Corporation of Hontion* /fRT QALLERY. DESCRIPTIVE CATALOGUE * OF THE ' , LOAN COLLECTION OF PICTURES ?PrepacetJ tje ^utljocitj) of tlje Eitiimg (Kommittee of tje (Jloipocation of tfie OTitg of Eotttion fig Mx. Cemple, dF-S»^» Mr. Deputy Mora, Chairman, 189S Honlron : PHTNTEn BY CHARLKS SKITPKR AND KAST ST BUNSTAN'S nil^L, K.O. Eitrarj) Committer. ME. DEPUTY HORA (Chairman). Sir JAMES CLARKE LAWRENCE, Bart. Sir JOHN WHITTAKER ELLIS, Bart., M.P. Sir REGINALD HANSON, Bart., M.P., LL.D. STUART KNILL, Esq. JAMES THOMSON RITCHIE, Esq. GEORGE ROBERT TYLER, Esq.,' Sheriff. . JAMES WALLINGER GOODINGE, Esq., Deputy. JOHN EDWARD SLY, Esq. THOMAS BEARD, Esq. JAMES GALLAHER, Esq. ALFRED JORDAN HOLLINGTON, Esq ALFRED WAGSTAFF, Esq. WALTER HAWTREY, Esq. HENRY WILLIAM BROWN, Esq. JAMES EDMESTON, Esq, Deputy. OWEN EDWARDS, Esq. WILLIAM THORNBURGH BROWN, Esq., Deputy. AUGUSTUS ALF. WOOD, Esq., A.K.C, F.C.S. HENRY HUGH THOMPSON, Esq. FRANK TAYLER, Esq., F.S.A., F.R.G.S. SAMUEL ELLIOTT ATKINS, Esq., Deputy. JOHN TERRY, Esq., F.R.G.S. JOHN JAMES BADDELEY, Esq. J. DOUGLASS MATHEWS, Esq., F.R.I.B.A. CHARLES JONES CUTHBERTSON, Esq. GEORGE SHAW, Esq. HENRY HICKS, Esq. THOMAS ANTHONY WOODBRIDGE, Esq. f WILLIAM HENRY LIVERSIDGE, Esq. JAMES GODWIN, Esq. CHARLES JOHN TODD, Esq. GEORGE CANNING EDWARDS, Esq., J.P. MATTHEW WALLACE, Esq. HOWARD CARLILE MORRIS, Esq. GEORGE MANNERS, Esq., F.S.A., F.L.S. A 2 :. om the Library of Frank Simpson The Library Committee of the Corporation of London desire to express their thanks to the owners of works of Art for the readiness with which many famous and valuable productions have been entrusted to them for the present Exhibition. The Exhibition will open at 10 a.m. and close at 6 p.m. from the 28th March to the 30th June. The admission will be free. The Loan Exhibition of Paintings held in the permanent Art Gallery of the Corporation, at the Guildhall, in the summer of 1890, was the first of its kind held in the City of London. The Exhibition was free, and ail expenses incident thereto were borne by the Corporation out of its private funds. The object of the Exhibition was to show freely to the people some of the distinguished works from private collections which could not be seen by the bulk of the people, except under the auspices of such a body as the Corporation of London. The request for the loan of celebrated works was met with favour by their respective owners, and considerable public spirit was shown in the readiness with which the Corporation was thus assisted in their undertaking. The Exhibition gave great satisfaction to the people, evidenced by the daily attendance, and the manner in which the pictures were studied. In view of these facts the Corporation of London determined to hold the present Exhibition. Several of the distinguished works now placed on view have never before been publicly exhibited ; many have been brought from a distance, some from abroad, and nearly all may be said to be inaccessible to the general public, and the opportunity of again seeing many of them is remote. The Library Committee have again honoured me by approving of my selection of the pictures, and, by their direction, I have adopted a similar course with the Catalogue as was adopted in 1890, and have given such details concerning each picture as may serve to interest the general visitor, and, in the case of deceased masters, I have prepared a brief biography. In all cases the title of the picture as given by the owner has been adopted in the Catalogue. A. G. TEMPLE. Art Gallery of the Corporation of London, Guildhall, E.C. 2ith March, 1892. Digitized by tlie Internet Archive in 2014 https://archive.org/details/descriptivecatalOOartg_0 Room I. — :o:- THE PIAZZA, VENICE. Painted by William Logsdail. Canvas, 49^ X 86^ inches. Ecnt f oisrpf) Huston, of Etnroln, ^^^HE g'reat public square on the West front of the Cathedral of St. Mark's, Avhere people of all nationalities resort for promenade and refreshment. A SPATE IN THE HIGHLANDS. Fainted hy Peter Graham, R.A. Canvas, 50 X 70 inches. JTNTO the desolate peat mosses, spongy, black, and cold, up among the hills, the rain pours into the holes whence generations have dng their fuel. By-and-by these holes become filled, their sides give way, and their waters rush from the one into the other and from all down the hill-sides, forming a vast accumulation of water. This constitutes what is called " a spate." In the present day the numerous drains constructed provide a rapid and steady escape for the water, but in past times, when there were no such contrivances, it frequently over-ran the natural river courses and caused terrible disaster to the adjacent villages. In the picture before us " the water frae the hills,'* cold, torn, and troubled, rushes in torrent between the rocky banks. It has carried away a portion of the stone bridge, over which some cattle were about to pass, but are being hurriedly driven back. The sun's powerful rays, piercing the lowering clouds, strike the further hills with a cold gleam, and light up the low floating clouds. The whole scene depicts Nature in an angry mood. In composition, effect, and rich colouring, a magnificent landscape, with a consistent truthfulness throughout. 3 WORK-A-DAY ENGLAND. Fainted by W. L. Wyllie, A.R.A. Canvas, 36 X 50 inches. " Men my brothers, men the workers." — [Tennyson.] STRETCH of the Medway, looking up-stream towards Rochester and Chatham, whose dockyard chimneys and workshop fires are seen in the distance, their smoke mingling with the lustrous afternoon light. Up the river glide the busy craft, sailing or steaming. On the land also men are busy at their toil. Clay is being dug away to be carried in barges to the new Tilbury Docks, to be used there in puddling the bottom. One sturdy fellow in the foreground is resting for a moment, but his companions continue hard at their work, while below may be seen others at the same kind of labour. A man to the right is burning some gorse. i3eyond is a ship-building yard, and at intervals along the winding shore are small piers, all for the purposes of work, of which there is evidence in every part of the picture. High in the sky the pale crescent moon tells of advancing night, when labour will cease, and rest for a brief space will reign. The picture was painted in 1886. MISS NINA LEHMANN, AFTERWARDS LADY CAMPBELL. Fainted hy Sir J. E. Millais, Bart., ll.A, Canvas, 51 X 34 inches. Eent Mx%. Hermann. J#^ULL-FAGE, life-size, seated, in white, on a blue garden seat, t^/ holding a single red camellia in her right hand. A string of blue beads is round her neck. A blue curtain is arranged behind her, and on her right is a camellia in flower. Two doves are on the pavement near her. Painted in J 869. MOORLAND ROVERS. Painted hy Peter Graham, R.A. Canvas, 49 X 73 inches. ^TN this sedgy land, among the vigorous flags, Highland cattle are roaming. The outline of the hills is lost in the mist that hangs low, and dark shadows are cast on the broad slopes. 6 WILD WALES. Painted hij B. W. Leader, A.R.A. Canvas, 48 X GO inches. ^TN the foreground are liuge boulders and the cataracts of a rushing stream, which is crossed a little distance off by a rough stone bridge. Further, away are mountains with precipitous sides, and in the distance a long range of mountains. A bright golden day. Sheep are on the grass land to the left, and figures and a dog on the rocky pathway to the right. r IN THE MINISTER'S GARDEN. Painted hy Cecil G. Lawson. Canvas, 71 X 107 inches. Ecnt X\)z arorpoiation of M^rit\)t%\tx. '^I^EYOND a tangled growth of flowering nasturtium is a bench of beehives, and clusters of gay hollyhocks and sw^eet-peas abound, beside which are apple trees in fruit and a vigorous fir tree. To the right among more nasturtium are some flower-pots and a spade, near which yellow roses grow. Beyond in the fields some people are peacefully \vorking,"others pass along the roadway, while in the broad expanse of country lie the quiet hamlets, surrounded by farms and orchards, rich grass-land, wheat-fields, woods and streams. Far away the long line of blue hills meets the summer sky, across which white clouds leisurely float. " Near yonder copse, where once the garden smil'd, And still where many a garden flow'r grows wild ; There, where a few torn shrubs the place disclose, The village preacher's modest mansion rose. A man he was to all the country dear, And passing rich on forty pounds a year. Eemote from towns he ran his goodly race. Nor e'er had changed, nor wished to change his place." Cecil G. Lawson was born in Shropshire in 1851. His father was a portrait painter. While still a boy, he employed himself, under the guidance of his father, in. painting small studies from nature — land- scapes, clouds, fruit, flowers, &c. In 1870 he exhibited at the Royal Academy his picture of " Cheyne Walk, Chelsea." After the lapse of four years he made a tour in Holland and Belgium, and in the same year, 1871, commenced his painting of " Hop Gardens of England," " The Minister's Garden " appeared at the Grosvenor Gallery in 1878, and attracted much attention. The painter described it as a tribute to the memory of Oliver Goldsmith ; the studies for the composition were made on a hillside near Sandhurst. He married in 1879, and lived at Haslemere ; there he painted " The August Moon," which, after his death, was presented to the National Gallery by his widow, in fulfilment of his wish. His health was always delicate, and though he spent the winter of 1881 in the Riviera, he returned to England no stronger, and died in the following year, aged 31. 8 APPLICANTS FOPi ADMISSION TO A CASUAL WARD. Painted by Luke Fildes, H.A. Canvas, 56 X 97 inches. Eent tlje (l^obcniors oC tfje Kogal JftoIIobat) (College, (JBQijam. ^«#£SH-^« ANGED against the wall, waiting each his or her turn, are these applicants for temporary shelter, brought to this pass by misfortune or crime. The garish gas lamp shows the entrance to the ward, and suggests a warmth and comfort in contrast to the cold and misery outside. Crouched on the wet ground, against the figure of a woman, is a lad ill-clad and shivering. The woman seems anxious to shelter a little girl, whose bare arm is seen against the poor garments of the woman. The dissolute-looking man in a hat, stands in a callous attitude, his hands in his empty pockets ; it is an every night affair with him, and he knows there is nothing else to be done but to wait his turn. With the family to his left it is a different matter. The look of respectability on the father's face, and the grief of the mother at having been brought, evidently by pure misfortune, to these desperate straits, are pathetic ; no shoes for one child's feet, and the other two children insufficiently clad, and, withal, no means for either shelter or food. The cripple, an old soldier, to the extreme right, looks as if he were playing pitch and toss with two roguish, evil-looking men. " Dumb, wet, silent horrors, sphinxes set up against that dead wall, and none likely " to be at the pains of solving them until the general overthrow." Beneath the gas lamp a policeman is referring to some book or list, while a man shivering with cold, and with a stick under his arm, seems to he casting his eye down the line of casuals, and listening to the policeman at the same time. A woman with one child closely clasped in her arms, and another holding to the skirt of her dress, is evidently coming away from the ward with some ticket or paper for relief. The refinement and grace still left in the shabbily-clad figure speak of better days, but through all, she seems more mindful of the children than of herself ; things might be worse so long as they are spared to her. This remarkable work was exhibited at the Royal Academy in 1874. 9 THE LAND BETWEEN THE LOCHS. Painted hy Alfred East, R.I. Canvas, 48 X 78 inches. HE stream runs placidly between the lochs, stretches of low grass- land on either side. To the right a group of trees rises from the dry tangled grasses, while to the left at the bend of the stream are some farm buildings. Beyond the winding water is the heathery moorland, and, away in the distance, the blue hills. 10 A MARTYE IN THE REIGN OF DIOCLETIAN. Painted hy Paul Delaroche. Canvas, 68 X 56 inches. YOUNG Roman girl refusing to sacrifice to the false gods is condemned to death. Her hands are tied together and she is thrown into the Tiber. It is the close of day, and the last gleams of the setting sun are seen beyond the desolate bank. Two Christians catch sight of the body of the young martyr as it is carried past them by the tide. This picture was painted in 1855, and exhibited in the International Exhibition of 1862, where it attracted immense attention, and is still of world-wide repute. Paul Delaroche, the eminent French painter, was born in Paris in 1797. He studied landscape painting with Watelet, and afterwards entered the studio of Gros, and devoted himself to history. He also expended four entire years of his early life in studying the human figure. He made rapid progress, and in 1819 exhibited his first picture. In 1824 he produced three works, for which he obtained a gold medal, and in 1827 appeared "The Capture of the Trocadero," this work procured him the distinction of the cross of the Legion of Honour. In 1830 he painted The Princes in the Tower," which has been so often engraved, and which induced M, Delavigne to write his tragedy on the same subject. In 1833 he was appointed professor at the Ecole des ?)eaux-Arts, and married in 1835, at Rome, the only daughter of Horace Vernet, who was then director of the French Academy in that city. In 1837 the adornment of the Amphitheatre of the Ecole des Beaux Arts was entrusted to him, and in this work he displayed great originality of conception, obtaining an imposing result by very simple means, completing it in 1841. He died in Paris in 1856. 11 THE LORD GAVE AND THE LORD HATH TAKEN AWAY, BLESSED BE THE NAME OF THE LORD. Painted hy Frank Holl, R.A. Canvas, 36 X 49^ inches. /^^HE sorrow of a family, and the desolation cf a household at the loss of. the last remaining parent, are shown in this picture. The eldest of the family, a young minister, takes the father's vacant place, and in saying grace at the frugal meal, refers, in the words adopted for the title of the picture, to the loss he and his brother and sisters have sustained ; a loss which promises to tell upon their comfort, and seriously to affect their means of maintenance. There is evidence of poverty already in the scanty furniture and meagre surroundings. The eldest sister sits resignedly with folded hands, her mind full of the sad past, and fully aware of the struggle for bread which awaits them ; while the sailor brother at her right, — called probably from his duty to attend his father's funeral, may be able, as he seems willing, to be of some help. The old faithful servant by the door evidently intends to keep by these poor children in their adversity and do what she can. This pathetic and remarkable work was painted when the artist was not 24 years of age. It gained him the travelling studentship of the Royal Academy, where it was exhibited in 1869, and at once gave him distinction. It was purchased by its present owner before its appearance there. Frank Holl was born in London in 1815. He was the soa of the engraver, Francis Holl, A.R.A. At the age of 15 he became a probationer at the Royal Academy Schools. In 1868 the picture before us brought him into prominence. He availed himself only to a very limited extent of the travelling studentship he obtained by it, feeling that he did not profit by foreign travel. His pictures the next ten years were for the most part scenes of domestic life, often dramatic in their character, and always pathetic to an extent that sometimes brought their realism almost too painfully home ; as in his pictures of " Hush " and " Hushed," and " The Visiting day at Newgate." He secured his reputation, however, by them, to be increased in a manner unexpected by him, when, in 1879, at the urgent request of an old and intimate friend, he undertook the painting of a portrait, the excellence of which at once discovered his true vocation. From 1879 to his death in 1888, at the age of forty-three, he painted the portraits of many of the most illustrious men of the day, his most distinguished achievements being, perhaps, the full-length portrait of H.R.H. the Duke of Cambridge, and the three-quarter length of the fourth Duke of Cleveland. As evidence of his industry, it may be remarked that, in the year he died, he had on exhibition at the Academy eight portraits, the fruit of his previous year's work, all of them painted with the same masterly dexterity and decision, viz., a full- length of H.R.H. the Prince of Wales, and three-quarter lengths of Earl Spencer, Mr. Gladstone, Baron Huddleston, Sir William Jenner, Sir Andrew Clark, Sir Richard Webster, and Mr. Townsend, of New York. He was elected an Associate of the Royal Academy in 1878, and an Academician in 1884. In contemplating his work, his appreciation can be understood of the great Dutch master, Rembrandt, before some of whose pictures, such as " The Anatomical Lesson," in the Museum of the Hague, and -"The Syndics of the Cloth Hall," in the Amsterdam Museum, he has been known to sit for the hour together, frequently ^speaking of the latter picture as one of the greatest ever painted. 12 PORTRAIT OF Mrs. J. A. FULLER-MAITLAND. Painted hy W. B. RichmonDj A.R.A. Canvas, 50 X 43 inches. ■ ^su:^;^^^^if^^^-^-Ji^ . HREE-QUARTER length, seated back on a cushioned settee. Rich russet brown dress with elaborate pattern , A fan held up against the face with the right hand, and an open illuminated book lying at her left. On the table is a vase of flowers, and, beyond, a green curtain. 13 A HILLY FARM. Painted by Fkank Walton, E.I. Canvas, 17g X 25 inches. ORSE in golden bloom is in the foreground, and beyond it a gentle meadow with its familiar gates and open sheds for wagons. On the hill slope paths run through the dry brown bracken, amid which pine trees rise and grow plentiful further off till they stand in multitude against the sky. To the left the roadway leads through leafy avenues to the farmhouse, and a lad is seen with two horses. A true English landscape in its familiar tones and clear atmosphere. 14 OPHELIA, Painted hy G. F. Watts, R.A. Canvas, 30 X 25| inches. Hent tig t{)e Artist. ^^^HE pure, beautiful face, with wistful eyes, is peering down through the willow leaves ; the sensitive hand lies on the treacherous bough. " There is a willow grows ascaunt a brook, That shows its hoar leaves in the glassy stream ; There with fantastic garlands did she come." 15 LOVE AND LIFE. Painted hij G. F. Watts, R.A. Canvas, 86 X 49 inches. Urnt X\)z Artist* mP the rocky steep, Love, with vigorous frame aud strong pinions, leads the quivering, sensitive form of Life. Higher and higher he leads the trembling figure into the ethereal atmosphere. Though frail and weary, it clings, with passionate hope, to Love. 16 VIEW NEAR BRIGHTON. Painted hy G. F. Watts, R.A. Canvas, 20 X 24 inches. flent t)g tfje Dr. MARTINEAU, Painted % G. F. Watts, R.A. Canvas, 26 X 21 inches. HE Rev. James Martineau, D.D., LL.D., was born in 1805. He was pastor of the Unitarian Gothic Chapel at Liverpool, and gained great celebrity as a pastor and an author. Among his published works, which are very numerous, are " Endeavours after a Christian Life," ^' Hymns for the Christian Church and Home," "New Affinities of Faith," "Types of Ethical Theory," and ^' The Study of Religion." In 1857 he removed to London, where he became minister of Little Portland Street Chapel, and later, in 1868, Principal of Manchester New College, London. He has contributed frequently to periodicals and was one of the founders of the National Review." He is brother to Harriet Martineau. 18 PAOLO AND FRANCESCA DA RIMINI. Painted hy G. F. Watts, R.A. Canvas, 61^ X 51 inches. ILtnX tfje Eiliist. RANCESCA, the beautiful daughter of Guido da Polenta, Lord of Ravenna, was wedded towards the close of the 13th century to Lanciotto, son of the Lord of Rimini, a man deformed in his person, who discovered her in guilty companionship with his brother Paolo, and B 2 slew them both. The tragic event occurred in Dante's Hfetime, and impressed itself on his imagination, for he twice refers to it in his Divina Commedia." Paolo and Francesca are here portrayed in the Second Circle of Hell, where carnal sinners are tossed about ceaselessly in the darkness by furious winds. They have issued from the ongoing throng to talk for brief moment with Dante and his guide Virgil. Francesca tells them her sad story : — " One day, for our delight, we read of Lancelot, How him love thrall'd. Alone we were, and no Suspicion near us. Oft times by that reading Our eyes were drawn together, and the hue Fled from our altcr'd cheek. But at one point Alone we fell. When of that smile we read. The wished smile so rapturously kissed By one so deep in love ; then he, who ne'er From me shall separate, at once my lips. All trembling, kiss'd. The book and writer both Were love's purveyors. In its leaves that day We read no more." Dante ventures not to enquire in what manner her husband put her to death, but is so overpowered by pity that he sinks in a swoon. He had probably known her when an innocent and beautiful girl living under her father's roof. The episode was written by him in the very house at Rimini in which Francesca was born, and in which, during the last ten years of his life, he found a constant asylum. It is recorded that Paolo and Francesca were buried together, and that three centuries later their bodies were found at Rimini, with Fran- cesca's silken garments yet fresh. 19 FRESHWATER. Paijited hy G. F. Watts, R.A. CanvaSj 20 X 24 inches. ^JTN the neighbourhood of the Poet Laureate's home. Thatched farm buildings and a glimpse of farm yard ; grass land and leafless trees beyond. 20 ALGERNON CHARLES SWINBURNE. Painted hy G. F. Watts, R.A. Canvas, 26 X 21 inches. Hent \\}z ^rti^t (^LGERNON CHARLES SWINBURNE, poet, essayist, and dramatist, was born in London, 1837. He was educated in France and afterwards at Eton. He entered as a commoner at Balliol College, Oxford, 1857, but left without taking a degree. His first publication was in 1861— two plays, entitled the "Queen Mother" and " Rosamond," which attracted little attention. It was followed by " Atalanta in Calydon," in 1864, " Chastelard," in 1865, and ^' Poems and Ballads," in 1866. The last-named work was very severely criticised. His chief productions since that date are ''A Song of Italy," Songs before Sunrise," ^'Bothwell," Songs of Two Nations," "Poems and Ballads, 2nd Series," ''Mary Stuart," "Tristram of Lyonesse and other Poems," "A Mid- summer Holiday," and " Locrine." Many reviews and essays have also appeared from his pen in high-class periodicals. 21 LOVE AND DEATH. Fainted by G. F. Watts, R.A. Canvas, 99 X 47 inches. -^^^si^^^^^^^^^S^^^^ji^ — N" this striking work the majesty of death is seen. With a power not to be withstood he is entering a dwelling house. He encounters the figure of Love, who strives with all the might at its command to prevent his entry. But Death pauses not. He forces aside the lovely figure, crushing its sun-tinged wings against the portals of the house, and continues his way. Mysteriously shrouded, nothing of his actual frame is discerned except the grisly heel and the overpowering arm j but with Love there is no mystery ; with its coronet of roses, and its healthy vigorous presence, it is seen in the fulness of life. 22 GOOD LUCK TO YOUll FISHING. Painted by G. F. Watts, R.A. Canvas, 24 X 20 inches. Eent l)g ti)e Artist. 23 SANT' AGNESE, MENTONE. Painted ly G. F. Watts, E.A. Canvas, 21 X 2G inches. Hent lig X%z artist* 24 OSKOLD AND THE ELLE-MAIDS. Painted hy Sir J. Noel Paton, U.S.A. Canvas, 44 X 64 inches. ' Ecnt itC. l^ennett, of Egr, ^^^HE picture was suggested by Scandinavian legends of the beautiful and malevolent wood-spirits or Elle-maids. " ' So all that day he rode right forth in the forest till the sun went down. Then was he ware of five demoiselles dancing: and sino-ino; in the glade ; and ever they proffered him, would he but turn from his quest, all manner of solace and pleasaunce. Now, he Avas passing faint by reason of his long fasting, and weary from his vigil. . . . And marry, him thought in his heart, mot I but rest me here a little space, and with moonrise ride on my way ! But anon heard he afar off a sweet bell ring as for vespers. Then was he all ad read and cried on height, " Ah, blessed Lord who died on tree, help me in this tide, for sorely am I bested ! " Right so there arose a marvellous great wind, whereat his stout horse gan quake and sweat for fear. Then crossed he himself, and anon the fair demoiselles vanished with doleful strain. Then he knew they were the Elle-sisters, and he rode on giving God remercieaunce, by whose grace he had scaped their fell assautes. ' My son, the questing Knight is the soul, the forest is the labyrinth of this world, and the Elle-maids are the five senses." — [Sir J. Noel Paton.] 25 KATHERINE AND PETRUCHIO. (FEOM SHAKESPEARE'S "TAMING OF THE SHREW.") Painted hy W. Q. OrchardsoNj R.A. Canvas, 31 X 41| inches. ^=^^^^^=^ ETRUCHIO; a gentleman of Verona, woos for her money and subsequently weds, tlie shrewish daughter of Baptista, a rich gentleman of Padua. " I come to wive it wealthily in Padua, If wealthily, then happily, in Padua." Katheriue stands to the left of the picture in long black dress, which she draws petulantly back with her right hand ; behind her is a rich piece of tapestry. Petruchio, in the costume of a gallant, wears a white doublet and hose, and a sword with broad leather trappings. He sits back in a red-covered chair, his black cap held jauntily in his hand, and his v.diite gauntlets on the ground. To his left is a blue chair he has overturned, and a table upon which is a vase and some small articles. A lamp of simple design hangs above him, and behind him is a fire- place with oaken panel above. Peteuchio — Now come, Kate, come, you must not look so sour. Katherine — It is my fashion when I see a crab. Petruchio — Why here's no crab, and, therefore, look not sour. Katherine— There is, there is. Petruchio — Then show it me. Katherine — Had I a glass I would. Petruchio — What, you mean my face 1 Katherine — Well aim'd of such a young one. ***** Petruchio — Thou must be married to no man but me ; For I am he am born to tame you, Kate ; And bring you from a wild Kate, to a Kate Conformable as other household Kates. 26 EOSE STANDISH. FROM LONGFELLOW'S POEM OF " THE COURTSHIP OF MILES STANDISH." Painted hy G. H. Boughton, A.R.A. Canvas, 52 X 28 inches. r-^-^^^:^^3:^s-^ " Beautiful Rose of Love that bloomed for me by the wayside ! She was the first to die of all who came in the May Flower." HE is wearing the simple primitive costume of the time of the Pilgrim Fathers ; pale pink gown, white apron with deep collar, and black sash round the waist, and, falling to her right ; black hood with a frill of white beneath it. She is walking in a pleasant woodland, her hands crossed before her, and holding some forget-me-nots. 27 CHRISTMAS EVE. Painted hy Sir J. E. MiLLAiS, Bart., E.A. Canvas, 63 X 52 inches. _ ^^^^^^^ HE cold day is clouding over. Tender lights illumine the winter sky. The deep-set windows of the castle-home reflect the sun's last gleams. Into the chill air the trees spread their naked branches. Beneath the terrace-walk the slope is covered with snow tinged by the lustrous lights above, and on the drive in the foreground the rooks, old inhabitants of the place, have alighted. Dark firs and yews are seen beyond the garden wall. " And the winter winds are wearily sighing." 28 THE OLD GATE. Painted by Fredekick Walker, A.R.A. Canvas, 53 X 66 inches. Hent i^. Stwt, m^., ^^^^^-^^ /l^HILDREN are playing at the foot of the worn steps, at the top of which is an old gate, through which are passing a comely country girl, with gay shawl and busy basket, and a lady in mourning, apparently a young widow. On either side the gate is a square pillar, gray with time, and beyond is the rich country-side^ chill and sad on this simless S})ring day. Gently the gate closes behind them, and as they descend, a sturdy young labourer passes along the road, with his spade on his shoulder, and his eyes are turned toward them. Frederick Walker was born in Marylebone in 1840, and early in life became a student at the Koyal Academy. He had ah'eady begun to draw on wood, and received employment on the periodicals " Once a Week," " The Cornhill Magazine," and other illustrated publications. In 1866 he was elected a Member of the Society of Painters in Water Colours, and in 1871 an Associate of the Royal Academy. He died in 1875 at the early age of 35, and was buried at Cookham, where his brother artists erected a tablet to his memory. Cookham was in the midst of his favourite sketching haunts. His pictures have great feeling, and any incident he painted was clothed by him with an intensely poetic beauty. He is represented in the National Collection by " The Vagrants," painted in 1868. 29 RUNNING WATER. Painted hy George Paul Chalmbhs. Canvas, 49 X 30 inches. Hent Jij) ar« ?g» (t\\xii%, of iiKmncicIt, ^M. RAPID stream is rushing over a low rocky fall. Full-leaved trees rise from the thick undergrowth on the opposite bank, while to the right, grassy land is seen and purple distance. George Paul Chalmers was born at Montrose in 1836, and educated at the Burgh School there. Early in life he was apprenticed to a ship- chandler ; this occupation becoming intolerable to him, he made his way to Edinburgh, and, while still quite young, entered the School of Design, then under the direction of Lauder. His first works were portraits, and it was only at a later period that he took to landscape painting. He was elected an Associate of the Scottish Academy in 1867, and an Academician in 1872. He died in Edinburgh, 1878. 30 THE MUSICIAN. Painted hy John Pettie, P.A. Canvas, 64 X 43 inches. Hent X\)t Eilt^t, :=^-^=4^'Si=5<£-=^-=:^ MUSICIAN is lying back in a deep chair, thinking out a composition, imagining an orchestral effect, with the occasional help of an organ. His worn look suggests the nervous strain his occupation puts him to. He is attired in a grey dressing robe, lined Avith pale blue, low shirt collar, black stockings and shoes. The organ to the right of the picture is curiously ornamented, two trumpets being crossed over the kej-board, and a crown placed above the central pipes. Leaning against the organ is a violoncello, and behind it is a chair. Some volumes are on the ground beside him, useful at times, but not needed at the moment. The music in his hand was painted from one of Mozart's original manuscripts. 31 SWEET IS EVENING'S TRANQUIL HOUR. Painted hy David Mueray, A.R.A. Canvas, 74 X 48 inches. this charming pastoral a girl, in low-toned dress, is listening to a shepherd boy, who sits on a kuarled bough, piping. The evening light catches her face and the pink kerchief on her head, and tinges the skin of the cow against which she is leaning. Around her are old fruit trees, their blossom bright at this quiet hour. Sheep are peacefully scattered about the grassy land in familiar companionship with the figures ; a scene of tranquillity. The well-worn pathway bends sharply off to the left and is lost in the distance. Cold grey clouds advance slowly towards the last flood of golden daylight, against which the windmill is seen, with its sails now still after the day's work. One is conscious in this picture of the last parting gleams of day. 32 DANCING DOWN THE HAY. Painted by G. H. Boughton, A.R.A. Canvas, 43 X 60 inches. Eent t)B iS. Jg. (Earbutt, iSsq., ifE.^p. ■ ■ r-^~-€^:gj^^L2^;2r^- ^ERE is seen the making of the rick ; the village girls are merrily treacling the hay down while the men bring up fresh heaps, and so increase its size until the stack is complete. 33 AN AL-FRESCO TOILETTE. Painted by Luke Fildes, R.A. Canvas, 68 X 42| inches. GIRL in dark dress, with green petticoat, is skilfully dressing the rich auburn hair of a handsome girl, who, in dark-blue skirt, with her white mantilla across her knees, is seated outside the pillared portico of a house in Venice. The girl to the right wears a pale-red skirt, striped with white, and a black apron. Two young girls are seated at a table in the rear. 34 RORKE'S DRIFT. Painted hy Lady Butler (Elizabeth Thompson). Canvas, 47 X 84 inches. ilent tip Jger Mm^iVi ^¥ .^. LDEFONSUS, or HildephonsuS; was a learned Benedictine abbot of a monastery called Agaliense near Toledo, and was promoted to the Archbishopric of that city about A.D. 657. He wrote a celebrated book on "The spotless Virginity of the Virgin Mary " in answer to certain heretics ; and the Holy Virgin consequently regarded him with especial favour. He was entering the cathedral at the head of a midnight procession when he perceived the high altar surrounded by a blaze of light. He alone of all the clergy ventured to approach, and found the Virgin seated in his ivory episcopal chair and surrounded by singing angels. He bowed to the ground before the heavenly vision, and the Virgin thus addressed him : Come hither, most faithful servant of God, and receive this robe which I have brought thee from the treasury of my Son." Then he knelt before her and she threw over him a chasuble or cassock of heavenly tissue, which the attendant angels adjusted on his shoulders. From that night the ivory chair remained unoccupied and the celestial vestment unworn until the days of the presumptuous Archbishop Sisiberto, who died miserably in consequence of seating himself in the one and attempting to array himself in the other. The Virgin is here descending, crowned, and in blue and green drapery. She is offering the robe (a red chasuble with gold orphreys), to the Saint, who kneels reverently before her on the foot-pace of the altar. He wears a girdled and apparelled alb with the maniple on his arm. Bernard, or Barent, Van Orley, was born about 1491 at Brussels, where his family, noted for artistic talents, flourished for three centuries. When young he studied in Rome, in the school of Raphael. Returning to Brussels he was appointed Court Painter to Margaret of Austria, regent of the Netherlands, and, together with Michael Coxie, he superintended the making of the tapestries for the Vatican, from Raphael's cartoons, which were woven in Brussels by Pieter van Aelst. He also himself drew designs for tapestry, and for paintings on glass. Some of the windows in St. Gudule, at Brussels, are from his cartoons. He died in Brussels in 1542. 48 THE MADONNA AND INFANT CHRIST. Fainted hy Jan van Eyck. On Wood, 9x6 inches. FEOM THE INCE-BLUNDELL HALL COLLECTION. --^:--fi.j^::5g~^^^:^r^^:::9-^ • Signed " Completum anno domini MCCCCXXXII. per Johannem de Eyck, Briigis. ' Als ikh kan ' (signifying ' as I can '), the first words of an old Flemish proverb, ' As 1 can, but not as I would.' " ^^'HE Virgin, in a blue tunic, and a rich red mantle, the folds of which cover the ground about her, holds a book before the Infant Saviour, who sits on her knee, and is turning the leaves. The scene is in a half-lighted chamber, illumined by small panes of glass. On a table, near the window, is a crystal vase, partially filled with water ; and some oranges are at its side. To the left, on a board, is a branched candlestick, and a brazen pot. The Virgin's feet rest on a richly coloured carpet. A circlet of pearls holds back her brown hair, which falls in many tresses over her shoulders, and on the upper part of the blue dress are similar ornaments. Jan van Eyck was born probably at Alden Eyck on the Maas about 1390. The Van Eycks resided chiefly at Ghent and Bruges, where they founded a great school. Both Jan and his brother Hubert were granted the freedom of the Corporation of Painters of Ghent in 1421. They are particularly distinguished as the inventors or improvers of oil-painting. Their joint masterpiece, the " Adoration of the Lamb," an altar-piece in the Chapel of St. Bavon, Ghent, was finished by Jan the same year the present picture vas painted, viz., in 1432, six years after the death of Hubert, but in the inscription on the picture the chief merit is given to Hubert, who is called the greatest in art while Jan is styled the second. Jan van Eyck died at Bruges, 9th July, 1440. Funeral masses for the repose of his soul were celebrated yearly in the month of July for upwards of three hundred years, when the first French Kevolution put an end to the ceremony, which brought an annual revenue to the church of 34 gros. 49 THE VIEGIN AND CHILD, WITH ANGELS AND SAINTS. Painted hy Cima da Conegliano. Giambattista da Conegliano, so-called from his birthplace in Friuli, lived in the middle of the fifteenth century ; the dates of his birth and death are unknown. He frequently introduced the hills and surround- ings of his native town into his pictures, so the name of " Cima," which means a summit or eminence, has been given him by posterity, and by - this appellation he is always known in the history of art. During the latter years of his life he left Friuli and settled in Venice. In the gallery of Vicenza is the enthroned Madonna and Child, his earliest dated work, painted in tempera on canvas, but all his other pictures are executed in oil. He is reported to have died in 1517. 50 THE VIRGIN AND CHILD. Fainted by Bernardino Luini. Wood, 22^ X 20 inches. HE Virgin, in a red robe over a green dress, and with dark drapery around her head, is holding tlie Infant Child, who stands on a bench, where also lies an open book. He is placing a ring on the thii'd finger of St. Catherine, who wears a dark garment over a richly worked dress. On her head is a crown, and her left hand rests on the cruel wheel. The background is dark, wdth green curtains on either side. Bernardino Luini was born at Luino, on the Lago Maggiore, about 1475. He has left numerous and beautiful productions, though little is recorded concerning his personal history. Vasari, who erroneously calls him Del Lupino, must have known his works, but he only devotes a few short sentences to him. He worked in the churches of Milan, Saronno, and Lugano. Some of his best efforts have been attributed to Leonardo da Vinci, and no artist has approached nearer to the style of another than Luini does to Leonardo ; there is the same peculiarity of composition and colour, and both artists are characterized by the beauty, dignity and modesty of their female figures. 51 THE VIRGIN AND INFANT CHRIST, WITH ANGELS. Painted prohahly by Stephen Lochener, called Master Stephen of Cologne. On Wood, 33 x 26 inches. FROM THE INCE-BLUNDELL HALL COLLECTION. HE Virgiiij enthroned beneath a canopy, is gazing, with most graceful action, upon the Holy Child sleeping on a cushion in her lap, holding an apple. She is taking some cherries with her right hand out of a basket, which an angel is offering to her. On her left are three angels singing ; the one with the music book is drawn with great dignity and grace. At the sides of the canopy are views of a rich landscape, and along the top is the inscription " Pulchra es et Suavis." In the earlier portion of the 15th century the Cologne School dis- tinguished itself in excellence before all other schools in Germany, and in Stephen Lochener attained its highest form of originality. There is no proof of Stephen having been a scholar of the traditional Master William, but it is obvious he formed his style from him. In the Limhuj-g Chronicle, 1380, it is recorded : "In this time there was a painter in Cologne of the name of Wilhelm ; he was considered the best master in all German land ; he paints every man, of whatever form, as if he were alive." And the custom arose of attributing to him the best pictures in Cologne and its vicinity of this period, but there is no certainty as to the real origin of one single picture of this school. In those assigned to Master Stephen " is recognised an art more developed and realistic, richer and more splendid in colour, but still retaining the tender grace of the earlier style." This is unmistakably observed in the picture before us. Master Stephen was born at Constance early in the 15th century. He was living at Cologne in 1442, and represented the Guild of St. Luke in that city in 1448 as a member of the Senate. He was occupying the same post of honour in 1451, but died poor and neglected in that year. 52 THE LEGEND OF COUNT RAYMOND OF TOULOUSE. By Jan Gossaert (Mabuse). Wood, 45 X 33 inches. ilent ia* Sutton-i^eltfiorpe, • --^.s.Ji^^^~^^^^^^s^^&^ ^^^HE story here portrayed is characteristic of the middle ages. The yoking Count of Toulouse, deeply touched with the sense of his Saviour's suffering, felt himself unworthy to enjoy the luxury and honour of his high station. Stripping himself of his dignities, he proceeded to the Holy Land in the garb of a pilgrim. He is here repre- sented taking off his shirt, which a servant, in a brown furred coat, receives, at the same time holding the black fur coat, which his master has laid aside, and which is partly on the ground. His cap lies there, too. Next to him stands the Bishop of Toulouse, in his robes, wiping a tear away with his left hand, while with his right he covers the nakedness of the Count with his gown . Behind him are two other men, who finely express their sympathy at the scene. On the right, in the middle dis- tance, through a gate, is seen a man bringing the pilgrim's dress, a short hair garment. On the left the Count appears, dressed in it, about to begin his journey. The pilgrim's staff' is in his left hand, his eyes are cast upwards in humble aspiration, and his right hand lies on his breast. In the background, which consists of buildings and a piece of landscape, he reappears, being attacked and beaten by robbers. Jan Gossaert was known as " Mabuse," from Mauberge, the place where he was born. In the earlier part of his career he adhered to the style then prevalent in Flanders. He removed to Antwerp in 1503, but five years later went in the train of Philip of Burgundy, and then endeavoured to combine with his native style those forms of Italian art which captivated him most. From that time his works, though always executed with the greatest care, lose any deeper interest. He was one of the illuminators of the famous Grimani Breviary, now in the library of St. Mark's, Venice. On his return from Italy, after an absence of 10 years, he was much employed throughout the Low countries, and finally returned to Antwerp, where he died in 1541. He was remarkable for conscientious and elaborate finish, for daylight freshness, and warm and brilliant colouring. 53 THE VIRGIN AND CHILD, WITH ATTENDANT SAINTS. Painted hj Francesco Maria Mazzola, called Parmigiano. Wood, 26 X 20 inches. /^^^HE Virgin, in dark purple dress, is seated in graceful attitude and with serene expression. A book is in her left hand. Upon her knee is the Holy Child, who is being clasped by the Infant St. John ; behind is St. Elizabeth, holding a vase in her left hand. In the background is a landscape. Francesco Maria Mazzola, called Parmigiano from his birthplace, Parma, was born in 1503. When quite young he lost his father, and was brought up and instructed in art by his uncles. When 20 years of age, wishing to see the works of Raphael and Michael Angelo, he visited Rome, where his talents brought him under the notice of Clement VII., for whom he painted a picture, which was placed in the palace of the Vatican. In 1527, on account of the sacking of Rome by the soldiers of Charles V., he took refuge in Bologna, and there painted several altar- pieces. Four years later, returning to Parma, he began to paint some frescoes for the Church of Santa Maria della Steccata ; but, being, unfortunately, fond of the study of alchemy, he wasted much time in this pursuit, and, consquently, neglected his art ; and, for the delay in carrying out his agreement with the authorities of the Church, who had already paid him half the sum due for the work, the fathers decided to prosecute him for breach of contract, and he was imprisoned. On his release he fled to Casal Maggiore, where he died, in 1540, at the age of 37. His drawings are celebrated ; and he also drew on wood, and is supposed to have been the first artist in Italy who etched. 54 ST. AUGUSTINE. Painted hy Ambrogio Borgognone. Wood, 58 X 25 inches. Hent tig J^entg Jftucfess (gitbs, jm.^^. « ir-^>5^§j^^c.2:^2r5-> ^ . HE picture shows the full-length figure of the Saint, slightly less than life size. He is robed as a bishop, and a crozier is in his left hand. His right hand rests on the shoulder of a donor, who kneels beside him, holding his cap with both hands. Ambrogio Borgognone was born at Milan, probably between 1450 and 1460. He was an architect as well as a painter, but no very authentic account is given of him by any writer of the time. For many years he lived at Pavia, where he received a commission to paint the altar-piece of the Certosa, and he also designed the stalls and other wood work for the choir. Returning to Milan about 1494 he there executed many considerable works, and in 1497 he was at Lodi, painting in the church of the Incoronata. Many of his works are still preserved in the churches in his native country. His pictures have much of the sweetness of Leonardo and Luini, and his Madonnas are of a very beautiful character, the countenances being singularly soft and gentle, proving that he was a man of refined and deeply religious nature. He worked mostly in tempera and fresco, and is considered to be the most remarkable of Milanese artists of his time. 55 PORTRAIT OF THE ELECTOR OF SAXONY. Painted by Lucas Cranach. Wood, 24 X 16 inches. Eent ftj) ^ti, "b'(^ic!)tl)al, (i^g^,, of lam. ■^s^^slj^::^^~^^^'S^^-^&-j^ ■ MALL three-quarter length, black robe, deep fur collar, a frill round the neck, black cap ; the hands together ; landscape background. Lucas Cranach was born in 1472, at Cronach, in Bavaria. In 1504 he was established at Wittenburg as Court Painter to Frederick the Wise, who bestowed on him a coat of arms and patent of nobility. He was evidently a man of importance at Wittenburg, for he was twice elected Burgomaster of the town, where he carried on, besides his large art workshops, a book printing business, and an apothecary's shop. Cranach was the intimate friend of Martin Luther, and painted his portrait several times. He warmly embraced his doctrine, and en- deavoured to set it forth in his art. He excelled in portraiture, and his colouring is warm and rich. He was fond of drawing birds and animals, and often depicted hunting scenes. He is also well-known as an engraver. He died at Weimar iin 1553. 56 POETRAIT OF A DUTCH GENTLEMAN. Painted by Frans Hals. Canvas, 45 x 36 inches. ^=^5=^^=^ — THREE-QUARTER figure standing to the right, in a black costume, holding a broad-brimmed black hat in his left hand, and a pair of buff gloves in his right. He wears the white ruff of the period. Inscribed ^tat SY^ 52 AN° 1630. Frans Hals was born at Antwerp about 1580. He was one of the greatest portrait painters. His parents, who were of noble family, afterwards removed to Haarlem. Frans was twice married and had seven sons, five of whom were painters. He was a man of drunken and violent character, and was brought once before the magistrate for ill- treating his wife ; expressing contrition, he was discharged on the understanding that on the next occasion it would be met with severe punishment. He was idle and fond of pleasure, but his abilities as a painter were held in high esteem by his fellow citizens, who seem to have condoned on this account the faults of his intemperate and imprudent life. When in his old age he suffered from poverty and debt the State allowed him a pension. He was over eighty years of age when he died in 1666. The story of his interview with Van Dyck, of whom he was a contemporary, has often been related ; Van Dyck pressed his friend to come to London, and offered to introduce him to his distinguished friends, but Hals declined, saying he could earn a competence in his native city from the practice of his art, and preferred ease and congenial society, to the ambition that sought for more than these advantages. His life was consequently retired and uneventful Residing for sixty years in the quiet Dutch town few records have been handed down to us, though he lived twice as long as his celebrated rival, to whose brilliant and diversified career his own forms a tame and striking contrast. 57 A TAVERN BRAWL. Painted hy Adeien Brouwer. Wood, 18 X 291 inches. 'WO men have quarrelled over cards, which lie scattered on the and whose chair has been pushed over behind him, is in blue tunic and has drawn a short sword, while his opponent with menacing action is about to draw his from its sheath. A man and a woman with a hay- fork are interposing to prevent mischief, and four other figures are seen in the rear. Upon the table are jars of liquor and pipes, and to the right the usual accessories of a Dutch interior of this description, cans, metal pails, &c., all painted with much dexterity and finish. Adriaen Brouwer was born about 1605, probably at Oudenaerde. His mother, a dressmaker, entrusted him to the care of Frank Hals, who, if report be true, used him ill. He made him work without ceasing, and starved him. Leaving Hals, he went to Amsterdam, where his talents soon met with the recognition they deserved. From Amster- dam he went to Antwerp, where he was thrown into prison as a spy. He was released through his own talents and the intercession of Rubens, who would have had him reside with him. It is said, however, that he considered Rubens' splendour little better than the Duke of Arenburg's prison. In 1632 his portrait was painted by Van Dyck. He died at Antwerp in 1638, and was buried in the Church of the Carmelites. Genuine works by Brouwer are now rarely met with. They were highly esteemed even in his own time. Rubens and Rembrandt both possessed several of them. Almost without exception his pictures represent Dutch interiors, with peasants drinking, smoking, and playing. They are especially esteemed for their colouring. floor. The central figure, whose red cap is flung on the ground 58 A WHITE PEACOCK AND FOWLS. Painted by Melchior Hondecoeter. Canvas, 57^ X 72| inches. Hent K» Sutton iaeltjorpe, — ^^^^j^^'^w^^^;^?-^^' — Melchior de Hondecoeter was born at Utrecht in 1636. He was instructed by his father, Gysbert de Hondecoeter, and also by his uncle, Jan Baptist Weenix. He resided at the Hague, but afterwards removed to Amsterdam, where he died in 1695. He was one of the most remarkable of the Dutch painters of birds. His favourite bird was the cock, which he is said to have taught to stand to him in a fixed position, as a model. 59 THE TOILET. Painted by Franz Van Mieris. Wood, 13 X 11 inches. LADY, partially dressed, is regarding herself in a mirror ; she wears a yellow corset and black gown. On the table before her is an unfolded missive, telling, probably, of an expected visitor, for whom evidently she is adorning herself. A young negro waiting-maid, holding an inlaid box, looks up admiringly at her mistress. Over the back of a chair hangs an elegant cloak, edged with white fur. The usual fine finish of Mieris is apparent throughout the picture. Franz van Mieris was born in 1635 at Leyden. His father was a goldsmith, and he was one of a family of twenty-three children. In early life he studied with Gerard Dow, who said he was the prince of his pupils, and in many respects he was not inferior to his master. His talents were much appreciated during his lifetime, his pictures realizing large sums. His works were small in size, and he loved to represent silks, plate, and jewels, and like all "The Little Masters" of Holland, gave much thought to the painting of hands, and made them full of beauty and meaning. He died at Leyden in 1681. 60 AN OLD LADY READING. Attributed to Gerard Dow. Canvas, 14 x 12 inches. N old lady is sitting in a green-backed chair, her spectacles low on her nose, and her hands, interlocked, resting on an open volume. Her rich red dress is edged with ermine, and white drapery arranged on her head is tied under the chin. On the richly-worked table cover is seen her spectacle case and a time glass stands near it, the sand well nigh run out. To her left is a small open Dutch stove, and in the back- ground on the shadowed wall are pictures. Gerard Dow or Dou, one of the most celebrated of the Dutch genre painters, was born at Ley den in 1613. His father was a glass painter, and Gerard was at first taught by him. At the age of fifteen he entered the school of Kembrandt, who did not set his pupils their tasks in his own atelier, but penned each of them in a box of his own in a top story of the house, partitioned expressly for the purpose. Here the young and promising artists successively received instruction from their teacher ; here the models might be seen wandering from box to box ; here the same subject was represented, painted in the master's form, but with the individuality of the pupil. In three years Gerard had attained the position of an independent artist. His works are re- markable at once for high finish and for lightness of handling. He reaped ample fruits from his great reputation. An amateur of the name of Spiering paid him a thousand florins annually for the mere privilege of having the first offer of his pictures, which have steadily increased in value up to the present time. He died at Leyden, 1675. Among his pupils were the eminent painters Franz van Mieris and Gabriel Metsu. 61 VIEW IN VENICE, ST. GEORGIO MAGGIORE Painted by Antonio Canale, commonly called Canaletto. Canvas, 14 x 20 inches. Hent tjie iSarl of Battmoutf), (For Notice of the Painter's life, see No. 68.) 62 PORTEAIT OF SIR EDWARD COKE. Painted by Cornelis Janssens. Wood, 24 X 16 inches. m EDWARD COKE was born 1551. At the age of nineteen he became a member of the Inner Temple, and six years later was called to the bar. The year following he argued an important case, known to lawyers as " Lord Cromwell's case." Three years later he was associated with the Solicitor-General in arguing before the Chancellor and twelve judges in the case of Edward Shelley, where the important rule in the law of real property, which has since been celebrated as the rule in Shelley's case," was laid down so distinctly that it has taken its name from this case. His practice became enormous, and professional honours were bestowed upon him. He was elected Recorder of London in 1592 ; shortly^after, he became Solicitor-General, and in 1594 Attorney-General. He gained lasting celebrity as the author of the Institutes of the Laws of England, or a commentary upon Littleton." One of the last acts of his public life was his spirited denunciation of the Duke of Buckingham as the cause of all the misfortunes of the country. He died in 1633. (For Notice of the Painter's life, see No. 98.) 63 THE DUET. Painted hy Caspar Netscher. Wood, 19 X 16 inches. Eent fig tf)e Bufee of i^utlanti, -^S-Ji:::^^^^f§^s~^S_:^ NE young lady is seated, singing, while anotlier accompanies her on a guitar. A boy is bringing in a glass of beer on a salver. Signed Netscher " on the chair. Caspar Netscher was born at Heidelberg in 1639. He became a pupil of Gerard Terburg. Leaving that artist, he determined to visit Italy, and embarked at Amsterdam, but on reaching Bordeaux he there became betrothed to the niece of the person with whom he lodged, and so remained in Bordeaux for some time painting portraits. On his marriage he went to live at the Hague, where, in 1662, he joined the Guild of Painters. His talents brought him much success, and his pictures, representing domestic subjects, and also his portraits, which he painted on a small scale, became very popular. Walpole says he came to England in the reign of Charles II., at the request of Sir William Temple, but remained only a short time> He died at the Hague in 1684. 64 THE MUSICIAN— INTERIOR OF A DUTCH TAVERN. Painted by Coknblis Dusart. Canvas, 17 X 20^ inches. HE Musician, in the centre of the picture, is playing on the violin and singing. A red piece of drapery hangs on the back of his chair. Round the table, at which he is sitting, are three other men singing in chorus, one of them holding up his glass. Behind these figures is the fireplace, which a boy is tending with tongs. A man, with his pipe, is on the opposite side of the hearth. At the further end of the room at a window are two men playing cards, a third looking on. A basket on the floor cleverly relieves the sense of space between the two sets of figures. The eye at once centres on the Musician, around whom are grouped, in skilful arrangement, the other figures and the various homely accessories usual in such an interior. The work is executed throughout with much care and witji no lack of breadth, Cornelis Dusart was born at Haarlem in 1660, and entered the guild of Haarlem in 1679. He was a pupil of Adriaan van Ostade, whose style he imitated with much ability. His pictures are generally representations of peasant merriment and feasting. He died in 1704, 65 PORTRAIT OF HIS WIFE. Painted by Jan Steen. Wood, 12 X 10 inches. THREE-QUARTER figure seated to the left and glancing at the spectator as she plays on the mandoline. She wears a black hood and puce- coloured gown, and a strip of white is seen round the face. Signed " J. Steen " — J. and S. connected. (i^or Notice of the Painter s life^ see No. 87.) 66 THE SMOKER. Painted hy Jan Steen. Wood, 8^ X 7 inches. ~s.,.s^ji^:^^:^^^'§^^~~s^ EATED at a dark covered table, a man in a brown coat, with red undercoat and red cap, is filling a long clay pipe, over a metav plate, near which is a bone-handled knife. Dark background. (^For Notice of the Painter^s life, see No. 87.) 67 THE MOUTH OF THE SCHELDT. Painted by Abraham Storck. Canvas, x inches. ^ent fig g>. E. i^lutleg, mq. DUTCH man-of-war, with its flags flying in the breeze, is on the left of the picture ; other craft are beating about in busy motion ; a brisk animated scene. The pier in the foreground shows figures at work, and a windmill is seen on the opposite shore. Abraham Storck (Stork) was born at Amsterdam about 1630. He devoted himself to the study of Bakhuisen, whose manner he copied. His pictures are generally seaports, and scenes on the River Y or the Amstel, near Amsterdam. Shipping, boats, and numerous figures are skilfully and carefully drawn. Storck sometimes painted the figures in the landscapes of Hobbema and other artists. He died at Amsterdam about 1710. 68 VIEW IN VENICE. Fainted by Antonio Ganale, commonly called Canaletto. Canvas, 14 x 20 inches. Eent tig X\^z iSarl of IBartmoutj). 'HE Dogana, with the Church of Santa Maria della Salute behind it. To the right a glimpse of the Doge's palace is seen. Antonio Canale, commonly called Canaletto, was born at Venice in 1697. He was the pupil of his father, a decorator and scene painter, and for some time Antonio followed the same employment, but in 1719, accompanied by his nephew, Bernardo Bellotto, who is also known as II Canaletto, he went to Rome to study there, particularly the buildings and ruins of the ancient city and its neighbourhood. Returning to Venice he executed numerous paintings of that wonderful place. These works were very successful in his own day, and at the present time are greatly esteemed. In 1716 he visited England and stayed for two years, painting many scenes in London. He died at Venice in 1768. 69 A SEA PIECE. Painted by William Van de Velde. Canvas, 37 X 61 inches. ■ rr^-'^^^^^!k^^:^?rs~^ {For Notice of the Painter* s life^ see No. 102.) Painted hy Francesco Guardi. Canvas, 17^ X 27 inches. • r-c-^::^§^:^^:^^p^^ • 'HE Dogana, or Custom House, with the Church of Santa Maria Francesco Guardi, born in Venice in 1712, was the scholar and imitator of Canale, but was far behind him in the accuracy of his architectural details, and careless and sketchy in the execution of his figures ; his works are, however, rich and forcible in their colouring. He died at Venice in 1793. 70 VENICE. della Salute. n A DUTCH INTEEIOE Painted by Pieter de Hoogh. Canvas, 22 x 18 inches. ?lent % W^tWim, WOMAN is seated at needle-work, opposite to her is a cavalier with a glass of wine in his hand ; through a doorway a river is seen, with a vessel at anchor. Signed P. D. Hoogh. Pieter de Hoogh, or Hooch, was born, probably, in 1630. Very little is known of his life ; only a few details can be gathered from occasional dates on his pictures. He excelled in the painting of full and clear sunlight, and the figures he introduces into his pictures are generally placed in the open air, in courtyards. The atmospheric effect attained in his pictures are their chief characteristic. He lived at Delft, and also at Haarlem, at which latter place he is believed to have died in 1681. 72 A LANDSCAPE. Painted by Jan Both. Canvas, 39 X 62 inches. iLent tip tj)e O^xecutors of ti)e late mi. Jg, Smiti), ROCKY foreground to the left is surmounted by trees, whose gently-bending forms and tender leafage that trembles in the quiet atmosphere, show the painter's usual appreciation of the finer touches of nature. Sportsmen are in the roadway beneath, with their guns, dogs, and horses, while peasants and laden mules pass along. The rising ground is broken in the middle distance, and the mountains afar off rise into an ethereal sky, such as Both rejoiced to paint, and across which the light clouds float. A characteristic work, full of sunlight. Jan Both was born at Utrecht about 1610, He and his younger brother Andries both learned the first rudiments of art from their father, a painter on glass. Later the two brothers visited France and Italy together, and stayed some time in Rome. Jan was an excellent land- scape painter. While in Italy he fell under the influence of Claude. He was wonderfully clever in rendering the effect of the golden light and ethereal distance of an Italian sunset. He died in Utrecht, 1652. The figures and cattle in his pictures were generally put in by his brother Andries. 73 THE WRECK OF THE MINOTAUR ON THE HAAK SANDS. Painted hy J. M. W. Turner, R.A. Canvas, 68 x 95 inches. ilent t|)e ^wc\ of ¥artorougf). if^»5» Minotaur, 74 guns, Captain Barrett, left the Baltic toward 4^ the close of 1810 bound homeward to the Downs. On the night of the 22nd December she struck heavily on the Haak Sandbank at the mouth of the Texal. The vessel lies on the left of the picture, beam ends on the sand. Fishing-boats are assisting in rescuing the crew and passengers, some of whom, with their luggage, are already in a large row-boat, being borne along in the tumult of sea, with small chance of ultimate escape ; the two Dutch galliots on either side, are endeavouring to reach the wreck, one lifted high on the crest of a wave, the other scarcely visible in the trough of the sea. Other vessels are standing off the immeEse hulk, from whose bow- sprit, figures are seen dropping into a boat below. The rudder of the doomed vessel is in the immediate foreground, tossed about in the wild water. This is universally pronounced to be one of Turner's masterpieces, and, in its way, has, probably, never been surpassed by him or any other artist. It was painted for Lord Yarborough, the grandfather of the present Earl, and was never exhibited at the Royal Academy. Joseph William Mallord T:irner was born in 1775 at 26, Maiden Lane, Covent Garden. His father was a hairdresser, and his mother, a native of Islington, was, like her son, small in stature, and an early portrait of her, by Turner, gives her a masculine aspect. It is recorded that she had a bad temper, and led her husband a sad life. She became insane in later years, and from her, it may be. Turner inherited his melancholy and reserved disposition. He began his career as a sort of infant prodigy in his father's shop, and there is a drawing of Margate church, in existence, executed by him when nine years old. His first school was at Brentford, and at the age of 14 he became a student at the Koyal Academy. Four years later he received commissions for drawings to be engraved, and took a studio in Maiden Lane, close to his father's house. At the age of 24 he was elected an Associate of the Royal Academy. During the next few years he travelled over nearly the whole of England and Wales searching for subjects for his drawings, and made many acquaintances, who were afterwards among his best friends. Becoming Royal Academician in his 27th year, he practically ceased then to draw for the engraver, and took a house in Harley Street. The same year he made his first tour on the Continent, and exhibited six pictures of foreign subjects. His liher studioruvi was begun in 1807, and forms, perhaps, the most satisfactory monument of his genius. In 1812 he migrated to Queen Anne Street, which was known as his address to the end of his life, although he later had a country house at Twickenham. He made yearly visits to all the most picturesque parts of the country, and in 1819 went on his first visit to Italy, and from that time dates the commencement of his bolder excursions into colour. In 1830 his first subjects from Venice were exhibited, and in 1839 his last picture at the Royal Academy was seen, " The fighting Temeraire tugged to her last berth." During the latter 10 years of his life he became interested in the then new art of photography, and paid several visits, incognito, to the studio of Mr. May all, calling himself a " Master in Chancery," and generously helping him, unasked, with a loan of £300 He received two offers of £100,000 each for the contents of his house in Queen Anne Street, but declined them, having already, in his will, bequeathed his pictures to the nation. Towards the end of 1851 he was discovered living, under the name of Booth, in a small house at Chelsea, and he there died the same year, and was buried in St, Paul's Cathedral. 74 A POETRAIT. Painted hy Sir Anthony Van Dyck. Canvas, 44 x 37 inches. HREE-QUARTER length, in a silk dress, with a black pelisse. The hands, especially the left, are painted with great dehcacy. Waagen traced much resemblance in the features to Van Dj^ck's portrait of the Earl of Arundel at Stafford House. Inscribed 1630— in Van Dyck's best period. {For Notice of the Painter's life^ see No. 76.) 75 A LANDSCAPE. Painted hy David Teniers, the elder. Canvas, 54| X 46 inches. Eent t)g t^utleg, (l^sq. KN a rocky foreground a herdsman with red waistcoat is piping ; some sheep, a goat, and some cattle are near him. On an elevation beyond is a house with a steep wooden stairway to a door where a woman is standing. A vine grows about the house and some trees stand near. Further away another building is discerned, and in the distance, mountains. Across the tranquilly clouded sky some birds are flying. David Teniers, the elder, was born at Antwerp in 1582, and was admitted into the Guild of St. Luke in 1606. He visited Kome, and placed himself under the tuition of Elsheimer, with whom he studied for six years. He died at Antwerp in 1649. 76 POETRAIT OF DAVID RYCKAERT. Painted hy Sir Anthony Van Dyck. Canvas, 42 X 32 inches. Hent f)j) tje (&wa of TOarbiicfe* 5!B|AyiD RYCKAERT was a Dutch Artist who began life as a landscape painter, but who afterwards succeeded in subjects of similar character to those of Teniers and Brouwer. He was the Director of the Academy at Antwerp, and his paintings were so greatly admired that it was with difficulty he could meet the demand for his works. Peasants regaling and musical parties were his favourite subjects. He is here seated in an arm-chair, with a fur cap on his head and in a dress trimmed with fur. The face, with very marked features and large moustachios, is most carefully painted and with extraordinary truth to nature. Sir Anthony Van Dyck was born at Antwerp, 1599. At the age of ten he became the pupil of Hendrik van Balen, but his great instructor was Rubens, with whom he lived for four years. Before his twentieth birthday he was admitted a Master of the Antwerp Corporation of Painters. By the advice of Rubens, he visited Italy, and remained there five years. On his return he painted among others his celebrated picture of " The Crucifixion " for the church of St. Michael, at Ghent, and this it was which established his reputation as one of the Masters of the age. He soon acquired, too, an unrivalled reputation as a portrait painter. In 1630 he visited England, but not meeting with the reception he had anticipated, he returned to his own country ; but in 1632, Charles I., who had seen a portrait of his Chapel-master by Van Dyck, sent an express invitation to him to come to England, and on this occasion he was most courteously received, being lodged by the king at Blackfriars, and in the following year knighted. He was also granted a pension of £200 per annum for life. He settled in England, where his success as a portrait painter enabled him to live in great style. He had a country house at Eltham, and kept great state when in town, " he always went magnificently dressed, had a numerous and gallant equipage, and kept so good a table in his apartment that few princes were more visited or better served." He died in London, 1641, at the age of 42, and was buried in the old church of St. Paul, near the tomb of John of Gaunt. Notwithstanding his expensive style of living, he left property to the value of about £20,000 sterling. In freshness, force, and vigour of handling, his works are un- surpassed. In his portraits he stands a Master among Masters. 77 A LADY AT HER TOILET. Painted hy Pieter de Hoogh. Wood, 2U X 25 inches. LADY in green gown, and red jacket bordered with white fur,- and wearing a pearl necklace, is seated at a toilet table. She turns to look at a gentleman who, in rich costume, has just entered the room, and is standing behind her chair, with one hand on her shoulder A landscape is seen through the open door. {For Notice of the Painter's life, see No. 71.) 78 THE ENCHANTED CASTLE. Painted hy Claude Gellee, called Claude de Lorraine. Canvas^ 34 X 58 inches. HE poetic impression conveyed bj this picture entirely cor- responds with the name it bears. A noble edifice in the Roman style, partly surrounded by trees, stands on the extreme verge of a rock, in the centre of the middle distance, the sea flowing at its base. Between the castle and the spectator the broken ground is overgrown with bushes^ amongst which are a few young trees. The view on the left extends over rising ground to distant hills. A beautiful group of trees is seen on the right. In the foreground to the left a female figure, supposed to be Psyche, is sitting in a contemplative attitude, and beside her a stag and doe are grazing. This picture was originally painted for the Conestabile Colonna. Claude Gellee was bom in 1600 at Chamagne, a village on the river Moselle, in the Vosges country, then in the ancient province of Lorraine. His parents were poor, and apprenticed him, when young, to a pastry-cook ; he afterwards, in the pursuit of his calling, found his way to Rome, and took service as a domestic and general assistant with Agostino Tassi, a landscape painter, and soon became his pupil. After some years spent in wandering in different countries, and a brief visit to his native place, he finally, in 1627, settled in Rome, and became acquainted with the German Artist Joachim Sandrart, who became his intimate friend and afterwards his biographer. With him Claude made excursions in the neighbourhood of Rome, sketching from nature. His devotion and energy in the exercise of his art at length brought him much appreciation and success, and his works were in great demand. He led a quiet and retired life, having, with the exception of Sandrart, few friends among his fellow artists. A remarkable collection of 200 drawings known as the " Liber Veritatis," or Book of Truth, executed by him from his own pictures is in the possession of the Duke of Devonshire. On the backs of these drawings are written the dates when the paintings were finished, and the names of the purchasers. The British Museum has also a number of his drawings. Claude was a laborious and careful worker, his weakness or difficulty consisting in his treatment of figures and animals ; for these he sometimes had assistance from other painters, and used to say " he sold his landscapes, but gave the figures." He never married, and by his will, which has recently been discovered, it is learned that besides his nephew and housekeeper Jean, an adopted daughter (then eleven years of age) also lived with him, her name was Agnes, and he called her " Mia Zitella." To her and to his nephew Jean he bequeathed nearly all his property He died at Rome in 1682. 79 A SEA PIECE. Painted hy Jak van de Capelle. Canvas, 29 X 35 inches. HE brilliantly lit sky, with lightly floating clouds, throws a vivid light upon the sea, where many boats are seen breezily sailing. In the centre, by the low sea shore, is a boat unloading, and some of its cargo is being conveyed to the land by two men. The darkly-painted bank in the foreground has a group of people upon it. Jan van de Capelle was born at Amsterdam about 1G30, and received the freedom of that city on the occasion of his marriage in 1653. He was a painter of river and sea scenes, his favourite subject being a quiet sea, under the aspect of cheerful weather and warm lighting, so that objects are clearly reflected in the water. Of his life little is known, as he is not commented upon by any Dutch writer of the period. He was painting until the year 1680. 80 VIEW IN A PARK. Painted hy Adrian van de Yelde. Canvas, 33 x 40^ inches. tlent tj) Sir Jfticltman ^mxiy i^art ATIGE dock leaves and herbaoe in the foreground with the road- way, partially shadowed. To the right on the grassland is a piece of water, where a horse and some deer are drinking ; beyond are the wooden palings of the park, and thickly clustered trees ; to the left, between the trunks of the lofty trees, are still seen the park palings. Figures are interspersed among the trees. Adrian van de Velde, brother to William van de Velde, the g:reat marine painter, was born at Amsterdam about 1635. He studied first with his father and afterwards with Wynantsand Wouwerman. At tlie early age of fourteen he was a distinguished artist. He was one of the most accomplished of the little masters of Holland, painting domestic animals and landscape with truth and refinement. In many of the landscapes of his contemporaries the figures that appear are painted by him — notably in those of Van der Heyden and Jacob van Euisdacl. His composition is in the highest degree picturesque, and shows the perfection the Dutch School had attained at that period. He died at Amsterdam, 1672. 81 A COUNTRY MUSICIAN. Painted hy David Tenters, the younger. Canvas, 32 X 25 inches. ilent t)g Sir Skt f o^n iimiltimap, l^art N the foreground a party of eight are seated at table in the open air, regaling themselves. Younger people are close by, dancing to the tune of a country musician, who stands by the open door of a house on the right. Farther away, several others are seated round a table, eating and drinking and generally merry. Groups are scattered about else- where in the picture in sociable converse. Most of them are in gay costumes. Beyond, on a rising ground, the village church is seen. David Teniers was born at Antwerp, 1610. He studied under his father, David Teniers, the elder, whose style he adopted, but the Influence of Rubens and of Adriaen Brouwer is perceptible in his pictures. He was admitted a Master into the Antwerp Guild of Painters in 1632-3. He was twice married, his first wife being Anna Brueghal, daughter of the painter Jan Brueghal. In 1648 he settled in Brussels, and became Court Painter and one of the Chamberlains of the Archduke Leopold. He bought himself a country seat at Perck, a village between Antwerp and Mechling, which became the constant resort of the Spanish and Flemish nobility, and it was there he died on 25th April, 1690. His colouring is very delicate, his handling of the brush light and spirited, and he is reputed to be the greatest genre painter of all times. 82 PORTRAIT OF A YOUNG LADY. (Dutch School.) Canvas, 30 X 25 inches. ALF-LENGTH, almost fall face ; black dress, with light band round the waist ; large white ruffle ; dark background. 83 ON THE ROAD TO HAARLEM. Fainted hy Solomon van Ruisdael. Canvas, 31 x 43 inches Eent ij) ai:|)arles C» IB, Oretos, (ilB^q. — N open breezy landscape. In the centre of the picture is a long low-roofed cottage with trees about it, and past which the road to Haarlem runs. A covered wagon is stopping to allow the horse to drink. Solomon van Ruisdael was born at Haarlem about 1600. He was the uncle of the celebrated Jacob van Ruisdael. He was a Dean of the Corporation of Haarlem, and in 1623 was admitted as a master into the Painters' Guild. He was a' pupil of Jan Van Goyen. He painted landscapes and views in Holland, and was particuarly successful in the representation of water. He died in 1670. E 2 84 A BOY, DOG, and FOWLS. Painted hy Jan Weenix. Canvas, 46 x 39 inches. ilrttt 1)1) Sit ?^!rnrj) Sbt gof)n i^liltitnajD, 13art Jan Weenix was born at Amsterdam in 1640, and until the age of twenty was the pupil of his father. On the death of that parent he had sufficiently progressed in his profession to work without further assistance. He was a versatile painter, and executed a variety of subjects, though his chief excellence is displayed in the representation of dead game ; his fame in this direction induced the Elector Palatine, Johann Wilhelm, to invite him to his Court and to give him commis- sions to paint for him pictures of this class. These he executed on a large scale and in a masterly manner, exhibiting great clearness, truth, harmony and power, the full perfection of the artist. He died at Amsterdam in 1719. 85 VIEW ON THE MAAS, WITH THE TOWN OF DORT. Painted hy Albert Cuyp. Canvas, 66 X 46 inches. LARGE boat, its sails hanging in the quiet air, is in the fore- ground to the right, w^ith flags flying and a festive party on board. A drummer stands above the rest of the party, and is beating a drum as a rowing boat approaches, conveying to the vessel two distinguishedly dressed men. Fishing boats are seen one behind the other for a long distance down the river, and the delicacy shown of aerial gradation (to use Waagen's words) " is not to be described, and shows the astonishing height the art of painting in general had attained in Holland in the 17th century." To the left is seen the town of Dort, its square tower standing out in the clear evening light, and large clouds, painted in masterl}^ fashion, float across the broad splendour of the sky. Albert Cuyp was bom at Dort, his father's native town, 1620. He became the pupil of his father, but further particulars of his early life are wanting, but it is probable he visited other parts of Holland before com- mencing practice on his own account at Dort. He was many-sided in his art, but ever taking nature as his guide and model escaped all reproach to mannerism. His temperament led him to seek calm and sunny scenes, and his extraordinary mastery in rendering light and the effects of hazy morning or of glowing afternoon, has become proverbial. He met with but limited recognition in his day, and Holland is not particularly rich in his works. The portraits he painted are good in character, and as little conventional as his other work. He died at Dort, 1691 . 86 HOUSES ON A DUTCH CANAL. Painted hy Jan VAN DER Heyden. Wood, 14 X 18i inches. WO red-brick houses occupy the centre of the picture, with trees near them, and a long garden wall fronting a canal. Beyond is a rising ground with houses and a church. To the left is a wooden stairway to a stone bridge, and to the right the canal winds toward another stone bridge and by some houses. In the distance is seen a range of low hills. Jan van der Heyden was born at Gorkum in 1637, and is distinguished for his street views, in which the figures were inserted by Adrian van de Velde and Eglon van der Ncer. He may be called the Gerard Dow of architectural painters. Like that painter, he under- stood how to combine an unspeakable minuteness of detail, with such keeping of the whole, that his best pictures look like nature seen through a diminishing glass. He was at first apprenticed to a glass painter, with whom he remained for a short time. He then studied architectural drawing, and, betaking himself to Amsterdam, practised that branch of art. He had a strong turn for mechanics, made im- portant discoveries in the construction of fire-engines, and organised at Amsterdam the lighting of the streets. He visited England for a short time. He died in Amsterdam, 1712. He rendered the smallest details of his work with the greatest exactitude, and even brickwork is most accurately drawn. In general effect his work is always harmonious. 87 THE PHYSICIAN. Painted hy Jan Steen. Wood, 11) X 15^ inches, ilcnt t)]) tije Bufee of Wellington. PHYSICIAN is feeling the pulse of an elegantly-dressed young girl, the mother standing by. A boy with a bow and arrow, and a picture of Venus and Adonis indicate the cause of the malady. This, says Waagen, is one of the most delicate and solidly-painted works of the master, in which he approaches Metzu. Jan Stecn was the son of a brewer, and was born at Leyden about 1626. He studied at the Hague with Jan van Goyen, whose daughter he married there in 164:9. He entered the Corporation of Painters at Leyden in 1548, but he was absent from that city for several years, returning to it in 1658. He then combined the business of a tavern- keeper with the occupation of painting. He has been justly likened, fur dramatic expression, to Molicre. He drew human nature from the humorous side, often with grim satire, though not without touches of pathos, which show deep sympathy with his kind. If he is sometimes unnecessarily coarse, some allowance must be made for his period and his surroundings. The character of his figures is typical and subtly true, his execution crisp and brilliant, and his colour varied and un- common. In composition he has never been excelled, and he contrived to give to the most skilful arrangement the etiect of accidental combina- tions. 88 A VIEW m ITALY. Painted hy GiLLis Neyts. Copper, 12 X 15| inches. JTN the centre of the foreground is a roadway, along which a richly- dressed horseman is approaching, followed by a covered wagon drawn by three horses. To the left are some ladies with musical instrumenis ; a girl with red skirt is speaking to them. To the right are peasants and cattle, and a river with boats, from which women are washing clothes. The landscape shows the greatest observance of detail. The castle in the foreground catches the eye, but the other buildings and the trees are carefully delineated with a sincere aim at truth. Evidence of active life is seen in all directions. The picture is worthy of study. The late afternoon is ably indicated in the low sunlight seen betAveen the clouds. Gillis, or Egidius, Neyts, a Flemish painter, flourished in Antwerp from about 1647 to 1690. In the former year he was named a Master of the Painters' Guild. He was a disciple of Lucas van Leyden, but little is known of his life. Two of his pictures are in the Dresden Gallery. 89 ELEANOR, WIFE OF MR. HENRY TOWNLEY WARD. Painted hy George Romney. Canvas, 90 X 58 inches. iient mm JRucits (^im, (i^n^, m^^. LIFE-SIZE figure^ standing with great grace ; her left arm rest- ing on a stone pedestal, with the hand raised lightly to her face, which is turned to the left. Her right arm falls idly at her side. The broad lines of her white gown and train are admirably drawn. A twisted girdle of pale purple encircles her. the ends of Avhicli fall to her left and follow the line of her figure. Small jewels gather the left foot rests carelessly on a step of the pedestal. The red drapery arranged where her arm rests, appears again as it falls to her right ; beyond it a richly-painted landscape is seen. Few works of Romney convey so great a sense of beauty. There is no part of the composition which is not entirely under his control, and throughout the work he is at his best. drapery together at the sleeves, and a jewel is seen on her bodice. Her {^For Notice of the Painter a life, i>ee No. 95.) 90 ARUNDEL CHAPEL. 'aiided by J. M. W. Tuknek, U.A. Canvas, 20 X 8G inches. {For Notice of the Painier''s life, see No.. 73.) 91 VENUS DISROBING. Pawted by William Etty, E.A. Canvas, 32 X 43-2 indies. *ENUS is standing at the foot of a red-covered couch, and raising her hands with most graceful action to unbind the masses of hair that fall about her. Six beautiful attendants are around her ; one loosens the last string of her mistress's sandal ; another draws away the remnant of white veil from her shoulder ; three others admiringly gaze at the revealed beauty of the goddess and offer pearls and a wreath ; while another, as dark as her mistress is fair, brightly glances at her companions, as she supports behind her mistress the steely shield of the sleeping warrior who lies on a leopard skin with his armour above him, and his sword lying amid roses on the ground beside him. To the right is a minstrel sounding the praises of Yenus ; and in the background are stone columns and a blue sky with white clouds. (For Notice of the Painter 8 life, see No. 101.) 92 GEORGIANA, DUCHESS OF DEVONSHIRE. Painted hy T. Gainsbokough, LI. A. Canvas, 91 X 58 inches. Hent t)g (!Bacl Spencer, ^=^^gj^^^, ^^■^HE eldest daughter of John, first Earl of Speucer, and born 1757. She married in 1774, as his first wife, William, fifth Duke of Devonshire^ and died in 1806. Full-length figure — life size— the hair piled high, face looking down. She wears a white dress. Her right elbow is on the base of a column ; a scarf in both her hands ; her right foot is crossed before her left ; a landscape background. Exhibited in the Royal Academy, 1778. She was about 21 years of age when this portrait was painted, and was in the full flush of her career, ^' the most brilliant of the gay throng that danced and played the night away at the Ladies' Club, masqueraded at the pantheon, or promenaded at Ranelagh." Walpole wrote : " Last night I was 9t a ball at the Ladys' Club. It was all goddesses. The Ducbess of Devonshire effaces all, without being a beanty ; but her youth, figure, glowing good nature, sense, lively modesty, and modest familiarity, make her a phenomenon." Gambling was the rage during her day. She indulged in it, and was made miserable by her debts. Sheridan used to say that " the Duchess and Martindale had agreed that whatever they two won from each other should be sometimes double, sometimes treble the sum which it was called, and that he had handed the Duchess into her carriage when she was literally sobbing at her losses." An abundance of record exists regarding her. She is seen in all sorts of circumstances — domestic, amorous, festive, social, and political. She ardently took part in the election of Charles James Fox for West- minster, and personally canvassed the shopkeepers in the constituency. ''I could light my pipe at her eyes," said an Irish elector, much moved by the brilliant vivacity of the beautiful canvasser. She was, at that time, about 27 years of age. It was she who set the fashion of feather head-dresses, but when Reynolds painted her in her new-fashioned plumes, with his usual moder- ation, he lowered her feathers. Thomas Gainsborough was born at Sudbury, in Suffolk, in 1727. At an early age he showed an aptitude for art. and spent his time in sketching, and in rambling about the woods and lanes around his home. When 14 years of age he came to London, and for several years studied art. Before he was 19 he married Miss Margaret Burr, a young lady with an annuity of £200 a year, the memory of whose extraordinary beauty is still, says Fulcher, preserved in Sudbury. For a period of 12 years they lived at Ipswich, removing in 1759 to Bath. On the foundation of the Royal Academy in 1768 he became one of the 36 original members, and in 1774 left Bath to reside in London. He was much patronised by George IIL At the height of his popularity, when nearly all the great men and celebrated women of the day were sitting to him, com- missions came in so quickly that he was unable to keep up with the demand for his services. Gainsborough was also a musician, and used to say "he painted portraits for money, landscapes because he loved them, and was a musician because he could not help it." He died in 1788, of cancer, at the age of 60, and was buried, at his own request, in Kew Churchyard. He was of a kind and generous disposition, and Northcote writes : " He was a natural gentleman, and, with all his simplicity, had wit." His pictures are full of grace and beauty, and as a landscape painter he is at the head of the English school. He was one of England's greatest masters, and, to use Mr. Buskin's words, " an immortal painter." 93 KILGARRAN CASTLE. Painted hy J. M. W. Turner, R.A. Canvas, 36 X 48 inches. Hent t)g Eorti Armstrong. 'Sff^ ILGARRAN CASTLE in Pembrokeshire was once a noted strong- -^^^ hold. It is now a majestic ruin^ overlooking the River Teif. To the right, in an almost impregnable position, stands the castle, and beneath it is the river winding between the steep declivities, and lit up in the fore- ground by the broad golden light seen through the breaking clouds. The hill to the left is in deepest shade. (For Notice of the Painter^s life, see No. 7-).) 94 FISHING-BOATS ENTERING CALAIS HARBOUR. Painted hy J. M. W. Turner, R.A. Canvas, 28 X 38 inches. ^JTN the foreground are two fishing-boats, sailing into the harbour with a fresh breeze, the brown sails in fine form against the dark lowering clouds ; seething water, well lighted, is in the wake of the boats, and a black surging wave rises on the left. To the right a beacon is seen, and ships and buildings in the distance beyond the pier. {For Notice of the Fainter s life, see No. 73.) 95 LADY HAMILTON AS "CIRCE." Painted hy George Komney. Canvas, 94 X 58 inches. ^=^%^%^=^ HIS celebrated beauty, life-size, in the character of Circe, approaches the spectator with her left hand uplifted in a com- manding manner, and the right arm dropped at her side, with a wand held lightly in her hand. Around her circle the savage creatures. The beautiful face endeavours to be serious for the passing moment. In the auburn hair is a thin fillet of pale blue, and a veil of darker tone flows behind her. A pale red robe drapes the animated figure, and falls low on the right shoulder, being caught at the waist by a band, or sash, of similar colbur. The arms and feet are bare, the left foot, on which the radiant figure is for the instant poised, coming prominently forward. Dark rocks compose the background, with a glimpse of sea low down to the left. George Komney was born at Dalton-in-Furness, Lancashire, 1734. His father was a cabinet-maker, and brought Romney up to his own business, but the son showed so decided an ability for drawing that he was placed at the age of nineteen with a portrait painter named Steele, then established at Kendal. At the age of two and twenty Romney married, and in the following year commenced painting on his own account, and in 1762 came to London. In 1773 he visited Italy, and returning in 1775 took up his residence in Cavendish Square. From this time he divided the patronage of the famous and wealthy with Reynolds and Gainsborough, but his wife and family never participated in his success ; they remained at Kendal, and during thirty-seven years he paid, it is said, only two visits to them. It was in 1782, when in his forty-eighth year, that he became acquainted with Lady Hamilton. After her first appearance on his horizon he seems to have relied almost solely on her for inspiration. He was miserable when away from " the divine lady," and reduced the number of his sitters in order to devote more time to studies of her beauty. At the age of sixty-five he broke up his London establishment and rejoined his family at Kendal, where he died in 1802. His best characteristics are grace and pleasant colour. As a draughtsman he gave evidence of higher gifts than either Reynolds or Gainsborough. On the other hand he was far below Reynolds in intellectual vigour, and below Gainsborough in spirituality, and below both in richness of chiaroscuro. 96 THE SIEGE OF OSTEND. Painted hy Sebastiaen Frances. 23 X 40 inches. Hent I)) J^enrj) (giits, (llBsq,, M3^* y|]5|STEND was once a strongly fortified town. In 1601-1604, it ^^J^ sustained one of the most remarkable sieges on record, and was only surrendered to the Spanish General Spinola in consequence of orders received from the States General. Sebastiaen Francks, sometimes Franck or Vrancx, was born at Antwerp, 1578. He was a disciple of Adam Yan Noott, and dis- tinguished himself in painting landscapes with figures and animals. He also executed several paintings in conjunction with his son, Jan Baptist, and adorned the works of other painters with figures. He died 1647. There were several contemporary artists of the surname of Francken, or Francks, but only one Sebastiaen. 97 THE CASTLE OF BENTHEIM. Painted hy Jacob van Ruisdael. Canvas, 39^ X 32 inches. ?lent tig Siv Jfticlttnan l^acon, ^wct — — -■^^.JS^^S":^:^^'^:^^-^-^' ■ EAYILY clouded sky, against which the Castle rises above the forest trees; the high bank on the left, surmounted by aged trees, slopes down to the roadway that winds toward the Castle and on which travellers are seen, one in a red cloak ; in the immediate foreground the top of the bank is seen, with an uprooted tree. Jacob van Ruisdael was the nephew of the painter Solomon van Ruisdael, and was born at Haarlem about 1()25. His father, Isaac, gave him a good education and intended him for the medical profes- sion, and he was sometimes styled Doctor. He probably studied under his uncle, but it is clear he was powerfully influenced by Allaert van Everdingen. He removed to Amsterdam in 1G59, and the same year obtained the rights of citizenship there. He remained unmarried, in order to promote the comfort of his aged father, but in spite of his activity his talents were not appreciated by his contemporaries as they deserved to be. In 1681 his fellow religionists obtained from the Burgomaster of Haarlem a place in the almshouse of Haarlem for him, by payment of a certain sum. He died there soon after, and was buried May 14th, 1682. The landscapes of Ruisdael are generally simple natural views, well selected, his favourite subjects being woody scenes and waterfalls, though he sometimes painted marine pieces. The artistic importance of his work lies in the conception, and in the solemn earnestness of the prevailing tone, founded upon a deep and continual observance of nature. 98 PORTRAIT OF LADY DOROTHY NEVILL, Painted by Cornelis Janssens. Wood, 53 X 43 inches. Hent tf)e J^Tarquis of mtXtx, MM. ^^Jto:^'^^ ■ ^^ADY DOROTHY NEVILL was the first wife of Thomas, first Earl of Exeter. Waagen observed that for refinement and delicacy of conception, tone and execution, this portrait was one of the finest of Janssens. Cornelis Janssens was born, according to Walpole, at Amsterdam in 1590, but Sandrart states that his birthplace was London, and that his parents came from the Spanish Netherlands. He had already attained distinction in Holland when he came as portrait painter to the Court of James I. in 1618. He stayed in England for many years, painting also for Charles I. He resided in Kent, and also at Blackfriars. He was a friend of Van Dyck, whose style he imitated and even rivalled, and whose portrait he painted. On the outbreak of the Civil War in 1648 he returned to Middelburg, in Holland, and afterwards went to Amsterdam, continuing to paint until his death, which occurred either at Amsterdam or at Utrecht, between the years 1662 and 1664. He generally worked on panel, and also painted in miniature. 99 MOSES STRIKING THE ROCK. Painted by Jan Baptist De Wael. Wood, 17^ X 26 inches. 0 the left of the picture is seen Moses in blue raiment, with a garment of pale yellow falling from the waist. Beside him is Aaron in the rich clothing of High Priest, and wearing the breast-plate and jewelled mitre. The water is issuing from the rock as Moses strikes it. Opposite to him is a woman reaching out to catch it in a vessel, and others in brilliant coloured raiment are eagerly securing the welcome water. Evidence of the Israelitish camp is seen in the immediate foreground, where metal utensils, baskets, and cans are scattered, and a greyhound and other animals are seen. In the spaces between the trees, troops of thirsty Israelites are seen hastening to the w-ater. The composition is elaborately carried out, and the completeness of the design by this rare master in England, the richness of colouring, and the individual grace of each group of figures, are worthy of study. Signed J. Van Wael, fecit anno, 1604. Jan Baptist De Wael, or De Waal, was born at Antwerp in 1557, and was a disciple of Frans Francken the elder. His subjects were chiefly historical, in the style of his master. Little is known of his life. He became a member of the Academy in Antwerp, and died in that city in 1633. 100 STILL LIFE. Painted hy Jan Davidsz De Heem. Or Wood, 15 X 22| inches. METAL plate, with oysters upon it, some crayfish beside it ; grapes, lemons, and a crystal glass^ with some red wine in it, are arrano^ed on a table, with an olive-o^reen cover. The naturally vivid colours of the objects portrayed are kept well under control, and form a very harmonious rendering of still life. Jan Davidsz De Heem was born at Utrecht about the year 1600, is said to have died at Antwerp in 1674. He was the pupil of his father, the flower painter, and was the first master who developed the art of fruit painting and still life generally. He is thought by some to be " the greatest master of the class the school produced." His works are held in much estimation, but there are few examples in England. He is believed to have died at Antwerp in 1674. 101 PLUTO AND PROSERPINE. Painted hy William Etty, R.A. Canvas, 52 X 78 inches. HE story of Pluto, the god of the dead, carrying off a young goddess full of life, is a myth peculiar to the Greeks. Zeus, the father of Proserpine or Persephone, advised Pluto, who was in love with her, to carry her off by force, as her mother Demeter would never allow her to go down to Hades. Proserpine was gathering flowers on the plains of Enna, with Artemis and Athena, when far away across the meadow her eye caught the gleam of a Narcissus flower ; as she ran towards it, a fragrance ^' which reached to the heaven, and made the earth and sea laugh with gladness," filled her with delight ; but when she reached out her arms to seize the stalk with its hundred flowers, the earth opened and before her stood " the immortal horses " and the car of Pluto. Proserpine begged and implored gods and men to help her, but Zeus approving the abduction, Pluto placed her by his side, and bore her off to his ^' resounding mansions." Demeter's anger compelled Zeus to send Hermes to Pluto, who consented to the release of Proserpine, but her return for good had become impossible. She had accepted from Pluto the half of a pomegranate, or apple of love, and had eaten it. She was compelled to come back to Hades again, where for a third part of the year she reigned as queen ; through all the other months she was to be the beautiful maiden who sported on the plains of Enna. This famous painter was born at York in 1787. " Like Rembrandt and Constable," writes Etty, " my father was also a miller." When a compositor to a printer at Hull, to whom he was apprenticed in 1798, he says, " to which business I served seven full years faithfully and truly .... but I had such a busy desire to be a painter that the last years of my servitude dragged most heavily. I counted the years, days, and weeks and hours till liberty should break my chains and set my struggling spirit free." His uncle, William Etty, helped him during his lifetime, and at his death left him the necessary means to pursue his artistic studies. Etty tells us, " I drew from prints or from nature, or from anything I could." Among his fellow-students at the Academy were Hilton and Haydon, and in 1808 he became a pupil of Sir Thomas Lawrence, who often employed him to make copies of his portraits. He studied from the Old Masters in the British Gallery, which he found easy after his year with Sir Thomas Lawrence ; his work, too, as a student was clever and painstaking, though he never carried off a medal, and for many years his pictures were rejected at the Royal Academy. Industry and perseverance at length prevailed and good fortune crowned his efforts. He visited Paris in 1822, and later, went to Italy, Venice being his chief attraction. Venice, the birthplace and cradle of colour, the hope and idol of my professional life." Etty lived in London from the year 1826 till 1848, when, as his health began to fail, he removed to his native city of York, and died there in the following year. An exhibition of his works was held in 1849, and a life of him was written in 1855 by Alexander Gilchrist. F 102 A CALM— VESSEL SALUTING. Fainted by Willem Van de Velde, tbe younger. Wood, 9^ X 8^ inches. ilent tig % 1. Jgeiseltme, (^n^ HE calm water washes in broad ripples towards the spectator. A boat, in which two men are hauling in a net^ is in the left fore- ground. Some distance away is a large vessel, its sails mostly set ; it has just fired a salute and one is conscious of the report of the gun so truthful is the atmospheric effect. Willem van de Velde (the younger) was born at Amsterdam in 1633. He is the most celebrated of the Dutch marine painters, and studied with his father and also under Simon de Vlieger. From the year 1677 both he and his father were established in England, where they lived at Greenwich. Charles II. granted them each a salary of £100 a year for painting sea-fights, the father furnishing the drawings and the son " putting the said draughts into colours." Walpole, in his " Anecdotes of Painting " says, " Willem van de Velde, the son, was the greatest man that has appeared in this branch of painting, the palm is not less disputed with Eaphael for history, than with Van de Velde for sea-pieces." He died in London in 1707, and was buried in St. James's Church, Piccadilly. His drawings are very numerous, and his execution was so rapid that it is said he would frequently fill a quire of paper in an evening with his drawings. " There are abundance of fine works by this master in England, many of the best are in the National Gallery." It is no wonder that his pictures are popular here, they are so calculated to please a seafaring nation, and nearly all his works are in England and Holland, very few being in other countries. STILL LIFE. Painted hy Jan Davidsz de Heem. Wood, 13^ X 18 inches. • ^=^^^^=^^ {For Notice of the Painter^ s life, see No. 100.) 103 104 A LANDSCAPE— " THE DANCING DOG." Painted hy Claude Gellbe— commonly called Claude de Lorrain. Copper, oval, 16 X 21^ inches. Eent tje (&axl of IBartmoutJ* ^^^HE land is bathed in the warm light of a summer afternoonv The stately trees in the centre of the picture are thick in foliage. To their left, a little distance away, are other trees, a castle, and a bridge. To the right some figures are seen. One is piping and looking, with two others, at a female figure in blue, who holds the paw of a dog that is standing on its hind legs. This unusual incident has secured for the picture the title of " The dancing dog." Beyond the figures, in a sun- lit expanse, are waterfalls and rising ground, with a range of distant hills. In the foreground some cattle are being driven down to the cool water. (For Notice of the Painter's life, see No. 78.) 105 A GROUP AT MUSIC. Painted by David Teniers. Wood, 94 X 7 inches, MAN, seated at a table, is singing, accompanied by another on a guitar ; a third holds a pipe in his hands ; on a seat is a jug and a glass of wine ; an old woman is looking through the door. Signed D. Teniers, fee. (For Notice of the Painter's life, see No. 81.) F 2 106 STILL LIFE— LOBSTERS AND FRUIT. Painted hy Jan Davidsz De Heem. Wood, 17 X 22 inches. Uent Sit ilfticfeman l^acon, i3art* LOBSTER on a metal plate, with a bunch of muscat grapes and two lemons, one partially peeled, are arranged on a wooden table, partly covered with a dark grey cloth. Vine leaves relieve the dark background. {For Notice of the Painter^s life, see No. 100.) lOr TWELFTH NIGHT. Painted hy Jan Steen. Wood, 17 X 25| inches. interior, with numerous persons making merry. At a table, covered with a white cloth, in the centre of the room, are seated a man holding up a glass of wine, and a woman with a child on her lap ; standing behind is a boy playing a violin ; some boys and a man are playing other instruments, and two children and a dog are on the floor in the foreground. The picture is signed " J. Steen " (J. & S. connected). {For Notice of the Painter's life, see No. 87.) 108 HEAD OF A COW. Painted hy Nicolas Berghem. Canvas, 40^ x 33 inches. ILent ftp tje iSatl of 5l2aat:h)tcit. Nicolas Berghem (or Berchem) was born at Haarlem in 1620. He was taught by his father and other artists, and married the daughter of the painter, Jan Vils. He is said to have visited Italy, and, at one time in his life, sold his labour, from early morning until four in the after- noon, for 10 florins a day. His wife allowed him to keep little of his earnings, as his practice was to spend it all in buying pictures. His father's name was Pieter Claaz, and several reasons are given to account for his signature of Berchem, by some thought to have been a nickname, but as he used it on all his pictures, it may be considered as a surname. His landscapes are very beautiful, adorned with groups of figures, cattle, and sometimes ruins. His contemporary and rival was Jan Both. A burgomaster, of Dordrecht, a patron of art, engaged Both and Berchem to each paint a picture, and the one whose painting was considered best was to have a sum of money over and above the remuneration paid to each artist. When their work was finished, the burgomaster did not know which picture to prefer, but told them they had both reached perfection in their art, and that both were entitled to the prize. He died at Amsterdam in 1683. 109 PORTRAIT OF MISS CLEGHORN. Fainted by Sir Henry Raeburn, R.A. Canvas, 30 X 25 inches. Hem t)3) i^. f ♦ iSettnett, OBsq,, of Bgr., §lM. ISS CLEGHORN was the daughter of a celebrated physician who practised in GlasgoAV in the early part of the present century. Full face ; white dress, low-necked ; brooch in the centre, a simple row of pearls round the neck, and a veil round the shoulders — dark background. Painted in 1818. Sir Henry Raeburn was born in 1756 at Stockbridge, Edinburgh. His father was a manufacturer, but both his parents died when he was little more than six years old. Apprenticed at the age of fifteen to a goldsmith, he showed such taste for drawing that his master in- troduced him to a friend, named Martin, who was a portrait painter, and subsequently, in the kindness of his heart, released him for the rest of the time of his apprenticeship. Eaeburn supported himself by miniature painting, and as his knowledge of art increased, he applied himself entirely to the study of painting. At the age of twenty-two he married a lady of fortune, and came to London, where he made the acquaintance of Sir Joshua Reynolds, who counselled him to go to Italy, and study the works of Michael Angelo ; so he and his wife departed for Rome, and after two years spent in Italy, they returned to Scotland, and settled in Edinburgh, where he soon took the lead as a portrait painter, and received full employment. For years he reckoned among his sitters and friends the most distinguished men of his time in Scotland, and may be said to rank next to Reynolds and Gainsborough as a portrait painter. In 1814 he became an Associate, and, the year following, a Royal Academician. When George IV. visited Scotland in 1822 he was knighted, and appointed "His Majesty's Limner" for Scotland. He died in 1823, in the 68th year of his age. 110 A PORTRAIT. Attributed to Bartholomeus Van der Helst. Wood, 18 X 14 inches. Bartholomeus Van der Heist was born at Haarlem in 1611 or 1612. When young he settled in Amsterdam, where he lived for the greater part of his life, and became the scholar of Nicholas Elias, the eminent portrait painter. In 1636 he married a young lady famous for her beauty and wit. He was also a foundation member of the Painter's Guild. He died at Amsterdam in 1670. One of the most renowned Dutch portrait painters of the period, the great excellence of his work is seen in the careful drawing, conspicuous in the hands, and in the skill with which he reproduced the shimmer of jewellery and gold embroidery, in the truthfulness of his heads to nature, and the clear and powerful colouring. Ill PORTRAIT OF THE COUNT DE GONDOMAR. Painted hy Sir Anthony Van Dyck. Canvas, 42^ x 33^ inches. Hent tje earl of ^^^HE painter has borrowed the lovely scenery of Sicily, with its high mountains and its water-falls. Proserpine is cleverly introduced. The conception is fine, and the warm evening sky very splendid. " That fair field Of Enna, where Proserpine, gathering flowers, Herself a fairer flower, by gloomy Dis, Was gathered."— [Milton.] The picture was painted in 1839. {For Notice of the Painter's life, see No. 73.) 113 PORTRAIT OF MRS. LOWNDES STONE. Painted by T. Gainsborough, E.A. Canvas, 30 X 26 inches. Eent Eorti J^illingtion* • ~-^.S.j;^^^~^if^§^::^-^-^ • CHARMING face ; nearly full ; high-powdered coiffure with a white lace veil thrown over it and a star of brilliants in the centre in front, white dress, white lace kerchief over the shoulders ; black, lace-trimmed shawl that passes round her right arm and is g athered up on her left. {For Notice of the Painter'' s life, see No. 92.) A LANDSCAPE. Painted by Patkick Nasmyth. Wood, 8| X 10^ inches. -^L^ji^:^^^^r^^s.^s^ TREE to the right in the foreground, by a shallow pond, near which are two men and a dog. A roadway winds towards the village by a red-roofed house on the right and a steep bank on the left, surmounted by trees. In the distance is seen the church and a cluster of houses. White clouds on an azure sky. Signed P. Nasmyth. Peter Nasmyth, commonly called Patrick, was born in Edinburgh in 1787. He showed an early predilection for landscape paintiag, and his zeal in the pursuit of his favourite art left him little opportunity of acquiring any other instruction. Early in life he injured his right hand and learned to paint with his left. At the age of twenty he came to London, and his productions became very popular. He first exhibited at the Royal Academy in 1809. His style was not sufficiently massive to represent the wild aspects of his native country. Light clouds, sunshine, smooth water, small pattering brooks, meadows, and green trees are the objects he best represents. He died at Lambeth, 1831. 115 DEDHAM, FROM THE GUNHILL. Painted by John Constable, R,A. Canvas, 20 x 24 inches. Hent tg 1* i^mltine, <&n* IGH foreground overlooking the pleasant country where nestles Dedham with its church tower breaking the blue line of the horizon. Its name has been made familiar to all lovers of art by the genius of Constable. It was, indeed, his home, for he was born near by, at Bergholt, and went to school at Dedham. In the mid-distance is a piece of water, around which are pleasant meadov/s with paths through them, and some comfortable houses close to the water's edge. This eminent landscape painter was the son of a wealthy miller, and was born at East Bergholt, Sussex, in 1776. As a boy he attended schools at Lavenham and Dedham, but showed little talent for any book learning, but was always drawing. His parents had wished him to enter the Church, but Constable showing no inclination in that direction, his father took him into his own business. Growing into manhood, he was known throughout the country as " the handsome miller," because of his fine face and figure. He and his great friend, Dunthorne, used to paint together in the fields, and his father, acknow- ledging at last his great talent, reluctantly allowed him to go to London to study art, but it was not until the year 1799 that Constable became a student at the Royal Academy. During the years following, the summer months were spent in the country, living nearly always in the fields, and seeing nobody but field labourers. Nature was his great instructor, and though he attempted historical and portrait painting, in landscape is best shown his marvellous excellence. His whole life and letters testify to his love and appreciation for the country. In 1816, Constable married Miss Mary Bicknell, in 1819 was elected Associate of the Royal Academy, and 10 years later Academician. Though he was a hard worker, for many years his pictures were not popular, but about the year 1829 he began to meet with success. Three pictures o£ his, exhibited at the French Salon, won for him the gold medal, and were much praised. Living at Hampstead, his " dear, sweet Hampstead," in 1827 he writes : " My little studio commands a view without an equal in all Europe." The neighbourhood afforded him many studies for paintings, as did Asmington, the home of his wife when a girl, and Salisbury, where his friend Fisher lived. Constable often lectured on the study of nature, and sometimes painted in water- colour. He died suddenly in London in 1837. A memoir of him, with much of his correspondence, was published in 1843 by G. R. Leslie, R.A. 116 GEORGIANA, BORN SPENCER, DUCHESS OF DEVONSHIRE, AND HER CHILD, GEORGIANA DOROTHY CAVENDISH, AFTERWARDS COUNTESS OF CARLISLE. Painted hy Sir Joshua Reynolds, P.R.A. Canvas, 43|- X 56 inches. Hent fig tf)e HBulte of Bebons{)tre« HREE-QUARTER length ; seated on a sofa playing with and singing to her daughter, her right arm raised ; the child has both arms raised. (For Notice of the Painter s life, see No. 121.) 117 THE CHATEAU OF ROSENAU. Painted hy J. M. W. Turner, R.A. Canvas, 38 X 49 inches. Eent t)g (George Jgolt, iSsq*, of EiberpooL OSENAU was the summer residence of Ernest, Duke of Saxe- Coburg-Gotha, and birthplace of the late Prince Consort of England. In the picture an avenue of trees faces the spectator, and above, on the right, the chateau rises into a golden sky. Below is a cluster of people, and nearer a man is seen with a fishing rod, and a woman seated on the ground. A broad sheet of water is in tbe foreground, on the left bank of which rise stately trees. (For Notice of the Painter s life, see No. 73.) 118 THE SUN RISING IN VAPOUR. Painted by J. M. W. Turner, R.A. Canvas, 34 x 44 inches. flent (George O^fiaiiman, (J^sq* JTN the foreground, to the right, are fisherfolk ; fish is strewn on the sand ; a boat, with large brown sail, lies on the shore, and beyond it the white cliffs are distinguished in the hazy atmosphere. To the left, other boats are seen, evidently just arrived ; many people are gathered round them. The glory of the reflected sun occupies the centre of the picture. In the distance many other craft are seen, and, among them, two war ships. (jPor Notice of the Painter^ s life, see No. 73.) 119 A LANDSCAPE. Painted hy T. Gainsborough. Canvas, 11^ x 13^ inches. Hent 3. ^P. W^tXixmy iJ^isq. TUDY of a landscape in an effect of storm. On the left an old oak has a mass of large-leaved herbs at its foot. {For Notice of the Painter's life, see No. 92.) 120 A SEA SHORE. Painted hy J. M. W. Turner, R.A. Canvas, 13 X 17 inches. Eent tip J^enrg IBrafee, dl^sq^ ^=.^^^%,=^ IGUR-ES and boats in the foreground ; low-lying coast seen beyond the sea on the horizon— evening sky. (For Notice of the Painter's life, see No. 73.) 121 LADY ELIZABETH FOSTER, AFTERWARDS DUCHESS OF DEVONSHIRE. Painted hy Sir Joshua Reynolds, P.R.A. Canvas, 2^ X 24^ inches. Eent fig tje llBufee of Bebonsjire. HE second daughter of the fourth Earl of Bristol, and married, as her second husband, William, fifth Duke of Devonshire, as his second wife ; Georgiana (No. 92 in the present collection) being his first. Lady Elizabeth Foster was the alluring widow of whom Gibbon said " that no man could withstand her, and that if she chose to beckon the Lord Chancellor from his woolsack, in full sight of the world, he could not resist obedience. " Half-length portrait, painted in 1787, and exhibited at the Eoyal Academy in 1788 ; three-quarter face, turned to the right ; white dress ; lace collar, tied with pink ribbon ; blue sash ; powdered hair. Sir Joshua Keynolds was born in 1723, and educated at Plympton St. Mary, Plymouth. He came to London at the age of 18 as a pupil of Hudson, and remained with this master less than two years. Return- ing home, he painted many portraits at low prices (70^.). In 1749 he sailed with Commodore Keppel to the Mediterranean, and reaching Rome, stayed there for two years, directing his studies chiefly to Michael Angelo's works in the Sistine Chapel. Working there during bad weather he caught cold and became deaf, and was compelled thereafter to use an ear trumpet. He returned to London in 1752, and settling soon after in St. Martin's Lane, quickly rose in reputation. In 1753 he painted the portrait of Commodore Keppel, which laid the foundation of his fortune. He painted many heads at this time at 12 guineas each. Henceforward his progress was very rapid, and among his sitters were many of the famous men and women of his time. In 1768 he was knighted, and became first President of the Royal Academy. From this time he worked with almost uninterrupted assiduity and success, producing many hundreds of pictures. He died February 23rd, 1792. 122 MARGARET GEORGIANA, BORN POYNTZ, FIRST COUNTESS SPENCER. Painted by T. Gainsborough, R.A. Canvas, 30 X 25 inches. Hent iSarl Spencer, 1^.^. ^^^HE eldest daughter of the Right Honourable Stephen Poyntz, of Midgham, Berkshire. She was born in 1737, and married the Honourable John Spencer, afterwards Viscount Althorpe and Earl Spencer. She died in 1814. She was the mother of the beau- tiful Duchess of Devonshire, whose portrait is in the present collection (No. 92). To the waist, seated ; wearing a riding-dress ; the hands crossed. {For Notice of the Painter''s life, see No. 92.) 122a PORTRAITS OF THREE CHILDREN IN A LANDSCAPE. Painted by George Romney. Canvas, 58 X 42 inches. Uent l)g Mmx 3^* Hittle* /^Ji^HE child to the right of the picture in red frock and green sash, and with a coloured ribbon in her hair, is showing a piece of blue needlework to a pretty child in white. To the left is a handsome boy in crimson, with a deep white collar, white stockings and black gold- buckled shoes. To the right is a large easy chair, with some drapery upon it, and a black and tan spaniel, {For Notice of the Painter'' s life, see No. 95.) Room III. :o:- 123 A VIEW OF AMSTERDAM. Painted by Jan van Go yen. Wood, 8 X 10 inches. JTN the foreground some peasants are resting at the foot of two pollard trees ; beyond, over the flat country, is Amsterdam, lying low, with its buildings and its windmills seen against the sky. This simple composition, with its delicately painted clouds, is characteristic of Van Goyen. Jan. van Goyen was born at Leyden in 1596, and studied under various masters of little note. While still young he made a tour through • France, and on his return home received some instruction from Essias van de Velde. He was one of the earliest Dutch landscape painters, and his works are marked by great truth and observance of nature, and the drawing is admirable. His daughter married Jan Steen. He died at the Hague in 1666. 124 GOOD FRIDAY.— THE VIRGIN WITH THE HOLY WOMEN. Painted by Paul Delaroche. Canvas, 10 X 20 inches. Eent ms. ti^iSicMal, of ?3arts. -^^^^si^:^^!^^:::^^^^ HE slight figure of the Apostle John, in his eagerness to catch a glimpse of the terrible procession to Calvary as it passes beneath the window, reaches across the heavier form of Peter, who holds him back for fear of his being seen and recognised. On the floor at their feet is Mary Magdalene, overcome with grief at the fate of her Master. In the centre of the picture is the kneeling figure of the Mother of Christ, and behind her other women are kneeling in grief and terror. The excited tumultuous crowd outside is suggested by the irregular carrying of the spears and flags of the Roman soldiery. The gloom that pervades the scene is not relieved by the introduction of any bright colour. It is wholly sad, colour in sombre tone and solemn shadows prevailing throughout. The painter, in his intense reverence for the subject, wrote : When I think of what is due to the portrayal of that scene, and of what passes in that room at the moment when the noise of the procession is loud in their ears, it is easy to understand that my head and heart fail me, and I am ready to destroy my canvas." The picture attracted great attention when it was exhibited in London in the International Exhibition in 1862. {For Notice of the Painter^ s life, see No. 10.) 125 EASTHAM. Painted by Robert Tonge. Canvas, 13 x 20 inches. Hent Olrorgc Mae, of iSitkrn^eatr^ J^ULL-FOLIAGED trees bordering a rocky shore ; long slabs of brown rock in the foreground ; dark clouds are to the left, and a flood of light beyond the trees. 126 THE OLD HORSE. Fainted hu Edmund Brtstow. Canvas, 18 X 15 inches. >=^^®^^=^ HERE is much that is beautiful in this small work. The decrepit frame, the docile, patient head, the worn skin, and the weary eye, point to the near close of a life of quiet labour. To the left of the picture is a thatched shed, outside the door of which is a man with a dog beside him. In the foreground are some dockleaves, and in the tranquil landscape beyond, are two cows. Edmund Bristow was born at Eton in 1787. He exhibited only on one occasion, viz., at the British Gallery ; it was a sort of notoriety it is said he despised. It is believed to have been Landseer's opinion that there was no one to equal him in the painting of a horse. Few details are known concerning his life, but he appears to have been an eccentric character. It is reported that on one occasion he refused to sell a picture to a distinguished lady of the aristocracy when she paid a visit to his studio, on the groand that he had a horror of being pationised. The Queen possesses several of his paintings. He died at Windsor in 1876, having outlived all his old friends, and passing his latter years in such retirement that he was scarcely known to the greater part of his fellow townsmen. 127 A VIEW NEAR PAEIS. Fainted by Georges Michel. Canvas, 20 x 27 inches. ilent tig f . 1. J^eseltine, (J^isq, ■ — -trT-^^::§j^i^^^::^^rs^ ■ HHEE figures and some cattle in the foreground, the middle distance darkly shadowed. Clouds floating upon an azure sky. Georges Michel was born in Paris about 1763. His father was employed in the Paris markets, but he himself was placed with a village curate on the plain of St, Denis, and afterwards apprenticed to the painter Leduc. At one time he was the painting companion of Louis Bruandet, at another he was living in the house of a noble amateur, whose pictures he finished. His favourite subject was the great plain which stretches from Montmartre to the north of St. Denis. In spite of the small prices he received for his pictures he contrived to pass his life in modest comfort. He died in Paris in 1843, and is represented in the Luxembourg by two examples. 128 "SWEETEST EYES WERE EVER SEEN." Painted In/ Sir J. E. MiLLAis, Bart., R.A. Canvas, 39 x 28 inches. Hent tj) Mx^. lEberett Stag, GIRL of twelve or fourteen, with an intensely sweet face, holding before her a large basket of violets. She wears a simple coloured print dress, and in the dark background behind her may be seen a bank of primroses and violets. Painted inil88L The title of this picture was suggested bj the beautiful poem, by Mra. Barrett Browning, of Caterina to Camoens," in which Caterina, dying abroad, refers to the poem which Camoens wrote, wherein he recorded the sweetness of her eyes. " When I heard you sing that burden In my vernal days and bowers, Other praises disregarding, I but barkened that of yours — Only saying, In heart playing, ' Blessed eyes mine eyes have been, If the sweetest, His have seen I ' " 129 COMPTON WINYATE, THE SEAT OF THE EARL OF NORTHAMPTON. Painted hy F. H. Henshaw. Canvas, 20^ X 28 inches. N the foreground some cattle are being driven on the roadway through the park ; on either side are stately trees, between which can be seen the mansion surrounded by foliage, beyond which is a wide stretch of country. A picture full of light and atmosphere. 130 THE DULL LECTURE. Painted hy G. S. Newton, R.A. Canvas, 16| X 12 inches. -~SL^j^^^"^i$^rS^3^-^^- YOUNG and beautiful lady, in a white satin dress, from which one foot emerges, is seated in a red-covered chair, her right hand raised listlessly to her cheek, the elbow resting on some closed books that lie on the red-covered table beside her ; her left hand falls wearily on the arm of the chair. She hears and not hears the dull lecturer. " Frostie a^e, frostie age, vaine all your learning, Drowsie page, drowsie page, ever more turning, Young head no voice will heed, Young heart's a reckless rover. Young beautie, while you read. Sleeping dreams of absent lover." — (Old Song.) Gilbert Stuart Newton, E.A., was born at Halifax, Nova Scotia, in 1794, and first studied art with his uncle, Gilbert Stuart, at Boston. In 1817 he went to Italy, and visiting Paris, came to London, and entered, as a student, the Royal Academy, where he was elected an Associate in 1828, and a Royal Academician in 1832, in which year he visited his native country and married there. He enjoyed the friendship and esteem of Washington Irving and Charles R. Leslie. His last picture, Abelard," was shown at the Royal Academy in 1833, and it was about this time that he began to show signs of aberration of mind. He died at Chelsea in 1835, at the age of 40. 131 CHRISTMAS EVE. Painted hj F. Streitt. Canvas, 14 X 23 inches. JTN this Polish village, a merry party, with jingling sleigh-bells^ are betaking themselves to some hospitable roof to spend Christmas Eve. On their way they pass a villager, also journeying to some friendly hearth, with his violoncello. The lighted windows of the cosy village houses, with their suggestive warmth and comfort, form an effective contrast to the coldness of the world outside, where the snow lies deep in the keen frosty air. 132 THE MARKET PLACE AT THE FOOT OF THE RIALTO. Painted hy Henry Woods, A.R.A. Canvas, 7| X 11^ inches. Ecnt t]} Houis ?Rutt), iSgiq* 132a A CUP OF TEA. Painted hy A. E. Plassan. Wood, 10 X 7^ inches. Eent ffienrg ?l?ucits M*^. -r'5~^6:^£j^(^:^;^2r5~^y YOUNG lady is daintily seated in demi-toilette at a tea table, the train of her gown trailing on the floor ; her foot is on a blue- covered footstool. The China tea-service stands on an elegant little table with red-covered top ; behind her is a richly ornamented folding screen. 133 WHERE BIRCHES WAVE AND ALDERS SIGH. Painted hy J. L. riCKERiNG. Canvas, 12 X 20 inches. 134 CONQUERED, BUT NOT SUBDUED. Painted hy T. Faed, E.A. . Canvas, 9X13 inches, Ecnt bj) Ololonel IB. Babies, ^Itjcrman. N this homely cottage the good-natured looking mother, who is seated peeling potatoes, has had reason to overawe the small disturber of the peace, and to place him apart against the wall for a time. On the opposite side of the picture are the more dutiful children, whose comments do not tend to soothe his rebellious spirit. Beyond them may be seen the aged grandmother, and from the sunny little window is a glimpse of the country. 135 FOOD FOR POWDER. Painted by F. Roybet. Canvas, 17 X 11 inches. MUSKETEER in the picturesque garb of the seventeenth century. Red costume, white collar, and rich embroidered scarf. He stands at the foot of some stairs, his large grey felt hat in his right hand, and his musket on his shoulder, its butt inlaid with ivory. Beyond him is a deep archway with a long flight of stairs. 136 THE DREAM OF DANTE. Painted by D. G. Rossetti. Canvas, 53 X 77 inches. Predellas, 14^ X 33 inches. ilent f osepS ItCuston, (I^gq., of Efncoln. ■ -^^^Ji^^^^^^'S^^^^-^' ^f^ANTE ALIGHIERI first met Beatrice Portinari in 1274 at a May feast given by her father, who was one of the chief citizens of Florence, He was then near the end of his ninth year. He describes the dress she wore on that day and follows by saying that " the spirit of life which hath its dwelling in the secretest chamber of the heart, began to tremble so violently, that the least pulses of my body shook therewith . . . and from that time forward Love quite governed my soul." After the lapse of nine years, he writes : ^' the same wonderful lady appeared to me, dressed all in pure white, between two gentle ladies elder than she . . . and by her unspeakable courtesy saluted me with so virtuous a bearing that I seemed then and there to behold the very limits of blessedness." The Dream is recorded in La Vita Nuova/' Dante and Beatrice being at that time 25 years of age. After speaking of the illness from which he was suffering, he says : ^' Then feeling bewildered, I closed mine eyes ; and my brain began to be in travail as the brain of one frantic. . . . And I seemed to look toward Heaven, and to behold a multitude of Angels who were returning upwards, having before them an exceedingly white cloud. . . . Then my heart, that was so full of love, said unto me, 'It is true that our lady lieth dead and it seemed to me that I went to look upon the body w^herein that blessed and most noble spirit had had its abiding place. And so strong was this idle imagining that it made me to behold my lady in death ; whose head certain ladies seemed to be covering with a white veil, and who was so humble of her aspect that it was as though she had said^ ' 1 have attained to look on the beginning of peace.' " Dante, in purple raiment and walking as if in sleep, approaches the dead Beatrice, who lies on a red-draped couch, her hands crossed on her bosom. Two green-clad ladies, sad of aspect, tenderly suspend for a moment the purple pall above her, which is full of May bloom, while the figure of Love, draped in passionate red and with filmy red piuions, bends forward and kisses the cold lips, which Dante's had never touched. One hand grasps a winged arrow and a branch of rosemary — the other holds the hand of Dante, whom he has led hither. The floor is strewn with poppies symbolical of sleep, and on either side, through open doorways, are seen glimpses of the City of Florence, which sat solitary " for his lady's death. (For Notice of the Painter''s life, see No. 159.) 137 THE SCULPTOR'S GALLERY. Painted hy L. Alma Tadema, R.A. Wood, 24 X 18 inches. Ecnt bp (Colonel IB, HBabies:, ^Itinman* ^TN the centre of the picture is a full-length bronze statue, standing on a square red pedestal ; an attendant is about to move it for the better convenience of the Roman gentlemen who^ with the eye of the connoisseur, are criticising its merits. They wear the noble garb of the period. Two ladies are present, one sitting. In the foreground to the right^ upon an elegant inlaid floor, is a table with a bronze lioness mounted on a piece of green marble. In the background is the famous marble group of the Laocoon and two seated statues of Roman matrons, and beyond is seen an open court, festooned, and with a glimpse of sky above the tiled roofino^. 138 GLOUCESTER CATHEDRAL. Painted by James Webb. Canvas, 13^ X inches. HE square white tower of the cathedral rises majestically into the carefully painted sky, and its nave stands high above the ordinary buildings of the City. In the foreground is a wharf, with barges. The picture is excellent in composition, and full of delicate light. 139 THE CHALLENGE. Painted by W. Q. Orchardson, Esq., R.A. Canvas, 29 X 45 inches. /^•i^HE scene is laid in an old oak- panelled chamber, on the tapestried stool in which is the Puritan's bible. He grasps tightly the hand of his sincere friend, who endeavours to dissuade him from accepting the challenge so impudently offered on the point of a sword. His honour, however, suggests that he should take the unwelcome missive. 140 VENETIAN WASHEEWOMEN. Painted hy 0. Van Haanen. Canvas, 33 X 23 inches. HE stalwart girl facing the spectator is preparing for her work. Her red cap becomes her. Her companion^ in blue petticoat, with one foot in the water, has already commenced upon the heap of gay clothing on the stone steps. In the dark archway behind two others are seen at work. 141 MEKCATO VECCHIO. Painted by William Loqsdail. Canvas, 14 X 10 inches. Eent 65 tf)e artist. 142 " THE DEER PARK AT FONTAINE LEAU. " Painted by RosA BoNHEUE. Canvas, 22 X 18 iiich(3S. Eent tp EortJ Armstrong, ($tM. SECLUDED spot where the sun's rajs, findmg their way between the forest leaves, hght up patches of the leaf-strewn ground, and shimmer on the brown hides of two deer, one of whom, in conscious security, is lying with closed eyes on the velvety sward, while its companion, keenly on the alert, stands by its side, not to be put off its guard by any appearance of tranquillity. 143 TEESPASSEKS. Painted hy William Davis, Canvas, 13 X 16| inches. Eent (^Breorge IRae, l^irkenieati* {For Notice of the Painter's life, see No. 167.) 144 THE GENTLE MUSIC OF A BYGONE DAY. Painted hi/ J. M. Strudwick. Wood, 31 X 24 inches. Unit t)|) 3fo^^fP5 MxorXf 3£0q» EATED on an elaborately carved and inlaid chest, a lady, with pensive and beautiful face, is playing on a cy tliern. Her raiment is arranged about her in graceful folds. Her eyes look down on a music book held open for her by her companion, who is seated at a lower level. Beyond is a third and equally lovely figure, demurely sitting with her hands crossed on a zyther, listening with contented enjoyment to the tuneful strains. Behind her is an organ, its painted doors thrown open^ and to the left, further away, a stained glass window is seen. 145 THE VALLEY OF THE NERVIA. Fainted by AYilliam Logsdail. Canvas, 10 X 14 inclics. Eent tf)e Artist 146 CLAUDIO AND ISABELLA. (From Shakespeare's " Measure for Measure.") Painted by W. Holman Hunt. Canvas, 30| X 17^ inches. Hent bi) iirSomas .^isfiton, ^n^, gi«f of if5lancf)ej3ter. N the City of Vienna in the sixteenth century there was a law that a man convicted of adultery should lose his head. Claudio, a youth, gentle by birth, was convicted and condemned to death. His sister Isabella, virtuous and beautiful, begs his life of the Lord Deputy Angelo, who, regarding her great beauty and the " sweet order of her talke," demands the forfeit of her honour as the price of his release. Abhorring both him and his suit, by no persuasion would she yield to this condition, and the execution of Claudio is ordered. The head, however, of a prisoner, who had died of fever, is palmed off on Angelo as Claudio's, while Isabella is told that her brother is dead ; exasperated at this, she makes her case known to the Duke Yincentio, who pardons Claudio, compels Angelo to wed Mariana, who had been abandoned by him when her dowry was lost, and marries Isabella himself. The picture represents the interview of Isabella with her brother, in which she recounts to him the proposal of Angelo. Claudio at first applauds her conduct, but overcome by the fear of death, strives to persuade her to consent to dishonour. Claudio. — " Ay, but to die, and go we know not where ; To lie in cold obstruction, and to rot ; This sensible warm motion to become A kneaded clod ; * * * Sweet sister let me live." Claudio stands with his back to the light, with anxious, vacant look, his right hand catching absently at the iron fetter that chains him to the wall. He wears a crimson tunic, bordered with fur, across which, at the waist, is a steel chain, to which is attached a velvet pouch. His shoes are the long pointed ones of the period. Pressing her two hands to his heart in sisterly distress, her right wrist grasped tightly by Claudio^ stands Isabella. She is in her nun's apparel, having quitted the peaceful seclusion of her convent in the hope of saving her brother's life. In the recess of the prison window hangs a mandolin, and beyond the iron bars is seen the steeple of a distant church ; against the vivid sky, across which fleecy pink clouds are passing in the brilliancy of an early summer evening, are branches of an apple tree laden with blossom. This picture was painted in 1850. 147 THE VALE OF EEST. Painted hy Sir J. E. MiLLAis, Bakt., R.A. Canvas, 41 X 67 inches. " To where beyond these voices there is peace." ^JTN a convent garden at sunset a grave is being prepared by two nuns. The younger, a novice, with her white coif thrown back from her face, is in the grave, vigorously throwing out large spade- fulls of earth ; the elder sits on the overturned headstone, holding a rosary, her black gown sweeping the dank coarse grass. The garden wall is hidden by thickly-set Cyprus trees, and against the luminous evening sky stand the still poplars. 148 THE WIDOW. Painted hy C. Lang^e, Fils. Canvas, 37 X 40 inches. Eent J)g Mx%. iaatpn. 149 OPHELIA. Painted hy Sir J. E. MiLLAis, Bart., R.A. Canvas, 28^ x 43 inches. JTN the shadow of the overhanging leaves, Ophelia is floating to her death. Her face, with its half-open lips, chanting snatches of old tunes, and her hands, grasping their " weedy trophies," rise above the water. Her garments are losing their last reserve of buoyancy ; and when she has cleared the sandy shallow through which she is now passing, she will sink and yield her life with scarcely a struggle. " There, on the pendant boughs, her coronet weeds Clambering to hang, an envious sliver broke, When down her weedy trophies, and herself. Fell in the weeping hmdk.'' —Hamlet . Act 4. Scene 7. Of this picture Mr. Ruskin wrote : " The loveliest English landscape, haunted by sorrow." The background was painted on the River Ewell, near Kingston. Miss Siddall, afterwards the wife of Dante Gabriel Rossetti, was the model for the face. The picture was painted in 1851, and exhibited at the Royal Academy in 1852. 150 A COAST SCENE. Painted hy William Collins, R.A. Canvas, 22^ X 26 inches. William Collins was born in London in 1788. His father, a native of Wicklow, in Ireland, was a man of literary abilities, and the friend and biographer of George Morland, he carried on the business of a picture dealer in order to provide means for supporting his family. As a boy William Collins was allowed to watch the painter, George Morland, at his work, and in 1807 he obtained admission as a student into the Royal Academy. Even at this early stage in his hfe he began to exhibit at the annual exhibitions. In 1812 his father died, leaving his family penniless, and wholly dependent on the young artist for the means of subsistence. In the year 1814 his pictures, in the opinion of his fellow artists, showed such qualities of pathos and tenderness, that he was elected an Associate of the Royal Academy, and, six years later, a Royal Academician. He visited the continent on several occasions, and in 1836 spent nearly two years in Italy, each tour affording him materials for numerous paintings. He died in London in 1847. His favourite and popular subjects are coast-scenes and landscapes, animated with rustic figures, often of children; "As happy as a King," and Rustic Civility," may be mentioned as being widely known and appreciated. 151 TEE ENEMY SOWING TARES. Painted hy Sir J. E. MiLLAis, Bart., R.A. Canvas, 43 x 33 inches. ATAN is here represented as an aged evil-minded figure in dark gabardine, with wild locks flowing about his face. With grotesque energy, and delight in evil, he is busily sowing the ill seed. "Another parable put He forth unto them, saying : 'The Kingdom of Heaven is likened unto a man which sowed good seed in his fields ; but while men slept his enemy came and sowed tares among the wheat and went his way.' " — Matthew XIII., 24, 25. Exhibited at the Royal Academy, 1865. 152 THE GIFTS OF THE FAIRIES. Painted hy Fkank Hqll, R.A. Canvas, 23|- X 17^ inches. WO peasant children, partially dressed, are unable to resist the curiosity of coming down stairs in the early Christmas morning to see what Santa Glaus has brought them. They are hand-in-hand. The elder child, with bare shoulders and wearing a rough red petticoat, is coming boldly forward, gazing at the objects ranged on the floor ; the younger, still in her nightdress, appears more timid, and is glancing up to her left, towards a wall where hangs a jackdaw's cage, the stirring within which has doubtless caught the child's ear. Beneath the cage is a hardwai'e dish holding water for the bird. Painted in 1878 for the present owner, and exhibited at the Royal Academy in 1879. 153 AN INCIDENT IN DEEE STALKING. Painted hy Sir Edwin Landseer, B.A. Canvas, 18| X 25 inches. Hcnt (SJeorge Jgolt, iS^q., of HiberpooL Sir Edwin Landseer was Lorn in London in 1802. He was the youngest son of John Landseer, the well-known engraver. His father tanght him, and is said to have sent the boy at an early age into the fields to sketch from nature any animals he came across. Some drawings in South Kensington Museum were executed by him when -^five years old. His first exhibited picture was painted when thirteen years of age. Three years later he entered the schools of the Royal Academy. In 1826 he became an Associate, and, a few years after, an Academician. His pictures are universally known, and he is " the unrivalled painter of animal life." In 1850 he received the honour of knighthood. He died at his house in St. John's Wood in 1878, and was interred in St. Paul's Cathedral. 154 THE CURE'S GARDEN. Painted hy Charles H. M. Keer. Canvas, 24 X 32 inches. 155 THE JUGGLING GIRL. Painted hy Sir Frederic Leighton, Bart., P.R.A. Canvas, 42 x 24^ inches. Hent fig EoctJ JgiUingtion. GRACEFULLY posed figure, nearly nude, juggling with five balls. She stands on a leopard skin, red and white drapery fall low down over a seat to her right ; a brazen vase, a sword, and some rings, suggestive of jugglery feats, are at her left ; and behind her, clearly outlining her figure, hangs a white screen, bordered with a Grecian design. Beyond, and on either side of the screen, is an orange grove, plenteous in fruit ; and above it is a pale sky, with warm, sunny clouds. 156 ONLY A SHOWER. Pamted hy Gr. H. Mason, A.R.A. Canvas, 18 X 36 inches. Hent Hl, IBebitt, ISssq* ^^^^^^^ OME girls of twelve or fourteen years of age are caught hy a light squall of wind and rain. One of them is repeating an action which was a favourite one wdth the painter, she has set down her milk pail and lifts her hands to confine her loosened hair. {For Notice of the Painter's life, see No. 173.) 157 AURELIA. Painted by D. G. Rossetti. Wood, 17 X 15 inclies. Hent ^m^z i^tae, IBsq., of iSirltenfieatr, ^^^HE picture was originally called " Fazio's Mistress/' hut the painter gave it its present title when he repainted it in 1873. Fazio Avas a Florentine who tried to make a fortune by Alchemy, hut being present when Bartoldo the miser died, he buried the body secretly, and stole his money bags. Being then rich he passed his time in licentious pleasure Avith the Marchioness Atdabella. She is here seated to the left, plaiting her hair, and glancing at her beauty in a mirror. Her dress is white with a band of blue, and a blue jewel is on her finger. At her side is her hair brush and comb, and behind against a rich tapestry is a candle. The picture is signed with monogram, and dated 1863. Repainted 1873. {For Notice of the Pciinter^s life, see No. 159.) H 2 158 THE WHEEL OF FORTUNE. Painted by E. Burne Jones, A.H.A. Canvas, 59^ X 28^ inches. " Turn Fortune, turn thy wheel and lower the proud ; Turn thy wild wheel thro' sunshine, storm, and cloud." AD, but inexorable, the fateful figure turns the wheel. She stands firm, on a platform of rock, against a stone-built wall, working the wheel with her left arm and balancing it against her hip. Her purple drapery is disposed in masterly fashion about the matured form. There may be sorrow and regret in the beautiful countenance, but there is no indecision. The wheel goes round. The sceptred, king, once uppermost on the wheel, is now beneath his slave, whose chained foot presses on the crowned head, while beneath the king is seen the laurelled head of the poet, who, as he disappears, looks ardently and not unreproachfully at the arbiter of his destiny, as if a hope still remained of better fortune. " Wherefore one nation rises into sway, Another languishes, e'en as her will Decrees, from us concealed, as in the grass The serpent train. Against her, nought avails Your utmost wisdom. ... By necessity She is made swift, so frequent come who claim Succession in her favours. This is she So execrated e'en by those whose debt To her is rather praise : . . . But she is blessed, and for that recks not ; Amidst the other primal beings glad, Eolls on her sphere and in her bliss exults." [Dante's Inferno— C2into VII.] This painting was commenced earlier and finished (for the present owner) later than the one in the possession of the Right Hon. A. J. Balfour, but the general design is the same, the difference lying in the feeling and tone of colour, and in the variation of the accessories. 159 ROSA TRIPLEX. Painted hy D. G. Rossetti. Canvas, 19 X 23 inches. — =»I=?=®=f3"= GAINST a background of roses are three small half figures of girls with long fair hair, in red drapery, and finely-wrought bracelets and necklaces, leaning on a balustrade, each with a rose in her left hand. Gabriel Charles Dante Kossetti was born in London in 1828. He was the son of Gabriele Rossetti, who was exiled from Italy for his political opinions and came to London. He entered the Schools of the Royal Academy in 1846, and in 1848 became the prime mover in the famous Pre-Raphaelite revolt. In 1850 he edited " The Germ," a periodical which demonstrated the principles of the brotherhood ; but it was short lived. Among the works painted according to its principles was the " Ecce Ancilla Domini," now in the National Gallery. For the next ten years his chief productions were a series of water colours inspired by passages in the "Vita Nuova" and the " Divina Commedia." In 1860, after along engagement, he married Elizabeth Eleanor Siddall, a girl of characteristic beauty and the model for some of his most famous works. She died in 1862 from an over- dose of laudanum and on the day of her burial Rossetti placed the manuscript of all his poems, as a last gift, in her coffin. In the autumn of that year he removed to Cheyne Walk, Chelsea, and between that time and 1869, produced some of his finest paintings, achieving a splendour of colour that may be compared with the productions of the great Venetians, and has seldom been surpassed in modern times. In 1869 he was prevailed upon to permit the exhumation of his buried manuscripts, and in the following year the first collection of his poems appeared. At this time symptoms of weak health appeared, and he suffered terribly from insomnia. To obtain relief he resorted to chloral, with the customary results. Early in 1882 he went to Birchington, and on the Easter Sunday of that year he died. 160 A HEARTY WELCOME. Painted hy L. Alma Tadema, R.A. Panel, 12 X 36^ inches. Eent Sic ffi^nrp Eljompson, MM. GRACEFUL child, in pale blue, is ardently welcoming the arrival of her mother, who closely clasps her. The mother wears a dark purple shawl over her finely-worked raiment. In her hair are mauve orchids. The two are standing on a sanded walk, in an enclosure rich in architectural construction, and open to the air. To the left is a marble fountain, throwing up the cool water, and close behind them is a recess with a little lamp burning. The court abounds in poppies and sunflowers, palms and vines. Sunlight and shadow are on the square pillars to the left, against one of wdiicli a woman is seen with a babe in her arms, large thistles being in the foreground ; to the right is a cool marble stairway, descending which is the child's father. To his right are seen three majestic pillars, and in the blue sunlit sky beyond are white marble edifices. At the foot of the stairs another child is seen stooping down and calling to a dog that comes running towards her. 161 ARIEL. (FEOM SHAKESPEAEE'S "TEMPEST.") Painted hy Egbert Fowlek. Canvas, 48 X 24 inches. Eent 6}} Uje (Corporation of Uiberpool. >=>§^^<==.- HE airy spirit floats in the stilly night. Below him is a lake^ on the surface of which a heron skims. Beyond its bordering trees the crescent moon rises into the deep starlit firmament. The flying bat bears Ariel along. He is able to assume any shape, or even to become invisible. He was enslaved to the witch Sycorax, the mother of Caliban, who overtaxed the little thing. Liberated by Prospero from the pine-rift where Caliban had imprisoned him, the grateful spirit served Prospero for sixteen years and was then set free. Ariel — All hail, great master I . . . be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds, — to thy strong bidding, task Ariel and all his quality. 162 MAEY. Painted by W. M. Loudan. Canvas, 36 x 28 inches. Eent l)g tf)e Artist " Benignity and home-bred sense, Ripening in perfect innocence." YOUNG girl in black, patiently sitting with her hands before her. Tangled hair falls about her simple face, and in her black hat is a sprig of white flower. 163 POET BANNATYNE. Painted hy William Davis. Canvas, 21 X 30 inches. ^IM CAREFULLY studied richly- coloured bank slopes down to the water. The sun is disappearing beyond the dark ridge of hill, and its last bright reflection is seen in the shallow water. {For Notice of the Painter'' s life, see No. 167.) 164 ISABELLA. Painted by J. M. Strudwick. Wood, 39 X 23 inches. JTSABELLA is mournfully contemplating the empty stand from which her brothers have taken the pot of sweet basil wherein she had placed the head of her murdered lover, Lorenzo. She is robed in rich rose colour, the graceful folds and numberless creases of which show the industry and careful thought of the painter in the carrying out of his design. The robe hangs from her left shoulder, while on the right is white drapery skilfully subdued into harmonious tone with the rest of the picture. Her left hand is pressed to her heart, and with her right she rests her light figure on a pedestal over which falls some dark purple drapery. Through the mediaeval window behind her is seen a pleasant sunny landscape, the' only figures visible therein being the two brothers, bearing away the stolen basil pot. Scattered pieces of the plant, dropped by the brothers in their hasty flight, are on the marble floor. Piteous she looked on dead and senseless things, Asking for her lost Basil amorously ; And with melodious chuckle in the strings Of her torn voice, she oftentimes would cry After the Pilgrim in his wanderings, To ask him where her Basil was ; and why 'Twas hid from her ? ' For cruel 'tis,' said she, * To steal my Basil-pot away from me.' " [ICeats.] Exhibited at the Grosvenor Gallery, 1879. 165 APPLE GATHEREKS. Painted by T. M. Eookb. iLfnt is 3Fosep6 JBtcon, iSsq. 166 LOVE AMONG THE RUINS. Painted by E. BuRNE Jones, A.R.A. Canvas, 39 X 61 inches. ilcnt tj) jFrelinicIt (ilraben, ISstj., of iBaiketoelL UCH that can make life lovely Las gone. A palatial habitation is in ruins, the sculptured marble overthrown, and the usurping briar flourishes and flowers ; yet human tenderness and passion remain. The man, darkly draped and with sensitive frame, takes to his heart w^iih infinite tenderness the frail woman whose heart's fulfilment is in her eyes. She is clothed in a splendour of blue and has one hand in her lover's, while the other is round his neck. Each other's nearness lifts their souls above the sense of calamity. ler THE MERSEY FROM RUNCORN. Painted hy William Davis. Canvas, 26 X 46 inches. Eent George Mae, of i3itfeen|)eat(. J^EQM the rich broken land where the cattle are grazing, a wide expanse of lowland is seen, green with its market gardens. Dark clouds to the left are drifting over the brilliantly lighted sky, with its serried lines of white clouds, and in the water are seen the numberless tones reflected from above. William Davis was born in Dublin, 1812. His father was a solicitor, whose profession he intended his son to follow, but the natural taste for art was too strong, and his son entered the Koyal Dublin Society as a student ; among his fellow-workers was Foley, the sculptor. When his studies were completed he set up at Dublin as a portrait painter, but meeting with small success in that line, he removed to the banks of the Mersey, where better fortune awaited him. In due time he became a member of the Liverpool Academy, at that period the most important Art Society in the provinces. He exhibited constantly at the Eoyal Academy. In 1870 he removed to London, where he died in 1873. His sketches of herbage are vividly but harmoniously green. The subjects he peculiarly favoured were wide stony wastes, terminating on sea sands. He was a prominent repre- sentative of the Liverpool school of painters, which flourished in the first half of the present century. This school was one of the latest survivals of the social state prevailing in England before the intro- duction of railways. 168 A HUGUENOT, ON SAINT BARTHOLOMEW'S DAY, REFUSING TO SHIELD HIMSELF FROM DANGER BY WEARING THE ROMAN *' When the clock of the Palais de Justice shall sound upon the great bell at " daybreak, then each good Catholic must bind a strip of white linen round his " arm, and place a fair white cross in his cap." — Vide the order of the Duke of Guise. ROMAN Catholic lady, during a stolen interview, is entreating her Protestant lover, with the most moving supplication, to wear the white scarf. She clings to him, and endeavours to tie it round his arm, but he gently prevents her, looking down upon the sweet face with grave and loving eyes. The ivied wall behind the lovers is weatherworn, and lichened. On the ground to the right creeps the nasturtium in brilliant flower, and to the left is the Canterbury bell. The lady wears a black figured dress with puffed sleeves let in with yellow at the shoulder. Her lover's tunic is rich purple ; black hose and shoes ; white frill round the neck, and a gold chain, from which a medallion is suspended. The model for the lady was a Miss Ryan, long since dead ; and Mr., now General, Lempriere was the model for the Huguenot. The picture was painted in 1851, and exhibited at the Royal Academy in 1852, where crowds stood before it all day. The painter at that time was not twenty-three years of age. CATHOLIC BADGE. Fainted hy Sir J. E. Millais, Bart., R.A. Eent miWn, (^sq., of ^mWmAz-Jfmu 169 THE GOOD SAMARITAN. Painted hy William James Muller. Canvas, 22 X 34 inches. T the foot of a group of palm trees the unfortunate traveller is being tended by the good Samaritan^ who, richly robed, stoops down to succour him. A little distance off stand palm and other trees, and beyond is a dark range of desolate mountains, above which is the light of the setting sun. Heavy clouds are to the right above the broken country. William James Miiller was born at Bristol in 1812. His father, of German nationality, was curator of the Bristol Museum. He was at one time intended to be an engineer, but his taste for art soon became evident. He received his first instruction from J. B. Pyne, and in 1833 his first picture was exhibited at the Koyal Academy. He visited the continent shortly afterwards, studying much from nature, and in 1838 travelled in Greece and Egypt; retarning with a number of interesting works, among them " Prayer in the Desert," and " A Street Scene in Cairo." In the year following he settled in London, and two years later published " Picturesque Sketches of the Age of Francis I,," which greatly extended his fame on the continent. He also joined, at his own expense, an expedition sent by the Government to Lycia, and from valuable sketches he made there produced the pictures which were exhibited during the next few years. In 1845, Miiller left London for Bristol for the benefit of his health, but he died there the same year of heart disease. His w^orks are much esteemed, and are considered to be of high artistic value ; he is one of the chief painters of Architectural subjects of the past generation, and his death at the early age of thirty-three closed a career of considerable achievement and much promise. 170 AN IDYL. Painted hy Maukice Greiffenhagen. Canvas, 62 X 31^ inches, Uent f)g tje (^Corporation of EtberpooL — =• oS=®^ = N grass-land, abounding in white marguerites and scarlet poppies, and lit by a low red sun^ a young shepherd is clasping in his arms the fair form of his beloved. Her rich-coloured hair falls over her shoulders and far down till it is lost m the beautiful blue of her raiment, against which the poppies shine in all their splendour. There are no strong shadows and no vivid lights in the picture, and one is conscious of the event portrayed rather than of its being paint. The execution is equal to the tenderness and beauty of the conception ; a glimpse of dreamland, scarcely outlined yet amply comprehended. " And on her lover's arm she leant, And round her waist she felt it fold, And far across the hills they went In that new world which is the old. ***** And o'er the hills and far aSvay, Beyond their utmost purple rim. Beyond the night, across the day. Thro' all the world she follow'd him." Painted hy Sir J. Noel Paton, U.S.A. Canvas, 111x8 inches. Hent SJofitt lolison, iSsq., of '^mlt^. ■ tr-T-^z:^j:^kLS::^y^~~y IR GALAHAD was the son of Lancelot and the fair Elaine (not " the Lily Maid of Astolat and thus was fulfilled a prophecy that Elaine should become the mother of " the noblest Knight that was ever born." He carried a snow-white shield, on which Joseph of Arimathea had made a cross with his blood. After divers adventures he came to Sarras, where he was made King, was shown the Sangreal, and died. Then " suddenly a great multitude of angels bear his soul up to heaven, and sithence was never no man that could say he had seen the Sangreal." He was the only Knight who could sit in the siege Perilous, a seat reserved for him who should achieve the quest of the Holy Grail. It appears certain that the Arthurian legends mean that Sir Galahad saw with his bodily eyes, and touched with his hand, ^' the incarnate Saviour," reproduced by the consecration of the elements. " Others see the transformation by the eye of faith only, but Sir Galahad saw it bodily with his eyes." — [Sir Thomas Malory, 1470.] " So pass I hostel, hall and grange, By bridge and ford, by park and pale, All-armed I ride, whate'er betide. Until I find the Holy Grail. " 172 CALIBAN. (FROM SHAKESPEARE'S " TEMPEST.") Painted hy Sir J. Noel Paton, R.S.A. Canvas, 33 X 49 inches. Hfttt bp Bennp, (fFgq.» ) of Dumbarton. ^^^HIS strange creation of Shakespeare may be taken as symbolical of the heavy element of earth, as Ariel (No. 161 in this collection) is symbolical of air. The magical world of spirits which the wand of Prospero has assembled on the island is only faintly reflected on Caliban's mind ; yet^ despite his rude nature and hideous deformity, he is not insensible to the sounds and sweet airs " that come about him. Seated on the sand in the burning noon-day sun, his ear catches the curious sounds, the embodiments of which float above him in the form of beautiful women. The sunlit ocean lazily laps the level sands, and the distant rocks are bathed in sunlight. Caliban — . . . The isle is full of noises, Sounds and sweet airs that give delight and hurt not. Sometimes a thousand twanging instruments Will hum about mine ears ; and sometimes voices That, if I then had wak'd after long sleep Will make me sleep again : and then in dreaming, The clouds methought would open and show riches Ready to drop upon me ; that when I wak'd I cried to dream again. It has been surmised that the idea of this character was derived from the following passage of Eden's " History of Travayle in the West and East Indies," published in London in 1577. " Departing from hence they sayled to the 49 degree and a halfe under the pole antartike ; where, being wyntered, they were inforced to remayne there for the space of two monethes ; all which time they sawe no man, excepte that one day by chaunce^ they espyed a man of the stature of a ginnt, who came to the haven, daunsing and singing, and shortly after seemed to cast dust over his head. The captayne sent one of his men to the shore with the shyppe boate, who made the lyke signe of peace. The which thing the giant seeying, was out of feere, and came with the captayne's servaunt to his presence into a little ilande. When he saw the cap- tayne, with certayne of his company about hym, he was greatly amazed and made signes, holding up his hands to heaven, signifying thereby that our men came from thence. The captayne caused him to eate and drynke, and gave him many things and among others a great lookyng glasse, in the which as soono as he sawe his owne lykenesse was sodaynly afrade, and started backe with such violence, that hee overthrewe two that stoode nearest about him." This picture was painted in 1869, and exhibited at the Royal Academy in that year. 173 THE EETURN FROM PLOUGHING. Painted hy G. H. Mason, A.R.A. Canvas, 10^ X 29 inches. --t..5^e:^-^^r5::^9.,a.j,-^— . HE weary horses are pacing homeward after the long day's labour. The comfortable barns and farm buildings are in sight. By the leading horse is seen the lad who has charge of them. Two young girls, one in white, with the pretty rustic bonnet and frock, and the other in dark clothing, stooping down to get water from the spring, are on the right. The sun is setting over the rich English landscape, its light catching the cottage window, and the rest and tranquillity of evening are at hand. George Hemming Mason was born at Wetley Abbey, in Worcester- shire, in 1818. He studied, by his parents' wish, for the medical profession, but abandoned it, at the age of 26, for art. He travelled on the Continent with his brother, and eventually settled in Rome for several years, from which place he contributed many pictures to the Exhibitions of London and Paris j while there, news of financial disaster at home reached him, and for a time he was thrown entirely on his own resources. In 1857 he returned to England, and thenceforward all his subjects were taken from the neighbourhood of his birthplace, where he partially resided. In 1865 he settled in London, and was elected Associate of the Royal Academy in 1868. He died in 1872. I 174 "FOR MOTHER'S BIRTHDAY. Painted hij Mrs. Jopling-Rowe. Canvas, 29 X 23^ inches. Uent lif) tje Artist PRETTY child, full face, with her hair falling on either side and tied with pink ribbon, which appears in a bow on the top of the head. She is holding a glass vase full of violets. A grej-toned back- ground. A tender and beautiful picture of childhood. 175 THE FEKEY, A DAINTY FARE. Fainted by G. H. BouGHTON, A.R.A. Canvas, 22 X 19 inches. Y the quaint buildings on the old-fashioned landing-stage a young lady in summer attire, and with a basket of roses, is about to bo ferried across the river by the old boatman who has answered to her summons. He seems not ill-pleased with so dainty a fare. In the distance the reach of the river is seen with busy craft. 176 LINGERING LIGHT. Painted hy W. Gilbert Foster. Canvas, 30 X 50 inches. " Lit by a low, large moon." HIS garden of lilies, with its bee-hives and flower-pots, overlooks a wide stretch of shore, where tranqnilly washes the incoming tide. Above the line of cliff lie the evening clouds in the pale light of the moon. 177 A YORKSHIRE MOOR. Painted by E. J. Niemann. Canvas, 9 X 24 inches. Edmund John Niemann was bom at Islington in 1813. In his early life he was engaged as an underwriter at Lloyd's, but relinquished this employment in 1839, and settling in High Wycombe, determined to become an artist. He painted much in the open air, and from the year 1844 was a constant exhibitor at the Royal Academy. He died in 1876. His pictures have much poetic feeling, though the colouring is sometimes dull. A collection of his w^orks was exhibited at Nottingham in 1878. 178 SIR LANCELOT. Fainted hy Sir J. NoEL Paton, U.S.A. Canvas, 11^X8 inches. IR LANCELOT was the son of Ban, King of Banwick or Brittany. He was stolen in infancy by Vivien ne, the Lady of- the Lake, who brought him up until he was presented to King Arthur, and knighted. He w^as the strongest and bravest of the 150 Knights of the Round Table. King Arthur chose him to conduct Guinevere, afterwards Queen, to court, and this was the occasion when that disloyalty began which lasted to the end. His adultery with Queen Guinevere was directly or indirectly the cause of the death of the King, the breaking up of the Round Table, and the death of most of the Knights. The Queen retired to the convent of Almesbury, which she refused to leave, and Lancelot thereupon turned monk, was consecrated a hermit by the Archbishop of Canterbury, and died in the odour of sanctity. He is here shown in the hey-dey of his career, haunted in his lonely ride by the spirit of Guinevere. INDEX OF CONTRIBUTORS. * ^=^HS^^=^ HER MAJESTY THE QUEEN, 34, 173. Andeeson, Arthur, Esq 33 Armitage, Benjamin, Esq., "j.p. 6, 26 Armstrong, Lord, c.b. 5, 93, 142, 169 AsHTON, Thomas, Esq., j.p 146 Bacon, Sir Hickman, Bart. 43, 70, 80, 97, 106 Bennett, R. J., Esq 24, 109 Benson, R. H., Esq 150, 158 Blair, A. Campbell, Esq 176 BoRWiCK, Robert, Esq 90 Brooks, Sir Wm. C, Bart., m.p. ... 2 Brownlow, The Right Hon. Earl 49, 85 Carbutt, E. H., Esq., m.p 32 Chapman, Edward, Esq., m. a., j.p. 112 Chapman, George, Esq 118 Craven, Frederick, Esq., j.p. ... 166 Crews, Charles T. D., Esq. 59, 66, 79, 8.8, 105 Curtis, C. H 29 Dartmouth, The Right Hon. the Earl of 61, 68, 101 Davies, Colonel and Alderman H. D 134, 137 D'Eichthal, Ad., Esq. 10, 55, 124 Denny, P., Esq., j.p 172 Devitt, T. L., Esq 156 Devonshire, His Grace the Duke of 116, 121 Dixon, Joseph, Esq 144, 165 Drake, Henry, Esq 94, 120 Erhardt, H. C, Esq., F.R.G.S. 60, 64, 88, 99 Exeter, The Most Hon. the Marquis of, k.g. 98 Fuller-Maitland, Mrs 149 Fuller-Maitland, Mrs. J. A 12 GiBBS, Antony, Esq., j.p. ... 56, 91 GiBBS, Henry Hucks, Esq., m.p. 54, 89, 96, 132A GiBBS, Herbert C, Esq 95 GiBBS, ViCARY, Esq 135 Gray, Mrs. Everett 128 Harcourt, Aubrey, Esq 69 Harris, C. T., Esq. ... 3, 13, 31 Hartley, J. R., Esq 131, 177 Heseltine, J. P., Esq. 53, 65, 71, 102, 115, 119, 123, 127, 140 HiLLiNGDON, Lord 113, 155 Hillingdon, Lady 175 Holt, George, Esq 117, 153 Huth, Louis, Esq 132 Jopling-Rowe, Mrs 174 Kerr, R. M., Esq., ll.d 41 Lee, Edward, Esq 57 Legh, Lieutenant - Colonel H. Cornwall, j.p 4.5, 50 Lehmann, Mrs 4, 36 Little, Major 122a Liverpool, The Corporation op 161, 170 LOGSDAIL, W., Esq 141, 145 LouDAN, W. M., Esq 162 Manchester, The Corporation op 7 Manners, George, Esq., f.s.a. ... 114 Methuen, Lord 38, 40 MiLDMAY, Sir Henry St. John, Bart 81, 84 Miller, T. H., Esq 168 Nathan, Mrs 129, 148 Nelthorpb, R. N. Sutton, Esq. 52, 58 Northbrook, The Right Hon. the Earl of, g.c.s.i. ... 42, 46, 47 Index of Contributors — continued. Pawle, F. C, Esq., J.P. 11, 25, 100, 126, 130, 152 Pender, Sir John, k.c.m.g. 37, 151 Pettie, John, Esq., r.a 30 Pickering, J. L., Esq 133 POLSON, John, Esq 9, 171, 178 QUILTER, W. CUTHBERT, Esq., M.P. 139 Rae, Edward, Esq., f.s.a. ... 62, 110 Rae, George, Esq. ... 125, 143, 157, 163, 167 Rhodes, John, Esq 101 Robertson, W. Graham, Esq. 159, 164 Rome^ William, Esq., f.s.a 82 Royal Holloway College, The Governors of the 8 RusTON, Joseph, Esq 1, 136 Rutland, His Grace the Duke OF, K.G 44, 63, 86 RUTLEY, J. L., Esq 67, 75 Shattock, T. Foster, Esq 103 Shaw, George, Esq 138 Skinner, Mrs 154 Smith, The Trustees of the LATE Right Hon. W. H 72 Spencer, The Right Hon. Earl, K.G 92, 122 Storey, G. A., Esq., a.r.a 35 Street, A. E., Esq., m.a 28 Tate, Henry, Esq., j.p 147 Thompson, Sir Henry, m.b 160 Todd, C. J., Esq 39 Wantage, Lord, v.c, k.c.b. ... 78, 107 Warwick, The Right Hon. the Earl of 74, 76, 108, 111 Watts, G. F., Esq., r.a. 14, 15, 16 17, 18, 19, 20, 21, 22, 23 Weld-Blundell, J. G., Esq. ... 48, 51 Wellington, His Grace the Duke of 77, 87 Wertheimer, Charles, Esq. ... 27 Yarborough, The Right Hon. the Earl of 73 INDEX OF ARTISTS. Angelico, Fra Berghem, N bonheue, eosa ... borgognone, a. ... Both, Jan BOUGHTON, G. H., A.R.A. Bristow, E Brouwer, a burne-.jones, e., a.r, Butler, Lady Canaletto, a. ... Cappelle, J. Van de Carotto, G. F Chalmers, George P. CiMA DA CONEGLIANO Claude de Lorraine Collins, W., r.a Cologne, Master of Constable, J., r.a. Cranach, Lucas ... CuYP, Albert Davis, Wm Delaroche, Paul Dow, Gerard DuRER, Albert ... Dusart, C 143, 163, 167 10, 124 60 44 64 Dyck, Sir Anthony van 74, 76, 111 26 . ... 40 . ... 108 . ... 142 . ... 54 . ... 72 32, 175 . ... 126 . ... 57 158, 166 34 . 61, 68 79 43 29 49 101 150 51 115 55 85 ..78 East, Alfred, r.i. Engelberts, C Etty, William, r.a. . Eyck, Jan van ... . Faed, Thomas, r.a. .. FiLDES, L,, r.a Foster, W. Gilbert . Fowler, Robert Francks, Sebastiaen Gainsborough, T., r.a. GossAERT, Jan Goyen, J. Van ... 9 ... 41 91, 101 46, 48 ... 1.34 8, 33 ... 176 ... 161 92, 113, 119, 122 38, 52 123 Graham, Peter, r.a. Greippenhagen, M. . GUARDI, F Haanen, C. Van ... Hals, Frans Heem, J. D. De ... Helst, B. van der .. . Henshaw, F. H Heyden, Jan van der ., HoLL, Frank, r.a , holmburg, o Hondecoeter, M. de HOOGHE, p. DE Hunt, W. Holman, r.w.s. Janssens, C JoPLiNG-RowE, Mrs. ... . Kerr, C. H. M Landseer, Sir E., r.a. . Lang^e, C, fils Lawson, Cecil Leader, B. W., a.r.a. Leighton, Sir F., Bart., Leyden, Lucas Van ... . logsdail, w loudan, w. m LuiNi, Bernardino ... . 2, 5 170 70 140 56 100, 10.3, 106 110 129 86 152 ... 37 ... 58 71, 77 ... 146 11, ... 62, 98 174 154 153 148 7 6 155 42 145 162 50 P.R.A. 141, Mabuse , 38, 52 Mason, George, a.r.a. ... 156, 173 Mazzola, F. M 53 Michel, G 127 MiERis, Franz Van 59 MiLLAis, Sir J. E., Bart., r.a. 4, 27, 36, 128, 147, 149, 151, 168 MiiLLER, W. J 169 Murray, D., a.r.a 31 Nasmyth, P Netscher, C Newton, G. S., r.a. Neyts, G Niemann, E. J. ... 114 63 130 88 177 Index of Artists — continued. Oechaedson, W. Q., r.a 25, 139 Orley, B. Van 47 Pacchiarotto, J 45 Parmigiano 53 Paton, Sir J. Noel, r.s.a. ...24, 172, 171, 178 Pettie, John, a.r.a 30 Pickering, J. L 133 Plassan, a. E 132a Raeburn, Sir H 109 llEYNOLDs, Sir Joshua, r.a. ...116, 121 Richmond, W.B., a.r.a 12 ROMNEY, G 89, 95, 122A EOOKE, T. M 165 PossETTi, D. G 136, 157, 159 ROYBET, F 135 RuiSDAEL, Jacob van 97 RUISDAEL, S. van 83 Steen, Jan 65, 66, 87, 107 Storck, a 67 Storey, G. A., a.r.a 35 Streitt, F 131 Strudwick, J. M 144, 164 Tadema, L. Alma, r.a. ... 137, 160 Teniers, David, the elder 75 Teniers, David, the younger 81, 105 TONGE, R 125 Turner, J. M. W., r.a. 73, 90, 93, 94, 112, 117, 118, 120 Velde, a. van de 80 Velde, W. van de 69, 102 WAEL, J. VAN DER 99 Walker, F., a.r.a 28 Walton, Frank 13 Watts, G. F., r.a. 14, 15, 16, 17, 18, 19, 20, 21, 22, 23 Webb, Jambs 138 Weenix, J. van 84 WOODS^ H., A.R.A 132 Wyllie, C. W., A.R.A 3 i