scole A French painter both of landscape and interiors with figures, was bom at Vaugirard, Paris, on the 22nd of November ■ Ommingham' a Lives (if British Fainiers, die. BBIDELL. S3 de Medicine. For thirty years he was a constant exhibitor at the Salon, and in 1870 he received the Order of the Legion d'Honneur. The latter part of his life was clouded by ill-health. He died in 1888. No, 1448. A Village Cheen in France. A broad level pasturage on which cows are grazing. On the right hand of the picture is a row of trees which ■ cast their shadows on the grass. In the background a hedge divides the enclosure from distant woodland and scattered buildings. Signed and dated. On canvas, 1 ft. Sj in. h. by 1 ft. 9| in. w. Presented by Mrs. E. Edwards in 1895. 'BBXH'EIiSm (Frederick Lee) Was born at Southampton in 1831. He showed an early love of drawing, and at the age of fifteen entered on the profession of a portrait painter in his native town. His first efi'orts appear to have been wholly unassisted, for at that time it was difficult to obtain even elementary education in art at Southampton. Young Bridell's work attracted the attention of a local picture cleaner and dealer, with whom he entered into, an engagement, which, after much labour, supplied him with the means of study on the Continent. It was not, however, until 1859 that he exhibited in London, when his picture of the " Coliseum by Moonlight " was hung at the Eoyal Academy, and again at the International Exhi- bition of 1862. The public impression which it made was fully sustained by subsequent works. A visit to the Lake district in North Italy resulted in the execution of several noteworthy 34 BROMPTOlSr, pictures, which met with full appreciation and a ready sale, but anlackily for Bridell's fame most of his best landscapes were never exhibited. Among them was a scene illustrating the "Temple of Love," described in Spenser's "Faerie Queen," which Bridell is said to have painted in imitation of Turner. This was a commission from Mr. Wolff, of Southampton, who bought several of his pictures and formed a collection to which the owner gave the name of the " Bridell Gallery." In 1858 Mr. Bridell married, at Eome, the daughter of Mr. "W. J. Fox, then M.P. for Oldham, a lady who herself had adopted Art as a profession. But unfortunately his health had long been delicate, and he died of consumption in August 1863. No. 1205. The Woods of Sweet Chestnut above Varen/na, Lake CoTno. A wooded slope rapidly shelving towards the rocky sides of the Lake, a portion of which is seen to the left, with a boat sailing on its surface. In the foreground, to the right, is a felled or shattered chestnut tree, near which a woodman sits. Moun- tainous background, with a blue sky crossed by drifting clouds. To the left, in the extreme distance, the crest of Monte Bosa, illumined by a rosy light, rises from the horizon. On canvas, 1 ft. 9^ in, h. by 4 ft. 10^ in. w. Presented by Mrs. BrideU-Fox (formerly Mrs. Frederick Lee Bridell) in 1886. BROMFTON (Eichard). An English portrait painter who studied under Benjamin "Wilson, and afterwards pursued his studies in Italy. At Borne he was introduced to the Earl of Northampton, whom he ac- companied to Venice when that nobleman was appointed Am- bassador to the Republic. At Venice he painted a portrait- group representing the Duke of York and several English gentlemen on their travels. This picture, on the artist's return to England in 1763, was exhibited at Spring Gardens and helped to establish his reputation as a portrait painter. Owing it is said, to extravagant habits, Brompton afterwards fell ' into BROOKING. 35 pecuniary difficulties, from whicli he was relieved by the Empress of Eussia, who invited him to reside at St. Petersburgh, where her patronage secured him considerable practice, and where he eventually died in 1782. No. 1362. Portrait of Thomas, 2nd Lord Lyttelton. Died 1779. Son of the Poet and 1st Lord Lyttelton. Life size : seated : seen to the waist. Clad in a dull-red velvet coa.t, amber- coloured waistcoat, and white muslin cravat. The face (nearly full) is shaven and the hair powdered. In the background are a column and green curtain. On canvas, 2 ft. 7j in. h. by 2 ft. 4 in. u-. Bequeathed (with other pictures) to the Nation by Marianna Augusta, liady Hamilton, in 1892. BROOKING (Chaeles), An English marine painter, of whose life and artistic career but few particulars have been preserved. He was born in 1723, and seems to have held some minor appointment in the Deptford Dockyard, where he probably acquired a taste for representing sea-coast scenes and shipping, without receiving any technical instruction in art. It is probable, however, that he must have had some opportunity of examining Dutch works of this class and forming his style upon them. Naval engagements, mer- chant craft, and similar subjects appear to have employed his brush or pencil for some years, but as an amateur he derived but little profit from the work, and only found a market for his pictures among an inferior class of dealers. At last his ability attracted the attention of a wealthy patron who befriended him ; but it was too late. Brooking's health had already begun to fail, and he died of decline in 1759, leaving his family in want. Among his works (which have been engraved by Eavenet, Canot, and others) is a large sea-piece preserved at the Found- ling Hospital. No. 1475. " The Calm " {a Sea-shore Scene). In the middle distance several yachts and sailing boats lie bo- calmed. On a rock in the foreground three sailors stand con- B a Se BROWN. versing, while a third pushes off a boat from a Bat sandy beach, From the horizon cloud cumnli rise into a summer sky. On canvas, lOf in. h. by 2 ft. 9 in. w. Bequeathed by the Kev. Eichard G. Maul in 1896. BKOWN (PoKD Madox) Was bom on the 16th of April 1821 at Calais, where his father, Dr. John Brown, a retired commissary in the British Navy, had gone to reside. Young Brown, even in early child- hood, showed so much taste for drawing that his father, after removing to Bruges, placed him under the tuition of Albert GrregoriuB, a portrait painter, and sometime director of the Academy in that city. He subsequently studied under Van Hanselaer of Ghent, and finally entered the Academy at Antwerp, then directed by the leader of a new school of painting in Belgium, viz.. Baron W appers, from whom Mr. Brown derived valuable instruction in the technical practice of his art^and the use of various mediums. "While still a pupU of this distinguished master, the young painter exhibited at a public gallery in G-hent his picture of " Job and his Friends," which attracted some notice. In 1841 he sent to the Royal Academy another work entitled " The G-iaour's Confession." About twelve months afterwards he removed to Paris, where he spent three years in drawing from the life and studying in the Louvre. During the competi- tion organized about 50 years ago by the British Government with the object of procuring designs for decorating the Houses of Parliament, Mr. Brown sent two cartoons to the Exhibition held at Westminster Hall in 1844, and three fresco paintings in 1845. After a short residence in Italy, where he had gone in the vain hope of restoring his wife's health, Mrs. Brown unfortunately died in Paris, and her husband came to settle in London, and occasionally exhibited at the Royal Academy. A difference with that body and his own artistic predilections might have led him in 1851 to associate himself with that youthful band of painters who, under the title of the Pre-Raphaelite Brotherhood, at one time seemed likely to revolutionize picorial taste in this country and form a new School of British Art. But Mr. Brown, BROWN. 37 though he took a great interest in the rising genius of Rossetti, and even instructed him in his work, refused to be enrolled as a member of the little clique with which his pupil's name became subsequently identified. He had always been a man of inde- pendent action and he continued to take his own course. His principal works are well known. The picture of " Lear and Cordelia " was executed in 1849. Two years later he sent to the Eoyal Academy his " Chaucer reading the Legend of Custanoe." In 1852 he painted " Christy washing St. Peter's feet," which obtained a prize from the Academy at Liverpool, and was presented in 1893 to the National Gallery. (See description below.) The Birmingham Gallery possesses two of his productions, viz., " The Last of England," and " Romeo and Juliet." The " Cordelia's Patron " is at Conway. Another pic- ture, entitled " An English Summer Afternoon," is in the col- lection of Mr. George Roe. Among the last of his more important works was a series of twelve panels, which he was commissioned to paint for the Town Hall at Manchester. In 1865 a collection of Mr. Brown's pictures and studies vras exhibited at a gallery in Piccadilly. Examples of his brush were contributed to the Paris Exhibitions of 1855 and 1889, as well as to those held some years ago at Manchester, Leeds, and Liver- pool. In 1891 a number of artists and amateurs subscribed 900J. for the purpose of commissioning the painter to execute a work which they proposed to present to the National Gallery, but it was not completed at the time of his death, which occurred on. the 11th of October 1893, and in consequence the following pic- ture was bought and presented by the subscribers : — No. 1394. Christ washing St. Peter's Feet. On the right of the composition St. Peter, clad in a plum- coloured tunic and green ma&tle, sits with clasped hands reverently extending his naked feet towards the Saviour, who, draped in a bluish grey robe, kneels to wash them in a copper lavmg-dish. In the background is a table covered with a white cloth, around which the disciples sit in various attitudes of devout attention, watching the scene. To the extrenle left of the group at a corner of the table, Judas, with the money-bag before him, stoops to unloosen the sandal from his foot. The figures are about two-thirds the size of life. On canvas, 3 ft. 10 in. h. by 4 ft. 4^ in. w. Exhibited at the Boyal Academy in 1 852. Freeented by a body of subscribers in 1893. 38 CALLOOTT. CALLCOTT (Sir Augustus W.), R.A., Sometimes called the English Claude, was bom at Kensington in 1779. He was a chorister boy, and officiated for some years in Westminster Abbey under Dr. Cooke. Callcott, however, adopted painting as his profession, at an early age. Having received some instruction from Hoppner, the eminent portrait painter, he origi- nally pursued the same branch of art ; but eventually, and until the last few years of his life, he devoted himself exclusively to landscape painting. Callcott was elected a member of the Boyal Academy in 1810, and from that time, until within a short period of his death in 1844, was a constant and distinguished contri- butor to its exhibitions, exhibiting in all 123 works. In 1837 he first departed from his usual subjects, and exhibited a picture of " Baphael and the Fomarina," now well known from the print of it by Lumb Stocks, E.A., which was distributed to the sub- scribers of the London Art Union in 1843. His picture of " Milton and his Daughters " was exhibited in 1840. In 1837 he was kmghted by the Queen, and in 1844 he was appointed the successor of Mr. Seguier as conservator of the Royal Pictures ; an office which he held for a few months only. Sir Augustus Callcott died on the 25th of November 1844, and was buried on the 30th, in Kensal G-reen Cemetery, where his wife, Lady Callcott, had been buried two years before.* No. 340. Dutch Peasants returning from Market. Two girls on foot, and a woman and child on ponies are fording a brook, on their way from the market town, which is seen between the trees in the background. Engraved by Finden ; and by J. Cousen. On canvas, 3 ft. 7 in A bv 4 ft. 9 in. w. ' ' Exhibited at the Royal Academy in 1834. Vernon Collection. No. 342. Landscape with Cattle. Cows grazing ; early morning. Engraved by K. Brandard. On wood, 6 in. A. by 13 in w Veknoh Collection. 'Art Union Jowrnal, 1845. OALLCOTT. . 3» No. 343. The Wooden Bridge. The rustic bridge occupies the centre of the picture ; the cabn stream whicli passes under it is slightly rippled by some ducks swimming on its surface to the right ; on the opposite side a man seated in a boat is conversing with a woman who holds an infant in her arms, and stands on a small landing place near him. On the left of the bridge above is a farm house, sheltered by a cluster of tall trees ; a team and cart are just upon the point of crossing the bridge. Engraved by J. C. Bentley. On canvas, 9 in. 4. by 12 in. w. Vbenon Collection. No. 344. The Benighted Traveller. A small sketch of a bare-footed wanderer with a child on his back, by the door of a cottage, at which two women are standing, lie moon is seen just above the horizon. " The wayworn trav'Uer's daylight fails too soon. While threat'ning storms chase down the rayless moon ; To ask his path across the length'nlng moor Turning, he seeks the last lone cottage door Whence the bright faggot shoots its cheerful light. And, adding double darkness to the night. Brings all the comforts of that home to mind He spumed in youth, but longs in age to find." Engraved by A. Heath. On paper attached to millboard, 6 in. h. by 5 in. w. Under glass. A sketch for a picture exhibited at the Boyal Academy in 1832. Vbb- NON COLUECTION. No. 346. Entrance to Pisa from Leghorn. On the right is seen a portion of the quay of the Axno, and the buildings about the gate leading into the city from Leghorn, with the old tower of the western bridge over the river ; the left side is entirely occupied by the river. Engraved by J. C. Bentley. On canvas, 3 ft. 6^ in. h. by 5 ft. 4^ in. «e. Exhibited at the Boyal Academy in 1833. Veknon Collection. No. 348. View on the Coast of Hollcmd, with Fishing Boats of the Shore and Figures on the Sands. This picture has been supposed to be a copy from a work by a 40 • CLA^S— COLLINS. Dutch master. The costtime of the figures appears to be of some- what remote date. Engraved by J. C. Bentley. On wood, 6i in. h. by 9^ in. w. Veenon COLLBOTION. CZiATS (PiEKEB Jean) of Brussels. No. 815. Dutch Boats lying in the Roads of Flushing, in the mouth of tfte Scheldt. A calm before a storm. Signed P. J. Clays, 1870. On canvas, %(t. 5 in. h. by 3 ft. 7 in. w. Painted in 1870, for Mr. .Tohn Meeson Parsons, and bequeathed by him to the National Gallery. COLI^INS (William), R.A., Was bom in London, September the 18th, 1788; his father, who carried on the business of a picture dealer in Great Titct field Street, was a native of Wicklow, in Ireland, and the friend of Greorge Morland, of ■whom he wrote a memoir. The son, from this intimacy, was in some measure the pupil of Morland, wKo allowed CoHitib to watch him painting. . IVom. 1807 to 1814 Collins was a student and an exhibitor at the Boyal Academy; in the last year he was elected an associate, and 1820 a member of that institution. His first patron was Mr. Lister Parker, who bought his picture of " Boys with a Bird's Nest," exhi- bited at the Royal Academy in 1809. He became the chief support of his family in 1812, when he lost his father. But he early found valuable patrons iix Sir Thomas Heathcote, Sir John Leicester, Sh' Greorge Beaumont, and Sir Robert Peel. He was a distinguished exhibitor at the Academy for more than thirty years, contributing 121 pictures in forty years ; his style being chiefly landscape, with the out-door incidents of ordinary life prominently introduced; as the " Young Fifer," the " Sale of the Pet Lamb," "Bird Catchers," the "Fisherman's De- parture," "Hop Gi-atherers," "Happy as a King," "Frost Scene," " The Haunts of the Sea Fowl," " Fetching the Doctor," with cottage and coast scenes in great variety ; especially Cromer Sands. He painted also a few portraits. Latterly, however, he evinced a desire to treat higher subjects ; he exhibited " Onr Saviour with the Doctors in the Temple," in 1840; and "The Two Disciples at Bmmaus," in 1841. In 1817 he visited Paris ; made a tour in Holland and Belgium in 1828 ; and resided a short time at Boulogne in 1829. In 1836, CONSTABLE. 41 he visited Italy, remaining there nearly two years ; in 1840, p-ermany, and in 1842, the Shetlands Islands; each tour afltord- ing new materials for his varied subjects. He died in London, of disease of the heart, February the 17th, 1847.* No. 352. The Prawn Catchers. Boys on the sands at low water, fishing with a net for prawns. A small fishing village in the background to the left. Engraved hy J. T. 'Willinore, A.R.A. On wood, 1 ft. 3^ in. h. by 1 ft. 10^ in. w. Exhibited at the Royal Academy in 1831. Purchased by Mr. Vernon at the sale of the late Sir E. Freeling's pictures. Vernon Collection. COirSTABLX: (John), B.A., Was bom at Bast Bergholt, in Sufiblk, in 1776. His father intended him for the business of a miller, but Constable's taste for landscape painting early developed itself, and he resolved to be a pamter. He became a student of the Boyal Academy in 1800, received some instruction in landscape painting from R. Bi. Beinagle, R.A., and was much encouraged by Sir George Beaumont. In 1816 he married ; and from 1820 he resided at Hampstead, the beautiful neighbourhood of which chiefly occu- pied his pencil for the remainder of his life. He was elected a member of the Eoyal Academy in 1829, having been for ten years an associate ; and he exhibited altogether 104 works at the Aca- demy. He died in London, the 30th of March 1837.t Constable's landscapes are conspicuous for the simplicity of their subjects, consisting generally of a cottage, a village church, or green, or the simple meadow ; some are distinguished for the effect of dew or rain. "There is a place," says Mr. Leslie,t " among our painters, which Turner left unoccupied, and which " neither Wilson, Gainsborough, Cozens, nor Girtin so completely " filled as John Constable. He was the most genuine painter of " English cultivated scenery, leaving untouched its mountains " and lakes." _ " I love," said Constable, " every stile, and stump, and lane in " the village : as long as I am able to hold a brash, I shall never " cease to paint them."§ * Art Union Mordhly Journal, April 1S47. His " Life " by his son, 1848. t A Memoir of the Life of John Constable^ Esq., R,A., composed chiefiy of his Letters. By C. E.. Leslie, Esq., E.A. London, 1842. It contains twenlgr-two engravings from Constable's worksw t Mcmdboolcfor Young Painters. 1865. § Mr. TJwins, in the Journal of the Phrenological Society. 1843. 42 CONSTABLE. No. 130. The Corn Field, or Country Lane. The principal featnre of this English landscape, the field of ripe corn, is seen in the middle gronnd, between two groirpB of trees occupjdng the sides of the picture. In the foreground is a shepherd boy drinking from a stoeam by the roadside on the left; his small flock, guarded by his trusty dog, occupies the centre of this paart of the picture. In the extreme distance is seen a village church towering above the humble dwelliugs of its neighbourhood. Engraved by D. Lucas. On canvas, 4 ft. 8 in. h. by 4 ft. w. This picture was painted in 1826, and presented to the National Gallery in 1837, by an association of gentlemen, who purchased it of the painter's executors. No. 327. The Valley Farm. This is a view of a farmhouse, known as " Willy Lott's House ;" it is situated on the bank of the Stour, near Tlatford Mill, the property of the painter's father, near East Bergholt, Suffolk. The house has been painted several times by Constable.* Engraved by J. C . Bentley. On canvas, 4 ft. 9^ in. A. by 4 ft. 1 in. w. Exhibited at the Royal Academy in 1835. Veenon Collection. No. 1065. A Gornfleld, with figwres. A sketch. In a field of corn, partly reaped and stocked, some peasants aie working or resting. The sky-line is formed by farm buildings and trees. Bain-clouds float past. On canvas, 9J in h. by 1 ft. 3j in w. Purchased at the sale of Mr. J. H. Anderdon's pictures in 1879. No. 1066. On Barnes Common. In the foreground the banks of a rivulet with two children, one standing, the other seated. Beyond, the high road, along which a stage coach passes rapidly. More distant, a tall wind- mill, a cottage, and some trees. A cloudy sky. On canvas, 9J in. h. by 1 ft. IJ in. w. Sold at Mr. Garle's sale in 1862. Purchased at the sale of Mr. J. H. Anderdon's pictures in 1879. • Willy Lott, its possessor, WM born in this house, and it is said "has paMed iaXe"^ Commu^^ without havmg spent four whole days away from it."- CONSTABLE. 43 No. 1207. The Hay-Wain. An English landscape. The foreground is occupied by a shallow stream, through which a rustic cart with two men in it is passing. On the left a half-timbered cottage with steep tiled roofs and gabled walls, flanked by oak trees. On the right a fisherman, half concealed by a bush, stands by his punt. In the middle distance green meadows, with woodland beyond. Stormy sky, across which cloud cumuli are drifting. Signed and dated, " John Constable, pinxt., London, 1821." On canvas, 4 ft. 2f in. h. by 6 ft. I in. w. Exhibited among other pictures by Old Masters at Burlington House in 1885-86, and presented to the National Gallery by Mr. Henry Vaughan. No. 1235. View of the house in which the Artist was horn. A swiftly-painted sketch taken in the vicinity of a park or enclosure. The house, which is of red brick, stands in the middle distance surrounded by trees and outbuildings. Grey sky crossed by fleecy clouds. On canvas, %^ in. h. by 2 ft. 2^ in. w. Presented by Miss Isabel Constable in 1887. No. 1236. " The Salt Box," Sampstead Heath. A road crossing the foreground, bifurcates in the middle distance, and winds across the Common. On the left is an enclosure planted with trees, beyond which a house is seen. On the right a labourer empties hie barrow on a hillock over- looking a pond, which lies in a hollow below. In the distance an extensive view of woodland and meadows. Blue sky with cloud cumuli drifting over the horizon. [For further description of this picture, see " T>he Life of Constable," by C. E. Leslie, R.A., 1846, chap. V., p. 78.] On canvas, 1 ft. 3|in. h. by 2 ft. 2 in. w. Presented by Miss Isabel Constable in 1887. ^ No. 1237. View on Hampstead Heath. In the foreground a grassy slope, skirted by trees. To the right a wooded kpoU, with a pool lying below. In the distance a plain, over which storm clouds are hanging. On canvas, 6| in. h. by 12^ in. w. Presented by Miss Isabel Constable in 1887. 44 CONSTABLE. No. 1244. The Bridge at Oillingkam. The bridge, carried on two stone arches, crosses a shallow stream in which a cow, on the left of the foreground, is drinking. Above, a cart and rustic figures pass along the road overshad- owed by trees. In the distance a church tower and cottages. Summer sky crossed by light fleecy clouds. On canvas, 1 ft. by 1 ft. 8 in. w. Presented by Miss Isabel Constable in 1888. No. 1Z45. Church Porch, BerghoU, Suffolk. On the left of the foreground three figures stand or sit near tombstones in a village churchyard, separated by a low wall from a group of thiokly-foliaged trees. On the right are the buttressed walls and porch of the church, skirted by a path which leads across the,enclosure. On canvas, 1 ft. 5j in. h. by 1 ft. 2 in. w. Presented by Miss Isabel Constable in 1888. No. 1246. A House at Hampstead. A alight but eflfeotive sketch. la the foreground a pond sur- rounded by trees and skirted by a road, along which cattle and rustic figures are passing. In the right-hand corner a horse, bestridden by a man in a red jacket, stands in the water drinking. A house, half hidden by foliage, is seen in the middle distance. Above, cloud cumuli drift across a blue sky. On canvas, 1 ft. 1 J in. h. by 1 15 in. w. Presented by Miss Isabel Constable in 1888. No. 1272. The Cenotaph. Erected in memory of Sir Joshua Reynolds, by Sir George Beaumont. Surrounded by lofty oaks and beech trees, the colour of whose foliage denotes late autumn, the monument stands in Ooleorton Park, Leicestershire, flanked by two stone pedestals surmounted by busts of Baphael and Michael Angelo. At the base of the cenotaph is a small pool of water, which a stag is just quitting. On canvas, 4 ft. 2^ in. h. by 3 ft. 6J in. w. Bequeathed in 1888 by Misg Isabel Constable as the gift of Maria 1.. Isabel, and Lionel B. Constable. CONSTABLE. 45 No. 1273. Flatford Mill, on the River Stour. On the left of the foreground a dranght-horse, bestridden by a boy, stands on the towing path, while a man adjusts the rope by which it is attached to a barge floating in the weir, under the guidance of bargemen. On the right is an old and dilapi- dated oak tree, round the trunk of which a streamlet winds between sedgy banks. In the middle distance the river is inter- sected by a lock, surrounded by trees and farm buildings. Above, a sunny sky, across which large clouds are drifting. On canvas, 3 ft. 3^ in. h. by 4 ft. 2 in. w. Bequeathed in 1888 by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable. No. 1274. The Glebe Farm. The view overlooks a winding lane, which passes between two thickly-wooded banks. On the left a large oak tree, casting its shadow on the road, marks the entrance to a steep path. On the summit of the opposite bank is an old gabled homestead surrounded by trees, behind which rises the tower of a village church. In the foreground is a felled tree, near which a rustic child is sitting. On the right a cow stands drinking from a pool. Blue sky crossed by fleecy clouds. On canvas, 2 ft. 1 in. h. by 3 ft. 1^ in. w. Bequeathed in 1888 by Miss Isabel Constable as the gift of Maiia L., Isabel, and Lionel B. Constable. No. 1275. View at Ha/mpstead. On the rigljt of the foreground is a rugged clifi', at the base of which two donkeys stand in shelter from the wind. On the left a thickly-wooded hill rises above a pool or stream, in which cattle are drinking. In the middle distance a windmill on rising ground. Beyond is a village surrounded by undulating country. Above; a stormy sky, in which a rainbow gleams through dark clouds. On canvas, 1 ft. 7^ in. h. by 2 ft. 5^ in. w. Bequeathed in 1888 by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable. No. 1276. Harwich : Sea and Lighthouse. On the right a rustic embankment separates the turf-covered downs from the beach where the tide is advancing. In the 46 COOKE. middle distance a -wooden lighthouse overlooks the sea, on which there are a few sailing vessels. From the horizon large cloud cumuli rise into a blue sky. On canvas, 12j in. h. by 1 ft. 7J in. w. Bequeathed in 1888 by Miss Isabel Constable as the gift of Maria L., Isabel, and Lionel B. Constable. COOEZ: (Edward W.), B.A., The son of George Cooke, who was of Dutch descent and well known as an engraver of Turner's pictures, was bom in London in 1811. At an early age he became the pupil and assistant of his father, and while thus engaged was employed to make a series of illustrations for Loddige's " Botanical Cabinet " and Loudon's " Encyclopaedia." The study of plants and flowers which this work necessitated laid the foundation for a taste which he re- tained through life, and in conjunction with other researches in natural history led to his connexion with several scientific societies. After acquiring a knowledge of architecture and perspective in the office of the elder Pugin, Edward Cooke pub- lished twelve large engravings of the Old and ITew London Bridges, and another series of plates illustrating " Shipping and Craft." Meanwhile he had decided to become a painter, and in 1835 he exhibited for the first time two pictures at the Eoyal Academy entitled " Honfleur fishing-boats becalmed," " Havre in the distance," and "A Hay-barge off Greenwich." These were followed the next year by two English coast scenes, viz, : — " Mending the bait net, Shanklin," and a view on " Hastings Sands." In 1837 Mr. Cooke went to Holland, to which he subse- quently returned, at various intervals, no less than fifteen times, bringing back with him, on each occasion, a host of sketches in which architectural subjects alternated with studies of coast scenery, sea, and shipping. In 1838 he exhibited "Dutch boats on the Y, near Spoomdam." In 1840 "The pilot boat" and a view of" Elizabeth Castle, Jersey." In 1842 " Scheveling Sands," "A Fisherman's cove," and " Broeckenhaven on the Zuyder Zee." Between 1845 and 1854 he executed about one hundred pictures on the Mediterranean coast from Marseilles to Poestum, besides views in Florence and Eome. After a tour in Scan- dinavia he paid a series of visits to Venice, where he at fii-st devoted his brush to architectural subjects, painting many of the COOKE. 47 principal bTiildings there with great fidelity. The waters of the Lagune, rich in picturesque fishing craft, next attracted him, and from his gondola he made a vast quantity of studies which he afterwards turned to good account. Among his Venetian pictures at the Royal Academy were " Bragozzi," ex- hibited in 1851, "The Doge's Palace" (1852), "San Pietro in CastoUo," and "San Giorgio Maggiore," and "La Salute" (1853), "Porto del Lido " (1854), the " Riva degli Schiavoni" (1855)," The Dogana from the Palazzo Morosini," and " Chioggiau fishing vessels " (1856), " The Bridge of Sighs " and " Sunset on the Laguno"(1858), "Venice" (1859), "The Piaziaetta of San Marco " (1860). In 1861 Mr. Cooke went to Spain, and the next year exhibited views of the "Rock and Fortress of Alicante" and the "Bay of Tangier," the " Bay of Cartagena," followed by an elaborate study of the " Rock of Gibraltar " (1863) . Meanwhile his frequent visits to Holland supplied him with endless subjects for sea- pieces and pictures of Dutch fishing craft, which appeared in rapid succession. A few years later he travelled in Egypt, and in 1875 he exhibited a view of "The Mountains and Plain of Denderah on the Libyan bank of the Nile," in 1876 the " Ruins of Kom-Ombo" and "Philse," and in 1877 "The Garden of the Khedive's Palace of Gezeereh." Mr. Cooke became an Associate of tiie Royal Academy in 1851, and succeeded to the honour of full membership in 1864. In 1863 he was elected a Fellow of the Royal Society. He was also a Fellow of the Linnaean, Zoolo- gical, Geographical, and Geological Societies, and an Honorary Associate of the Royal Institute of British Architects. He died at his residence, " Glen Andred," near Groombridge, on the 4th of January 1880. No. 447. Dutch Boats in a Calm. Engraved by T. Jeavons. On wood, 1 ft. 4^ in. h. by 2 ft. 3 in. w. Exhibited at the British Institution in 1844. Vernon Collection. No. 448. The Boat Souse. A coast sketch. The boat house is a cave hollowed out of the chalk cliflF ; the fisherman is seen within the cave, attending to his fishing gear. Engraved by S. Bradshaw. On canvas, 1 ft. 4i in. k. by 1 ft. 8i in. w. Veenon Collection. 48 COPLEY. COFLET (John S.), R.A., Historical and portrait painter, was bom in 1737, at Boston, U.S., where kis parents had then recently settled. His father was English, his mother Irish.* In 1774, having already at- tained eminence as a portrait painter at Boston, he set out for Italy by way of England. He returned from Italy at the close of the year 1775, and established himself in London, where he was elected an associate in 1777, and a member of the Boyal Academy in 1779. This was the period that he executed his masterpieces, "The Death of Lord Chatham," and the "Death " of Major Pierson," both now in this collection. This picture was followed by another celebrated work, " Charles I. ordering " the Arrest of the Five Members of the House of Commons." None of these pictures were exhibited at the Koyal Academy. Copley sent only forty-two works to the exhibition, and nearly all portraits ; of the few exceptions were, " The Offer of the Crown to " Lady Jane Gray," exhibited in 1808; and the " !Resurrection " of OUT Lord," in 1812, his last exhibited work. Copley died September the 9th, 1815. No. 100. The Death of The Earl of Chatham. The scene represented in this picture took place in the old House of Lords (the Painted Chamber), April the 7th, 1778. The Earl, after unusual exertions, when in a very debilitated state of health, fainted in making an effort to reply to the Duke of Kioh- mond's speech on a motion respecting an address to the King, intimating the necessity of the acknowledgment of the indepen- dence of that portion of the British North American colonies now constituting the United States.f ' The Earl was carried home, and never again rose from his bed. He died on the 11th of May following. The heads in this piotui-e, of which there are fifty- five, are all portraitc!. The peers are in their state robes. The prominent figure to the right is the Duke of Richmond, the well- known patron of the arts. J Engraved on a large scale, by F. Bartolozzi ; and in small in Jones's National Gallery. On canvas, 7 ft. 6 in. li. by 10 ft. 1 in. w. This picture, painted in 1779-80, was presented to the National Gallery in 1828 by the Earl of Liverpool. • Cunniiiirtaam, Lives of the most Eminent BritUh Painters, &c. t Thackray, Bistory of the Earl of Chatham. X See tbe Explanatory key near the picture. OOPLET. 49 No. 733. The Death of Major Peirson, Who was killed in an engagement with some French troops at St. Helier, Jersey, on the 6th of January 1781, in his twenty- fonrth year only. The French soldier who killed him was imme- diately shot down by the Major's black servant. The chief inci- dent represented ia the picture is the carrying the body of Major Peirson out of the fight, and the figures about and near this principal group are all portraits. They are, commencing from the spectator's left, Captain Olephane leading the charge, Captain MacneU, the black servant shooting the man who shot Major Peirson, Adjutant Harrison supporting the shoulders, the Major, Captain Corbett, Lieutenant Drysdale, Ensign Kowan, Ensign Smith, Captain Hemery, and Lieutenant Buchanan, all but one — a captain of the Jersey Militia — officers of the 95th Kegiment.* On the left is a dying serjeant, to the right a group of women flying from the scene ; and in the background is a part of the town, and a distant hill beyond. On canras, 8 ft. 1 in. A. by 1 1 ft. 11 in. w. Engraved on a large' scale by James Heath, for Alderman Boydell, in 1784 ; copied by A. Kessler. Painted for Alderman Boydell, as a companion to the " Death of Chatham," in 1783. Purchased for the National Gallery at the sale of Lord Lyndhurst's pictures in 1864. No. 787. The Siege and Relief of Gibraltar, with Por- traits of Lord Heathfield, Lieut.-Oen. Sir Robert Boyd, Major Generals Sir William Green, Picton, and De la Motte ; Sir Roger Curtis, Gapt. Drimk- water, and others. The incident represented is the repulse of the Spanish floating batteries ; the firing has partly ceased, and the English officers are endeavouring to rescue the suiferers from the burning vessels. A sketch or study for the large picture at Guild Hall painted for the Court of Common Council of the City of London. On canvas, 4 ft. 4 in. h. by 6 £t. 2 in. w. Engraved on a large scale by William Sharp. Formerly in the possession of Lord Lyndhurst ; purchased from Mr. William Grist in 1868. in 1784 ! a prospeotu" of the print from this picture, published by Alderman Boydel 60 OOTBS. No. 1072. The death of the Earl of Chatham. A sketch in monochrome. On canvas, 2 ft. h. by 2 ft. 5 in. w. No. 1073. The death of the Earl of Chatham. A sketch in monochrome. On canvas, 2 ft. Sj in. h. by 3 ft. 4^ in. w. These two canvases are preparatory studies for Copley's great picture of the death of Lord Chatham (No. 100), and represent successive stages in the development of the composition. It will be found interesting to compare them with the com.pleted pic- ture, and to observe the steps by which the painter, while retain, ing the main idea of the work, arrived at its final arrangement. No. 1072 was in Lord Lyndhurst's sale in 1864 ; No. 1073 in that of the Eev. H. S. Trimmer in 1860. Both were purchased at the sale of . Mr. J. H. Anderdon's pictures in 1879. CCTES (Fkancis), R.A., An English portrait-painter of considerable merit, was born, about 1725. He became the pupil of George Knapton, and, like his master, worked in crayons as well as in oil-colour. Walpole in his "Anecdotes of Painting " compares Cotes's crayon studies to those of Rosalba, and it is said that Hogarth preferred him as a portrait-painter to Reynolds. Cotes painted the Queen, with the Princess Royal, then an infant, in her lap. O'Brien the come- dian, Mrs. Child of Osterley Park, and Miss Wilton, afterwards Lady Chambers, also sat to him. A painful disorder cut short his career in the prime of life, and he died in July 1770. No. 1281. Portrait of Mrs. Brocas. Life-size, seen to the waist : three-quarter face turned to the right. Dressed in a white silk gown open at the chest, and embroidered with gold thread, and a full-sleeved grey silk robe edged with brown fur. She wears crystal ear-drops, and her cojjious black hair is entwined at the top of her head with a string of beads. Green background enclosed in a painted oval. On canvas, 2 ft. 5j in. h. by 2 ft. ^ in. w. Presented by Mr. George Holt, in 1889. COTMAN. 51 COTMAN (John Sell) "Was born at Norwich about the year 1782, and received his eai'ly education at the !Free Grrammar School in that city. It was originally intended that he should follow hds father's business, that of a linendraper, in London Lane ; but the boy showed such a decided taste for art that this intention was abandoned, not without reluctance on his father's part, and young Cotman went to London, where he spent some years in studying design in company with Turner, Girtin, and Munn, and applying himself especially to the illustration of architectural subjects, which he painted in water-colours and etched with great skill. In 1807 the Norwich Society of Artists was founded, and shortly after this Ootman appears to have returned to his native town, where he contributed no less than sixty- seven pictures to the Exhibi- tion, several of them being portraits. It is probable, however, that the sale of his works was at this period not very remunerative, and an early marriage rendered it necessary that he should add to his income by giving lessons in drawing and painting. This occupation gave him access to the parks and mansions of country gentry resident near Norwich, and helped him to fill his port- folio with valuable studies of architecture and landscape. After a time he left Norwich and went to live at Yarmouth, where he made the acquaintance of Mr. Dawson Turner, a distinguished antiquary, with whom he subsequently became associated in more than one literary work. In 1811 Ootman published the first of a series of etchings illustrating the " Archi- •tectural Antiquities of Norfolk " and " Engravings of Sepulchral Brasses." In 1817 he accompanied Mr. Dawson Turner on a ^iour in Normandy, which he revisited in 1818 and 1820. The Tesult was a work entitled " The Architectural Antiquities of Normandy," published in two folio volumes, for which Mr. Dawson Turner supplied the letterpress. In 1825 Ootman, who by this time had returned to live in Norwich, became an Associate of the London Society of Painters in Water Colours, to whose Exhibition he constantly contributed for many years. In 1834, having been -appointed teacher of drawing at King's Oollege School, he removed to London, and resided in Hunter Street, Brunswick Square. A few years later he entered into an arrangement with Mr. Bohn, by which his early studies were re-published with considerable additions in a collected form, under the titles of " Architectural Etchings of Old English Buildings " (two foUo volumes containing 240 plates), " Sepulchral Brasses of Norfolk and Suffolk " (two volumes, 170 plates), and the " Liber Stu- diorum " (48 plates). Cotman painted in oil as well as in water colours, and an example of his skill in the use of that medium is 62 OBESWICK. described below (No. I.IU). ^^^ i* is as a water-colour artist and etcher that his name is best known. He drew architecture with great vigour and dexterity, and his studies are especially success- ful in the treatment of light and shade. He formed with Orome and other painters of his native county a local coterie, which is still remembered as the " Norfolk school," and has exercised some influence on British art. Cotman's health seems to have declined after he took up his residence in London. He suffered severely from mental depression, and died on the 28th of July 1842. No. 1111. Eiver Scene. Two boats sailing down the river under a slack wind. In l^he nearer one are several men seated in the stern or leaning over the boat's side; grey sky, with cloud cumuli, rising from the horizon. On canvas, 1 ft. 9^ in. h. by 2 ft. 6J in. w. Purchased in 1882 from Mr. William Cox. No. 1458. A GaUot in a Oale. An angry sea with foam-crested waves, over which a fishing boat with full sail scuds before the wind. In the stern are three men, one of whom is steering. The deck is protected by an awning. In the distance, towards the right of the scene, rise lofty cliffs, at the base of which lies a village. Seagulls swoop around the boat. Above is a stormy sky. On canvas, 3 ft. 7 in. A. by 4 ft. 6^ in. w. Purchased in 1895 at the sale of the late Mr. James Price's Collection. CRESWICE (Thomas), R.A., Was born at Sheffield in 1811, but came very young to London ; he had as early as 1828 two landscapes in the Boyal Academy Exhibition, views in Wales, the theatre of many of his subsequent views. He became an associate of the Academy in 1842, and a member in 1850. As specimens of his works may be mentioned — "England," 1847; " Passing showers," 1849; "The wind on Shore," " rirst glimpse of the Sea," and " Old Trees," 1850 ; " A " Mountain Lake — ^Moonrise," 1852 ; and" Changeable Weather," 1865. Creswick's pictures are numerous, the later being less pro- nounced in colour than the works of his middle period. He suf- fered latterly from failing health, and died at Bayswater on the 28th of December 1869. No. 429. The Pathway to the Village Church. A woody sunny landscape, with a young girl about to pass a stile, in the foreground. Engraved by J. C. Bentley. On wood. 1 ft. 11^ in. A by 1 ft. 7A in. to. Painted in 1839. Vernon Collection. CROME. 53 CROME (John), Oommonly called Old Ceomb, to distinguish him from other yonnger painters of the name and family, was bom at Norwich, where his father kept a public-house, December 21st, 1769, and was brought up as a coach-painter ; this occupation, however, he soon forsook for that of a drawing master, devoting his leisure time to making sketches in oil colours, chiefly from the vicinity of his native city. ' The materials of Orome's pictures are generally exceedingly simple, but he has often produced an admirable effect with . them. He exhibited occasionally at the Bioyal Academy in London ; twelve of his works were hung between the years 1807 and 1818, both inclusive ; all "views " or " landscapes " with one exception, in 1809, when he exhibited a " Blacksmith's stiop." Orome died at Norwich in 1821. No. €89. Mousehold Heath near Norwich. An extensive view of undulating moorland. On canvas, 3 ft. 7 in. h. by 5 ft. 1 1 in. w. Porcliased from Mr. William Yetts, of Great Yarmouth, out of the International Exhibition of 1862. No. 897. J. View at Ghapel-Fields, Norwich. An avenue, figures and cattle passing ; an old woman seated at a stall on the spectator's left. On canvas, 2 ft. 5 in. h. by 3 ft. 7 in. w. Bequeathed by Mr. Henry F. Chorley in 1872. No. 926. The Wi/nd/mill, on an uncl/ulating heath, pro- bably Mousehold Heath in the neighbourhood, of Norwich. In the foreground, to the spectator's right, are some trees and bushes, and on the other side a man, seated on a pony, is passing by a finger-post through a gateway : two donkeys on the brink of a gravel pit are seen in the middle ground, to the left. On wood, 3 ft. 7 in. h. by 3 ft. w. Purchased from the Lewis Fund, at the sale of Mr. Watts Russell's collection in 1875. No. 1037. Slate Quarries. A Welsh landscape, looking down upon a lake skirted by a road : with motintains in the distance, from which fleecy clouds are rising. In the foreground, which is the rocky brow of a hill, a few figures are introduced. On canvas, 4 ft. 4 in. h. by 5 ft. 2 in. m>. Purchased from Mr. W. Tuller Maitland, M.P., out of a pecuniary bequest made by the late Mr. Bichard Charles Wheeler. 54 DANBT— DANIELL. BANB7 (Fbancis), A.B.A., Was bom in the county of Wexford, in Ireland, November the 16th, 1793; he was educated in Dublin, and there learnt his art under a landscape painter of the name of O'Connor. He exhibited, and sold his first picture in 1812. In 1813 he was established as a teacher of water-colour drawing at Bristol. He eventually attracted public notice Jpy a picture of " Sunset at Sea after a Storm," exhibited at the Boyal Academy in 1824; it was purchased by Sir Thomas Lawrence. In the following year Danby removed to London, and exhibited a still more re- markable work, " The Delivery of Israel out of Egypt," which procured him his election as an associate of the Academy, in 1825. This picture, now at Stafford House, and several others afterwards paiated by Danby, are in the style of John Martin's extraordinary compositions. Danby is, however, most distin- guished for his calm evening scenes at sea, generally sunsets, under various aspects, frequently combined with some poetic subject, incident, or sentiment, and nearly always conspicuous for their brilliant colouring. From 1830 till about 1842 he resided abroad, chiefly in Switzerland; he then lived for a short time near Lewisham, in Kent, and from 1846 near Exmouth, in Devon- shire, where he died on the 10th of February 1861.* Danby contributed forty-nine works to the exhibitions of the Royal Academy. No. 4:37. The Fisherman's Home, Sunrise. A cottage on a promontory, in a lake. Engraved by A. Willmore. On canvas, 2 ft. 6 in. A. by 3 ft. 6 in. w. Exhibited in 1846. Vbenon Collection. DAiriELL (Thomas), R.A., Was born in 1748-9, and was originally apprenticed to a painter of heraldry. He, however, devoted himself to landscape painting and engraving, and distinguished himself by an ex- tensive work on Indian scenery — " Antiquities and Views in " India, from the Drawings of Thomas Daniell. Engraved by " Thomas and William Daniell." London. 1795-1808. Large folio. Daniell went to the East in 1783, taking with him his nephew WUliam, then a boy of 14 years only, and they traversed the whole counti-y -of India, from Cape Oomorin to the Himalaya * AH Journal, April, 1861 ; Royal Academy Catalogues. DBVIS. 55 mountains, sketching all that was remarkable on their way : this arduous journey occupied them 10 years. Thomas was elected a member of the Royal Academy in 1788, having held the lower grade of associate for only two years. He contributed many pictures to its exhibitions, and died in London on the 19th of March 1840, aged 91. His portrait, by Sir David Wilkie, is in the Vernon Collection. He was a Fellow of the Eoyal, of the Antiquarian, and of the Asiatic, Societies. The nephew, WilUam, who was also a member of the Eoyal Academy, preceded his uncle to the grave ; he died ia 1837. No. 899. Woody Landscape. — View on the Nullah, near Rajerrmhel, Bengal. European travellers with their attendants crossing a bridge, which was built by the Sultan Sujah, in the 17th century. Signed, T. Daniell, 1827. On canvas, 3 ft. 2^ in. h. by 4 ft. 6 in. w. Bequeathed by Mrs. William Mansfield, in 1872. DEVIS (Arthur William), The son and pupil of Arthur Devis, was born in London in 1763. At an early age he entered the Schools of the Boyal Academy, where he obtained a silver medal and attracted the notice of Sir Joshua Reynolds. While still in his 'teens he entered the service of the East India Company, as a draughtsman, with the intention of ac- companying Captain Wilson on a voyage round the world in the "Antelope," but that vessel was wrecked, and Devis, after experiencing many hardships, found himself in Bengal, where he painted a picture of " Lord Comwallis receiving the two Sons of Tippoo Saib as hostages." Returning to England in 1795, he devoted himself to historical art and portrait painting. Among his works in the former line are " The Detection of Babington's Conspiracy" and "Archbishop Langton showing Magna Charta to the Barons." The National Portrait- G-allery possesses two examples of his brush. Devis died of apoplexy in 1822. No. 1366> Portrait of Sir James Cockburn, of Lang- ton, 7th Bart. Son of Sir James Cockburn and his wife Augusta Ann Ayscough. Life-size : half-length : three-quarter face. He wears an uniform of dark-blue cloth, with facings and epaulettes 56 DOBSON. of -white cord, white kerseymere waistcoat and breeches. The face is close shaven, and the hair of the head is worn om natwrel or slightly powdered. He rests his left arm on a parapet. Dark background. On canvas, 2 ft. 11 in. h. by 2 ft. 3 in. w. Bequeathed (with other pictures) to the Nation by Marianna Augusta, Lady Hamilton, in 1892. No. 1369. Portrait of Marianna Augusta Coekhwrn. Daughter of Sir James Cockburn, of Langton, 7th Bart. Ee- presented (life-size) as a child of four years. Olad in a short drab-coloured frock. She kneels on the ground near a bank, raising her left hand to caress a kid caught in the foliage of a shrub or sapling by the wayside. Landscape background. On canvas, 4 ft. l\ in. h. by 3 ft. 3J in. w. Bequeathed (with other pictures") to the Nation by Marianna Augusta, Lady Hamilton, in 1892. SOBSON (William), An English portrait-painter of considerable note, was born in London in 1610, and was apprenticed to Bobert Peake, after- wards knighted by Charles I. Dobson lived in obsourily until his work attracted the attention of Van Dyok, by whom he was kindly befriended and introduced to the king. On the death of his patron, Dobson was appointed serjeant painter to His Majesty, whose portrait he painted, together with that of Prince Rupert and several of the nobility. But the neglect of the arts which ensued during the Commonwealth seriously affected the painter's prospects, and Dobson, who is said to have been extravagant in prosperity, fell into indigence. He died poor in London in 1646. No. 1249. Portrait of Endymion Porter, Groom of the Bedchamber to Charles I. Life-size : three-quarter length : the face nearly full, with a slight moustache and chin-tuft. He stands bareheaded, clad in an amber-coloured doublet, enriched with silver braid and buttons, slashed sleeves, and an ample coUar of point lace. His left arm, across which a bronze-yellow mantle is thrown, rests on a stone plinth carved in bas-relief. In his hands he holds a fowling-piece. On his right stands a page bearing a dead hare ; while the head of a dog looking up at his master appears in the DYOB. 57 left-tand corner of the picture. In the background a marble bust rests on a Composite capital. Beyond, a landscape. On canvas, 4 ft. 10 in. h. by 4 ft. 1 in. v>. Purchased at the sale of the Gatton Park (Lord Oxenbridge's) Collection in Loudon, 1888, out of a fund bequeathed by the late Mr. Francis Clarke. DTCE (William), R.A., Was born at Aberdeen in 1806, and educated at Marisohal College. Having determined at an early age to adopt the pro- fession of a painter, he entered the Schools of the Eoyal Scottish Academy at Edinburgh, and afterwards of the Eoyal Academy in London. These studies were in due course followed up by Continental travel. Young Dyce paid two visits to Bome, where he remained for some time before returning to settle at Edin- burgh ia 1830. There he followed the practice of a portrait painter with such success that he was elected an Associate of the Scottish Academy in 1835. Two years later he published a pamphlet on the subject of Art-education which attracted con- siderable notice, and when the Government Schools of Design were established in this country, Mr. Dyce was appointed at the head of their administration. He entered into the State compe- tition for the decoration of the new Houses of Parliament, and completed a series of frescoes illustrating the life of King Arthur. He was also commissioned to execute mural paintings for Her Majesty at Osborne and Buckingham Palace. Dyce was a con- stant exhibitor at the Royal Academy, of which he became an Associate in 1814, and a full member in 1848. He died in 1864. No. 1407. Pegwell Bay, 1858. A view of the sea shore at low tide, with evening light reflected from the sun, which is settiug behind, clouds. In the foreground are seen three ladies (one of them the artist's wife) gathering sea-shells, and a child with a toy spade. The middle distance is intersected by low ridges of rock stretching out seaward. Be- yond them rise the chalk cliffs of the Bay crowned with verdure. In the centre of the sky above may be discerned the great comet of the year in which the picture was painted. On canvas, 2 ft. \ in. h. by 2 ft. lOi in. w. Exhibited at the Eoyal Academy in 1860. Purchased at the Sale of Mr. J. Brand's Collection, at Christies, 1894. 58 DTCKMANS— EASTLAKB. No. 1426. St. John leading the Virgin Mary from the Tomb. The Evangelist, standing in the foreground, clad in a dark grey robe, with, drab-coloured drapery wrapped round the lower part of his body, leads the Virgin, who walks by his side draped in a crimson robe and dark blue mantle. She rests her right hand in that of St. John, and holds in her left the crown of thorns removed from our Saviour's head. In the middle distance,* on the left of the picture, is a garden enclosing the Holy Sepulchre, at the entrance to which two of the holy women kneel mourning, while two male figures (Nicodemus and Joseph of Arimathea ?) are seen leaving the garden. On canvas, 2 ft. 5f in. h. by 3 ft. 6 in. w. Presented to the National Gallery in 1894. DTCEMANS (John Laurens) Was born at Antwerp in 1811, and died in 1888. Memish School. No. 600. The Blind Beggar. A blind old man is standing in the sunshine by a church door ; before him is a young girl, who is holding out her hand for alms to the passers by ; an old lady coming from the church is feeling in her pocket for a sou ; some other figures are seen in the porch •at their devotions before a crucifix. Small three-quarter fignrea. On wood, 19^ in. h. by 18 in. w. Engraved by W. H. Simmons. Painted at Antwerp, signed J. Dyckmans, 1853. Bequeathed by "Miss Jane Clark in 1859. EASTLAEX! (Sir Charles L.), F.B.A., Was born on the 17th of November 1793, at Plymouth, where his father held the ofi&ce of solicitor to the Admiralty. He was educated at the Plympton Grrammar School, in which Sir Joshua Keynolds had also been brought up ; and he passed a short time *t the Charterhouse School in London. Here, while still very young, about 1809, partly through the influence of his fellow EASTLAKB. 69 townsman, B. R. Haydon, who had just then finished his picture of ' ' Dentatus," he determined on painting for a profession, became the pupil of that master, and also attended the schools of the Koyal Academy for a few years, during the keepership of Fuseli. As early as 1813 the young painter exhibited an ambitious effort at the British Institution :—r-" Christ raising the daughter of the Enler of the Synagogue;" this picture, of considerable size, Sir Charles paiated in his twentieth year. In 1814, after the peace, he was sent by Mr. Jeremiah Harman to Paris to copy some of the remarkable works that had been gathered together by Napoleon in the Louvre ; but the escape of the Emperor from Hlba in the following year caused him to return home again, and for a time he devoted himself to the study of portrait painting at Pljrmouth. While there in 1815 he had the opportunity of seeing Napoleon on board the Bellerophon, then on its way to St. Helena, and from memory, aided by some sketches which he contrived to make while the Emperor was standing at the gangway of the ship, he painted a portrait of him, a full-length figure, life size, which was considered a good likeness. It is en- graved in half length in the Art Journal for 1848, from a picture now the property of the Marquis of Lansdowne. In 1815 also Sir Charles exhibited a second historical picture at the British Institution: — "Brutus exhorting the Eomans to revenge the death of Lucretia." In 1817 he went to Italy, being one of the first English artists to visit Rome after the peace ; and in 1819 he visited Grreece, in the company of Sir Charles Barry and Mr. Donaldson, returning in the following year to Eome by way of Sicily. He remained in Italy altogether fourteen years, this time being spent chiefly at Eome and Ferrara. The picturesque character of the Italian and Greek national costumes seems to have so far fascinated the painter as to have drawn him from the department of history with which he had commenced his career to the class of genre painting ; and during nearly the whole of his long residence abroad from 1820, his pictures were almost exclusively drawn from peasant life, the Italian banditti constituting his favourite subject. He exhibited a large historical picture at the British Institution in 1820, representing " Mercury bringing the Golden Apple to Paris." In 1823 he sent to the same Institution five pictures of banditti, painted at Eome ; and in the following year, six small works of a similar character, representing simple peasants or brigands.* In 1825 he exhibited three more of the same class of * Five of these brigaTid pictures have been engraved by Charles Turner ; and there Lsaprint ol the "Contadina family prisoners with Banditti," exhibited at the Eoyal Academy in 1830, by Edwin Smith. Rogers's Italy contains a few vignettes of somewhat similar subjects ergraved in wood by .1. Thompson. 60 BASTLAKB. works ; but from this year forth he sent his pictures no longer to the British Institution, but to the Boyal Academy. His name first appeared in the Academy catalogue m 1823, when he sent three views of Rome to the Exhibition. But the first of Sir Charles Eastlake's works which attracted any considerable notice was the large picture of " The Spartan Isidas," exhibited in 1827. The story is from Plutarch's Life of AgesUaus. The young warrior, suddenly called while in his bath to repel an attack of the Thebans, seized his sword and spear and rushed naked as he was into the battle, causing a panic among the enemy, who, both from his appearance and his deeds judged him to be some guardian deity ; though he slaw many he escaped himself without a wound. Sir Charles selected this picture, now the property of the Duke of Devonshire, to exhibit in Paris, at the Universal Exhibition of 1855. It procured him his election as an associate of the Eoyal Academy. In 1828 appeared the beau- tiful and popular picture, an " Italian scene in the Anno Samio, Pilgrims arriving in sight of Rome and St. Peter's. Evening." He repeated this subject in 1835 and again in 1836, introducing only some slight alterations in the composition.* In 1829 he exhibited a poetical landscape, entitled " Lord Byron's Dream, "t and in the following year he became an academician, returned to England, and established himself in London, at No. 13, Upper Fitzroy Street; whence he removed in 1843 to No. 7, Pitooy Square, where he henceforth constantly resided in London. Sir Charles Eastlake's pictures are not numerous. He was too much engaged in literature and with other occupations to admit of a very close application to the practice of his profession. In 1833 he exhibited " Greek fugitives, an English ship sending its boats to rescue them; " in 1834 " The escape of BVancesco di Carrara, last Lord of Padua, and Taddea d'Bste, his wife, from G-aleazzo Visoonti, Duke of Milan," of which there is a repetition in this collection ; in 1837 " An Arab chief selling Captives, Monks endeavouring to ransom them ; " in 1838 " Gaston de Eoix before the Battle of Ravenna," in which the knight was killed ; in 1889 " Christ blessing little children; " in 1840 " The Salutation of the aged Friar ;" in 1841 " Christ weeping over Jerusalem," of which the Vernon picture is a repetition; and inl843"Hagar and Ishmael." The last is a composition of rare simplicity and beauty.J From this time his name did not often appear in the • It is finely engraTedby G. T. Doo, B.A. t Engraved by J. T. Willmore, A.E.A. X There are good engravings of several of the above pictures ; of " Greek Fugitives," by ifohn Goodyear ; of " Christ blessing little children," by J. H. Watt ; of " Hagar and Ishmael," by Sridoux and Smith, (or the Glasgow Art Union j (rf the "Salutation of the aged Friar." bv S. Bellin; and of " Gaston de Foij," by C. W. Sharpe. BASTLAKB. el Royal Academy catalogue. Among his latest works are several ideal portraits of women, painted with great delicacy. He con- tributed altogether fifty-one pictures to its exhibitions, extending over a period of thirty-three years, exhibiting five works only after he became President of the Academy, having succeeded Sir Martin Shee in that office in 1850, when, as is usual on the occasion, he received the honour of knighthood from Her Majesty. We have yet to follow Sir Charles Bastlake's career in his literary and official capacity. In 1841 he was appointed secretary to the Royal Commission for decorating the New Palace of Westminster, and conducted all the business of that Commission until its dissolution after the death of H.R.H. the Princie Consort, its president. The papers or appendices accompanying the periodical Reports of the Commis- sioners, written or collected and edited by the secretary, are most valuable contributions to the practical literature of Art. He had previously written a few articles for the Penny OyclopceMa; ami in 1840 he published a translation of Goethe's Theory of Colours, with a dedication to his friend and patron, Mr. Jeremiah Harman. In 1842 he edited a translation of Kugler's Italicm Schools of Pamtmg ; but his chief literary labour is the very learned volume entitled Materials for a History of Oil Pamtvng, 1847, dedicated to the late Sir Robert Peel. This work, as regards the Blemish school at least, perhaps exhausts the subject of vehicles cmd ■methods of pamnbmg. On the death of Mr. Seguier, the original keeper of the National Gallery, in 1843, Sir Charles (then Mr.) Eastlake was appointed to succeed him. This office, however, he resigned in 1847. In 1850, as President of the Royal Academy, Sir Charles became an ex- offiido Trustee ; and in 1855, on the occasion of the re-organisa- tion of the management of the Institution, he was appointed Director of the Gallery for a term of five years, an appointment which was renewed in 1860, and in 1865. The great feature of this new management was, that Parliament voted an annual sum for the purchase of pictures ; and the consequence has been a steady and vast increase of the collection, independent of gifts and bequests. The pictures purchased from 1824 inclusive to 1855, that is, during thirty-three years, amounted to only ^& in number ; while those purchased during Sir Charles Bastlake's directorship reached the number of 155, at an average cost of 662Z. 2». lOd. These 155 pictures represent eight schools of painting, and 111 masters, ex- tending over a period of seven centuries. The various Italian schools are represented by eighty-two masters ; the Flemish school, by eleven ; the Dutch, German, and British schools, each 62 EASTLAKE. by five masters ; and the French, Spanish, and Byzantine schools, by one each.* Besides the above works, many pictures were bought on the recommendation of Sir Charles Eastlake when he acted as a Trustee only. In 1849 Sir Charles married Elizabeth, the daughter of the late Dr. Rigby ; a lady distinguished for her literary attainments, being the authoress of several original works, and the translator of some others. In 1853 he received the honorary degree of D.C.L. from the University of Oxford, and in 1855 he was made a Chevalier of the Legion of Honour by the Emperor of the French. He was a Fellow of the Eoyal Society, and a member of several foreign Academies. • The following are perhaps the most notable of Sir Charles Eastlake's purchaseB, gitren in the order of their acquisition. Such pictures as are markea with an asterisk {') were bought together with others in one purchase, and had no flied price :— Subject of Kcture. Painter. Price. Date of Purchase. Adoration of the Magi Virgin adoring the Infant Christ, &c. Martyrdom of St. Sebastian Virgin and Child, St. Jerome and St. Dominick. Family of Darius, Sec. Marriage of St. Catherine St. Bernardino of Siena, Sec. AnJUlegory* Christ surrounded by Angels, &c, Madonna and Child enthroned, &c. St. Sebastian and other Saints* His own Portrait Portrait of a Lady St. Jerome in his Study' • Portrait of Mrs. Siddons Portrait of Ralph Sohomberg Landscape. Showery weather Madonna and Child enthroned, &c. Aldemey Bull, &c. His own Portrait Adoration of the Magi The Italian Trinita Christ's Af!ony in the Garden St. Book A Venetian Senator Death of Major Peirson Madonna, Infant Christ, and St, Anne.* Madonna, Infant Christ, and St, John. Madonna and Child, and the Doge Gio. MooeuiKO. Paul Veronese Pietro Perugino A. PoUajuolo - Pillppino Lippi Paul Veronese Amb. Borgognone Moretto Aug. Bronzino Pra. Gio. Augelio Garofalo - L'Ortolano - Rembrandt - Paris Bordone Gio. Bellini (?) Gainsborough Gainsborough Hobbema Memling James Ward Andrea del Sarto Bramantino - Pesellino Gio. Bellini (P) Morando Bonsigniori - Copley Girolamo dai Libri Raphael Vittore Carpacoio S s. d. 1,977 3,671 8 7 3,1S6 4 2 627 8 13,660 430 577 10 3,500 763 16 800 267 IS 1 1,000 1,000 1,675 759 1,600 270 2 127 1 2,100 630 • 880 1,600 9,000 3,400 1856 1856 1857 1859 1860 1861 1862 1863 1864 1866 EASTLAKB. 63 In August 1865 lie left England on his usual annual torn' on the Continent, with a view of acquiring further examples for the National G-allery. In Milan, however, he was attacked by severe illness ; but having somewhat recovered, he removed in the month of October to Pisa. He shortly afterwards became again seriously ill ; and early on the morning of Sunday, the 24th of December, he died, at Pisa, in his 73rd year. His body was brought to England, by desire and at the cost of the Royal Academy ; and on Thurs- day, the 18th of January 1866, it was deposited in a vault con- structed for it in Eensal Green Cemetery. No. 397. Christ lamenting over Jerusalem. " Oh Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not ! Behold, your house is left unto you desolate." — Matthew xxiii. 37, 38. *' And as he sat upon the Mount of Olives, the disciples came unto him privately, saying. Tell us, when shall these things be ?'* xxiv. 3. '■And he said. When ye shall see Jerusalem compassed with armies, then know that the desolation thereof is nigh." — Luke xxi. 20. "When they shall say peace and safety; then sudden destruction cometh upon them."— I. Thess. v. 3. Our Lord is seated, with his hands clasped, on a stone, under the shade of some oUve trees, and his regard is turned to his left towards Jerusalem, seen in the distance below ; on his right near him are seated Peter and another Apostle, and John and two more are standing a little behind ; all under the shade of the olives. In the middle ground is a shepherd with his flock, carrying a lamb under his arm ; on the other side a woman is approaching leading a child, and carrying a vessel of water on her head ; near her is a hen gathering its chickens under her wing ; a woodman's axe haa been struck into the root of an old tree ; all accessories of some portent. Engraved by S. Cousins, E. A. ; and by J. Outrim. On canvas, circular top, 3 ft. 2 in. h. by 4 ft. 10| in. w. A repetition of the picture exhibited at the Koyal Academy in 1841. Vbenoh Coluection. No. 398. Haidee, a Greek Girl. Bust, life size. Engraved by E. Graves, A.E.A. On canvas, 2 ft. 1 in. h. by 1ft. Sin. w. Under glass. Exhibited at the Eoyal Academy in 1831. Vesnon Collection. No. 399. Escape of the Carrara Family from the Pursuit of the Duke of Milan, 1389. Francesco Novello di Carrara, last Lord of Padua, is conducting his wife, Taddea d'Este, seated on an ass, over a mountain pass. 64 EASTLAKE. in order to escape from the followers of GrioTanni G-aleazzo Vis- conti, Duke of Milan, who are in sight in the valley below. Sismondi, Histovre des R^pvhUques liaUennes dM Moyen Age, ch. iii. Engraved by F. Bacon ; and by S. Smith. On canvas. 4 ft. 2 in. h. by 3 ft. 4 in. w. Exhibited at the Royal Academy in 1850. Vernon Collbotiok. No. 898. Lord Byron's Bream. A Greek landscape, with tnountains, and a view of the sea. " in the last he lay Reposing from the noontide sultriness Couched among fallen columns in the shade Of ruined walls that had survived the names Of those who reared them ; by his sleeping side Stood camels grazing, and some goodly steeds Were fastened near a fountain ; and a man Clad in a flowing garb did watch the while, While many of his tribe slumbered around." On canvas, 3 ft. 9 in. A.. by 5 ft. 6 in. w. Engraved by J. T. Willmors, AR.A. Painted in Rome in 1827 for Earl Leven and Melville ; exhibited atthe Royal Academy in 1829. Bequeathed by Mr., Thomas Howard in 1872. No. 1395. Portrait of Mrs. Charles H. Bellenden Ker. Half-length; life size; full-face. Dressed as an Italian peasant girl in a plum-coloured velvet bodice, red skirt, short sleeves of lilac-coloured satin, and a shoulder knot of white silk ribbons. A rose-pink scarf thrown lightly across the left shoulder leaves the throat and chest bare. Her hair is worn plain, and the head is uncovered except by a narrow frilling of pink ribbon and a small white kerchief. In her arms she bears an open basket of dark-coloured grapes. Background of blue sky crossed by light clouds. On canvas, 2 ft. 5\ in. h. by 2 ft. w. Bequeathed by Mr. Charles H. Bellenden Ker in 1893. No. 1398. "Ippolita Torelli." A life-size figure seated, and seen to the waist. Dressed in a ' plum-coloured velvet gown, with a low-cut bodice which leaves the chest bare, and large sleeves lined with pale rose-coloured silk. A thin white kerchief, folded like a turban, surrounds her head. She rests her elbow on the arm of her chair or couch, and sup- ports her head with her right hand. In her left she holds a string of pearls. Background of green drapery. Ippolita Torelli was the wife of Baldassare Oastiglione, an Italian soldier, statesman, and poet (1478-1529). Left in Mantna, two years after her marriage, she is supposed to have written, in EGG. 65 Latin verse, to her husband, then at the Court of Pope Leo X., complaining that in his absence her jewels gave her no pleasure. On canvas, 2 ft. Hi in. h. by 2 ft." 4| in. w. Exhibited at the Eoyal Academy in 1851. Bequeathed by Lady Eastlafce in 1893. EGG (Augustus L.), B.A., Was the son of Mr. Egg, the gunmaker, in Piccadilly, and was born in London ia 1816. Having mastered the first elements in drawing tinder Mr. Henry Sass, in Charlotte Street, Bloomsbnry, he obtained admission as a student into the Boyal Academy in 1836. He appeared as an exhibitor on the books of that institu- tion as early as 1838, when he exhibited " a Spanish Girl." This was followed by "Laugh when you can" in 1839; and a scene from " Henry IV." in 1840. Egg seems to have at once entered upon that line of art by which he ultimately gained his well-deserved reputation — the higher gemre or social history. He exhibited several excellent pictures at the Bpoyal Academy during the twenty-two years he contributed to its exhibitions, besides others shown elsewhere : he had hung altogether twenty-seven works at the Academy, but he did not exhibit in the years 1852, 1853, and 1856. The following are the most important : — " Peter the Great sees Catherine his future Empress for the first time," 1850 ; " The Life and Death of Buckingham," very remarkable, 1856 ; " Past and Present," a social tragedy, in three groups, 1858; " The Night before Naseby." 1859; and "Catherine and Petmchio," 1860, his last picture. He had the misfortune to suffer from a weak constitution, and it was during a journey in Africa, undertaken for the benefit of his health, that he died at Algiers, on the 26th of March 1863. Egg was elected an associate of the Eoyal Academy in 1848, and an academician in 1860. No. 444. Scene from " Le Liable Boiteux." Patricio and his two friends having breakfasted at a tavern on " larded fowls, partridges of Leon, pigeons from old Castile, Estremadura ham, and all the fruits of the season," he had called for the reckoning, which amoimted to fifty reals. As Patricio had but thirty in his purse, he was forced to leave in pawn his rosary, adorned with silver medals. Le Sage, Devil on Two Sticks, ch. rii Engraved by S. Sangster. On canvas, 2 ft. 10 in. h. by 3 ft. 8 in. w. Exhibited at the Eoyal Academy in 1844. Veknon Collection. 66 ETTY. No. 1385. " Beatrix Knightiiig Esmond." A scene from Thackeray's well-known historical novel. In an apartment panelled witlf oak, filled with Jacobean fur- niture, and having a rich Turkey carpet spread on the floor, Beatrix, standing on the right of the picture, clad in a white silk gown with a front of amber-coloured brocade, extends her right arm holding a sword towards Esmond, who kneels before her in a military uniform of Queen Anne's reign, viz., a scarlet coat trimmed with silver lace, steel cuirass, boots and spurs. Through an open door on the left, Eachel Lady Castlewood, wearing a blue silk dress with white muslin sleeves and black head veil, has just entered, with the Dowager Viscountess leaning on her arm. On canvas, 2 ft. 9j in. h. by 3 ft. 9^ in. w. Fainted in 1857 ; exhibited at the Boyal Academy in 1858 ; at the International Exhibition in 1862 ; at the International Exhibition at Paris in 1867 ; at the Leeds Exhibition in 1868 ; and at the Eoyal Academy Winter Exhibition in 1873. Formerly belonging to Mr. (afterwards the late Sir) Thomas Fairbairn. Purchased in 1893 (out of the Clarke Bequest) from Mr. A. D. Hogarth of Brompton. ETTY (William), R.A., Was bom at York, March the 10th, 1787 ; his father was a miller. In 1798 he was apprenticed to Robert Peck, a letter- press printer at Hull, with whom he served seven years, but, says Etty, in his autobiography, " I had such a busy desire to be a painter, that the last years of my servitude dragged on most heavily." In 1806 he removed to London, to his uncle, Mr. William Etty, of Lombard Street, and at once earnestly pre- pared himself to enter as a student at Somerset House. His first academy, however, was the plaster- cast shop kept by Gianelli, in Cock Lane, Smithfield, where Etty made a drawing of the ancient group of Cupid and Psyche, which procured Tiim admission into the Royal Academy ; he and Collins entered it the same week in 1807. By his uncle's generosity, who paid one hundred guineas for him, Etty became the pupil for one year of Sir Thomas (then Mr.) Lawrence, residing at that time in Greek Street, Soho Square, but the incessant occupation of Lawrence left him little leisure to assist his pupil, and Etty's difficulties were so great, that he writes — " Despair almost overwhelmed me, I was ready to run away, I felt that I could not get on, but a voice within said persevere 1 I did so, and at last triumphed, but I was nearly beaten." ETTT. 67 When his year was expired, Btty painted from nature, and copied the " old masters'* in the British Gallery: this^ he says, he found easy, after copying Lawrence. He was also a constant student in the " Life School " of the Koyal Academy. His industry was indefatigable, yet he tells us he tried for all medals, gold and silver, and never got any of either. He ventured at one time to send six pictures to the Academy exhibition, all were rejected ; this happened year after year at the Academy, and at the British Gallery, but by discovering his defects, and by great industry in endeavouring to correct them, he at last conquered his evil fortune, and by such works as "The Coral Finders," exhibited in 1820; "Cleopatra," exhibited in the following year, and some others, he established a reputation, and at length entered upon his great career. In 1822 Etty went to Italy, visiting Venice, Florence, Rome, and Naples, but it was in Venice that he found the greates' attractions; — "Venice, the birth-place and cradle of colour, the hope and idol of my professional life !" He studied in the Aca- demy there, and was elected an honorary member of it. He returned to London early in 1824. The first picture he ex- hibited after his return, was " Pandora crowned by tho Seasons," in the Exhibition of 1824, for which he was chosen an associate of the Royal Academy ; and in 1828 he became a member. In the autobiography mentioned in this notice, Etty has him- self pointed out what he considered his greatest works. " ' To the pure in heart, all things are pure,' my aim in all my great pictures has been to paint some great moral on the heart " — "The Combat," the beomty of mercy; the three " Judith" pic- tures, patriotism, and self-devotion to country, people, and God: "Benaiah, David's chief captain," waZowry " Ulysses and the Syrens," the importance of resisting sensual' deUghU, or an Homeric paraphrase on "The Wages of Sin is Death"; three pictures of "Joan of Arc," Beligion, Loyalty, and Patriotisim, like the modem Judith. In all, nine great pictures, " as it was my desire to paint three times three." In the summer of 1849 an exhibition of Etty's works, to the number of 130 pictures, took place in the great room of the Society of Arts, at the Adelphi, in a surprising manner display- ing the great powers of this distinguished English painter, especially as a colourist. Etty died in the same year, 1849, in his native place, York, on the 13th of November ; he was never married, and having lived a very retired life, he accumulated a considerable fortune.* He contributed one hundred and thirty- six pictures to the Eoyal Academy exhibitions. • See his Autobiography in the Art Journal for 1849 and the " Life of WUliam Etty," by A. Gilchrist. 2 vols. 8vo. London, 1855. There is a fine enKravins of the " Combat " by G. T. Boo, R.A. C 2 68 FEITH— FUSELI. No. 356. Youth on the Prow and Pleasure at the Helm. " Fair laughs the morn, and soft the Zephyr blows, While proudly riding o'er the azure realm. In gallant trim, the gilded vessel goes. Youth on the prow, and Pleasure at the helm, TTnmindiul of the sweeping whirlwind's away. That, hushed in grim repose, expects his evening prey."— Jffrojf . Engraved by C. W. Sharpe. On canvas, 5 ft. 2 in. h. by 3 ft. 10 in. ai Under glass. Exhibited at the Eoyal Academy in 1832. Veenon Collection. No. 359. The Lute Player. A gentleman and two ladies, a black page bearing refresh- ments. " When with sweet notes I the sweet lute inspired, Fond fair ones listen'd, and my skill admired." Engraved by J. C. Armytage. On wood, 2 ft. h. by 1 ft. 8^ in. w. Under glass. Exhibited at the Eoyal Academy in 1833. Veenon Collection. No. 614s. The Bather, "at the Doubtful Breeze alarmed." A female standing in a shaded pool, in the attitude of listening. On canvas, 2 ft. 1^ in. h. by 1 ft. 7^ in. w. Exhibited at the Eoyal Academy in 1844. Bequeathed by Mr. Jacob Bell in 1859. A similar picture to this was painted for Mr. Broderip. FBITH (William P.), R.A. No. 615. " The Derby Day." A scene on the Bace-Conrse at Epsom, 1856. On canvas, 3 ft. 3^ in. A. by 7 ft. 3^ in. w. Engraved on half scale by August Blanchard. Exhibited at the Eoyal Academy in 1858. Bequeathed by Mr Jacob Bell in 18r59. FUSELI (Henry), R.A., The second son of John Caspar Fnessli, a portrait and land- scape painter, was bom at Zurich on the 7th of February 1741. He showed at an early age a taste for art, but was obliged to pursue its study by stealth, for his father had determined that PUSELI. 69 he should become a clergyman. With thai; object in view yonng Fnseli entered the Caroline College of his native town, where in due course he obtained the degree of Master of Arts, and acquired the knowledge of several modern languages, including English, which enabled him to read the works of Milton and Shakespeare. Among his fellow students was Lavater, the well-known physiognomist. The two young men became great friends, and in 1761 both entered into holy orders. Not long after Fuseli, through no fault of his own, appears to have oflfended a local functionary, and was advised to leave Zurich. He made a tour in Germany, began his artistic career at Berlin by designing eight illustrations for Bodmer's " Noachide," and having made the acquaintance of Sir Andrew Mitchell, then Minister at the Court of Prussia, travelled with him to London, where he arrived at the close of the year 1763. He took lodgings in Cranboum Alley (where Hogarth had formerly resided), supporting him- self by makiug translations, and other literary work, which he varied occasionally by supplying illustrations for novels. In 1766 he accepted the appointment of travelling tutor to Yiscount Chewton, the Earl of Waldegrave's son, but soon quarrelled with his pupil and returned to England, where he obtained an introduction to Sir Joshua Keynolds, who, after seeing Fuseli's first picture, viz., " Joseph interpreting the Dreams of Pha- raoh's Servants," encouraged him to adopt the profession of a paiuter. While still a novice in art, Fuseli set out for Italy, and arrived in Borne early in 1770. Here he first changed the spelling of his name from Fuessli to Fuseli. The works of Michael Angelo appear to have absorbed his attention, and he also studied from the antique, but he copied little, and when drawing from the life, shrank from the practice of dissection. During Fuseli's stay in Italy, which extended over eight years, he sent two pictures to the Eoyal Academy. On his way back to England he remained some months at his native town, where, among other pictures, he painted " The Confederacy of the Pounders of Helvetian Liberty" — a work which is still pre- served in the Senate House at Zurich. Beturning to London in 1778, he took part of a house in St. Martin's Lane, exhibited three pictures at the Eoyal Academy in 1780, and two years later produced a work entitled " The Nightmare," which was engraved and became popular. la. 1780 he was associated with Alderman Boydell's scheme for producing illustrations from Shakespeare, and painted eight large pictures for this series. In 1788 he was elected an Associate, and two years later a full member, of the B. A. 70 aAmsBOEOuan. raseli's pencil was afterwards employed in illustrating various publications, including " Macklin's Poets " and " Maoklin's Bible." At a later period he painted forty pictures on a large scale, selecting bis subjects from Milton. These were exhibited under the name of "The Milton Gallery," as a private specula- tion of the artist, but they failed to attract the public, and after four months the exhibition was closed at a loss. Meanwhile Puseli had been elected Professor of Painting at the Royal Academy, and in 1801 he delivered his first course of lectures. In 1804 he was appointed keeper of the B.A., and he held both offices for more than twenty years. He continued to paint up to the end of his life, and, exclusively of those which formed the Milton Gallery, exhibited sixty-nine pictures. He was seized with his last illness while on a visit at the house of the Countess of Guildford, at Putney, where he died on the 16th of April 1825. No. 1228. " Titania and Bottom,." From the " Midsummer's Night's Dream," Act IV., Scene 1. In the centre of the picture Bottom (a life-size figure) sits, with the ass's head on his shoulders, while Titania, standing by his side, raises her right arm coquettishly, holding a wand over the weaver's head. On either side stand groups of sprites and fairies — some whose dress and action suggest a mortal shape, some airily draped as Moth, Peasecod, and Cobweb, and others on a smaller scale distinguished by an elfish and imp-like character. Dark background, in which the forms of distant figures are dimly shadowed. On canvas, 7 ft. 1^ in. h. by 8 ft. llj in. w. Presented by Miss J. Carrick Moore, having been bequeathed to the National Gallery by her deceased sister. GAINSBOROUGH (Thomas), R.A., Was bom at Sudbury, in SuSblk, in the spring of 1727. After evincing a decided ability for landscape painting, by his unaided attempts from nature, he left Sudbury for London when he was fourteen years of age, and became the pupU first of Gravelot, the engraver ; then of Francis Hayman, at that tune a painter of repute, and, like Gainsborough himself, one of the original members of the Royal Academy, which was founded in 1768. Gainsborough set up as a portrait and landscape painter, in Hatton Grarden, but without success, and, after four years'* GAINSBOEOUGH. 71 residence in the metropolis, be returned to his native place. When still a youth he married Margaret Burr, a young lady of some fortune, and settled in Ipswich. One of his first pictures which attracted notice was a view of Landguard Fort, of which there is a print by Major ; the picture has perished. His reputa- tion extending, he settled, in 1760, in Bath, as a more suitable field for the exercise of his abilities. At Bath much of his time was devoted to portraiture, which aj)pears subsequently to have divided his attention with landscape painting. In 1774 he settled in Lon- don, and rented a portion of Schomberg House, Pall Mall ; from this period his reputation was such that he was considered at the same time the rival of Sir Joshua Keynolds in portrait, and of Wilson in landscape, painting. He was one of the original mem- bers of the ErOyal Academy, and sent pictures to its exhibitions from the commencement in 1769, but ceased to contribute after 1783. He exhibited altogether ninety-six works at the Academy. He died in London, August 2, 1788, and was buried in Kew churchyard.* Shortly after Gfiinsborough's death, Sir Joshua Reynolds, then President of the Eoyal Academy, delivered a discourse to the students, of which the " Character of Gfiinsborongh " was the subject. In this he alludes to G-ainsborough's method of handliog — his habit of hatchmg. " All those odd scratches and marks," he observes, " which, on a close examination, are so observable in Gainsborough's pictures, and which, even to experienced painters, appear rather the efi'eot of accident than design, — this chaos, this uncouth and shapeless appearance — by a kind of magic, at a certain distance, assume form, and all the parts seem to drop into their proper places ; so that we can hardly refuse acknowledging the fidl effect of diligence, under the appearance of chance and hasty negligence." He "observes, in another place, " whether he most excelled in portraits, landscapes, or fancy pictures, it is difBoult to determine."t Among Gainsborough's most popular pictures are, the youth in a blue satin dress, known as ' ' The Blue Boy ; " the portrait of the Hon. Mrs. Graham (now in the Edinburgh Gallery), " The Shep- herd Boy in the Shower ; " " The Cottage Door;" " The Cottage Girl with Dog and Pitcher;"- "The Shepherd Boys with their Dogs fighting ;" and " The Woodman and his Dog in the Storm."t Gainsborough is said never to have put his name to any picture. § ', Edwards, Anecdotes of Painters who have resided or been born in England, Ac. London, 1808. t Discourse XIV. delivered Deo. 10, 1788. J This picture was burnt at Baton Park ; it has been engraved by Simon, and executed in needlework by Miss Lynwood. § Edwards, Anecdotes, &e. 72 GAINSBOROUGH. He died in possession of 56 of his pictures and 148 drawings, which were exhibited at his house in March 1789. Many were sold on this occasion, and the remainder at Christie's, June 2nd, 1792.* No. 80. The Market Cart. The horse with loaded cart, from which this picture takes its name, is on the point of passing through a shaded pool on the high road ; two girls are seated on the cart, and two boys and a dog are walking by the side of it : in the foreground to the left are two other figures, seated, and a dog; to the right, in the middle ground, is a youth collecting faggots. Engrayed by E. Goodall, for the Associated Engravers ; and in Jones's National Gallery. On canvas, 6 ft. ^ in. h. by 5 ft. ^ in. w. Purchased at Lord Gwydyr's sale in 1828, and presented to the National Gallery by the Governors of the British Institution. Lord Northwick possessed a similar composition. No. 109. The Watering Place. A thickly -wooded landscape, with a few figures in a retired spot to the left ; and some cattle and goats standing in a pool of water in the foreground to the right. Evening light. Engraved by W. MiUer, for the Associated Engravers ; and in Jones's National OaMery. On canvas, 4 ft. 10 in. h. by 5 ft. 11 in w. Presented to the National Gallery in 1827 by Lord Farnborough. No. 308. Musidora bathing her Feet. She is seated on the bank of a shaded stream, with one foot in the water, and is loosening the sandal of the other. " ... Thrice happy swain ! A lucky chance, that oft decides the fate Of mighty monarchs, then decided thine. Tor, lo ! conducted by the lau^tiing loves. This cool retreat his Musidora sought ; ■Warm in her cheek the sultry season glowed, And rob'd in loose array, she came to bathe Her fervent limbs in the refreshing stream." . Ihomsoa'a Summer. Entire figure, life size. Engraved by P. Lightfoot. On canvas, 6 ft. h. by 5 ft. w. Vbenon Collection. No. 309. The Watering Place. A woody landscape, three cows standing in a stream ; a village church in the distance. Engraved by W. Miller. On canvas, 1 ft. 11 in. A. by 2 ft. 6 in w Vernon Collection. • See Pnlcher, Life of Uainsborongh. 12mo, London, ISoG. GAINSBOROUGH. 73 No. 310. Woody Landscape, Sunset. A carter on his way home has stopped to water Ms team at a wayside brook. Engraved by J. C. Bentley. On canvas, 4 ft. 3 in. h. by 4 ft. 11 in. w. Farchased by Mr. Vernon in 1832; it was formerly in the possession of Mr. Ewer, who purchased it at the sale at Schomberg House in 1789. Vbbnon Collbction. No. 311. Rustic Children. A girl carrying a child, and a boy with a bmidle of faggots. Evening. Engraved by G. B. Shaw. On canvas, 1 ft. 6 in. h. by 1 ft. 2i in. w. Veknon Collbction. No. 678. Study for a Portrait. The finished picture, a full-length portrait of Abel Moysey , Esq. , when a young man, is now at Bathcalton Court, Somersetshire. Mr. Moysey was some years member for Bath, was made a Welsh Judge in 1775, and was afterwards appointed Deputy King's Remembrancer to the Court of Exchequer. He died in 1831, aged 87. On canvas, 1 ft. 1 Of in. h. by 1 ft. 6 in. w. Presented in 1861, by his grandsons, Mr. Henry Gorges Moysey, and ,i the Eev. Frederick LuttreU Moysey. No. 683. Portrait of Mrs. Siddons, In a striped blue and white dress, and buff shawl, with black hat and feathers ; and holding in her left hand a brown muff s seated, half-length, life size. On canvas, 4 ft. 1^ in. h. by 3 ft. 3 in. w. Painted in 1784,* in her twenty-ninth year, the year after Sir Joshua Beynolds painted her as the " Tragic Muse," now in tbe Grosvenor Gallery. Purchased in 1862, from Major Mair, who was married to a daughter of Mr. Henry Siddons, the actress's son. Exhibited at Manchester in 1857. No. 684. Portrait of Ralph Schomberg, Esq., M.D., In a court suit of claret-coloured velvet, holding his cooked hat and cane in his hands. He was of the family of Field Marshal Duke Schomberg, who was killed in 1690 at the Battle of the • ruloher, " Life of Gainsborough," 1850. p. ISU. 74 GAINSBOROTJGH. Boyne. Standing full length, in the open air ; with a landscape background.* On canvas, 7 ft. 7 in. h. by 5 ft. I in. w. Engraved by W. T. Fry, for Jones's National Gallery. Exhibited at the British Institution in 1815, and in 1834 placed by mis- take in the National Gallery, from which it was removed in 1836. Pur- chased from J. T. Schomberg, Esq., in 1862. No. 760. Portrait of Orpin, Parish Clerk of Bradford, Wiltshire. Seated near a vrindow, with his face turned towards the light, and his hands on the first volume of a large foUo Bible, resting open on a reading desk before him. Half length, life size. On canvas, 3 ft. 11^ in. h. by 3 ft. Ij in. w. OriginaUy in the possession of J. Wiltshire, Esq., of Shockerwick, near Bath. Edward Orpin died in 1781. Purchased at the sale of the Wilt- shire collection in 1867. No. 789. Portraits of Mr. J. BaiUie, of Ealing Grove, his Wife and Four Children. The mother is seated in a garden with the youngest child stand- ing on her lap, who is stretching out its hands to receive a rose from its brother ; on the spectator's left are standing two girls, and on the other side is the father leaning on the back of the mother's chair ; foliage, a pillar and curtain in the background. Six figures, life size. On canvas, 8 ft. 2 in. h. by 7 ft. 5 in. w. Bequeathed by Mr. Alexander Baillie, of Naples, in 1858 ; to be retained by his nephew, Mr. M. J. Higgins, during his life ; at his death, in 1868, the picture came into the possession of the Trustees of the National Gallery. No. 925. Landscape. A wood scene, with a pool of water, and a view of the village of Oomard in Suffolk, in the distance : several figures, variously occupied, in the wood. This view is, in the lettering of the print of it published by the Boydells in 1790, called " Gainsborough's Forest." On canvas, 4 ft. h. by 5 ft. w. Engraved by Mary Catherine Prestel. Formerly in the possession of Alderman Boydell, who bequeathed it to Mr. Watts. From him it passed to Mr. Watts Russell, at whose sale in 1875 it was purchased from the Lewis Fund for the national collection.-}- • Fulcher, in his " Idfe of Oainsborough," p. 198, desi^ates this picture " one of the finest in the world." t Fulcher's Life of Thomas Oainshorough, 1856, p. 193. &LOVEE. 75 No. 1044. Portrait of the Rev. Sir Henry Bate Dudley, Bart. The founder and editor of the " Morning Post," who became Chancellor of the Diocese of Ferns in Ireland and a Prebendary of the Cathedral of Ely. He was at one period of his life intimately associated with the Prince Eegent, afterwards George IV., by whom he was made a baronet in 1812. Half-length. Fainted on canvas, 2 ft. 4^ in. h. by 3 ft. f in. lo. Presented by his nephew, Mr. T. Birch Wolfe, in 1878. No. 1174. The Watering Place. A sketch for the picture numbered 109 in this catalogue. On canvas, 1 ft. 4-j in. A. by 1 ft. 9^ in. w. Bequeathed by Mrs. Elizabeth Vaughan in 1885. No. 1271. Portrait of a Young Man. About half life-size : seen to the waist : three-quarter face ; dressed in a plum-coloured coat, white waistcoat, and cravat. The hair of the head is brushed up from the brow, curled at the sides and powdered. The cheeks are hairless. On canvas, 12 in. h. by 9f in. w. Presented by Mr. James Bannie Swinton in 1888. No. 1283. View of Dedham. A thickly-wooded copse, with beech and oak trees shading a hilly foreground, on the left of which a man is seated. Through the trees, towards the left of the picture, is seen meadow land divided by hedges. Beyond, a church tower rises above the dis- tant village. Blue sky, with storm clouds gathering on the right. On canvas, 2 ft. ^ in. A. by 2 ft. 6^ in. w. Purchased from a fund bequeathed by Mr. Francis Clarke. GLOVISB (John) Was born at Houghton-on-hill, in Leicestershire, on the 18th of February 1767. He began life as a writing master, but in 1 794 removed to Lichfield and commenced his career as an artist. On the establishment of the Society of Painters in Water-colours in 1805 he contributed to its first exhibition held in Spring Gardens, and, having left the country, came to reside m Montague Square, London. Soon after the restoration of Louis XVIII. Mr. Grlover paid a visit to France, and after studying at the Louvre, painted a large oil picture which he exhibited in Paris. This work attracted the attention of the French King, who presented the 76 GOOD. aftist, after his return to England, with a gold medal in recog- nition of his ability. Mr. Glover passed some time on the Continent, extending his travels through France to Switzerland and Italy. In 1820 he opened a private exhibition of his works in Bond Street. Some of his pictures realized high prices. His view of Durham Cathedral, now in Lambton Hall, was sold for five hundred guineas. Having practiced his art as a landscape painter for many years in London he purchased a house and some land in the neighbourhood of Ullswater with the intention of _ retiring there, but this project seems never to have been realized, and circnmstanoes subsequently led him to emigrate to Tasmania where he arrived in March 1831. The novelty of the scenery by which he found himself surrounded seems to have stimulated him to fresh exertions. Some of his best pictures of local scenery were executed for liberal colonists who sent them to England. During the latter years of his life he appears to have ceased from painting and passed his time in religious study. He died on the 9th December 1849 at the advanced age of eighty-two. No. 1186. Landscape with Gattle. A clear stream which mirrors the surrounding scenery as it flows through common land surrounded by meadows. On the opposite bank cows are drinking. In the middle distance a group of trees with level country beyond. Blue sky filled with cloud cumuli. Shrubs and brushwood in the foreground. On canvas, 1 ft. 7j in. h. by 2 ft. 3 in. w. Bequeathed by Mrs. Elizabeth Vaaghan in lb85. GOOD (Thomas S.) Was bom at Berwick-upon-Tw%ed, December 4th, 1789, and was originally brought up as a house painter. He eventnially ad opt ed painting as a fine art, imitating the style and sulDJects of Wilkie ; and produced several excellent pictures. He was an exhibitor for fourteen years at the Royal Academy, but having inherited some property through his wife, he finally abandoned the practice of painting as a profession. He exhibited between the years 1820 and 1833, inclusive, twenty pictures, of ordinary domestic scenes, as — "A Scotch Shepherd;" "Music;" "Two Old Men who fought at the Battle of Minden ;" " Northumbrian Piper ;" " Practice ;" " Rummaging an old "Wardrobe ;" " Smug- glers Resting;" " Pishei-men;" " Idlers;" " The Truant;" ttOODALL. 77 " Merry Cottagers ; " "Medicine;" " Tke Industrious Mother," &c. He died in Ms o-vm house on the Quay Walls at Berwick, on the 15th of April 1872. No. 378. The Newspaper. The interior of a cottage, a man seated in an arm chair reading a newspaper. Engraved by C. W. Sharpe. On wood, 9^ in. h. by 7 J in. a>. _ Vesnoj* Collection. Under glass. No. 917. Ho News. _An old man in a clerical suit of black, seated in a chair, with his right arm resting on a table, and his head thrown back, has fallen asleep over his newspaper still held before him on his On wood, 21 in. A. by 17 in. w. Beqneathed'by the painter's widow, Mrs. Mary Evans Good, in 1874. No. 918. Fisherman with a Gun. A coast scene near Berwick, a rooky shore and stormy weather, with a boat drawn up on the sands and a fisherman with a gun watching for sea gulls. Signed T. S. Good, 1832. On wood, 15 in. A. by 19 in. w. Exhibited at the Royal Academy in 1832. Bequeathed by the painter's widow in 1874. No. 919. Stvdy of a Boy. A boy seated at a table, with- his right hand on an open book, carelessly lounging on a wooden chair, and looking out of the picture ; he is surrounded by books and other objects on the table and on the floor. On wood, 11^ in. h. by 9i in. w. Bequeathed by the painter's widow in 1874. GOOSALL (Fredekick), B.A. No. 450. A Village Holiday of the olden ti/me. " When the merry bells ring round, And the jocund rebecks sound. To many a youth and many a maid, Dancing in the chequered shade ; And young and old come forth to play On a sunshine holiday."— Milton's Z' Allegro. A merry dance of villagers under the shadow of a noble oak, before an old country inn on the right, bearing the sign of the ' ' Royal Oak." The windows are crowded with spectators ; to the left are three musicians, who have taken refuge under the shade 78 HALLS. of the vast tree. In the foregi-ound is a hawker, exhibiting his trinkets to some of the more elderly women of the party, and to the right of these, some of the elder villagers are seated at tables enjoying a substantial repast. EngraTed by J. Carter. On canvas, 3 ft. 4 in. h. by 5 ft. 7 in. w. Exhibited at the Royal Academy in 1847. Vernon Collection. No. 4L5'1. The Tired Soldier, resting at a Roadside Well. He is seated by the well drinking from the pitcher of a young girl, who watches him with interest. An old man on the other side of the picture returning from market, who has stopped to water his horse, shows the like interest in the weary wayfarer. French peasants ; composition of five figures. Engraved by F. Croll. On canvas, 2 ft. 3^ in. h. by 3 ft. w. Exhibited at the Royal Academy in 1842. Veknon Collection. HALLS (John J.). A portrait and historical painter who seems to have pursued his calling at Colchester up to the close of the last century, when he removed to London and soon established a successful practice. In 1813 he received a prize of 200Z. from the British Institution for his picture representing " The Saising of Jairus's Daughter." From 1791 to 1827 he was a constant exhibitor at the Eoyal Academy and the British Institution. The dates of his birth and death are alike unknown. A portrait of the first Lord Denman by Halls hapgs in the National Portrait Gallery. No. 1372. Portrait of Sir George Gockburn, Bart, O.C.B., Admiral of the Fleet. Life-size : full-length : three-quarter face (clean shaven). Dressed in naval uniform, with Hessian boots and spurs. He holds his sword in his right hand, while his left rests on his hip. In the background are buildings in flames — supposed to repre- sent the conflagration of Washington. A presentation picture given by the OflBcers of the Royal Navy and Marines. On canvas, 7 ft. 9 in. h. by 4 ft. 9 in. w. Bequeathed (with other pictures) to the Nation by Marianna Augusta, Lady Hamilton, in 1892. HART. 79 HAB.T (Solomon A.), B.A., Was born at Plymouth in April 1806. In 1820 his father, who had begun life as a goldsmith, removed to London where he gave lessons in Hebrew, and his son was apprenticed to Samuel Warren, the line engraver. Three years later young Hart entered as a student of the Eoyal Academy, and in 1826 exhibited a miniature portrait of Hs father at the Royal Aoadeniy Exhibition. About the same time he became a contributor to the Society of British Artists* Grallery, where he exhibited portraits and miniature copies from the old masters. In 1829^ painted two subject pictures, viz., "Youthful Architecture " and the "Nymph and Satyr;" the following year his " Reafling of the Law," a scene in a Jewish Synagogue, and was purchased by Mr. Robert Vernon, who bequeathed it to the National G-allery (No. 424). , In 1829 he exhibited "A Rabbi at Prayer," "The Family Concert," and three other works. But the picture by which he gained earliest notice was his " Isaac of York in the Donjon of the Castle of Reginald Front de Boeuf." For some years after- wards Mr. Hart contributed regularly to the Royal Academy Exhibition, and in 1836 he was elected an Associate of that body, receiving the honour of full membership in 1840, when Ms principal picture was "King Henry I. receiving intelligence of the Ship- wreck and Death of his only Son." In the following year he visited Italy, where he remained for twelve monthsj bringing home with him numerous studies of architecture and scenery. Mr. Hart's acquaintance with the history and technical practice of his art was very considerable, and from 1854 to 1863 he suc- ceeded Leslie as Professor of Painting at the Royal Academy. In 1865 he was elected Librarian to the same Institution, an oflBce which he held until the close of his life, discharging its duties with zeal and ability. Indeed it is not too much to say that to his untiring energy in the Acquisition and arrangement of publica- tions, whether English or foreign, bearing on the subject, the Eoyal Academy owes the excellence and usefulness of its present libraiy. . For some years he was Curator of the pictures in Green- wich Hospital ; and one of the Art Examiners to the Science and Art Department at South Kensington. During his early career many distinguished persons of his own faith sat to him for portraits, which were subsequently presented to Jewish institutions, and shortly before his death he gave one of his largest pictures, " The execution ofLady Jane Grey," to the Corporation of Plymouth, his native town. His last exhibited work was "The Hoarder," hung at the Eoyal Academy in 1881. He died in London on the 11th June in the same year. 80 HEEBING— HOGARTH. No. 424. Interior of a Jewish Synagogue at the Ti/me of the Reading of the Law. " The five books of Moses, here called the Law, contained flfty-three sections, so that by reading one on each Sabbath, and two in one day, they read through the whole in the course of a year ; finishing at the Feast of Tabernacles (in October], which they called the E«]oioinK of the Law." " The Jewish Doctors, to show their reverence for the Scriptures, always stood when they read them, but when they taught the people they sat down." Burder's Oriental Oustomt. Engraved by E. Challis. On canvas, 3 ft. 8 in. h. by 2 ft. Ij in. w. arched at top. Painted in 1830. Teknom Collection. HEBRIITG (John F.) The distinguiBhed horse painter, was a native Englishman, bnt his family was originally Dutch. As an artist he was self-tanght ; at one time he was a stage coachman, having driven the " York and Lpndon Highflyer " for four years. He first painted horses at Doncaater, and has made porta'aits of thirty-three snccessive winners of the St. Leger there. Among his best works are " Eetnming from Epsom ;" " The Derby Day;" " The Market Day ;" " The Horse Fair," &o. Herring was a frequent exhibitor at the British Institution and at the Boyal Academy. He died at Tunbridge, Kent, on the 23rd of September 1865, in his seventy- first year. He was animal painter to H.B.H. the Duchess of Kent, and Her Majesty possesses several portraits of horses by him. No. 452. The Frugal Meal. Study of the heads of three horses, feeding : two pigeons are partakmg of the meal. Engraved by J. Burnet ; and by E. Hacker. On canvas, 1 ft. 9J in. h. by 2 ft. 51 in. tc. Fainted in 1847. Vebkon Collection. HOGARTH (William) Was bom Nov. 10, 1697, in London, according to the Register of Births, at Great St. Bartholomew's, "West Smithfield, in Bartho- lomew Close, " next doore to Mr. Downinge's the Printer's," and was baptized in the still existent font of the Church "y" 28" Nov' 1697."* His father, a native of Westmoreland, and originally a schoolmaster, was employed in London as a corrector of the press ; he spelt his name Hogart. Hogarth was apprenticed at an early age to Mr. Ellis Gamble, who kept a silversmith's shop ' See Austin Dobson's " William Hoearth," 1891, p. 12. HOGARTH. 81 in Oranbonm Alley ; and he was bred an engraver of crests and ciphers on silver and other metal plates. This occupation, how- ever, does not appear to have suited his taste, and at the expiration of his apprenticeship, in 1718, he turned his attention to en- graving on copper for booksellers. His earliest known print is his own shop-bill, which is dated 1720; but the first of his prints which attracted public notice are twelve small illustrations to Butler's RuMiras, published in 1726 : they were copied for Gray's Hvdibras, in 1744, and for Townley's French Translation, which was published in London in 1757. In the year 1730, he married the only daughter of Sir James Thomhill, against that painter's consent. He engraved many book-plates at this period, but he derived little benefit from the employment, sometimes receiving for his plates scarcely more than the value of the copper. He therefore set up as a portrait painter, in which occupation he met with considerable success for a time. It was during this early stage of his career as a painter, 1731, that he painted his series of " The Harlot's Progress," which was immediately followed by " The Kake's Progress," engraved in 1735. He acquired still greater fame by his series of the Marriage " a la Mode," which appeared in the prints in 1745 : the original pictures are in this collection. Hogarth was now an artist of high depute, both as a painter and satirist. As a portrait painter " his own likeness " in this collection, and that of " Captain Coram " in the Foundling Hospital, are capital specimens of his ability ; of his moralizing, satirical capacity, and his abilities as a painter generally, the Marriage " a la Mode " affords adequate proof. In 1753 Hogarth appeared as an author ; he published in that year " The Analysis of Beauty, written with a view of fixing the Fluctuating Ideas of Taste,"* in the literary department of which he was assisted by Dr. Benjamin Hoadley and Dr. Morell. In 1757 Hogarth was appointed Serjeant Painter to the King, in the place of Mr., the son of Sir James Thomhill, who resigned. He died at his house in Leicester-fields, October 26, 1764, aged sixty-seven, and was buried in a vault at Chiswick, where he had a villa, and where he generally resided in the summer. His widow survived him twenty-five years.f * A German translation of this work was printed at Berlin, in 1874 ; and it ap- peared in Italian at Leghorn in 17C1. t Walpole, Anecdotes of Painting, &c. ; Nichols, Biographical Anecdotes of WilUam Bogarth ; and a Catalogue of his Works, &e., London, 1781 and 82. Ireland, Hogarth IllMstrated, London, Boydell, 8 vols. 8vo., 1791-1812. There are several sets of prints of Hogarth's designs, more or less complete; but most of them are copies. The best original set is that of 110 plates sold by the Boydells, after the death of the painter's widow. 82 HOGARTH. No. 112. His own Portrait. The piotnre is represented resting on volumes of Shakspeare, Milton, and Swifl ; and Hogarth's favourite dog Trump is painted by the side of it. In the lower comer to the left is a palette with the " Line of Beauty and Grrace " marked upon it, and bearing the date 1745. Engraved in 1749 by Hogarth himself, but the plate was converted in 1763 into a satirical print of Churchill, the poet, as " A Russian Hercules." It is beautifully engraved on a small scale by J. Barlow, on the titlepage of the first volume of Ireland's Hogarth Illustrated. There are also several other more recent prints of it — in Walpole's Anecdotes, in lie Gallery of Portraits, in Cunningham's Lives, in Jones's National Gallery, &c. On canvas, 2 ft. 11 in. A. by 2 ft. 3 in. w. This picture remained in the possession of Mrs. Hogarth until her death in 1789, when it was bought by Mr. Angerstein, with whose collection it was purchased by Parliament in 1824. Nos. 113-118. The Marriage " a la Mode." A series of six pictures, representing profligacy in high life, or the ill efiects of a marriage, of which the rank of one party and the wealth of the other are the sources of mutual attraction. Both are indifferent ; the husband, a peer, proves neglectful and profligate — the lady, faithless ; and her lord is finally killed in a duel by her paramour, who is hanged for the murder ; the suicide of the lady by poison is the closing act of the tragedy. No. 113. The Marriage Contract. The scene takes place in a splendid apartment, adorned with pictures. The gouty old nobleman, the father of the bridegroom, is pointing to his pedigree, and appears engrossed by his own imaginary dignity, while the rich citizen, the father of the bride, is equally absorbed by the details of the marriage settlement. The bride and bridegroom are seated, turned away from each other, on a sofa. " The lady shows by her countenance and the manner in which she is playing with her wedding ring, that but a sullen consent has been wrung from her, by the promise of a title and an equipage ; and the young nobleman evinces his utter indifference for his bride, and his admiration for himself, by turning his head from her for the superior gratification of con- templating his own person in a mirror. The nature of the plot and catastrophe of the drama is suflSciently indicated by the insidious attention which the young counsellor SiVverUmgue is paying to the bride. The two pointers in the foreground to the left, chained together against their inclinations, are good em.blemB HOGARTH. 83 of the ceremony which has lately passed."* Composition of seven small figures. Originally engraved by G. Scotin, in 1745 j also by Earlom ; by J. Garner, for Jones's National Gallery. No. 114. Shortly after Marriage. This scene represents the breakfast-parlonr, with an inner-room beyond, in which are seen cards and card-tables, with the candles Btill burning, though it is now noon ; a sleepy servant is on the point of putting out the candles. The peer has, after a night's debauch, just entered the apartment, in which his wife, who has also been up all night playing at cards, is seated at breakfast. He has thrown himself carelessly upon a chair, with his hands in his pockets, in an attitude of reckless indifference ; the lady is yawning with much of the same expression. A very significant figure in this composition also is the old steward, who, with a parcel of bills and a solitary receipt in his hands, is leaving the apartment in despair. Various articles are strewed about the room, and a little dog is sniflBng at a lady's cap in the pocket of the young libertine. Composition of three principal figures. Originally engraved by B. Baron ; also by Earlom ; by T. E. Nicholson, for Jones's National Gallery ; and by many others. No. 115. The Visit to the QvMch Doctor. Here we have further evidence of the husband's profligacy: to his mined fortunes he now adds a wasted constitution. The libertine rallies a quack and a procuress for having deceived him, and the latter, in fear of her reputation, threatens him with her knife in return ; the hardened quack, on the other hand, treats the reprimand with stoic iadiflference.. The young girl, the cause of the visit, presents a hapless picture of deadened sympathies. Composition of four figures. Engraved for the original set of prints by B. Baion ; afterwards by Earlom ; by C. Mottram, for Jones's National Gallery ; and by others. No. 116. The Countess's Dressing Room. " By the old peer's death our fair heroine has attained the summit of her wishes, and is become a countess. Intoxicated by this elevation, and vain of her new dignity, she ranges through the whole circle of frivolous amusements, and treads every maze of fashionable dissipation. Her excesses are rendered still more criminal by the consequent neglect of her domestic duties, for, by the coral on the back of her chair, we are led to suppose that * See the elaborate description of this picture and the rest of the series bj Ireland in his Hogarth Illustrated. 84 HOGAETH. she is a mother."* Her morning levee is crowded -with persons of rank, and attended by her paramour and an Italian singer, with whose dulcet notes two of the group seem in the highest degree enraptured. Silvertongne, the young lawyer, reclining upon the sofa, is presenting the countess with a ticket of admis- sion to a masquerade, at which the assignation is made which leads to the catastrophes of the two following designs.f Com- position of eleven figures. Engraved originally by S. T. Kavenet ; also, afterwards, by Earlom : by Armstrong, for Jones's National Gallery; and by several othersl No. 117. The Duel and Death of the Earl. The peer becomes aware of the infidelity of his wife, and discovers her with her paramour, the counsellor, in a disreputable house. A duel ensues, and the earl is slain. The countess im- plores the forgiveness of her lord, and the guilty paramour endeavours to escape at the window, but the watch has already arrived, and he is arrested. The apartment, a bed-room, is sHl- fhlly illuminated from a wood fire, without the picture, on the left. Composition of five, but only two principal, figures. This picture was likewise engraved for the original set of prints by Kavenet — in the background he was assisted by his wife ; engraved also by Earlom ; by T. K. Nicholson, for Jones's National Gallery ; and by others. No. 118. The Death of the Countess. This scene, the sixth, completes the tragedy ; she dies by her own hand, by poison ; the catastrophe takes place in her father's house in the city, of which he is one of the sherifis : the window of the apartment opens upon the Thames. The bottle which contained the poison, laudanum, lies upon the floor, and close to it is a paper with the words Oownsellor Silvertongue's last dying speeeh upon it, by which we learn that her paramour has sufTered the extreme penalty of the law. The avaricious father, seeing his daughter upon the point of death, is carefully drawing the rings from her fingers. The only two of the party who exhibit any grief, are the child of the countess, and the old nurse, who is holding it up to the face of its dying mother. In the background is the apothecary rating the domestic for having purchased the poison. A lean half-starved hound, taking advantage of the disorder, is stealing a " brawn's head " from the table, on the right. On the extreme • Ireland, Hogarth Illustrated. t See Nicliols's Anecdotes, and Ireland's Hogarth, HOGARTH. 85 left is the back of the retreating physicitin. Composition of six principal figures. Engraved by G. Scotin, for the original set of prints published in 1745 ; by Earlom ; by J. Mansell, for Jones's National Gallery ; and by others. The pictures are on canvas, and are all of the same size, 2 ft. 3 in. h. by 2 ft. H in. le. Under glass. These pictures were completed in 1744, and were sold by Hogarth, by auction, June 6, 1750. They were purchased by Mr. Lane, of Hillingdon, near Uxbridge, who, to the painter's great disappointment, was the only bidder ; he obtained the pic- tures for the small sum of 1261. ; the frames alone had cost Hogarth 24 guineas. The pictures were bequeathed by Mr. Lane to Colonel Cawthome, who sold them in 1797 for 1,381Z. to Mr. Angerstein, with the rest of whose collection they were purchased for the nation, in 1824. No. 675. Portrait of his Sister. Inscribed Maby Hogabth, 1746. On canvas, 11 in. h. by 8 J in. w. Bequeathed in 1861 by Mr. Richard Frankum. No. 1046. Sigismonda mourning over the heart of Quiscardo. Sigismonda (or Grhismonda), daughter of Tancred Prince of Salerno, loTed and secretly married Guisoardo, a poor but noble youth, page to her father. Tancred having accidentally disco- vered the union, caused Guiscardo to be strangled, and sent his heart enclosed in a rich golden cup to Sigismonda. She accepted the gift, bathed it with her tears, and escaped from life by a poisoned draught which she had prepared in expectation of her husband's doom. This picture was painted in 1759 for Sir Richard Grosvenor, who declined to take it. It was afterwards exhibited in Spring Gardens. At the sale of Mrs. Hogarth's efiects it was bought by Alderman BoydeU for 56 guineas. It formed one of the prizes of the Shakspeare Gallery : was sold in July 1807 at Christie's for 400 guineas : and was exhibited at the British Gallery in 1814, being already then in Mr. Anderdon's possession. Engraved by B.Smith in 1792. An original sketch in oil for the Sigismonda and a drawing by Edward Edwards, R.A., touched upon by Hogarth for the use of the engravers, were sold in a collection belonging to Samuel 86 HOGARTH. Ireland, May 6th 1787 by Messrs. Christie for five guineas. The sketch of Sigismonda was engraved in mezzotint by Dunkarton.* Painted on canvas 3 ft. 3 in. h., by 4 ft. 1^ in. w. Bequeathed hy Mr. James Hughes Anderdon in 1879. No. 1153. A Family Group. "This picture contains portraits of William Strode, Esq., his mother. Lady Anne, daughter of the 5th Earl of Salisbury, Mr. S. Strode, Dr. Arthur Smith, who was Archbishop of Dublin from 1766 to 1772, and Jonathan Powell, Mr. Strode's butler. Interior of a room ; Lady Anne Strode, in a mob-cap, is seated at the breakfast-table; on her left stands Mr. 8. Strode, in a blue gold-embroidered coat and red breeches, holding a stick in his right hand ; on the opposite side of the table Mr. Strode is seated, talking to Dr. Smith, who has an open book in his hand ; near Mr. Strode is the servant, pouring water into a teapot." The above description is quoted from the Koyal Academy Catalogue of Works by Old Masters at Burlington House, where the picture was exhibited. On canvas, 2 ft. 10 in. h. by 2 ft. 11 in. to. Bequeathed by the Eev. W. Finch in 1883. No. 1161. Portrait of Miss Fenton, the Actress, as " Polly Peachum," in the " Beggar's Opera." The figure is life size and seen to the waist. Three quarter face turned to her left. She wears a pale green silk boddice open at the neck and trimmed with reddish brown silk. Her fair hair is half concealed by a lace cap, and her throat encircled by a pearl necklace. Dark background. Painted on canvas (oval form), 2 ft. 5 in. h. by 1 ft. 11 in. w. Purchased in 1884 at the sale of the Leigh Court Collection out of a pecuniary bequest made by the late Mr. Richard 0. Wheeler. No. 1162. The Shrimp Qirl. A life-size sketch of bust length : the face nearly full. She wears a white cap with a dark cloth over her head, on which she bears a flat dish or basket containing shrimps, and a small metal mug used as a measure. Her mouth is half open as though she were crying her wares. Light grey background. * Walpcle's Anecdotes of Painting, Vol. 4, pp. 142, 148, and Ireland's Hogarth Vol. 1, p. liixviii. ' J. B. l!i\ebo\&:— Anecdotes ofJIogaHU, p. 862, London, 183S. HOGARTH. 87 Fainted on canvas, 2 ft. 1 in. h. by 1 ft. 8 in. w. Purchased in 1884 at the sale of the Leigh Court Collection out of a pecuniary bequest made by the late Mr. Kichard C. Wheeler. No. 1374. Portraits of Hogarth's Servants* Some of whom are apparently members of the same family. Six heads painted rather less than life size. In the upper part of the picture are represented a youthful matron in a mob cap, a boy and an old man. In the centre of the group is the head of a middle-aged man, with a brown wig falling in curls on either side of the face. In the lower part of the picture are the heads of two young women, also in caps. Grey background. On canvas, 2 ft. ^ in. h. by 2 ft. 5^ in. w. Purchased in Loudon at the Sale of Mr. J. K. Wedderburn's Collec- tion, out of the Lewis Fund. No. 1464. Calais Gate (called also " The Roast Beef of Old England"). The subject of this picture is based on an incident which occurred during Hogarth's trip to France in 1748, where the painter was arrested for sketching the City gate at Calais. In the centre of the scene a bian cook, bearing in his arms a sirloin of beef, is accosted by a portly friar who, with an unctu- ous smile, lays his hand upon the joint. A French soldier in tattered uniform follows the cook with a grotesque gesture of admiration. Close to him a shabbily dressed Irishman is eating soup from a bowl, while further to the right two others are carrying away a large cauldron. In the right-hand corner of the foreground lies a man clad in Scotch dress, wringing his hands. These two figures represent the Irish and Highland mercenaries then serving in France. In the opposite comer three fish-wives crouch over their market ware. Close behind them a French sentinel stands on guard, while further to the rear appears Hogarth himself taking a sketch. In the back- ground is Calais G-ate, through the open portal of which is seen a religious procession passing along the street. On the summit of the gateway is perched a crow. On canvas, 2 ft. 7j iu. h. by 3 ft. Ij in. w. Presented in 1895 by His Grace the Duke of Westminster, K.G. * "Some of his domestics had lived many years in his service— a circumstance that always reileots credit on a master. Of most of these he painted strong like- nesses on a canvas still in Mrs. Hogarth's possession." Siographieal Anecdotes of William Hogarth, 1785, p. 98.'JiSee also Austin Dobson's "Hogarth," 1891, p. 213. HOLLAND. HOI>i;Ain> (James) Was born at Burslem, in Staffordshire, in 1800. His grand- father, Thomas Holland, was the first manufacturer of a highly- glazed black pottery, at that time largely exported to America, and it is said that young Holland derived his first taste for art from studies of flowers painted on this ware. In 1819 he came to London, where he began his professional career as a flower- painter. Subsequently a love of Thames scenery and shipping induced him to turn his attention to landscape painting. In 1835 Mr. Holland was elected an Associate of the Society of Painters in Water Colours, at whose gallery he afterwards frequently exhibited. The same year he travelled in Italy, and during his stay there painted a large view of the interior of Milan Cathedral, which was exhibited at the Suffolk St. Gallery, as well as a notable picture of the Biarto at Venice, which he sent to the British Institution. In 1837 he was engaged by the proprietor of the "Landscape Annual" to execute, for that magazine, a series of views in Portugal, which were engraved in 1839. On his way back from Lisbon he painted " The Tomb of the Soaligers," at Verona, for Mr. Hollier, who also gave him a commission for a large picture of Greenwich Hospital. This work was eventually presented by Mrs. Hollier to that institution, where it still re- mains. Mr. Holland afterwards f)ainted other views of the same building for the Earl of BUesmere, Lord Charles Townsend, and Mr. John Foster, of Liverpool. In 1841 -he visited Paris, where he made several drawings which commanded a ready sale. He went to Eotterdam in 1845, and five years later made a tour in Normandy, whence he brought back numerous sketches of archi- tecture, costume, and scenery. In 1851 he went to Geneva, making studies of a similar kind, which he afterwards turned to good account. To the Universal Exhibition, held at Paris in 1855, Mr. Holland contributed three works which obtained "honour- able mention " from the jury for awards. In 1857 he re-visited Venice and the Tyrol, and collected materials for pictures afterwards exhibited at the Gallery of the Eoyal "Water Colour Society (where he was now admitted to full membership) and at the London Exhibition of 1862. He died on the 12th of February, 1870. No. 1253. View of Hyde Park Corner, looking East. Showing the architectural additions and alterations com- menced in 1826, from the designs of Mr. Decimus Burton, architect. HOPPNER. 89 On the left is the Ionic screen and gateway which form the present entrance to Hyde Park. On the right is the triumphal arch which for many years was a conspicuous feature on the other side of the roadway, but which in 1855-6 was removed and placed at an oblique angle to the south-east of its original site — at the top of Constitution Hill. It will be noted that the sculp- tured podium and terminal quad/riga which formed part of the architect's design, though never executed, are introduced in this view by the painter. On canvas, 1 ft. 9 in. h. by 2 ft. 1 1 in. a'. Painted by the artist for Mr. Decimus- Burton, whose niece, Miss Emily J. Wood, presented the picture to the National Gallery, 1888. HOFFX^TER (John), B.A., Was bom in London in 1759. When young, he was one of the choristers of the Eoyal Chapel ; but having a m.ore decided taste for the formative than the vocal art, he gave up music for painting, and entered as a student in the Eoyal Academy. > He soon became, through the patronage of the Prince of Wales, a very fashionable portrait painter ; Sir Thomas Lawrence was for many years his only rival. He was elected an associate in 1793, and a member of the Eoyal Academy in 1795, and contributed 166 works to its exhibitions. Hoppner died of dropsy in 1810, in the fifty-first year of his age. Sir Thomas Lawrence thus speaks of him in a letter to a friend, shortly after the painter's death : — " Tou will believe, that I sincerely feel the loss of a brother artist, from whose works I have often gained instruction, and who has gone by my side in the race these eighteen years."* No. 900. Portrait of the Gountess of Oxford. Jane Elizabeth, eldest daughter of the Eev. J. Scott, wife of Edward, fifth Earl of Oxford ; bom 1774, died 1824. Half-length, life size. On wood, 2 ft. 6 in. h. by 2 ft. w. Painted in 1797, and exhibited at the Koyal Academy in the following year. Bequeathed by her daughter. Lady Langdale, in 1873. * Cunningham, Lives of the most Eminent British Painters, dbc; Royal Academy Catalogues. 90 HORSLEY— HUDSON. HOBSLE7 (John Callcott), R.A. No. 446. The Pride of the Village. " She never even mentioned her lover's name, but would lay her head on her mother's bosom and weep in silence. In this way she was seated between her parents one Sunday afternoon ; the lattice was thrown open, and the soft air that stole in, brought with it the fra^ance of the clustering honeysuckle which her own hands had trained round the window." " A tear trembled in her soft blue eye. Was she thinking of her faithless lover f or were her thoughts wandering to that distant churchyard into whose bosom she might soon be gathered ?" — ^Washington Irving's Sketch Booh. Engraved by G. A. Periam. On wood, 2 ft. 4J in. h. by 2 ft. ^ in. lo. Exhibited at the Royal 'Acadeijiy in 1839. Veknon Collbotion. HUDSON (Thomas), Ail English portrait-painter, a native of Devonshire, was born in 1701. He became a pupil of Jonathan Richardson, one of whose daughters he afterwards married. After Richardson's death, Hudson's portraits were much in request, and by his practice in . Vkknon Collection. No. 439. The Windmill. A hilly landscape, a thunderstorm passing over ; to the right on old wooden mill ; in the foreground to the left a herd of cattle standing in a pool of water. Engraved by J. C. Bentley. On canvas, \i\ in. h. by 18 in. w. Exhibited at the Koyal Academy in 1847. Vbrnon Collection. No. IIIZ. Portrait of Mrs. Ann Hawkins. An elderly lady in a black silk dress and large white lace cap. Seated figure, seen to waist, and slightly turned to the right. On panel, 85 in. h. by 6J in. w. Presented In 1882, by Mr. Fred. Piercy. LINTON (William) Was bom at Liverpool, April 22nd, 1791. He was at first placed in a merchant's office at Liverpool, to draw him from his fancy for painting but to little purpose, he persisted in his choice, and in 1817, having got three landscapes into the Eoyal Academy exhibition he was suflS.ciently encouraged. He made toui'a in Wales, and in the Highlands of Scotland, painting many views. He eventually made several continental excursions, and produced some pictures of the most remarkable places, as this view of " The Temples of Psestum." He died in London, August 10th. 1876. He was a member of the Society of British Artisbs. No. 1029. The Temples ofPcestum, in Magna Qraeaia. Of uncertain date; they are of the Doric order. The two temples to the right are partly in shadow, a portion of an aque- duct is seen beyond them. Some hills are behind them, and others in the distance ; on one of the hills behind the temples is a cross, and here are two eagles, one perched on a temple, the other alight- ing. In the foreground are a man with a gun and a few buffaloes scattered about to the left, and a man iii red on a white horse ; 112 LOTTTHEEBOURG— MAOLISE. clondy sky. The temples are near tte sea in the gulf of Salerno, some 25 miles Bontli-ea«t of the city. On canvas, and according to the inscription on the picture, painted in encaustic; it is here signed, W. Linton. 4 ft. 10 in. h. by 7 ft. 10 in. u>. Bequeathed by the painter in 1876. I^OUTHEKBOUBG (Phillip), B.A., Was bom at Strasboxirg, October 31, 1740, but was taken to Paris by his father, who was a miniatnre painter, in 1755, and was placed with P. CasanoTa, the battle painter. Loutherbourg displayed great facility as landscape, marine, and battle painter, and in 1767 was elected a member of the French Academy of Painting at Paris ; he was also a member of the Academy of Marseilles, in 1771 he settled in this country, became eminent as a scene painter, and was elected a member of the Koyal Academy of LondTon in 1781 ; he had been elected an associate only the previous year. He resided the latter part of his life at Chiswick, where he died, March 11th, 1812. Loutherbourg also etched many plates.* Among his principal pictures are : the Destruction of the Spanish Armada ; the Pire of London ; and Lord Howe's Victory, June the 1st, 1794. He sent altogether 155 works to the Royal Academy exhibitions. No. 316. Lake Scene in Cumberland, Evening. Engraved by W. Bichaidson On canvas, 1 ft. 4 in. h. by 2 ft. w. Fainted in 1792. Veknon Collbciion. MACLISE (Daniel), B.A., Was bom at Cork, Jan. 25, 1811. His father, a native of Scotland, who had served in the army, had established himself in business at Cork. Daniel MacUse was originally placed in a bank, but he left this when still very young, entered himself as a student in the Cork Society of Arts, and thus commenced that career by which he eventually gained his great reputation. In 1828 he was a student of the Royal Academy of Arts in liondon, where he obtained the gold medal for the best historical composition in 1831. He became an exhibitor at the Academy as early as 1829, when he was in his 19th year only; his first picture was "Malvolio affecting the Count," from Twelfth * P. De Baudicour, in his Peintre-Oraveur Francais, &c., vol. ii., 1861, describes 44 plates by Loutherbourg j in some of these he signs himself Peintre du Boi, and in the later plates, apparently alter lie settled in England, he has placed a De before his name. MAOLISE. 113 Night. In 1833 he attracted much notice by his picture of " Mokanna unveiling his features to Zelica," exhibited that year at the British Institution, and by the still more able and cha- racteristic work of " Snapp-apple night, or All-Hallow Eve, in Ireland," exhibited the same year at the Royal Academy. Prom this time Maclise exhibited a long series of works of the highest abiliW, though not generally pleasing in their tone of colouring. He became an associate of the Royal Academy in 1835, and an academician in 1840. The later years of his life where much engrossed by his compositions for the decoration of the Houses of Parliament, more especially for the two large pictures of " The meeting of Wellington and Bliicher, at Belle *' Alliance after the Battle of "Waterloo," and the " Death of " Nelson at the Battle of Trafalgar." The noble cartoon of the former is now the property of the Royal Academy, which pui-- chased it at the sale of his remaining works at Christies', on the 25th of June 1870. He executed many book illustrations, and has painted also a few portraits, among the latter, one of Charles Dickens in 1839. Maclise died on the 25th of April 1870, just before the opening of the Royal Academy Exhibition. His friend Charles Dickens, a guest at the Academy dinner, pronounced, in the room where Maohse's last work — " The Earls of Desmond and Ormond " — was hanging, a very eloquent and feeling eulogy on the deceased painter, thus speaking of his ability and character: — "Of his " prodigious fertility of mind and wonderful wealth of intellect, " I may confidently assert that they would have made him, if he " had been so minded, at least as great a writer as he was a " painter. The gentlest and most modest of men ; the freest " as to his generous appreciation of young aspirants ; and the " frankest and largest hearted as to his peers."* No. 422. The Play Scene in Hamlet Samlet to Horatio. " There is a play to-night before the king One scene of it comes near the circumstance ■Which I have told thee, of my father's death I prythee, when thou seest that act afoot. Even with the very comment of thy soul Observe my uncle Give him heedful note. For I mine eyes will rivet to his face." The representation shows the act of murder by pouring poisoi> into the ear. Hamlet is lying in front of the stage, intently observing the king, his uncle ; on the left is seated Ophelia with Horatio behind her chair ; on the right are seated the king and • Memoirs of Maclise are published in the English Cyclopadia and in the Ar( Journal for 1847 and 1870. 114 MA80N. queen ; the king forcibly skowing th.e agony of a guilty con- science. Composition of many small figures. Engraved by C. Rolls. On caovas, 5 ft. h. by 9 ft. w. Exhibited at the Koyal Academy in 1842. Vebnon Collection. No. 423> Malvolio aifid the Countess. Scene from Twelfth Night ; Olivia's Grarden, the Countess seated, her maid standing behind her ; Malvolio approaching, in yellow stockings, and cross-gartered, smiling fantastically — ' OUvia. " How now, Malvolio? " MahioUo. " Sweet Lacly, ho ! ho ! " OUvia, " God comfort thee ; why dost thou smile so, and kiss thy baud so oft P " Engraved by K. Staines. On canvas, 2 ft. S in. A. by 4 ft. 1 in. w. Exhibited at the Eoyal Academy in 1840. Veknon Collection. No. 1250. Portrait of Charles Dickens, the Novelist. Dickens, dressed in an olive green frock coat and black satin stock, is seated in an arm chair at a table. His left hand rests on a book, while he turns his head, looking over the right shoulder, towards a window hung with green' damask curtains. On canvas, 2 ft. 11^ in. h. by 2 ft. 3 in. w. Bequeathed by the Rev. Sir Edward R. Jodrell, Bart, in 1888. MASON' (George Heming) Was born on the 11th of March 1818 at "Wetley Abbey in Staffordshire. He received his early education at King Edward's School, Birmingham, and was intended by his father (who was then in good circumstances) for the medical profession. With that object in view George Mason studied, but appears never to have qualified for practice. In 1843 he left England with his brother, for the Continent, travelling through France, Germany, and Switzerland. They completed their tour by walking from Geneva to Eome. During their stay at the latter city the family incurred severe pecuniary losses, and it became necessary for George Mason to earn a livelihood. He had already attained some proficiency as an amateur painter, and he now endeavoured to turn his ability to account by sketching scenes in the Campagna, but considerable time elapsed before he obtained adequate remuneration for his work, and meanwhile his private means were very narrow. His industry, however, was at length rewarded by success In 1858 he returned to England, and having married he went MORLAND. 115 back to his old home in Staffordshire, where he devoted him- self to painting rural landscape and figure subjects, most of which he studied on Wetley Common or its neighbourhood. He began to exhibit at the Royal Academy, where his pictures soon attracted notice. In 1865 he came to London, and took a house in Hammersmith, removing to a larger one in 1869, when he was elected an A.E.A. Two of his best works painted about this period were "The Harvest Moon" and " Girls Dancing by the Sea." The latter was afterwards etched by Mr. R. W. Macbeth under the title of " A Pastoral Symphony." Un- fortunately Mason did not long enjoy his days of prosperity. His health had long been failing, and he died on the 22nd October 1872. No. 1388. " The Cast Shoe." An evening scene on Wetley Common. In the middle dis- tance, a rustic lad, wearing a blouse, slouch bat and red necker- chief, leads a white horse over a rugged path, carrying in his right hand a shoe, which "the horse has cast. In the foreground is a sluggish stream or pond, with ducks swimming on its surface, enclosed by rush-grown banks. On the horizon rises a group of trees, behind which the sun is .setting in a crimson glow. On canvas, 11^ in. h. by 1 ft. 7^ in. w. Exhibited at the Royal Academy in 1865, and at the Paris Universal Exhibition, 1878. Purchased in London, at the sale of Mr. J. Stewart Hodgson's Collec- tion, 1893, out of a fund bequeathed by the late Mr. Francis Clarke. MORZ.AU'D (G-bokge) Was the son of Henry Robert Morland, a portrait painter in cra/ons, and an engraver in mezzotint. He was born on the 26th of June 1763, and was instructed in his art by his father ; his subjects were generally animals, or of a domestic character, and all his pictures are executed with extreme facility. Morland died on the 29th of October, in a spunging-house in Eyre Street, Ooldbath Melds, in his forty-first year. His death was hastened by dissipation. He had married the sister of James Ward, R.A., who was afterwards united to Maria Morland, the painter's sister. Mrs. Morland, who had separated from her husband, survived him only a few days.* Morland exhibited altogether, at the Royal Academy, between 1779 and 1804, thirty-six pictures, omitting thirteen years of the interval. The pictures varied much in their subjects ; the first, • There ia a portrait of Morland, engraTed by W. C. Edwards, in Allan Cunning- ham's Lives of the most Eminent SriiisTi Painters, (f c, J830. lie MOELAND. exhibited in 1779, is called in the catalogue — " A drawing with a poker ;" the last, in 1804, is termed—" A landscape, with houndB in fttU chase." The " Inside of a Stable" was exhibited in 1791, and it is spoken of by several writers as his masterpiece. No. 1030. The Inside of a Stable, Said to be that of the White Lion at Paddington. Two horses and a pony are being led by a boy into a stable ; to the left a man is stooping and collecting together some straw. On canvas, 4 ft. 9 in. h. by 6 ft. 7^ in w. Exhibited at the Eoyal Academy in 1791 : it was purchased from the Exhibition by the Rev. Sir Henry Bate Dudley, Bart., and was presented to the National Gallery by his nephew, Mr. Thomas Birch W"olfe, in 1877. No. 1067. A Quarry with Peasants. Broken ground, with a high gravelly bank studded with scrub. In the further foreground some labourers are at their noonday meal. Near them is a range of baskets. In the distance, some blue hills. Above, a summer sky, with soft white clouds. On wood, 7 in. h. by 9 in. w. Sold at Mr. Jesse Curling's sale in 1856. Purchased at the sale of Mr. J. H. Anderdon's pictures in 1879. Nc. 1351. Door of a Village Inn. On the right of the picture are two thatched cottages partly enclosed by a wall and overshadowed by trees. From one of them a peasant woman has just issued, bringing a mug of ale to a farmer mounted on a white pony and attended by a dog. At the door of the larger cottage are two children. On the left hand are rocks and brushwood, near which a boy stands ap- parently kindling a fire, while a terrier sits at his feet. In the distance are meadows with hills beyond, illumined by the glow of sunset. On canvas, 3 ft. 5 in. h. by 4 ft. 1 in. w. Bequeathed by Sir Oscar M. P. Clayton, C.B., in 1892. SEOBI^AU'D (Henry Robekt) Was born about the year 1730, the son of George Henry Mor- land, who was also an artist, adopted portrait painting as his profession, and added to it the business of a picture dealer and MORTON. 117 restorer. He executed a portrait of George III. whicli was en- graTed by Houston, and another of Garrick, which is in the Garrick Club. His career was often clouded by financial difll- oulties. He died in London on the 30th of November 1797, leaving a son, George Morland, -whose reputation as a painter far surpassed that of his father and grandfather. No. 1402. The Laundry Maid. A half-length figure, rather less than life size. She wears a small cap and White dress printed with coloured sprigs, a low out bodice and short sleeves. Around her throat is a narrow necklet of black velvet. She stands before a bason, washing linen. Grey background. On canvas, 2 ft. 5^ in. h, by 2 ft. J in. w. No. 1403. The Laundry Maid. Eather less than life size and seen to the waist. Clad in a white gown delicately figured with pink sprigs, a low cut bodice and short sleeves. Her hair is drawn back from the forehead under a small muslin cap encircled by a blue ribbon. She sits at a table, ironing. On canvas, 2 ft. 5^ in. h. by 2 ft. J^ in. w. Both this and the companion picture (No. 1402) are said to be portraits of ladies. Tliey were purchased together, in 1894, from Messrs. P. & D. Colnaghi, of Pall Mall East. MOBTON' (Andbew) Was born in 1802 at Newcastle-on-Tyne. He came to London and entered the Schools of the Eoyal Academy, where in due course he obtained a prize. Having followed the practice of a portrait-painter he attracted the notice of the Boyal Family, from whom he received several commissions, and William I v . sat to him for a portrait which is now in Greenwich Hospital. Morton died in 1845. No. 1367. Portrait of Sir James Cockburn, 7th Bart. Life-size : three-quarter length : full face. He wears the full- dress military uniform of a General Officer in Her present Majesty's service, and is decorated with the Star of the Guelphio and Badge of the Nova Scotia Order. His right hand clasps his waist-sash, his left rests on the hilt of his sword. Sky back- ground. On canvas, 4 ft. 1 in. h. by 3 ft. Ij in. w. Bequeathed (with other pict^^es) to the Nation by Marianna Augusta, Lady Hamilton, in 1892. 118 MtLIiBR. No. 1368. Portrait of the Hon. Marianna Devereux, Lady Gochburn. Daughter pf George, 13th Viaoount Hereford, and wife of Sir James Oockbiirii of Langton, 7th Bart. Life-size : seated : three-quarter length : nearly full face. Dressed in a black velvet gown with short sleeves, and a hat of the same material trimmed with ostrich feathers. She also wears a muslin "fall," and a red scarf is thrown over her right shoulder. In the back- ground an amber-coloured curtain. Signed and dated 1839. On canvas, 4 ft. 1 in. h. \>j 3 ft. 3f in. w. Bequeathed (with other pictures) to the Nation by Marianna Augtista, Lady Hamilton, in 1892. No. 1370. Portrait of Marianna Augusta, Lady Hamilton. Daughter of Sir James Cockburn, 7th Bart., and the Hon. Marianna Devereux, daughter of George, 13th Viscount Hereford. Married in 1884 to Sir James John Hamilton of Woodbrook, 2nd Bart., who died in 1876, when his title became extinct. Life- size : seated : seen to the waist : three-quarter face. She wears a crimson velvet dress cut low at the chest, with short full sleeves, and a light gauze scarf thrown over the shoulders. Her hair is arranged in ringlets round the brow and bound into a knot at the back of the head. Landscape background, seen through an ■ open window. On canvas, 2 ft. 5\ in. h. by 2 ft. J in. vi. Painted before her marriage in 1832. Bequeathed to the Nation (with other pictures) by Marianna Augusta, Lady Hamilton, in 1892. MtTLIiER (William J.) Was bom of a German father at Bristol, in 1812 ; his father was curator of the Bristol Museum. Miiller became the pupil of his townsman, J. B. Pyne, the landscape painter, and displayed Lis own ability for that department ot the art at an early age ; he found a generous patron in Mr. Acraman of Bristol. In 1833 and 1834, he made a first tour upon the continent of Europe, and in 1838 started upon a long and arduous journey through Greece and Egypt, ascending the Nile beyond the Cataracts ; he settled in London after his return in 1839. In 1843, he accompanied Sir Charles Pellowes on his expedition to Lycia; he returned to London in the following year. Maay sketches and pictures of Oriental manners and scenery were the result of these jotimeys ; five were exhibited at the Boyal Academy, and two at the British Institution, in 1845 ; but Miiller MtJLLER. 119 did not long survive to enjoy his growing reputation ; he died at Bristol, of disease of the heart, on the 8th of September of that year, at the early age of thirty-three. He exhibited only sixteen pictures at the Eoyal Academy. His sketches and pictures, which were sold at Messrs. Christie and Manson's, in the spring of 1846, realised 4,360Z.* No. 379. Landscape, two Lycian Peasants seated on the grownd ; MovMt Massicytus in the distance. Engraved by J. Cousen. On -wood, 1 ft. 2 in. h. by 1 ft. 84 in. w. Painted in 1839. Veknon Collection. No. 1040. Landscape, a River Scene, Apparently in Wales or Scotland, showing a mountain torrent flowing over rocky boulders, with dark hills in the distance, over which stormy clouds are drifting. On canvas, 1 ft. 8^ in. h. by 2 ft. 5 in. w. Purchased in 1878 from Mr. W. Fuller Maitland, M.P., out of the Lewis Eund. No. 1463. A Street in Cairo. Towards the centre of the foreground a group of men, clad in Oriental dress, and standing on a carpet, appear to converse with a white-robed Arab Chief, while close to them a negro servant, kneeling, offers a cup of coffee to a seated personage. In the rear towards the right other figures sit or stand under an awning of striped cloth. On the left a native merchant sits cross-legged on his stall. In the background are several old and picturesque buildings, above the roofs of which rises a maohicolated tower of Eomanesque character, beyond which is seen a dome. Deep blue sky with cloud cumuli apparently illuminated by sunset. On canvas, 1 ft. llf in. h. by 2 ft. llj in. w. From the collection of the late Sir Joseph Weston, M.P., Clifton, Bristol. Presented in 1895 by Lady Weston. No. 1474. Dredging on the Medway. Towards the right of the picture, a dredger is anchored in mid-stream. Alongside of the machine a sailing-barge, loaded with silt, is preparing to get under weigh, while from the left of the river a shore boat, manned by two sailors, makes for the vessel through rough water. In the distance is seen low-lying • Some of Miiller's letters, relating to hia eastern tours and other matters, were published in the Art Union Journal for the years 1841 and 1845. 120 MOLREADT. land with trees and a church tower. Stormy sky with large cloud cumuli rising from the horizon. On canvas, 2 ft. 11^ in. h. by h ft. 11 in. w. Presented in 1S96 by Mr. Holbrook Gaskell, of Liverpool. MULREAST (William), R.A., Since Sir David Wilkie the most distinguished of British genre painters, was bom at Bnnis, in the County Clare, Ireland, on the 1st of April 1786 : his father was a leather breeches maker. He came early to London, and entered in 1800 as a student into the Eoyal Academy. In 1803 he married the sister oi John Vaxley, the water-colour painter. In 1804 he exhibited three pictures in the Royal Academy ; two views of Kirkstall Abbey, and a Cottage at Kiiaresborough, Torkshire ; he was then only eighteen years old ; other cottages and Torkshire subjects followed in 1805 and 1806. In 1809 was exhibited the picture in this collection No. 394, then called ' ' Returning from the Alehouse," showing that already, at the early age of twenty- three, he was a perfect master in that class of work for which he has been so long eminent. Mulready was elected an associate of the Royal Academy in 1816, and an academician in 1816, _both elections taking place between the exhibitions of those years, so that his name never appeared in the catalogue as an associate. His picture of 1815 was "Idle Boys;" that of 1816, "The Fight interrupted," now in the Sheepshanks Collection. He exhibited altogether, com- prising a few drawings, seventy-eight works at the Royal Academy, of which fifteen are now in the Sheepshanks Collection at South Kensington. During the sixty years from 1804 until his death Mulready'a name was absent from the Eoyal Academy Catalogue fifteen times. He generally exhibited but one picture in the year, but in 1844 he had five in the exhibition, his greatest number in one year. The exhibition of his pictures, drawings, and sketches, which took place at the Society of Arts in 1848, contained 214 works, bnt the majority of these were sketches ; there were only forty-four pictures and three drawings which had been exhibited at the Royal Academy. His pictures do not average two a year. Among his most admirable works may be mentioned : — " Fadi Time," 1809, " The Last in," " Crossing the Ford," "The Fight interrupted," " The Butt," "Giving a Bite," "First Love," "The Seven Ages," " Choosing the Wedding Grown," " The Wolf and the Lamb," "The Whistonian Controversy," and the "Toy Seller," 1862, his last exhibited work. Mulready died on the 7tb of July 1863, and was buried at Kensal Green. With the exception MULEEADT. 121 perhaps of some slight deterioration in his colouring, which of late years was obtrusively purple, he was in the enjoyment of the full powers of his great abilities for upwards of half a century. His health also seems to have been remarkable ; he was drawing in the Life School of the Eoyal Academy on the evening of the 5th of July, only two days before his death. He was distinguished for the excellence of his life studies, three of which in red and black chalk, presented by the Society of Arts, are in the Gallery. He was one of the founders and most active members of the " Society for the Management and Distribution of the Artists' Fund,"* of which he held the office of President as early as 1815, and at whose meetings he was never absent for seventeen yeais. No. 393. The Last In. A truant boy has arrived late at the village school ; the master, in irony, rises, takes off his hat, and makes the boy a humble bow. Engraved by J. T. Smyth. On wood, 2 ft. ^ in. h. by 2 ft. 6 in. w. Exhibited at the Royal Academy in 1835. Vernon Collection. No. 394:. Fair Tvme. Two tipsy men returning from the fair ; one giving halfpence to some boys ; the other dancing before the door of a cottage to the right, the inmates looking on with disgust and indignation. Engraved by H. Bourne. On canvas, 2 ft. 7 in. h. by 2 ft. 2 in. to. Originally exhibited at the Eoyal Academy in 1809; but the present background was added in 1840, when the picture was again exhibited at the Eoyal Academy in that year. Veknon Collection. No. 1038. A Snow Scene, Including the distant view of an English village in mid -winter, with a group of rustics in the foreground. On panel, IXj in A. by 1 ft. 4^ in. w. Purchased in 1878 from Mr. W. Fuller Maitland, M.P. No. 1181. A Sea-shore Scene. On the beach is a fishing boat, with two men in it, waiting for the tide. Before her bow boys are undressing for a bath, while others are swimming near the shore. The distance, looking seawards, is shrouded in fog, through which a vessel may be discerned. On canvas, 1 ft. 2f in. h. by 1 ft. '1\ in. w. Bequeathed by Mrs. Elizabeth Vaughan in 1885. * See Pyes' Patronage of'BritUTi Art. 122 NASMTTH. NASMTTH (Alexander), A Scotch landscape painter, bom at Edinburgh in 1758. At an early age he removed to London where he became the pupil of Allan Ramsay. He subsequently travelled to Rome, where he remained several years, studying historical painting, portraiture, and landscape. On his return to Edinburgh he devoted himself at first to portrait painting and executed among others a likeness of Robert Burns. But it was in the field of landscape art, both as a painter and instructor that he achieved his main success. His death occurred in his native city in 1840. No. 1242. Stirling Castle. The castle occupies a rooky eminence to the right of the picture overlooking, on the left, an extensive plain of meadow land revealing glimpses of a winding river — and bounded by a range of lofty hills. The undulating foreground is covered with scanty herbage on which goats are browsing. In the middle distance a steep road rises towards the castle. On canvas, 4 ft. 4 in. h. by 6 ft. | ia. w. Purchased from Mr. Martin Colnaghi, London, in 1888. NASMYTH (Patkick) Was born at Edinburgh in 1786. He was the son and pupil of Alexander Nasmyth, the landscape painter, and painted in a similar style. When about twenty years of age he settled in London, where he died, in South Lambeth, August the 17th, 1831. Patrick Nasmyth has been called the English Hobbema; his landscapes are simple in subject, with much detail of execution, but forcible in efiect ; one of his principal works is a view of Windsor Castle; another is a "View in Hampshire," in the pos- session of Thomas Baring, Esq., M.P. Owing to an accident which happened to his right hand in his youth, he was in the habit of painting with his left.* No. 380. A Cottage, formerly in Hyde Park. Engraved by A. Willmore. On wood, Ui in. A. by 15 in. w. Painted about the year 1807. Vbrnon Collection. No. 381. The Angler's Nook. A woody landscape ; a man fishing in a stony brook Engraved by J. Carter. On wood. Hi in. h. by 16 in. w. Vbbkon Collection. • Literary Gazette, 18.31, NASMTTH. 123 No. 1176. Landscape. A fnrzy common with, a by-road winding througli it and peasants conversing in the foreground. To the left a knoll, with a cottage and trees in the middle distance. Beyond a valley, with a church and other buildings surrounded by hills. Sky cloudy. On panel, 7J in. h.hy 10 in. w. Bequeathed by Mrs. Elizabeth "Vaughan in 1885. No. 1177. Landscape. View of a river (apparently in Wales or Scotland) flowing towards the foreground in a series of falls over boulders in a rocky bed. The banks are thickly wooded with oak and beech. To the left is a withered tree. In the middle distance are two rustics with salmon spears. In the background mountainous country. Signed, Patk. Nasmyth, 1831. On canvas, 1 ft. 7f in. A. bv 2 ft. 3f in. w. Bequeathed by Mrs. Elizabeth V"augh;in in 1885. No. 1178. Landscape. View of a winding road skirting a park, from which it is divided by wooden palings. In the foreground to the right a group of lofty trees, under the shade of which two women are conversing. In the middle distance a quickset hedge, with a cottage beyond it. On panel, 10| in. h. by 1 ft. Ij in. w. Bequeathed by Mrs. Elizabeth Vaughan in 1885. No. 1179. Landscape. A stream flowing between sedgy banks in a wooded country. To the right a cottage or part of an old manor house, beyond which rise lofty poplars. In the middle distance are two peasants. On panel, 6J in. h. by 10 in. w. Bequeathed by Mrs. Elizabeth Vaughan in l.'iSS. No. 1183. Landscape. View looking across a lake or river, on which are two boats rowed by peasants. A steep and wooded bank on the opposite ghore. In the distance to the right a cliff", with a castellated building on the summit. On panel, 9j in. h. by 12 in. w. Bequeathed by Mrs. Elizabeth Vaughan in 1885. No. 1384. A View in Hampshvre. In the foreground is a pond, enclosed by shelving banks, over- grown with herbage, and partly strewn with felled timber. On the right rise two lofty beech trees. In the middle distance a 124 NEBOT— NEWTON. road lies between farm cottages and meadow land. Beyond, is a wooded plain bounded by bills. Above, cloud cumuli float across a summer sky. On canvas, 1 ft.' 2 in. h. by 2 ft. 10 in. w. Bequeathed by Colonel Alexander Beresford Read in 1893. NEBOT (B.). A presumably English painter wbo lived in the early part of the last century. Little or nothing is known of his career beyond the fact that he painted a portrait of Oapt. Thomas Coram, who established the Foundling Hospital in London. The portrait belonged to Mr. D. Nesbit, and was engraved by Brooke in 17S1. No. 1453. Govent Garden Market, with St. Paul's Church. The view shows a portion of the arcade on the north side of the square, and other buildings since removed or remodelled. On the left of the picture a group of market-womeni with their baskets, offer vegetables for sale. Parallel to the fore- ground is a wooden barrier, by the side of which a gentleman, his wife, and child are walking, followed by a blind beggar. In the middle distance two men stripped to the waist engage in a fight, which is watched by bystanders. On canvas, 2 ft. Of in. h. by i ft. Oj in. w. Signed, ' cAeL-t. JP. J7}7 Purohased^at'the sale of Lord Clifden's Collection in 1895. jlTEWTOM" (GiLBEBT Stuakt), B.A., Was bom in 1794, at Halifax, in Nova Scotia, and was the pupil of his uncle, Gilbert Stuart, at Boston; he came to England about the year 1818, and having first visited Italy, became a student of the B,oya] Academy of Arts in London. He fitrst painted portraits, but his small figure subjects soon attracted notice ; some were engraved in the Literary Sowvewvr. He was elected an associate of the Academy in 1828. In 1832 he visited his native country, and married there, and in this year he became a member of the Eoyal Academy, but the picture exhibited in the following OPIB. 125 year, " Abelard in his study " was his last work. He was aflSioted with aberration of mind, and died at Chelsea, at the early age of forty, Angnst the 6th, 1835. His wife and child returned to America only a few months before his death. One of Newton's principal works, " Captain Macheath," exhibited in 1826, was purchased^ by the Marquis of Lansdowne for 500 guineas. He was laborious and fastidious in his execution.* He exhibited twenty-seven works at the Royal Academy. No. 353. Yorick and the Grisette. The interior of a hosier's shop, Torick is purchasing gloves, but " they were all too large ; the beautiful grisette measured " them one by one across my hand, it would not alter the dimen- " sions." Sterne's SentimentaUourney, Engraved by W. Watt, and by H. Bourne. On canvas, 2 ft. 5i in. h. by 1 ft. 101 in. a,. Exhibited at the Royal Academy in 1830. Vbknon Collection. No. 354. The Window, called also A Dutch Girl. A small half length of a girl putting aside a curtain, and looking down from an open window. Engraved by G. T. Doo, E.A., and by J. Stephenson. On wood, 15 in. A. by 11 in. w. Exhibited at the British Institution in 1829. Veknon Collectiou. OFIE (JOHX), B..A., Was bom near Truro, in May 1761 ; his father was a carpenter. He eaily gave indications of unusual ability, and having at- tracted the notice of Dr. Wolcot, that gentleman brought him to London and introduced him to Sir Joshua Eeynolds. Opie was an exhibitor at the Royal Academy in 1782, and he for some time created a considerable sensation in London as the " Cornish G-enius." He painted in a broad manner, and was successful both as an historical and portrait painter, but was not always harmonious in his colouring. He was made a member of the Academy in 1787, and he sent altogether 143 pictures to its exhibitions. Opie obtained the professorship of painting at the Royal Academy in 1805, but delivered his course of lectures but once, in 1807, and then in an incomplete state : — on design, on invention, on chiaroscuro, and on colouring ; — he did not live to write the two * The Gentleman's Magazine. 126 OPIE, intended, on composition and expression. He died in the prime of life, April the 9th, .1807, exactly a month after the delivery of his lectures, and was bnried by the side of Sir Joshna Reynolds in St. Paul's Cathedral. He was twice married ; from his first wife he was divorced ; the second was the accomplished Amelia Opie, who survived her husband many years. No. 784. Portrait of William, Siddons. An actor, and husband of the celebrated actress of that name. Bust, life size. On canvas, 2 ft. 6 in. h. by 2 ft. 1 in. w. Bequeathed by his daughter, Mrs. Cecilia Coombe, in 1868. No. 1167. Portrait, said to represent Mary Wollstone- craft (Mrs. Godwin). Life-size ; seen to the waist. She is seated at a desk before an open book, on which her right hand rests (the left is not seen), and turns her face to the spectator. She wears a gown striped in two shades of blue. Her copious hair, which is grey, or powdered, is confined en negligi by a white handkerchief bound round her head, and allowing a single tress to fall over her chest, while another hangs down her back. Engraved in 1796 in stipple for the "Monthly Mirror" as Mrs. Woll- etonecraft, and etched by Mrs. Merritt for Mr. Kegan Paul's Memoir of Mary WoUstonecraft prefixed to the " Letters to Imlay," 1879. On canvas, 2 ft. 5^ in. h. by 2 ft. \ in. w. Purchased at the sale of the late Mr. William Eussell's pictures, out of a fond bequeathed by the late Mr. Francis Clarke. No. 1208. Portrait of William Godwin the Author. Life size ; seen to the waist. Three quarter face. The hair of the head a reddish brown, the cheeks clean shaven. He wears a coat of dark cloth buttoned across the chest, with a white cravat and frilled shirt. Dark background. On canvas, 2 ft. 5J in. h. by 2 ft. \ in. w. Purchased from Mr. C. Campbell Feetum in London, 1886, out of a fund bequeathed by the late Mr. Thomas D. Lewis. No. 1408. Portrait of a Boy. Apparently about 10 or 12 years of age. Life size j bust length ; three-quarter face turned to the right, with thick chest- nut-coloured hair falling to the shoulders. He wears a dark coat or frock open at the neck, which is encircled by a large PHILLIPS -PIOKEESGILL. 127 white frilled collar. Believed to be a portrait of the artist's yonnger brother — ^William Opie. On canvas, 1 ft. 8 f in. h. by 1 ft. 4| in. w. Presented by Mr. Edward Opie, of Plymouth (a nephew of the painter), in 1894. PHILLIPS (Thomas), B.A., Was born at Dudley, in Warwickshire, 18th October 1770. He was placed, when still young, with Mr. Edgington, at Birming- ham, to learn glass painting ; and in 1790 be oame to London, with an introduction to West, who employed him to paint on the window of St. GeorgS's Chapel, at Windsor. In 1792 he was an exhibitor at the Royal Academy, and in 1804 was elected an associate ; he appeared at first as an historical painter, but from the year 1796 his contributions to the exhibitions were almost exclusively portraits, and he exhibited altogether 339 pictures in the Academy. Phillips was elected a member of the Eoyal Academy in 1808 ; and in 1825 he succeeded Fuseli as Professor of Painting. He made a tour in Italy after his appointment, in company with Hilton, to enable him the better to discharge the duties of his office. He composed in all ten lectures, which he published in a collected form after his resignation of his professorship in 1832.* He was the author also of several articles on painting in Bees' Cyolopsedia. He died at his house in George-street, Hanover-square, April 20th, 1845. No. 183. Portrait of Sir David WiUcie. Half length, life size. Engraved by F. Holl. On canvas, 3 ft. 3 in. h. by 2 ft. 2 in. w. Painted in 1829, when Sir David was 44 years of age. Presented by the painter in 1841, PICKERSGILL (Henby W.), B.A. This distingnished English portrait painter was bom in 1782, in Spitalfields, London. His father was a silk manufacturer. The son, haying a strong love of painting, became a student of the Royal * Lectures on the Ifistory and Principles of Paintinff. 8vo. London, 1833. 128 POOLE. Academy, and as early as 1806 was a contributor to its exhibitions. He was elected an associate in 1822, and an academician in 1826. Pickersgill's contributions to the Academy exhibitions were chiefly portraits, but in the early part of his career he exhibited a few landscapes, and later in life several fancy subjects— as in 1848, " The Old Oak Chest." Among his earlier portraits were several actors ; and during his long practice he painted a large proportion of the eminent persons of his time. In 1825 he exhibited a portrait of Miss L. B. Landon. He painted also Earl Comwallis, the Duke of Wel- lington, Lord Hill, G-eneral Sir Charles Napier, Lords Eldon, Lyndhurst, and Brougham, Jeremy Bentham, Baron Humboldt, William Wordsworth, Charles Kemble, Henry Hallam, Lord Lytton, George Stephenson, Michael Faraday, Sir B.. Murchison, and many others. , Pickersgill was elected librarian of the Academy in 1856 ; and he placed himself on the list of Honorary Retired Academicians in 1872. He was a very large contributor to the Academy, having exhibited 363 pictures in sixty-four years, from 1806 to 1872 inclu- sive ; his name being absent from the catalogue only three times during that long interval. He died at his house in London on the aist of April 1875. No. 416. Portrait of Robert Vernon, The founder of the Vernon collection of Pictures, which was presented by him to the nation, Dec. the 22nd, 1847. Seated, half length, life size ; he holds on his knees a pet spaniel. Mr. Vernon died on the 22nd of May 1849, and is buried in the church of Ardington, Berkshire, where his country seat is situated. Engraved by W. H. Mote. On canvas, 4 ft. 8 in. h. by 3 ft. 8 in. w. Painted in 1846. Veknon Collection. FOOLE (Paul Falconer), B.A., Was bom at Bristol in 1810. The first picture which he ex- hibited at the Royal Academy, in 1830, was " The Well : a scene at Naples," but during seven years from that date his name does not appear in the catalogue. In 1838 he painted "The Emigrant's Departure," and in 1840 " Herman and Dorothea at the Eountain." A picture which he exhibited in 1843, " Solomon Eagle exhort- ing the people to repentance during the Plagae of London " attracted considerable notice, and was followed, ia 1844, by " The Beleaguered Moors," and in 1846 by "The visitation of Sion Monastery." •POXTSSIN. 129 In 1846 Mr. Poole was elected an Associate of the Royal Aoademy, and the following year he gained a prize of 300Z. in the National Competition for historical designs exhibited in West- minster. Hall, the subject which he selected being " Edward the Third's generosity to the Bnrgesaes of Calais." ( In 1848 he exhibited his picture "Arlete, a peasant girl of Falaase in Normandy, first discovered by Duke Robert le Diable," and in 1849 a painting in three compartments illustrating scenes from " The Tempest." The characteristics which distinguish most of his later works were noticeable in his painting of " The Messenger announcing to Job the Irruption of the Sabaeans and the Slaughter of his Servants " exhibited in 1850, and his " Goths in Italy," sxhibited in 1851. His subsequent pictures include " The May Queen preparing for the dance " and " Mariana singing to her rather Pericles," 1852 ; "The Song of the Troubadours," 1854 ! " The Seventh Day of the Decameron," 1856 ; "The Con- spirators — Midnight Meeting," 1856; "A Field Conventicle," 1857; "The last scene in King Lear," 1858; "The Escape of Glaucuci and loiie,'" 1860. In this year Mr. Poole was elacted a Koyal Academician, and contributed annually to the iioyal Academy exhibition for several years, sending three pictures in 1864, of which the most notable was " Lighting the beacon on the coast of Cornwall at the appearance of the Spanish Armada." Among his last works was Ezekiel's Vision," exhibited in 1875, and eventually selected for the National Gallery from a bequest made Ijy the artist. In 1878 Mr. Poole was elected a member of . the Institute of Painters in Water-colours. He died on the 22nd of September 1879. No. 1091. " The Vision of Ezehiel." " And I lookud, and, behold a whirlwind came out of the north, a great tloud, and a fire infolding itself, and a brightness was about it, and out of the midst thereof as the colour of amber c<"»« the likeness of four living creatures." — EzeTciel, i. 4, 5. On canvas, 4 ft. 5^ in. h. by 6 ft. l^J- in. w. Bequeathed by the painter in 1879. FOUSSIN (Charles), FREITCH SCHOOL. No. 810. Pardon Day, in Brittany. This represents a ffite held in honour of Noin-e Dame de Bon Be- cours of Guingamp, in Brittany, on the 2nd of July in every year. Pope Paul v., in 1619, granted a plenary indulgence to all those 130 RABBUEN. ■who truly confessed and communicated, wto should visit the said church on that day. Hence great crowds frequent this fes- tival of the Eoman Church. Meyerbeer's opera of Dinorah or the Pilgrimage of Ploermel refers to a similar festival.* The nume- rous pilgrims are assembled in an open wood, variously occupied, and exhibiting many interesting examples of local costume, Signed Oha/rke Poussim, 1851. On oanyas, 4 ft. 10 in. h. by 10 ft. 9 in. w. Painted in 1851. Presented to the National Gallery by Mr. E. E. Lofft in 1870. BAEBXTIMI' (Sir Henry), B.A. This distinguished portrait-painter was born at Stookbridge (a suburb of Edinburgh), in 1766. Left an orphan at the age of six, he was placed at school in "Heriot's Wark,"a Scotch educational establishment. When fifteen years old he was apprenticed to a goldsmith, who, discovering the boy's taste for drawing, kindly encouraged his youthful efforts, and introduced him to a portrait- painter named Martin,, then of some local repute in Edinburgh. This incident became the means of confirming Raebum's choice of a profession, and for a time he supported himself by miniature painting. Martin lent him pictures to copy, but seems to have given him little or no technical instruction, and in course of time became, it is said, jealous of his rising talent. At any rate the connexion was abruptly terminated. Kaeburn pursued his studies alone, and, having married advantageously at the age of twenty-two, went to London, where he made the acquaintance of Sir Joshua Reynolds, who advised him to study the works of Michael Angelo. Raeburn visited Italy with his wife, and after two years' residence in that country returned to Scotland, and soon estab- lished himself as a portrait-painter in Edinburgh. In 1814 he became an Associate of the Royal Academy, and in the following year was elected a Royal Academician. In 1822, when G-eorge the IV. visited Scotland, Raeburn was knighted, and shortly afterwards was appointed " His Majesty's Limner " in that part of Great Britain. He did not, however, long enjoy these marks of Royal favour, for his death occurred in 1823. ' A. correspondent of the " Standard" newspaper, who attended this ffete in 1870, has described it and published a translation o! the Pope's bull granting the indul- gences, in the paper o£ July 6th. REYNOLDS. 131 No. 1146. Portrait of a Lady {a member of the Dudgeon family). Life size, full length. Represented in a white dress open at the neck, a broad brimmed straw hat lined with silk and an orange-coloured scarf round her waist. She bears a oream- ooloured shawl with an embroidered border on her left arm, and leans against a pedestal or monument in a plantation of young beech trees. On canvas, 7 ft. 9^ in. A. by 4 ft. 11 in. w. Bequeathed by Mr. Robert Dudgeon in 1883. No. 1435. Portrait of Lieut-Colonel Bryce McMiirdo. Life-size, full length. Seated on a rook under a bank by the side of a trout stream. The Colonel, whose features aie seen in fall face, wears a dark green swallow-tail coat, nankeen panta- loons, white stockings, and shoes. He holds a fishing rod under his right arm. At his feet is a fishing basket. In the back- ground rise lofty hills. On canvas, 7 ft. 1 in. A. by 4 ft. 10 in. w. Bequeathed by Sir W. Montagu MoMurdo. in 1895. BETNOI^DS (Sir Joshua), F.B.A., Was bom at Plympton in Devonshire, July 16, 1723 ; his fathear, the Eev. Samuel Reynolds, was master of the grammar school of Plympton. Sir Joshua was intended originally "for the medical profession, but he evinced very early a taste for art ; and the perusal of Richardson's treatise on painting decided him to become a painter. He was accordingly, in 1741, placed with Hudson, an eminent portrait painter in London; he remained, however, with Hudson only two years, and then set up as a portrait painter at Plymouth Dock, now Devonport. In 174i6 he tqok apartments in St. Mai-tin's Lane, and commenced practice in London. In 1749 he accompanied Commodcsre (afterwards Lord Keppel), in the " Centurion," to "the Mediterranean. After spend- ing about three years in Italy, he returned at the end of the year 1762, by way of Paris, to England. He settled in London, and soon became the most distinguished portrait painter in the capital. ,'In 1768 he was unanimously elected president of the then newly- establighed Royal Academy of Arte in London, and was knighted £ '2 ISa BETKOLDS. by George III. on the occasion.* He succeeded Allan Ramsay as principal painter in ordinary to the king in 1784. He died at his house in Leicester Square, February 23, 1792, and was buried with great pomp in St. Paul's Cathedral. He exhibited alto- gether 245 works at the Eoyal Academy, sending in 1788 eighteen pictures ; his contributions amounted on an average to eleven annually.f No. 78. The Holy Family. Joseph and the Virgin holding the Infant Christ, are seated by the side of a stone pedestal or monument ; before them stands the little St. John with the Standard of the Lamb : a landscape in the background. Engraved by W. Sharp in 1792 ; and on a small scale by G. Presbury in Jones's National Gallery. On canvas, 6 ft. 5 in. h. by 4 ft. 9^ in. w. Painted for Mr. Macklin, who sold it afterwards to Lord Gwydyr ; at the sale of that nobleman's pictures it was purchased by the Directors of the British Institution, and by them presented to the National Gallery in 1828. No. 79. The Graces decorating a terminal figure of Hymen. The " Graces " are portraits of the three daughters of Sir Wil- liam Montgomery ; to the right the Marchioness Townsend, in the centre the Hon. Mrs. Gardener, mother of Lord Blessington, and to the left the Hon. Mrs. Beresford. Engraved by J. Watson. On canvas, 7 ft. 8 in. h. by 9 ft. 6 in. to. Exhibited at the Koyal Academy in 1774, as "Three Ladies adorning a Term of Hymen." Bequeathed in 1837 by the then Earl of Blessington. No. 106. A Man's Head in profile. Engraved by S. Reynolds; and by J. Rogers for Jones's National Gallery. On canvas, 1 ft. 11 in. h. by 1 ft. 6 in. w. This is a study from the head of a person (White, a paviour) "who served Sir Joshua as a model for Count Ugolino, in the celebrated picture, 'by him, of the Count and his sons, exhibited at the Royal Academy in 1773, now in the collection at Knole, in Kent. Presented to the nation, in 1826, by Sir George Beaumont, Bart. • The Royal Academy was opened on January 1, 1769, and Sir Joshua Reynolds delivered an appropriate discourse in commemoration of the event, t Northoote's L^e of Sir Joshua iSesnoZds, 2 vols., 8vo., London, 1819. Sir Joshua read in all fifteen discourses in the Royal Academy. His literary productions, besides these discourses, are : — three contributions to the Idler, some notes to Mason's translation of Du Fresnoy's "Art of Painting;" a few notes for Dr. John- sou's edition of Shakspeare; and his notes on his tour through Flanders and Holland in 1781. Several complete editions of his works have been published. Sir Joshua's pictures are extremely numerous ; the prints after them amo. Veknon Collection. * The Moyal Academy Catalog^. The Life of Thomas Stothard, with peraonal Reminiscences by Mrs. JBray. with numerous illustrations fr&m his works. Sm. 4to., London, 1851. Mrs. Bray was the widow of Charles Alfred Stothard (1787- 1821), the author of " The MowuvMnM Efflgiea of Great Britain " who was tb Venice, the Dogana, Ca/mpanile of San Marco, Ducal Palace, Bridge of Sighs, &c. Comaletti Paimti/ng. " There is a glorious city in the sea. The sea is in the broad, the narrow streets. Ebbing and flowing ; and the salt sea-weed Clings to the marble of her palaces." Rogeni's Italy. " Engraved by J. T. Willmore, A.R.A. ; and by T. A. Prior. On wood, 1 ft. 8 in. h. by 2 ft. 8 in. w. Exhibited at the Royal Academy in 1833. Veknon Collbction. No. 458. Portrait of himself, when young. Evening dress. Bust, life size. Engraved by W. Holl, for the " Turner Gallery." On canvas, 2 ft. 5 in. A. by 1 ft. 1 1 in. w. Painted about 1802. Tokner Collection.! * Royal Academy Catalogues i Art .Tournal. Jan. 1853, Jan. 1867; AChmaum Dec. 1851, Jan. 1868; see also Tmmer and his Works; iUtistrated with Bxampla from his Pictures and Critical Remarks on his Prinaiptes ofPainUrw By John Burnet. The Memoir by Peter Cunningham. 4to. 1853. And lAber Fluviomm or River Scenery of France, &c., with Biographical Sketch by Alaric A Watts' 8to. 1868. ■ ■ t The yacht in which His Majesty sailed was, after many changes and services, finally "^recked on Hamburgh sands, while employed in the Hull trade —Bovat Academy Catalogue. t The Turner pictures were removed from South Kensington to Trafalgar Sanare in Octohpr 1861. TURNER. 161 No. 459. Moonlight, a Study at MiUbank. A view of the Thames, looking east. A little west of the spot from which this view was taken is situated, near Cremome pier, the cottage in which Turner died. On wood, 11^ in. h. by 15^ in. w. Exhibited at the Koyal Academy in 1797. Tutenbe Collection. No. 46X. Mormmg on the Coniston Fells, Lancashire. " Te mists and exhalations that now rise From hill or streaming lake, dusky or gray. Till the sun paint your fleecy skirts with gold In honour to the world's Great Author rise." Milton, Faradise Lost, B. r. HUly landscape, with mountain torrent. On canvas, 3 ft. 11 in. h. by 2 ft. 11 in*, w. Exhibited at the Royal Academy in 1798. Tukner Collection. No. 465. Mountain Scene, with a Castle on a Hill, in the middle grovmd : a Man Angling in a Stream in the foregrov/nd. On canvas, 1 ft. 5 in. h. by 1 ft. 8^ in. w. Painted about 1800. Tubnbr Collection. No. 468. View on Glapham Common. A study of trees ; in the foreground men angling. On canvas, 1 ft. h. by 1 ft. 5 in. w. Painted about 1802. Turner Collection. No. 469. Sea Piece. Avessel stranded near a jetty; boats in the foreground ; squally weather. On wood, 11 in. h. by 7^ in. w. Turner Collection. No. 470. The Tenth Plagw of Egypt. "And it came to pass, that at midnight the Lord smote all the first-born in the *" And pSaoh rose, he and all the Egyptians ; and there was a great cry in Egypt : for there was not a house where there was not one dead. • • ao sn ;162 LTURNEE. Engraved for the Liber Studiorum. On canvas, 4 ft. 9J in. h. by 7 ft. 9^ in w. Exhibited at the Royal Academy in 1802. Tdknbk Collbction. No. 471. Jason in search of the Golden Fleece. The serpent, the guardian of the object of his search,, has been drugged to sleep by the charms of Medea, and the moment repre- sented is when Jason stealthily passes by the terrible monster, of which only a single gigantic coil is visible from among the rocks and shattered trees about his cavern. Engraved for the Liber Studiorum. On canvas, 2 ft. 11^ in. h. by 3 ft. 11 J in. w. Exhibited at the Royal Academy in 1802. Tuknek Collection. No. 47Z. Calais Pier. • French Fishermen preparing for Sea. The English Packet arrimng. A dark and stormy sky, and a strong breeze blowing. The principal object is the eastern jetty of the harbour, on which are people cleaning fish, and many other figures, among whom is conspicuous a woman disputing with an old fisherman in the boat below, who is shaking his only half-filled bottle of brandy at her, by way of remonstrance. The English packet is the cutter with the dark sails, which has just entered the harbour. Engraved by Thomas Luptou (unpublished) ; and by J. Cousen, for the " Turner Gallery." On canvas, 5 ft. 7 in. h. by 7 fk. lOJ in. w. Exhibited at the Royal Academy in 1803. Tubnek Collection. No. 473. The Holy Family. The Virgin and Child, with Joseph, reposing in the open air. On canvas, 3 ft. 5 in. h. by 4 ft. 8 in. w. Exhibited at the Royal Academy in 1803. Tukneb Collection. No. 474. The Destruction of Sodom. Lot and his family leaving the city. " Then the Lord rained upon Sodom and upon Gomorrah brimstone and fire " And He overthrew those cities, and all the plain, and all the inhabitants of the cities, and that which grew upon the eround. " But his wife looked back from behind him, and she became a pillar of salt."— Genesis xix. 24-26. TUENER. 163 Lot and hie daughters are seen to the right leaving the burning oity i his wife as a pillar of salt is behind them. On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. Painted about 1805. Tukner Collection. No. 475. View of a Town'. A Sketch. On canvas, 9^ in. h. by 13 in. w. Thknbr Collbghon. No. 476. The Shipwreck. Fishing Boats endeavourmg to Rescue the Grew. The huge wreck is seen labouring in the distance, still crowded with human beings ; in the foreground, and near the wreck, are several fishing boats, with their hardy crews, tossed on the raging sea, boldly striving to approach the disabled ship. One boat, that in the centre of the picture, from the women and others on board, appears to have already rescued some of the passengers and crew from the wreck. Engraved by Charles Turner, A.E. A. ; by J. Burnet ; by T. Fielding ; and by W. Miller for the " Turner GaUery." On canvas, 5 ft. 7^ in. h. by 7 ft. 11 in. w. . This picture was painted in 1805, but was never exhibited. It was originally purchased by Sir John Fleming Leicester, afterwards Lord de Tabley, and was subsequently exchanged by him for the "Sun rising in a Mist " (No. 479), also now forming part of the National Gallery. Tdbnbb Collection. No. 477. The Goddess of Discord choosing the Apple of Contention in the Garden of the Hesperides. " All amidst the gardens fair Of Hesperus, and his daughters three. That sing ahout the golden tree ; Along the crisped shades and bowers, Bevels the spruce and jocund spring ; The graces and the rosy-bosom'd hours, Thither all their bounties bring." Milton's Conrns. The three daughters of Hesperus j Aegle, Hespere, and Erytheis, dwelt in this western garden, and had charge of the tree of the golden apples, the gift of Earth to Juno on her wedding day ; the Hesperides and the garden were protected by the dragon Ladon.* * Ksigii&B^'a Mi/thology. 164 TUBNBE. The goddess of Discord, not having been invited to the marriage feast of Pelens and Thetis, threw one of these apples into the midst of the assembled gods, to be taken up by the most beantifal. It was claimed by Jtmo, Minerva, and by Yenns, and Jupiter ordered the contest to be decided by Paris, the son of Priam, who awarded the apple to Venus. This judgment of Paris was not only the cause of the destruction of Troy, but of countless mis- fortunes also to the Greeks. The Goddess of Discord is on the right in the act of receiving the golden apple (or orange) from one of the Hesperides. The dragon is seen lying along the summit of a lofty rock, in the middle distance. Engraved by T. A Prior. On canvas, 4 ft. 11^ in. h. by 7 ft. w. Exhibited at the British Institution in 1806. Tukneb Collbo TION. No. 478. The Blacksmith's Shop. A butcher disputing with a country blacksmith on the price of iron and the charge made for shoeing his pony.* Engraved by C. "W. Sharpe. On wood, 1 ft. lOJ in. h. by 2 ft. 6^ in w. Exhibited at the Eoyal Academy in 1807. Bepurchased by the painter at Lord de Tabley's sale in 1827. Totsner Collection. No. 479. The Sun rising in a Mist. Fishing boats arriving and unloading, fishermen cleaning and Belling fish ; guardship m the distance, tide low. On canvas, 4 ft. 4 in. h. by 5 ft. 10 in. w. Engraved by J. C. Army- tage. This picture and the " Dido building Carthage," were bequeathed by Turner to the National Gallery, on condition that they should be hung between two Claudes, now placed by their side. The " Sunrise " was exhibited at the Boyal Academy in 1807, and was exchanged with Sir John F. Leicester, for the " Shipwreck," No. 476, and was repurchased by Turner at the De Tabley sale in 1827. Turner Collection. • This picture, so different from Turner's usual works, is said to have been ^0, painted in consequence of the very great praise awarded to 'Wilkle's VUlaai Politicians, exhibited at the Academy the previous year, 1806. TURNER. 165 No. 480. The Death of Nelson, October the 21st, 1805, at the Battle of Trafalgar, on board the " Victory." The battle is represented as seen from the mizen starboard shronds of the " Victory." To the right is the " Redoutable," beyond which is the "Temeraire," &c. Nelson has just fallen, and has been carried down from the qnarter-deck, having been straok by a mnsket shot fired from a mast of the " Redoutable," abont half-past one, in the heat of the action ; he was carried below and died in the course of the afternoon, in his 48th year. Engraved by J. B. Allen. On canvas, 5 ft. 8 in. A. by 7 ft. 10 in. w. Exhibited at the British Institution in 1808. TnBNEE Collection. No. 481. Spithead: Boat's Grew recovervng an Anchor. Various men-of-war lying anchored in the roadstead, others bearing up for anchorage ; a fresh breeze blowing. Engraved by W. Miller. On canvas, 5 ft. 7 in. h. by 7 ft. 8 in. w. Exhibited at the Royal Academy in 1809. Tdkner Collection. No. 482. The Garreteer's Petition. " Aid me, ye powers I O bid my thoughta to roll In quick succession, animate my soul ; Descend my Muse, and every thought refine. And finish well my long, my long-sought line." A poet at work in his attic, consuming the " midnight oil." On his wall are pasted a plan of Parnassus, arid a table of fasts. On wood, 1 ft. 9 in. h. by 2 ft. 6 in. w. Exhibited at the Royal Academy in 1809. Tuhnbk Collection. No. 483. London from Oreenwich. The Hospital and Park in the foreground; a view of the Thames and of London in the distance ; the wind blowing from the south-west, Engraved for the Liber Studiormn. On canvas, 2 ft. 10^ in. h. by 3 ft. 10| in. 10. Painted in 1809. Formerly in the possession of Mr. Fawkes of Farnley ; exchanged by the painter. TtrRNEK Collection. 166 TURNER. No. 484. St. Mawes, Falmouth Harbour, GorriwaU. The small castle on the hill was built by Henry VIII. Pen- dennis Castle is seen in the distance. Engraved by W. Kernot. On canTas, 3 ft. h. by 4 ft. w. Painted about 1809. Turnbk Collection. No. 485. Abingdon, Berkshire, with a view of the Thames; Mormmg. On eanyas, 3 ft. 3^ in. h. by 4 ft. 2^ in. w. Engraved by C. Cousen. Painted about 1810. Turnek Collection. No. 486. Windsor. A view of the castle in the distance, a meadow with figures and cattle in the foreground. On canvas, 3 ft. 3g in. h. by 4 ft. 2^ in. w. Painted about 1810. Tuknee Collection. No. 488. Apollo killing the Python. " Envenom'd by thy darts, the monster ooil'd. Portentous, horrible, and vast, his snake-like form: Bent the huge portal of the rooky den, And in the throes of death, he tore His many -vrounds in one, while earth Absorbing, blacken'd with his surple rays. The Queen, .aineas, and the Tyrian Court Shall to the shady woods, for sylvan game resort." Dryden's ^neid, B. TV. Oartlxage is seen in the background ; and in tte front is the Court in long procession, prepared for the chase. Engraved by "W. R. Smith; and by J T. Wilhnore, A.R.A., for " the Turner Gallery." On canvas, 4 ft. 10 in. h. by 7 ft. 11 in. w. Exhibited at the Eoyal Academy in 1814. Tuknbk Collection. No. 495. Apuleia in Search of Apulei/ws. An extensive hilly landscape ; in the middle distance a large bridge of seven arches over a river, with lioh woody banks : a watermill and town on the spectator's right. In the foreground are Apnleia and her companions, and some peasants reposing in the shade of a tree. In this part of the foreground is inscribed on the picture, Apideia m search of Apulei/us, lea/rns from the swwim the ccmse of his metamorphosis. One of the peasants is pointing to the name Aitjleitjs carved in the bark of the tree. Apuleius was a distinguished philosopher and advocate of the second century of our era, and was the author of the celebrated romance entitled " The Metamorphosis, or the Golden Ass," in which he represents himself as transformed into an ass. The incident, however, represented in this picture, is not in the story of Apuleius.* On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. This picture, exhibited at the British Institution in 1814, was painted as a companion to the celebrated Claude in the possession of the Earl of Egremont, at Petvrorth, Sussex, of which there is an engraving by Wool- lett. Tdkneb Collection. • The catalogue ot the British Institution for 1814, refers to Ovid's Metamor- phoses for this stoiy ; it is, however, not one of Ovid's. Lucius, or the Mnchaicted Ass, of Lucian, preceded the " Golden Ass " of Apuleius, but both are subsequent to Ovid. The personage, "Apuleia," and the incident represented, appear liohs equally the painter's own invention. " Palaestra in search of Lucius," or " Fotis in search of Apuleius," would be more in accordance vrith the classic tales. TURNBE. 169 No. 496. Bligh Sand, near Sheerness, Fishing Boats Trawling ; a Cloudy Sky. Painted already in 1809; exhibited at the Royal Academy in 1815. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Engraved by R. Brandard. TuBNEK Collection. No. 497. Crossing the Brook. An extensive landscape; a view of the Tamar which divides Devonshire and Cornwall, looking towards Plymonth and Mount Bdgonmbe; the bridge above Oalstook in the middle distance. In the foreground are two girls, and a dog carrying a bundle in his mouth across a brook. Engraved by R. Brandard ; and by W. Richardson for the " Turner Gallery." On canvas, 6 ft. 4 in. h. by 5 ft. 5 in. w. Exhibited at the Royal Academy in 1815. Tttknbr Collbction. No. 498. Dido building Carthage ; or the Rise of the Carthaginian Umpire. A river scene, with the sun in the centre of the picture ; a bridge in front, and piles of classic architecture, completed and in progress, on either side ; high banks and rocks in the background. Dido, Queen of Carthage, is seen surrounded by her people on the left; on the right is the monument to her murdered husband, Sychseus. Engraved by T. A. Prior ; and by E. Goodall for the " Turner Gallery." On canvas, 5 ft. ^ in. h. by 7 ft. 5^ in. w. This picture and the " Sun rising in a Mist," were bequeathed by Turner to the National Gallery, on condition that they should be hung between two Claudes now placed by their side. The " Dido " was exhibited at the Boyal Academy in 1815. It is inscribed on the extreme left, "Dido building Carthage, or the Rise of the Carthaginian Empire," with Turner'? name and the date of the painting. Tubneb Collection. No. 500. The Field of Waterloo. Jrnie 18th, 1815. "Last noon beheld them lull of lusty life, Last eve in beauty's circle proudly gay; The midnight brought the signal-sound of strife. The morn the umrshalling In arms ; the day Battle's magnificently stern array ! The thunder-clouds close o'er it, which, when rent. The earth is covered thick with other clay, which her own clay shall cover, heaped and pent, Eider and horse, friend, foe, in one red burial blent."— ByroB. In the foreground are women searching by torchlight, among the dead and dying, where rider and horse, friend and foe, lie 170 TUENEE. piled one upon another on the bloody field : to the right is ,the chateau of Hougonmont still burning ; in the distance are rocket signals guiding the pursuit of the routed army. Engrayed by F. C. Lewis. On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. Exhibited at the Royal Academy, in 181'8. Tuknek Collectioh. No. 501. The Meuse, Orcmge-Merchantman gomg to Pieces on the Bar. Briel church bearing south-east by south, Maas-Slnis east by south. Boats unloading the ■wreck, and fishermen picking up oranges in the river. Showery weather ; a fresh breeze blowing. Engraved by R. Wallis. On canvas, 5 ft. 7 in. A. by 7 ft. lOj in. w. Exhibited at the Royal Academy in 1819. Tukner Collection. No. 502. England, Richmond Hill, on the Prvnce Regent's Birth-day. " "Which way, Amanda, shall we bend our course P The choice perplexes. 'Wherefore should we chuse f All is the same with thee ; say, shall we wind Along the streams ? or walk the smiling mead ? Or court the forest glades? or wander wild Among the waving harvests P or ascend, "^IPhile radiant summer opens all its pride. Thy hill, delightful Shene f "—Thomson. In the foreground is a numerous party, occupied in dancing and other pastimes : in the distance is the extensive landscape, as seen from the hill. On canvas, 5 ft. 10 in. A. by H ft. w. Exhibited at the Royal Academy in 1819. Ttjenek Collection. No. 505. The Bay of Baice, Apollo and the Sibyl. " Waft me to sunny Baise's shore." The two figures to the left seated in the shade of the tall pines have reference to the story of the Cumasan Sibyl, who, enamoured by Apollo, procured from him the gift of a fatal longevity ; he granted her to live as many years as she held grains of sand in her hands, but as she omitted to ask for perpetual youth at the same time, she had gradually wasted away until her mere voice alone was left. She dwelt in this neighbourhood between the hay and the lake Avernus, in a subterraneous cavern. The view repre- sents one of the most beautiful spots in Italy ; Horace already celebrated this bay as without a superior in the world. " Nullus in orbe sinus Bails praalucet amenis." The castle of Baise, from which it takes its name, is seen to the right ; and on the opposite TURNER. 171 Bide of the bay is seen the distant Pozznoli, the Puteoli of the Eomans. The words " Liquids placuere Baise," from Horace, ore on a stone to the left. On canvas, 4 ft. 9^ in. A. by 7 ft. 9^ in. w. Engraved by R. Brandard. Exhibited at the Royal Academy in 1823. Turnek Collection. No. 506. Carthage. Dido directing the Equipment of the Fleet; or the morning of the Oarthagi/nian Em/pi/re. A. river scene, with piles of rich architecture on each side. " The bright sun was in the firmament, A. thousand shadows of a thousand hues Chequering the clear expanse."— Sogers. On canvas, 4 ft. 11 in. h. by 7 ft. 5 in. w. Exhibited at the Royal Academy in 1828. Originally painted for Mi. Broadhurst. Titkneb Collection. No. 507. Scene from Boccaccio, commonly called the Birdcage, and sometimes the Garden of Boccaccio. A. shady glen vrith pleasant slopes, and many figures lounging about and in conversation ; at the extremity of the glen is seen a white castle. A birdcage, a prominent object, which ja lying on the grass in the foreground, seems to have reference to the title given to this picture by Turner in the Royal Academy catalogue, — " Boccaccio relating the tale of the Birdcage," but no such story occurs in the Decamercm of that writer. ■ Engraved by J. B. Quilley ; and by C. H. Jeens for the " Turner Gallery " On canvas, 4 ft. h. by 3 ft. w. . Exhibited at the Royal Academy in 1828. Tukneb Collection. No. 508. Ulysses deridA/ng Polyphemus. " Now off at sea, and from the shallows clear, As far as human voice could reach the ear; ■With taunts the distant giant I accost. Hear me, oh Cyclop I hear, ungracious host 'Twas on no coward, no ignoble slave, Thou meditat'st thy meal in yonder cave. I " Cyclop I If any, pitying thy disgrace. Ask who disflgur'd thus that eye-less face f Say 'twas Ulysses j 'twas his deed declare, Laertes' son, of Ithaca the fair i Ulysses, far in fighting fields renown'd. Before whose arm Troy tumbled to the ground. " Thus I : while raging he repeats bis cries With hands uplifted to the starry skies." Pope's Odyssey, £. ii. 172 TUfiNBB. The whole piotm-e is illumined by the golden and crimson light of a brilliant sunrise ; the gorgeous galley of Ulysses is on the point of putting ofi" from the island where the Cyclops Polyphe- mus dwelt. Close in shore are the remains of the fire in which Ulysses and his companions heated the olive staff of the giant, and with which they put out his one eye when asleep. The monster himself is seen sprawling his huge bulk on the top of the cUff, tearing his hair with one hand, and stretchiiig out the other, his whole body convulsed with impotent rage. Engraved by E. Goodall. On canvas, 4 ft. 3 in. h. by 6 ft. 7 in. w. Exhibited at the Koyal Academy in 1829. Tuknek Collection. No. 510. PUate washvng his Ha/nds. " And when Pilate saw he could prevail nothing, but that rather a tumult was made, he took water and washed his hands before the multitude, saying, I am i Qnoceut of the blood of this just person ; see ye to it." — Matthew xxvii. 24. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Exhibited at the Koyal Academy in 1 830. Turner Collbotion. No. 511. View of Orvieto. A brilliant landscape, the town is seen in the distance ; women washing at a fountain, in the foreground. On canvas, 3 ft. h. by 4, ft. le. Engraved by S. Bradshaw. Painted in Rome in 1829. Exhibited at the Royal Academy in 1830. TuKNEE Collection. No. 512. Caligula's Palace and Bridge. Bay of BaioB. " Bajarum medium intervallum Futeolauas ad moles ponte conjunxit." Suetoniut. " TThat now remains of all the mighty bridge "Which made the Lucrine lake an inner pool, Caligula, but massy fragments left As monuments of doubt and ruined hopes Yet gleaming in the morning's ray, that tell How Baia's shore was loved in times gone by." Vallades qfSope. On the left are seen the ruins of the palace, and on the extreme right in the distance Baiae. Children are sporting with goats in the foreground ; the sun rising behind the ruin. Caligula, in order to confute a prophecy of Thrasyllus, a mathe- matician, that he would no more be emperor than he could drive his chariot across the Bay of Bai»,* had constructed a bridge of • " Non magis Caium imperaturum, quam per Bajarum sinum equio disour ruum."— Suetonius, Caligula iv. 28. TUENEK. 173 boats from the mole at Puteoli across the bay to Baise, upwards of three Roman miles, and he both rode and drove over it. Of the > ancient mole, constructed on arches, and completely restored by the emperor Antoninus Pius, thirteen piers are still visible above the water at Pozzuoli. The bridge of Caligula was necessarily temporary, but Turner has assumed a structure similar to that of the mole to have been continued completely across the bay. Engraved by E. Goodall. On canvas, 4 ft. 8 in. h. by 8 ft. 2 in. w. Exhibited at the Boyal Academy in 1831. Tdenee Colibotion. No. 513. The Vision of Medea. " Or Medea, who in the full tide ot witchery Had lured the dragon, gained her Jason's love. Had flll'd the spell-bound bowl with ^son's life, ' Tet dash'd it to the ground, and raised the poisonous snake High in the jaundiced sky to writhe its murderous coil, Iniuriate in the wreck of hope withdrew. And in the fired palace her twin offspring threw." VcMaoies of Hope. Medea is performing an incantation ; on the ground by her side are the three Fates ; immediately above and behind them appears to be her dragon-chariot with her twins, the chariot is also repre- sented in the clouds above to the left, where Medea is again seen in the act of throwing her children into the fired palace below. On canvas, 5 ft. 8 in. h. by 8 ft. 2 in. w. Fainted in Borne in 1829. Exhibited at the Boyal Academy in 183X. TnsNEB COLLEOTIOH. No. 514. Watteau Painting. Study by Du IVesnoy's Rules. " "White, when it shines with unstained lustre clear. May bear an object back, or bring it near." — Art ofPaintmgt v, 445. On wood, 1 ft. 3j in. h. by 2 ft. 3| in. w. Exhibited at the Boyal Academy in 1831. Tuknbk Collection. No. 515. Lord Percy under Attainder, 1606. Lucy, Countess of Carlisle, and Dorothy Percy, visiting their father, Lord Percy, when under attainder upon the suspicion of his being concerned in the Gunpowder Plot. On wood, 1 ft. 3| in. h. by 2 ft. 3j in. w. Exhibited at the Boyal Academy in 1831. Tijbnbk Collection, 174 TURNEB. No. 516. Childe Harold's Pilgrimage. Italy. " And now, fair Italy Thou art the garden of the world, the home Of all art yields and nature can decree— Jlven in thy desert what is like to thee? Thy very weeds are beautiful, thjr waste More rich than other climes' fertility. Thy wreck a glory, and thy ruin graced With an immaculate charm which caJinot be defaced." Canto iv. 26. A monntainons landscape with a ■winding river ; to the right a broken bridge ; on the left a pile of rnins ; in the foreground a solitary stone-pine, and a party of pleasure, seated on the river bank. In this picture, Italy, ancient and modem, are both repre- sented : the ancient ruin, the medieval convent and walled town, the modem life. The time is evening, the sun is going down beyond the mountains, but still tinging them with a warm and beautiful light, and shining alike upon the glorious wreck of the past, and on the fascinating out-door life, the feasting and dancing, of the present Italy. The Italian air, land, and foliage, all are vividly realized. Engraved by J. T. Willmore, A.B.A. On canvas, 4 ft. 8 in. h. by 8 ft. 2 in. w. Exhibited at the Royal Academy in 1832. Tueneb Collection. No. 517. Shadrach, Meshach, and Abednego comi/ag forth from the Burning Fiery Furnace. " Then Nebuchadnezzar came near to the mouth of the burning fiery furnace, and spake and said, Shadrach, Meshach, and Abednego. ye servants of the most high God, come forth and come hither. Then Shadrach, Meshach, and Abednego come forth of the midst of the &te."— Daniel iii. 26. The image of Nebuchadnezzar is seen in the background. On wood, 2 ft. U^ in. h. by 2 ft. 3^ in. w. Exhibited at the Koyal Academy in 1832. Tdsneb Collbotion. No. 520. ^Apollo and Daphne. The Vale of Tempe. " Sure is my bow, unerring is my dart ; But, all 1 more deadly his who pierced my heart. • • * • • As when th' impatient greyhound, slipt from far. Bounds o'er the glebe to course the fearful hare. She in her speed does all her safety lay. And he with double speed pursues the prey." Ovid's Metamorphoses, i. Apollo, proud of his achievement in the destruction of the Python {eee No. 488), laughed at the little bow of Cupid. The winged god, to avenge the insult, shot a golden love-daa-t into the heart of Apollo, and a leaden arrow of aversion into the heart of TLFflNKK. 175 the nymph Daphne, who accordingly persisted in rejecting the addresses of the great god of archers, fled from his approach, and when overtaken was transformed by her mother, Baxth, into a laurel (Daphne) : hence this tree is sacred to Apollo. On wood, 3 ft. 6J in. h. by 6 ft. .5^ in. w. Engraved by E. Brandard. Exhibited in the Royal Academy in 1837. Tuenub Collbction. No. 523. Agrippina landi/ng with the Ashes ' of Germanicus. Ancient Bome, the Triumphal Bridge, and Palace of the ' OsBsars restored. " The clear stream. Aye, the yellow Tiher glimmers to her beam. Even while the sun is setting.*' Agrippina was the mother of Caligula and the widow of G-er- manicus. Her husband had died of poison at Antioch ; Agrip- pina brought home his ashes in an urn, but she landed at Brundusiurli on the Adriatic, not at Kome, as represented by Turner. On canvas, 2 ft. 11 in.' h. by 3 ft. 11| in. w. Engraved by A. Will- more. Exhibited at the Royal Academy in 1839. Turner Collection. No. 524. The " Fighting Temeraire " tugged to her last berth to he broken up. " The flag which braved the battle and the breeze. No longer owns her." On the right is the setting sun, producing efiects in the sky of the utmost splendour, relieved by a small dark bnoy in thejfore- gronnd ; on the left is the huge old ship of the line towed by a little black steam tug. The cool misty distance between the gorgeous sky and the momentarily brilliant water is crowded with shipping. The Temeraire, an old 98 (named after a French ship taken at Lagos Bay in 1769), was, under command of Captain Bliab Hkrvey, the second ship in Lord Nelson's division at the battle of Trafalgar, 1805 ; the Fongueux, a French 74, became her prize in that engagement, when the Temeraire had 47 hands killed and 76 wounded on board. She was sold out of the service at Sheer- ness on the 16th of August 1838, and towed to Eotherhithe to be broken up. Engraved by J. T. Willmore, A.R.A. On canvas, 2 ft. llj in. h. by 3 ft. 11^ in. w. Exhibited at the Royal Academy in 1839. Turner Collection. 176 TURNER. No. 526. The New Moon. SniiBet, sands at low water. To the left a sea-port ; a steamer in the distance. On wood, 2 ft. 1 in. h. by 2 ft. 7 in. w. Exhibited at the Boyal Academy in 1840. Tijbneb Collection. No. 528. Peace. Burial at Sea of the Body of Sir David Wilkie. " The midnight torch gleEimed o'er the steamer's side. And merit's corse vaa yielded to the tide." Fallacies of Mope, This distinguished painter died on board the Oriental steamer, off Gribraltar, on his retnrn from a visit to the East, June the 1st, 1841. The cofi^ was lowered on that night into the sea in 36° 20' ■ north latitude, and 6° 42' west longitude. Engraved by J. Cousen. On canvas, an octagon, 2 ft. 8^ in. in diameter. Exhibited at the Boyal Academy in 1842. Tubneb Collection. No. 529. War. The Exile and the Back Limpet. " Ah I thy tent-formed shell is like A soldier's nightly bivouac, alone Amidst a sea of blood but you can join your comrades." Fdllaeies of Hope. On canvas, circular, 2 ft. 6^ in. in diameter. Exhibited at the Eoyal Academy in 1842. Tubneb Collectiod. No, 530. Snow Storm ; Steamboat off a Harbour's Mouth making Signals, in shallow water, and 'govng by the lead. The painter was himself in this storm, in the " Ariel" oflf Harwich. On canvas, 2 ft. 1 ll in. A. by 3 ft. 1 1 i in. w. Engraved by R. Brandard. Exhibited at the Boyal Academy in 1842. Tubneb Collection. No. 531. Shade amd Darkness. The Evening of the Deluge. " The moon put forth her sign of woe unheeded. And the last token came ; the giant framework floated ; The scared birds forsook their nightly shelter, screaming And the beasts waded to the ark." „ ^ „ ,, „ . ^oilacies of Hope. On canvas, an octagon, 2 ft. 6^ m. m diameter. Exhibited at the Boyal Academy in 1848. Tubner Collection. TUENEE. 177 No. 532. Light and Colour. The Morning aft&r the Deluge. " "^t^^^ ^''°*"^ ^"^ °" Ararat ; the returning sun ixhaled earth's humid bubbles, and emulous o£ light, B«iiected her lost forms, each in prismatic guise." Fallacies of Hope, On canvas, an octagon, 2 ft. 6i in. in diameter. Exhibited at the Royal Academy in 1843. Tdkner Collbotion. No. 534. Approach to Venice, looking towards Fusina. " The path lies o'er the sea, invisible." Rogers's Italy. On canvas, 2 ft. h. by 3 ft. w. Engraved by J. C. Armytage. Exhibited at the Royal Academy in 1843. Tuknek Collection. No. 535. The " Sun of Venice " going to Sea, " Fair shines the mom, and soft the zephyr blows, Venezia's Fisher spreads his painted canvas gay Nor heeds the Demon who in grim repose Expects his evening prey." The " Sun of Venice" — Sol cU Venema — is the name of the fishing boat putting out to sea.* On canvas, 2 ft A. by 8 ft w. Exhibited at the Royal Academy in 1S43.. Tubker Collection. No. 536. Fishing Boats bringing a Disabled Ship into Port Ruysdael. The title given to this picture was adopted simply to do honour to Jacob Enysdael, the celebrated landscape painter. The " Port Bnysdael " is the fiction of the paiater. On canvas, 2 ft. 11 in. A. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1844. Tuenek Collection. No, 538. Eaim, Steam, and Speed, the Great Western Railway. Engraved by R. Brandard. On canvas, 3 ft. h. by 4 ft. w. Exhibited at the Royal Academy in 1844. Tuknee Collection. * See the quotation from Gray, illustrated by Etty's " Youth on the Prow, &e," No. see. 17 b • TURNER. No. 544. Venice, Morning. Returning from the Ball, On canvas, 1 ft. 11^ in. h. by 2 ft. Ill in. w. Exhibited at the Royal Academy in 1846. Tdenek Collection. No. 545. Whalers. Beale's Voyage. On canvas, 2 ft. II in. A. by 3 ft. 11 in. w. ' Exhibited at the Royal Academy in 1845. Tcenbr Collection. No. 548. Queen Mab's Grotto. " Prisk it, frisk it, by the moonlight beam." " Thy orgies, Mab, are manifold." Fallacies of Mope. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. to. Exhibited at the British Institution in 1846. Turneb Collection, No. 549. Undine giving the Ring to Masaniello, Fisherman of Naples. On canvas, 2 ft. 6j in. square. Exhibited at the Royal Academy in 1846. TtnaNEK Collection, No. 550. The Angel standing in the Sun. ■ * Anol 1 saw an angel standing in the sun ; and he cried with a loud voice, saying to all the fowls that fly in the midst of heaven. Gome and gather yourselves together unto the supper of the great God ; that ye may eat the flesh of kings, and the flesh of captains, and the flesh of mighty men, and the flesh of horses, and of them that sit on them, and the flesh of all men, both ftee and bond, both small and great." — Revelation xii.l7, 18. On canvas, 2 ft. 6j in. square. Exhibited at the Royal Academy in 1846. Tuenek Collection. No. 551. The Hero of a Hundred Fights. An idea suggested by tte German invoGation upon casting the boll, in England called Tapping the Fuenace. On canvas, 2 ft. 11 in. A. by 3 ft. 11 in. w. , Exhibited at the Royal Academy in 1847. Tukner Collection. No. 558. Fire at Sea. Unfinished. To the right is seen the flaming fire, reaching to the water ; on the left the boisterous sea ; in the centre is- a vast raft crowded with human beings, men, women, and children, while others are already washed by the waves from their pre- TURNER. ■ 179 earioua refuge ; all are threatened by both the fire and the storm, alternately drenched by the one and scorched by the other ; fire rains upon them from above, and the waves are opening to engulf them below. Engraved by J. Cousen. On canvas, 7 ft. 9 in. A. by 5 ft. 7 in. to. TuRNBB Collection. No. 559. Petworth Park. Tillington Church in the Distance. Crnfinished. On canvas, 2 ft. 1 in. A. by 4 ft. 8 in. w. Painted in 1829. Tornee Collection. No. 560. Chichester Catial. Unfinished. On canvas, 2 ft. 1 in. h. by 4 ft. 4 in. w. Painted in 1829. Turner Collection No. 561. Mountain Glen. Unfinished. The stoiy of Diana and Actteon is slightly sketched in, in the foregronnd. On canvas, 4 ft. 11 in. h. by 3 ft. 8 in. lo. Turner Collection. No. 56lA. A Mountain Stream, The torrent winds swiftly round the base of a rooky clift' surmoimted by trees, and lashes itself into foam here and there as it flows over boulders in the river-bed. Sketched on millboard, 1 ft. 5jin. A. by 1ft. II in. w. Turner Col- lection. No. 813. Fishing Boats in a Stiff Breeze, off the Coast. A stormy sky and a heavy sea ; a view of a town on the coast, and some ships at anchor in the distance. In the foreground, a buoy, and a small boat with four fishermen, who appear to wish to put their fish on board one of the sailing boats near them. On canvas, 2 ft. 3 J in. h. by 2 ft. llj in. w. This example is in the style of Turner's pictures of about the year 1801 . Bequeathed in 1870 by Mr. John Meeson Parsons. No. 1180. Cliveden on Thames. View looking across the river with cows standing in the water, and barges moored on the opposite bank. In the middle distance an old inn and other buildings with a wooded height 180 _ mSTKNOWN. beyond. In the foreground to the right trees overhanging the river. On canvas, 1 ft. 3 in. h. by 1 ft. lOf in. w. Bequeathed by the late Mrs. Elizabeth Vaughan in 1885. TJNKirOWN. No. 1076. Portrait of a Young Man {supposed to he the Poet Gay). In an undress cap and morning gown of the last century. On canvas, 2 ft. | in. h. by 1 ft. 8 in. w. Purchased at the sale of the late Mr. J. H. Anderdon's collection in 1879. No. 1097. Landscape. On the left, a road lying through thickly-wooded country, with buildings seen in the distance. Towards the right a rooky knoU, surrounded by trees. In the foreground a group of rustics con- versing by the roadside. Above, a blue sky crossed by white clouds. Old British School. On canvas, 1 ft. 6J in. h. by 2 ft. w. Presented by the Trustees of the British Museum in 1880. No. 1354t. Portrait of Sir Aleaxmder Cockburn, of Langton, 4. Exhibited at the Royal Academy in 1845. Vernon Collbction. No. 1225. Portraits of the Artist's Father and Mother. Painted to commemorate their golden wedding. The aged couple are seated, and seen at rather more than half-length. Mrs. Webster wears a dark brown velvet cloak trimmed with swan's down, and a white muslin cap frilled at the edge and nearly concealing her hair. Her husband, whose face is almost in profile, sits immediately beyond and beside her. Dark back- ground. On panel, llf in. h. by 9^ in. to. Under glass. Bequeathed by the Painter in 1886. 192 WESTALL— WILKIE. WESTALIi (Richabd), B.A., Was bom at Hertford in 1765, and having been sent to London as a boy, was apprenticed to an heraldic engraver. Before the expiration of Ms articles he entered the Schools of the Boyal Academy, where Lawrence was then studying. A friendship thus sprang up between the young men, who, in due course, became joint tenants of a house in Greek Street, Soho Square. Although Westall never attained the success of his early com- panion, he was fortunate in securing a certain popularity for his art. He painted in water-colour with considerable skill, which is said to have been warmly acknowledged by Northcote. His illus- trations from the Bible and Prayer Book were greatly admired, and he executed numerous vignettes for contemporary editions of Milton, Crabbe, Moore, and Gray. , In 1792 he was elected an Associate of the Royal Academy, and two years later became an Academician. The South Ken- sington Museum possesses one of his works: — " Cassandra pro- phesying the Fall of Troy," while an " Ecce Homo" from his brush may be seen in the church of All Souls, Langham Place. In 1808 he published a volume of poems, illustrated with en- gravings from his own design. Towards the close of his life he sustained pecuniary losses through picture dealing. He died on the 4th of December 1836. No. 1414. Portrait of Philip Sansom, jun., when a child. Apparently about 3 years old. Life size : full length. Dressed in a short sleeved white frock, with a close fitting muslin cap on his head. The child stands in a garden or shrubbery, near the trunk of a tree, gathering flowers. On canvas, 4 ft. 5 in. h. by 3 ft. 3 in. w. Bequeathed in 1894 by the late Miss Ellen Sansom, a sister of the child represented. WZLEIi: (SiE David), R.A., Was bom in the parish of Cults, Eifeshire, November 18, 1785 : his father was minister of Cults. He was placed in 1799 in the "Trustees' Aoademjr" at Edinburgh, wiere in 1803 he won the ten-guinea premium for the best painting of " Cal- listo in the Bath of Diana." He came to London in 1805, and entered as a student in the Royal Academy; soon afterwards he attracted general notice by his picture of the " Village WniKTE. 193 Politicians," wMch was exhibited in the Royal Academy in 1806. From this period Wilkie's fame was established, each snooeeding work adding to his popularity. The " Village Politicians " was followed by the " Blind Fiddler," the " Oard-players," the " Eent-day," the "Jew's Harp," the "Ont Finger," the "Wardrobe Banaacked," the " Tillage Festival," dnd others. He was elected an associate of the Royal Academy in 1809, and a member in 1811. These early works are all very carefully painted. In 1825 he pro- ceeded to the Continent for three years, and after his return he completely changed both his style and class of subjects. The fol- lowing are the principal works which he executed between 1811 and 1825 :— " Blindman's Buff," the " Letter of Introduction," " Duncan Gray," " Distraiuing for Rent," the "Rabbit on the Wall," the " Penny Wedding," the " Whisky Still," the " Read- ing of the Will;" and the "Chelsea Pensioners,"* painted for the Duke of Wellington. Up to 1825 Wilkie was known exclu- sively as a geirvre paiater. After his continental tour, during which he visited France, Grermany, Italy, and Spain, he appeared almost exclusively as an historical and portrait painter, substituting a light effective style of handling for the carefully laboured execu- tion of his earlier works. This change he himself attributed to a more intimate acquaintance with the old masters, which he had acquired by his foreign tour. He was particularly struck by the works of Oorreggio, Rembrandt, and Velazquez.f His most cele- brated picture in this second style is his " John Knox Preaching," exhibited in 1832, now in this collection. After the death of Sir Thomas Lawrence in 1830 Wilkie was appointed in his place painter in ordinary to His Majesty; he was already limner to the king in Scotland. This post he had obtained after the death of Sir Henry Raeburn in 1823. He was knighted in 1836. In the autumn of 1840 he set out for a tour in the Bast, and at the close of the same year he arrived at Constan- tinople, where he painted a portrait of the Sultan Abdul Medjid. Fi'om Constantinople Sir David went to the Holy Land and Egypt. He complained of illness while at Alexandria, and on the 1st of June 1841 he expired on board the Oriental steamer, off Gibraltar ; his body was committed on the same day to the deep. J Wilkie exhibited 100 pictures at the Royal Academy : a com- plete list of his works, with their dates, and the prices he received, is given at the end of his " Life " by Allan Cunningham. * There are prints of all the above, and of many other works o£ Wilkie, by the engravers, Raimbacb, Burnet, Cousins, Doo, Fox, and others. + See his letters in the Life by Allan GunninKham. % The coflBn was lowered into the sea in 86° 20' north lat. and 6° ^a' west long. See The Life of Sir David Wilkie, with his Journals, Tours, and Critical &markg on Works of Art, and a Selection from 'his Correspondence, by AHon OunninRham, S vols., 8vo. Lotldon, 1843. 194 WILKIE. No. 99. The Blind Fiddler. An itinerant musician is entertaining a cottager and his family with a tnne on the fiddle ; the father gaily snaps his fingers at an infant on the knees of the mother, behind whom a mischievous boy, with the poker and bellows in his hands, is mimicking the action of the musician. With this exception, all, even the dog standing by the chair of its mistress, appear to be intent upon the mnsic of the blind fiddler. Composition of twelve small figures. The accessories are very elaborate. Engraved by J. Burnet ; and by T. Nicholson, for Jones's National Gallery. On wood, 1 ft. 11 in. A. by 2 ft. 7 in. w. Painted in 1807 for Sir George Beaumont, Bart., and by him presented,, in 1826, to the nation. No. 122. The Village Festival. Yarious groups of villagers carousing in the yard of a country inn. The wife and daughter of a half-intoxicated countryman, endeavouring to draw him away from his boisterous and unwil- ling companions, form the principal group in the centre of the picture ; and the rosy-cheeked host, near the balcony, on the left, pouring out a glass of ale for another of his customers, is likewise a very conspicuous figure : to the right, an elderly woman appears shocked at the sight of her drunken son, who lies on the ground before her. Composition of numerous small figures. Engraved by C. W. Marr ; by G. Mosse ; by E. Smith ; by W. Finden, for the Associated Engravers ; by W. Greatbach ; and by P. Lightfoot, for Jones's National Gallery. On canvas, 3 ft. 1 in. h. by 4 ft. 2 in. mj. Painted in 1811, for Mr. Angerstein, with whose pictures it was pur- chased by Parliament, for the nation, in 1824. No. 231. Portrait of Thomas Baniell, R.A. An able landscape painter and engraver, well known for his great work on " Oriental Scenery," published in 1808, the joint production of himself and his brother, William Daniell. He died in 1840, aged ninety-one. On canvas, 2 ft. 6 in. h. by 2 ft. w. Bequeathed to the National Gallery by Miss Mary Ann Fuller, 1853. No. 241. The Parish Beadle. The beadle has arrested a party of four vagrants, who have been exhibiting the feats of a bear, a monkey, and a dog, to the WTLKIB. 195 music of a tambourine and a hurdy-gurdy. A black-eyed woman, with the hurdy-gurdy, is the most prominent figure of the group ; she appears half inclined to resist the authority of the portly beadle, who has seized by the arm a boy carrying the monkey : one assistant is busy opening the look-up house, while another appears to be keeping off the crowd of boys disposed to follow the paity. Engraved by Geo. Greatbach, for the " Wilkie Gallery." On panel, 1 ft. 11| in. h. by 2 ft. \\\ in. w. This picture was painted in 1 822, and exhibited in the following year ; it was Wilkie's first work of this class after the painting of his great work, the " Chelsea Pensioners," and is the first picture in which he adopted that bolder mode of execution which characterised his later works, as compared with those by which he acquired his great name. It was painted, according to the Academy Catalogue, in illustration of the follow- ing words from Burns' Justice of the Peace : " And an officer giveth suffi- cient notice what he is, when he saith to the party, ' I arrest you in the King's name ;' and in such case the party, at their peril, ought to obey him." Bequeathed to the National Gallery, in 1854, by Lord Colborne, for whom it was originally painted. No. 328. The First Ear-ring. A mother holding her child while she is undergoing the opera- tion of having her ears bored. Engraved by W. Chevalier ; and by W. Greatbach. On wood, 2 ft. i in. h. by 1 ft. 11^ in. w. Exhibited at the Royal Academy in 1835. Veknon Collection. No. 3Z9> The Bagpiper. Engraved by E. Smith, and by R. C. Bell. On wood, 10 in. h. by « in. to. Originally painted for Francis Ereeling, Esq., 1813. Exhibited at the British Institution in that year. Veknon Collection. No. 330. A Woody Landscape. Engraved by J. Cousen. On wood, 9 in. square. Painted in 1822. Vernon Collection. & 2 196 WILKIE. No. 331. Newsmongers. A small group of laen, women, and children gathered together on an open place eagerly listening to one reading the news. Engraved by W. Taylor, and by J. Cousen. On wood, 16 in. h. by 134 in. w. Under glass. Originally painted for General Phipps. Exhibited at the Royal Academy in 1821. Vbknon Collection. No. 894. The Preaching of Knox before the Lords of the Congregation, lOth June 1559. " In Dr. M'Crie's life of this extraordinary person is descrihed the event this pictnre is intended to represent, which took place during the regency of Mary of Gnise, in the parish church of St. Andrew's, in Pifeshire, where John Knox, having jnst arrived from Greneva, after an exile of thirteen years, in defiance of a threat of assassination, and while an army in the field was watching the proceedings of his party, appeared in the pnlpit and disconrsed to a numerons assembly, including many of the clergy, when ' such was the influence of his doctrine that the provost, bailies, and inhabitants harmoniously agreed to set up the reformed worship in the town. The church was stripped of all images and pictures, and the monasteries were pulled down." " Close to the pulpit on the right of Knox are Richat-d Ballen- den, his amanuensis, with Christopher Goodnaan, his colleague ; and, in black, the Maltese Knight, Sir James Sandilands, in whose house at Calder the first Protestant sacrament was re- ceived. Beyond the latter, in the scholar's cap and gown, is that accomplished student of St. Andrews, the Admirable Crichton. Under ,the pulpit is Thomas Wood, the precentor, with his hour- glass ; the schoolboy below is John Napier, Baron of Merohiston, inventor of the logarithms ; and further to the right is a child which has been brought to be baptised when the discourse is over. " On the other side of the picture, in red, is the Lord James Stuart, afterwards Regent Murray ; beyond is the Earl of Glen- caime ; and in front, resting on his sword, is the Earl of Morton, behind whom is the Earl of Argyll, whose Countess, the half sister of Queen Mary, and the lady in attendance upon her, make up the chief light of the picture. Above this group is John Hamilton, Archbishop of St. Andrew's, supported by the Bishop Beatoun, of Glasgow, with Quinten Kennedy, the Abbot of Cross Eaguel, who maintained against Knox a public disputation. WILLOOOK. 197 " In the gallery is Sir Patrick Learmouth, Provost of St. Andrew's and Laird of Dairsie, and with him two of the bailies. The boy on their left is Andrew Melville, successor of Knox ; and beyond him, with other Professors of the University of St. Andrews, is the learned Bnchanan ; at the back of the gallery is a craoifix, attracting the regard of Catholic penitents ; and in the obsonrity above is an escntcheon to the memory of Cardinal Beaton." — Royal Academy Catalogue, 1832. On wood, 4 ft. J in. h. by 5 ft. 4^ in. w. Engrayed by G. T. Doo, K. A. Commenced for the Earl of Liverpool, and completed for the late Sir Robert Peel. Exhibited at the Royal Academy in 1832. Purchased with the Peel Collection in 1871. No. 921. Sketch of Blind Man's Buff. The original design of the large picture in the collection of Her Majesty in Buckingham Palace. Inscribed D. Wilkie, 1811. On panel, 12 in. h. by 18 in. w. This sketch was painted in 1811, and was exhibited at the Royal Academy in 1812. The large picture of the same composition was painted for the Prince Regent, and was exhibited at the Academy in 1813. It is engraved by A. Raimbach. The sketch became the property of the Earl of Mulgrave, from whose collection in 1832 it passed into the possession of Mr. C. L. Bredel; it was bequeathed to the National Gallery by his sister, Miss Harriet Bredel, in 1875. No. 1187. A Sketch of Rustic Figures. Apparently a study for (or from) a group in the picture of the " Village Festival," No. 122 in this Catalogue. Underneath is a scrap of paper on which is written : — Sent by D. WUkie, 15 Aug. 1811. Executed in pen and ink, 3J in. h. by 4j in. w. Bequeathed by Mrs. Elizabeth Vaughan in 1883. WIIJLCOCE (GrEOBGE Barkell) Was bom in 1811, at Exeter, where his father, Charles Willoock, carried on the business of a coaoh-btulder. At Bristol, George had a brother established in the same trade, who for some years employed him to paint armorial 198 WILSOld. bearings and heraldic devices on carriages constructed for Ms customers. This humble branch of pictorial art did not, however, content young Willcock, who in 1842 turned his attention to landscape painting, and by the advice of his friend, James Stark, he studied constantly from nature, generally completing bis work on the spot. The scrupulous observance of this practice was unfortunately destined to shorten his life, for he contracted a severe cold whilst painting in the open air near Frome, and never recovered from an illness which ensued. Between the years 1846 and 1852 Willoock was a constant pxhibitor at the Eoyal Academy. He died in the spring of the latter year, aged 41. No. 1389. Chilston Lane, Torquay. A group of thatched cottages surrounded by lofty jpak and beech trees, which cast chequered shadows on their roofs and walls, as well as on the roadway beneath. On the left a farm labourer, sitting on a stile, converses with a peasant girl carrying a baby. In the foreground the road is crossed by a stream, in which two cows are lingering. In the distance large fleecy clouds rise into a summer sky. On canvas, 1 ft. II ^ in. A. by 1 ft. 7 J in. w. Purchased in 1893, from Messrs. H. Graves & Co., out of a fund bequeathed by the late Mr. Francis Clarke. WILSON (Eiohabd), K.A., Was bom in 1713, at Pinegas, Montgomeryshire, where his father was the clergyman. He showed an early taste for drawing, and attracted the notice of Sir Greorge Wynne, who took him to London, and placed him with an obscure portrait painter of the name of Wright. Wilson commenced his career as a portrait painter, and attained as such considerable eminence : but in 1749, when he went to Italy, he turned his attention, by the advice of Zuccarelli and Vemet, wholly to landscape painting, and soon acquired the reputation, even during his residence in Italy, of one of the prin- cipal landscape painters of his time. He returned to London in 17.55, after an absence of six years, but it was not until 1760, when his picture of " Niobe " was exhibited in the great room at Spring Gardens, that his talents were appreciated in this country ; he, however, never attained general popularity, and his life affords WILSON. 199 an example of the caprice of tte public taste. He was one of the original 36 members of the Eoyal Academy, which was founded in 1768 ; and after the death of Ha^an, in 1776, he succeeded him as librarian. Wilson solicited this place, for, though the emolu- ment connected with it is small, the great landscape painter was in such comparatively indigent circumstances, that even this small sailary was of the utmost importance to him. For some few of his pictures he was fortunate enough to find liberal pnr- ehasers, and these subjects he generally repeated two or three times ; other works he was compelled to hawk about to the various picture dealers, and accept whatever trifling sum they might offer for them. Towards the close of his life his circumstances were considerably improved, in consequence of a legacy from a brother. He retired in 1780 to the vUlage of Llanberris or Llanferras, in Denbighshire, where he died in 1782, in the seventieth year of his age. In 1814 about seventy of Wilson's pictures were exhibited Id the British Institution, and a contemporary paper had. the following remarks upon his views in Italy : — " Li many of these pictures Italy is realised. They are fine compositions, mingling the loveliest appearances of nature, where nature is most beautiful, with dreary and dark desolation, and every touching image which decay ing_ grandeur in the noblest works of art could suggest to a classical imagination. From these sources emotion is engendered by the magic power of the painter, to which we can apply no other epithet but that of ' sacred.' "* Wilson exhibited altogether only 31 pictures at the Eoyal Academy, from 1769 to 1780, both inclusive. Some of Wilson's most capital pictures have been admirably engraved by WooUett, namely — Phaeton ; Celadon and AmeUa ; Ceyx and .Alcyone ; Snowdon; Cicero at his Villa, and its com- panion piece, Solitude ; Meleager and Atalanta ; Apollo and the Seasons ; and the Niobe, in this collection. The figures in his landscapes are not all painted by himself ; ho occasionally availed himself of the assistance of Mortimer and Hayman. Joseph Farington, R.A., and William Hodges, R.A., were Wilson's prin- cipal schoWs. No. 108. The Ruins of the Villa of Maecenas, at livoli. On the banks of the river Anio (Teverone), which runs into the Tiber a few miles above Rome. The building to the right of the villa among the cypresses was a convent of Jesuits ; the temple • T. Wright, Some Account of the Life of Richard Wilson, Ssq„ R.A., London,. 1824. 200 WILSON. beneath was bnilt in honour of the god Tibris. The spring which issues from the rook on the left is intended for the Blandusian fountain of Horace, whose Tiburtine villa stood behind the trees on the left, fronting the villa of Maecenas. The two women at the fountain are dressed in the costume of the country.* Engraved by M. Booker; by J. Le Keux, for the Associated Engravers, and by R. Brandard, for Jones's National Gallery. On canvas, 3 ft.-lO in. h. by 5 ft. 6 in. w. Painted for Sir George Beaumont, Bart., and by him presented to the nation in 1826. This composition was painted five times by Wilson. No. 110. Landscape, with Figures, representing the Destruction of Nidbe's Children. Niobe, daughter of Tantalus king of Lydia, and wife of Am- phion, son of Antiope, was so proud of the seven sons and seven daughters which she had by this marriage, that she refused to sacrifice to Latona, the mother of only two children. Latona in revenge entreated her children, Apollo and Diana, to destroy the offspring of Niobe : the sons were shot by Apollo, and the daughters, with the exception of one who escaped, bjr Diana. The avenging deities are seen in the clouds discharging the fatal shafts ; below is the terrified family of Niobe. Eocky landscape with a cascade, ».nd a distant view of the sea ; in the foreground on the left is seen a bridge. Engraved by WooUett ; by S. Smith, with the figures by W. Sharp j and in small by J. C. Varrall, for Jones's National Gallery. On canvas, 3 ft. 10 in. h. by 5 ft. 6 in; w. Painted for Sir George Beaumont, Bart., and by him presented to the nation in 1826. There are two duplicates of this picture. No. 2i67. Landscape with Figures. A river scene, with a bridge of several arches ; a hilly back- ground : three figures and an ancient sarcophagus in the fore- ground. On canvas, 9 in. A. by 11^ in. w. Bequeathed to the National Gallery, in 1854, by Richard and Miss C. J. Gamons. * Such is a portion of the painter's own description of this composition, given with the receipt of 261. 6»., the sum paid for the original picture by a Mr. Macklay i tluit picture is now in the possession of the E«v. Prebendary Ford, with these documents, quoted in Mrs. Jameson's Handbook to Public Galleries. The foun- tain of Blandusia, as is well known, was at Digentia, some miles above Tivoli. See JDe Sanctis, Xa Villad'Orazio, 'RavemnTi, 1704. WILSON. 201 No. 301. View in Italy. A lake scene, with an ancient rnin and figures in the foreground ; in the middle distance a tower upon a clifi'. Engra-^d by C. Cousen. On canvas, 1 ft. 10^ in. h. by 2 ft. 6 in. w. Veknon Collbction. No. 30i. View in Italy. An ancient Boman ruin, a mutilated statue leaning against a wall ; two figures in the foreground. Engraved by T. A. Prior. On canvas, 1 ft. 2 in. h. by 10 in. w. Vernon Coi.i.eotion. No. 303. View in Italy. Roman ruin with arches, upon one of which stands a small modem dwelling : two women in the foreground, one holding a ohUd. Sometimes called HIadbiaii's Yilla. Engraved by J. Carter. On canvas, 1 ft. 2 in. h. by 10 in. w. '" This composition, with slight variations, was painted several times by Wilson. Veenon Collection. No. 304. Lake Avernus, with the Bay oj Faples'in the d/istance. See No. 371. Engraved by J. C. Bentley. On canvas, 1 ft. 6 J in. h. by 2 ft. 4J in. w. Vbrnon Collection. No. 1064. On the River Wye. Beyond some pasture land the river is seen bordered by trees and is then lost to view between steep banks. In the distance, a high conical hill. Boys are bathing by the shore. An azure sky, streaked with white cloudlets. On canvas, 10 in A, by 12 in. w. Purchased at the sale of Mr. J. H. Anderdon's pictures in 1879. 202 WILSON. No. 1071. A Rocky River Scene. In the foreground a broken bank, high above the river, which appears in the middle distance. A steep cliff in shadow overhangs, the river to the left, and is reflected in the still water, ^eypnd this a more level country, through which the river is seen winding, extends to the horizon. A sky of hazy sunshine. On wood, 6 in. h. by 8J in. w. Purchased at the sale of Mr. J. H. Anderdon's plctnies in 1879. No. 1290. Landscape, with Figures. A broad and placid river winds its way between banks illu- mined by the setting sun. In the middle distance a wooded knoll, from the side of which rises the ruin of a domed building. On the opposite shore tall poplars intersect the horizon. In the foreground, near some shattered tree trunks, three women pre- pare to bathe. On the right, overshadowed by a group of lofty trees, cattle stand or lie on undulating pasture land. Moun- tainous background. On panel, 1 ft. 11 in. h. by 2 ft. 5J in. w. Bequeathed by Mr. John Staniforth Beckett in 1889. No 1360. Portrait of Sir Thomas Lyttelton ofHagley, Bart., M.P. Died 1751. Fatl^r of George Lord Lyttelton, William Henry Lord Westcote, and Mr. Ayscough. Life-size : bust-length : three- quarter face. He wears a reddish brown velvet coat trimmed with gold lace, a white cravat, and grey flowing periwig. Dark background. On canvas, 2 ft. 6 in. A. by 2 ft. ^ in. w. Bequeathed (with other pictures) to the Nation by Marianna Augusta, Lady Hamilton, in 1892. No. 1364. Portraits of the two Sons of Frederick Prince of Wales, 1748, with their Tutor, Dr. Francis Ayscough. Seated together on a sofa to the right of the picture are Prince George (afterwards King George ILL) dressed in light grey, and Edward Duke of York (who died young) in blue and gold. On the left hand of the picture, and standing apart from the WOODWARD— WEiaHT. 203 ^°7*\-^^™°^^ ^8 *^eir tutor, Dr. Francis Ayscough, Dean of Bristol, in a black gown and wig. He holds a letter in his left hand, while his right rests on a volume upon a table by his side. A life-size group. On canvas, 6 ft. 8 in. h. by 8 ft. 4 in. w. Bequeathed (with other pictures) to the Nation by Marianna Augusta , Lady Hamilton, in 1892. WOODWARD (Thomas) Was born in 1801 at Pershore, Worcestershire. He became a pupil of Abraham Cooper, R.A., and devoted himself chiefly to the painting of animals. At an early age he began to con- tribute pictures to the British Institution and afterwards to the Royal Academy, where he was a constant exhibitor. He died at Worcester in 1852. No. 1379. The Ratcatcher. On the steps of a cottage door, a man clad in a blue tailcoat, red waistcoat and velveteen breeches, sits over his humble meal, which he is about to share with two dogs, a rough and a smooth- haired terrier, at his feet. Behind him a oat steals through the half-opened door towards a rat-trap which lies by his side. In the distance is a rural landscape. On panel, 1 ft. 4^ in. h. by 1 ft. 8^ in. w. Bequeathed in 1892 by Mr. Edward Archer, of Great Malvern. WBZGHT (Joseph) OF DEBBT, Commonly called from his birth-place Weight op Dekbt, was born in 1734 ; his father was an attorney, and town clerk of Derby. In 1761 he visited London, and entered the school of Hudson, the portrait painteir, the master of Reynolds and of Mortimer. Wright studied with the view of being an historical painter, but his figure subjects are mostly rather gewre or conversa- tional pieces than historical pictures. He established himself as a portrait painter at Derby, but acquired his reputation by fire or candlelight subjects, in which he especially excelled. He was a * Dr. Ayscough was subsequently nominated to the See of Llandaff, but he died before the preferment had been comirmed. 204 WEIGHT. fellow of the Incorporated Society of British Artists, established in London in 1765 ; and he was one of the most prominent contri- butors to the exhibitions of that Society. In 1773 he married, and went with his wife and John Dowman, the painter, to Italy, where he resided for two years, chiefly in Eome. He had the good fortune while at Naples to witness a fine eruption of Mount Vesuvius, of which he painted an effective picture ; he also painted the periodical display of flieworks from the Oastle of St. Angelo at Eome, known as the Gvrandola. In 1775 he returned to Eng- land with his family (a daughter was bom in Eome), and set up at first at Bath ; but not finding the success he anticipated, he removed in 1777 to Derby, where he was well known and better appreciated ; and there he remained until his death in 1797.* Wright was an occasional exhibitor at the Eoyal Academy after his return to England. His "Eruption of Vesuvius" and " Girandola" were both in the exhibition of 1778; and in 1782 he was elected an associate of the Academy ; but finding Edmund Garvey, a landscape painter, elected to the full honours before him, in 1784, he withdrew his name from the Academy Ijooks ; he, however, still continued to send pictures occasionally to its exhibi- tions. His name appears in the catalogue for the last time in 1790 ; and he exhibited in all thirty-seven pictures. In 1785 Wright got up a special exhibition of his own, com- prising twenty-four of his best pictures, which were arranged in Eobins's auction room in Covent Garden. His principal works are:— "The Pead Soldier," " Belshaazar's Eeast," "Hero and Leander," " The Storm," from the Winter's Tale, " Cicero's ViUa," " MsBcenas's Villa," a large view of the "Head of Ulleswater," his last picture ; and the following, the most remarkable of his fire-light effects:— the "Gladiator," the "Orrery," the "Air- pump," the " Hermit," the " Indian Widow," the " Forge," &c. He painted chiefly landscapes towards the close of his career. Engravings from his works are numerous. Like Hogarth and Copley, Wright j)ainted in the solid old English method, and his pictures are still in perfect preservation. No. 725. An Expervment with the Air-pimnp. A family party grouped round a table on which, besides many other objects carefully painted, is an air-pump. The experiment- ing philosopher is in the act of restoring the air to an exhausted receiver, into which a pan-ot has been placed to experiment upon. Gentleman's Magazine, 1797. ZOFFANY. 205 The bird is jnst recovering its vitality, to the great relief of two young girls present, who thonght it dead. The light proceeds from a candle, concealed from the spectator by a sponge in a glass bowl of water. Ten life-size figures half length. On canvas, 6 ft. h. by 8 ft. w. Engraved in mezzotint by Valentine Green in 1769. Painted for Dr. Bates of Aylesbury, who paid .600 guineas for it ; and exhibited in 1765 at the Society's Rooms in Spring Gardens. Presented by Mr. Edward Tyrrell, in 1863. ZOrPANY (Johann), R.A., Descended from a Bohemian family, was bom at Frankfort-on- the-Maine abont the year 1733, and went at an early age to study painting in Eome. He came to England in 17S8, but met at first with snch small encouragement that he is said to have been for some time pecuniarily embarrassed. On the foundation of the Royal Academy, however, in 1768, Zofiany's name was enrolled among the forty original members of that institution, and in 1770 he exhibited three pictures there, one of which was a portrait group of the Boyal Family. Two years later he painted " the Members of the Royal Academy," which was also exhibited. Shortly afterwards he went to Italy with letters of recom- mendation to the Grand Duke of Tuscany, and while at Florence he' painted his well-known picture of the Florentine Gallery, now in the Royal Collection, and a " Flight into Egypt," which appears in the Royal Academy Catalogue for 1776. In 1783 he proceeded to India, where he remained lucratively employed for seven years. Returning to London with a com- petent fortune about 1796, he continued to practise his art, but whether from the efi'ects of advancing years or impaired health, his later works are less attractive than those which he executed in his earlier life. He died in 1810. No. 1371. Portrait of Sir. lames CocJcburn (6th Bart.) and his Daughter. In the grounds of a country mansion. Sir James sits on a bank dressed in a crimson coat and breeches, a scarlet waistcoat laced 206 ZOFFANY. with gold, and white stockings. Hie hair is powdered, and he wears on his breast the badge of the Order of the Thistle. His infant daughter (by his first wife. Miss Douglas of Springfield), elad in a white muslin frock, pink sash, and cap, runs towards him, followed by a pet dog. On caDvas, 2 ft. 11|^ in. h. by 2 ft. 3f in. w. Bequeathed (with other pictures) to the Kation by Marianna Augusta, Lady Hamilton, in 1892. AscBiBED TO ZOFFANT. No. 1197. Portrait of David Garrich, the Actor. Life sise ; seen to the waist. The face nearly in full profile, and tomed to the left. G-arriok, who is represented with a close shayen head and divested of his wig, wears a loose morning gown of plum coloured silk, open at the chest, where a frilled shirt and linen collar leave the throat bare. In the lower portion of the picture is introduced an emblematical trophy, consisting of two masks (tragic and comic), a Fan's pipe and tibia, with flowers and foliage. Dark background. On canvas, 2 ft. 5^ in. h. by 2 ft. ^ in. w. The widow of David Gaiiick left this portrait, which was many years in her possession, to his grand-nephew, Nathan Egerton Garrick, from whom it passed to his eldest son, Nathan David Garrick, of Lichfield Hoase, Acton, Middlesex, who bequeathed' it to the National Gallery is 1885. 207 Li8i OP PiCTuaBs, OP THE Bbitish and Modeen Schools, pubohasbd POK, PEESENTBD AUD BEQUBATHED TO, THE NaTIONAI GaLLERT J ABUANGED ACC0BDIN6 TO THE OBDEB OP THEIB ACQUISITION. PZCTmtES PUItCHASED. No. Subject. Painter's Name. When Purchased. Ill Lord Heathfield Sir J. Beynolds - 1824 112 113 Own Portrait W. Hogarth - - •"• 114 115 116 117 •Marriage " a la Mode" . - - - . W. Hogarth - - — 118 123 Village Festival . - - . Sir D. Wilkie - - 681 Captain Orme Sir J. Beynolds - 1862 ess Mrs. Siddons - - T, Gainsborough - — 684 Dr. Schomberg - - - . . - — 688 Aldemey Bull, Cow, and Calf - J.Ward - - - — 689 Monsehold Heath - . . J. Crome - - - — 733 Death of Msgor Peirson - - - J. S. Copley ■ - 1864 760 Portrait of a Parish Clerk - T. Gainsborough - 1867 787 Siege of Gibraltar - - J. S. Copley - - 1868 •793 Destmction of Pompeii J. Martin - - - 1869 885 The Snake in the Grass . . - - "\ ■886 Admiral Keppel - - ... 887 Dr. Johnson - - - - - . 888 889 James Boswell .--'.. His own Portrait . - - - - • Sir J. Beynolds - 1871 890 George IV. as Prince of Wales - - 891 Lady with a Child 892 Bobinetta ----..- J «93 Portrait of a Lady . - - Sir T. Lawrence — 894 John Knox preaching - - - - Sir D. Wilkie - - — 925 Landscape, Comard, Suffolk . - T. Gainsborough - 1875 92l> The Windmill ... J. Crome - — J037 Landscape, Slate Quarries - - 1878 1038 Village Snow Scene . . - W. Mulready - - — 1039 Landscape, A Clover Field - - - T. Barker - - - — 1040 Landscape, Biver and Bocks - - W. J. Miiller - - — 1043 Landscape, Gordale Scar, Yorkshire J.Ward - - - ^- 1064 On the Biver Wye - - - - E. Wilson - 1879 • This picture has been temporarily removed from the Collection under tbe National Gallery Loan Act. 208 Pictures Purchased — conH/mied. No. Subject. A Com field, with figures, a Sketch - On Barnes Common - - - A Quarry with Peasants - - - The Parson's Daughter, a Portrait - From the Myth of Narcissus - Cupids preparing for the Chase - - A Kocky Eiver Scene . . . . - The Death of the Earl of Chatham, "1 A Sketch / The Death of the Earl of Chatham, 1 A Sketch J Portrait - - - ... The Spiritual form of Pitt guiding 1 Behemoth - - - - - f River Scene - - - On the Ouse, Yorkshire - - Harlech Castle ------- Portrait of Miss Penton, as " Polly "I Peachnm " - - - j The Shrimp Girl - - - The Pilgrimage, to Canterbury - - Portrait, said to represent Mary"! WoUstonecraft - - - - -j TheValley ofthe Yare Portrait of Wm. Godwin, the Author The Vagrants .--.-.- Ecce Ancilla Domini - - . View of a portion of Old West-l minster Bridge - - - - . j Portrait of Samuel Scott - Stirling Castle - - . , Portrait of Endymion Porter - . View of Dedham - Portrait of Anne, Countess Albemarle - - Landscape with Figures and Cattle - View of Westminster from the\ Thames ----- .j A group of six heads Beatrix Knighting Esmond ... "The Cast Shoe" - . . Chilston Lane, Torquay - - . - Portraits of Mr. and Mrs. Wm. Lindow Painter's Name. When PurchasecU "■} J. Constable G. Morland G. Eomney T. Stothard E. Wilson - J. S. Copley Unknown - - W. Blake - - J. S. Cotman - G. Arnald - J. Ward - - W. Hogarth W. Hogarth T. Stothard J. Opie - - J. Stark J. Opie - - P. Walker - - G. C. D. Eossetti - S.Scott- - T. Hudson - - - Alexr. Nasmyth W. Dobson - - T. Gainsborough - Sir J. Eeynolds Thomas' Barker - S. Scott W. Hogarth - A. L Egg - - - G. H. Mason - Q. B. Willcock- - G. Romney - - 1879 1882 1884 18g& 1888 188» 1890 1891 1892 1893' 209 Pictures Purchased — coniimued. No. Subject. Painter's Name. "When Purohased. 1402 The Laundry Maid Henry K. Morland 1894 1403 The Laundry Maid — 1405 Bdfou, Upper Egypt John F. Lewis — 1407 Pegwell Bay, Kent William Dyce — 1428 A View at Southampton E. H. Lancaster — 1452 Landscape G. Stubbs — 1453 CoTent Garden Market - - - B. Nebot - - 1895 1458 A Galiot in a Gale J. S. Cotman -' — 1460 Smugglers on the Irish Coast J. C. Ibbetson — 1467 Landscape - - R. Ladbrooke - 210 PICTITRES PRESEITTES. N.B Those marked with a etar have been temporarily removed from this CoUection under the National Gallery Loan Act of 1883. Subject. Painter's Name. By whom Presented. ■When. The Blind Fiddler - - Man's Head - - - Maecenas' Villa I Mohe - - - - - J Pylades and Orestes The Banished Lord - - Christ healing the Sick - The Watering Place - Cleombrotus - - . Holy Family - - - The Market Cart- - Death of Chatham Landscape . - - - Jacques and the Stag The Last Supper - - Portrait of Nollekens - Portrait of Mr. Angerstein John Kemble as Hamlet Lord Ligouier - - . Portrait of West - - - The Cornfield - Portrait of an Actor Portrait of a Lady - - Portrait of Sir J. Soane - Serena rescued by Sir") Calepine ■ - - . J Study of Heads - - - Portrait of Sir D. Wilkie Do. Sir W. Hamilton Do. Mrs. Siddons View in Italy - View in Italy - - - . View in Italy - - - Lake Avemus Sir Abraham Hume - - Own Portrait - - The Age of Imiocence - Musidora • - - . . Sir D. Wilkie Sir J. Reynolds E. Wilson ^- B. West - - Sir J. Reynolds B. West - T. Gainsborough B. West - - - Sir J. Reynolds T. Gainsborough J. S. Copley - Sir G. Beaumont B. West SirW. Beechey- Sir T. Lawrence Sir J. Eeynolds Sir T. Lawrence J. Constable -i J. Hoppner - - Sir T. Lawrence J. Jackson -{ W. Hilton Sir J. Eeynolds T. Phillips Sir J. Eeynolds • Sir T. Lawrence E. Wilson Sir J. Eeynolds T. Gainsborough | Sir G. Beaumont Rev.W. Long - British Institution Lord Famborough W.Wilkins,R.A. British Institution Lord Liverpool - Lady Beaumont - George IV. - - Rev.R.E.Kerrick William IV. - - Bought by Sub- 1 scriptlon - / Mr. Serjt. Taddy Mr. F. Eobertson British Institution Bought by Sub- "1 scription - - J Lady W. Gordon The Painter - - Deposited by the Trustees of the BritishMnseum Mrs. Fitz Hugh Mr. Robert Vernon 1826 1827 1828 1835 1836 1837 1839 1841 1 1843 1847 211 Pictures Presented — conHmued. No. Subject. Painter's Name. BywhomPresented. "When. 309 Watering Place - T.Gainsborough Mr. Robert Vernon 1874 310 Landscape - - - — 311 Cottage Children - — 312 Lady Hamilton G. Eomney - - — 313 London Bridge - S. Scott - — 314 Westminster Bridge — SIS The Installation B. West - - — 316 Lake Scene - - - P. Loutherbourg — 317 Greek Vintage T. Stothard - — *318 Woodland Dance - — 319 Cnpid Bound - — 320 Nymphs Bathing - — 321 Intemperance — 322 ABattie - — •323 TheRafBe - B. Bird - - — *324 TheCountessof Darnley "1 Portraitof JohnFa-vrcett J Sir T. Lawrence ^^ *325 ttJiM. .&. • 1 J^* TT ifc^^**\rf^i# •326 Miss Stephens J. Jackson - - — 327 The Valley Farm - J. Constable - ■" 328 The First Earring - - SirD. Wilkie - — 329 The Bagpiper — 330 Landscape - ■^ 331 Newsmongers —^ •332 Peep-o'-Day Boy's Cabin ^~" 333 Edith discovering the' Body of Harold W Hilton - - _ ff ■ * A*iE.VV^** •334 Study of a Head - — •335 Ditto - ■^ *336 Ditto - - - - ""** •337 Cupid disarmed - ■~" 338 Abraham's Servant and Bebekah- __ •839 Wood Nymph T.PhiUips - - ~~ 340 Betuming from Market SirA.W.CaUcott "-" •341 Coast Scene — 342 Landscape, with Cattle ^~*' 343 The Wooden Bridge 344 The Benighted Traveller *345 Old Pier, Little Hampton 346 Entrance to Pisa - *34J Dutch Ferry - "~~ 34S Coast of Holland - ~~ *349 Flower Girl H. Howard - - ^"" *350 The Dead Eobin - H. Thomson - ""~ 212 Pictures Presented — eontin/ued. Subject. I Painter's Name. By whom FreBented. When. Happy as a King - - 1 Prawn Catchers J Yorick and the Grisette 1 The Window - - J Dull Reading Youth and Pleasure A Persian - - Imprudence of Candanles The Lnteplayer - The Dangerous Play- "1 mate - - - J Head of Christ - Christ appearing to "1 Mary Magdalen - J II Duetto - Window in Venice ITie Magdalen - Bathers - Infant Bacchus - 1 Portrait of T. Morton - J William III. landing at 1 Torbay - - / Venice, Dncal Palace - The Fates and the! Golden Bough - / Venice, the Giudecca, &o. Arabs dividing Spoil - Column of St. Mark Spaniards and Peruvians "1 Juliet and the Nurse - / Falstaff and Mrs. Ford - The Newspaper Lycian Peasants - A Cottage in Hyde Park 1 Landscape - - - j A Negro Vigilance - - - "1 The Philosopher - / De Tabley Park - - \ Council of Horses - / Claret Vintage - - 1 Ze Chapeau de Brigand j The Fiery Furnace Lady Godiva W. Collins G. S. Newton A. Geddes W. Etty - Mr.Bobert Vernon Sir M. A. Shee - J. M. W. Turner Sir W. Allan - R. P. Bonington H. P. Briggs - G.Clint - T. S. Good W. J. Muller - P. Nasmyth - J. Sinipson H. Wyatt- J. Ward T. Uwins - G. Jones - 1847 213 Pictures Presented — eonUrmed. Subject, Painter's Name. By whom Presented. When, Battle of the Borodino - Utrecht The last in - Fair Time - Crossing the Ford The Young Brother Christ lamenting overl Jerusalem - - J Eaidee, a Greek Girl - Escape of the Carrara^ Family - Burgos Cathedral Church of St. Paul, Antwerp Sancho Fanza and the Duchess Uncle Toby and Widow Wadman Entrance to the Zuyder ' Zee Battle of Trafalgar Lake of Como Venice - - - Clarissa Harlowe - G. Jones - W. Mulready SirC.L.Eastlake D. Roberts C. R. Leslie C. Stanfield C. Landseer Sir E. Landseer High Life and Low Life Highland Music - The Hunted Stag - Peace War - A Dialogue at Waterloo Portrait of Mr. Robert 1 Vernon - A Syrian Maid - The Cover side Showery Weather Stepping Stones The Hop Garland Play Scene in Hamlet Malvolio & the Countess The Synagogue - Sir Thomas More and I his Daughter - -J Going into School - -I ■■} } Mr. Robert Vernon 1847 H.W.Pickersgill F. R. Lie W. P. Witherington D. Maclise S. A. Hart J. R. Herbert - T. Webster 214 Pictures Presented — i Subject. Painter's Xame. By whom Presented. When. A Dame's School Country Cousins The Path-way to the' Church ■ - - - ■ Dr. Johnson in the~ Ante-room of Lord Chesterfield - The Fall of Clarendon- The South Sea Bubble -. The Tambourine - -' Italian Feasants - - j Milking time - - -^ Cattle, Morning - - _ The Fisherman's Home - Woodcutters - . -1 TheWindmiU - - -J The Gouty Angler - - Fruit "I Red Cap ----- I Fruit - - - - -J Le Diable Boiteux - - The Cottage of Solaun- "1 der - - - - - -J" The Pride of the Village Dutch Boats in a Cabu- 1 The Boat House - - J Lord Wm. Bussell in the Tower - - - A Village Holiday The Tired Soldier The Frugal Meal The Cradle - - Female Head A Capuchin Friar Council of War Courtray • The Surprise Portrait of Wm. Woollett Do. John Hall - - Do. Benjamin West - Do. William Pitt - Jerusalem 601 Geraldine ■} ;} r atl T. Webster - - B. Bedgrare T, Creswick B. M. Ward - Penry Williams T. S. Cooper - F. Dauby - - J. Linnell - - T. Lane - - . G. Lance - - A, L. Egg - - F. R. Pickersgill J. C. Horsley - E. W. Cooke - A. Johnston F.Goodall ■ - J. F. Herring - A. Fraser - - F. V.Bippingille L. Haghe - - C. M. Dubufe - Gilbert Stuart - J. Hoppner - - T. Seddon Sir W. Boxall - Mr. BobertVemon Mr. H. Farrer - H. Graves & Co. J. H. Anderdon Mr. G. Moffet - An Association of Gentlemen. Mr. J. Kenyon - 1847 184» 18S0- 185S 1857 1859' 215 PiotTires Presented — eonivrmed. No. Subject. Painter's Name. By whom Presented. 678 725 *743 754 759 *761 *762 *76S •764 *765 ♦786 •791 •792 *795 •800 *801 810 1030 1044 Study of a Head • The Air-Pump - Portrait of Sir David"! Brewster - - -J Portraits of Two Gen- \ tlemen - - -J The Eemorse of Judas - Twelve Scenes from"! "Don Quixote" -J Scene from " Don 1 Quixote " - - J Ditto Ditto " Mawworm " The Eaising of Lazarus The Nun The Woodman The Worship of Bacchus Relief of Lucknow -"1 Passage of Ganges at v- Cawnpore J Pardon day in Brittany Inside of a Stable Portrait of the Kev. Sir "I Henry Bate Dudley, V Bart. - - J T. Gainsborough i J.Wright of Derby Sir J. W. Gordon Sir J. Reynolds - £. Armitage - Robert Smirke - B. R. Haydon - H.W.Pickersgill Thomas Barker Geo. Cruikshank G. Jones - Charles Poussin George Morland T. Gainsborough 1097 Landscape ■ 1112 1142 1164 4191 .1198 >1205 Portrait of Mrs. Ann"l Hawkins - - -j "The August Moon" - The Procession from \ Calvary - - -j The loss of H.M.S.1 "Royal George" -J Portrait of Mr. H. Byne The Woods of Sweet"! Chestnut above Va- V renna, Lake Oomo - J Unknowri - - J. Linnell - - Cecil Lawson - W. Blake ■ - J. C. Schetky - LemuelF.Abbott F. R. Bridell - H. G. Moysey"! and the Rev. y F. L. Moysey J Mr. Edw. Tyrrell Mr. H.G.Watson f Mrs. Martha "1 \ Beaumont J The Painter - J" Captain and T \ Mrs. Lambert J Mr. E. E. Lofft The Painter - Mr. E. E. Lofft The Painter's friends. The Painter - Mr. R. E. Lofft Mr. T. Bird L Wolfe [■ Trustees of J the British [ Museum Mr. F. Piercy - Mrs. Cecil Lawson Mr.F.T.Palgrave J The Misses"! \ Trevenen J /Miss C. C. 1 \ Lippincott J Mrs. Bridell Fox 216 Pictures Presented — continued. Subject. Painter's Name. By whom Presented. When. in-1 as > The Hay-Wain - Titania and Bottom View of the House in which the Artist was born - - "The Salt Box," Hamp- 1 stead Heath - - - J View on Hampstead \ Heath J The Bridge at Gilling- 1 ham - - - -J Church Porch, Bergholt A House at Hampstead View of Hyde Park"! Corner - - -J Ditto Portrait of a Young"! Man - . - - / "Beata Beatrix" Portrait of Mrs. Brocas Portrait of Napoleon I. The Eve of the Deluge - " Salvator Mundi " - The Harbour of Eefuge Cardinal Bourchier and "I the Widow of Ed- [■ ward IV. - J Christ washing St. "1 Peter's Feet ■ J Portrait of James "1 Northeote - J Portrait of a Boy - St. John leading the! Virgin Mary from I. the Tomb - -J A Village Green in France A Street in Cairo - - " Calais Gate " - . . Dredging on the Med- 1 way- - - - J. Constable H. Fuseli - John Constable James! Holland TJnkaown T. Gainsborough G.C.D.Eossetti Francis Cotes - EmileJ.H.Vernet William B Scott J. Jackson F. Walker John Z. Bell F. Madox Brown J. Jackson John Opie W. Dyce F. S. Bonvin W. J. Muller W. Hogarth - W. J. Muller - Mr. H. Vaughan {MissJ.Carrickl Moore J f Miss Isabel 1 \ Constable j Miss E. J. Wood J" Mr. James E. T L Swinton J Lady Mount- Temple. Mr. George Holt Duke of Leinster Miss Alice Boyd Eev.JohnGibson r Mr. William 1 \ Agnew J Mrs. J. Z. Bell - rs J r A Body \ Subscribers /The Earl oi\ \ CarUsle - J Mr. Edward Opie Anonymous Mrs.E. Edwards Lady Weston - /The Duke ofl \ Westminster J /Mr. Holbrookl I* Gaskell -J 217 PICTURES SEqV&ATHED. N.B Those marked with a star have heen temporarily removed from this Collection under the National Gallery Loan Act; No. Subiect. Painter's Name. Bywhomfiequeathed. When. 12- Portrait of the Rev. W. H. Carr. J. Jackson - Rev. W.H. Carr 1831 *128 Portrait of Wm. Windham Sir J. Reynolds - G.J.Cholmondely «IS9 Beligion, an Allegory - A. Kaufinann - Mr. J. Forbes ■ 1835 79 The Graces - - - - Sir J. Beynolds Lord Blessington 1837 123 Moonlight - - E. Williams - Lt. Col. Ollney - — 162 Infant Samuel- - - - Sir J. Beynolds - LordFamborough 231 Portraitof T.Daniell,B.A. Sir D. Wilkie - MissM.A.FuUer 479 498 The Sun rising in Mist \ Dido building Carthage J J. M. W. Turner The Painter - 1853 241 The Village Beadle - - Sir D. Wilkie - Lord Colbome - 1854 267 Landscape - R. Wilson Richard and Miss C. J. Garnons. 453 Portrait of himself J. M. W. Turner The Painter- - 1856 459 Moonlight — *460 Buttermere Lake - - - — 461 Coniston Fells - - - — •462 Cattle in Water - - — ^463 Mdeas, with the Sibyl - — *464 Bizpah — 465 Castle - - - — *466 View in Wales, Castle - ♦467 Sandpit- - - — 46S Clapham Common - •■ — 469 Sea Piece - - — 470 The Tenth Plague — 471 Jason - . - — 472 Calais Pier - — 473 The Holy Family — 474 Destruction of Sodom — 475 View of a Town - - - — 476 The Shipwreck - - - — 477 The Garden of the" Hesperides - . — 478 Blacksmith's shop — 480 Death of Nelson - - - — 481 Spithead - . - . -- 482 The Garreteer's Petition — 483 London from Greenwich- — 484 St. Mawes, Cornwall — 485 Abingdon, Berksjiire - — 486 Windsor - . - - - — 218 Pictures Bequeathed — contirmed. No. Subject. Painter's Name. BywhomBeqneathed. When. •487 Bnin, with Cattle - - J. M. W. Turner The Painter 1856 488 Apollo and the Python - — 489 Avalanche - - - 490 Hannibal crossing the Alps 491 Kingston Bank - - - 492 Frosty Morning - - - — 493 The Deii).ge - - - - 494 Dido and i^Rneas - - - 495 Apuleia in Search ofl ApnleiaB - . . - j — 496 BlighSand ... 497 Crossing the Brook - - *499 The Decline of Carthage 500 The Field of Waterloo - _ 501 Orange - Merchantman 1 going to pieces - - j — 502 Bichmond Hill - - - __ *503 Rome, from the Vatican *504 Borne, the Arch of Titus _ 505 The Bay of Baise - _ 506 Carthage ■ - - 507 Scene from Boccaccio - .^ 508 Ulysses deriding Poly- 1 phemus - - - - j — •509 The Loretto Necklace - 510 Pilate washing hisB^ds __ 511 View of Orvieto - - - ^^ 512 CaUgala's Palace and I Bridge - - -/ ^ 513 The Vision of Medea - 514 Watteau painting - - 515 Lord Percy under at-"! tainder J — 516 Childe Harold's Pilgrimage ^_ 517 The Fiery Furnace - - _ *518 Heidelberg Castle - - __ *519 Regains leaving Rome - 520 Apollo and Daphne - - _ •521 Hero and Leander - - *522 Phryne going to the Bath 523 Agrippina - - • . . •i2J The Temeraire * V^S Bacchus and Ariadne 526 The New Moon _ 219 Pictures Bequeathed— conUmted. TSo. Subject. Painter's Name. BywhomBequeathed. When. •527 Venice, Bridge of Sighs - J. M. W. Turner The Painter 1856 528 Burial of Wilkie - - - _ 529 The Exile and the Bock "1 Limpet - - - - - J ~ 530 Steamer in a Snowstorm — 531 The Evening of the Deluge — 532 The Morning after the "1 Beluge ---.-■ *SS3 The Opening of theWal- \ halls j" — 534 Approach to Venice 535 The " Sun of Venice" \ going to Sea - - - / ■■" 536 PortRuysdael - - - — *537 VanTromp . - - - — 538 Sain, Steam, and Speed - — •539 Venice, the Giudecca - ♦540 Venice, the Quay - - — *541 Venice, Noon - - . . — •542 Venice, Sunset - - - — •543 Venice. Going to the Ball — 544 Venice. Retnmingfrom "1 the Rail - - - - / « ._ 545 Whalers - - - — •546 Whalers •547 Whalers boiling Blubber — 548 -Queen Mab's Grotto - — 549 Masaniello . « - - t— — 550 The Angel in the Sun - 551 Tapping the Furnace _ - •552 .^hieas relating his l story to Dido- - -J •563 Mercury sent to ad-l monish Mneaa - -J — •554 The Departure of the 1 Trojan Fleet - - -J — •655 The Visit to the Tomb - — *556 The Battle of Trafalgar — •557 Richmond Bridge - - — 558 Fire at Sea - - — 559 Petworth Park — 560 Chichester Canal - — 561 Mountain Glen — 56U A Mountain Stream - - — 220 Pictnres Bequeathed — eontvn/aed. No. Subject. Painter's Name. BywhomBequeathed. When, •562 Harvest Home - - - J. M. W. Turner The Painter - 1856 603 Sleeping Bloodhound - Sir B. Landseer Mr. Jacob Bell- 1859 604 Dignity and Impudence - — 605 The Defeat of Comus _ 606 Shoeing .— 607 Highland Dogs - — 608 Alexander and Diogenes 609 Maid and Magpie - - *610 Bloodhound and Pups Charles Landseer *S11 Pillaging a Jew's House _ *612 The Sacking of Basing 1 House - - - J - 614 The Bather W. Etty - 615 Derby Day W. P. Frith - 616 James II. &c. E. M. Ward - *617 Bibliomania W. Douglas *618 The Foundling - G.B. O'NeiU - *619 Evening in the Meadows Lee and Cooper - 620 River Scene _. 621 Horse Fair Rosa BonheuT - •662 Neapolitan Peasants at"l , a Fountain - - j Penry Williams Mrs.Huskisson - 1860 675 Mary Hogarth - - W. Hogarth - Mr. R. Frankum 1861 *676 Paul's Wharf- - - J. A. Sleap - - *682 Punch - ... B. R. Haydon - Dr. Darling 1862 677 Lewis the Comedian Sir M. A. Shee Mr. T. D. Lewis 1863 »730 Sir Guyon T. Uwins - - Mr.ApsleyPeUatt »731 Loch-an-Eilan . - Rev. J. Thomson Mrs. A. Thomson 1864 »738 4.n Incident in a Battle - Chas. Tshaggeny J. M. Oppenheim 784 Mr. W. Siddons J. Opie - ■Mrs. C. Combe 785 Mrs. Siddons - - Sir 'T. Lawrence 1868 789 Mr. J. Baillie and Family T. Gainsborough Mr. A. Baillie - ♦799 Portrait of a Lady as"l , Hebe -/ B. West - Miss H. Worrell 1869 813 »814 Sea piece A Calm, Dort - 1 The Roads of Flushing / J. M. W. Turner Mr. J. M. Parsons 1870 815 P. J. Clays — 897 Chapel-Fields, Norwich - J. Crome - Mr.H.F.Chorley 1872 898 Byron's Dream - SirC.L.Eastlake Mr. T. Howard - 899 Etridge near Rajemahel - T. Daniell Mr8.W.Mansfield 900 917 Portrait of Lady Oxford No News - - "1 J. Hoppner - Lady Langdale - 1873 918 Fisherman with a Gun I T. S. Good - Mrs. M. B. Good 1874 919 Study of a Boy - - J 221 Pictures Bequeathed — eonUnued. No. Subject. Painter's Name. iBrwhomBequeatlied When. Blind Man's Buff - Child with a Kid - Troilus and Cressida - Ariel- - - -") Manto and Tiresias - j The Temples of Psstum Sigismonda The Vision of Ezekiel Portrait of a Lady A Family Group Portrait of Mrs. Kobt.") HoUond - - I St. Augustine and St. f Monica - -J The Watering Place - Regent's Park, 1807 - Landscape -"1 Landscape - - I Landscape - [ Landscape - -J CUveden-on-Tham es A Sea-shore Scene A Scene from Milton's \ " Comus " - J Landscape A Fruit-piece Nymphs and Satyrs Landscape "with Cattle - A Sketch of Bustic"! Figures - - -J Portrait of David Garrick, the Actor. Portraits of the Artist's \ Father and Mother - J "A Distinguished Mem- 1 her of the Humane > Society" - -J Portrait of Sir Samuel"! EomUly - - j Portrait of Charles \ Dickens - - J Sir D. Wilkie Sir T. Lawrence J. Opie H. Singleto W. Linton W. Hogarth P. F. Poole Sir H. BaebuTD W. Hogarth Ary Scheffer Gainsborough James "Ward P. Nasmyth J. M. W. Turner W. Mulready - C. E. Leslie P. Nasmyth G. Lance - T. Stothard - - J. Glover - Sir D. Wilkie - Ascribed to Zof- fany- T. Webster Sir E. Landseer Sir T. Lawrence D. Maclise Miss H. Bredel Lady G. Fane - Mr. George Silk The Painter /Mr. J. H.An-1 \ derdon / The Painter Mr. E. Dudgeon Rev. W. Finch - Mr.Rob.HoUond r Mrs.Elizabeth "1 \ Vaughan J Mr. Nathan Da- vid Garrick. The Painter f Mr. Newman 1 t Smith J Mr.Chas.Eomilly The Eevd. Sir 1 Edw. R. Jod- t rell, Bart. J 222 Piotnres Bequeathed — eonUrmed. Subject. Painter's Name. BywhomBequeathed. When. ':} The Cenotaph - - Flatford Mill, on the Eiver Stour . - - The Glebe Farm - - View at Hampstead Harwich : Sea and Lighthouse • - - Landscape with Figures Portrait of Miss C. Fry Study of a Lion - - Study of a Lion - Door of a Village Inn Portrait of Sir A. Cock- 1 burn - J Portrait of Dr. Cock burn - - Portrait of Wm. Cock- "I bum - - f Portrait of Lady Stewart Portrait of Sir J. Stewart Portrait of Sir J. Cock- "I burn - - - - -J Portrait of Sir T. Lyt-I teltou - - - -J Portrait of Sir E. Lyt-1 telton - - - -J Portrait of Lord Lyttel- \ ton - - - - -J Portrait of Mrs. Ays-\ cough - - -J Portraits of the two Sons of Frederick, Prince of Wales, with their Tutor, Dr. F. Ayscougli - -_ Portraits of Lady Cook-" burn and her Children j ' Portraitof Sir J. Ooek-1 burn -.--./ Portrait of Sir J. Cock- \ burn - f J. Constable R. Wilson Sir T. Lawrence Sir E. Landseer G. Morland - Unknown R. Wilson - - P. G. Battoni B. Brompton Unknown E. Wilson Sir J. Eeynolds W. Devis A. Morton - " Miss Isabel Constable Mr. J. S.Beckett Mr. Wm. Wilson /Mr. Thos. H.l 1 HiUs ]■ /Sir Oscar M. "1 1 P. Clayton / r Marianna Au- 1 J gusta, Lady > 1_ Hamilton J 1888 1889 1890 223 Piotores Bequeathed — continued. No. Subject. 1368 1369 1370 1371 1372 1373 1379 1384 1395 1398 1413 1414 143S 1475 -} } Painter's Name. ByTrhomBequeatlied. When. Portrait of Lady Cock- burn Portrait of Marianna A Cockburu - - - • , Portrait of Marianna ' Angnsta, Lady Ha milton ----._ Portrait of Sir J. Cock- ' bum and his Daugh- ter ------ Portiait of Sir G. Cock burn. Portrait of Capt. G. E Ajscough. The Ratcatcher - View in Hampshire Portrait of Mrs. C. H. Bellenden Ser "IppolitaTorelli" Portrait of Mr. Philip Sansom - Portrait of Philip San som as a Child Portrait of Lt.-Col Bryce McMurdo - / The Calm: a Sea-shore \ Scene - - J A. Morton - -< A. "W. Devis - A. Morton J. Zoffany - - J. J. Halls - - Unknown - T. Woodward - P. Nasmyth SirC.L.Eastlake. SirC.L.Eastlake Sir T. Lawrence R. Westall Sir H. Raeburn H. Brooking Marianna Au- "1 gusta. Lady y Hamilton - J /Mr. Edward! \ Archer -J r Col. Alexr. B. \ I Read - / JMr.CharlesH.I \ BeUenden Ker J Lady Eastlake ("Miss Ellen"! \ Sansom - J J Sir Wm. M. "1 \ S. McMurdo J J Rev. Richard 1 I G.Maui -J 1892 1893 1894 1895- 1896 224 LIST OF DEAWINGS AITO SKETCHES BT TUENER {of which, the greater part are permanently, and a certain nTimber are periodically, exhibited in the Eastern G-rotind-floor Rooms). THE LIBER STUDIOKUM. Fifty-one Water Colour Drawings in brown, being the greater portion of the original Drawings made for the so-called Liber Studiorum, or ' Book of Stu- dies,' in imitation of Claude's Liber Veritatis, or ' Book of Truth.' The prints, in brown ink, from these drawings, were published, in numbers, from the year 1807 until 1819. Many of the plates were etched, and some engraved, by Tnmet himself. Compositions. No. 461. Jason. 462. Solitude. 463. Bridge with Goats. 464. Bridge in middle distance, 46.'). Cephalus and Procris. 466. Pastoral. 467. Pastoral with Castle. 468. Woman playing Tambourine. 469. The Tenth Plague of Egypt. 470. Hindoo Devotions. 471. Hindoo Ablutions. 472. Christ and the Woman of Sa- maria. Foreign Views. 478. Laufenburg on the Rhine. 474. The Lake of Thun, Switzerlajid. 475. Thun, Switzerland. 476. The Little Devil's Bridge, Altdorf. 477. Mount St. Gothard. 478. Bonneville, Savoy. 479. The Alps from Grenoble toCham- beri. British Views. 480. Norham Castle, on the Tweed. 481. Holy Island Cathedral. 482. Morpeth. 483. RivauLs Abbey, Yorkshire. No. 484. Crypt, Kirkstall Abbey. 485. Dnnstanburgh Castle. 486. Coast of Yorkshire. 487. Winchelsea. 488. East Gate, Winchelsea. 489. Hmd Head Hill. 490. Martello Towers, BexhiU. 491. St. Catherine's Hill, near Guild- ford. 492. Pembury Mill, Kent. 493. Greenwich Hospital. 494. Chepstow Castle, River Wye. 495. The Wye and the Severn. 496.' Flint Castle, Smugglers. 497. Dumblane Abbey. 498. Peat Bog, Scotland. 499. View near Blair Atholl. 500. The Clyde. 501. Inverary Castle. Various. 502. Sketch for Sea Piece. 503. Ditto. 504. Bridge and Cows. 505. Watermill. 506. Stack Yard. 507. Farm-yard with Pigs. 508. Hedging and Ditching. 509. Marine Dabbler. 610. Young Anglers. 511. Juvenile l5ickg. 225 SKETCHES AND DBA WINGS Extending over a period of nearly sixty years, arranged as nearly as practicable in chronological order.* No. FiKST Period, Eaklt Sketches. Subject. Method. 523 401 524 402 403 404 525 526 405 527 528 529 530 531 532 406 407 533 534 535 536 408 409 North-west view of Malmshury Abbey— View on the Eiver Avon, " from Wallace's Wall " — " View of Cooks EoUy " looking up the Avon, "with Wallace's Wall and the Hot WeUs " The Mewstone . . - . Tower of St Mary RedolifFe, Bristol— Tran- sept and Towers of York Cathedral — Tower of Boston, Lincolnshire Mabnsbury Abbey Kirkstall Abbey Holy Island Cathedral Leeds — Bolton Abbey . - - Fire (Steam) Engine, Coalbrook Dale — Cop- per-works, Swansea — Fire Engine, Coal- brook Dale — Iron Foiindry,Maidley Wood- Fire Engine, Coalbrook Dale — ^Fire Engine near Glasmonnt. (So named at the backs) View of the Interior of the Savoy Chapel View of Tivoli Study of Shipping Portico of St. Peter's, Rome Study of a Cottage - - A Cottage Roof Carisbrook Castle An Interior . - . - Seven Sketches — Crossing the Brook, Ivy Bridge, &c. - - Three Studies of Boats Do. Do. Seven Studies of a Shipwreck— Sketch of i Boat Two Coast Scenes - Sketch for Picture of Ivy Bridge, Devon Study of a Stream - - - In Water Colour. Do. Pencil Outline, Do. Do. Do. Do. Pen and InK. Light and Shade. Do. Do. Do. Water Colour. Do. Do. Do. Pencil and body colour. Water Colour. f Body colour on brown \ and on blue. Fen and Ink. Do. Pencil. Water Colour. • The numbera are the numbers of the Feambb only, and when more than one •ubject is given for a frame, the sketches are named from left to right. Second Period, prom about 1802. Subject. Two Studies of Fir and Willow Study near Grenoble The Lake of Brientz — Vevay Convent of the Great St. Bernard — The Town of Aosta - - - Roman Gate, Aosta — Another View of the same Castle of Aosta, two Views Glaciers, Grindelwald — FaUen Trees the The Ascent to Cormayeur — Valley of Isere - . - . . The Bead from Voreppe to Grenoble — Mont Blanc from Fort St. Louis TheAlps lopking towardsGrenoble — Grenoble with Mont Blanc . , . . Two Views of Grenoble ... Doric Pillars — Study of Light and Shade - Study of a Mountain Streain Edinburgh from Calton Hill Building, with Cattle Funeral of Sir Thomas Lawrence Contamines, Savoy ... Source of the Arveron - - . Valley of Chamouni ... Battle of Fort Keck, Val d' Aosta, 1796 ; ex- hibited in 181.5* - Ivy Bridge, Devon ... Two Studies of a Figure, for Picture of Deluge Folkestone, firom the Sea Study of a Cutter - - . . Sirady ofaPilotBoat - - . _ Two Marine Sketches Do. Do. ... Study of an Arm Chair Four Studies of Dock Leaves Method. Pencil on brown, r Pencil and Chalk on \ brown. Do. Do. Do. r Pencil and Chalk on < brown, and Water l_ Colour. r Pencil and Chalk on \ brown. Do. Do. Do. Do. Water Colours. Oil Colours. / Drawing in Water \ Colour. Body colour on blue. Water Colour. Body colour on brown. Chalk on brown. Do. and body colour. / Drawing in Water 1 Colour. f Drawing in Water \ Colour. Chalk on blue. Water Colour. Chalk on blue. Pen and Ink on blue. Pen and Chalk on blue. Do. Oil Colours. Pen and Ink. • It was in this (ort that Count Cavour finished his military career in 1881 • he resigned his commission a« an officer of engineers out ot sheer ennui. De La Eive Bemimseences