THE J. PAUL GETTY MUSEUM LIBRARY 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/exhibitionofwork00gros_4 
 

 
 
 
 
 
 
 
 

NOTICE . — A Restaurant has now been opened 
 for the convenience of Visitors to the Gallery. The 
 entrance to the Restaurant is at the foot of the Gallery 
 Stairs. 
 
 From the library of 
 Frank Simpson 
 
 
 

 
THE 
 
 GROSVENOR GALLERY. 
 
 Sir COUTTS LINDSAY, Bart., 
 
 Proprietor and Director. 
 
 J. COMYNS CARR and C. E. HALLE, 
 
 Assistant Directors. 
 
 J. W. BECK, 
 
 Secretary. 
 
LONDON : 
 
 HENRY GOOD AND SON, PRINTERS, 
 
 12, MOORGATE STREET AND SWAN BUILDINGS, E.C. 
 
EXHIBITION OF THE WORKS 
 
 . of 
 
 Sir John E. Millais, Bart., RA 
 
 WITH NOTES 
 
 RY 
 
 F. G. STEPHENS, 
 
 AUTHOR OF “ENGLISH CHILDREN AS PAINTED BY 
 SIR JOSHUA REYNOLDS,” 
 
 ETC. 
 
 B « 
 

 
 
 
 ♦ 
 
 ' 
 
 
 
 
NOTICE. 
 
 IR COUTTS LINDSAY and the Directors of the Grosvenor 
 Gallery desire to express their thanks to the owners of works 
 by Sir John E. Millais for the readiness with which so many 
 of his most important pictures have been entrusted to them for the 
 present exhibition. 
 
 They likewise take this occasion of recording their indebtedness 
 to Mr. F. G. Stephens, who has supplied the illustrative notes 
 accompanying the catalogue. 
 
 SUMMER EXHIBITION, 1886. 
 
 Pictures and Drawings are admitted to the Gallery solely on Sir 
 Coutts Lindsay’s invitation. Every possible care will be taken of the 
 works sent for exhibition, but Sir Coutts Lindsay cannot hold himself 
 responsible for injury or loss. 
 
6 
 
 Notice. 
 
 Artists can insure their works at the Gallery at the rate of zs. 6 d. per 
 cent. The prices of works to be disposed of should be communicated to 
 the Secretary. A deposit of 25 per cent, must be made at the Gallery 
 when a work is purchased. 
 
 No work can be removed before the close of the Exhibition. 
 
 \* Many of the following descriptions of pictures have been 
 adapted from notices published in the Athenceum , Fraser’s Magazine , 
 the London Review , Titan^ the Dublin University Magazine , and the 
 Crayon , of New York. 
 
CATALOGUE. 
 
 The Numbers commence in the larger or West Gallery , and continue from left to right. 
 
 The terms “right” and “ left ” in the descriptions of the pictures denote the right and 
 left of the spectator. 
 
 In describing the size of a picture , the first measurement indicates the height , the second 
 the width , of the canvas or panel. 
 
 Portraits are described as of four sizes : — “ bust,” the head and shoulders ; “ half-length,” 
 to the waist ; “ three-quarters length ,” to the knee or a little below ; “ whole-length ,” 
 the entire figure. 
 
 WEST GALLERY. 
 
 FIRST ROOM. 
 
 i. Sir John Everett Millais, Bart,, R.A., D.C.L., Member of 
 the Institute of France, Officer of the Legion of 
 Honour, &c. 
 
 Painted by G . F. Watts, Esq. ,R.A. Lent by Sir J. E. Millais , Bart. ,R.A. 
 
 John Everett Millais was bom June 8th, 1829, in Portland Place, Southampton. John 
 William Millais, his father, was of a family resident during some generations at Tapon, in Jersey; 
 his mother’s birth-name was Mary Evamy. She was of English descent, and, previous to hei 
 union with Sir John’s father, had been married to Mr. Hodgkinson, of London. Among the 
 
8 
 
 West Gallery. 
 
 offspring of her second wedding were William Hemy (who has since become a well-known 
 landscape artist), and John Everett, the best and greater number of whose works are now assembled 
 in the Grosvenor Gallery. J. E. Millais spent the first five years of his life in Jersey; he was 
 then removed to Dinan in Brittany, and before he was nine years old gave such promise of success 
 in Art that he was brought to England and introduced to Sir Martin Archer Shee, who declared 
 that “Nature had provided for the boy’s success.” Entering the drawing-school of Mr. Sass 
 (afterwards Mr. F. S. Cary’s), Millais, in 1838, being then nine years old, won a Silver Medal of 
 the Society of Arts with a drawing from the antique. Two years later (the youngest ever 
 admitted) Millais became a Student in the Royal Academy, where he (1843) won successively a 
 Silver Medal, and (1847), with a picture of “ The Benjamites seizing their Brides,” the Gold 
 Medal. In 1846 his first exhibited picture, “ Pizarro seizing the Inca of Peru,” was shown 
 in Trafalgar Square. In 1847 he competed with distinction for a commission to paint in 
 the Houses of Parliament, sending to Westminster Hall an oil picture “ The Widow 
 bestowing her Mite,” with life-size figures, on a canvas measuring 10 feet 7 inches high, by 14 
 feet 3 inches wide. In the same year his “ Elgiva seized by Odo ” was in the Academy. 
 In 1848 his Gold Medal picture was at the British Institution. The Pre-Raphaelite Brother- 
 hood was founded in 1848. 
 
 Of this circumstance the present writer contributed to The London Review of 1862, the 
 following Confession of the Pre-Raphaelite Faith : — 
 
 “ In the Royal Academy, where Millais had been a universal favourite with his fellow 
 students, prophecies had been rife as to his professional success; however, all predictions and 
 this applause referred to a very different order of merit from that which has since become peculiar 
 to its possessor. About (the middle of) the year 1848, the propriety, or, as they boldly declared, 
 the absolute necessity, of the movement so well known as that of the Pre-Raphaelites, was 
 ardently discussed amongst the members of the youthful company, who shortly afterwards 
 banded themselves together under the title of the P-R.B. The Pre-Raphaelite Brotherhood 
 declared that the system then most popular of producing art out of art itself alone, and breeding 
 in and in, so to speak, in all mental efforts and practical execution, was not only entirely contrary 
 to the practice of the truly great old masters — in proof of which they adduced the system of 
 study followed -by Leonardo, Titian, and a host of others — but that in this province of mental 
 production the same thing which universal experience has shown to hold good with regard to 
 physical laws would, and even did, they said, operate to the total annihilation of all individuality 
 of genius, the absorption of all true love of nature herself in conventionality, and a contamin- 
 ation of the stream of art at its very spring. If students referred to the productions 
 of those artists who differed from themselves only in being of greater age, and servilely adopted 
 the dogmas and the practice of their seniors, without any reference to nature, such a practice, 
 the Brotherhood averred, could not but produce a school of painters, each generation of whom 
 would be more effete, because more conventionalized, than that which preceded it, and to whose 
 experience alone they looked for guidance. 
 
IV est Gallery. 
 
 9 
 
 “ The end of this might be guessed, said the P-R.B. in the flush of youthful confidence, 
 and they even dared to add that the result of following such a pernicious system was obvious in 
 the works of almost eveiy one of their own contemporaries, and in those produced by their 
 immediate forerunners. Declaring that the followers of Raphael had ruined the art, simply 
 because they were followers of Raphael, and not humble students of nature, and reflecting, not 
 without bitterness, upon the practice of the Prince of Painters himself when he condescended 
 to serve a vile Court, the P-R.B., with characteristic audacity, and with a seriousness which 
 was half veiled in the fantastic assumption of their society’s peculiar title, determined that their 
 own works should show a different motive in art, and that they themselves, with all the powers 
 and skill that were within them, would, whatever the consequences might be, pursue a practice 
 widely removed from that of those whom they and all the world about them had been taught to 
 respect or to imitate. Half in fun, the Brotherhood called itself ‘ Pre-Raphaelite,’ adopting that 
 title rather to express a full measure of admiration for the motive which guided the great 
 painters preceding Raphael than intending it to be understood, as the critics of a dozen years 
 ago received it, as chosen in approbation of the oftentimes fantastic, more often ascetic, and 
 almost invariably imperfect systems of execution to which the undeveloped powers of painting 
 possessed by the early Italian artists limited so cruelly their achievements on the panel 
 or the convent wall. Considering how small were the attainments demanded of the art-critics 
 of the time in question, it is not surprising they should have fallen into this absurdity. Few 
 of these men knew enough of the histoiy of the art they abused the public mind about, 
 to be able to recognize the real state of the case, still less were they prepared to compre- 
 hend the true qualities which shine through the most loizarre failures of execution, most of 
 them the result of over-earnestness and a devout desire to do right, which beset the 
 artists they ridiculed. Indulgence for youth of their own day, an enlightened and fore- 
 seeing regard to the importance of that which lay behind the most audacious declarations of 
 the Brotherhood, were not to be expected from such men. A few only saw that something 
 might come out of an idea so boldly enunciated, and, notwithstanding the vivid colours of its 
 ridiculous side, sufficiently well expressed to have merited a gentler consideration than it 
 received.” 
 
 It is like the stilling of still-glowing ashes when the memories of those who took an interest 
 in the subject revert to the manner in which Millais, the chief object of the contumely here referred 
 to, was treated on account of his acceptance of the Pre-Raphaelite idea. Pages might be filled with 
 extracts from tyrannical and intolerant reviews of the pictures by this artist, most of which are now 
 in this gallery’, and those by his comrade, Mr. W. Holman Hunt. Suffice it that the notes on 
 “ Christ in the House of His Parents,” No. 4 in this gallery, contain a few and by no means the 
 worst examples of the public censure with reference to this picture. 
 
 “ Isabella and Lorenzo,” Millais’s first Pre-Raphaelite picture, was at the Academy in 
 1849; see Nos. 4 and 120. Far remote from the character of “Isabella” were “ Elgiva,” 
 
 “ Pizarro,” and the first “Widow’s Mite” (not No. 5), pictures which preceded the Pre- 
 
10 
 
 West Gallery. 
 
 Raphaelite efforts of Millais. His Pre-Raphaelite productions proper extended from the 
 “Isabella” of 1849, to “Mr. Ruskin,” of 1854. “Ferdinand lured by Ariel” (a very 
 choice and noteworthy example of 1849), and “The Portrait of Mrs. Coventiy K. Patmore” 
 (1851), not at present before the visitor, must be added to complete the list. “ A Huguenot,” 
 “Ophelia,” and “The Order of Release,” indicate a secondary stage of Pre-Raphaelitism in 
 Millais’s mind, which, succeeding with something like recrudesence of Pre-Raphaelite sentiments, 
 was merged into the succeeding manner. Paintings in this secondary style include “The Vale of 
 Rest,” “Apple Blossoms” (both absent from this gallery), “Autumn Leaves,” and “Sir 
 Isumbras at the Ford,” with their differing complements^ “ The Rescue,” “ A Random Shot,” 
 “ The Blind Girl,” and “The Black Brunswicker.” The latter four are transitional pictures. 
 In them the stringency of the new movement is less apparent than in earlier works. After these 
 productions Millais’s art entered into a stage well known to all, and of which the splendid 
 and varied fruits enrich the West Room of the Grosvenor Gallery. Guided by the chronological 
 list at the end of this Catalogue the visitor can readily group the achievements of Sir John 
 Millais in the order of their production down to the present year. 
 
 In 1854 Millais was elected an A.R.A., being, with the exception of Lawrence, the youngest 
 artist who has attained that distinction; he exhibited no pictures in 1854. 
 
 As with most artists, the course of Millais’s life may thenceforward be traced in the sequence 
 of his works. In common with Mr. G. F. Watts, and Sir Frederic Leighton, he has 
 had the unusual honour for an Englishman of being invited to paint his own portrait for 
 the great gallery of artists’ likenesses in the Uffizi at Florence. He has designed a numerous 
 body of illustrations to books, including the “Poems” of Lord Tennyson, “Once a Week,” 
 “Good Words,” “The Parables,” “ Framley Parsonage,” and “The Small House at Allington.” 
 His pictures have been exhibited in Philadelphia, New York, Boston (U.S.), Dublin, Manchester, 
 Liverpool, Birmingham, Leeds, Edinburgh, Paris, Munich, Amsterdam, Brussels, Berlin, and St. 
 Petersburg. The list of his honours attests the extent of his reputation. He painted most of 
 his earlier works in the house which is now No. 7, Gower Street. He was elected a Royal 
 Academician in 1863; a member of the Institute of France in 1883; and has obtained (1855, 
 1878) two French medals. He is a member of the Academies of Edinburgh, Antwerp, 
 Madrid, and Rome. He has long been one of the most zealous and faithful Visitors in 
 the Life School of the Royal Academy. In 1885, being the first English artist so distinguished, 
 he was made a Baronet of the United Kingdom. Several years previously he received at Oxford 
 the degree of D.C.L. 
 
 The portrait before us is a life-size bust, nearly in profile to our right, showing the face 
 slightly raised ; the eyes look forward, and the light comes from the front of the picture. 
 
 Painted 1871 ; Canvas, 26 X 20^ inches. 
 
IVest Gallery 
 
 1 1 
 
 2. Grandfather and Child (Mr. James Wyatt, of Oxford, 
 and his Grandchild). 
 
 Lent by Mrs. Wyatt . 
 
 This brilliant little picture was exhibited in 1850, and painted in the previous year; it, 
 therefore, belongs to the period of “ Ferdinand lured by Ariel ” (1849) and “ The Woodman’s 
 Daughter” (1850). Like those works, it remains unchanged, without loss of colour or 
 lustre, and without a flaw or crack of any kind. An account of Millais’s mode of painting at 
 this time may be found under “ Christ in the House of His Parents,” a work executed soon after 
 that now in question. “The Return of the Dove to the Ark” and the portrait of “Thomas 
 Combe, Esq.,” succeeded these portraits, which represent, at full length, an old gentleman 
 seated in an easy chair placed near an open window, while his granddaughter, resting her arm 
 in his lap, lolls against his knees. The background comprises a glass cabinet and bric-a-brac. 
 Sunlight fills the room, and adds splendour to the local colours. The execution is firm, solidj 
 and searching. Mr. James Wyatt was a frame-maker and print and picture seller, of Oxford, 
 a man of considerable intelligence and well-deserved good repute ; an excellent judge of art, 
 and, in an extra-official way, often consulted about art matters. He died in 1853. 
 
 At the Academy in 1850, with “ Ferdinand lured by Ariel,” and “ Christ in the House of 
 His Parents.” 
 
 Painted 1849 ; Panel, 14 X 18 inches. 
 
 3. The Parable of the Tares, or the Enemy Sowing Tares. 
 
 Lent by J. Pender , Esq. 
 
 “ Another parable put He forth unto them, saying, The Kingdom of Heaven is likened 
 unto a man which sowed good seed in his field ; but while men slept, his enemy came and sowed 
 tares among the wheat, and went his way .” — Matthew xiii. , 24, 25. 
 
 Satan, represented as an aged, evil-minded figure in a dark garberdine, with wild locks flowing 
 about his face, appears in a field, and, with grotesque energy and delight in evil, is 
 busily sowing the ill-seed. The gloom of the night clouds is made more dreadful by the large 
 irregular crescent-shaped gap which divides their bulk behind the head and shoulders of the Evil 
 One. The design was employed for an illustration of “ The Parables of our Lord,” with 
 others in the same category, cut in wood by Messrs. Dalziel, and published in 1863 by Messrs. 
 Routledge, Wame 8c Co. See Nos. 137, 156, 157 and 158. 
 
 This picture^was at the Academy in 1865, with “Joan of Arc,” “The Romans leaving 
 
12 
 
 West Gallery. 
 
 Britain,” Swallow! Swallow ! ” “ Esther,” and two etchings. It was in the Exposition 
 
 Universelle, Paris, 1867, with “The Romans leaving Britain,” and “ St. Agnes’ Eve.” 
 
 Painted 1865 ; Canvas, 43 X 33 inches. 
 
 4. Christ in the House of His Parents, or “ The Car= 
 penter’s Shop.” 
 
 Lent by F. A. Beer , Esq. 
 
 “And one shall say unto him, ‘What are these wounds in thine hands?’ Then he shall 
 answer, ‘Those with which I was wounded in the house of my friends.’ ” — Zechariah xiii. 6. 
 
 This is the motto given in the catalogue of the Royal Academy Exhibition of 1850, when 
 this now famous example was put before a world which almost immediately divided itself into 
 two veiy unequal parties, i.e., first, those who, with all their might and main, fell upon the 
 painter and his picture, abusing both as if they were criminal ; and, second, a few sturdy 
 persons who declared for Millais and his work. Painted under the original inspiration of" 
 Pre-Raphaelitism, as the artist of twenty years old then experienced that vigorous moving 
 power, it reveals a stubborn purpose backed by the most uncompromising technical system. 
 “Isabella and Lorenzo,” the example of the previous year, having attracted storms of scornful 
 laughter, a multitude of sneers, and even savage insults of the most direct personal kind, the 
 will of the young painter was, naturally enough, stiffened to justify his views in a new effort. 
 Intense and unflinching fidelity to nature, ardent love for colour, and a rigid resolution to 
 paint the light of day as brightly as pigments could allow him, were among the aims of 
 Millais, who, following the principles he championed with all his heart, found his models among 
 his friends of English birth, and, failing Eastern types, employed all his skill on British materials, 
 relying on the really devout spirit in which he worked and poetic quality of his design, to 
 produce the effect desired. He was sorely disappointed in this reliance. 
 
 He was shamefully abused for his pains, his courage, and his single-heartedness, and 
 for the use to which he applied his skill. Men who knew nothing of art reviled Millais 
 because he was not of the art, artistic. Dilettanti, who could not draw a finger-tip, scolded 
 one of the most accomplished draughtsmen of the age because he delineated what he saw. 
 Cognoscenti, who could not paint, rebuked the most brilliant Gold Medal Student of the 
 Royal Academy on account of his technical proceedings. Critics of the most rigid views 
 belaboured and shrieked at an original genius, whose struggles and whose efforts they could not 
 understand. Intolerant and tyrannical, commentators condemned the youth of twenty because 
 he dared to think for himself ; and, to sum up the burthen of the chorus of shame and false 
 judgment, there was hardly a whisper of faith, or hope, or even of charity ; — nay, not a sound of 
 
West Gallery. 
 
 13 
 
 the commonest and poorest courtesy — vouchsafed to the painter of “ The Carpenter’s Shop ” as, 
 in utter scorn, this picture was contumelously called. 
 
 “Isabella and Lorenzo” had tried the patience of “ the general ” and the big-wigged critics, 
 but “ Christ in the House of His Parents ” was more than any of them could be expected to 
 bear. A few days after the Academy opened one of the leaders of public opinion, with a spice 
 of fairness in many sentences of abuse, thus committed itself: — “Mr. Millais, still retaining 
 strong marks of that power which distinguished his Boccacciesque picture last year, has sunk 
 into extravagance bordering in one instance on irreverence.” A few days later we read the 
 following declaration : — “Mr. Millais and his imitators attempt to engraft themselves on the 
 wildest and most uncouth productions of the early German School, with a marked affectation of 
 indifference to everything we are accustomed to seek and admire. Mr. Millais’s principal picture 
 (518) is, to speak plainly, revolting. The attempt to associate the Holy Family with the 
 meanest details of a carpenter’s shop, with no conceivable omission of misery, of dirt, and even 
 of disease, all finished with the same loathsome minuteness, is disgusting ; and, with a surprising 
 power of imitation, this picture serves to show how far mere imitation may fall short, by dryness 
 and conceit, of all dignity and truth. The picture of ‘ Ariel and Ferdinand ’ (504), by the same 
 artist, is less offensive in point of subject and feeling, but scarcely more pardonable in style. 
 We do not want to see Ariel and the spirits of the Enchanted Isle in the attitudes and shapes of 
 green goblins, or the gallant Ferdinand twisted like a posture-master by Albert Diirer. ( See 
 No. 78.) These are mere caprices of genius ; but whilst we condemn them as deplorable 
 examples of perverted taste, we are not insensible to the power they indicate over some of 
 the most curious spells of art.” 
 
 Readers of our time can with difficulty conceive the outrageous contumely which was 
 heaped upon Millais and his friends, the Pre-Raphaelite Brethren, on account of their opinions ; 
 nearly everybody seemed to rush blindly at them, forgetting to admire their courage, their skill, 
 their fidelity, and their youthful faith. The finger of scorn was incessantly and actually 
 directed to Millais, and the most ingenious and ungenerous of his assailants exercised their 
 charity in declaring that “ Pre-Raffleism (sic), is a dodge.” The very Protestantism — for 
 such it was — of this picture was denounced, as founded on Tractarian fantasies, “ Medie- 
 valism,” “ Romanism,” and what not. The astounding ignorance of art, history, men, and 
 manners, betrayed by those who assailed the P-R.B., was shown by the veiy nature of their 
 attacks. A picture which exceeded in realism of the most uncompromising kind, was 
 denounced as “Mediaeval.” “Romanism” was seen where the Virgin, Joseph, and Christ 
 utterly reversed Italian types of the beautiful, happy, and young. That which referred to 
 nature without selection, was called unnatural. A wild critic, stumbling in haste and rage, 
 hashed aerial and linear perspective in one mess, and damned himself completely. 
 
 Among the exponents of public opinion in those days were not a few remarkable voices, 
 echoes of which may well find utterance here. A magazine, of July, 1850, distinguished 
 itself thus : — “ We can hardly imagine anything more ugly, graceless, and unpleasant, 
 
H 
 
 West Gallery. 
 
 than Mr. Millais’s picture of Christ in the carpenter’s shop. Such a collecton of splay feet, 
 puffed joints and mis-shapen limbs, was assuredly never before made within so small a compass. 
 We have great difficulty in believing a report that this unpleasing and atrociously affected 
 picture has found a purchaser at a high price. Another specimen from the same brush inspires 
 rather laughter than disgust. A Ferdinand of most ignoble physiognomy is being lured by a pea green 
 monster, intended for Ariel, whilst a row of sprites, such as it takes a Millais to devise, watch the 
 operation with turquoise eyes. It would occupy more room than the thing is worth to expose 
 all the absurdity and impertinence of this work.” 
 
 A leading weekly journal was hardly less emphatic on June ist, 1850 : — “ Mr. Millais in his 
 picture without a name (518), which represents a Holy Family in the interior of a caipenter’s 
 shop, has been most successful in the least dignified features of his presentment, and in giving 
 to the higher forms, characters, and meanings, a circumstantial art-language from which we 
 recoil with loathing and disgust. There are many to whom his work will seem a pictorial 
 blasphemy. Great imitative talents have here been perverted to the use of an eccentricity, both 
 lamentable and revolting. “ Ferdinand lured by Ariel ” (504), by the same hand, though better 
 in the painting, is yet more senseless in the conception — a scene built on the contrivances of the 
 stage manager, but with very bad success.” 
 
 Again, hear the Literary Gazette , of May 25th, 1850: — “Ferdinand lured by Ariel,” 
 with nothing alluring by the same, and No. 518, a nameless atrocity supposed to represent 
 a verse of Zechariah. A miserable carpenter’s shop, with two children embracing in the front 
 of the bench, and a naked, distorted boy on the right side are presented to us as high 
 art, in which there is neither taste, drawing, expression or genius. And yet this style pertains 
 to an imitative school, which, the sooner it is sent back to the dryness and wretched matter-of- 
 fact of old times, will be the better. Such things are simply disagreeable, if not worse, and 
 neither can be called the true end of the fine arts.” 
 
 Finally, it was said that the P-R.B., who painted each after his own heart, and were 
 technically as remote as the poles, were bound by rules in common, which no man dared 
 infringe ; and it was a popular fancy that artists far superior (as Mr. Ruskin declared) “ to the 
 early Italians in skill of manipulation, power of drawing, and knowledge of effect,” to say 
 nothing of brilliancy of colouring, and general artistic resources, intended to “ imitate ” pictures 
 produced in the adolescence of art, while in reality they were painting, each truly (only too 
 truly, and with excess of literal tenacity), from nature only. As to “ The Carpenter’s Shop,” it 
 is of nature alone. Millais refused to select except where types of pathetic and characteristic 
 expressions were demanded. These were the main things capable of evoking sympathy ; the 
 rest, costume, accessories, details, and so on, were more or less subordinate, but not quite 
 inessential. 
 
 Accordingly, he represented a carpenter’s wooden workshop, strewn with shavings, littered 
 with tools, lighted with common .day, and opening on an English meadow in which is a well, type 
 of Truth, and where the sheep, representing the faithful, huddled close to a wattled fence, the 
 
IVest Gallery. 
 
 15 
 
 emblem of the Church of Christ. The very tools hanging on the walls are emblems ; on a ladder 
 roosts the dove of universal significance ; in one corner is a basket to which the weaver, perhaps the 
 young Christ, has not yet put finishing touches ; beyond, planks not yet shaped by the maker 
 stood against the wall. In the middle the bench occupied a large space; Christ, the boy, 
 having tom his hand on a nail, the Virgin, tenderly heedful of her Son, hastily kneels at his side 
 to bind the injured palm (the meaning of which is obvious enough) with a piece of linen 
 torn from a napkin. He, with child-like simplicity, offers his cheek to her to be kissed. Joseph, 
 bending forward from his work, pulls back the fingers of the boy and reveals the wound to us. 
 Attracted by the movements of his elders, John the Baptist, a boy girt with a goat’s skin, 
 has hastened to fetch water and with careful feet, advancing to help, bears the cleansing fluid. 
 St. Anne, an elderly woman, older than Christ’s Mother, stoops forward to remove the pincers 
 He had played with to His hurt. The carpenter’s assistant regards the scene with dull gravity 
 and interest. 
 
 It was in this mixture of pathetic poetry, simple symbolism and almost irrelevant whims 
 and fancy, the puzzled critics saw wonders, mysteries, and secrets of a strange kind. The fact 
 is there was nothing to wonder about, and the work is touching in its directness and simplicity 
 of invention, grave purpose, and inconsequent and incongruous features of all sorts. That a 
 youth of twenty designed so vigorously, and painted so well, is the real marvel of “The 
 Carpenter’s Shop.” Preceded by “Isabella and Lorenzo” it was followed by “Ferdinand lured 
 by Ariel.” 
 
 Originally, the design for the picture, comprised, instead of the figure of St. John in a line 
 with the end of the bench, that of a woman, who, in the background near the stacked planks, 
 was in the act of folding a long piece of linen, a sheet of some sort, with the intention of laying 
 it by in a press standing against the wall on that side, where a window occupied the space 
 now given to the back-shop. On the other side, behind the carpenter’s assistant, was a bench 
 attached to the wall, and placed under a window, giving a side view of the meadow which is 
 elsewhere seen through the open doorway ; across this view the wattled fence extended. A 
 plant-box stands on the sill of the window holding flowers, and a branch, with a group of doves 
 resting on it, stretches across the opening. The picture was painted in the studio at the back of 
 No. 83, now No. 7, Gower Street, where all Millais’s works produced before 1855 were executed. 
 
 The brilliancy, permanence, and generally excellent condition of this picture are 
 attributable to the fact that, like all the artist’s earlier examples, it was painted mainly with copal 
 as a vehicle, and a primo, or, as artists say, “ at once.” Few tamperings with each day’s work 
 being admitted, each portion remains as that day left it. This is a very instructive fact for 
 painters who wish their works to endure. See “ Grandfather and Child,” and “ Ferdinand lured 
 by Ariel.” 
 
 “Christ in the House of His Parents” was painted on a commission for a well-known 
 dealer, the price being ^250, in those days a very great sum for a picture by a young man. It 
 remained, owing to the terror of the above quoted criticisms, unsold for several years in this 
 
i6 
 
 IVest Gallery. 
 
 dealer’s possession, but he, nevertheless, was always a faithful advocate for his “client,” the 
 artist. 
 
 * At the Academy in 1850, with “Grandfather and Child,” and “Ferdinand lured by 
 Ariel ” ; it was re-exhibited by the Fine Art Society in 1881. 
 
 It was engraved by Professor L. Griiner, of Berlin, in line, and published by Messrs. Moore 
 & McQueen in 1866. A woodcut is in The Art Journal, 1885. 
 
 Painted 1850 ; Canvas, 36 X 58 inches. 
 
 5. The Widow’s Mite. 
 
 Lent by Messrs. Thomas Agnew & Sons . 
 
 A life-size figure of a milliner in mourning attire, and by no means sentimentally beautiful, 
 but with a fine and tender expression on her trouble-hardened features. She deposits a penny in 
 a receptacle for alms, and carries one of the boxes that are used in her business ; part of the 
 inscription gives the name of the firm she serves. 
 
 “ The Widow bestowing her Mite ” is the title of the large picture sent by the artist to the 
 Westminster Hall Exhibition in 1847, of paintings competing for the decoration of the 
 Houses of Parliament. It was in oil and contains (or contained) life-size figures of men and 
 women, painted with astonishing skill for a youth of seventeen. It measured 10 feet 7 inches, 
 by 14 feet 3 inches, and has since been cut in two ; one half is now in Tynemouth, the other half 
 is in New York. This large picture followed “ Pizarro,” which was at the Academy in 1846. 
 In 1847 Millais gained the Academy Gold Medal. 
 
 This work was at the Academy in 1870, with “ The Knight Errant,” “ John Kelk, 
 Esq.,” “A Flood,” “ The Boyhood of Raleigh,” and “ The Marchioness of Huntly.” 
 
 It has been etched by M. C. Waltner, and published by Messrs. T. Agnew & Sons. 
 
 Painted 1870; Canvas, 46 X 31 inches. 
 
 6 . A Huguenot, on St. Bartholomew’s Day, Refusing to Shield 
 Himself from Danger by wearing the Roman Catholic 
 Badge. — ( See the “ History of the Protestant Reformation in 
 France vol. ii., page 352.) 
 
 Lent by Mrs . Miller , of Preston. 
 
 “ ‘ 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.’ — The Order of the Duke de Guise . ” 
 
West Gallery. 
 
 17 
 
 This illustration of the history of the 24th of August, 1572, shows how a Roman 
 Catholic lady, during a stolen interview, entreats her Huguenot lover to wear a white scarf, the 
 badge of the Guise he hated. Millais availed himself of the imagined incident by depicting the 
 pair standing close to an ivied and lichened garden-wall. The girl clings to the man just as 
 a feather clings to a rock when pressed by the wind. Half embracing him, as he half embraces 
 her, she would knit the scarf round his arm. With one finger he stays the act, looking 
 down upon her earnest face with grave and loving eyes. The spectator is deeply interested by 
 the Huguenot’s face, as if it were that of one about whose former and after fortunes it was easy to 
 speculate. The beauty of the lady’s features — tender, earnest, and half girlish as they are — does 
 not at first move us so much as is the case after we have attained full sympathy with the subject 
 of the picture. Profound emotions disturb her countenance, and absorb our admiration ; but 
 if we conceive the features undisturbed by anxiety or terror, their loveliness becomes apparent, 
 and the painter’s art is rightly estimated. It must always be understood that emotion and 
 the expression of sympathy with life, were, by the P-R.B., preferred to the delineation of 
 beauty per se, and still more were these elements of passion preferred to mere fairness. Apart 
 from this, however, the face of the lady of “ A Huguenot ” lacks no natural charm. 
 
 Upon the weather-worn surface of the wall behind the lovers the spiders have left their 
 webs ; the lichens are making pale yellow, grey, and purple stains upon it ; the hot sunshine of 
 that August day is eating away the bricks ; the wind and rain of many an autumn, and the 
 frosts of many winters have caused the mortar to perish, and the wild nasturtium, flower of 
 sorrow, runs wild at its feet. 
 
 When “ A Huguenot ” was exhibited at the Royal Academy crowds stood before it all 
 day long, men lingered there for hours, and went away but to return. It had clothed the old 
 feelings of men in a new garment, and its pathos found almost universal acceptance. This was 
 the picture which brought Millais to the height of his reputation. Nevertheless, even “ A 
 Huguenot” did not silence all challengers; there were critics who said that the man’s arm 
 could not reach so far round the lady’s neck, and there were others, knowing little of the south, 
 who carped at the presence of the nasturtiums in August. It was, on the whole, however, 
 admitted that the artist had at last conquered his public and must thenceforth educate them. 
 “ A Huguenot ” was painted for the late Mr. David Thomas White, a dealer, for ^150, and 
 this sum reached Millais by instalments ; the buyer, in course of time, added ^50 to the price, 
 because he had profited much by the sale of the engraving. 
 
 The Huguenot himself was painted from Mr. Arthur, now General Lempriere, an old friend 
 of the Millais family. The lady’s ‘face reproduces, with a difference, that of Miss Ryan, the 
 model who afterwards sat for the Puritan damsel in “The Proscribed Royalist.” A sketch, in 
 water colours, of “ A Huguenot ’ was sold with Mr. Plint’s collection, March 7th, 1862. The 
 same, or another sketch is now in the possession of Mr. C. Langton, of Liverpool, who has similar 
 sketches of “ The Order of Release,” “The Proscribed Royalist,” “My First Sermon,” and 
 
i8 
 
 IVest Gallery. 
 
 “ My Second Sermon.” Mr. A. Wood, of Conway, has a half-length study of the figure of the 
 Huguenot. 
 
 “ A Huguenot ” was engraved by Mr. T. O. Barlow, R.A., and published by Mr. D. T. 
 White. It was at the Academy in 1852 with “Portrait of Mrs. Coventry K. Patmore ” and 
 “ Ophelia.” This picture belonged to the late Mr. Miller, of Preston, who likewise owned 
 “A Random Shot” (originally called “ L’ Enfant du Regiment”) and “Peace Concluded, 
 1856.” Aware that his widow would find it difficult to refuse to lend the masterpiece for public 
 exhibition, the late Mr. Miller desired that it should not be removed from his house at Preston 
 until after his wife’s decease, when “ A Huguenot ” will be placed in a picture gallery attached to 
 his own house, which Mr. Thomas Miller intends to contain the whole of his father’s collection. 
 With the concurrence of her trustees, and at the special instance of Sir John Millais, Mrs. 
 Miller has, however, generously lent the picture to Sir Coutts Lindsay. 
 
 Painted 1851 ; Canvas, 38 X 25 inches. 
 
 7 - 
 
 Henry Irving, Esq. 
 
 Lent by the Garrick ■ Club. 
 
 A life-size three-quarters-length figure, the face in profile to our left, the shoulders nearly 
 so, the left hand is in the trousers pocket. 
 
 “The subtlest touch of verisimilitude,” said the Athenaeum , “appears in the eye, 
 which a broad upper-lid half veils, though it does not hinder a side look, which seems to show 
 that the subject is by no means unconscious of the spectator looking at him.” The right hand, 
 with an habitual action, trifles with the watch chain. 
 
 Mr. Irving was born at Keinton, near Glastonbury, February 6th, 1838; educated in 
 London; began his theatrical career at Sunderland in 1856, and first appeared on the London 
 stage at the Princess’s Theatre in September, 1859. 
 
 This portrait was presented by the artist to the Garrick Club ; it has been engraved in 
 mezzotint by Mr. T. O. Barlow, R.A., and published by Mr. A. Lucas. It was at the 
 Academy in 1884, with “ Fleetwood Wilson, Esq.,” “ Miss Scott,” and “ An Idyll, 1 745.” 
 
 Painted 1884 ; Canvas, 43 X 31 J inches. 
 
IVest Gallery . 
 
 19 
 
 8 . Leisure Hours. — The Daughters of J. Pender, Esq. 
 
 Lent by J '. Pender, Esq . 
 
 Two little girls are seated at play on a carpeted floor, sumptuously clad in dark crimson 
 velvet and white lawn. An embossed and painted leather screen forms the background ; a glass 
 bowl with gold fish rests at their feet. 
 
 “ Leisure Hours” was at the Academy in 1864, the year of the painter’s R.A.-ship, with 
 “ My Second Sermon,” “ Harold, Son of the Dowager Countess of Winchelsea,” “ Charlie is my 
 Darling ! ” and “ Lily, Daughter of J. Noble, Esq.” (see the note on “ Charlie is my Darling ! ”) 
 
 Painted 1864; Canvas 33 X 45 inches. 
 
 g. Beatrice Caird. 
 
 Lent by Mrs. Gray. 
 
 Sketch portrait, full-face ; the hands are clasped in front of a white dress ; blue necklace 
 and blue sash. 
 
 Painted 1879 5 Canvas, 2i\ X 17 inches. 
 
 10. The White Cockade. 
 
 Lent by W. Webster, Esq . 
 
 This picture represents, with glowing colour and strongly-contrasted light and shade, 
 the interior of a richly -furnished room of the early part of the last century. A young lady — a 
 partisan of the Stuarts — is seated near a table, and, having fastened the Pretender’s favour to 
 the side of a cocked hat, holds it on one extended hand, regarding her work with a 
 sidelong face and satisfied expression, while she holds her threaded needle at length in the 
 other hand. The design had already appeared in a woodcut when this picture was painted. 
 
 The picture was engraved in mezzotint by the late Mr. George Zobel. See “ The Jacobite 
 Cockade,” No. 132. 
 
 Painted 1862; Canvas, 23 X I7£ inches. 
 
 11. Joan of Arc. 
 
 Lent by W. C. Quitter , Esq., M.P. 
 
 She is represented at the crisis of her fate, clad in armour, and kneeling. The passion of 
 her heart is expressed with force, although her attitude is less demonstrative than is common 
 in pictures of this often-repeated subject. 
 
20 
 
 IVest Gallery. 
 
 This picture was at the Academy in 1865, with two etchings, and “ Esther,” “ Swallow J 
 Swallow!” “The Parable of the Tares,” and “The Romans leaving Britain,” a large 
 example, which is now the property of Sir I. Lowthian Bell, of Washington Plall, Durham, 
 and shows the parting between a Roman legionary and his British mistress. They are placed 
 on a cliff path overlooking the sea, where a large galley is waiting for the soldier. He kneels 
 at the woman’s feet with his arms clasped about her body ; his face, though unhelmeted, is 
 hidden from us in her breast ; her hands are upon his shoulders, and she looks steadfastly, 
 with a passionate, eager, savage stare upon the sea. As “ The Romans leaving Britain ” is not 
 in the present collection, it is well to describe it here. 
 
 Painted 1865; Canvas, 31 X 23 J inches. 
 
 12. Portrait of John Ruskin, Esq., M.A., LL.D., Cambridge; 
 
 late Slade Professor of the Fine Arts, Oxford. 
 
 Lent by Sir Henry W. Dyke Aclayid, K. C.B., F.R.S. 
 
 A small, whole-length figure of the “Author of £ Modern Painters,’ ” standing bareheaded, 
 holding a stick, and nearly in profile to our left. He is placed on the rocky margin of the 
 waterfall of Glenfinlas, in the Highlands. 
 
 The AthencEum , No. 2,941, said of this picture, in corroboration of what is elsewhere stated 
 in regard to the stability of Sir John Millais’s works, see “ Christ in the House of His Parents ” : 
 “The landscape background is magnificent, pure, vivid and solid as a sincere and spontaneous 
 mode of painting could make it. Having been finished at once, and all the pigments and 
 vehicles employed in a straightforward manner, the picture is still as luminous and pure in tint 
 and lighting as on the day it left the easel. It has neither cracked, lost its brilliancy, nor faded 
 in any respect. Mr. Millais used the ordinary colours and vehicles, and did not meddle with his 
 work after.” 
 
 This portrait was exhibited by the Fine Art Society in 1884. 
 
 Painted 1854 5 Panel, 27^ X 23^- inches. 
 
 13. Portrait of Miss Evelyn Otway. 
 
 Dent by Sir Arthur Otway , Bart. 
 
 A three-quarters-length figure in full face, wearing a steely blue dress and brown gloves, 
 holding a black hat. 
 
 Painted 1880 ; Canvas, 48 X 30J inches. 
 
West Gallery. 
 
 21 
 
 A Flood. 
 
 Lent by C. P. Matthews, Esq . 
 
 This oblong pictuie shows a piece of country when under water, and while a turbid stream 
 rushes among trees, ferns, haystacks, aud hedge-rows. A sturdy little baby, who has been 
 floated out of his mother’s cottage garden, where all else has gone to wreck, lies ensconced 
 safely among his bedclothes, plays with his own fingers, and seems not the worse for his 
 perilous voyage. His ark is an old-fashioned box-cradle of wood, within which probably his 
 grandfather and great-grandfather passed part of their infancy. His fellow voyager a lively 
 black kitten, whose distress and interest in the situation* are thoroughly marked. The babe 
 unconsciously goes on his way, and turns, laughing and delighted, as the ark approaches a tree 
 where the goldfinches flutter in the boughs, which glitter with drops of rain, or heavy dew. The 
 warm, pale olive tint of the wintry atmosphere, true as it is to the effect of autumnal evening, 
 supplies a great charm to the effect of this picture. In the distance is the flooded village ; the 
 father of the little one approaches to the rescue in a punt on the stream, which has risen half-way 
 up the haystacks, and yellow with its charge of earth, rushes and swirls swiftly. A pig has been 
 floated out of its home, and makes its way as well as it can. Beyond the village, trees rise with 
 uplands, and a mist veils the distance. There is a woodcut of this picture in The Magazine of 
 Art , 1881. 
 
 It was at the Academy in 1870, with “The Knight Errant,” “John Kelk, Esq.,” “The 
 Boyhood of Raleigh,” “ The Widow’s Mite,” and “The Marchioness of Huntly.” 
 
 Painted 1869 ; Canvas, 38 X 5b inches. 
 
 The late Thomas Carlyle. 
 
 Lent by Reginald Cholmondeley , Esq. 
 
 This three-quarters-lengtli, life size study of the writer, when aged and grey, was painted 
 in 1877 for Mr. Reginald Cholmondeley, of Condover. Mr. Carlyle appears seated, nearly in 
 full view, the head in nearly three-quarters view to our left ; the hands rest upon the top of a 
 walking stick. 
 
 Painted 1877 ; Canvas, 45 X 34? inches. 
 
 Stella. 
 
 Lent by Humphrey Roberts, Esq. 
 
 A life size, three-quarters-length figure of a woman in the youthful prime of life, standing 
 near an escritoire, and holding letters. The impression is that Dean 'Swift’s soi-disant mistress, 
 
22 
 
 West Gallery. 
 
 had just received from him a letter full of painful suggestions and perplexing doubts. 
 
 “Stella” was at the Academy in 1868, with “The Sisters,” “Pilgrims to St. Paul’s,” 
 “Rosalind and Celia,” and “ A Souvenir of Velazquez.” It was engraved, as a companion to 
 “ Vanessa,” by Mr. T. L. Atkinson, and published by Messrs. T. Agnew Sc Sons. 
 
 Painted 1868 ; Canvas, 43 \ X 35? inches. 
 
 17. “ Over the Hills and Far Away.” 
 
 Lent by Kay Knowles, Esq . 
 
 This view includes Strath Tay as seen from near Birnam, in Perthshire, with Ben-y-Glow 
 in the centre distance, while the range of vision extends nearly to Dunkeld. In front are pools 
 shining in the vapour-softened lustre of a sunny day, and reflecting clumps of flowering rush, 
 now gone to seed, that form tiny islets ; the pools are encircled by mosses of various kinds, 
 vegetable sponges that are green, red, orange, brown, and grey. Among these growths 
 are seedling grasses, starved bushes that cling to the soaked earth, and are contorted like 
 writhing snakes, black stumps, boulders, and ragged blocks of stone, the debi'is of convulsive 
 forces of centuries long gone by. A hill rises on our left, with pines and a distant house or 
 two ; on our right is another hill ; between these hills the vista of the Strath is seen under the 
 whitish grey cloud-like masses of vapour which, with their fringes, have formed across the view. 
 The landscape includes a vast prospect, with a long course of the winding river, and 
 terminates in the barrier of hills, with their manifold valleys partly obscured by shadows. 
 
 This landscape, the pendant in this Gallery to “Chill October,” was at the Academy 
 in 1876, with “Forbidden Fruit ” (or “Child with an Apple”), “The Right Hon. Lord 
 Lytton,” “Mrs. Sebastian Schlesinger,” “Her Grace the Duchess of Westminster,” and 
 “Getting Eetter” (or “The Sick Child”). It was at the Exposition Universelle, Paris, 1878, 
 as “Dans les Montagues d’Ecosse.” 
 
 Painted 1875 ; Canvas, 51 X 74 inches. 
 
 18. The late G. Grote, Esq., D.C.L., F.R.S., Vice-Chancellor 
 of the University of London. 
 
 Lent ly The University of London. 
 
 A three-quarters-length, life-size figure, seated in nearly three-quarters view to our left, 
 wearing an academic costume. It was painted for members of the Convocation of the University 
 of London. 
 
IV est Gallery. 
 
 23 
 
 George Grote was bora in 1794, at Clay Hill, near Beckenham, Kent; educated at the 
 Charterhouse, London; entered his father’s banking-house as a clerk in 1810 ; began his 
 “History of Greece ” in 1823 ; was elected M.P. for the City of London in 1832, and retained 
 that position until 1841, when he retired. He was a stringent advocate of the Ballot and other 
 methods for the reform of Parliament. He completed “The History of Greece ” in 1856, and 
 published “Plato and the Companions of Socrates” in 1864. Having taken a considerable 
 part in the foundation and management of the University of London, he held high office in 
 that institution. He died June 18, 1871. 
 
 This portrait was at the Academy in 1871, with “Chill October,” “Victory, O Lord! ” 
 “ A Somnambulist,” and “ Yes, or No ? ” 
 
 Painted 1871 ; Canvas, 49^ X 39J inches. 
 
 The late Sir William Sterndale Bennett, Mus. Doc., Camb. 
 
 Lent by Thomas Case , Esq. 
 
 A life-size figure seated at a table and looking outwards with an intent and thoughtful 
 expression. Sir W. Sterndale Bennett wears the fawn-coloured gown proper to his degree as a 
 Doctor in Music. 
 
 Sir W. S. Bennett was born in 1810 at Sheffield, where his father was a musician of repute, 
 and organist to the parish church ; he was educated by his uncle, one of the lay clerks of the 
 Cambridge University Choir, under whose auspices he entered the choir of King’s College, 
 Cambridge, where he remained two years before joining the Royal Academy of Music ; he became, 
 as a pianist, a pupil of Messrs. Holmes and Cipriani Potter and Dr. Crotch. His symphony in 
 E flat was produced at the Royal Academy, and followed by concertos in various keys at the 
 same institution and the Philharmonic Society. Influenced by Mendelssohn he went in 
 1836 to Leipsic, where several of his pieces were performed, under the direction of Mendelssohn, 
 and other works were published and received with great favour in Germany. In due time he 
 returned to London and obtained an eminent position as a composer, performer, and teacher of 
 music. In 1856 he was appointed Professor of Music at Cambridge. Shortly afterwards, he 
 became Conductor of the Philharmonic Concerts; in 1858 he conducted the first Musical 
 Festival at Leeds; and in 1862 was associated with Auber, Meyerbeer, and Verdi in composing 
 music for the opening of the International Exhibition. He chose the Laureate’s “Uplift a 
 Thousand Voices,” which was expressly written for the occasion. A considerable number of 
 his works have been published, including “ The Wood Nymph,” “ Parisina,” and “ The Meny 
 Wives of Windsor.” He died on the 1st of February, 1875. 
 
 This portrait was at the Academy in 1873, with “Mrs. Heugh,” “Early Days,” “Mrs. 
 Bischoffsheim,” “ New Laid Eggs,” and “ Oh ! that a Dream so Sweet ! ” Engraved in 
 mezzotint by Mr. T. O. Barlow, R.A., and published by Mr. E. S. Palmer. 
 
 Painted 1873 ; Canvas, 49^ X 39| inches. 
 
24 
 
 West Gallery. 
 
 20 . An Idyll of 1745. 
 
 Lent by Frederick Wigan, Esq . 
 
 A group of life-size figures, placed near some trees. The central personage is an 
 English fifer boy, in his regimental costume of the middle of the last century, playing on 
 his fife, while three Scottish girls recline on the grass and listen to the music. An English foot 
 soldier stands near the fifer, and regards the scene with some interest. Part of an encampment 
 appears on our right. The incident is supposed to have occurred while the English Guards 
 were in Scotland pursuing the Young Pretender and his allies. 
 
 This picture was at the Academy in 1884, with “Fleetwood Wilson, Esq.,” “Miss Scott,” 
 and “ Hemy Irving, Esq.” 
 
 Painted 1884 ; Canvas, 54^ X 74J inches. 
 
 21. Chill October. 
 
 Lent by Sir William Armstrong , C.B. 
 
 “ What saith the river to the rushes gray, 
 
 Rushes sadly bending, 
 
 River slowly wending ? 
 
 It is near the closing of the day. 
 
 Near the night. Life and light 
 For ever, ever fled away ! ” 
 
 JEolian Harp . 
 
 Mr. Allingham’s verses, written many years before “ Chill October ” was painted, suggest 
 the poetic nature of one of the most poetic of modem landscapes. It is the first in time as well 
 as in quality of Sir John Millais’s landscapes proper. The present writer thus described it in a 
 review of the exhibition which was signalised by its presence as well as by that of other works of 
 the artist, as mentioned below. “ Chill October ” represents a little river bay, with its maze of 
 whispering rushes ; one almost hears their secrets as they stand in a body by the bank, as in a 
 grey day they shiver under a chill breeze. The breeze moves the surface of the river in wide, 
 slow ripples, and sweeps between the branches of the willows which fill part of the mid-distance, 
 until the eye glances past them to the further bank of the stream. Over all is the gray sky, 
 with here and there glimpses of its silver lining and an ashy firmament. The picture is a 
 poem in painting, and the more admirable because its materials are homely, or, at least, were 
 found at home, and are such as those who can see may often see. The subject was found in a 
 back-water of the Tay ; the art of the painter not less than his powerful poetic feeling has 
 
West Gallery, 
 
 25 
 
 supplied that subtle grading of light and tone which all enjoy, while few understand it ; the 
 natural and perfect harmony of low notes of colour, greys and greens, and white is reproduced 
 as only a master can ; the bringing of colour, light, and tone to complete accord, in which lie the 
 triumphs of chiaro-oscuro, the ineffable charm of the least definable phase of Art, is the painter’s 
 doing, and by far the most fortunate attempt of the kind that he has made. 
 
 A mass of grey, and hoary rushes and other water plants, their seedling heads 
 swaying in the breeze that scarcely moves the heavier foliage, extends across the front of 
 the picture ; then comes the lustrous or darkened expanse of the river, one part dashed by 
 reflections of a clump of willows growing on a low spit of land in the mid-distance, the 
 other part enriched with hues of tarnished silver charged with what Reats called “ wannish light.” 
 Beyond these a brighter space reflects what remains of lustre in the sky ; then a second promon- 
 tory, crowned with trees taller than the willows, and made dim by intervening vapour that almost 
 saturates the air, projects into the stream. Further off is a dimly seen bank, with more 
 foliage half obscured, while we discern, rising against the sky, the long undulating ridges of the 
 uplands that close the view. Well-known in the Perth regions as “ Segdy Den,” the scene of 
 “ Chill October” has found fit interpretation for its sentiment and sorrowful beauty at the hands 
 of the painter, whose further success in the same line was attested by “ Over the Hills and Far 
 Away,” Winter Fuel,” and “ Scotch Firs.” The magnificent pathos of the landscape back- 
 grounds of “Sir Isumbras,” “The Vale of Rest,” “Autumn Leaves,” and “The Devil 
 Sowing Tares,” predicted the good fortune of “Chill October.” 
 
 This picture, exhibited at the Academy in 1871, had for its companions by the same hands, 
 “ George Grote, Esq.,” “Victory, O Lord ! ” “ A Somnambulist,” and “Yes, orNo? ” “Chill 
 October” was sold with the Mendel Collection m 1875 for ,£3,255. It appeared with great 
 applause in the Exposition Universelle, Paris, 1878, and at the Fine Art Society’s Gallery 
 in 1881. It was etched by M. Brunet Debaines for Messrs. T. Agnew & Sons. 
 
 Painted 1870 ; Canvas, 55 X 73 inches. 
 
 Sir John Fowler, C.E. 
 
 Lent by the Institute of Civil Engineers . 
 
 A seated three-quarters-length figure. It was painted for the sitter’s friends, and by them 
 presented to the Institute of Civil Engineers, of which Sir John Fowler was President from 1866 
 till 1868. 
 
 This portrait has been engraved as a private plate by Mr. T. O. Barlow, R.A. It was at 
 the Academy in 1869, with “ The Gambler’s Wife,” “ Nina, daughter of F. Lehmann, Esq.,’'’ 
 “ Vanessa,” “The End of the Chapter,” and “A Dream at Dawn.” The last two works are in 
 water colours. 
 
 Painted 1869 ; Canvas, 49 X 39 inches. 
 
26 
 
 IVest Gallery. 
 
 23. A Jersey Lily (Mrs. Langtry). 
 
 Lent by H. Martyn Kennard, Esq . 
 
 A three-quarters-length, life-size figure of the lady standing in three-quarters view to our 
 left, the face in rather less than three-quarters view. She wears a black silk dress, and her 
 hands are placed before the figure. Engraved by Mr. T. O. Barlow, R.A., and published by Mr. 
 H. B. Ansdell. 
 
 This portrait was at the Academy in 1878, with “ The Princes in the Tower,” “ The Earl of 
 Shaftesbury,” St. Martin’s Summer,” and “ The Countess of Carysfort.” 
 
 Painted 1878 ; Canvas, 42^ X 33 inches. 
 
 24. Vanessa. 
 
 Lent by George Holt , Esq. 
 
 This is a three -quarters-length figure of Swift’s friend, standing in profile, holding 
 a letter and seeming about to answer it in an indignant mood. A richly brocaded costume 
 distinguishes the figure. It is the companion picture to “Stella,” which appeared at the Academy 
 in the previous year. 
 
 “Vanessa ” was at the Academy in 1869, with “ The Gambler’s Wife,” “Nina, Daughter 
 of F. Lehmann, Esq.,” “John Fowler, Esq.,” “The End of the Chapter,” and “A Dream 
 at Dawn.” It was engraved by Mr. T. L. Atkinson, as a companion to “ Stella,” and 
 published by Messrs. T. Agnew & Sons. 
 
 Painted 1868 ; Canvas, 43 X' 35 | inches. 
 
 25. Fleetwood Wilson, Esq. 
 
 Le?it by Fleetwood Wilson , Esq. 
 
 A three-quarteis-length, life-size figure, in the act of walking to the front, holding a gun 
 under the arm, and seen nearly in full face, with the light from our right. He wears a velvet 
 shooting jacket and gloves. 
 
 This portrait was at the Academy in 1884, with “Miss Scott,” “ An Idyll, 1745,” an d 
 “ Henry Irving, Esq.” 
 
 Painted 1884 ; Canvas, 49 X 36 inches. 
 
 26. Getting Better; or, The Sick Child. 
 
 Lent by Humphrey Roberts , Esq. 
 
 A little girl is in bed, having been raised against a pillow in order to receive two visitors, 
 a girl and a younger boy, who press forward with anxiety. The invalid’s face expresses the 
 
IV est Gallery. 
 
 27 
 
 hunger of long- delayed hope, faint longing for air, companionship, and light, so long kept 
 back as not to be quite heartily anticipated now that they are near. She is convalescent, 
 and the friends come with fresh looks and cool hands. 
 
 This work was at the Academy in 1876, with “ Forbidden Fruit,” “ The Right Hon. Lord 
 Lytton,” “Mrs. Sebastian Schlesinger,” “ Her Grace the Duchess of Westminster,” and “ Over 
 the Hills and Far Away.” 
 
 Painted 1876 ; Canvas, 40 X 34^ inches. 
 
 27 - 
 
 Still for a Moment. 
 
 Lent by J. S. Morgan , Esq. 
 
 The whole-length figure of a little girl, in a white pinafore, seated on the trunk of a 
 felled tree, under the branches of another tree, and looking as if her vivacity found rest for a 
 time. She has an hardly less vivacious little dog in her lap. 
 
 This picture was at the Academy in 1874, with “ Scotch Firs,” “ Winter Fuel,” “ Walter, 
 son of N. de Rothschild, Esq.,” “The Picture of Health,” “The North-West Passage,” and 
 “ A Day Dream.” It was engraved in mezzotint by Mr. G. Zobel, and published by Messrs. 
 T. Agnew and Sons. 
 
 Painted 1874; Canvas, 35 X Z~\ inches. 
 
 28. Miss Eveleen Tennant (Mrs. F. W. H. Myers). 
 
 Lent by Mrs. Tennant. 
 
 A life-size figure, seen in full front view and in powerfully contrasted bright light and shade. 
 The lady wears a blue necklace over a red dress, a large black, broad-rimmed tall hat and dark 
 gloves. On her arm is a basket filled with ferns. Miss Tennant is the youngest daughter of the 
 late Charles Tennant, Esq., of Cadoxton Lodge, Neath, Glamorganshire. 
 
 “ Miss E. Tennant” was at the Academy in 1875, with “No!” “The Fringe of the Moor,” 
 “The Deserted Garden,” “The Crown of Love,” “Eveline, Daughter of E. Lees, Esq.,” and 
 the portrait of her sister “ Gracia.” For the above-named pictures not in this exhibition, see 
 “ The Deserted Garden.” 
 
 Painted 1874; Canvas, 42 X 3 1 inches. 
 
28 
 
 West Gallery . 
 
 29. St. Agnes’ Eye. 
 
 Lent by F. Ley land, Esq . 
 
 “ Full on this casement shone the wintry moon, 
 
 And threw warm gules on Madeline’s fair breast.” 
 
 her vespers done, 
 
 Of all its wreathed pearls her hair she frees ; 
 Unclasps her warmed jewels one by one ; 
 
 Loosens her fragrant boddice ; by degrees 
 Her rich attire creeps rustling to her knees : 
 Half-hidden, like a mermaid in sea-weed, 
 
 Pensive awhile she dreams awake, and sees, 
 
 In fancy, fair St. Agnes in her bed, 
 
 But dares not look behind, or all the charm is fled.” 
 
 / 
 
 Keats’s “ Eve of St. Agnes,” xxv., xxvi. 
 
 Before the tall curtains of the ancient couch, stands Millais’s version of Keat’s enchanted 
 heroine, her hair loosened, her face flushed, her nervous fingers lingering at her waist-knots, a 
 robe of blue and silver fallen about her feet, her figure bathed in pale light, and stained with 
 spaces of gules, azure, and amethyst. The jewelled casket on the table glitters in all its 
 mouldings and inlays, and the high window marks its shape and dimmed blazonry on the floor. 
 The room was painted at Knole House, Kent. 
 
 Mr. P. H. Rathbone, of Wavertree, Liverpool, has a small version of “ St. Agnes’ Eve; ’ 
 and Mr. A. Wood, of Bodlondeb, Conway, has a similar example.” 
 
 This picture was at the Academy in 1863, with “ My First Sermon” and “The Wolfs Den.” 
 “St. Agnes’ Eve” was in the Exposition Universelle, Paris, 1867, with “Satan Sowing 
 Tares ” and “ The Romans leaving Britain.” 
 
 Painted 1863 ; Canvas, 44 X 60 inches. 
 
 A three-quarters-length, nearly life-size figure, standing with the head slightly raised and 
 firmly carried, while the shoulder being turned towards us, * the * hands are joined behind 
 the supple figure. The lady wears a black silk dress, embroidered with flowers in bright colours. 
 This portrait was exhibited at the Grosvenor Gallery in 1880, with “ Mrs. Caird.” 
 
 Painted 1880 ; Canvas, 48 X 29 inches. 
 
 30. Mrs. Louise Jopling. 
 
 Leiit 
 
West Gallery . 
 
 29 
 
 Forbidden Fruit. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 A portrait subject, representing a little girl, about nine years old, seated under an apple 
 tree with her hair flowing over her shoulders, and holding a not quite ripe apple with both 
 hands in her lap. She wears a blue dress and a white pinafore. It is a portrait of one of the 
 artist’s younger children. 
 
 It was at the Academy in 1876, with “ Over the Hills and Far Away,” “ The Right Hon. 
 Lord Lytton,” “ Mrs. Sebastian Schlesinger,” “ Her Grace the Duchess of Westminster,” and 
 “ Getting Better.” This picture was etched for Modern Artists by M. C. Waltner 
 
 Painted 1875 ; Canvas, 29^ X 23^ inches. 
 
 Mrs. Sebastian Schlesinger. 
 
 Lent by Henry Schlesinger , Esq. 
 
 A three-quarters-length, life-size figure of a lady, facing the spectator in nearly front view, 
 wearing a walking dress, including a hat, and with both hands in her muff. 
 
 This portrait was at the Academy in 1876, with “ Forbiden Fruit,” “The Right Hon. 
 Lord Lytton,” “ Getting Better,” “ Her Grace the Duchess of Westminster,” and “ Over the 
 Hills and Far Away.” 
 
 Painted 1876 ; Canvas, 45 X 29 inches. 
 
 “ Cuckoo ! ” 
 
 Lent by Mrs. Bloomfield Moore. 
 
 Represents two little girls seated in a wood, while one of them is listening to the cry 
 of the “ wandering bird,” which, now here, now there, comes to her through the brown alley of 
 the forest, which, in its thickly grouped trunks of trees and dense foliage, forms the back- 
 ground of the picture. 
 
 It was exhibited at the Academy in 1880, with the portrait of the painter, for the Uffizi 
 Gallery at Florence ; “ The Right Hon. John Bright;” “C. M. C. Stepney,” a little girl in a black 
 dress, holding daffodils; “Miss Hermione Schenley,” in a white dress, with blue flowers in her 
 hand ; and “ Luther Holden, Esq.” 
 
30 
 
 PVest Gallery. 
 
 The motto of the picture is 
 
 “ Summer is y comen in, 
 
 Loud sing Cuckow ! 
 
 Groweth seed and bloweth mead, 
 And springeth the wood now.” 
 
 Painted 1880 ; canvas, 50 X 39 inches. 
 
 34 - 
 
 Major James. 
 
 Lent by Major Janies, 
 
 Appears at life-size in profile to our right, a half length figure, with the arms folded, wear- 
 ing the undress uniform of the Scots Greys. Major James is Sir John Millais’s son-in-law. 
 Exhibited at the Academy in 1881 as “ Captain James,” with other pictures, see No. 59. 
 
 Painted 1880 ; Canvas, 33^ X 25 inches. 
 
 35. The Picture of Health. 
 
 Lent by Hilton Philipson , Esq. 
 
 This picture, a portrait of Miss Alice Caroline Millais, represents a young lady standing in an 
 entry, in a black dress, with a muff in her hand, and with her hair flowing loose over her shoulders. 
 
 It was at the Academy in 1874, wirh “ Scotch Firs,” “Winter Fuel,” “Walter, Son of 
 N. de Rothschild, Esq.,” “ The North-West Passage,” “Still for a Moment,” and “A Day 
 Dream.” For these pictures, not included in this exhibition, see “ Scotch Firs.” “ The Picture 
 of Health” was engraved in mezzotint by Mr. S. Cousins, R.A., and published by Messrs. 
 T. Agnew & Sons. 
 
 Painted 1874 5 Canvas, 44^ X 34 inches. 
 
 36. A Yeoman of the Guard. 
 
 Lent by Mrs . Hodgkinson. 
 
 A life-size, three-quarters-length figure of one of Her Majesty’s Yeomen of the Guard in 
 his state uniform of scarlet, embroidered with black and gold, wearing medals and clasps upon 
 his breast; a baldric crosses his shoulder, a belt is about his waist ; a white ruff encloses his neck ; 
 on his head is his official cap of black velvet. The Yeoman, a veteran of Waterloo, sits upright 
 with military rigidity in his chair, looking steadily, as if on duty, his face to the left, and holding 
 
West Gallery. 
 
 3i 
 
 in his right hand his staff of office ; in his left hand a folded paper is supposed to contain his 
 last orders. The old man has nearly done his duty in this world, and yet, with staff and 
 scrip, seems to wait the command to begin the longest journey man can make. 
 
 This picture, a subject the artist had long intended to paint, was at the Academy in 
 1877, with “ The Sound of Many Waters,” and “ Yes !” It was again exhibited at the 
 Exposition Universelle, Paris, in 1878 (where it commanded great admiration), and by the 
 Fine Art Society in 1881. It has been reproduced in photogravure. 
 
 Painted 1876; Canvas, 56 X 45 inches. 
 
 Portraits of the Children of Moulton Barrett, Esq. 
 
 Lent by Mrs. Moulton Barrett . 
 
 A boy in a Cavalier dress of citron velvet leans on his elbow at his sister’s side, and looks 
 forward earnestly, with a frank expression of face. The young lady wears a sea-green dress ; a 
 rose lies in her lap. These full-length figures are nearly life-size. 
 
 This group was at the Grosvenor Gallery in 1882, with “A Portrait of Mrs. G. Whitly,” 
 who is holding a black hat, and standing against a reddish grey-purple background. 
 
 Painted 1881 ; Canvas, 49 j X 3 g% inches. 
 
 “ Stitch ! Stitch ! Stitch ! ” 
 
 Lent by G. F. Watts , Esq., R.A. 
 
 Representing a seamstress in a grey dress, seated in a chair, looking over her shoulder with 
 a worn and anxious expression ; the face is nearly in profile to our left. 
 
 This illustration of Hood’s famous “Song of the Shirt,” was one of the five contributions 
 of Sir John E. Millais to the first exhibition of the Grosvenor Gallery in 1877. With it were 
 “ Countess Grosvenor,” “Lady B. Grosvenor,” “Lord Ronald Gower,” and “The Marchioness 
 of Ormonde.” 
 
 Painted 1876 ; canvas, 29 \ X 24^ inches. 
 
 . “No!” 
 
 Lent by H. A. Brassey, Esq., M.P. 
 
 The companion to “ Yes ! ” and complement to “Yes, or No ? ” This single, nearly life- 
 size, three-quarters-length figure of a lady is standing nearly in profile to our right, while 
 
32 
 
 IVest Gallery. 
 
 meditating her answer to a suitor, whose letter she holds in one hand ; a pen is in the other 
 hand. The expression suggests that the petition is rejected with regret, and the decision 
 tempered with a vague tenderness ; the lips and eyes tell so much, and charmingly. On this 
 subject the Athenceum said : “ It is the fashion to decry Mr. Millais on account of his pictures of 
 this class, but it is unjust to do so. Let us look at the broad and noble system of painting — the 
 very system of Velazquez himself — on which the dress and figure have been produced. Observe 
 that the balance of light and tone with colour, forming true chiaro-oscuro, has been obtained with 
 magic force ; for a piece of handling study the lace collar. Grumblers, who do not know the 
 value of these things, and yet are led by fashion to admire them in old masters’ works, are 
 monstrously ungrateful to Mr. Millais.” 
 
 “No!” was at the Academy in 1875, with “ The Fringe of the Moor,” “The Deserted 
 Garden,” “The Crown ofLove,” “ Miss E. Tennant,” “Eveline, Daughter ofT. E. Lees, Esq.,” 
 and the portrait of her sister “Gracia.” For the above-named pictures not in the present 
 collection see “ The Deserted Garden.” 
 
 “No ! ” was engraved in mezzotint by Mr. S. Cousins, R.A., as a companion to “ Yes ! ” 
 and “ Yes, or No ? ” Mr. Cousins engraved the latter as well as the first. All three of these 
 works were published by Messrs. T. Agnew & Sons. 
 
 Painted 1875 ; Canvas, 44 X 36 inches. 
 
 40. Lord Tennyson, Poet Laureate. 
 
 Lent by James Knowles, Esq. 
 
 A life-size, three-quarters-length figure, standing bare-headed and nearly in front view. A 
 black cloak, with a broad collar, close around the throat of the poet, falls in large masses about 
 his li^ftre, while one of the hands holds a dark felt wide-awake which is seen in front. 
 
 This portrait was engraved in mezzotint by Mr. T. O. Barlow, R.A., and published by the 
 Fine Art Society, in whose gallery the picture was exhibited in 1881. 
 
 Painted 1881 ; Canvas, 49^- X 3 ^ inches. 
 
 41. The Knight Errant. 
 
 Lent by Charles 11. Wilson, Esq., M.P. 
 
 This large picture is one of the most important and, from a technical point of view, thoroughly 
 studied works of Sir John Millais, and is the only example by the artist of a full-length, life-size, 
 nude female figure. The lady before us has been made prisoner by brigands, stripped, and 
 bound by her hands to a tree, which occupies the centre of the canvas. The scene is the 
 
West Gallery. 
 
 33 
 
 interior of a wood, and many huge rocks are strewn on the earth ; between the tree -trunks we 
 catch a glimpse of light, and of figures flying in fear. A bright silvery lustre pervades the scene 
 and is reflected from the rock-strewn floor. In full light and in front stands the naked figure 
 of the damsel, bound to the tree by a cord, which likewise knots her hands together. She is 
 clothed only in her golden hair ; her robes lie at her feet, where the robbers threw them. One 
 of these lies dead upon the stones, slain by the knight who is now releasing her, cutting the 
 bonds with his sword. “ The painting and drawing of the female figure,” said the Athenceum , 
 while commenting on this picture, “difficult as that subject is — probably the most difficult of 
 artistic exercises — are admirable ; the contours are firm and large, the forms refined and sound, 
 the textures smooth and yet not wax-like ; the drawing is capital, the carnations are rich, and 
 have that inner golden hue which has been discoverable in all finely-painted flesh since Titian’s 
 time, and gives a delicate brilliancy, which here seems to gleam, and is, perhaps, best appreciated 
 when matched with examples that are defective in this respect, as the flesh of academical 
 painters — such, to wit, as Ary Scheffer. The painting of the knight’s armour is worthy of 
 Mr. Millais, or of Giorgione — one cannot say more. This picture was wrought in six weeks.” 
 
 This example was at the Academy in 1870, with “ John Kelk, Esq.,” “ A Flood,” “ The 
 Boyhood of Raleigh,” “ The Widow’s Mite,” and “ The Marchioness of Huntly.” 
 
 Painted 1870 ; Canvas, 72 X 53 inches. 
 
 42. “That Tower of Strength which stood Four-square to 
 all the Winds that blew.” 
 
 t 
 
 “ Ode on the Death of the Duke of Wellington By Lord Tennyson. 
 
 Lent by J. H , Renton , Esq. 
 
 A landscape representing Urquhart Castle, a fortress high on a promontoiy of Loch Ness, 
 under an effect of straining -wind and drifting rain, and in front of a world of vapours which 
 race between us and the mountain sides, and break like water on a shore. The silvery, 
 ashy reflections of the clouds on the troubled waters of the lake are broken by gleams of light. 
 The sentiment of the picture is distinct in the shattered but still stalwart tower, the battlements 
 strongly marked against the grey sky, which is filled with yellow light, while the walls have but 
 a pale reflection on them, which makes them sterner than ever. The wind, which is not strong 
 enough to raise the surface of the lake in waves, catches enough of the water to make wavelets 
 and ripples, which chafe and fret rather than fall rhythmically, thus intensifying the pathos of 
 the scene. 
 
 C 
 
34 
 
 IVest Gallery. 
 
 This picture was at the Academy in 1879, with “The Right Hon. W. E. Gladstone,” 
 “ Portrait of a Lady ” (Mrs. Beddington), and “ Mrs. Arthur Kennard.” 
 
 Painted 1879 ; Canvas, 36 X 54 inches. 
 
 43. “Yes? or No?” 
 
 Painted, 1875 5 Canvas, 47 X 39 inches. 
 
 Lent by Mrs . Moir. 
 
 44. James Clarke Hook, Esq., R.A. 
 
 Lent by Janies C. Hook , Esq., R.A . 
 
 The life-size, three-quarters-length portrait of the famous sea and landscape painter appears 
 dressed in a loose, modern suit of home-spun, bareheaded, and holding a palette set with 
 pigments on his left thumb, whilst his right hand rests on his hip. An expression of observant 
 thought distinguishes the features, which are instinct with a strong vitality and fine health. This 
 portrait was exchanged with Mr. Hook for a landscape by himself, which appeared in the 
 Academy in 1884. 
 
 This portrait was in the Academy in 1883, with “ The Grey Lady,” “ L T ne Grande 
 Dame,” “The Marquis of Salisbury,” “Forget Me Not,” “T. H. Ismay, Esq.,” and 
 “ Charles Waring, Esq.” It was etched for Modern Artists by M. O. Leyde, and published by 
 the British and Foreign Artists’ Association. 
 
 Painted 1882 ; Canvas, 49 X 36 inches. 
 
 45 - 
 
 Pomona. 
 
 Lent by Charles Neck , Esq. 
 
 The full-length figure of a little girl of eight years old, wearing a white dress and mob cap, 
 a sea-green sash and tnmmings, stands in a landscape, and holds apples in her hand, while at her 
 side is a small wheelbarrow with more apples. Her plump and ruddy cheeks associate the child 
 with her name and the fruit accompanying her portrait. 
 
 This picture was exhibited at Mr. Tooth’s Gallery in the Haymarket in the autumn of 1882. 
 
 It has been engraved by Mr. S. Cousins, R.A., and published by Mr. Tooth. 
 
 Painted 1882 ; Canvas, 40 X 29 inches. 
 
IVest Gallery. 
 
 35 
 
 46. The Rt. Hon. W. E. Gladstone, M.P. 
 
 Lent by Christ Church , Oxford . 
 
 The late Premier wears his doctor’s gown of deep rose and scarlet. The figure is life-size, 
 bare-headed, and sits with one hand on each arm of large chair ; the figure is half turned to the 
 front, the face is lifted a little and looks full at the spectator. This is the third portrait of 
 that statesman painted by Sir John Millais, the first being in a civil costume, and standing 
 with the hands clasping each other in front ( See No. 97). 
 
 This portrait is not that which was exhibited at the Grosvenor Gallery in 1885, with a 
 “Portrait of Miss Margaret Millais, daughter of W. H. Millais, Esq.” 
 
 Painted 1885 ; Canvas, 35 X 28 inches. 
 
 47. A Good Resolve. 
 
 Lent by Julius Reiss, Esij. 
 
 The three-quarters-length life-size figure of a Scottish peasant girl who is observing a 
 frequent custom of her class and country. Having formed a resolve suggested or confirmed by 
 consultations of the Bible, leaves of which she is deliberately turning down, she stands before 
 us with an upraised face and serious expression. 
 
 The picture was exhibited at the Grosvenor Gallery in 1878 with “ Twins, the daughter . 
 of T. R. Hoare, Esq.” (See No. 48). 
 
 Painted 1877 ; Canvas, 41 X 31 inches. 
 
 48. Portraits of the Misses Hoare, or ‘‘ Twins.” 
 
 Lent by Thomas Rolls Hoare, Esq . 
 
 Two life-size, three- quarters-length figures of ladies standing fronting the spectator and 
 wearing walking costumes, laced with silver ; one lady holds a dog whip, the other holds her hat. 
 A dog looks straight before him out of the picture. The work was at the Grosvenor Gallery 
 in 1878, with “A Good Resolve ” ( See No. 47). 
 
 Painted 1876; Canvas, '60 X 45 inches. 
 
 49. Orphans. 
 
 Lent by J. S . Forbes , Esq. 
 
 A nearly whole-length figure of a little girl standing fronting us on a path in an open space 
 neai the entrance of a wood, with pale flossy chestnut hair flowing from a yellow fillet over her 
 
 C 2 
 
36 
 
 JVest Gallery. 
 
 shoulders ; her costume comprises a yellow girdle, a frock of warm grey, and a white apron. The 
 apron is folded up so that she^holds in it a young rabbit, which, like herself, is supposed to be an 
 orphan. The tenderness of her expression suggests sympathy with her charge, and sorrows of 
 her own. 
 
 This picture was at the Academy in 1885, with “The Ruling Passion,” “Lady Peggy 
 Primrose,” and “ Simon Fraser, Esq.” 
 
 Painted 1885 ; Canvas, 37 X 27 inches. 
 
 A three-quarters-length, life-size figure of a girl in a red cloak, with a white cravat round 
 her neck ; her hair is loose upon her shoulders. 
 
 Painted 1877 ; Canvas, 35J X 27 inches. 
 
 Goldsmith’s heroine, in a cream-white dress brocaded with gold, and wearing a dainty white 
 cap on her abundant black tresses, walks, in a dreamy mood, pausing in the perusal of a 
 book she holds. The serious beauty of the face, the verisimilitude of the flesh, the fulness 
 of the carnations, roses, and greys, and the harmony of the strong rich tones, give special 
 value to this work. Olivia is a life-size, three-quarters-length figure, seen nearly in profile to 
 our right. 
 
 Engraved by Mr. J. Stephenson, and published by Messrs. H. Graves & Co. 
 
 Exhibited in Mr. Tooth’s Gallery, Haymarket, in 1883. 
 
 Painted 1882 ; Canvas, 39! X 27 J inches. 
 
 “ Caller Herrin’ ! ” 
 
 Lent by Walter Dunlop , Esq . 
 
 A fisherman’s young daughter resting on her homeward way, seated on a wooded 
 bank near the shore, and looking out to the sea. By her side is a basket containing a mass of 
 bright silver herrings, intended for the key-note of the coloring of the picture, which com- 
 prises the grey sky, and the girl’s silvery bluish garments. 
 
 50. Bright Eyes. 
 
 Macdonald . 
 
 51. Olivia. 
 
IVest Gallery. 
 
 37 
 
 The lady who sat for “ Cinderella ” and “ The Fair Captive ” sat likewise for this picture, 
 which was engraved in mezzotint by Mr. H. Herkomer, A.R.A., and published by the Fine Art 
 Society. The picture was exhibited by that firm in 1882, and at Manchester in 1885. 
 
 Painted 1881 ; Canvas 43 X 31 inches. 
 
 53. Effie Deans. 
 
 Lent by Robert Loder , Lsq., M.P. 
 
 The subject of this picture, derived from an imaginary scene in “ The Heart of Midlothian,” 
 is an interview between Effie Deans and Staunton, her lover, after she had discovered the shame 
 she had incurred. The two are parted by a low diy stone wall, the boundaiy of a wood. 
 Behind the wall he stands half-concealed, while she, in front, and leaning on it, supports her 
 head on one hand, and, taken from her tresses, holds in the other hand the pale blue snood 
 she has no longer a right to wear. Her face is full of sorrow, fear, and shame. The lover bears 
 a handsome, though somewhat hard countenance, with straight, dark brows, and an energetic 
 physique. He looks down, even while standing at the side of his mistress, half-ashamed, and 
 yet impatient. He wears a blue coat, laced with silver, a darker blue “bonnet,” and an ample 
 white cravat. Her boddice is of a rosy purple tint, over a dark purple petticoat. 
 
 Sir John Millais invented this subject on a hint of Scott’s when he described Jeanie Deans 
 watching her sister part from the seducer at the stile in the King’s Park, Edinburgh. The dog 
 will remind the spectator of the collie in “ The Order of Release.” 
 
 This picture was exhibited in 1877, at Mr. Marsden’s Gallery, in St. James’s Street. 
 Mr. T. O. Barlow, R.A., engraved it in mezzotint, and Messrs. T. Agnew & Sons published the 
 print. There is a woodcut of it in the “ Art Journal ” for 1885. 
 
 Painted 1877; Canvas, 57 X 42 inches. 
 
 54. Luther Holden, Esq., President of the Royal College 
 of Surgeons, Senior Surgeon to St. Bartholomew’s 
 Hospital. 
 
 Lent by the Governors of St. Bartholomew' s Hospital. 
 
 A life-size, three-quarters-length figure, standing, with both hands clasped, as if in the act 
 of addressing an audience. 
 
 Painted in pursuance to a commission given by the distinguished surgeon’s friends and 
 pupils, and by them presented to St. Bartholomew’s Hospital. It is the companion picture to 
 .that of Sir James Paget, painted in 1872 by the artist, and belonging to the s^ime institution. 
 
38 
 
 West Gallery. 
 
 This work was at the Academy in. 1880, with the “Portrait of the Painter for the Collection 
 in the Uffizi Gallery at Florence ; ” “The Right Hon. John Bright ; ” “ C. M. C. Stepney” (a 
 little girl in a black dress, holding daffodils) ; “Miss Hermione Schenley,” in a white dress, with 
 blue flowers in her hand ; and “ Cuckoo ! ” An etching from this picture has been published. 
 
 Painted 1880 ; Canvas, 49 X 36 inches. 
 
 55. Mrs. Stibbard. 
 
 Lent by G. Stibbard , Esq, 
 
 A three -quarters -length, life-size figure of a lady, standing with her arms folded, and nearly 
 in profile to our left. She wears a black silk, square-cut dress, with a flower in the bust, and 
 black gloves. She has a black fan. Mrs. Stibbard is Lady Millais’s sister ; she appears in 
 “ Pot-Pourri.” 
 
 Exhibited at the Grosvenor Gallery in 1879. 
 
 Painted 1878 ; Canvas, 42 X 27 inches. 
 
 56. 
 
 Dorothy Thorpe. 
 
 Lent by J. Dyson Perrins , Esq, 
 
 A little girl, kneeling on an embroidered cushion ; both hands are posed in front of the 
 figure and holding a piece of biscuit. She wears a Van Dyck dress of pale sea-green silk, and 
 a wide Venetian lace collar. Abundance of yellow hair, with gold in the lights, flows over her 
 shoulders. On each side of her is a dog, the one a King Charles, the other a Blenheim spaniel ; 
 near them is a large silver bowl. 
 
 This picture was at the Academy in 1882, with “ Mrs. Budgett,” “ Sir Henry Thompson,” 
 “ Mrs. James Stern,” “Daniel Thwaites, Esq.,” “Cardinal Newman,” and “The Princess 
 Marie of Edinburgh.” 
 
 Painted 1882 ; Canvas, 47 X 40 inches. 
 
 57. Miss Hermione Schenley. 
 
 Lent by Mrs, Schenley. 
 
 A three-quarters-length, life-size figure, standing, in a white dress, and holding blue flowers 
 in her hand. 
 
West Gallery . 
 
 39 
 
 This picture was at the Academy in 1880, with “ The Portrait of the Painter for the 
 Uffizi Gallery at Florence,” “ C. M. C. Stepney” a little girl in a black dress, holding daffodils, 
 “Cuckoo !” “ Luther Holden, Esq.,” and “ The Right Hon. John Bright.” 
 
 Painted 1879 ; Canvas, 54 X 38 inches. 
 
 58. The Princess Elizabeth. 
 
 Lent, by E. Martin Hot/ozvay , Esq. 
 
 During the troubles attending the establishment of the Commonwealth the Princess Eliza- 
 beth, daughter of Charles I., then nearing her fifteenth year, was imprisoned in St. James’s. 
 She is here represented in the act of writing a letter to the Parliamentary Commisssoners 
 begging them to allow her to retain the servants she was accustomed to. She died at Carisbroke 
 about a year after the execution of her father, and after a captivity of nearly eight years. 
 She is seated near a cabinet, which now belongs to Sir John Millais, who bought it in ignorance 
 that it formerly belonged to Theobalds, the favourite house of James I., and probably had been 
 in the possession of the latter’s successor, the princess’s father. An engraving, discovered after 
 the relic became Sir John’s property, revealed its history. 
 
 This picture was exhibited for the first time in the Fine Art Society’s Gallery in 1881, and 
 engraved in mezzotint for that firm by Mr. T. L. Atkinson. It was at Manchester in 1885. 
 
 Painted 1879 ; Canvas, 50 X 43^ inches. 
 
 59 * Sir Gilbert Greenall, Bart. 
 
 Lent by Sir Gilbert Greenall , Bart . 
 
 A standing, life-size figure to the knees, in modern costume, and holding a hat and gloves. 
 This picture was at the Academy in 1881, with “ The Earl of Beaconsfield,” “ The Rev. J. 
 Caird,” “The Bishop of Manchester,” “Sir John. Astley,” “Lord Wimborne,” “Captain 
 James” (see “ Major James ”), and “ Cinderella.” It was engraved as a private plate by Mr. 
 T. O. Barlow, R.A. 
 
 Painted 1880 ; Canvas, 49 X 36 inches. 
 
 60. The North-West Passage. 
 
 Lent by C. F. H. Bolckow , Esq. 
 
 Painted when the public mind was exercised about the fate of some Arctic explorers, this 
 is one of Sir John Millais’s most important works. Two figures are seated in a room, 
 
40 
 
 JVest Gallery. 
 
 through the open window of which we get a glimpse of the sea; the wall sustains a sea 
 picture and a portrait of an admiral ; a tall Japanese screen is draped, as if by way of trophy, 
 with a large Union Jack ; a table in the middle of the chamber sustains a vase of flowers 
 and many opened and rolled-up charts. An aged, but still energetic, weather-beaten seaman 
 sits in a chair on our left, deeply interested, while a young lady, placed on a stool at 
 his feet, reads aloud a histoiy of Arctic exploration and discovery. The book is spread 
 upon her knees, and, while her features express strong sympathy with the sufferers whose 
 fate she describes, she follows the lines of the text with her left forefinger ; her right hand firmly 
 clasps that of her companion, which is clenched upon his knee. His left hand, equally clenched, 
 lies heavily upon the table. He looks outwards as if he saw the scene described ; and, 
 possibly, he thinks that he, while still young, might have succeeded where others failed. 
 
 “ It might be done, and England should do it,” 
 is the appropriate motto of the picture. 
 
 The sailor is dressed in complete navy blue, his rough jacket closely buttoned to his 
 chest and throat, as if he felt the cold of the Arctic winter. The lady’s graceful 
 and stately figure is beautifully painted. She w r ears a pure white dress, elegantly fitted 
 to her form, and crossed at the bosom with a rose-coloured fichu. Two rosy fillets bind her 
 dark hair to her head. The sailor’s face was painted from, and is a good likeness of, that of 
 Mr. Trelawny, the .companion of Byron and Shelley, who died a short time since. 
 
 The model for the lady sat likewise for “ Stitch ! Stitch ! Stitch ! ” 
 
 This example was at the Academy in 1874, with “Scotch Firs,” “Winter Fuel,” 
 “ Walter, Son of N. de Rothschild, Esq.,” “ The Picture of Health,” “ Still for a Moment,” 
 and “A Day Dream.” See “Scotch Firs” on the works not included in this Exhibition. 
 “ The North-West Passage” was at the Exposition Universelle, Paris, 1878, and in the Gallery 
 of the Fine Art Society in 1881. An etching by M. Mongin is in Modern Arthts. 
 
 Painted 1874 ; Canvas, 69 X 87 inches. 
 
 61. Sir John Dugdale Astley, Bart. 
 
 Lent by Sir John D. Astley, Bart. 
 
 Life-size, half-length, dressed in a brown coat, and holding a cigar in the right hand. This 
 picture was presented to Sir John Astley by friends in Lincolnshire, on his being unseated 
 as M.P. 
 
 Sir John Dugdale Astley, Bart., was born in February, 1828, and succeeded his father as 
 third baronet in July, 1873 ; was M.P. for North Lincolnshire from 1874 to 1880. He entered 
 
West Gallery. 
 
 4i 
 
 the Scots Fusilier Guards in 1848, served in the Crimea, and has the Turkish Order of the 
 Medjidie. 
 
 This portrait was at the Academy in 1881, with “Cinderella,” “Sir G. Greenall,” “Lord 
 Wimborne,” “The Earl of Beaconsfield,” “ The Rev. J. Caird,” “ The Bishop of Manchester,’ 
 and “Captain James.” 
 
 Painted 1881 ; Canvas, 49} X 36 inches. 
 
 62. Lady Greenall. 
 
 Lent by Sir Gilbert Greenall , Bart . 
 
 Painted 1884 ; Canvas, 49J X 34^ inches. 
 
 63. The Princes in the Tower. 
 
 Lent by E. Martin Holloway , Esq. 
 
 These whole-length figures of two fair- haired boys in black dresses represent Edward V., and 
 Richard, Duke of York, sons of Edward IV. They stand, as if in dread of the stealthy, murderous 
 step of one descending the winding stairs behind them, as indicated by the shadow of a man 
 upon the wall. The young king wears the Garter. Except this, and a few trinkets round their 
 necks, the boys are without ornaments of any kind; by the absence of such decorations 
 the painter added to the pathos of his design. The background was painted from a careful sketch 
 made in the Tower, near where, two centuries after the incident here depicted, the bones of two 
 youths, attributed to these princes, were discovered. 
 
 This picture was bought by the late Mr. Holloway, and included in his magnificent gift of a 
 home for convalescents. 
 
 Exhibited at the Academy in 1878, with “The Earl of Shaftesbury,” “A Jersey Lily” 
 (Mrs. Langtry), “ St. Martin’s Summer,” and “ The Countess of Carysfort.” It was exhibited 
 by the Pine Art Society in 1881, and at Manchester in 1885. It was engraved in mezzotint by 
 Mr. S. Cousins, R.A., and published by the P'ine Art Society. 
 
 Painted 1878 ; Canvas, 37 X 39 inches. 
 
West Gallery. 
 
 42 
 
 64. A Portrait. 
 
 Lent by R. S. Budget t, Lsq. 
 
 The life-size figure of a lady seen nearly in full face, seated, with her hands in her lap, and 
 looking outwards with a lively expression in her clear bright eyes. She wears a yellowish 
 white dress and sash ; a ruff-like collar is about her neck. 
 
 This portrait was at the Academy in 1882, with “Dorothy Thorpe,” “Sir Henry 
 Thompson,” “ Mrs. James Stern,” “ Daniel Thwaites, Esq.,” “ Cardinal Newman,” and “ The 
 Princess Marie of Edinburgh” knitting a black stocking, engraved as “ A Little Duchess,” by 
 Mr. Every, and published by Messrs. T. Agnew Sc Sons. 
 
 Painted 1882 ; Canvas, 49J X 36^ inches. 
 
 65- The Random Shot, formerly L’ Enfant du Regiment. 
 
 Lent by Mrs. Miller , of Preston. 
 
 This small picture represents an incident in the French Revolution, where some of the 
 populace, attacking a church which is defended by the military, have accidently wounded a 
 soldier’s child who had been taken there for safety. The little one, wrapped in the father’s 
 coat, has just sobbed itself to sleep on the tomb of a knight, where the child had been laid 
 out of further danger ; the tears of pain have ceased to trickle down its face, and its sobbings 
 have found rest in sieep. The tomb is of alabaster, originally of pure white, but dashed and streaked 
 with pearly, fawn, and grey tints, according to the nature of the material, which, acquires from 
 time an inner tint of saffron and pale gold. The monument, with its sculptured effigy and 
 diapers, extending across the background, occupies nearly the whole of the picture, and, by 
 reversing the conventional arrangement, was the means of illustrating an experiment in coloration. 
 This occurred, though not in so marked a degree, in “The Blind Girl,” which was also painted 
 at Winchelsea. The tale of “The Random Shot” is explained by showing some soldiers 
 firing out of a window of the church. 
 
 This picture was painted in the autumn of 1855 at Winchelsea. Millais induced 
 Thackeray to join him -at that place, and out of this visit came “ Dennis Duval,” that 
 fragment of a fine novel. The church is the famous architectural fragment of mediaeval 
 Winchelsea ; the tomb is that of Sir Gervaise Allard. 
 
West Gallery. 
 
 43 
 
 “ L’Enfant du Regiment ” was at the Academy in 1856 with “Peace concluded, 1856,” 
 “Portrait of a Gentleman,” “ Autumn Leaves,” and “The Blind Girl.” 
 
 Painted 1855 ; Panel, 17^ X 24 inches. 
 
 66 . “ Sweetest Eyes were ever Seen.” or A Girl with 
 Violets. 
 
 Lent by Everett Gray , Esq. 
 
 This picture was originally named “ A Girl with Violets,” and, with that title, sent to the 
 Grosvenor Gallery fti 1881. It is a life-size figure of a girl of fourteen years old or thereabouts, 
 holding violets, and standing by a bank laden with primroses. Before the exhibition 
 opened the title of the picture was changed as above, with a reference to Mrs. R. Barrett 
 Browning’s well-known poem, entitled “ Catarina to Camoens,” of which the present title is the 
 burthen. 
 
 Painted 1881 ; Canvas, 39 X 28 inches. 
 
 67. Miss Margaret Millais. 
 
 Lent by W. H. Millais, Esq. 
 
 Bust of a little girl with pale yellow hair falling in ringlets about her face, which is in 
 profile to our right ; life-size. At the Grosvenor Gallery in 1885. 
 
 Painted 1883 ; Canvas, oval, 20 X 16 inches. 
 
 68. T he Gambler’s Wife. 
 
 Lent by Humphrey Roberts, Esq. 
 
 A rather attenuated, tall woman, of about forty years of age, on whose features many 
 remains of beauty contend with strongly drawn fines of character, stands by a green-covered 
 table, dreamily handling the cards that are left strewn upon the cloth. She is finely dressed in 
 a white lace cap and apron, that is in the mode of about 1750, and the furniture of the room is 
 well adapted to the suggestions of the figure. 
 
 “The Gambler’s Wife ” was at the Academy in 1869, with “ Sir John Fowler,” “Nina, 
 daughter of F. Lehmann, Esq.,” “Vanessa,” “The End of the Chapter,” and “A Dream a 
 
West Gallery. 
 
 44 
 
 Dawn.” The last two works are in water-colours. This picture was again exhibited at the 
 Exposition Universelle, Paris, 1878, and a third time, by the Fine Art Society in 1881 ; it was 
 etched by M. C. Waltner and published by Messrs. T. Agnew & Sons. 
 
 Painted 1869 ; Canvas, 34 X r 5 inches. 
 
 6g. The Grey Lady. 
 
 Lent by Messrs . Thomas Agnew & Sons. 
 
 An upright picture, of great depth of tone, shown in powerful contrast. The scene is an 
 ancient newel staircase of stone, open to the air by a small window on our right, through 
 which a mysterious radiance from the moonlit sky penetrates, and reveals the ghost-like figure of 
 a woman ascending the steps, with one hand outstretched to feel the way, while the other hand 
 lies in her bosom, as if to keep from observation some hidden secret. The expression, as seen in 
 the semi-darkness of the place, supports the suggestion of the figure of a somnambulist, if such 
 she be. 
 
 This picture was at the Academy in 1883, with “ J. C. Hook, Esq., R.A.,” “ Une Grande 
 
 Dame,” “ The Marquis of Salisbury,” “ Forget Me Not,” “ T. H. Ismay, Esq.,” and 
 
 “ Charles Waring, Esq.” 
 
 Painted 1883 ; Canvas, 56J X 36! inches. 
 
 70. Miss Alice Caroline Millais. 
 
 Lent by Sir John E. Millais, Bart., R.A. 
 
 A portrait of the painter’s daughter, who sat in the “Sisters” and “Sleeping.” 
 
 It is to the waist, m a white dress ; flowers are in the breast ; the hair is rolled back on the 
 forehead. It is the companion picture to “ Mrs. James ” (See No. 73). 
 
 Painted 18 ; Oval; Canvas, 22 \ X 17 inches. 
 
 71. The Sisters. 
 
 Lent by C. P. Matthews, Esq. 
 
 Three young ladies, with flowing golden chestnut hair, standing, fronting the spectator, and 
 dressed mainly in white, trimmed with blue ribbons ; their aprons and fichus are of a lighter tint. 
 The background is composed of the foliage and flowers of pink and white azaleas. The damsels 
 are the painter’s three daughters. In the centre is Miss Effie Millais, who sat for “ The Minuet.” 
 She is now Mrs. James (see No. 73, her portrait under this name). On our left is Miss Mary 
 Millais, who satin “Waking,” No. 114. On our right is Miss Alice Caroline Millais, who 
 sat in “ Sleeping ” (See No. 70). 
 
IVest Gallery. 
 
 45 
 
 This picture was exhibited at the Academy in 1868, with “Stella,” “Pilgrims to St. Paul’s,” 
 Rosalind and Celia,” and “A Souvenir of Velazquez.” There is a woodcut ot “The 
 “ Sisters ” in the Magazine of Art, 1881. It was in the Exposition Universelle, Pans, 1878. 
 
 Painted 1868 ; Canvas, 41^ X 42 inches. 
 
 72. The (late) Earl of Shaftesbury, K.G. 
 
 Lent by the British & Foreign Bible Society . 
 
 A life-size, three-quarters length figure of the philanthropist seated in a chair with 
 his hands gently clasped and his legs crossed. He wears the blue ribbon and jewel of the 
 Garter. 
 
 The Earl of Shaftesbury was born April 28, 1801, educated at Christ Church, Oxford; he 
 graduated as M.A. in 1882, and was created D.C.L. in 1841 ; elected M.P. for Woodstock 
 1826: Dorsetshire, 1830; for Bath, 1847 ; became Commissioner of the Board of Control; 
 Lord of the Admiralty ; President of the Protestant Alliance ; died 1885. 
 
 Exhibited at the Academy in 1878, with “ The Princes in the Tower,” “ A Jersey Lily ’ ’ 
 (Mrs. Langtry) “ St. Martin’s Summer,” and “ The Countess of Carysfort.” It was engraved 
 by Mr. R. Josey, and published by Messrs. H. Graves & Co. 
 
 Painted 1877 ; Canvas, 50^ X 39 \ inches. 
 
 73. Mrs. James. 
 
 Lent by Sir J. F. Millais, Bart., R.A. 
 
 A portrait of Miss Effie, the painter’s eldest daughter, the same who sat for “New Laid 
 Eggs,” and “The Minuet.” It is to the waist, in a white dress, life-size, turned in three- 
 quarters-view to our right. It is the companion picture to No. 70, “ Miss Alice Caroline Millais.” 
 Both ladies sat with Miss Mary Millais in “The Sisters.” See “New Laid Eggs,” No. 81. 
 
 Painted ; Oval, Canvas, 22^ X 17 inches. 
 
 74. The Duchess of Westminster. 
 
 Lent by The Duke of Westminster , K. G. 
 
 A three-quarters-length, life-size figure, standing in a black dress, mittens on hands ; seen 
 nearly in profile to our left. 
 
 Painted 1882 ; Canvas, 48 X 33 inches. 
 
46 
 
 West Gallery. 
 
 75. For the Squire. 
 
 Lent by H. F. Makins, Esq. 
 
 Wearing a yellow sprigged frock of cotton, and a pale lavender sun-bonnet, a little girl 
 stands before us holding a letter which is supposed to be directed to some magnate of the 
 country-side where this child of ten years old was born. She looks out of her bright, sharp, 
 and eager eyes at some person supposed to be on our left, to whom the child turns with an 
 enquiring look. Under her bonnet are crisp yellow ringlets, her plump apple-like carnations 
 seem to shine in health. The figure is life-size, and seen in a full sharp exterior light upon a 
 dark background. 
 
 This work was at the Grosvenor Exhibition in 1883, with “The Duchess of Westminster,” 
 and “Master Freeman.” The latter picture represents a little boy in a white coat, and a pale 
 yellow sash, standing and resting one hand on the head of a black dog. The picture was 
 engraved by Mr. E. H. Every and published by Messrs. T. Agnew & Sons. 
 
 Painted 1882 ; Canvas, 33^ X 24^ inches. 
 
 76. Portrait of a Gentleman. 
 
 Lent by H. Li. Chetwynd St a py It on, Esq . 
 
 A small whole-length figure of a boy seated on a table with a volume of the “ Sketches ” of 
 John Leech, as republished from Punch , extended across his kness. He is bare-headed, and 
 wears a dark tartan dress with a large white collar spreading over his shoulders, and a rose- 
 coloured neck-ribbon. 
 
 Exhibited at the Academy in 1856 with “Peace concluded, 1856,” “Autumn Leaves,” 
 “ L’Enfant du Regiment ” (now “ A Random Shot ”), and “ The Blind Girl.” 
 
 Painted 1856; Panel, 11 X 9 inches. 
 
 77. The Late Thomas Combe, Esq. 
 
 Lent by Mrs . Combe . 
 
 A small, three-quarters-length, seated figure, wearing a warm white waistcoat and black 
 coat ; bareheaded, showing stiff, thick gray hair. It is in nearly full view to the front ; a tabby 
 cat is on the knees of the sitter, close to the hands, which are placed in the lap. On the back 
 of the picture is a note in the handwriting of Mr. Combe, stating that his portrait was executed 
 by Mr. J. E. Millais in 1850, about the time of the painting of “Mariana” and “Ferdinand 
 lured by Ariel.” 
 
West Gauery. 
 
 47 
 
 Mr. T. Combe, an early and very close friend of the painter, was Superintendent of the 
 Clarendon Press, Oxford, a much-honoured officer of the University. 
 
 Painted 1850; Canvas, \2\ X 10 inches. 
 
 78. Ferdinand Lured by Ariel. 
 
 Lent by A. C. Allen , Esq . 
 
 Ferdinand : “ Where should this music be ? i’ the air, or the earth ? ” — 
 
 ***#***■**• 
 
 Ariel Sings. 
 
 “Full fathom five thy father lies ; 
 
 Of his bones are coral made ; 
 
 Those are pearls that were his eyes : 
 
 Nothing of him that doth fade, 
 
 But doth suffer a sea-change 
 
 Into something rich and strange. 
 
 Sea-nymphs hourly ring his knell ! 
 
 Burden. Ding-dong. 
 
 Hark ! now I hear them, — ding-dong, bell.” 
 
 The Tempest , Act I., Scene II. 
 
 The princely lover of Miranda, as, in 1849, Mr. Millais conceived him to be, is seen just 
 emerged from a wood through the mazes of which the “most delicate” Ariel, had led him. 
 The scene is flooded with sunlight, so that the foilage and herbage are of rich green, freshened 
 after rain and shining with new moisture. The bright sky and its clouds declare the height of 
 summer. Ferdinand is clad in a close-fitting jerkin and hose of strong and rich colours. Partly 
 stooping, with his head bent sideways towards one hand hollowed against his ear, the prince is 
 endeavouring to catch the faint music and shrill cadences, the clarion voices and bell-ringing of 
 the “ tricksy” Ariel and his crew. The latter are a gauze-winged, semi-diaphanous company, 
 who — like insects of the tropics, or our own diagon flies, change colours as they move, and take 
 tinges from neighbouring objects. They are of varied hues of verdure, silver and grey ; but, 
 because the place before us is a meadow near a forest, they are chiefly green. Weaving a 
 sort of air-dance around the prince they rise and sink like insects on the wing, and they are 
 more quaint and goblin-like than beautiful. Their faces are elvish, and in their eyes is staring 
 speculation, which is very quaint. Ariel, an embodied, but unsubstantial sylph, cries in the ear 
 of Ferdinand and pushes the prince’s hat aside, so that the wearer must needs steady the 
 garment with one hand while he tries to listen in the hollow of the other. 
 
48 
 
 IVest Gallery 
 
 Ferdinand wears an under vest, like a gorget, of cloth of gold, the verisimilitude of which 
 was assured when the artist (after the early Italian mode) used metal instead of paint. Whatever 
 may be the effect of this departure from modern practice in art the friends of Millais knew very 
 well that he, with wise indifference to the logic of representation, felt, and rightly felt, there was 
 something to be said for an innovation not wholly out of keeping with a subject of enchantment. 
 
 This use of metal, hardly less than the goblin sprites, the isolated colours of the picture at 
 large, and the novel form and character of “Ferdinand,” were borne against Millais in 1850, 
 when this work was seen in Trafalgar Square. Such unusual elements evoked not a little 
 of that storm of criticisms of which some examples are quoted in the notes on “Christ in the 
 House of his Parents” — the contemporaneous picture. The solidity and finish of the details of 
 
 “Ferdinand” may be compared with the like qualities in “The Return of the Dove,” 
 “ Portrait of Mr. Combe,” and “ Isabella and Lorenzo.” Not less remarkable is the preservation 
 of the specimen before us, as to which the above-named notes are in point. The friend who sat 
 for “ Ferdinand ” relates that, although the face is a marvel of finish, and unchallengeable in its 
 technique, it was begun and completed in one sitting. Having made a very careful drawing 
 in pencil on the previous day and transferred it to the picture, Millais, almost without stopping 
 to exchange a word with his sitter, worked for about five hours, put down his brushes, and 
 never touched the face again. In execution it is exhaustive and faultless. Seven and thirty 
 years have not harmed it. 
 
 This picture was painted for a dealer for ^"ioo; when it was finished, this gentleman, to 
 Millais’s intense mortification and dismay, would not hear of having such a work. Not long 
 afterwards, however, Dr. Frankum, the painter’s good friend, came with a visitor to the studio, 
 at No. 83 (now 7), Gower Street. The latter, hearing what had happened, and judging for 
 himself, asked for a piece of paper “ to write a note on.” He wrote a cheque for ^150, and 
 became the owner of “ Ferdinand.” This was Mr. Richard Ellison, of Sudbrooke Holm, who 
 gave a noble collection of drawings to the South Kensington Museum. 
 
 “Ferdinand ” was at the Academy in 1850, with “ Portrait of a Gentleman and his Grand- 
 child ” (Mr. Wyatt, of Oxford); and “Christ in the House of His Parents. “Ferdinand” 
 was in the possession of Mr. Wyatt, afterwards in that of Mr. Woolner, R.A. It was 
 exhibited by the Fine Art Society in 1881. 
 
 Painted 1849 ; Panel, 26 X 20 inches. 
 
 78A. Portrait of a Lady. 
 
 Lent by Coventry Patmore , Esq . 
 
 Bust, nearly in full-face ; collar and ribbon round the neck. 
 
 Painted 1851 ; Panel, in circle, 5 inches in diameter. 
 
EAST GALLERY 
 
 ‘0$>0— 
 
 SECOND ROOM. 
 
 
 
 79. Mariana of the Moated Grange. 
 
 Lent by H. L. Makins , Esq. 
 
 “ She only said, ‘ My life is dreary — 
 
 He cometh not ! ’ she said ; 
 
 She said, ‘ I am aweary, aweary — 
 
 I would that I were dead ! ’ ” 
 
 Lord Tennyson* s “ Mariana of the Moated Grange .” 
 
 The picture represents Mariana rising from her embroidery frame, wearied and lorn of love. 
 She rises to her height, bending backwards, and with eyes half-closed. Her dress of a deep 
 blue contrasts with the low seat of a rich red-orange colour, from which she has risen. In 
 iront of the figure is a window with painted glass, through which the light falls upon a piece 
 of unfinished embroidery ; to the right is an oratory, with its lamp burning in the dark shadow. 
 
 “ Mariana” was at this Academy in 1851, with “ The Return of the Dove to the Ark,” 
 and “The "Woodman’s Daughter.” 
 
 Painted 1851 ; Panel, 23^ X 19J inches. 
 
 80. Pot-pourri. 
 
 Lent by Jo tin Pritchard , Esq. 
 
 A group of two small figures, one being a young lady (Miss Gray, afterwards Mrs. Stibbard, 
 whose portrait is in this Gallery) in the act of shredding roses into a china bowl which 
 
East Gallery. 
 
 50 
 
 lies in her lap ; she wears a green dress trimmed with white lace ; her companion is a young 
 child. 
 
 Painted 1856; Canvas, 17J X 14 inches. 
 
 81. New-Laid Eggs. 
 
 Lent by Peter Reid , Esq. 
 
 A young lady in a brocaded white silk dress, bare-headed and bare-armed, with her hair 
 rolled back from her forehead, and carrying an egg-basket on her left arm, stands before a 
 hen-coop attached to the wall, and while searching it for eggs, turns, with an attentive look, her 
 face towards the front. The head was painted from the artist’s eldest daughter, Miss Millais, 
 now Mrs. James, who sat in “ The Sisters.” See “ Mrs. James,” No. 73. 
 
 This picture was exhibited at the Academy in 1873, with “Mrs. Heugh,” “Early Days,” 
 “Mrs. Bischoffsheim,” “Oh! that a Dream so Sweet!” and “Sir W. Sterndale Bennett.” It 
 was engraved in mezzotint by Mr. S. Cousins, R.A., and published by Messrs. T. Agnew & Sons - 
 
 Painted 1873 ; Canvas, 48 X 37 inches. 
 
 82. The Marquis of Salisbury, K.G. 
 
 Lent by the Right Hon. W. H. Smith , M.P. 
 
 A three-quarters-length, life-size figure, the hands behind the figure, seen in three-quarters 
 view to our right, wearing a black frock coat. 
 
 Exhibited at the Academy in 1883, with “ J. C. Hook, Esq., R.A.” “ Une Grande Dame,” 
 “The Grey Lady,” “ Forget Me Not,” “ T. H. Ismay, Esq.” and “ C. Waring, Esq.” It was 
 at Manchester in 1885. 
 
 Painted 1883 ; Canvas, 49 X 36 inches. 
 
 83. “ Hearts are Trumps.” 
 
 I, cut by J. H. Seeker , Esq . 
 
 A worthy rival of the picture of Walpole’s nieces, by Reynolds (at the Grosvenor 
 Exhibition, 1884), and reminiscent of that masterpiece, which cost Walpole more than he liked 
 to pay, i.e., 800 guineas. The art-critic of The Athenceum recorded his impressions of the 
 example before us when it was exhibited under the original title: — “Mr. Millais will hold a 
 position second to none this year, principally through his superb portraits, conspicuous among 
 which is the picture styled ‘Hearts are Trumps’ (223), comprising life-size likenesses of the 
 three Misses (Elizabeth, Diana, and Mary) Armstrong seated at a card-table, playing at whist 
 
East Gallery. 
 
 5.i 
 
 with a dummy.” “The dummy’s hand lies on the baize cloth in the front of the title. 
 Three handsome and magnificently dressed young ladies occupy the remaining sides of the table 
 and their attitudes are suggestive, or rather expressive of the fortunes of each. The girl on our 
 right, with calm triumph in her eyes and on her lips, turns her cards towards us, and reveals 
 that she holds nearly all the court-cards in trumps. Her neighbour, with fewer chances, waits 
 the luck of her opponents. The third lady, in half contempt of fortune, relying on her partner’s 
 cards, surveys her barren hand. The keen perception of character, the tact, and feeling for grace 
 and beauty of a sumptuous kind, and, above all, his magical power of dealing with flesh tints, 
 the forms and contours of flesh, and his rare mastery over colour, have enabled Mr. Millais 
 to make a noble picture out of his materials.” 
 
 This group was at the Academy in 1872, with “Flowing to the River,” “Flowing to the 
 Sea,” “ Master Liddell,” “ Sir James Paget,” and “ The Marquis of Westminster.” It was 
 again exhibited at the Exposition Universelle, Paris, 1878, as “ Whist a trois ('portraits de 
 Mesdames Seeker, de Blennerhasset , et de Miss Armstrong W 1 
 
 Painted 1872 ; Canvas, 64 X 89 inches. 
 
 84*. The late Earl of Beaconsfield, K.G., and Viscount 
 Hughenden, D.C.L., LL.D., etc. 
 
 Lent by the Right Hon. IV. II. Smith , M.P. 
 
 A three-quarters-length, life-size figure, standing bare-headed. Sir John Millais had had 
 but two sittings for this picture from Lord Beaconsfield, then almost broken down in 
 health, and failing fast, when the death of the Minister precluded the possibility of 
 completing the work. The face, which renders the gaunt, sorrowful features, with suggestions 
 of long-endured pain, was more advanced than any other portion of the picture. At the 
 special desire of Her Majesty the painter continued his portrait so far as it was practicable 
 to do so in a satisfactory manner, and sent it to the Academy in 1881, where it was hung as 
 No. 274a on an added screen, the exhibitions having been already arranged. In the same col 
 lection were “ Cinderella,” “ Lord Wimborne,” “ Sir Gilbert Greenall,” “ The Rev. J. Caird, 
 “The Bishop of Manchester,” “Sir John Astley,” and “Captain James” (see “ Majoi 
 James ”). 
 
 Lord Beaconsfield, writing with all his geniality to the artist in respect to sittings 
 this work, addressed him as “ Dear Apelles.” It was engraved by Mr. H. Herkomer, A.R.A , 
 and published by the Fine Art Society. 
 
 Painted 1881 ; Canvas, 49^ X 36 inches. 
 
52 
 
 East Gallery. 
 
 85 - Lady Campbell, born Lehmann. 
 
 Lent by F. Lehmann , Esq. 
 
 A life size figure, seated in a white dress, holding a fan, and before a yellow tapestry : a jar 
 of blue Nankin filled with tulips stands on a table on our left. See No. 93. 
 
 “ Lady Campbell ” was at the Grosvenor Exhibition in 1884. 
 
 Painted 1884 ; Canvas, 50 X 33^ inches. 
 
 86. Jephthah. 
 
 Lent by Sir William Armstrong , C.B. 
 
 The painter’s ideal of the champion of Israel and smiter of Ammon sits in the entry to 
 his palace ; a great porphyry pillar rises behind his chair ; his vast shield of copper and brass 
 is near his seat ; huge curtains partly enclose the scene and yet, hanging open in the centre of 
 the picture, seem to permit passage to and fro. At the knee of the captain sits his heroically 
 resigned daughter ; her maidens leave the apartment by the opening of the hangings. The text 
 illustrated by this picture is : — “ Jephthah vowed a vow unto the Lord and said ‘ If thou shalt, 
 without fail deliver the children of Ammon into mine hands, then it shall be that whatsoever 
 cometh forth of the doors of my house to meet me, when I return in peace from the children of 
 Ammon, shall surely be the Lord’s, and I will offer it up for a burnt offering.’ So Jephthah 
 passed over unto the children of Ammon to fight against them ; and the Lord delivered them 
 into his hands. And he smote them from Aroer, even until thou come to Minneth, even twenty 
 cities, and unto the plain of the vineyards, with a very great slaughter. Thus the children 
 of Ammon were subdued before the children of Israel. And Jephthah came to Mizpeh unto 
 his house, and, behold, his daughter came out to meet him with timbrels and with dances ; 
 and she was his only child ; beside her he had neither son nor daughter. And it came to 
 pass, when he saw her, that he rent his clothes, and said, Alas, my daughter! thou hast brought 
 me very low, and thou art one of them that trouble me ; for I have opened my mouth unto the 
 Lord, and I cannot go back. And she said unto him, My father, if thou hast opened thy mouth 
 unto the Lord, do to me according to that which hath proceeded out of thy mouth ; forasmuch 
 as the Lord hath taken vengeance for thee of thine enemies, even of the children of Ammon.” 
 
 This picture was at the Academy in 1867, with “ Sleeping,” “ Waking,” “ The Minuet,” 
 and a portrait of “ Master Cayley.” It was sold with the Mendell Collection in 1875 f° r jC 3 ^ 99 °- 
 The Hon. Colonel Charles Lindsay sat for Jephthah. 
 
 Painted 1867 ; Canvas, 49 X 63 inches. 
 
 87. Sleeping. 
 
 Lent by J. C. Harter , Esq. 
 
 This picture, the complement to “ Waking,” represents a little girl in bed, and deep in rest 
 as she sank upon her pillow. 
 
East Gallery. 
 
 53 
 
 The painter’s third daughter, Miss Alice Caroline Millais, sat for this picture (as well as in 
 “The Sisters”), which was engraved in mezzotint by Mr. T. Oldham Barlow, R.A., and 
 published by Messrs. H. Graves & Co. 
 
 “ Sleeping” was exhibited at the Royal Academy in 1867, with “The Minuet,” “Jephthah,” 
 a portrait of “Master Cayley,” and “Waking.” “Sleeping” was exhibited at Manchester 
 in 1885. 
 
 Painted 1867 ; Canvas, 36 X 271 inches. 
 
 88 . Return of the Dove to the Ark. 
 
 Lent by Mrs . Combe. 
 
 Shows two young girls, supposed inmates of the ark, standing barefooted. They are clad 
 respectively in broad, simple garments of green and white. The girls are caressing the messenger 
 of relief. 
 
 This picture was at the Academy in 1851, with “The Woodman’s Daughter,” and 
 “Mariana.” When re-exhibited in Paris in 1855, with “The Order of Release,” and 
 “ Ophelia,” the three works attracted much attention and sharp discussion, which greatly 
 extended Millais’s reputation. It was again shewn at the International Exhibition in 1862, 
 with “ Apple Blossoms,” “The Order of Release,” and “ The Vale of Rest.” According to 
 the will of Mr. Combe, late of the University Press, Oxford, this picture will ultimately become 
 the property of the University of that city. 
 
 Painted 1851 ; Panel, 34 X 21^ inches. 
 
 89. Little Miss Muffett. 
 
 Lent by John M. Keilier , Esq . 
 
 “ Little Miss Muffett, 
 
 She sat on a tuffet, 
 
 Eating of curds and whey ; 
 
 A spider came by, 
 
 Made Miss Muffett cry, 
 
 And frightened Miss Muffett away.” 
 
 “ This heroine of minute romance is seated on a hillock of an entrance of a wood, holding a 
 milk -porringer in her lap, and swiftly turning to look from among her golden curls, with wide 
 blue eyes full of alarm, because she has just discovered the horrible spider at her side. Her 
 bonnet is blue, and so are her shoes, and her dainty attire assorts with her charming face.” — The 
 Athenaeum, No. 2942. A nearly life-size figure. 
 
54 
 
 East Gallery. 
 
 Exhibited in November, 1884, at Mr. McLean’s Gallery in the Haymarket, with “The 
 Mistletoe Gatherer ” and “ A Message from the Sea.” Engraved by Messrs. S. Cousins, R.A. 
 and T» L. Atkinson for Mr. McLean. 
 
 Painted 1884; Canvas, 48 X 35 inches. 
 
 go. Mrs. James Stern. 
 
 Lent by James Stern , Esq . 
 
 A life-size figure, in front view, seen below the knees wearing a red velvet dress and placed 
 before an Aubusson tapestry. 
 
 This portrait was at the Academy in 1882, with “Sir Henry Thompson,” “Dorothy 
 Thorpe,” “Daniel Thwaites, Esq.,” “Mrs. Budgett,” “Cardinal Newman,” and “The 
 Princess Marie of Edinburgh.” 
 
 Painted 1882 ; Canvas, 49 X 32 inches. 
 
 91. Ti-ie Ruling Passion; or. The Ornithologist. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 An aged and still enthusiastic man of science, an ornithologist, is sitting on a couch, 
 propped with pillows, while he expounds to a group of children the construction and nature 
 of a lustrous bird, a “specimen” of which, in a stuffed condition, he holds in his hands, 
 while he studies the creature through spectacles. On his right, are two rosy little boys, 
 in straw hats. Behind the speaker a lady stoops to adjust his pillow ; two more 
 children are in front ; a young girl sits at his feet, with a blue bird of gorgeous plumage 
 lying neglected in her lap. Mr. T. O. Barlow, R.A., the painter’s old friend, and the 
 engraver of many of his works, sat to Sir John Millais for the face of the ornithologist. The two 
 little boys listening were painted from Sir John’s grandchildren, the children of Mrs. James. 
 The figures are life-size. 
 
 This picture was at the Academy in 1885, with “ Lady Peggy Primrose,” “ Orphans,” and 
 “ Simon Fraser, Esq.” 
 
 Painted 1885 ; Canvas, 60 X 83 inches. 
 
 92. The Rescue. 
 
 Lent, by Holbrook Gaskell, Esq . 
 
 Of this picture, a critic of the time wrote thus : — “The Rescue ” is one of those subjects 
 which illustrate our ideal of the proper functions of art. A fireman has ventured into a burning 
 house, and brought from their sleeping places three children, whose mother, in an ecstasy of joy. 
 
East Gallery. 
 
 55 
 
 receives them kneeling on the staircase, down which the fireman is pacing, with heavy guarded 
 step. The man’s compressed lips and considerate brow, with the full force of character which 
 his face shows, are just such as may become one of those heroes of true courage, who venture 
 their lives for others, and whose vocation is in deeds of merciful bravery. The lovely face of the 
 mother, transported as she is with joy and gratitude, is turned upwards towards him and her 
 children, whom she is about to take into her arms. The fire hose, stiff and snake like, and 
 seeming to vibrate with the swiftness of the current urged through it from below, goes 
 up the staircase, and leads our thoughts to where, unseen here, but standing resolute before the 
 roaring flames, a second fireman delivers the white and shining jet, which heat soon turns to 
 steam. Upon the steps are fallen several burning brands, while the upper part is filled with 
 smoke. The luminous reflection shines upon all, and is startling in its brilliancy ; indeed, 
 this power of colouring distinguished the picture as much as the expressions and the 
 forcible manner of painting. You see through the window, which lights up the stairs, a roof 
 upon which dawn is just struggling with daybreak. Apart from the rapture of the mother, 
 the intense gladness of one of the children’s faces as she embraces the lady’s neck, and the self- 
 restrained, yet frightened looks of the boy, who clings about the shoulders of the deliverer, are 
 enough to immortalise the picture and its painter.” 
 
 This picture, the first of Millais’ works exhibited after his marriage, was mainly painted in 
 a studio at Langham Chambers, Regent Street, where he worked from 1854 till 1857. In ordei 
 to get the true effect of the fire, the artist cast light on his sitters through a sheet of red glass, and 
 from a brazier. The picture, taking longer than was expected, was late in hand, almost on the 
 eve of “sending-in day” for the Academy exhibition. Millais worked strenuously on “The 
 Rescue ” through a whole night, painting the external view from a window in Langham 
 Chambers, and it was not till dawn broke on the slate roofs without that the best charm was 
 imparted to the picture. The last touches on the eventful morning were bestowed on the hose. 
 
 The picture, with “The Order of Release,” was, at the instigation of AY. M. Thackeiay, 
 bought by the late Joseph Arden, Esq., of Cavendish Square ; he retained it till his death ; in 
 the interval few persons saw the work. It was exhibited at the Academy in 1855, with “Portrait 
 of a Young Lady,” and “ Mrs. John Leech,” the last being in water colours. 
 
 There is a good woodcut from the picture in The National Magazine , 1857. See likewise 
 No. 149. 
 
 Painted 1855 ; Canvas, 46^ X 32 inches, 
 
 93. Miss Nina Lehmann (Lady Campbell). 
 
 Lent by F. Lehmann, Fsq. 
 
 Miss Lehmann appears again, as a bride, in the portrait of Lady Campbell, which is in this 
 Gallery. She is here seated in a conservatory, surrounded by camelias of deep red and green 
 
56 
 
 East Gallery. 
 
 and foliage and flowers of many hues, which, with her bright hair, white frock and hose, form a 
 charming and powerful scheme of colour. The seat is a tub-shaped stool of glazed blue-green 
 earthenware. 
 
 This picture was at the Academy in 1869, with “ Vanessa,” “ The Gambler’s Wife,” “ Sir 
 John Fowler,” “The End of the Chapter,” and “ A Dream at Dawn.” 
 
 Painted 1869 ; Canvas, 51 X 34 inches. 
 
 94. Flowing to the Sea. 
 
 Lent by A. W. Kurtz , Esq. 
 
 This is the companion to a picture exhibited in the same year and styled “ Flowing to the 
 River.” The picture before us excels in showing the Tay and its neighbourhood in the veiled 
 sunlight of a northern harvest -time ; the stream is blue beneath a bluer and brighter sky ; in the 
 distance are the grey Highlands, with the landscape rising towards them from a meadow on 
 the further side of the Tay. Two soldiers of a Highland regiment are in front, one of them chats 
 with a milkmaid sitting by the side of a house ; his comrade loiters on the river bank, as if 
 waiting for the ferry boat. “ Flowing to the River ” has more incident and decided character. 
 A rough mill stands at the parting of waters ; one stream runs swiftly from the mill, the slower 
 current is on the other side of a narrow spit of land that is almost covered with foliage, among 
 which a lad, dusty from his work at the mill, is Ashing with a rod. The charms of the latter 
 landscape are due to the sober autumnal tints of the trees, the rich hues of the streams, and 
 the warm silvery grey of the sky. 
 
 “Flowing to the Sea” was at the Academy in 1872, with “Flowing to the River,” 
 “Hearts are Trumps,” “Master Liddell,” “ Sir J. Paget,” and “The Marquis of West- 
 minster.” 
 
 Painted 1871 ; Canvas, 55 X 73 inches. 
 
 95. Mrs. Bischoffsheim. 
 
 Lent by H. L. Bischoffsheim , Esq. 
 
 A standing, life-size, three-quarters-length figure, with the face in three-quarters view feo 
 our left, the hands in front. She wears a pale brown silk gown, brocaded with bright, 
 naturalistic flowers, comprising full-blown roses and blue blossoms. 
 
 Exhibited at the Academy in 1873, with “Mrs. Heugh,” “Early Days” (a little girl holding 
 a kitten), “New Laid Eggs,” “Sir W. Sterndale Bennett,” and “Oh! that a Dream so 
 Sweet ! ” 
 
East Gallery, 
 
 57 
 
 This portrait was one of Sir John E. Millais’s contributions to the Exposition Universelle, 
 Paris, 1878, and at the Exposition at Munich in 1879. It was etched by M. C. Waltner. 
 
 Painted 1873 ; Canvas, 51 X 35|- inches. 
 
 This work glows in the warm light of a Devonshire sun, and shows a sunburnt, stalwart 
 Genoese sailor — one of those who were half pirates, half heroes, such as Kingsley has delighted 
 countless boys by describing — seated, with his brawny shoulders towards us, on a sea 
 wall, while before him, and at ease upon the floor, are Raleigh and his brother, listening 
 eagerly, and with rapt ears, to the narration of wonders on sea and land. The sailor points 
 to the southward, for there lies the Spanish Main, the scene of all his troubles and adventures. 
 The young Walter sits up on the pavement, and, with his hands locked about his raised knees, 
 and with dreaming eyes, seems to see El Dorado, the islands of the east and west, the 
 “ palms and temples of the south,” as well as the Mexican and other monarchs he had read 
 about. “ Ships, gold, the hated Spaniards, and, most brilliantly of all, that special object of his 
 life’s endeavours, the Fountain of Youth f were before his fancy. The other boy, whose 
 intelligence is not of the vision-seeing sort, but rather refers to the visions of others, lies almost 
 at length on the ground, leaning his chin within both his hands. A toy-ship stands near the 
 boys. The scene includes a low pier or wall, as of a battery looking on to the sea, which, 
 shimmering and barred with blue and green, reflects a sunny sky. At the feet of the group lie a 
 starfish, seaweed, a rusty anchor, and waste of the beach, with some stuffed birds of outlandish 
 sorts and bright plumage, and dry flowers. 
 
 This picture was at the Academy in 1870, with “The Knight Errant,” “ John 
 Kelk, Esq.,” “ A Widow’s Mite,” “ A Flood,” and “ The Marchioness of Huntly.” It was 
 re-exhibited by the Fine Art Society in 1881. 
 
 Painted 1870 ; Canvas, 46 X 55 J inches. 
 
 A three-quarters-length figure, in three-quarters-view to our left, standing in an attitude 
 characteristic of the statesman, that is with the hands firmly clasped, almost wrung together, 
 and with the arms extended downwards before the figure. 
 
 Boyhood of Raleigh. 
 
 Lent by James 
 
 The Rt. Hon. W. E. Gladstone, M.P. 
 
 Lent by The Duke of Westminster, K. G. 
 
58 
 
 East Gallery . 
 
 This picture was at the Academy in 1879, with “ The Tower of Strength,” “ Portrait of a 
 Lady,” and “Mrs. Arthur Kennard.” It was engraved by Mr. T. O. Barlow, R.A., and 
 published by Messrs. T. Agnew & Sons. It was exhibited at Manchester in 1885. The 
 “ Portrait of a Lady ” represented Mrs. Beddington seated in a white evening costume, with 
 a rose at her breast. “Mrs. Arthur Kennard” is dressed in white and gold, relieved on a 
 white Japanese screen, enriched with golden flowers ; a mass of tea-roses is placed near the 
 lady’s elbow. 
 
 Painted 1879 5 Canvas 75 X 54 inches. 
 
 “ So Joshua did as Moses had said to him, and fought with Amalek; and Moses, Aaron, 
 and Hur went up to the top of the hill.” “And it came to pass, when Moses held up his hand, 
 that Israel prevailed, and when he let down his hand, Amalek prevailed.” “ But Moses’ hands 
 were heavy, and they took a stone and put it under him, and he sat thereon ; and Aaron and 
 Hur stayed up his hands, the one on the one side, and the other on the other side ; and his hands 
 were steady until the going down of the sun. And Joshua discomfited Amalek and his people 
 with the edge of the sword.” — Exodus , chap, xvii., 10, 11, 12. 
 
 Life-size figures, full of action and compactly grouped. Moses is seated, his face absorbed 
 in religious triumph and an ecstasy of victorious zeal, and he is thoroughly steadfast and 
 immovable, while his supporters look as if fatigue overcame their energies and almost destroyed 
 their hopes for victory ; each of them, though nearly fainting, clasps an arm of the chief’s against 
 his breast, and bears it up with his hands — -back, loins, and lower limbs all centred in one action. 
 Aaron, in red, is erect ; he turns half about, so as to catch a glimpse of the fight in the valley below 
 the rocky mountain side, on which the three are placed. Hur has the staff-hand of Moses, and, 
 like Aaron, clasps it against his breast, bringing to it the support of all his remaining strength. 
 Such are the design and composition. Among its more striking qualities is fine flesh painting ; 
 notice the legs of Moses, which are as fine pieces of bold and vigorous painting as we know. 
 Mr. Millais has had this picture in hand during several years past ; it does him greaj 
 honour, and redounds to his credit more than many of his recent works. — Vide the Athenceum , 
 No. 2270. 
 
 This picture was at the Academy in 1871, with “ Chill October,” “ George Grote, Esq.,” 
 “ A Somnambulist,” and “Yes, or No ? ” 
 
 Painted 1871 ; Canvas, 75 X 54 inches. 
 
 98. “ Victory, O Lord ! ” 
 
East Gallery. 
 
 59 
 
 99. The Right Hon. John Bright, M.P. 
 
 Lent by William Agnew, Esq M.P. 
 
 A three-quarters-length, nearly life-size figure, bare-headed, and turned in three-quarters- 
 view to our left. It is an admirable likeness, all the more excellent because of the suppleness- 
 and firmness of the technique, and the more pathetic on account of the softened earnestness 
 of the expression of the eyes and mouth. 
 
 Mr. John Bright was born in 1811 ; entered his father’s firm of cotton spinners at Rochdale; 
 travelled in the Holy Land ; became a prominent member of the Anti-Corn Law League in 
 1839; was elected M.P. for Durham in 1843; M.P. for Manchester in 1847, again in 1852; 
 for Birmingham in 1857; and is still Member for this city. He became President of the Board of 
 Trade in 1868, resigned in 1869 ; became Chancellor of the Duchy of Lancaster in 1873, 
 resigned in 1874 5 was re-appointed to this office in 1880, and again resigned it in 1882. 
 
 Engraved in mezzotint by Mr. T. O. Barlow, R.A., and published by Messrs. W. Agnew 
 & Sons, in 1882. 
 
 This portrait was painted for the present owner, and exhibited at the Academy in 1880, 
 and again at Manchester in 1885. With it at the Academy were “ The Portrait of the Painter, 
 painted by invitation for the Collection of Portraits of Artists, painted by themselves, in the 
 Uffizi Gallery at Florence,” “ C. M. C. Stepney,” a little girl in a black dress, holding 
 daffodils, “Cuckoo ! ” “ Miss Llermione Schenley,” in a white dress, with blue flowers in her 
 hand, and “Luther Holden, Esq.” 
 
 Painted 1880; Canvas, 49 X 36 inches. 
 
 100. Rosalind and Celia. 
 
 Lent by A. W. Kurtz ? Esq. 
 
 Rosalind. — “ O Jupiter ! how weary are my spirits ! ” 
 
 Touchstone. — “ I care not for my spirits, if my legs were not weary.” 
 
 Rosalind. — “I could find in my heart to disgrace my man’s apparel, and to cry like a 
 woman ; but I must comfort the weaker vessel, as doublet and hose ought to show itself 
 courageous to petticoat ; therefore courage, good Aliena ! ” 
 
 Celia. — “ I pray you, bear with me ; I can go no further.” 
 
 “ As You Like It." — Act II., Scene iv. 
 
 The two ladies are seated at the foot of a big beech ; the scene is a woodland ; the effect 
 is sunlight ; Touchstone carries his bauble. 
 
6o 
 
 East Gallery . 
 
 This picture, unfinished in the previous year, was at the Academy in 1868, with the 
 “ Sisters,” “ Stella,” “ Pilgrims to St. Paul’s,” and “ A Souvenir of Velazquez.” It was 
 engraved in mezzotint by Mr. W. H. Simmons, and published by Messrs. H. Graves & Co. 
 Painted 1868 ; Canvas, 45 X 63 inches. 
 
 101. Portrait of a Child. Miss Catharine Muriel Cowell 
 
 Stepney. 
 
 Lent by The Hon. Lady Cowell Stepney. 
 
 A life-size figure 01 a little girl in black dress, with pale auburn hair loose about her shoulders 
 She holds bright yellow daffodils ; and has a fixed and earnest expression in her eyes. 
 
 It was exhibited at the Academy in 1880, with the “Portrait of the Painter, painted by 
 invitation for the Uffizi Gallery, Florence,” “The Right Hon. John Bright,” “ Cuckoo ! ” “Miss 
 Hermione Schenley,” and “Luther Holden, Esq.” 
 
 Painted 1880 ; Canvas, 48 X 30 inches. 
 
 102. “The Sound of Many Waters.” 
 
 Lent by David Price , Esq. 
 
 A landscape depicting, in misty but still bright weather, a peat-stained cascade, just above 
 a fall of the River Braan, which is a tributary of the Tay. The place is well-known and distin- 
 guished by the constant murmur of waters pouring from step to step of red rock, the so-called 
 “ Rumbling Brig,” which is composed of large boulders, clad in moss and lichen, of the Old 
 Red Sandstone. Beyond the front is a vista of the course of the full river between banks 
 covered with larches, firs, and birches. Overhead is a pale gray sky. A heron rises on the 
 wing. 
 
 This picture, which was painted for the present owner, was at the Academy in 1877, with 
 “ A Yeoman of the Guard,” and “ Yes ! ” 
 
 Painted 1876 ; Canvas, 56 X 82 inches. 
 
 103. Sir James Paget, Bart., F.R.S., D.C.L. 
 
 Lent by The Governors of St. Bartholomew 1 s Hospital , London. 
 
 The distinguished surgeon appears standing in his lecture room at St. Bartholomew’s Hospital, 
 and seems to be waiting while applause subsides among his audience. He is placed with a black 
 
East Gallery. 
 
 61 
 
 drawing board behind him, and his face attests that he waits not without quiet pleasure, shown in 
 the lines of the set and firm looking lips and eyes, which, in all their gravity, are eager in their 
 expression. The figure seems absolutely alive, and its extraordinary solidity gives the roundness 
 of nature. The difficulty of dealing with so large a mass of black has been overcome with great 
 skill; that task is analogous to the difficulty attending the execution of Gainsborough’s “Blue 
 Boy.” 
 
 Sir James Paget, son of a merchant at Great Yarmouth, where he was born in 1814, became 
 a Member of the Royal College of Surgeons in 1836, an Honorary Fellow in 1843. He is 
 Sergeant- Surgeon Extraordinary to the Queen, Surgeon to the Prince of Wales, and Consulting 
 Surgeon to St. Bartholomew’s Hospital, Member of the Senate of the University of London, 
 and author of many valuable essays on surgical subjects. He was created a baronet in 1871, 
 LL.D. of Edinburgh in the same month, and he has been President of the Royal College of 
 Surgeons since 1875. This picture was painted by request of his pupils and friends, and by 
 them presented to St. Bartholomew’s Hospital. 
 
 It was engraved in mezzotint by Mr. T. O. Barlow, R.A., and published by Mr. E. S. 
 Palmer. 
 
 It was exhibited at the Academy in 1872, with “Flowing to the River,” “Flowing to the 
 Sea,” “Master Liddell,” “ The Marquis of Westminster,” and “ Hearts are Trumps.” 
 
 Painted 1872 ; Canvas, 49 X 39| inches. 
 
 104. Dropped from the Nest. 
 
 Lent by W. C. Quitter , Esq . , M.P. 
 
 A little girl, clad in white, with a pink sash, is seated under a tree, the boughs of which cast 
 their shadows on part of her figure. She holds to her breast, and clasped in her hands, a young 
 bird, which is supposed to have lately fallen from its nest. A copy in photo-gravure of this work 
 was published by the Fine Art Society. It was at Manchester in 1885. 
 
 Painted 1883 ; Canvas, 40 X 27 inches. 
 
 105, The Rev. John Caird, D.D., Principal and Vice-Chan- 
 cellor of the University of Glasgow. 
 
 Lent by the University of Glasgow . 
 
 This portrait was painted on a commission given by many citizens of Glasgow and others, 
 and was by the subscribers presented to the University of that city, in acknowledgment for 
 Principal Caird’s many services. 
 
62 
 
 East Gallery. 
 
 The Rev. J. Caird, a distinguished member of the Established Church of Scotland, was 
 born at Greenock, where his father was an engineer, in 1823 ; studied in the University 01 
 Glasgow; was licensed as a preacher in 1844; ordained minister in 1845, and removed to 
 Edinburgh, where he obtained a charge; he returned to Glasgow in 1858. In 1873 he was 
 elected Principal, as above. 
 
 This picture was at the Academy in 1881, with “ Cinderella,” “ Lord Wimborne,” “ The 
 Earl of Beaconsfield,” “Sir G. Greenall,” “ The Bishop of Manchester,” “ Sir J. Astley,” and 
 “ Captain James ” (see “ Major James ”). 
 
 Painted 1881 ; Canvas, 49 X 36 inches. 
 
 106. Sir Henry Thompson. 
 
 Lent by Sir Henry Thompson. 
 
 A three-quarters-length, life-size figure, standing, bareheaded, nearly in profile to our left, 
 and looking towards the front, with a very intent and penetrating expression. 
 
 Sir Henry Thompson, F.R.C.S., was born at Framlingham, in 1820 ; educated at Univer- 
 sity College, London, and appointed Assistant Surgeon of University College Hospital, London, 
 in 1853 ; Surgeon in 1863 ; and Professor of Clinical Surgery in 1866. He was knighted in 
 1867. Sir Henry is the author of many essays on surgical subjects. An amateur painter, 
 pupil of Messrs. Elmore, R.A., and Alma Tadema, R.A., he has exhibited many pictures at the 
 Academy and elsewhere. 
 
 This portrait was at the Academy in 1882, with “Dorothy Thorpe,” “Mrs. Budgett,” 
 “Mrs. James Stem,” “Daniel Thwaites, Esq.,” “Cardinal Newman,” and “The Princess 
 Marie of Edinburgh.” 
 
 Painted 1881 ; Canvas, 49 X 36 inches. 
 
THIRD 
 
 ROOM. 
 
 •o^o* 
 
 107. The Deserted Garden. 
 
 Lent by D. Thwaites , Esq. 
 
 The appropriate motto of this picture is borrowed from Campbell. 
 
 “Yet wandering, I found on my ruinous walk, 
 
 By the dial-stone aged and green, 
 
 One rose of the wilderness left on its stalk, 
 
 To mark where a garden had been.” 
 
 The Atlienceum thus described this example, one of a group ol Sir John Millais’s best 
 works. “ Mr. Millais will unquestionably charm all fair-minded critics by his picture of a 
 neglected garden (263). As a piece of pathetic landscape it should satisfy the most fastidious. 
 The effect is that of autumn, or rather early winter mist, in a valley near pine-clad hills, where, 
 in the foreground, is a space, now waste, but once a garden. Dim vapours surcharge the 
 atmosphere, bars of cloud are half subdued by the mist, with edges of tender, rosy light, and 
 less determined spaces of firmament. The sun is low, and shines with pale radiance from our right, 
 sloping in faintly defined lines in the mist, so that the mid-distance and distance are grey, for the 
 light is absorbed. There are scarcely any shadows, and the forms loom in the vapour; trees, as they 
 are far or near, seem only differently dim on the hillside, their local colouring serves them not at all. 
 The proximity of the garden enables us to grasp its details. Here a wasted native holds its own ; 
 there, an exotic has struggled for existence and become wild in the effort. On that spot, a 
 gigantic male fern, a sturdy son of the wilderness, has taken root in the once trim bed, and 
 spread his lordly fronds about him ; in this place a shy hare sits. A brighter gleam than usual 
 touches a patch of rain-washed gravel, and leads the eye along a footpath to where a ruined 
 bench stands by a bush. On our left an ash droop its foliages in the still air, and its trunk 01 
 
64 
 
 Third Room. 
 
 silver shines, connecting the foreground with the lighter sky. Still-blooming roses thrust their 
 ragged arms to right and left, a wilderness of suckers. Silence and neglect rather than poverty 
 and squalor reign here.” 
 
 “The Deserted Garden” was at the Academy in 1875, with “The Fringe of the Moor,” 
 “The Crown of Love,” “Miss E. Tennant,” “No!” “Eveline, Daughter of E. Lees, Esq.,” 
 and a portrait of her sister “ Gracia.” “The Crown of Love ” shows a young hero of romance, 
 bearing a princess, his valiantly-won mistress, up a steep hillside. Miss Eveline Lees sits on a 
 bank by masses of tall ferns ; her sister is dressed in white and kneeling on a bank. The other 
 pictures are in the present exhibition. 
 
 Painted 1875 ; Canvas, 48 X 72 inches. 
 
 108. The Fringe of the Moor. 
 
 Lent by 7. H. Ismay , Esq, 
 
 “ This landscape, according to the Athenceum , is a Scottish Pastoral. The view is taken from 
 near the summit of an upland, and the eye is permitted to range across a shallow valley to where 
 the ‘ moor,’ or uncultivated opposite ridge, rises in broad and lofty undulations, clad in heather 
 and gorse, and when the eye can reach no farther, though the air is marvellously clear, green 
 fields of the brightest hues, traversed by a cloud shadow, slope from our feet to the bottom of 
 the valley, where are a grove of firs, lines of hedgroves, and sparse trees. The upland near us 
 is dotted with furze and fern, and clumps of broom ; a cow grazes here. A path, a piece of con- 
 summate draughtmanship, goes upwards on our right, accompanying and crossing a rude 
 stone fence, which, with its fringe of underwood and thicker herbage ^ascends to the highest 
 point of view. The sun itself is hidden from us by a delicate cloud, but otherwise his light fills 
 the picture. A great purple cloud lies on the moorland hill-side. For brilliancy of local 
 colouring, solidity, and that wonderful power of modelling, which has always distinguished Mr. 
 Millais, there is nothing in the exhibition to surpass this work.” 
 
 “ The Fringe of the Moor” was at the Academy in 1875, with “The Deserted Garden,” 
 “ The Crown of Love,” “ Miss E. Tennant,” “ No ! ” “ Eveline, Daughter of E. Lees, Esq.,” 
 and the portrait of her sister “ Gracia.” For the pictures of this list not in the present collection 
 see “ The Deserted Garden.” 
 
 Painted 1875 ; Canvas, 53 X 84 inches. 
 
 109. Scotch Firs. 
 
 Lent by James Mason , Esq. 
 
 This landscape, designed to impart the sentiment of a scene instinct with 
 “ The silence that is in the leafy woods,” 
 
 shows the heart of a pine wood, with a view between rich dark stems, including dense under- 
 
Third Room. 
 
 65 
 
 growths of bushes and herbage. The sentiment of the subject received expression by means of 
 the stately dignity and almost sculpturesque severity of the pine trunks, and of their far-reaching 
 and tortuous branches, the swinging of which, when gales tore among them, Spencer expressed 
 in the phrase, “ Sayling pine.” 
 
 The picture was at the Academy in 1874 with No. no, another landscape painted in the same 
 Scottish region and called “ Winter Fuel.” In this same gathering were “Walter, son of N. 
 de Rothschild, Esq.,” “The Picture of Health,” “The North-West Passage,” “Still for a 
 Moment,” and “ A Day-Dream.” The last, a lady in a white dress, seated, with a hat in 
 her lap; abundant dark brown hair flows about her face ; her eyes are rapt in fancy, “ Still for a 
 Moment ” is a little girl in white pinafore, seated on the trunk of a felled tree, with a dog near 
 her. “ Walter ” is a boy at full length, with his hand behind him, and wearing a black velvet 
 dress and red sash. 
 
 Painted 1873 5 Canvas, 73 X 55 inches. 
 
 no. Winter Fuel. 
 
 Lent by G. B. Worthington , Esq. 
 
 “ Bare ruined choirs, where once the sweet birds sang.” 
 
 A scene found in Tay-side woods, with hills and meadows deep in vaporous autumnal 
 sunlight, enriched with colours of the rotting leaves, and gorgeous in foliage that, glows before 
 falling. In front is a large level meadow at the skirt of the forest, while hills close the 
 distance, and rise abruptly against the sky, which is filled with white vapours in masses not dense 
 nor unbroken by open spaces of blue air. In the foreground a timber truck is loaded with newly- 
 cut trunks of trees, and surrounded by ragged branches and ruined foliage. A little girl in a red 
 hood, the high note in the colouring of the picture, sits on the vehicle. 
 
 This picture was at the Academy in 1874, with “Scotch Firs,” “Walter, son of N. de 
 Rothschild, Esq.,” “The Picture of Health,” “The North-West Passage,” “Still for a 
 Moment,” and “ A Day-Dream.” See “ Scotch Firs,” No. 109. 
 
 Painted 1873 ; Canvas, 76 X 58 inches. 
 
 no*. ‘‘Found.” The Joint Work of Sir Edwin Landseer, R.A.,and 
 Sir John E. Millais, Bart., R.A. 
 
 Lent by Joseph Nathan , Esq . 
 
 Canvas, 62 X 84 inches. 
 
 D 
 
FOURTH ROOM. 
 
 •o^o* 
 
 hi. Portrait of Master Wycliffe Taylor, son of the late 
 Tom Taylor, Esq. 
 
 Lent by Mrs. Taylor . 
 
 Flalf-length figure, bare headed, nearly in full-face. 
 
 Painted 1864 ; Canvas, 13^ X 10 inches. 
 
 1 12. A Study. 
 
 Lent by David Bates , Esq. 
 
 A very highly finished view of a cascade, with dark rocks clad with white and grey lichens : 
 a female figure sits on the rock on our right. 
 
 Painted 1854 ; Canvas, 9 X 13 inches. 
 
 1 13. My First Sermon. 
 
 Lent by Charles Gassiot , Esq. 
 
 The forerunner of “My Second Sermon,” which was painted in the following year. A 
 young girl of six years old or thereabouts, sits in a green-baize-lined pew, wearing a black 
 velvet cap, with a red feather, a red cloak and stockings, and demurely carrying both her 
 hands within the muff, which lies in her lap. She looks up, half in wonder, with some surprise, 
 if not bewilderment, and seems to listen to the discourse of the preacher, perched on high 
 before her. 
 
Fourth Room. 
 
 67 
 
 “My First Sermon” was at the Academy in 1863, with “The Wolfs Den” and “St. 
 Agnes’ Eve.” It was engraved in mezzotint by Mr. T. O. Barlow, R.A., and published by 
 Messrs. H. Graves & Co. Mr. C. Langton, of Liverpool, has the sketches in water colours, 
 for “My First Sermon,” and its sequel. 
 
 Painted 1863 ; Canvas 35^ X 27J inches. 
 
 . Waking. 
 
 Lent by Holbrook Gaskell , Esq. 
 
 A little girl of nine years of age, or thereabouts, has been aroused in the earliest of the 
 morning by the gathering of sunlight in her chamber, and by the loud song of a favourite bird, 
 whose cage of green and white is suspended over the foot of the bed in which the child has just 
 sat upright, as, with bright eyes fixed on the songster, she seems to wonder at, while she shares, 
 its happiness and delight in life. A mass of white of various tints, comprising the thick, richly- 
 wrought counterpane with a broad fringe, the pillow and linen, as well as the child’s bed-gown, 
 occupies the centre of the picture, and is enclosed between the darker floor, curtains, and wall 
 of the room. 
 
 The painter’s daughter, Miss Mary Millais, who sat in “ The Sisters” sat for this picture, 
 the companion to “ Sleeping,” for which her sister, Miss Alice Caroline, sat. “Waking” was 
 engraved in mezzotint by Mr. T. Oldham Barlow, R.A., for Messrs. Henry Graves & Co. 
 There is a woodcut of it. 
 
 “Waking” was at the Academy in 1867, with “Sleeping,” “Jephthah,” “The 
 Minuet,” and a portrait of “ Master Cayley,” which reminded us of Gainsborough. 
 
 Painted 1866; Canvas, 36 X 27 inches. 
 
 . The Woodman’s Daughter. 
 
 Lent by Mrs. Hodgkinson. 
 
 An illustration of Mr. Coventry Patmore’s poem, the subject of this very interesting 
 example of the most tenacious phase of Pre-Raphaelitism proper, as it obtained about 1850, is 
 easily discovered. The scene is a wood, of which every branch and leaf, and tuft of herbage, 
 the grey, green, and ashy-coloured trunks, and every stone and lump of earth within range 
 of the artist’s vision, have been painted with unflinching faith, and marvellous delicacy. By 
 this means we have the history of the shaw, and of every tree within it. As clearly and as 
 firmly, nay, as unflinchingly as these accessories were depicted, so the figures they enclose were 
 stringently dealt with. The picture, as a whole, represents the shy, proud, and somewhat 
 
 D 2 
 
68 
 
 Fourth Room. 
 
 uncouth wooing by a boy of the not lovely daughter of a labourer on his father’s estate. The 
 children have met in a wood, where the fantastic chivalry of the lad moved him to offer ripe, 
 cultured, and beautiful fruit, the outcomings of generations of fortune, skill, and taste, for her 
 acceptance. Of course, he is offering himself, in whom centered generations of refinement, to 
 the untrained child of nature, and she does not understand the sacrifice he feels to be no 
 sacrifice. The end, according to Mr. Patmore, was bitter and deadly. 
 
 In the tenacity, not to say the stubbornness which attended the execution of this picture, as 
 well as in the cliivalric, perfectly unsophisticated action of the boy, we see more than a true 
 reflection of the poem, more than a faithful version of nature as she appeared to Millais under 
 the then current circumstances of Pre-Raphaelitism. We also see in every element and motive 
 of this work not a little of the devotion, the courage, the faith, and the sacrifice for truth’s 
 sake, which supplied heart, the Cor Cordium itself, so to say, to the valiant member of the 
 P-R.B. 
 
 How all this was acknowledged might be shown at large. In the first place nobody had 
 courage enough to buy the picture. Secondly, shouts of ridicule attended its exhibition, and 
 the Press of that day could find no words of scorn and wrath sufficiently potent to expose the 
 ineptitude of the painter. Even “ A Huguenot ” did not entirely pacify the hungry and sour 
 spirits who seemed unable to see that by such tenacity as was employed in “ The Woodman’s 
 Daughter,” the art of “ A Huguenot,” “The Rescue,” and “Autumn Leaves,” to say nothing 
 of later masterpieces, became possible. 
 
 “The Woodman’s Daughter” was begun before “Christ in the House of His Parents” 
 had made progress, so that it really preceded “ Mariana ” in the order of the painter’s technical 
 development. Though commonly dated 1851 and largely produced in 1850, it is really partly due 
 to 1849. It is recorded that the strawberries, painted with all the artist’s might and main, were 
 bought at Covent Garden in March, 1850. 
 
 This picture had for its motto the following verses, originally published in 1844, and 
 referring to the tale of “ poor Maud,” daughter of Gerald the Woodman : — 
 
 Her tale is this : In the sweet age 
 When heaven’s our side the lark, 
 
 She used to go with Gerald, where 
 He work’d from dawn to dark, 
 
 For months, to thin the crowded groves 
 Of the ancient Manor-Park. 
 
 She went with him to think she help’d ; 
 
 And whilst he hack’d and saw’d, 
 
 The rich Squire’s son, a young boy then, 
 
 Whole mornings, as if awed, 
 
Fourth Room. 
 
 69 
 
 Stood silent by, and gazed in turn 
 At Gerald and on Maud. 
 
 And sometimes, in a sullen tone, 
 
 He’d offer fruits, and she 
 Received them always with an air 
 So unreserv’d and free, 
 
 That shame -faced distance soon became 
 Familiarity. 
 
 When removed from the Exhibition of 1851, where it was shown with “ The Return of the 
 Dove to the Ark,” and “ Mariana,” “ The Woodman’s Daughter ” passed to the hands of the 
 late Mr. Hodgkinson, the artist’s step-brother, whose will has suggested that this picture shall 
 ultimately go to the South Kensington Museum. It was re-exhibited by the Fine Art Society 
 in 1881. 
 
 Painted 1851 ; Canvas, 35 X 25^ inches. 
 
 116. The Ransom. 
 
 Lent by C. P. Matt /lews, Esq . 
 
 Full-length figures in sixteenth-century costumes, representing, in a close group, a knight 
 paying to some robber nobles, by whom he had been captured, the price agreed upon for the 
 ransom of his two daughters who were left as hostages during his absence in search of the fine. 
 He is in doubt if some jewels will be accepted in lieu of money ; the robbers examine the gems 
 with hesitation. On our left is a page, and near him an old retainer with a dog. The 
 girls cling to their father. 
 
 Exhibited at the Academy in 1862, with “Trust Me!” “The Parable of the Woman 
 seeking for a Piece of Money ” (otherwise “ The Sweeper”), and “ Mrs. Charles Freeman.” 
 
 Painted 1862 ; Canvas, 51^ X 44 inches. 
 
 117. Ophelia. 
 
 Lent by Mrs. L u Her- Maitland. 
 
 Laertes . — “ Drown’d ! O, where ? ” 
 
 Queen . — “ There is a willow grows aslant a brook, 
 That shows his hoar leaves in the glassy stream ; 
 
 There with fantastic garlands did she come, 
 
 Of crow-flowers, nettles, daisies, and long purples, 
 
 -* * * * * 
 
 * * * * * 
 
 There, on the pendant boughs her coronet weeds 
 
70 
 
 Fourth Room. 
 
 Clambering to hang, an envious sliver broke 
 When down her weedy trophies, and herself, 
 
 Fell in the weeping brook. Her clothes spread wide, 
 And, mermaid-like, awhile they bore her up ; 
 
 Which time, she chanted snatches of old tunes, 
 
 As one incapable of her own distress, 
 
 Or like a creature native and indu’d 
 
 Unto that element ; but long it could not be, 
 
 Till that her garments, heavy with their drink, 
 
 Pull’d the poor wretch from her melodious lay 
 To muddy death.” 
 
 Hamlet, Act IV., scene 7 * 
 
 Immersed in a deep stream, through whose sluggish but clear waters her dress and 
 all the half- floating greeneiy of weeds about her are partly visible, lies the unhappy lover of 
 Hamlet. Her face, just above the surface, shows Ophelia singing her last song, while her hands 
 take their part in the action of the moment, the instant before death came with the overdosing 
 water. Her dark auburn hair spreads like threads of gold upon the water and below it. 
 Beautiful in form and expression is the face, of which the lifted eyebrows, levelled eyelids, and 
 parted lips are as exhaustively as they are finely and solidly modelled. Flecks and larger spaces 
 of light dash the water, and here and there search its depths, revealing in one place the colour 
 of the princess’s richly-brocaded gown, in the other her shoulders ; elsewhere in the flood we 
 may discover the hazy pearliness which water-vegetation receives when seen through its own 
 element, with numerous weeds and tangled verdure of many sorts trembling with the motion of 
 the stream. The bank of the pool, with its overhanging willows, rushes, wild flowers, roots 
 of shrubs and saplings, is vividly coloured and searchingly drawn. 
 
 The background of “Ophelia” was painted on the Ewell River, near Kingston. Miss 
 Siddal, afterwards Mrs. D. G. Rossetti, many of whose portraits were, three years since, in the 
 exhibitions of her husband’s works at the Royal Academy and the Burlington Club, sat for the 
 face of “ Ophelia.” 
 
 The preservation of the surface, colour, and substance of this work is perfect. The 
 remarks on the preservation of Millais’s pictures, which are included in the note on “Christ in 
 the House of His Parents” apply with equal correctness to “Ophelia,” “The e turn of the 
 
 Dove to the Ark,” and several other examples on which nearly forty years Live reft no traces 
 of change. 
 
 Mr. J. Stephenson engraved “ Ophelia” in 1866, for Messrs. H. Graves & Co. *SV<?No. 153. 
 
 This picture was at the Academy in 1852, with “Portrait of Mrs. Coventry K. Patmore ” 
 (a small likeness in oil of the subject of “The Angel in the House,” a picture still in her 
 husband’s possession), and “A Huguenot.” 
 
 Painted 1852 ; Canvas, 28^ X 43 inches. 
 
Fourth Room. 
 
 7 1 
 
 118. Esther. 
 
 Lent by Eustace Smith, Esq. 
 
 “Now it came to paas on the third day, that Esther put on her royal apparel, and stood in 
 the inner court of the king’s house .” — The Book of Esther , chap, v., ver. i. 
 
 A lady, in a yellow Japanese robe, embroidered with colours and black, is passing from us 
 to a room beyond the picture, and between two white marble columns, which are partly screened 
 by a portiere of intense blue. 
 
 Esther was at the Academy in 1865, with “Joan of Arc,” “ The Romans leaving Britain,” 
 “ Swallow ! Swallow ! ” “ The Parable of the Tares,” and two etchings. 
 
 Painted 1865 ; Canvas, 41 X 29^ inches. 
 
 A little girl of some ten years old “ stands up,” with a firm will, but somewhat nervous 
 sense of the difficulties of her position in making her debut as a dancer, and, with a daintiness 
 which is very charming, is about to move in the slow paces of the old-fashioned and stately 
 melody. She is making what was called a coupee or portion of the exercise ; and, holding 
 her feet together lightly, spreads the rosy-scarlet skirts of her dress, and looks up to us 
 with a piquant expression which is aided by the arrangement of her head-tire. The 
 costume of the girl, like the character of the dance, refers to the period of Queen Anne. Part 
 of the figure of an attendant musician, or friend, fills a portion of our right of the picture, as 
 she touches the keys of the old-fashioned instrument. One of the painter’s daughters, Miss 
 Effie Millais, now Mrs. James (see her portrait in this latter name), sat for this picture, as well 
 as in “ The Sisters,” and in “ New Laid Eggs.” 
 
 “The Minuet” was at the Academy in 1867, with “Waking,” “ Sleeping,” “ Jephthah,” 
 and a portrait of “Master Cayley.” This work was exhibited by the Fine Art Society in 
 1881. It was engraved in mezzotint by Mr. S. Cousins, R.A., and published by Messrs. H. 
 Graves & Co. It is sometimes known as “My First Minuet.” 
 
 Painted 1866; canvas, 43^ X 33! inches. 
 
 120. Isabella, or Lorenzo and Isabella. 
 
 Lent by the Corporation of Liverpool. 
 
 1. 
 
 “Fair Isabel, poor simple Isabel ! 
 
 Lorenzo, a young palmer in Love’s eye ! 
 
 119. The Minuet. 
 
Fourth Room. 
 
 72 
 
 They could not in the self-same mansion dwell 
 Without some stir of heart, some malady ; 
 
 They could not sit at meals but feel how well 
 It soothed each to be the othei by ; 
 
 They could not, sure, beneath the same roof sleep, 
 
 But to each other dream, and nightly weep.” 
 
 ■vfr 3jr -sjf 
 
 XXI. 
 
 These brethren having found by many signs 
 What love Lorenzo for their sister had, 
 
 And how she loved him too, each unconfines 
 His bitter thoughts to other, well-nigh mad 
 That he, the servant of their trade designs, 
 
 Should in their sister’s love be blithe and glad, 
 
 When ’ twas their plan to coax her by degrees 
 To some high noble and his olive-trees.” 
 
 Keats's “ Isabella , or the Pot of Basil P 
 
 This, the first Pre-Raphaelite picture by Millais — painted in 1848-9, when he was in his 
 twentieth year — is one of the epoch-making examples of the English School. Begun in the 
 autumn of 1848, just after the inception of the P-R.B., it immediately preceded “ The Woodman’s 
 Daughter,” which was followed by “ Ferdinand lured by Ariel ” (1849), “Christ in the House 
 of His Parents ” (1850), the portrait of “Mr. Thomas Combe ” (1850), the portraits of “Mr. 
 J. Wyatt and his Grandchild” (1849), “The Return of the Dove to the Ark” (1851), and 
 “ Mariana” (1851). 
 
 It will be remembered that Mr. W. Holman Hunt’s vigorous and original “Rienzi vowing to 
 obtain Justice for the Death of His Young Brother” was at the Academy (in fact, it hung in the 
 same room) with “Isabella” in 1849. Dante G. Rossetti’s “Girlhood of Mary, Virgin,” painted 
 in 1849, was in the Hyde Park Gallery in the same year. Thus the three leading painter 
 P-R.B.’ s were publicly, and almost simultaneously, represented and recognised. 
 
 “Fraser’s Magazine” — not always a favourable witness for Millais — thus, in July, 1849, 
 expressed an opinion on “Isabella”: — “Among the multitude of minor pictures at the 
 Academy, nearly all of which, we are bound to say, exhibit more than an average degree of 
 excellence, one stands out distinguished from the rest. It is the work of a young artist named 
 Millais, whose name we do not remember to have seen before. The subject is taken from 
 Keats’s quaint, charming and pathetic poem, ‘Isabella.’ The whole family are seated at table; 
 Lorenzo is speaking with timid adoration to Isabella ; the consciousness of dependency, and of 
 the contempt in which he is held by her brothers, being stamped on his countenance. The 
 figures of the brothers, especially of him who sits nearest to the front, are drawn and coloured 
 
Fourth Room. 
 
 73 
 
 with remarkable power. The attitude of this brother, as his leg is stretched out to kick 
 Isabella’s dog, is vigorous and original. The colour of the picture is very delicate and beautiful. 
 Like Mr. (Ford Madox) Brown, however, this young artist, although exhibiting unquestionable 
 genius, is evidently enslaved by preference for a false style. There is too much mannerism in 
 the picture, but the talent of the artist will, we doubt not, break through it.” 
 
 In the primitive manner of some early Italian representations of “ The Last Supper,” i.e 
 with one side of the table almost parallel to the picture-plane, Millais disposed his groups of 
 figures representing the entourage of Isabella, her family, their clerks and companions, in two 
 parallel lines. This . disposition of his subject is, however unconventional, by no means 
 disadvantageous to a designer intending to deal with character, and contrast the aspects and 
 actions of so many men and women assembled for a common purpose. There can be small 
 doubt that, the so-called canons of the P-R.B. apart, our artist deliberately selected this 
 arrangement without much regard to its comparatively unusual and “inartistic” aspect. His 
 earlier pictures, such as “ Pizarro ” and “ Elgiva,” to say nothing of the large “Widow 
 bestowing her Mite,” which was at Westminster Hall in 1847, attested Millais’s capacity to carry 
 into effect the ordinarily received principles of “composition.” If he was not “artistic” it 
 was simply because he would not be, as he then thought, “ artificial.” But, after all, this design 
 is by no means so crude and simple as some observers have supposed. 
 
 The table is spread in broad daylight, coming from the spectator’s right and the front of the 
 canvas. Thus the illumination is strong and direct, and as searching and resplendent as painting 
 can make it. Every detail, tint, surface, texture, and substance, all the flesh, all the appoint- 
 ments of the table, the fr ■< t. and wine set before the company, and all the minutiae of the 
 accessories were offered to the exquisitely keen sight, indefatigable fingers, unchallengeable 
 skill, and indomitable patience of one of the most energetic of painters. Such tenacity and 
 technical powers were never, since the German followers of Diirer adopted Italian principles 
 of working, exercised on a single picture. Van Eyck did not study details of “the life” 
 more unflinchingly than Millais in this case. The flesh of some of the heads, except so 
 far as the face of “ Ferdinand,” and some parts of Mr. W. Holman Hunt’s contemporaneous 
 “ Rienzi,” were concerned, remained beyond comparison in finish and solidity until Millais 
 painted the hands in “ The Return of the Dove to the Ark,” which may be seen in the present 
 gathering. 
 
 Distinguished by their position, and by the degree of illumination falling on their figures, 
 Isabella and Lorenzo are in front and at one extremity of the table. This group is emphasized still 
 more effectually by the presence of the tall serving-man behind, while the white napkin over his 
 arm, contrasting with his dark-toned coat, distinguishes him in turn. Lorenzo holds a plate, in 
 which he offers — significant action — the half of a cut "blood-orange to Isabella. She accepts the 
 ominous courtesy with one hand while placing the other gently on the head of a favourite 
 hound, which flinches towards her knees. The dog flinches because one of her brothers, who is 
 seated at the opposite corner of the table, has just been moved to spite and rage by witnessing 
 
74 
 
 Fourth Room. 
 
 the courtesy and its reception. The man kicks the hound with all his might, while he crushes a 
 nut with nut-crackers. With equal but suppressed spite, the other brother, lifting his wine glass, 
 watches the lovers over its edge. 
 
 The history of this picture includes the names of the sitters, whose faces are recognisable as 
 portraits, and whose names should be preserved. That every one of these heads was painted from 
 a different model was, in those days, a remarkable and entirely “Pre-Raphaelite” fact. Mrs. 
 Hodgkinson, the wife of the painter’s half-brother, and the still-living owner of “ The Woodman’s 
 Daughter,” sat for Isabella. Mr. William Rossetti, brother of Dante G. Rossetti, and Secretary 
 to the P-R.B., with, unless the present writer’s memory deceives him, a young painter 
 named Charles Compton, sat for Lorenzo. The artist’s father sat for the man wiping his 
 lips with a napkin. Mr. W. Hugh Fenn, whose portrait is in this gallery, is paring an apple. 
 It is Mr. D. G. Rossetti who is drinking hastily with a glass at his lips. The kicking 
 brother was Mr. John Harris, a Student of the Academy, since deceased. The serving- 
 man was Mr. Wright, an architect. The present writer has been told, but is not sure it 
 was so, that he sat for the man whose profile appears between the face of the watching brother 
 and his wine glass. 
 
 At the Academy in 1849, this picture, which for some time belonged to Mr. Woolner, 
 R.A., and Mr. Windus, of Tottenham, was re-exhibited by the Fine Art Society in 1881, and 
 sold at Christie’s, May 5, 1883. It was seen again in Manchester in 1885. There is an engravin 
 from it by Mr. H. Bourne in The Art Journal , 1882. 
 
 Painted 1849 ; Canvas, 39 X 55J inches. 
 
 121. Autumn Leaves. 
 
 Lent by James L eat hart, Esq . 
 
 By the margin of a valley- wood, and in twilight, stand four children, who r<re burning 
 fallen leaves, ; they have gathered a fresh heap, from which the smoke, slowly stream mg, creeps 
 upwards, while one of the girls continues to add more and more of the fuel. The sun has 
 sunk, the whole valley is full of a luminous mist, out of which, at intervals, stark, denuded 
 poplars rise sharp against the sky, which has been golden, but now fades to a dun brassiness, 
 while in the zenith is the black and purple fringe of night — “ For the night cometh when no 
 man can work.” The children’s faces are turned from the glowing west, and are in the shadow. 
 
 A well-known critic wrote of this work: — “Nothing more awe-inspiring than this picture 
 can be conceived, or out of fewer materials have we ever seen so much expressed. You might 
 take it either way — as a beautiful effect of nature, such as is rarely painted, and a triumph 
 in that respect ; or you might accept it as I have attempted to describe it.” Another living 
 writer said: — “When the work was first exhibited, many spectators and most critics missed 
 the contrast of the unpoetical girls and the deeply pathetic landscape — the significance of the 
 
Fourth Room. 
 
 75 
 
 design. They asked what is was all about? “ The Vale of Rest,” was to some extent an echo 
 of the sentiment of “ Autumn Leaves.” 
 
 Mr. Ruskin, in “Notes,” on the Academy of 1856, wrote “448. ‘Autumn Leaves.’ By 
 much the most poetical work the painter has yet conceived ; and also, so far as I know, the 
 first instance of a perfectly painted twilight. It is as easy, as it is common, to give obscurity to 
 twilight, but to give the glow within its darkness is another matter; and though Giorgione might 
 have come near the glow, he never gave the valley mist. Note also the subtle difference between 
 the purple of the long nearer range of hills, and the blue of the distant peak emerging beyond.” 
 Again, p. 22, the same writer remarked, in reference to “ 200, Peace concluded, 1856.” — 
 “ I thought, some time ago, that this painter was likely to be headed by others of his school ; 
 but Titian himself could hardly head him now. This picture is as brilliant in invention as 
 consummate in executive power ; both this and ‘ Autumn Leaves, 448,’ will rank in future 
 among the world’s masterpieces; and I see no limit to what the painter may hope in future to 
 achieve. I am not sure whether he may not be destined to surpass all that has yet been done in 
 figure-painting, as Turner did all past landscape.” 
 
 “ Autumn Leaves ” was at the Academy in 1856, with “ Peace concluded, 1856,” “Portrait 
 of a Gentleman,” “ L’Enfant du Regiment” (now called “The Random Shot ”), and “The 
 Blind Girl.” “Autumn Leaves” was the only picture by Sir John Millais at the Manchester 
 Art-Treasures Exhibition, 1857. It was, with others, in the International Exhibition, 1862; with 
 “The Wolf’s Den ” at the Leeds Exhibition, 1868 ; lent to the Fine Art Society in 1881, and 
 at Manchester in 1885. 
 
 Painted 1856 ; Canvas, 40^ X 28^ inches. 
 
 122. “ Swallow ! Swallow !” 
 
 Lent by Sir John Kelk , Bart . 
 
 “ O Swallow, flying from the golden woods, 
 
 Fly to her, and pipe, and woo her, and make her mine, 
 
 And tell her, tell her, that I follow thee.” 
 
 The Princess , IV., by Lord Tennyson. 
 
 Represents a young lady, in a blue boddice, leaning her elbow upon a chair, standing at a 
 window, and looking at a swallow which is withont. 
 
 Exhibited at the Academy in 1865, with “Joan of Arc,” ‘The Romans leaving Britain,” 
 “Esther,” “The Parable of the Tares,” and two etchings. 
 
 Painted 1864 : Canvas, 39I X 29^ inches. 
 
76 
 
 Fourth Room. 
 
 123. The Black Brtjnswicker. 
 
 Lent by Janies Price , Esq. 
 
 The artist has carefully observed the proprieties of a room of 1815, while he has shown 
 an interior furnished with a print after David’s picture of “ Napoleon crossing the Alps;” the 
 paper on the wall, the polished mahogany door, and the carpet being in keeping with the 
 taste of that period. In this room takes place the parting of an officer of the celebrated Black 
 Brunswick corps and his fiancee before the Battle of Waterloo,. As in “ A Huguenot,” 
 to which this example may be called the complement, if not the sequel, the lady is delaying 
 the departure of her lover, opposing his going with her breast against his breast, and with one 
 hand pressed against him, while her other hand is grasping the handle of the door. Resolute 
 in his duty he strives gently to put her aside and pull the door open. With a sad firmness he 
 regards her affectionate purpose. He seems to say : — 
 
 “ I could not love thee, deare, so much, 
 
 Loved I not honour more ” 
 
 His face differs from that of the Huguenot because it conveys pain that she should not value, 
 as he does, the call of duty. She half-fretfully, lialf-pettishly, resists the man’s will. His features 
 render something of the handsome, yet blunted German type of martial blood, with all its vigour 
 and sternness. These qualities were called for in a member of the famous regiment which (in token 
 of a desire to revenge the conduct of the French troops during their occupation of Brunswick, 
 and the death of Duke Charles,) had discarded a former uniform and assumed a costume of 
 black, with skulls and cross-bones in silver. The regiment had vowed to conquer or die, neither 
 to give nor to receive quarter. 
 
 It was the intention of the painter to render in the expression and air of the Black 
 Brunswicker that soldier’s sense of the renewed loss to his countiy at Ligny, when the young 
 William Frederick, Duke of Brunswick-Oels, was slain. The hussar’s purpose to fight was thus 
 stiffened. The artist possibly intended to 'suggest French leanings on the lady’s s 'e, hence the 
 portrait of the Emperor on the wall of the room, which is part of her home. IL. Aatures and 
 costume indicate a French origin. When this picture was exhibited all the world admired the 
 resolution of the man, the pique of the'lady, as well as the “ plump ” contours and pearly-white 
 sheen of her satin dress. The dog, in its quaint piteousness, sharing the lady’s trouble, “ begs” 
 in support of her wishes. 
 
 This picture was at the Academy in i860, and was one of those works which helped to 
 reconcile the public to the technical system of the artist, as it had been previously displayed 
 in “ Spring Flowers,” “ The Vale of Rest,” “ The Escape of a Heretic,” “Autumn Leaves,” 
 “The Rescue,” “The Proscribed Royalist,” “The Order of Release,” “A Huguenot,” 
 “Mariana,” “The Woodman’s Daughter,” the so-called “ Carpenter’s Shop,” “Ferdinand 
 
Fourth Room. 
 
 77 
 
 lured by Ariel,” and “ Isabella.” This series of titles of pictures, in the reverse order of 
 their pioduction, very clearly indicates the progress of the painter from a’tentative stage to that 
 which is well shown in “ The Black Brunswicker.” 
 
 This work has not been exhibited since i860, as above. It was engraved in mixed 
 mezzotint by Mr. T. L. Atkinson, and published by Messrs. H. Graves & Co. Kate, daughter 
 of Charles Dickens, afterwards the wife of Charles Allston Collins, and now Mrs. Perugini, sat 
 for the lady’s face. The hussar was painted from a model. 
 
 Painted i860 ; Canvas, 39 X 26 inches. 
 
 . Sir Isumbras at the Ford ; or, a Knight Crossing a 
 Ford. 
 
 Lent by Joint Graham , Esq. 
 
 In an account by the present writer of the life and works of Sir John Millais, which was 
 published in “ The London Review,” February, 1862, is the following notice of this picture, 
 treating it solely from the pathetic point of view, and apart from its technical qualities : — “ ‘ Sir 
 Isumbras at the Ford ’ was the subject of the picture Millais made his leading work in the year 
 1857. It represented an ancient knight, all clad in golden armour, who had attained all the 
 glories of this life — war, honour, victory and reward, wealth and pride. Though he is aged and 
 worn with war, his eye is still bright with the glory of human life, and yet he has stooped his mag- 
 nificent pride so far as to help, true knight as he was, two little children, and cariy them over 
 a river ford upon the saddle of his grand war-horse, woodcutter’s children as they were. The 
 face of this warrior was one of those pictorial victories which can derive their success from nothing 
 less than inspiration. The sun was setting beyond the forest that gathered about the river’s 
 margin, and, in its glorious decadence symbolized the nearly spent life of the warrior. There 
 were some technical triumphs in this picture, and these were such as should have won a more 
 candid recognition than was given by the public, which, ever ready to be ungrateful, concentrated 
 its criticisms upon a disproportion between the horse and his rider.” The landscape was painted 
 on the Tay. 
 
 The following verses appeared in the Academy catalogue in reference to this picture : — 
 
 “ The goode hors that the knyghte bestrode, 
 
 I trow his backe it was full brode, 
 
 And wighte and warie still he yode, 
 
 Noght reckinge of rivere : 
 
 He was so mickle and so stronge, 
 
 And thereto so wonderlich longe 
 
78 
 
 Fourth Room. 
 
 In londe was none his peer. 
 
 N’as hors but by him seemed smalle, 
 
 The knyghte him cleped Launcival ; 
 
 But lords at borde and groomes in stalle 
 Cleped him Graund Destrere.” 
 
 And als he wente by a woode schawe, 
 
 Thare met he with a lytille knave 
 Cam rynnaude him agayne — 
 
 ‘ Gramercy, faire Syr Isumbras, 
 
 Have pitie on us in this case, 
 
 And lifte us uppe for Marie’s grace ! ’ 
 
 N’as never childe so fayne. 
 
 Theretoe of a mayden he was ware, 
 
 That over floude re mighte not fare, 
 
 Syr Isumbras stoopede him thare, 
 
 And, uppe ahent hem twayne.” 
 
 Metrical Romance of Syr Ysumbras. 
 
 This passage is not to be found in the well-known ancient metrical romance of “ Syr 
 Isumbras,” published in “ The Thornton Romances,” 1846, by the Camden Society, nor does 
 it occur in any of the versions of that romance preserved in the Department of MSS., British 
 Museum. In fact, the lines were written with a kindly and humorous purpose by the late 
 Mr. Tom Taylor. It is certain, however, that many students ransacked their memories and 
 turned over numerous volumes while seeking the original and complete work to which the quaint 
 soi-disant fragment was ascribed. The little boy was painted from one of the sons of the artist, 
 'vide “ The Boyhood of Sir W. Raleigh.” The young lady appears in “ Pot-pourri.” 
 
 The appearance of “ Sir Isumbras ” produced a tremendous sensation. Satires, skits, jokes, 
 deliberate analyses and criticisms — most of them applied to purposes and technical aims not 
 within the artist’s intention when the picture was in hand — crowded the columns of the comic as 
 the more serious journals. Utter ruin and destruction were prophesied of the artist who, 
 somewhat rashly, had followed a technical purpose, but whose success in that respect cannot now 
 be questioned. Among the most edifying of the comments published on “ Sir Isumbras ” was a 
 large print, entitled “A Nightmare,” and believed to be the work of Mr. F. Sandys, a dis- 
 tinguished brother-artist, who, probably, was not without grievances of his own against critics. 
 It generally reproduced the work in a ludicrous manner, and showed the painter while in the act 
 of crossing the ford on the back of a loud-braying ass. Seated on the front of the saddle, in 
 the place of one of the woodcutter’s children as they appear here, Dante G. Rossetti is 
 supported by the hands of the knight. Clinging round the waist of the champion is a quaint 
 manikin, with a sheaf of painters’ brushes slung at his back instead of the sticks of the origina 
 
Fourth Room. 
 
 79 
 
 figure, meant for Mr. W. Holman Hunt. The intention of the designer of this satire was to 
 suggest the positions of the old masters and the modern critics at this period. On the distant bank 
 of the river are three figures of M. Angelo, Titian, and Raphael. The first stands with his face 
 averted and his arms folded, while Titian and Raphael kneel in front of him, looking towards 
 the animal and his freight. A small scroll proceeds from the mouth of one of the old masters, 
 with the legend “ Orate pro nobis." This print was not without its good technical qualities, 
 and, except so far as the ass and the smaller riders were concerned, did no very grave injustice 
 to any of the figures. Instead of his sheathed sword an artist’s mahl-stick was suspended to 
 the girdle of Sir John Millais, and by the side of this hung a bunch of peacock’s feathers 
 and a large paste pot, inscribed “ P-R.B,” for “ Pre-Raphaelite Brotherhood.” This print 
 referred, of course, to the supposed original articles of the Pre-Raphaelite Faith, and to the 
 championship of the “Author of ‘Modern Painters,’” rather than to the immediate circum- 
 stances of “ Sir Isumbras.” The print measures about 24 X 16 inches, and is now very rare 
 indeed. There is a reduced fac-simile of it in Mr. R. Fisher’s “ Catalogue of a Collection 
 of Engravings, &c.,” 1879. 
 
 “ Sir Isumbras ” was partly repainted by the artist after its return from the Academy of 
 1857 (the year in which Mr. Millais was elected an A.R.A.) where it appeared with “ News 
 from Home,” a scene in the camp before Sebastopol, showing a Highland soldier reading a 
 letter, and “The Escape of a Heretic, 1559.” The latter showed how, by a stratagem of her 
 lover’s, a condemned heretic was delivered from the Spanish Inquisition. 
 
 Mr. Charles Reade, author of “Never too Late to Mend,” bought this picture. 
 
 Mr. Sandys’s satire is the only reproduction of ‘ Sir Isumbras.’ 
 
 Painted 1857 ; Canvas, 49 X 67 inches. 
 
 125. Tpie Proscribed Royalist. 
 
 Lent by John Pender , Psq., M.P 
 
 This example represents an incident which might have occurred very frequently during the 
 struggle preceding the establishment of the Commonwealth in England. A Cavalier hiding in a 
 tree from his pursuers is visited by his fiancee, the daughter of a neighbouring family, who, 
 bringing food for her lover, has entered the sunlit wood, and now, looking anxiously about, 
 and listening in alarm for a coming step, yields one hand to his caresses, and, with the other 
 hand, searches her pocket for the provisions. The trunk of the tree of refuge, an ancient oak, 
 silvered and whitened by age and the lichens, lies full in the sunlight and shows like a gigantic 
 specimen of silver ore. The Cavalier, with features besmirched and hair dishevelled, attests what 
 has been his hiding place. Between the broken and leafy underwood, in the freshest green of 
 nature, the eye passes from tree to tree, till it is lost in the labyrinth of boughs. 
 
8o 
 
 Fourth Room. 
 
 The model for the Cavalier was Mr. Arthur Hughes, artist of “ April Love,” a sort of half- 
 brother of the P-R.B. ; the lady was painted from Miss Ryan, a professional model, who sat for 
 the lady in “A Huguenot.” The background was executed in the summer of 1852, in a small 
 wood near Hayes Common, Kent. At this time Millais repaired, or repainted, the sign of the 
 inn where he lodged, representing St. George and the Dragon, which had fallen out of condition. 
 The signboard has, it is believed, been taken down and sold “for a consideration.” The picture 
 before us belongs to a series of which “ A Huguenot,” “ Peace concluded, 1856,” “ The Escape of a 
 Heretic,” “The Black Brunswicker,” “The Ransom,” “Trust Me! ” “The Bride of Lammer- 
 moor,” “Effie Deans,” and others are illustrations. It was engraved by Mr. W. H. Simmons, 
 and published by Messrs. H. Graves & Co. 
 
 It was exhibited at the Academy in 1853, with “The Order of Release,” which succeeded 
 “The Proscribed Royalist” in point of execution. Mr. C. Langton, of Liverpool, has the 
 sketch in oil for this picture. 
 
 Painted 1853 ; Canvas, 40 X 29^ inches. 
 
 126. “ Charlie is my Darling!” 
 
 Lent by James Reiss , Esq. 
 
 An enthusiastic Scottish damsel in a riding habit of green and silver, seen at full-length, 
 cocked-hatted and cockaded, and standing upon a block placed against the wall of a house, and 
 while humming aloud, or chanting that Jacobite song which gave a title to the picture, prepared 
 to mount her horse. 
 
 This example was at the Academy in 1864, the year of the painter’s R.A.-ship, with “ My 
 Second Sermon,” “ Harold, son of the Dowager Countess of Winchelsea,” “ Leisure Hours,” 
 and “ Lily, daughter of J. Noble, Esq.” “ Harold ” was the portrait of a gentle and intelligent 
 boy ; “ Lily ” was a little girl, seated on an artist’s “ throne ” and nursing a doll. 
 
 Painted 1864 ; Canvas, 42 X 26-| inches. 
 
 127. My Second Sermon. 
 
 Lent by Charles Gassiot , Esq. 
 
 This is the sequel to “ My First Sermon,” painted in consequence of the great popularity 
 of that work, and exhibited in the year following. The same child, wearing the same red cloak, 
 grey hat, red stockings and warm muff as before, sits in the old pew. The bright, self-possessed 
 little maiden has fallen asleep with perfect innocence and goodwill. Thus the effect of the 
 preacher’s discourse, or “My First Sermon,” is perfectly expressed. 
 
 “ My Second Sermon ” was at the Academy in 1864, with “ Charlie is my Darling ! ” 
 “Harold, son of the Dowager Countess of Winchelsea,” “Leisure Hours,” and “Lily, 
 
Fourth Room. 
 
 81 
 
 daughter of J. Noble, Esq.” See the note on “Charlie is my Darling!” Mr. C. Langton, 
 of Liverpool, has sketches in water colour of “My Second Sermon,” and its companion. It was 
 engraved in mezzotint by Mr. T. O. Barlow, R.A., as a companion to “ My First Sermon,” 
 and published by Messrs. H. Graves & Co. 
 
 Painted 1864 ; Canvas, 35^ X 27J inches. 
 
 128. Henry Manners. 
 
 Painted 1863; Canvas, 13^ X n inches. 
 
 Lent by C. Brinsley Mar lay , Esq. 
 
 129. William Hugh Fenn, Esq. 
 
 Lent by W. W. Fenn, Esq. 
 
 This portrait of the father of Mr. W. W. Fenn, artist and author, was painted in London 
 during 1848, before the foundation of the Pre-Raphaelite Brotherhood. 
 
 It is thus due to the year “The Young Men of the Tribe of Benjamin seizing their Brides,” 
 Millais’s Gold Medal Picture, was exhibited at the British Institution. He obtained the Gold 
 Medal of the Royal Academy in 1847. Mr. Fenn’s portrait is the oldest example in the 
 present gallery. 
 
 It was for the first time exhibited by the Fine Art Society in 1881. 
 
 Painted 1848 ; Canvas, n| X 9| inches. 
 
 130. The Conjuror. 
 
 Painted 1864; Canvas, 13 X 17^ inches. 
 
 Lent by Major- General Bythesea . 
 
 131. Red Riding Hood. 
 
 Lent by Rt. Hon . G. Cubitt, M.P. 
 
 A half-length figure of a little girl in a red cloak, with a hood of the same colour. 
 Exhibited at the French Gallery in 1865, with “Attention Diverted.” 
 
 Painted 1864; Canvas, 13^ X 10 inches. 
 
FIFTH ROOM. 
 
 132. The Jacobite Cockade. 
 
 Lent by the Fine Art Society . 
 
 See “The White Cockade,” No. 10. 
 
 Water Colour Drawing. 
 
 133. Illustration to “ Barry Lyndon ” : By W. M. Thackeray. 
 
 Lent by Sir John F. Millais, Bart ., R.A. 
 
 1879. Pen an d Ink Drawing. 
 
 134. McLeod of Dare. 
 
 Drawing in sepia and black. 
 
 Lent by T. O. Barlow, Esq., R.A. 
 
 135. Illustration intended for the Fifth Number of “ The 
 Germ.” 
 
 Lent by F. G. Stephens, Esq. 
 
 “ The Germ,” the so-called organ of the P-R.B., was a monthly magazine containing poems, 
 essays, tales, and criticisms by the brethren and their friends, and written in accordauce with the 
 views of the society. The price of each number was one shilling, and it consisted of forty-eight 
 
Fifth Room. 
 
 83 
 
 pages, octavo, with an etching illustrating one of the tales or poems of the text. The editor was 
 Mr. William M. Rossetti, younger brother of the artist and poet, and Secretary of the P-R.B., 
 who sat for “ Lorenzo ” in Millais’s “ Isabella.” 
 
 The first number of “The Germ” was published in January, 1850, with an etching by 
 Mr. W. Holman Hunt, illustrating “ My Beautiful Lady,” a tale in verse by Mr. Thomas 
 Woolner, now R.A., which he has since revised, enlarged, and re-published. In the same 
 number were “Hand and Soul,” a prose tale by D. G. Rossetti (since re-published more than 
 once), and verses by Miss Christina Rossetti, and Messrs. Coventiy Patmore, D. G. Rossetti, 
 W. M. Rossetti, John L. Tupper, and F. Madox Brown. The second number comprised 
 an etching by James Collinson, illustrating his own poem, entitled “The Child Jesus.” With 
 these were contributions from Miss C. Rossetti, and Messrs. W. B. Scott, Calder Campbell, 
 
 C. Patmore, F. M. Brown, T. Woolner, W. H. Deverell, F. G. Stephens, and W. M. and 
 
 D. G. Rossetti. To the third number of “The Germ” anew title, “Art and Poetry,” was 
 given, and its contents were an etching by Mr. F. M. Brown, and papers by some of 
 the above, as well as Mr. John Orchard. To the fourth number W. H. Deverell contributed 
 an etching, and several of the above writers sent essays and poems. Commercially speaking, 
 nothing could have been more disastrous than the career of “The Germ.” Out of the immediate 
 circle of the P-R.B. nobody could be induced to buy the magazine, cheap as it was. Its 
 collapse was complete with the fourth number. The etching before us was prepared for the 
 fifth, or May number of the magazine. It is probably unique. The four numbers of “The 
 Germ ” are now exceedingly scarce. A copy sold lately for sixteen guineas, and probably much 
 higher prices have been given for exceptional examples. 
 
 This etching was designed to illustrate a story to be written by D. G. Rossetti, containing 
 an incident of a painter inducing a woman he was in love with to sit to him for her portrait, or for 
 a figure in a picture, and the woman dying while thus engaged. Rossetti began an etching 
 of this subject, and Millais succeeded him in the task. The subject is essentially the same as 
 that Rossetti illustrated by means of his water-colour drawing of “ Bonifazio’s Mistress.” 
 
 The fifth number of “ The Germ,” was never published. 
 
 Etching, 1850. 
 
 136. Romeo and Julie i. 
 
 1849. Pen and Ink Drawing. 
 
8 4 
 
 Fifth Room. 
 
 137. The Evil One Sowing Tares. 
 
 Lent by W. Quitter, Esq . 
 
 Drawn in Water Colour, 1864. See No. 3. 
 
 138. The Vale of Rest. 
 
 Lent by H. Virtue Tebbs , Esq. 
 
 This drawing represents one of the most important and energetically discussed works 
 of Sir John Millais. Exhibited in 1859 with “Spring Flowers,” otherwise called “Apple 
 Blossoms,” the picture evoked many questions anent its sentiment, design, and execution. From 
 the “Author of ‘ Modem Painters,’” in “Notes” on the Academy of the year, to the critics 
 of the hour, the public heard many opinions, few of which were just, and fewer favourable. 
 
 Less recondite in its subject than “Spring Flowers,” “The Vale of Rest” turns on 
 an ancient Scottish superstition, that, when a coffin-shaped cloud is seen in the sky, it is a 
 symbol of approaching death. The scene is the interior of a convent garden, just at sunset. Two 
 women are in the garden, which is illuminated by the light remaining in the western sky, 
 that stood cool and grey in the zenith, while the rigid poplars, each like “ Death’s lifted fore- 
 finger,” made bars against the red, orange, and crimson of the West. The guarding wall 
 of the enclosure is hidden by ashes and other trees filling the intervals of the 
 loftier foliage. The rough sward is broken here and there by low hillocks of graves, and 
 encumbered by the head-stones that stand grim and sad in the waning light. One of the women 
 is a novice, or lay-sister, who, up to her knees in a grave, is busily and vigorously throwing out 
 large spadefuls of earth. Her coif is thrown back from her face, which is dark red with stress 
 of labour. Upon the prostrate headstone, taken from the new-made grave, sits an elder nun 
 holding a rosary, and with the long black of her robes sweeping the dank, coarse grass ; her 
 head is towards us, and by its expression we discover that she has seen the coffin-shaped cloud 
 which hangs over the setting sun, and stretches a long, heavy bar of purple across a large part 
 of the sky behind. 
 
 “ Spring Flowers” or “ Apple Blossoms ” shows a group of eight girls enjoying syllabubs 
 and cream under the flower-laden boughs of an apple orchard. Some recline, some kneel, some 
 stand. The character of their faces and actions are varied in a very remarkable manner. The 
 design was stated to be an allegory, and many read its meaning according to their own fancies. 
 The motto invited various speculations. It was “ Fret not thyself because of evil doers ; neither 
 be thou envious against the workers of iniquity ; for they shall soon be cut down like the grass, 
 and wither as the green herb.” 
 
 Drawn 1858, in Indian Ink. 
 
85 
 
 Fifth Room. 
 
 139. In Memoriam. 
 
 Indian Ink Drawing, 1854. 
 
 Lent by T. 0. Barlow , Esq., R.A. 
 
 140. Spoliation of the Tomb of Queen Matilda. 
 
 Lent by William Brockbank , Esq. 
 
 In 1562, when the Calvinists, under Chastillon, took Caen, a party of spoilers entered the 
 Church of the Holy Trinity and destroyed the church ornaments and monumental sculpture. 
 They opened the tomb of Queen Matilda, wife of William the Conqueror, and one of the party 
 removed a ring set with a fine sapphire from the finger of the corpse and presented it to the 
 abbess . — ( Vide Miss Strickland’s account of the circumstance). 
 
 A large and crowded composition of small figures, and an excellent example of the practice of 
 the P-R.B.s about 1849, that is soon after the formation of the society. Every artistic brother 
 produced works of similar elaboration and aim, and no one did so more frequently than Dante G. 
 Rossetti, as, in 1882, the exhibitions of his works amply testified. The scene of Millais’s design 
 includes the interior of the great Church of the Abbaye aux Dames, at Caen, during the opening 
 of the cist where, during more than five centuries and a half, the bones of Matilda had rested. 
 Alarmed by the influx of the Calvinists, the nuns entered the church during the tumult of 
 destruction, and now, a scared and inquisitive company, they appear kneeling in rows on our 
 left behind their tall, gaunt, and ungainly Superior, who, in the quaintest of headdresses, and 
 with her very soul divided between fear and covetuousness, stands near an opening in the floor. 
 Out of this opening the cist has been lifted, the effigy of the queen lying under the great oblong 
 box which served for the royal coffin. The lid of the latter has been wrenched off, and 
 busy hands plunder the dead, whose rigid fingers stand upright in sight ; a man cuts off part of the 
 cere-cloth. One of the riflers offers the queen’s ring to the abbess, and she is about to 
 accept the relic, notwithstanding the protests and slfeeve-pluckings of her elderly sisters, subor- 
 dinate officers of the convent, whose horrified faces and strange actions are dwelt upon by the 
 artist with humour which has served him here as well as while he was designing the ranks of 
 nuns behind this group, some of whom are stolid, some shocked, some idiotic, while others 
 seem inquisitive to the highest degree ; one has fainted, another, whose bent knees, clenched 
 hands, and rigid neck attest her sufferings, is borne aloft by a group of her sisters, while she 
 screams in hysterical passion. Among the crowd of pillagers of the tomb is a vicious boy, 
 who, while rummaging the coffin, has seized some objects of value ; a soldier has captured 
 the urchin, and by wrenching his hand open, strives to make him deliver up the spoil; the boy 
 struggles desperately with his captor, and fiercely bites the back of the man’s hand. A man-at- 
 arms stoops over the grave to take hold of the hands of his comrade who has descended into the 
 
86 
 
 Fifth Room. 
 
 cavity. The hands appear at the level of the pavement. Here the pillagers tear down 
 the tapestries of the choir ; there an effigy is overthrown ; elsewhere busy axes are at work. To 
 describe the wealth of invention and numerous incidents of this very remarkable design would 
 require many pages. 
 
 This drawing, made with a brush in ink, is signed with the monogram of the P-R.B., and 
 dated 1849. 
 
 1 4 1. 
 
 142. 
 143 - 
 
 Three Illustrations to 
 “ Barry Lyndon.” 
 
 Pen and Ink Drawings, 1879. 
 
 Lent by Sir John E. Millais , 
 Bart ., R. A. 
 
 144. Illustration to Works by A. Trollope. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 1882. 
 
 145. Amine and the Lady. 
 
 Water Colour Drawing. 
 
 Lent by E. Dalziel, Esq. 
 
 146. The Pearl of Great Price. 
 
 Lent by H. Virtue Tebbs, Esq. 
 
 Pen and Ink Drawing. 
 
 147 . ZoBEIDE DISCOVERS THE YOUNG MAN READING THE KORAN. 
 
 Lent by G. Dalziel, Esq . 
 
 Water Colour Drawing, 
 
Fifth Room. 
 
 87 
 
 148. Dora. 
 
 Pencil Drawing. 
 
 Lent by Sir William Bowman , Bart., F.R.S. 
 
 149. Study for “ The Rescue. 7 ’ 
 
 Lent by D. Bates, Esq. 
 
 This cartoon has suffered much by the loss of the charcoal largely employed in its 
 execution. This material served for the shadows, and to express generally the composition of 
 light and shade, as well as a great deal of the modelling of the work. By this loss the drawing 
 has parted with much of its interest and energy. 
 
 The histoiy of this example is to be gathered in the account of the picture of the same 
 subject lent by Mr. Holbrook Gaskell, No. 92. 
 
 Chalk Drawing. Drawn 1854. 
 
 150. Design for a Book Illustration. 
 
 Lent by Sir John Fowler, C.E. 
 
 Finished Drawing in Ink. 
 
 151. “Was it not a Lie?” 
 
 Lent by T. 0. Barlow, Esq., R.A. 
 
 Sepia and Indian Ink Drawing. Drawn 1861. 
 
 152. “T he Path of True Love never did run Smooth.” 
 
 Lent by Francis Austen, Esq. 
 
 An admirable example of Millais’s powers of conception, reading of character, and love for 
 the picturesque. It belongs to the same category as No. 140, and is remarkable for the tender 
 grace of the design. The deftly drawn and tasteful background was carefully studied from 
 nature. 
 
 Pen and Ink Drawing. Drawn 1849, Signed. 
 
88 
 
 Fifth Room. 
 
 153. Study for the Head of '‘Ophelia.” No. 117. 
 
 Lent by Sir William Bowman , Bart. , L.R. S. 
 
 A study of the head of Miss Siddal, afterwards Mrs. Dante G. Rossetti. 
 
 Pencil Drawing. Drawn 1851. 
 
 154. St. Agnes. 
 
 Lent by Sir John E . Millais , Bart ., R.A. 
 
 A picture in monochrome, most elaborately and beautifully worked out from nature. 
 Vigorous and masterly as the effect of this work is, nothing could be more firmly or delicately 
 drawn. The verses illustrated are : — 
 
 Deep on the convent-roof the snows 
 Are sparkling to the moon : 
 
 My breath to heaven like vapour goes ; 
 
 May my soul follow soon ! 
 
 The shadows of the convent-towers 
 Slant down the snowy sward, 
 
 Still creeping with the creeping hours 
 That lead me to my Lord ! 
 
 Make Thou my spirit pure and clear 
 As are the frosty skies, 
 
 Or this first snowdrop of the year 
 That in my bosom lies.” 
 
 “ St. Agnes ’ Evef 1 by Lord Tennyson. 
 Drawn 1854 in Pen and Ink, touched with Colour. 
 
 155. Ophelia. 
 
 Water Colour Drawing. 
 
 Lent by W. Quitter , Esq, 
 
Fifth Room. 
 
 89 
 
 156. T he Unmerciful Servant. x 
 
 157. The Importunate Friend j Lent by Messrs. Dalziel , Brothers. 
 
 158. The Good Shepherd. 
 
 Drawn for a series of illustrations of “The Parables.” 
 
 These drawings in pencil, heightened with white, were made on wood-blocks and intended to 
 be cut away by the engraver. The introduction of photography to such service permitted these 
 examples to be preserved after others of the same series were destroyed. See No. 3. 
 
 159. Lady Millais, born Euphemia Chalmers Gray. 
 
 Lent by Sir J. E. Millais , Bart ., R.A. 
 
 1853- 
 
 160. \ 
 
 Two Pen and Ink Drawings. 
 
 161. ) 
 
 Lent by T. Woolner , Esq. , R.A. 
 
 102. A Bronze Bust of Sir J. E. Millais : by J. E. Boehm, 
 Esq., R.A. 
 
 Lent by Sir J. E. Millais , Bart ,, R.A. 
 
CHRONOLOGICAL LIST OF THE WORKS EXHIBITED 
 IN THE GROSVENOR GALLERY, 1886. 
 
 •o<>o« 
 
 ^ 1848. 
 
 1849. 
 
 
 1850. 
 
 185I. 
 
 ^ 1852. 
 
 1853 . 
 
 U 1854. 
 
 William Hugh Fenn, Esq. 129. 
 
 Grandfather and Child (Mr. James Wyatt, of Oxford, and his 
 Grandchild). 2. 
 
 Isabella; or, Lorenzo and Isabella. 120. 
 
 Spoliation of the Tomb of Queen Matilda. 140. 
 
 Romeo and Juliet. 136. 
 
 The Path of True Love never did run smooth. 152. 
 
 Ferdinand Lured by Ariel. 78. 
 
 Christ in the House of His Parents ; or, The Carpenter’s Shop. 4. 
 Thomas Combe, Esq. (The Late). 77. 
 
 Illustration to “The Germ.” 135. 
 
 Portrait of a Lady. 7 8a. 
 
 Mariana of the Moated Grange. 79. 
 
 Return of the Dove to the Ark. 88. 
 
 The Woodman’s Daughter. 115. 
 
 Study for the Head of “Ophelia.” 153. 
 
 A Huguenot. 6. 
 
 Ophelia, j 1 7 . 
 
 The Proscribed Royalist. 125. 
 
 Lady Millais, born Euphemia Chalmers Gray. 159. 
 
 John Ruskin, Esq., M.A., LL.D., &c., Portrait of. 12. 
 
 St. Agnes. 154. 
 
 In Memoriam. 139. 
 
Chronological List of Pictures Exhibited. 
 
 9i 
 
 1854. 
 
 ' 1855- 
 
 1856. 
 
 1857- 
 
 1858. 
 
 ~ i860. 
 
 1861. 
 
 1862. 
 
 1863. 
 
 ' 1864. 
 
 1865. 
 
 1866. 
 
 1867. 
 
 Study for “The Rescue.” 149. 
 
 A Study. 1 12. 
 
 The Rescue. 92. 
 
 The Random Shot, or l’Enfant du Regiment. 65. 
 
 Pot-Pourri. 80. 
 
 Autumn Leaves. 12 i. 
 
 Portrait of a Gentleman. 76. 
 
 Sir Isumrras at the Ford; or Knight Crossing a Ford. 124. 
 
 The Vale of Rest. 138. 
 
 The Black Brunswicker. 123. 
 
 “Was it Not a Lie?” 15 i. 
 
 The White Cockade. 10. 
 
 The Ransom. 116. 
 
 St. Agnes’ Eve. 29. 
 
 My First Sermon. 113. 
 
 Henry Manners. 128. 
 
 The Conjuror. 130. 
 
 Leisure Hours (Daughters of John Pender, Esq.) 8. 
 
 “Swallow! Swallow!” 122. 
 
 “Charlie is my Darling.” 126. 
 
 My Second Sermon. 127. 
 
 Master Wycliffe Taylor, Portrait of, son of the late Tom 
 Taylor, Esq. hi. 
 
 Red Riding Hood. 13 i. 
 
 Evil One Sowing Tares. 137. 
 
 The Parable of the Tares, or the Enemy Sowing Tares. 3. 
 
 Joan of Arc. j i. 
 
 Esther. 118. 
 
 Waking, i 14. 
 
 The Minuet. 119. 
 
 Je PHTH ah. 86. 
 
 Sleeping. 87. 
 
 Stella. 16. 
 
 The Sisters. 71. 
 
 1868, 
 
92 
 
 Chronological List of Pictures Exhibited. 
 
 ^ 1868. 
 
 S' 
 
 Vanessa. 24. 
 
 Rosalind and Celia, ioo. 
 
 s 1869. 
 
 Sir John Fowler, C.E. 22. 
 The Gambler’s Wife. 68. 
 
 S 
 
 Miss Nina Lehmann (Lady Campbell). 95. 
 
 
 A Flood. 14. 
 
 ^ 1870. 
 
 The Widow’s Mite. 5. 
 The Knight Errant. 41. 
 
 \S 
 
 The Boyhood of Raleigh. 96. 
 
 S 
 
 Chill October. 21. 
 
 u- 1871. 
 
 George Grote Esq., D.C.L., F.R.S., &c. (The Late). 18. 
 Flowing to the Sea. 94. 
 
 “Victory, 0 Lord!” 98. 
 
 ^ 1872. 
 
 LX 
 
 “Hearts are Trumps.” 83. 
 
 Sir James Paget, Bart., F.R.S., D.C.L. 103. 
 
 ^ 1873. 
 
 Sir William Sterndale Bennett, Mus. Doc., Camb. (The Late).. 19 
 New Laid Eggs. 81. 
 
 \S 
 
 Mrs. Bischoffsheim. 95. 
 
 IS 
 
 Scotch Firs. 109. 
 Winter Fuel. 110. 
 
 1874. 
 
 Still for a Moment. 27. 
 
 \S 
 
 The Picture of Health. 35. 
 
 
 The North-West Passage. 60. 
 
 \S 
 
 Miss Eveleen Tennant (Mrs. F. W. H. Myers). 28 
 
 >" 1875. 
 
 Forbidden Fruit. 31. 
 “ Yes or No ?” 43. 
 
 S 
 
 “No!” 39. 
 
 The Deserted Garden. 107. 
 
 l /' 
 
 The Fringe of the Moor. 108. 
 
 S 
 
 Over the Hills and Far Away. 17. 
 
 1876. 
 
 Getting Better ; or, The Sick Child. 26. 
 “ Stitch ! Stitch ! Stitch ! ” 38. 
 
 <r 
 
 The Misses Hoare, Portraits of; or, “Twins.” 48. 
 Mrs. Sebastian Schlesinger. 32. 
 
Chronological List of Pictures Exhibited. 
 
 93 
 
 1876. “The Sound of Many Waters.” 102. 
 
 A Yeoman of the Guard. 36. 
 
 1877. Thomas Carlyle (The Late). 15. 
 
 A Good Resolve. 47. 
 
 Bright Eyes. 50. 
 
 * Effie Deans. 53. 
 
 ^ The (Late) Earl of Shaftesbury, K.G. 72. 
 
 1878. A Jersey Lily (Mrs. Langtry). 23. 
 
 Mrs. Stibbard. 55. 
 
 The Princes in the Tower. 63. 
 
 1879. “ That Tower of Strength which stood Four-square to all the 
 
 Winds that blew.” 42. 
 
 ^ Miss Hermione Schenley. 57. 
 
 ^ Rt. Honble. W. E. Gladstone, M.P. 97. 
 
 Illustrations to “Barry Lyndon.” 133, 141, 142, 143. 
 
 ^ Beatrice Caird. 9. 
 
 ^ The Princess Elizabeth. 58. 
 
 1880 Miss Evelyn Otway, Portrait of. 13. 
 
 Mrs. Louise Jopling. 30. 
 
 “Cuckoo!” 33. 
 
 ^ The Rt. Hon. John Bright, M.P. 99. 
 
 Major James. 34. 
 
 s Luther Holden, Esq., President of the Royal College of 
 
 Surgeons, &c. 54. 
 
 Sir Gilbert Greenall, Bart. 59. 
 
 Miss C. M. Cowell Stepney (Portrait of a Child), ioi. 
 
 1881. The Children of Moulton Barrett, Esq., Portraits of. y . 
 
 Sir Henry Thompson. 106. 
 
 ^ Lord Tennyson, Poet Laureate. 40. 
 
 “Caller Herrin!” 52. 
 l "" Sir John Dugdale Astley, Bart. 61. 
 
 “Sweetest Eyes were Ever Seen”; or, A Girl with Violets. 66. 
 Earl of Beaconsfield, K.G. (The Late), and Viscount Hughenden, 
 D.C.L., LL.D., &c. 84. 
 
94 
 
 Chronological List of Pictures Exhibited. 
 
 1881. The Rev. John Caird, D.D., Principal and Vice-Chancellor of the 
 
 University of Glasgow. 105. 
 
 1882. James Clarke Hook, Esq., R.A. 44. 
 
 *■" Mrs. James Stern. 90. 
 
 Pomona. 45. 
 
 ✓ Olivia. 5 1 . 
 
 Dorothy Thorpe. 50. 
 
 A Portrait. 64. 
 
 ^ The Duchess of Westminster. 74. 
 
 ^ For the Squire. 75. 
 
 Illustrations to Works by A. Trollope. 144. 
 
 1883. Miss Margaret Millais. 67. 
 
 The Grey Lady. 69. 
 
 \s The Marquis of Salisbury, K.G. 82. 
 
 Dropped from the Nest. 104. 
 
 1884. Henry Irving, Esq. 7. 
 
 ^ Idyll of 1745. 20. 
 
 Fleetwood Wilson, Esq. 25. 
 
 Lady Greenall. 62. 
 
 Lady Campbell, born Lehmann. 85. 
 
 Little Miss Muffett. 89. 
 
 1885. Rt. Hon. W. E. Gladstone, M.P. 46. 
 
 Orphans. 49. 
 
 „ The Ruling Passion; or, The Ornithologist. 91. 
 
LIST OF CONTRIBUTORS. 
 
 >od< 
 
 Acland, Sir Henry W. Dyke, K.C.B., F.R.S. 12. 
 
 Agnew, Messrs. Thomas, & Sons. 5, 69. 
 
 Agnew, William, Esq., M.P. 99. 
 
 Allen, A. C., Esq. 78. 
 
 Armstrong, Sir William, C.B. 21, 8 b. 
 
 Astley, Sir John D., Bart. 61. 
 
 Austen, Francis, Esq. 152. 
 
 Barlow, T. O. Esq., R.A. 134, 139, 151. 
 
 Barrett, Mrs. Moulton. 37. 
 
 Bates, David, Esq. 112, 149. 
 
 Beer, F. A., Esq. 4. 
 
 Bischoffsheim, H. L., Esq. 95. 
 
 Bolckow, C. F. H., Esq. 60. 
 
 Bowman, Sir William, Bart., F.R.S. 148, 153. 
 
 Brassey, H. A. Esq., M.P. 39. 
 
 British and Foreign Bible Society. 72. 
 
 Brocklebank, William, Esq. 140. 
 
 Budgett, R. S., Esq. 64. 
 
 Bythesea, .Major-General. 130. 
 
 Case, Thomas, Esq. 19. 
 
96 
 
 List of Contributors. 
 
 Cholmondeley, Reginald, Esq. 15. 
 
 Christ Church, Oxford. 46. 
 
 Clayton, John R. Esq. 136. 
 
 Combe, Mrs. 77, 88. 
 
 Corporation of Liverpool. 120. 
 
 Cubitt, Right Hon. G., M.P. 13 i. 
 
 Dalziel Brothers, Messrs. 156, 157, 158. 
 Dalziel, E.. Esq. 145. 
 
 Dalziel, G., Esq. 147. 
 
 Dunlop, Walter, Esq. 52. 
 
 Fenn, W. W., Esq. 129. 
 
 Fine Art Society. 132. 
 
 Forbes, J. S., Esq. 49. 
 
 Fowler, Sir John, C.E. 150. 
 Fuller-Maitland, Mrs. 1 1 7 - 
 Gassiot, Charles, Esq. 113, 127. 
 
 Gaskell, Holbrook, Esq. 92, 114. 
 
 Garrick Club. 7. 
 
 Governors of St. Bartholomew’s Hospital. 
 Graham, John, Esq. 124. 
 
 Gray, Everett, Esq. 66. 
 
 Gray, Mrs. 9. 
 
 Greenall, SirJGilbert. 59, 62. 
 
 Harter, J. C., Esq. 87. 
 
 Hoare, Thomas Rolls, Esq. 48. 
 Hodgkinson, Mrs. 36, 1 1 5 . 
 
 Holloway, E. Martin, Esq. 58, 63. 
 
 Holt, George, Esq. 24. 
 
 Hook, James C., Esq., R.A. 44. 
 
 Institute of Civil Engineers. 22. 
 
 Ismay, T. H., Esq. 108. 
 
 James, Major. 34. 
 
 Jopling, Mrs. Louise. 30. 
 
 Keiller, John M., Esq. 89. 
 
 54, 103. 
 
List of Contributors. 
 
 97 
 
 Kelk, Sir John, Bart. 119, 122. 
 
 Kennard, H. Martin, Esq. 23. 
 
 Knowles, James, Esq. 40. 
 
 Knowles, Kay, Esq. 17. 
 
 Kurtz, A. W., Esq. 94, 100. 
 
 Leathart, James, Esq. 12 i. 
 
 Lehmann, F., Esq. 85, 93. 
 
 Leyland, F., Esq. 29. 
 
 Loder, Robert, Esq., M.P. 53. 
 
 Macdonald, Mrs. 50. 
 
 Makins, H. F., Esq. 75, 79. 
 
 Marlay, C. Brinsley, Esq. 128. 
 
 Mason, James, Esq. 109. 
 
 Matthews, C. P., Esq. 14, 71, 116. 
 
 Millais, Sir J. E., Bart., R.A. i, 31, 70, 73, 91, 133, 141 , 142, 143, 
 J 54> r 59) 160. 
 
 Millais, W. H., Esq. 67. 
 
 Miller, Mrs., of Preston. 6, 65. 
 
 Moir, Mrs. 43. 
 
 Moore, Mrs. Bloomfield. 33. 
 
 Morgan, J. S., Esq. 27. 
 
 Nathan, Joseph, Esq. ho* 
 
 Neck, Charles, Esq. 45. 
 
 Otway, Sir Arthur, Bart. 13. 
 
 Patmore, Coventry, Esq. 78 a. 
 
 Pender, J., Esq. 3, 8, 125. 
 
 Perrins, J. Dyson, Esq. 56. 
 
 Philipson, Hilton, Esq. 35. 
 
 Poole, E. J., Esq. 51. 
 
 Price, David, Esq. 102. 
 
 Price, James, Esq. 123. 
 
 Pritchard, John, Esq. 80. 
 
 Quilter, W., Esq. 137, 155. 
 
 Quilter, W. C., Esq., M.P. 11, 104. 
 
 H 4 , 1 5 °> 
 
 E 
 
98 
 
 List of Contributors. 
 
 Reid, Peter, Esq. 81. 
 
 Reiss, James, Esq. 96, 126. 
 
 Reiss, Julius, Esq. 47. 
 
 Reiss, Mrs. Leopold. 98. 
 
 Renton, J. H., Esq. 42. 
 
 Roberts, Humphrey, Esq. 16, 26, 68. 
 Schenley, Mrs. 57. 
 
 Secker, J. H., Esq. 83. 
 
 SCHLESINGER, HENRY, ESQ. 32. 
 
 Smith, The Right Hon. W. H., M.P. 82, 84. 
 Smith, Eustace, Esq. 118. 
 
 Stapylton, H. E. Chetwynd, Esq. 76. 
 Stephens, F. G., Esq. 135. 
 
 Stepney, The Hon. Lady Cowell, ioi. 
 Stern, James, Esq. 90. 
 
 Stibbard, G., Esq. 55. 
 
 Taylor, Mrs. hi. 
 
 Tebbs, H. Virtue, Esq. 138, 146. 
 
 Tennant, Mrs. 28. 
 
 Thompson, Sir Henry. 106. 
 
 Thwaites, D., Esq. 107. 
 
 University of Glasgow. 105. 
 
 University of London. 18. 
 
 Watts, G. F. Esq., R.A. 38. 
 
 Webster, W., Esq. 10. 
 
 Westminster, Duke of, K.G. 74, 97. 
 
 Wigan, Fredk., Esq. 20. 
 
 Wilson, Charles H., Esq., M.P. 41. 
 
 Wilson, Fleetwood, Esq. 25. 
 
 Worthington, Mrs. iio. 
 
 Wyatt, Mrs. 2. 
 
ALPHABETICAL LIST OF PAINTINGS, 
 DRAWINGS, ETC. 
 
 
 
 PAINTINGS. 
 
 Astley, Sir John Dugdale, Bart. 6i. 
 
 Lent by Sir John D. Astley , Bart. 
 
 Autumn Leaves. 12 i. 
 
 Lent by James Leathart , Esq. 
 
 Beaconsfield, The late Earl of, K.G., and Viscount Hughenden, D.C.L., 
 L.L.D., etc. 84. 
 
 Lent by the Right Hon. W. LI. Smith , M.P. 
 
 Beatrice Caird. 9. 
 
 Lent by Mrs. Gray. 
 
 Bennett, The late Sir William Sterndale, Mus. Doc., Cams. 19. 
 
 Lent by Thomas Case , Esq 
 
 Bischoffsheim, Mrs. 95. 
 
 Lent by H. L. Bischoffsheim , Esq. 
 
IOO 
 
 A Iphabetical List of Paintings. 
 
 Black Bruns wicker, The. 123. 
 
 Lent by James Price , Esq. 
 
 Boyhood of Raleigh. 96. 
 
 Lent by James Reiss , Esq. 
 
 Bright Eyes. 50. 
 
 Lent by Mrs. Macdonald. 
 
 Bright, The Right Hon. John, M.P. 99. 
 
 Lent by William Agnew, Esq., M.P. 
 
 Caird, The Rev. John, D.D., Principal 
 University of Glasgow. 105. 
 
 and Vice-Chancellor of the 
 
 
 Lent by the University oj Glasgow. 
 
 “ Calder Herrin!” 52. 
 
 Lent by Walter Dunlop , Esq. 
 
 Campbell, Lady, born Lehmann. 85. 
 
 Lent by F. Lehmann, Esq. 
 
 Carlyle, The late Thomas. 15. 
 
 Lent by Reginald Cholmondeley , Esq. 
 
 Charlie is my Darling. 126. 
 
 Lent by James Reiss, Esq. 
 
 Children of Moulton Barrett, Esq., Portraits of The. 37. 
 
 
 Lent by Mrs. Moulton Barrett. 
 
 Chill October. 21. 
 
 
 Lent by Sir William Armstrong , C.B. 
 
 Christ in the House of His Parents ; or, the Carpenter’s Shop. 4. 
 
 Lent by F. A. Beer , Esq* 
 
Alphabetical List of Paintings. ioi 
 
 Combe, The late Thomas, Esq. 77. 
 
 Lent by Mrs. Combe. 
 
 Conjuror, The. 130. 
 
 Lent by Major-General Bythesea. 
 
 “Cuckoo!” 33. 
 
 Lent by Mrs. Bloomfield Moore. 
 
 Deserted Garden, The. 107. 
 
 Lent by D. Thwaites , Esq. 
 
 Dorothy Thorpe. 50. 
 
 Letit by J. Dyson Perrins , Esq. 
 
 Dropped from the Nest. 104. 
 
 Lent by XV. C. Quitter , Esq., M.P. 
 
 Effie Deans. 53. 
 
 Lent by Robei't Loder , Esq,, M.P. 
 
 Flood, A. 14. 
 
 Lent by C. P. Matthews, Esq. 
 
 Esther. 118. 
 
 Lent by Eustace Smith , Esq. 
 
 Fenn, William Hugh, Esq. 129. 
 
 Lent by XV. XV. Fenn , Esq . 
 
 Ferdinand lured by Ariel. 78. 
 
 Lent by A. C. Allen, Esq. 
 
 Flowing to the Sea. 94. 
 
 Lent by A. XV. Kurtz , Esq. 
 
 For the Squire. 75. 
 
 Lent by H. F. Makins , Esq. 
 
102 
 
 A Iphahetical List of Paintings. 
 
 Forbidden Fruit. 31. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 Found.” The joint work of Sir Edwin Landseer, R.A. and Sir John E. Millais, 
 Bart., R.A. no*\ 
 
 
 Lent by Joseph Nathan , Esq. 
 
 Fowler, Sir John, C.E. 22. 
 
 Lent by the Lnstitute of Civil Engineers. 
 
 Fringe of the Moor, The. 108. 
 
 Lent by T. H. Lsmay , Esq. 
 
 Gambler’s Wife, The. 68. 
 
 Lent by Humphrey Roberts , Esq. 
 
 Getting Better ; or the Sick Child. 
 
 26. 
 
 Lent by Humphrey Roberts , Esq. 
 
 Gladstone, The Right Hon. W. E., M.P. 46. 
 
 Lent by Christ Church , Oxford. 
 
 Gladstone, The Right Hon. W. E., M.P. 97. 
 
 
 Lent by the Duke of Westminster , K. G. 
 
 Good Resolve, A. 47. 
 
 Lent by Julius Reiss, Esq. 
 
 Grandfather and Child (Mr. James Wyatt, of Oxford, and his Grand- 
 child). 2. 
 
 Lent by Mrs. Wyatt. 
 
 Greenall, Sir Gilbert, Bart. 59. 
 
 Lent by Sir Gilbert Greenall , Bart. 
 
 Green all, Lady. 62. 
 
 Lent by Sir Gilbert Greenall, Bart. 
 
Alphabetical List of Paintings. 103 
 
 Grey Lady, The. 69. 
 
 Lent by Messrs. Thomas Agnew & Sons. 
 
 Grote, The Late G., Esq., D.C.L., and F.R.S., Vice-Chancellor of the 
 University of London. 18. 
 
 Lent by the University of London. 
 
 Hearts are Trumps. 8 j. 
 
 Lent by J. H. Seeker , Esq. 
 
 Henry Manners. 128. 
 
 Lent by C. Brinsley Marlay, Esq. 
 
 Hoare, Portraits of the Misses, or “ Twins.” 48. 
 
 Lent by Thomas Rolls Hoare , Esq. 
 
 Holden, Luther, Esq., President of the Royal College of Surgeons. 
 Senior Surgeon to St. Bartholomew’s Hospital. 54. 
 
 Lent by the Governors of St. Bartholomew' s Hospital. 
 
 Hook, James Clarke, Esq., R.A. 44. 
 
 Lent by fames C. Hook , Esq., R.A. 
 
 Huguenot, A, on St. Bartholomew’s Day Refusing to shield himself 
 from Danger by Wearing the Roman Catholic Badge. 6. 
 
 Lent by Mrs. Miller, of Preston. 
 
 Idyll of 1745, An. 20. 
 
 Lent by Frederick Wigan , Esq. 
 
 Irving, Henry, Esq. 7. 
 
 Lent by the Garrick Club. 
 
 Isabella, or Lorenzo and Isabella. 120. 
 
 Lent by the Corporation of Liverpool. 
 
io4 
 
 A Iphabetical List of Paintings. 
 
 James, Major. 34. 
 
 Lent by Major James, 
 
 James, Mrs. 73. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 Jephthah. 86 
 
 Lent by Sir William Armstrong , C.B. 
 
 Jersey Lily, A. (Mrs. Langtry). 23. 
 
 Lent by H. Marty n Kennard, Esq . 
 
 Joan of Arc. ii. 
 
 Lent by W. C. Quilter , Esq., M.P. 
 
 Jopling, Mrs. Louise. 30. 
 
 Lent by Airs. Louise Jopling. 
 
 Knight Errant, The. 41. 
 
 Lent by Charles H. Wilson, Esq., M.P. 
 
 Lehmann, Miss Nina (Lady Campbell). 
 
 93 - 
 
 I^ent by F. I.ehmann, Esq. 
 
 Leisure Hours — The Daughters of J. Pender, Esq., M.P. 8 
 
 
 Lent by J. Pender, Esq., M.P. 
 
 Little Miss Muffett. 89 
 
 Lent by John M. Keiller, Esq. 
 
 Mariana of the Moated Grange. 79. 
 
 Lent by H. F. Alakins, Esq. 
 
 Millais, Sir John Everett, Bart., R.A., D.C.L., Member of the Institute 
 of France, Officer of the Legion of Honour, &c. i. 
 
 Lent by Sir John E. Millais, Bart., R.A . 
 
Alphabetical List of Paintings. 
 
 105 
 
 Millais, Miss Alice Caroline. 70. 
 
 Lent by Sir John E. Millais, Bart., R.A. 
 
 Millais, Miss Margaret. 67. 
 
 Lent by W. H. Millais, Esq. 
 
 Minuet, The. 119. 
 
 Lent by Sir John Kelk, Bart. 
 
 My First Sermon. 113. 
 
 Lent by Charles Gassiot, Esq. 
 
 My Second Sermon. 127. 
 
 Lent by Charles Gassiot, Esq. 
 
 New Laid Eggs. 81. 
 
 Lent by Peter Reid, Esq. 
 
 “No!” 39. 
 
 Lent by H. A. Brassey , Esq., M.P. 
 
 North West Passage, The. 60. 
 
 Lent by C. F. H. Bolckow, Esq. 
 
 Olivia. 51. 
 
 Lent by E. J. Poole , Esq. 
 
 Ophelia. 117. 
 
 Lent by Mrs. Fuller Maitland. 
 
 Orphans. 49. 
 
 Lent by J. S. Forbes, Esq. 
 
 Otway, Miss Evelyn, Portrait of. 13. 
 
 Lent by Sir Arthur Otway, Bart. 
 
 “Over the Hills and Far Away.” 17. 
 
 Lent by Kay Knowles , Esq. 
 
io6 Alphabetical List of Paintings. 
 
 Paget, Sir James, Bart., F.R.S., D.C.L. 103. 
 
 Lent by the Governors of St. Bartholomew’ s Hospital. 
 
 Parable of the Tares, The, or the Enemy Sowing Tares. 3. 
 
 
 L.ent by J. Pender , Esq., M.P. 
 
 Picture of Health, The. 35. 
 
 Lent by Hilton Philipson, Esq. 
 
 Pomona. 45. 
 
 Lent by Charles Neck, Esq. 
 
 Portrait, A. 04. 
 
 LAnt by R. S. Budgett , Esq. 
 
 Portrait of a Lady. 7 8a. 
 
 Lent by Coventry Patmore , Esq. 
 
 Portrait of a Gentleman. 76. 
 
 Lent by H. E. Chetwynd-Stapylton, Esq. 
 
 Portrait of a Child; Miss Catharine Muriel Cowell Stepney, ioi. 
 
 
 Lent by the Hon. Lady Cowell Stepney. 
 
 Pot-Pourri. 80. 
 
 Lent by John Pritchard, Esq. 
 
 Princess Elizabeth, The. 58. 
 
 Lent by E. Martin Holloway, Esq. 
 
 Princes in the Tower, The. 63. 
 
 Lent by E. Martin Holloway, Esq. 
 
 Proscribed Royalist, The. 125. 
 
 Lent by John Pender , Esq., M. P 
 
Alphabetical List oj Paintings. 107 
 
 Random Shot, The, formerly L’Enfant du Regiment. 65. 
 
 
 Lent by Mrs. Miller , of Preston. 
 
 Ransom, The. 116. 
 
 Lent by C. P. Matthews , Esq. 
 
 Red Riding Hood. 131. 
 
 Lent by the Right Hon. G. Cubitt , M.P. 
 
 Rescue, The. 92. 
 
 Lent by Holbrook Gaskell , Esq. 
 
 Return of the Dove to the Ark. 88. 
 
 Lent by Mrs. Combe. 
 
 Rosalind and Celia, ioo. 
 
 Lent by A. W. Kurtz , Esq. 
 
 Ruling Passion, The, or The Ornithologist. 91. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 Ruskin, John, Esq., M.A., LL.D., Cambridge ; late Slade Professor of the 
 Fine Arts, Oxford, Portrait of. 12. 
 
 Lent by Sir Henry W. Dyke Ac land, K.C.B . , F.R.S. 
 
 St. Agnes’ Eve. 29. 
 
 Lent by F. Leyland , Esq 
 
 Salisbury, The Marquis of, K.G. 82. 
 
 Lent by the Right Hon. W. H. Smith , M.P 
 
 Schenley, Miss Hermione. 57. 
 
 Lent by Mrs. Schenley. 
 
 SCHLESINGER, MRS. SEBASTIAN. 32. 
 
 Lent by Henry Schlesinger , Esq. 
 
io8 
 
 A Iphabetical List of Paintings. 
 
 Scotch Firs. 109. 
 
 Lent by James Mason , Esq . 
 
 Shaftesbury, The late Earl of, K.G. 72. 
 
 
 Lent by the British & Foreign Bible Society. 
 
 Sisters, The. 71. 
 
 Lent by C. P. Matthews , Esq. 
 
 Sleeping. 87. 
 
 Lent by J. C. Harter , Esq. 
 
 Stella. 16. 
 
 Lent by Humphrey Roberts , Esq. 
 
 Stern, Mrs. James. 90. 
 
 Lent by James Stern , Esq. 
 
 Sti beard, Mrs. 55. 
 
 Lent by G. Stibbard , Esq. 
 
 Still for a Moment. 27. 
 
 Lent by J. S. Morgan, Esq. 
 
 “Stitch! Stitch! Stitch!” 38. 
 
 Lent by G. F. Watts , Esq., R.A. 
 
 Sir Isumbras at the Ford; or, Knight Crossing a Ford. 124. 
 
 Study, A. 112. 
 
 Lent by John Graham, Esq. 
 Lent by David Bates, Esq. 
 
 “ Sweetest Eyes were ever seen,” or A Girl with Violets. 66 . 
 
 Lent by Everett Gray , Esq. 
 
Alphabetical List of Paintings. 109 
 
 Swallow! Swallow!” 122. 
 
 Lent by Sir John Kelk , Bart. 
 
 Taylor, Portrait of Master Wycliffe, Son of the late Tom Taylor, 
 
 Esq. hi. 
 
 Lent by Mrs. Taylor. 
 
 Tennant, Miss Eveleen (Mrs. F. W. H. Myers). 28. 
 
 Lent by Mrs. Tennant. 
 
 Tennyson, Lord, Poet Laureate. 40. 
 
 Lent by James Knowles , Esq. 
 
 “ That Tower of Strength which Stood Four-Square to all the Winds 
 
 that Blew.” 42. 
 
 Lent by J. H. Renton , Esq. 
 
 “The Sound of many Waters.” 102. 
 
 Lent by David Price , Esq. 
 
 Thompson, Sir Henry. 106. 
 
 Lent by Sir Henry Thompson. 
 
 Vanessa. 24. 
 
 Lent by George Holt , Esq. 
 
 “Victory, 0 Lord.” 98. 
 
 Lent by 3Lrs. Leopold Reiss. 
 
 Waking. 114. 
 
 Lent by Holbrook G a shell, Esq. 
 
 Westminster, The Duchess of. 74. 
 
 Lent by the Duke oj Westminster , K. G. 
 
 White Cockade, The. 10. 
 
 Lent by W. Webster , Esq. 
 
I IO 
 
 Alphabetical List of Paintings. 
 
 Widow’s Mite, The. 5. 
 
 Lent by Messrs. Thomas Agnew & Sons. 
 
 Wilson, Fleetwood, Esq. 25. 
 
 Lent by Fleetwood Wilson , Esq. 
 
 Winter Fuel. ho. 
 
 Lent by G. B. Worthington , Esq. 
 
 Woodman’s Daughter, The. 115. 
 
 Lent by Mrs. Hodgkinson. 
 
 Yeoman of the Guard. 36. 
 
 Lent by Mrs. Hodgkinson. 
 
 “Yes ? or No ? ” 43. 
 
 Lent by Mrs. Moir. 
 
 DRAWINGS. 
 
 Amine and the Lady. 145. 
 
 Lent by E. Dalziel , Esq. 
 
 Design for Book Illustration. 
 
 150. 
 
 Lent by Sir John Fowler , C.E. 
 
 Dora. *48. 
 
 Lent by Sir William Bowman , Bart., F.R.S. 
 
 Evil One Sowing Tares, The. 137. 
 
 Lent by W. Quitter , Esq. 
 
 Good Shepherd, The. 158. 
 
 Lent by Messrs. Dalziel Bros. 
 
 H4- 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 Illustration to Works by A. Trollope. 
 
A Iphabetical List of Drawings. 
 
 1 1 1 
 
 Illustrations to “ Barry Lyndon.” 141, 142, 143. 
 
 Lent by Sir John E. -Millais, Bart., R.A. 
 
 Illustration Intended for the Fifth Number of “ The Germ,” 135. 
 
 Lent by F. G. Stephens, Esq. 
 
 Illustration to “Barry Lyndon,” by Thackeray. 133. 
 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 In Memoriam. 139. 
 
 Lent by T. 0. Barlow , Esq., R.A. 
 
 Jacobite Cockade, The. 132. 
 
 Lent by the Fine Art Society. 
 
 Importunate Friend, The. 157. 
 
 L.ent by Messrs. Dalziel Bros. 
 
 Millais, Lady, born Euphemia Chalmers Gray. 159 
 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
 McLeod of Dare. 134. 
 
 Lent by T. 0. Barlow , Esq., R.A. 
 
 Ophelia. 155. 
 
 Lent by W. Quitter, Esq. 
 
 Pearl of Great Price, The. 146. 
 
 Lent by H. Virtue Tebbs, Esq. 
 
 Romeo and Juliet. 136. 
 
 Lent by John R. Clayton, Esq. 
 
 St. Agnes, i 54. 
 
 Lent by Sir John E. Millais , Bart., R.A. 
 
I 12 
 
 A Iphabetical List of Drawings , etc. 
 
 Spoliation of the Tomb of Queen Matilda. 140. 
 
 Lent by William Brockbank , Esq. 
 
 Study for the Head of “Ophelia.” 153. 
 
 Lent by Sir William Bowman , Bart., F.R.S. 
 
 Study for “The Rescue.” 149. 
 
 Lent by D. Bates , Esq. 
 
 “The Path of True Love Never did Run Smooth.” 152. 
 
 Lent by Francis Austen , Esq. 
 
 Two Pen and Ink Drawings. 160, 161. 
 
 Lent by T. Woolner, Esq., R.A. 
 
 Unmerciful Servant, The. 156. 
 
 Lent by Messrs. Dalziel Bros. 
 
 Vale of Rest, The. 138. 
 
 Lent by H. Virtue Tebbs , Esq. 
 
 “Was it Not a Lie?” 15 1. 
 
 Lent by T. O. Barlow , Esq., R.A. 
 
 Zobeide Discovers the Young Man Reading the Koran. 147. 
 
 Lent by G. Dalziel, Esq. 
 
 Bronze Bust of Sir J. E. Millais: by J. E. Boehm, Esq., R.A., 162. 
 
 Lent by Sir J. E. Millais, Bart., R.A. 
 
 S3 0 8 4 28 
 

 


 

GETTY CENTER LIBRARY MAIN 
 
 NO 497 M56 G87 BKS 
 
 c. 1 Grosvenor Gallery. L 
 
 Exhibition of the works of Sir John E. M 
 
 3 3125 00254 5016