to 6* rtfurnrtf to tt$ place* From tiie Library of Frank Simpson I v^t 9^ 1862. OFFICIAL ATALOGUE OF THE FINE ART DEPARTMENT. /ASS 37. ARCHITECTURE. i CLASS 38A. ART DESIGNS FOR MANUFACTURES. .ASS 38. PAINTINGS IN OIL AND WATER COLOURS, \ CLASS 39. SCULPTURE, MODELS, DIE-SINKING, AND AND DRAWINGS. \ INTAGLIOS. CLASS 40. ETCHINGS AND ENGRAVINGS. / . [CORRECTED.] Printed for Her Majesty's Commissioners^ by TRUSCOTT, SON, & SIMMONS, SUFFOLK LANE, CANNON STREET, CITY. LONDON : by Truscott, Son, & Simmons, gtiffolk-lane, City. INTERNATIONAL EXHIBITION, 1862. Regulations with respect to the Admission of Visitors to the Exhibition. 1 . The Exhibition wiU open at Ten in the morning (except on Saturdays, when it will open at Twelve), and will close at Seven in the evening in May, June, and July, and half an hour before sunset after that date. Bells will be rung a quarter of an hour before closing. 2. The Boyal Horticultural Society having arranged a new entrance to their Gardens from Kensington Road, the Commissioners have agreed with the Council of the Society to estab- lish entrances to the Exhibition from the Gardens, and to issue a joint ticket, giving the owner the privilege of admission both to the Gardens and to the Exhibition on all occasions when they are open to visitors, including the Elower Shows and Fetes held in the Gardens, up to the 18th of October, 1862. 3. There are two principal entrances for visitors : — (1.) In Prince Albert's Road. (2.) In Exhibition Eoad. And four secondary entrances. Three of these are from the Horticultural Gardens, for the owners of the joint tickets, Fellows of the Society, and other visitors to the Gardens, and one in Cromwell Road for the Picture Galleries. There are several exit doors. 4. The regulations necessary for preventing obstructions and danger at the several entrances will be issued from time to time. 5. Admittance to the Exhibition will be given only to the owners of Season Tickets, and to visitors paying at the doors. SEASON TICKETS. 6. There are two classes of Season Tickets : The 1st, price £3 3s., entitles the owner to admission to the Exhibition at all times when the Building is open to the public. The 2nd, price £5 5s., confers the same privileges of admission to the Exhibition, and further entitles the owner to admission to the Gardens of the Royal Horticultural Society at South Kensington and Chiswick (including Flower Shows and Fetes at these Gardens) during the continuance of the Exhibition. PRICES OF ADMISSION. 7. On the 1st of May, admission is restricted to the owners of Season Tickets. 8. On the 2nd and 3rd of May, the price of admission is £1 for each person ; and the Commissioners reserve to themselves the power of appointing three other days, when the same charge will be made. 9. From the 5 th to the 17th of May, 5s. 10. From the 19th to the 31st of May, 2s. 6d., except on Saturday in each week, when the charge will be 5s. 11. After the 31st of May, the price of admission on Monday, Tuesday, Wednesday, and Thursday in each week will be Is. ; on Fridays, 2s. 6d. ; on Saturdays, 5s. REFRESHMENT AND RETIRING ROOMS. 12. Refreshments are provided according to an authorised scale of changes hung up in the rooms. The First and Second Class Rooms are on the North side of the Budding, looking into the Horticultural Gardens. Other rooms are in the Eastern and Western Annexes. 13. There are Retiring Rooms, Lavatories, &c, in the North-East Transept and the South-East Transept, adjoining Exhibition Road, and in the North- West Transept and South- West Transept, adjoining Prince Albert's Road. There are also two Retiring Rooms, for Ladies only, in the Galleries on the South side of the Building, adjoining Cromwell Road. A moderate charge is made for the use of them. LOST ARTICLES. 14. Inquiries respecting articles lost or fovuid should be made at the Police Office, in the South Central Court. POST OFFICE, RAILWAY INQUIRY OFFICE, TELEGRAPH OFFICE. 5. The Post Office, for the use of Visitors, is at the end of the North-East Transept on the right hand. Letters for the Country may be posted till 5 P.M. o'clock. The Railway Inquiry Office is in the North-East Tower. The Telegraph Office is at the Central Entrance in Cromwell Road. SALE OF ARTICLES, &c. 16. No article is allowed to be sold in the Exhibition, except the Official Catalogues, Photographs, Medals struck in the Building, and Refreshments ; and no other articles are allowed to be taken out without authority. 17. Opera Glasses may be had in the Picture Galleries and other parts of the Building on sale or hire at a moderate charge. 18. Visitors are strictly forbidden to touch any of the articles exhibited. May 1st, 1862. (By Order) F. R. Sandford, Secretary. GROUND PLAN OF INTERNATIONAL EXHIBITION. REFERENCES TO GALLERY PLAN. A To Class 29— Educational. P Class 28— Printing. B To Glass 14 — Photographic. E Austria. C Architecture. S Sweden and Norway. D Class 27— Clothing. T Class 36 — Dressing Cases. E Class 18— Cotton. X Class 17 — Surgical Instruments. E Ecuador. z Zollverein. H Holland. K Stained Glass. L Ladies' Retiring Rooms. The POST OFFICE for the use of Visitors is at the end of the North-East Transept, on the right hand. Letters for the Country may be posted till 5 p.m., and till 6 o'clock on payment of an extra penny. The RAILWAY INQUIRY OFFICE is in the North-East Tower. The TELEGRAPH OFFICE is at the Central Entrance, in Cromwell-road. TABLES OF CAB FARES may be seen at the Entrance Doors of the Eastern and Wester^. Domes ; and at the Central Door in Cromwell-road. FIRST and SECOND CLASS REFRESHMENT ROOMS are on the North side of the Building, looking into the Horticultural Gardens. Other Rooms are in the Eastern and Western Annexes. There are RETIRING ROOMS, LAVATORIES, &c, for Ladies and for Gentlemen (marked L and G in the Groimd Plan), in the North-East Transept and the South-East Transept, adjoining Exhibition-road ; and in the North- West Transept and South -W est Transept, adjoining Prince Albert's-road. There are also two RETIRING ROOMS for Ladies only (marked L in the Gallery Plan), in the Galleries on the South side of; the Building, adjoining Cromwell-road. A BOOKS, &c.,.SOLD II THE BUILDIM BY AUTHORITY OF HER MAJESTY'S COMMISSIONERS. 1. THE INDUSTRIAL CATALOGUE. Containing the Name and Address of every Exhibitor, with a Brief Description of his Goods. Price Is. 2. THE FINE ARTS CATALOGUE. Containing the Name of the Artist, and the Title of every Work of Art exhibited, and the Name of the Exhibitor. Price Is. 3. A CONCISE HISTORY OF THE INTERNATIONAL EXHIBITION OF 1862: Its Rise and Progress, its Building and Features, and a Summary of all former Exhibitions. By John Hollingshead. With Numerous Illustrations and Plans. Price 2s. 6c?., or 3s. 6d. bound in cloth. 4. THE OFFICIAL ILLUSTRATED CATALOGUE. Containing the Name and Address of every British Exhibitor, and detailed Descriptions of Articles exhibited. Illustrated with many hundred Engravings. In Thirteen Parts, price Is. each. ^CLAJ Now Beady, class Part 1. 1. Mining, Quarrying, Metallurgy, and Mineral Products. 2. Chemical Substances and Products, and Phar- maceutical Processes. 3. Substances used for Food, including Wines. 4. Animal and Vegetable Substances need in Manufactures. Part 2. Railway Plant, including Locomotive Engines and Carriages. Carriages not connected with Railroads. Part 3. ■ft^y } 7. Manufacturing Machines and Tools. Part 4. Now Ready ■{:. Now \ Ready./ Now Ready. Now Ready. Now Ready. 8. Machinery in general. Part 5. f 9. Agricultural and Horticultural Machines and I Implements. Part 6. 10. Civil Engineering, Architectural, and Build- ing Contrivances. 11. Military Engineering, Armour, and Accoutre- ments, Ordnance, and Small Arms. 12. Naval Architecture and Ship's Tackle. Part 7. 13. Philosophical Instruments and Processes de- pending upon their use. 14. Photographic Apparatus and Photography. 15. Horological Instruments. 16. Musical Instruments. 17. Surgical Instruments and Appliances. CLASS 18. Cotton. 19. Flax and Hemp. 20. Silk and Velvet. 21. Woollen and Worsted, including Mixed I Fabrics generally. } *™ 22. Carpets. [ " 23. Woven, Spun, Felted, and Laid Fabrics, when shown as specimens of Printing or Dyeing. 24. Tapestry, Lace, and Embroidery-. Part 9 25- Skins, Fur, Feathers, and Hair. 26. Leather, including Saddlery and 27. Articles of Clothing. ) Now ( Ready. Part Stationery, Printing and Bookbind- Now Ready. 28. Paper fng. 29. Educational Works and Appliances, Part IL 30. Furniture and Upholstery, includlag Paper- \ Now hangings and Papier-mache . / Ready . Part 12. 31. Iron and General Hardware \ Now 32. Steel and Cutlery. •'Ready. Part 13. 33. Works in Precious Metals, and their imita- \ tions, and Jewellery. I Jn ^ i Press 34. Glass. 35. Pottery. 36. Manufactures not Included in previous classes. HUNT'S HAND-BOOK TO THE OFFICIAL CATALOGUES. An Explanatory Guide to the Natural Productions and Manufactures of the International Exhibition, 1862. By Robert Hunt, Esq., F.R.S., F.S.S., &c, Author of the Synopsis and Hand-Book to the Official Catalogues of 1851. Price 6d. each Part ; or, bound in Two Volumes, price Is. Raw Materials and Manufactures directly from them. Chemicals, Food, &c. Machinery, Tools, Implements. Engineering, Civil and Military. Naval Archi - tecture, &c. Iron and Steel. Metal Manufactures, Precious Metals. Part 5. Jewellery. Glass. Fictile Manufactures. „ . 6. Textile Materials and Manufactures, &c. „ 7. General Manufactures (.Handicraft). ,, 8. Philosophical Instruments, &c. Paper, Printing, &c. Education. „ 9. The British Colonial Possessions. „ 10. Foreign Countries. And of E. STANFORD, 6, Cliaring Cross, London, S.W. 6. SYNOPSIS OF THE CONTENTS OF THE INDUSTRIAL DEPARTMENT OF THE EXHIBITION. By Robert Hunt, Esq., F.R.S., F.S.S., &c. Price 6c?. And of E. STANFORD, 6, Charing Cross, London, S.W. 7. GROUND PLANS OF THE BUILDING, THE GALLERIES, THE ANNEXES, AND THE HORTICULTURAL GARDENS. Price 3d. 8. VIEW OF THE INTERNATIONAL EXHIBITION BUILDING, SOUTH FRONT. Engraved by J. Le Keux, from a Drawing by Godfrey Sykes. Price 6c?. 9. VIEW OF THE INTERNATIONAL EXHIBITION BUILDING ? WEST FRONT. Engraved by J. Le Keux, from a Drawing by Godfrey Sykes. Price 6d. 10. PHOTOGRAPHIC VIEWS OF THE EXHIBITION. By the London Stereoscopic Company. At various prices. 11. MEDALS STRUCK IN THE BUILDING. At various prices. FINE ART CATALOGUE. INIEBNAIIQNAL EXHIBITION, 1862, OFFICIAL DIRECTORY. HER MAJESTY'S COMMISSIONERS. THE EARL OF GRANVILLE, KG-., Lord President of the Council. THE DUKE OF BUCKINGHAM AND CHANDOS. SIR C. WENTWORTH DILKE, Bart. THOMAS BARING, Esq., M.P. THOMAS FAIRBAIRN, Esq. F. R. SANDFORD, Secretary and General Manager. Special Commissioner for Jury Department. — Dr. LYON PLAYFAIR, C.B., F.R.S. OFFICES OF HER MAJESTY'S COMMISSIONERS : — EXHIBITION BUILDING, SOUTH KENSINGTON, LONDON, W. STAFF. Assistant Secretary — Louis Lindon. Correspondence— C. W. Franks ; Hon. Edwin B. Portman ; Captain Herbert Sandford, R.B.A. Assistants — M. Kinsey, R. J. S. Smith. Superintendent of Illustrated Catalogue — Joseph Cundall. Assistant — W. F. Westley. Superintendent of Official Catalogue — Sydney Whiting. Assistant — J. W. M'Gauley. Board Cleric and Shorthand Writer — H. S. Kewley. Registrar — C. Martyn. Assistants — H. J. Gibbs, E. Tompson, C. Nugent. Storekeeper — J. Lincoln. Post- Office Cleric— W. H. Foster. Assistant— T. W. Church. Clerics — C. H. G. Pease. C. R. Bigland, J. Evans. Office Keeper — S. Millie. FINANCE. Principal Financial Officer. — J. J. Mayo. Assistants— D. C. Maunsell, S. J. Nicolle. Clerks — Percy Jackson, W. G. Lawrence. BUILDING. Engineer and Architect — C apt ain Francis Fowke, Assistant -~-Qafs&IK Phillpotts, R.E. Superintendent of Decoration— 3 , Gh OBAC& Surveyor-— H. F. GRITTED. viii FINE ART CATALOGUE. COSV!SV!fTTEES OF ADVICE. BUILDING COMMITTEE. Earl of Shelburne. "William Baker, Esq. William Fairbairn, Esq.. LL.D., F.E.S. Hon. Edwin B. Portman, Secretary. FINANCE COMMITTEE. Eight Hon. E. Lowe, M.P. Sir A. Spearman, Bart. Edgar A. Bowring, Esq., C.B. T. F. Gibson, Esq. Henry Turing, Esq. Lord Frederick Cavendish, Hon. Secretary. FINE ART DEPARTMENT. GENERAL COMMITTEE. The Duke ok Buccleuch, K.G-. The Marquis of Lansdowne, K.G. The Marquis of Hertford, K.G. Earl Spencer. t Earl Stanhope, F.E.S. Earl of Malmesbury. Earl Somers. Earl of Dudley. Lord Asiiburton, F.E.S. Lord Overstone. Lord Talbot de Malahide, F.E.S. Lord Llanover. Lord Taunton. Lord Elcho, M.P. The Lord CniEF Baron. Sir Stafford Northcote, Bart., M.P. Sir Francis Scott, Bart. Thomas Ashton, Esq. E. H. Cheney, Esq. Eev. E. Coleridge. E. C. Field, Esq. E. S. Holford, Esq., M.P. H. T. Hope, Esq. John Euskin, Esq. Wm. Stirling, Esq., M.P. S. J. Stern, Esq. Tom Taylor, Esq. John Walter, Esq., M.P. W. Wells, Esq. The President of the Eoyal Academy. The President of the Eoyal Scottish Academy. The President of the Eoyal Hibernian Academy. The President of the Old Society of Painters in Water Colours. The President of the New Society of Painters in Water Colours. The President of the Society of British Artists. The President of the Institute of British Artists. The President of the Eoyal Institution of British Architects. P. Le Neve Foster, Esq., M.A., Secretory^ FINE ART CATALOGUE. ix Committee for Class 37. — Architecture. Arthur Ashpitel, Esq. James Bell, Esq. Professor Donaldson. James Fergusson, Esq. T. Batter Lewis, Esq. A. J. Beresford Hofe, Esq., Chairman. G. G. Scott, Esq., E.A. William Tite, Esq., M.P., F.B.S., President of the Institute of British Architects. M. Digby Wyatt, Esq. J. B. Waring, Esq., E.B.I.B.A., Superintendent. Committee for Class 38. — Paintings in Oil and Water Colours, and Drawings. Sir Charles Eastlake, E.K.S., President of the Eoyal Academy, Chairman. Sir J. W. Gordon, President of the Eoyal Scottish Academy. S. Catterson Smith, Esq., President of the Eoyal Hibernian Academy. F. Y. Hurlstone, Esq., President of the Society of British Artists. F. Tayler, Esq., President of the Society of Painters in W ater Colours. H. Warren, Esq., President of the New Society of Painters in Water Colours. E. Eedgrave, Esq., E.A., Professional Adviser. C. W. Franks, Esq., Secretary. Sub-Committee. Class 3 8 A.— Art Designs for Manufactures. Marquis of Salisbury, KG. Sir J. P. Boileau, Bart., F.E.S. H. A. Bowler, Esq., Honorary Superintendent. Henry Cole, Esq., C.B. C. D. Fortnum, Esq. D. Maclise, Esq., E.A. E. Monckton Milnes, Esq., M.P. C. J. ElCHARDSON, Esq. J. C. Eobinson, Esq. Godfrey Sykes, Esq. M. Digby Wyatt, Esq. Secretary — G. F. Duncombe. Esq. Committee for Class 39. — Sculpture, Models, Die Sinking, and Intaglios. - The Marquis of Lansdowne, K.G. The Earl of Gifford, M.P. J. H. Foley, Esq., E.A. A. H. Layard, Esq., M.P. E. Westmacott, Esq., E.A., F.E.S. Superintendent — Edmund Oldfield, Esq., M.A. Committee for Class 40. — Etchings and Engravings, W. H. Carpenter, Esq. D. Colnaghi, Esq. G. T. Doo, Esq., E.A., Chairman. E. J. Lane, Esq., A.B.A. W- Smith, Esq., Superintendent. C. W. Franks, Esq., Secretary. COlfTEITS. Page British Division : — Class 37— Architecture .... ... 82 „ 38— Painting .... . .... 10 „ 38a— Art Designs .... ... 125 „ 39— Sculpture ..... 140 „ 40— Engraving 106 Foreign Division (in the order of arrangement in the Gallery) :— Germany . ' ► ' , . 181 Austria . ... . > , » , , , k . # , 202 Holland »...,,, 209 Sweden 215 Norway 218 Denmark 221 Kussia 227 Belgium . . . ... . . . . . , . , 233 Spain 241 Switzerland 245 Italy . 250 Eome 265 Greece 275 Brazils , 277 United States '. t t 278 Portugal t t > 280 Turkey 280 No copies, sketches, or Photographs are allowed to be taken, under any circumstances, from the Pictures or Drawings. The numbers on the Pictures are arranged to begin from the Central Entrance, in Cromwell Road ; and in each room commence on the right as the Visitor enters. FINE ART DEPARTMENT. i. BRITISH DIVISION, / B TEE BRITISH SCHOOL OF OIL PAIITIM I In one notable way English art differs from that of all other European schools. They have their root more or less in mediaeval times ; ours, in modern. They are influenced in style or subject by native earlier masters; we, by foreigners only. Our eighteenth century painters had to create the belief that England was able to produce Art : Italy, France, Germany, and the Netherlands could point to former triumphs with pride, or study them with emulation. The key to the first period of the English school is given by this peculiar position of circumstances. II It is not intended, in this and the following summaries, to give a catalogue of names, or attempt to characterize every painter represented in the Exhibition, but to sketch the spirit of each School in its main phases, with the causes that guided its development. This will be done best by following the course of the greater artists ; for these, like the greatest men or greatest books of any period, not only embrace the aims of inferior minds, presenting them in a fairer and clearer form, but add to what they could do all that lies within the prerogative of genius. Four such men — a large number for one century — occur in the eighteenth :— Hogarth (1697—1764) ; Wilson (1713—1782) ; Eeynolds (1723—1792) ; Gainsborough (1727 — 1788). Thus the life of Gainsborough, the latest born, covers thirty- seven years of the life of Hogarth, the earliest. How then did previous Art affect these great contemporaries ? By what elements of their own did they found an English school in a country which had hitherto known little but the naturalized art of Holbein and Zuccaro, — of Kubens, Yandyke, Lely, or Kneller ? How far did they carry native painting ? A reply to these inquiries will at once contain the essential story of the British art of the last century, and prepare us, in some degree, to understand that of the present. III In his life not less than in his works, Hogarth presents a sturdy protest against all previous styles. No man more distinctively and decidedly original and creative— not even Phidias of Athens, or Giotto of Florence, — ever handled Art : no one, for good or for evil, was ever less affected by pre-existing influences, or by contemporary criticism. The modern art of Europe began as completely with him as its modem poetry with Dante ; and as Dante's fellow-coimtrymen were at first unable to believe that a great poem could be written in their mother tongue, so Hogarth's were incredulous that England could produce a painter. He first, with a serious and widely extended scheme, put into painting what Fielding put into novel- writing ; he brought the canvass down from mythology and pageantry, and made it tell the real story of common life, — its pathos, its meanness, fashions, humours, tears, laughter, triumphs, and depths of degradation. Clowns, fops, lords, rebels, politicians, gamblers, labourers, soldiers, brides, mistresses, spendthrifts, poets, musicians, madmen — nay, the very wigs and queues and walking-sticks of the age, — all move and live on the stage of his marvellous theatre. In a sense true of no other artist, Hogarth held up his mirror to nature, and gave back the form and pressure of the time with a strength only equalled by his subtlety. Shakespeare (always exceptional) excepted, no artist, not even Crabbe, has drawn so many characters for us, has given us so much healthy laughter — so much of 1 the sorrowing by which the heart is made better.' Yet, in this prodigality of power, one thing is wanting — not perhaps to his mind, but to his pictures, — the charm of beauty is not conspicuous here. Occasional touches of grace or repose occur, the severity is not without sweetness ; yet the higher sphere of loveliness is hardly reached ; there is no clear sense of the poetry of nature. Through his stem, honest-hearted rejection of Italian art, abused and ill-estimated as he saw it by the men of taste about him, he missed this gift in marked intensity! IY Not so with Hogarth's immediate successors. The sense of beauty, the love of ■innocence, — no artists have enjoyed these more deeply than Eeynolds and Gainsborough ; nor in management of colour, in light and shade, in gracefulness of line, and delineation of character, have they been often equalled. Their art, in technical points, was based on that of their great foreign predecessors. In them ended, in fact, that noble style of portraiture which began with Giorgione and Titian in Italy, and was continued by Yelasquez in Spain, in Flanders by Yandyke and Kubens k It is to these later men, however, that their likeness is most visible. Rubens and Yandyke began the modern manner in portraiture, introducing greater variety in colour, dress, and furniture, and, as sacred art was declining, giving their portraits a more ornamental and independent character. Gainsborough and Reynolds fell 3 • B 2 BRITISH SCHOOL OF OIL PAINTING. short of these artists in thoroughness of work. Their drawing is generally careless, rarely complete, never masterly. Dresses, landscape, and other accessories, are hinted at rather than worked out. Their colour even, though always true in intention, is often hardly more than a suggestive tint ; and the canvasses, already blanched by fading or browned into obscurity, testify too often to the loss of those simple early methods which make Van Eyck's pictures look more recent than Sir Joshua's. Our artists in these points failed to equal their masters ; in others, they learned some traditionary lessons from which the self -trained Hogarth was eappily free. It is to bad former examples that Eeynolds owed his occasional false classical style : from shallow former principles that he learned to be content with careless unfinish and slovenly landscape ; — that Wilson satisfied himself with conventional trees, and put imaginary shepherds or personages of ancient mythology in scenes which, but for Berghem or Claude, would have been peopled with the real human creatures he could draw so well, when unhampered by precedent, and painting for himself only. V Yet, after full confession of what in them was deficient, or of temporary character, Reynolds and Gainsborough stand amongst the very few great portrait painters of Europe. No one has, indeed, in any age, exceeded the airy grace and ingenuous delicacy which Gainsborough threw into his work : no one has surpassed Eeynolds in the charm of naturalness, in 'his profound feeling' (to fjuote the admirable remark of Wfikie), 'for the indescribable thoughts of the inward man,' in his high and holy simplicity. And yet their art, in its own day, met with an incredulity, from patrons and public, which itself is almost incredible to us. Men were lately living who might remember how, in the noble eulogy of his rival which Reynolds pronounced, he thought it needful to preface his praise with what is almost an apology for Gainsborough and himself, as not " graduates in the great style," although their portraits were, in truth, far more really " historical pictures " than most works which then professed to deserve the title, and still crowd, with forgotten names, the galleries of the period. It would be idle to weigh these great artists against each other in a partisan spirit ; yet, whilst many high qualities are common to both, it may be noted that Gainsborough shows, on the whole, more ease in invention ; Eeynolds, more felicity in form : that he has more splendour in colour ; Gainsborough more purity. There is something of the morning in Gainsborough's tints ; of the sunset in Sir Joshua's. The first is the truer colourist ; he has a lightness of touch, corresponding to an airiness of figure, an occasional even nearer nearness to nature in his girls and children. Yet the latter is decidedly the greater artist. His figures, — the little ' Miss Boothby,' the ' Mrs. Siddons,' the ' Duchess of Devonshire and Child,' the 1 Age of Innocence ' stamp themselves more vividly on our memories ; less picturesquely graceful than Gainsborough's, they are more deeply and essentially. And with this deeper grace, Eeynolds commands something of what he so admired in Michael Angelo. Where the subject shows, he rises to a deeply-felt grandeur. But what strikes us most, is his ineffable and winning tenderness. It is in this last direction that English art was carried furthest by him and by Gainsborough. Strange as it may seem now, childhood and maidenhood before them had been rarely painted in then essential nature ; nor is it likely that, in this point, any will surpass them. ' No man,' said Eeynolds, with a truth which cannot be too much dwelt on, ' ever put more into a head than he had in his own.' But he who thus expressed the essential law and Emit of portraiture was reckoned among the best in an age fertile in strong thinkers. A lofty equanimity, a scorn of the world's trifles and gossip, a sweet humility towards all nature, generosity and gentleness towards fellow-workmen, — such, and others like them, were the characteristics of this great painter. Eatient industry, — that quality so in- separable from real genius, that no wonder he thought them identical, — was his guiding principle through a long life of constant education and advance in his art. Yet it may be doubted whether any one of the pictures which to us seem masterpieces satisfied the painter, or adequately rendered that idea which, in his own poetical words, ' subsists only in the mind : — the sight never beheld it. nor has the hand expressed it ; it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting.' VI Hogarth was the most original of these men ; Wilson the least. Yet his pictures prove that if bom in a more intelligent age, he would have freed himself from the mannerism of his predecessors. His landscape wants the grand conception of Gains- borough, his English sky, and air, and freshness j it wants, also, the picturesqueness, the accuracy of detail, to which we are accustomed. But nature, -in the word most often applied to her by the oldest poets, is pre-eminently varied, — she has largeness, not less than minuteness ; beside the glory of the sunset, or the tenderness of the meadow grass, the agitation of storm, and the repose of far horizons. These great elementary features of the landscape were Wilson's portion. The tempest, the calm, the quiet irradiance of mid- day or twilight, vexed seas, or gorgeous ruins, mass, and breadth, and stateliness, — in such scenes his truly poetical spirit found what he could render with force and unhesitating readiness. In the representation of these he had no forerunner in English art, nor has he found many followers. — The landscapes of Morland (1763—1801), though as far from the poetical grace as from the grand conception of Wilson's or Gainsborough's, present a closer resemblance to common English scenes, and are sometimes touched with a happy facility. 4 « BRITISH SCHOOL OF OIL PAINTING. VII The chief direction in which the Italian and Flemish schools influenced the English was by raising a false idea of the historical style. Subjects from the past, to be clothed in unreal dresses, and painted on a large scale, were required for what was called the ' dignity of art ; ' portraiture and landscape were thought beneath it. A few attempts, in which fine colour and the painter's own grandeur and tenderness of style half concealed unvanquished impossibilities, were made by Keynolds ; others by West, Barry, Northcote, Harlow, Fuseli, and Opie. Where the theine^ chosen fulfiUed true historical conditions, — belonged to modem times, and could be painted as they really might have been, as with West's ' Death of Wolfe,' — some genuine success was obtained : and Copley's ' Major Pierson' is magnificent. But in these works generally we must regret high qualities thrown away on a false system : thought wasted by Barry, force by Opie, grace by West, fancy by Fuseli. As in all living arts,, there is a severe unity in painting : where the main aim is not truthful, subsidiary merits are rarely reached ; and in the qualities of drawing, colour, and expression, these artists are seldom felicitous. Nor, although their aim was simpler, can much higher praise be claimed for the minor portrait painters, — Opie, Bomney, Owen, Kaeburn, Hoppner, and Jackson. With these a more recently popular name may be properly joined, Lawrence, through the influence of whose style a careless manner of portrait-painting, not requiring more detailed notice, though relieved by occasional like- nesses of greater -life and charm, has unhappily descended (as from Chantrey in sculpture) to our own days. It would be unfair to regard the artists named as mere followers of greater men. There is much natural sweetness in Bomney and in Lawrence, whose delicate feelingj and facility of rendering the picturesque elements of the face, for a while con- cealed his mannerism and want of power. Others have more or less force and vigour. There is a largeness and freedom of style about the half -fancy, half -historical groups on which they sometimes ventured ; yet it can hardly be said that they carried the art further, or rank amongst the great of all time. YIII More decided steps onward were made by Bird and Wilkie. The former (1772 — 1819), a painter little known, and not of conspicuous power, deserves notice as one of the very first who successfully worked in that style, which was destined, with landscape, to be the leading feature in modern art. Bird's subjects mark this aim ; — ' The Saturday Night,' ' The Will,' ' The Country Auction,' ■ The Baffle : ' — incidents of common life, and each suggestive of some little tale, half humourous or half sentimental. It is by the introduction of the last elements, that this manner, with which from Wilkie onwards we are familiar, is distinguished from earlier attempts. Processions and ceremonies had been painted long before in Venice, comtly life in France, rustic in Holland ; but the touch of the Tale is all but wanting in these works, although here and there painters (notably Jan Steen) seem on the very- verge of that new field, into which, through some law, imperative as those to which we arbitrarily confine the name natural, they were unable to penetrate. IX This style, and landscape, — regarded no longer as the scene of some recorded human story, but as the representation either of nature embodying man's fortunes in her own features, or of nature in her solitary splendour, — mark the art of this century not less dis- tinctly than religious subjects mark that of the fourteenth. Hardly known to our great grandfathers, what could have rendered them so prominent now ? In such inquiries the risk is great of considering as cause what is only itself an effect of some larger and, perhaps, undecipherable reason. Yet it is indisputable that the growth of the Incident style in paint- ing runs parallel with the great outburst of novel writing from about 1790 onwards, with the social change which gave the patronage of art rather to the mercantile than to the educated classes, with that fusion of ranks and interests which (in another sphere) found expression in Bums, Scott, Crabbe, and Wordsworth. It would be rash and invidious to attempt to name precisely the artists of this age who might be placed in the first rank with the four of the last. But of those whose claims to excellence none will deny, Wilkie and Mulready represent the style most satisfactorily, and will be here treated as typical of many others. Every lesser master, if a true man, has undoubtedly, like the greater, his own gifts and methods ; yet the aim of many known men is ckcumscribed on the whole by the limits above defined ; and space fails here to trace their individual characteristics, although two clearly-marked divisions of this school must be noticed. Historical incidents, viewed mainly in their picturesque character or in the light of sentiment, have been chosen by one ; scriptural, by the other division. The grace and delicacy of Eastlake, to whom the latter direction of English art is mainly due, have not yet been equalled by his followers. X In Hogarth's pictures a direct moral is generally dominant ; they are De Foe on canvass. In Wilkie's (1785 — 1840) the moral is subdued beneath the wish to paint the scene in all its humours, comic or serious. He is thus more truly and essentially an artist • but the circle of Wilkie's creations is smaller, lying mainly within the field of Scottish peasant life. Here, however, like Bums, he reigns and triumphs ; and, like the poet, in proportion as he recedes from it, is less and less successful. We think of him always as the painter of ' The Bent Day,' ' The Fiddler,' and the ' Blindman's Buff ; ' yet his later works have a charm and a variety, which show that but for the early failure of hand and eye, he might not, in such scenes, have fallen below his earlier excellence. In exchange for the minute finish of his first painting, these are executed in a broader style, more sweet, if less expressive ; they make us feel the loss, of all losses the most irrecoverable, which a 5 B 3 BRITISH SCHOOL OF OIL PAINTING. nation sustains in the premature death of genius. Not so with Mulready, who has been spared to our advantage through a long life of unusual gifts, united to unusual industry. His power of invention is probably less spontaneous than Wilkie's, his presentment of the scene less dramatic, his subjects drawn oftener from books ; but with what felicity of line what a deep and Grecian grace are they exhibited ! No English work for the first fifty years of this century, equals Mulready's masterly drawing, no landscape-glimpses excel his in finish and beauty ; no one has brought* so pure and poetical a thoughtfulness to the aspects of common life ; others have given grander, none more brilliant or sweeter colouring. XI To draw thoroughly and colour truly, are the first fundamental necessities of painting as art ; nor will graceful feeling, or depth in thought, or sense of life and humour- no pictorial intention, in a word, however excellent — atone for want of these primary requi- sites. Two men may be named, amongst many, who have hence fallen short of the place for which they appeared marked out by nature — Stothard and Leslie ; they must be looked at almost less as painters than as designers. But viewed thus, we owe to Leslie many scenes of a thoughtful, delicate, and gracious humour in which the very genius of Addison seems to reproduce itself ; to Stothard, many which in tenderness, purity, and a certain mysterious and ineffable grace, rank Second only to the designs of Kaphael. And as Stothard reminds us of Florence and Home, so the glorious days of Venice are recalled by the last great figure-painter (not professedly historical) of that half -century, — Etty (1787—1849). He alone amongst his contemporaries successfully devoted himself to represent the pure human form, which he painted with a brilliant transparency of colour rarely seen beyond the limits of Venetian art. It is true that he tried portrait, landscape, subjects sacred and historical, and often with happy, almost always with striking, result; but his love for human form restricted him in the main to what may be called subjects of iancy. This was unfortunate ; for scenes from mythology — whether the genuine mythology of Greece, or that later artificial mythology, which for three centuries has infested Europe — cannot have for us the least genuine, head and heart-felt interest. But if a less unreal theme engaged him — when he was with Cleopatra in her glory on the Cydnus, or Youth at the prow, or ' where eternal summer dwells ' in the gardens of the Hesperides — Etty produced works which are for all time, and rank amongst our best national treasures. XII Millais' work, like Etty's, stands apart from the style of domestic incident, though not so much by virtue of choice in subject as by greater elevation of tone and coiTesponding splendour of execution. His art, in fact, like Wilkie's, ranges over life in all its variety, from knight to churl, selecting always, though not always with equal success, themes which appeal strongly to passion or to imagination. Millais, with Holman Hunt, may be said to have taken up the inheritance of colour from Etty, although with the gift they have not followed the execution, often vague and slovenly, of that celebrated colourist. Nature has a thousand aspects, and in all is alike inimitable ; but that Vision which we call Art, from time to time turns to mirror some one of her attributes which had before~l)een less repre- sented. Thus, more persistently than any former artists, Millais and Hunt, with others, have aimed at fidelity and minuteness, trusting less to remembrance than to fact ; and there is hence a subtlety of handling and of expression in their works of which the eighteenth century, and the artists trained in that style, supply few examples. Here also we find the general accordance between art and the prevalent taste of the age displayed in an accurate pictorial rendering of past ages or foreign habits to which modern historians and travellers have accustomed us. Many of Hunt's pictures are proofs of this tendency, yet they are not realized through minute detail ; the details, with the main idea, are rather vivified by his own intense inner f acuity of realization. A serious, an almost tragic, interest pervades his work ; it strikes us with a strange earnestness. Nor has any other English artist rivalled him in the force with which he has thrown these qualities into religious art. XIII An age in which pictures are mainly desired for the adorning of private houses, and the subjects popular are domestic incident or landscape, will be ungenial towards the historical style, even when rightly understood and treated with vitality. We have here but a scanty list : — Haydon, whose abortive ability fell short of his early promise ; Martin, in whose art perspective powerfully treated is, however, the only real element of art present ; and, more recently (to pass over minor, or hitherto hardly proved, aspirants), Cross and Maclise. The latter, though not very successful in harmony and grace, or in management of light and shade, has given us many fine inventions, in his latest designs reaching an elevation and a power which are not often conferred by the years of advanced maturity. Cross (1819 — 1861), little known during his brief career, has received a tardy and too late recognition. The few works which the struggle for subsistence left him leisure to execute, though, like those of Maclise, deficient in the graces of colour, are amongst our highest historical pictures in dramatic truth, grandeur of arrangement, and beauty of fine ; nor in the weak point of English art, life-size delineation of human form, has any English artist shown greater mastery. XIV Except by a more minute accuracy and greater aim at realization of the scene in all points, the historical art of this century does not essentially differ from that of the eighteenth : but landscape painting, as already noticed, is the second distinctive style of our own age. As with the art of domestic incident, this mode of art is also in strict sympathy with corresponding phases in literature and taste. As the former was contemporary with G BRITISH SCHOOL OF OIL PAINTING. the modern novel, so the latter has appeared simultaneously with the love of travelling and the love of natural description. These passions (we may justly so call them) are due, no doubt, in part to simple increased opportunity ; to recent wealth and peace, and multiplied facilities for journeying. Perhaps the more familiar conversance with nature in her loveli- ness or her terror, the simple sight of Western Scotland, or Naples, or Monte Eosa, has inspired the wish to transfer to our walls what, in verse or in actual vision, has so charmed our senses : perhaps the poetry of physical science has enlightened and enlarged our sympathies : perhaps the very contrast with the civilization which enables men to travel readily, deepens their appreciation of the scenes in which civilization has no part, and even the powers of man seem but a little thing before the majesty of nature. However this may be, the love of landscape has been a glorious gain to modern English art, and gives it its most essentially original character. We no longer see trees and mountains through the imperfect eyes of Claude or Poussin ; we do not measure the sunbeams by the standard of Cuyp, or- the twilight after the proportions of Rembrandt. Yet this great advance was not made at once. A few artists, of whom Crome and Bonington were perhaps the most gifted, worked in a mixed style, blending the teachings of nature with the traditions of the schools. Others felt the inadequacy of earlier attempts, but have been able to free themselves entirely from a different influence. Something of the art of the stage is united with the genuine art of Stanfield ; more with that of Danby and Roberts. Yet the careful' pictures of ancient temple and castle, of cathedral and palace, which we owe to the last, are almost without precedent — certainly without rival — in all former centuries. The scenery of Danby, whether that of 'perilous seas in fairy lands forlorn,' or of the hardly less marvellous equatorial ocean, is a creation beyond the fancy of any earlier painters, as the splendid drawing of Stanfield in rock and sea and lake scenery, was beyond their achieve- ment. Foreign subjects are familiar to these men ; others have more exclusively painted our own England. Constable, first in time though not in rank, deficient in drawing, unequal in execution, ungifted with grasp or variety of conception, has, however, rendered a few aspects of English landscape with force, and freshness, and noble simphcity. Creswick has a grace and a poetry to which a monotonous manner hardly allows full play. These artists have taken the level and the copse, the gray of dawn or of shadowy skies for their special portion. Linnell has given us the glory of sunset over vast plains, or the clouds which gather and glow above forest abysses ; Hook the azure and emerald of the Atlantic, or the cliffs and meadows of south-western England — not only painting such scenes as they glitter to the traveller's eye beneath full daylight, but penetrating into the life of their inhabitants with something of poetical, not less than pictorial, insight. Others, as Lewis, have brought foreign lands, — Greece, Egypt, and Syria, before us : — their work, moved by the new impulse for more detailed and accurate delineation, which corresponds with the mechanical invention of photography, belongs to a school of yet vurdetermined issues ; with many more, who cannot be here enumerated. True, that but one artist, if any, has, hitherto held up the mirror of art to nature in her whole variety ; that in lightness of touch and transparency of tone few of these painters are conspicuous ; that the breadth and grandeur of some earlier men have been exchanged for the successful pursuit of other qualities of the landscape : that none, perhaps, belong to the little army of high Imaginative masters : — yet true also, that to them Englishmen of this century are indebted for delights, and for lessons second only to those brought to our firesides by their contemporaries in another art, from Scott to Tennyson. XY Life, in the works here alluded to, is rarely prominent, or touched on in any of its deeper forms. Something of the poetry of the shipwreck has been handled by Stanfield ; something of the poetry of labour appears in the Idylls of Hook : the meaning and moral of the scene are not altogether absent from many of our landscape painters. Yet it is not this sphere of art which is suggested by their landscape. Two names, however, remain : one, — with exception of J. Ward, — our only great master of the animal world ; the other, of nature as reflecting the passions and the fate of man, the interpreter of the soul of the universe. To Landseer and to Turner, as to Shakespeare or to Wordsworth, we owe, indeed, so much, that it is, perhaps, rash to try to judge them : of those artists who have fulfilled their course during this century, they have done most for England. Others, certainly, have shadowed out more deeply than Landseer the mysterious animal nature, and have brought to their pictures a finer sense of colour, a higher instinct for grace or for grandeur ; but no painter has embraced a range nearly so extensive in animal representation, or, again, has gone into the active life of a few wild creatures with such profound and poetical sympathy. The fury of the lion had been painted by Rubens, the repose of the cattle by Cuyp ; but Landseer, it may be said, has grasped the story of the dog and the deer in 'its wholeness. His pictures differ from most others as the animals of Scott — the bloodhound of the Lay, or the Gustavus of the Legend — differ from the animals of the zoological treatise. "We have, not a painted list of their likings and characteristics, but the romance of then lives ; and this (in accordance with the analogy already so often noticed) surrounded by that bright background of landscape, or picturesque variety of accessories, by aid of which the great novelist also has painted more vividly for us the living characters of his immortal drama. XYI Like that of every great artist, whether in words or colours, the work of Turner is 7 ' ' B 4 BRITISH SCHOOL OF OIL PAINTING. stamped with the gradations of his own growth in mind and in experience. From the time when his style was formed, his oil painting differs essentially from all other men's in this.— that it is thought of as water-colour painting, and, even almost beyond what the material admits of, conforms to the treatment of water-colours. The reason for this treatment is seen in the result. No landscape but his adequately renders what is the first and the last feature in all real landscapes,— the sense of air, space, and light. Others' work looks like a copy on canvass ; Turner's, like a vision. So fa*r as this marvellous and only true effect depends on technical method, he gained it by repeating in oils the translucent style of water-colours. This Turner learned early from the great water-colourists, Cozens and Girtin, who influenced his youth. Yet the lesson was not fully felt till his manhood. His first style in oils (alloyed by the imperfect ait of former landscapists, though careful and imaginative far beyond their grasp) is not free from the heaviness and artificial arrangement which he heard praised in Poussin and Vandevelde. Like Gainsborough and Reynolds, this English- man also had to wage war with the blindness of those who could see in nature only what the Fleming or the Frenchman had seen before them. But Turner " was silent, and'let the crowd speak," working on, meanwhile, with an industry rare amongst even the highest men, to the glory and the grace of his maturer years. During these, he attempted almost - every phase of nature in her beauty and her desolation. To describe his subjects would be more than to re-write the landscapes of all the poets. And then, though sight and strength were fading, Turner finally set himself to paint what woidd have foiled Titian or Tintoret in the flush of their youth,— scenes which the eye can hardly see for their splendour, or the mind grasp for then- delicate and evanescent magnificence. To be unable to present, with the relative degree of imitation possible when fainter lights and simpler landscapes are chosen, the sun in his strength, or the twilight in its tenderness, is inevitable to art and her imperfect materials. All she can give, even when most utterly literal and imitative, is an effect, an imaginative remembrance, a hint of far-off glory. Turner, in these later works, is alone in a circle no others have dared to tread. The hmitations of painting considered, his success here is not less than theirs within narrower and more practicable regions. XYlI ' The name of Shakspeare,' says Mr. Hallam, ' is the greatest in our literature — it is the greatest in all literature.' Turner is one of the very few men to whom similar words might be applied without exaggeration. He is the greatest of English landscape painters ; he i3 the greatest of all landscape painters. Others have rivalled him in quality of colour, others in fidelity of detail ; he has failed at times from over-ambition of attempt, at times from obscurity of purpose ; he trusted occasionally too much to facility in execution, he was led away by caprice of f ancy — yet he is still the Shakspeare of another and a hardly less splendid poetical kingdom. No one has penetrated so deeply into the soul of nature ; no one has so surprised her in her sympathy with man ; no one so nearly rendered her infinite mysteriousness, her multitudinous variety. Aspects, which to others almost singly engrossed their strength, are but modes and moments in the torrent of his prodigal crea- tiveness ; yet each of them is treated with a vitality and a fullness which the best masters had not attained to. Compare him with Titian in the forest, Rubens in the meadow, Rembrandt in twilight, Cuyp at midday — with the storms of Salvator, or the repose of Claude ; Stanfields sea, Linnell's woodland, the coast-scenes of Hook, the glens of Land- seer — but this one has included, and surpassed them all. Yet, if praise ended here, Turner's most peculiar merit would hardly be expressed. For whilst he has made the closest approach to painting the infinity of nature, he is almost alone in his rendering of her- deeper poetiy. That deeper poetry springs invariably from the presence of human feeling — either contrasted with or embodied in nature : nor without the touch of humanity, arc our profoundest sympathies ever awakened. To impress on his work this sentiment, the painter does not necessarily require that man should form a part of his representation. There are pictures by Turner more peopled in then- waste wildness, than the most elaborate figure-landscapes of Claude or Canaletti. But it is still the sense of the Human element which gives loneliness to the desert, and splendour to the city ; which recalls the past in the ruins of Rome, and speaks of the future in the fields and coasts of England. There is a terrible seriousness about his work, a moral sadder and deeper than Hogarth's : ' the riddle of the painful earth ' flashes out through many of these scenes of more than earthly loveliness. Everywhere he contrasts the fate of man, his passions, and his achieve- ments, with the landscape around him, or makes the landscape itself a reflection of the drama of life on the more august theatre of nature. Birth and death, stories of man's strength and degradation, passion and despair, are written in the scarlet and azure of Turner's skies, or revealed by the seas, hill-sides, and rocks he painted so lovingly. In his art there is a spirit stirring hi the tree-tops, and a voice of more than wha£ we rashly name Inanimate Nature in the torrent : — The light that never was on sea or land, The consecration, and the poet's dream. XVIII What a strange power and fascination we have here ! "What an art more magical than magic ! What a mute and inexpressible poetry ! But there is that in all great art which runs far beyond words — else why should men have carved or painted ? 8 BRITISH SCHOOL OF OIL PAINTING. If these brief notes in any instance lead the spectator to the right frame of soul for appre- ciating excellence, let him forget them, and pass on to what they describe. And, in strict proportion to his own reach, vivacity, and truth of mind, he will find no idle or easy task before him — so various are the styles which such a collection presents, so many the phases of thought and feeling displayed, so much to be learned from the sight, — so much, perhaps, to be unlearned. Yet to sympathize with each ; great Master, and (what follows only on such sympathy) with each lesser Master, after his merits, fervently and impartially, without fear and without fancifulness, is no doubtful gain to the purer pleasure and higher education of the soul. For, as with the affections and the conscience, Purity in taste is absolutely proportionate to Strength ; and when once the mind has raised itself to grasp and to delight in Excellence, those who love most will be found to love most wisely. F. T. P. 9 BRITISH DIVISION. CLASS XXXYIIL PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. A.-PAINTINGS IN OIL. PRINCIPAL GALLERY, CROMWELL ROAD. HOGARTH, W. 1 Portrait of Himself at his Easel Willett L. Adye, Esq. . 2, 3 The Harlot's Progress . ., . . . . H.A.J. Munro, Esq. 4 Scene from " The Beggars' Opera " John Murray, Esq. 5 The Mall Her Majesty. C The March of the Guards to Finchley .... Foundling Hospital. GAINSBOROUGH, T. 7 Portraits of TV. Hallett, Esq. and his Wife . . . W. E. Hilliard, Esq. 8 Fisherman's Family Marquis of Westminster. HOGARTH, W. 9—12 The Election . Soane Museum. 1. The Election Entertainment. 2. Canvassing for Votes. 3. Polling at the Hustings. 4. The Chairing of the Successful Candidate. 13 Portrait Of Mrs. Hogarth . . . . . . . Willett L. Adye, Esq. 14 — 21 The Rake's Progress Soane Museum. 1. The Inheritance. 2. The Rake's Leyee. 3. The Orgie. 4. The Arrest. 5. The Marriage. 6. The Gaming-house. 7. The Fleet Prison. 8. Bedlam. NASMYTH, A. 22 Hill of Dundurn, Strathearn, Perthshire . . . J. Nasmyth, Esq. REYNOLDS, SIR JOSHUA. 23 Heads of Angels National Gallery. 2A Portraits of the Countess of Pembroke and her Son Earl of Pembroke. 25 Portrait of Viscountess Melbourne .... Viscountess Palmerston. 26 Portrait of Admiral Viscount Bridport .... Greenwich Hospital. 27 Portrait of Henry, Earl of Pembroke .... Earl of Pembroke. 28 Portrait of Admiral Hon. S. Barrington .... Greenwich Hospital. 10 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. GAINSBOROUGH, T. 29 Portrait of Dr. Fischer Her Majesty. 30 Portrait of Miss Gainsborough Miss Clarice. 31 The Blue Boy . Marquis of Westminster. ZOFFANY, J. 32 The Lapidaries Her Majesty. . HOGARTH, W. 33 Portrait of Captain Coram Foundling Hospital. WRIGHT, J. 34 The Empress Julia in the Cave at Salerno . . . G. F. Meynell, Esq. 35 Portraits of Two Children J. Curzon, Esq. ZOFFANY, J. 36 Dr. William Hunter Demonstrating Anatomy to the Boyal Academy . . . . . Royal College of Physicians. OPIE, J. 37 Portrait of Himself Royal Academy. REYNOLDS, SIR JOSHUA. 38 Portrait of Mrs. Kobinson, as "Fenella" .... Earl Granville. 39 " Simplicity " (Portrait of Miss G-watkin) .... B. Gibbons, Esq. HOGARTH, W. 40 The Shrimp Girl (a sketch) Sir W. Miles. 41 Portrait of Lavinia Fenton, as "Polly Peachum," in "The Beggars' Opera" Sir W. Miles. 42 — 47 Marriage a-la-mode National Gallery. 1. The Marriage Contract. 2. Shortly after the Marriage. 3. The Yisit to the Quack Doctor. 4. The Countess's Dressing-room. 5. The Duel, and Death of the Earl. 6. The Death of the Countess. GAINSBOROUGH, T. 48 Nancy Parsons . . Marquis of Lansdowne. 49 Portrait of Lady Ligonier Lord Rivers. 50 Portrait of Lady De Dunstanville J.F. Basset, Esq. COPLEY, J. S. 51 Family Portraits Lord Lyndhurst. WILSON, A. 52 An Italian Seaport Earl of Hopetoun. OPIE, J. 53 The Blind Beggar and his Daughter .... J. Henderson, Esq. WRIGHT, J. 54 A Girl blowing a Bladder P. Arhwright, Esq. 55 A Boy blowing a Bladder P. Arhwright, Esq. 56 TJLLESWATER P. Arhwright, Esq. 57 Children Playing at Ball R ev . Hugh Wood. 11 Gil-Paintings.] BRmSH DIVISION. [Principal Gallery. REYNOLDS, SIR JOSHUA. 58 Group Of Portraits — Dunning, Col. BarrS, and Baring, Sir F. Sir F. Baring. 59 The Graces decorating a terminal Figure of Hymen i . . . . National Gallery. 60 Portraits of Georgiana Spencer, Duchess of Devonshire, and her Daughter Duke of Devonshire. WILSON, R. ' CI Euins of the Villa of Maecenas at Tivoli . . . National Gallery. 62 Destruction of Niobe's Children • National Gallery. REYNOLDS, SIR JOSHUA. 63 Portrait of Lady Galway and her Son ("Pickaback") . Lord Monson. 64 Portrait of H.R.H. the Princess Sophia Matilda of Gloucester and Dog Her Majesty. 65 The Age of Innocence National Gallery. 66 The Shepherd-boy H. Meynell Ingram, Esq. 67 Portrait of Miss Price Marquis of Salisbury. 68 Cleopatra dissolving the Pearl (Portrait of Kitty Fisher) Earl of Morley. < 69 Portrait of Lady Elizabeth Foster Duke of Devonshire. '70 Portrait of Miss Boothby Earl of Dudley. '71 Portrait of Lady C. Spencer Lord Chtirchill. GAINSBOROUGH, T. , 72 Portrait of Georgiana, Duchess of Devonshire . . . Earl Spencer. 73 A Girl tvith a Pitcher J. F. Basset, Esq. 74 Mrs. Sheridan and Mrs. Tickell Dulwich College. REYNOLDS, SIR JOSHUA. 75 Portraits of Viscountess Althorp, and Hon. J. C. Spencer Earl Spencer. 76 Portrait of Georgiana Spencer, Duchess of Devonshire . Earl Spencer. 77 Portrait of Frances, Marchioness Camden . . . . Earl Spencer. BARRY, JAMES. .78 Portrait of his Mother . - , Society of Arts. WRIGHT, J. 79 Portrait of Sir Joseph Banks ....... W. Milnes, Esq. GAINSBOROUGH, T. 80 Beggar Boys . ........ -Duke of Newcastle. THOMSON, H. 81 Cottage Door . ... R oyal Academy. BARRY, JAMES. 82 Adam and Eve Society of Arts. WILSON, R. S3 Eome— Story of Niobe E.A.J. Munro, Esq. 12 Qil-Paiiitings.] BRITISH DIVISION. [Principal Gallery. HOGARTH, W. 84 Southwark Fair Duke of Newcastle. 85 A Conversation T. Baring, Esq. §6 A Conversation at Wanstead House Sir R. Peel. 87 The Strolling Actresses General Wood. REYNOLDS, SIR JOSHUA. 88 The Infant Samuel National Gallery. 89 Portrait of Caroline, Duchess of Marlborough . . . Lord Churchill. GAINSBOROUGH, T. 90 Girl Feeding Pigs Earl of Carlisle. STUBBS, G. 91 Phaeton and the Horses of the Sun . . . . . Earl of Morley. WEST, B. 92 The Departure of Regulus Her Majesty. ZOFFANY, J. 93 Group of George III. and Royal Family Her Majesty. 94 Queen Charlotte and Family Group Her Majesty. GAINSBOROUGH, T. 95 Cottage Door Marquis of Westminster. WILSON, R. 96 Apollo and the Seasons (the Figures by Mortimer) . J. Bentley, Esq. HOGARTH, W. 9S* Portrait of Mrs. Doughty Colonel Mayow. OWEN, W. 97 A Boy and Kitten Royal Academy. HOPPNER, J. 98 Portrait of a Lady L. Huth, Esq. WILSON, A. 99 The Frith of Forth . . . . . . M. N. McDonald Hume, Esq. ROMNEY, G. 100 Portrait of Admiral Sir C. Hardy Greemoich Hospital. REYNOLDS, SIR JOSHUA. 101 Portrait of George John, Yiscount Althorp .... Earl Spencer. 10.2 Cymon and Iphigenia . . . . . . . . . Her Majesty. MORLAND, G. 103 Gipsies J. E. Fordham, Esq. WILSON, R. 104 View on the Dee Marquis of Westminster. IBBETSON, J. C. 105 Pont Aberglaslyn • J. Bentley, Esq. DE LOUTHERBOURG, P. J. 108 Lord Howe's Victory, TJshant, 1st June, 1794 . . Greenivich Hospital. 13 Qil-Paintings.J BRITISH DIVISION. [Principal Gallery. CHAMBERLAYNE, MASON. 107 Portrait of Algernon Herbert, as a Child . . . Earl of Carnarvon. REYNOLDS, SIR JOSHUA. 108 Portrait of Hon. Mrs. Stanhope, as " Contemplation " . J. Allnutt, Esq. 109 Portrait of the Marquis of Rockingham .... Her Majesty. 110 Portrait of Mrs. Siddons, as the Tragic Muse (Repetition) Dulwich College. 111 Portrait of the Marquis of Hastings Her Majesty. 112 Portrait of Nelly O'Brien E. Mills. Esq. MORLAND, G. 113 Gipsies . . . Mrs. Ellison. 114 A Sea Shore— Wild-fowl Shooting Earl of Carnarvon. 115 The Reckoning F. P. Round, Esq. GAINSBOROUGH, T. 116 Portrait of Mrs. Elliot Duke of Portland. 117 A Farm- yard Mrs. Ellison. 118 Landscape and Cattle Marquis of Lansdowne. OPIE, J. 119 David Rizzio Corporation of London. COPLEY, J. S. 120 A Boy with a Squirrel . Lord Lyndhurst. HOPPNER, J. 121 Portrait of H.R.H. Princess Sophia Her Majesty. NORTHCOTE, J. 122 The Last Sleep of Argyll Earl Grey WEST, B. 123 The Death of General Wolfe Her Majesty WRIGHT, J. 124 The Porge Viscount Palmerston. CROME, J. 125 A Clump of Trees . . . . Mrs. Ellison. 126 Landscape J. E. Fordham, Esq. BIRD, E. 127 Saturday Night Her Majesty. COPLEY, J. S. 128 The Death of Major Pierson, at Jersey, 1780 . . Lord Lyndhurst. 129 Portraits of the Princesses Amelia, Sophia, and Augusta . Her Majesty. DE LOUTHERBOURG, P. J. 130 Landscape . . . Her Majesty. SINGLETON, H. 131 The General Assembly of the Royal Academy . . . Royal Academy. GAINSBOROUGH, T. 132 Portrait of Dupont . . . G. Richmond, Esq. STOTHARD, T. 133 Diana Reposing J. W. Brett, Esq. 14 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. REYNOLDS, SIR JOSHUA. 134 Tub School-boy Earl of Warwick. 135 "Maternal Love," — Portraits of Mrs. Hartley as a Bacchante, and her Child J. Bentley, Esq. RAMSAY, A. 136 Jo tin, Duke op Argyll Corporation of Glasgow. OROME, J. 137 Landscape, Heath Scene . W. H. Hunt, Esq. 138 Carrow Abbey (Sky by Opie) Miss Martineau. HOPPNER, J. 139 Portrait op H.E.H. Princess Mary Her Majesty. NORTHCOTS, J. 140 The Death op Wat Tyler Corporation of London. LAWRENCE, SIR THOMAS. 141 Portrait op Pope Pius VII. . . Her Majesty. RUNCIMAN, A. 142 King Lear in the Storm D. Laing, Esq. MORLAND, G. 143 Sheep . . . C. Curling, Esq. BIRD, E. 144 The Eaffle National Gallery. GIBSON, D. C. 145 Spanish Gossips . T. Creswick, Esq. STONE, F. 145* A Normandy Peasant T. Creswick, Esq. RAEBURN, SIR H. 146 Portrait op the Artist's Son on a Grey Pony . National Gallery of Scotland. 147 Portrait op Lord Eldin ..... Sir W. Gibson Craig. 148 Portrait op McDonald op St. Martin's . Highland and Agricultural Society of Scotland. DANBY, F. 149 Peleus and Thetis . . . . ... . . . W. Bashall, Es$. HAMILTON, W. 150 Apollo at the Fountain Corporation of London. HOWARD, H. 151 A Lady and Children ........ Lr. Sutherland. NASMYTH, p. 152 Landscape • J. Nasmyth, Esq. HILTON, W. 153 Triumph op Amphitrite Mrs. Ellison. GLOVER. W. 154 Durham Earl of Durham. ZOFFANY, J. 155 The Tribune, Florence Her Majesty. 15 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. CROME, J. 156 The Great Oak Tree R Scott ^ Esq , 157 View on Household Heath . . \ w. Yetts, Esq. LAWRENCE, SIR THOMAS. 158 Portrait of Sir Humphry Davy Royal Society. 159 ' Portrait of the Earl of Liverpool Her Majesty. PHILLIPS, T. 160 Venus and Adonis Royal Academy . WEST, B. 161 The Oath of Hannibal Her Majesty. RAEBURN, SIR H. 162 Boy with a Rabbit . . . . . * . Royal Academy. CALLCOTT, SIR A. W. 163 Gulf of Salerno . ... . ... . . . H. McConnel, Esq. SMIRKE, R. 164 Sirens . . . . , .... . . . ' . . Sir R. Smirlce. 165 Sirens Sir R. Smirlce. 166 Scene from Don Quixote . . . . Mrs. Martineau. STOTHARD, T. 167 Charity Royal Academy. HOFLAND, T. C. 168 Richmond Hill . . . J. AUnutf, Esq. CHALON, J. J. 169 Hastings Department of Science and Art. WESTALL, R. 170 The Wild Huntsman Her Majesty. SMIRKE, R. 171 Dancing Children Sir B. Smirlce. STOTHARD, T. 172 Canterbury Pilgrimage . Sir W. Miles. NASMYTH, P. 173 A Pond, with Burdocks Keith Barnes, Esq. 174 Ringwood J. Fallows, Esq-. JACKSON, J. 175 Portrait of J. Elaxman, R.A Viscount Clifden. HILTON, W. 176 The Angel delivering St. Peter W. Bishop, Esq. LAWRENCE, SIR THOMAS. 177 "Nature" — Portraits of the Two Daughters of C. B. Calmady, Esq V. P. Calmady, Esq. 178 Portrait of R. Hart Davis, Esq B.V. Davis, Esq. 16 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. BONINGTON, R. P. 179 Venice . ... ............ • H.A.J. Munro, Esq. 180 A Turk T. Birchall, Esq. 181 Francis I. and his Sister H.A.J. Munro, Esq. 182 Yenice— Procession op Monks T. Baring, Esq. WALTER, H. 183 A Farmyard . . . . ■ . . : • G. Richmond, Esn, CALLCGTT, SIR A. W. 184 Landscape— Dort J.E. Fordham, Esq. WESTALL, R. 185 Nelson's Conflict with a Spanish Launch . . . Greenwich Hospital HARLOW, G. H. 186 The Kemble Family ......... Mrs. Morrison. HOFLAND, T. C. 187 A Shipwreck off Scarborough Duke of Sutherland. RAEBURN, SIR H. 188 Portrait of the Artist H. Raeburn, Esq. BRIGGS, H. P. 189 Blood's attempt to steal the Regalia .... Royal Academy. PRENTICE, J. K. 190 Fishermen picking up a Wreck on the Coast of Berwick . Sir' A. I. Campbell. CALLCOTT, SIR A. W. 191 Ghent . . . H. McConnel, Esq. 192 Southampton Water . . . . . . . . W. Gibhs, Esq. 193 Shipping on the Thames Marquis of Lansdowne. LAWRENCE, SIR THOMAS. 194 Portrait of Lady M. Bentinck Duke of Devonshire. 195 Portraits of Countess Grey and her Daughters .... Earl Grey. 196 Portrait of the Earl of Eldon Her Majesty. BONINGTON, R. P. 197 French Coast Scene R. Newsham, Esq. 198 View on the Coast of Normandy .... Marquis of Westminster. SHEE, SIR M. A. 199 Portrait of John Fawcett, of Covent Garden Theatre — Rev. J. T. C. Faiccett. HILTON, W. 200 The Crucifixion . . Corporation of Liverpool. THOMSON (ofDuddingston). 201 Ravensheugh Castle . Duke of Buccleuch. BRIGGS, H. P. 202 The First Conference between the Spaniards and Peruvians . National Gallery. 17 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. UWINS, T. 203 Neapolitan Minstrels H. McConnel, Esq. THOMSON (of Duddingston). 204 Scene on the Clyde Professor Pillans. CHALON, J. J. 205 The Gravel-pit . S. Redgrave, Esq. STOTHARD, T. 206 Intemperance, — Mark Antony and Cleopatra . . National Gallery. 207 A Greek Vintage National Gallery. HILTON, W. 208 Murder op the Innocents E.E. Antrobus, Esq. KAUFMANN, A. 209 Portrait of Margaret, Countess of Lucan .... Earl Spencer. FUSELI, H. 210 Queen Mab (" L' Allegro ") Baroness North. 211 Expulsion of Satan from Paradise W. Anger stein, Esq. 212 The Night-mare Baroness North. CALLCOTT, SIR A. W. 213 Mouth of the Tyne Sir M.W. Ridley. ALLAN, SIR WILLIAM. 214 Sir Walter Scott's Daughter Her Majesty. 215 The Murder of Archbishop Sharpe on Magus Moor, 1679 — Rev. Dr. Lochhart. CHALON, A. E. 216 Sampson and Delilah S. Redgrave, Esq. UWINS, T. 217 The Carver of Images— Interior of a Neapolitan Saint Manufactory . . . . . . T. Fairbaim, Esq. LAWRENCE, SIR THOMAS. 218 Portrait of Mrs. Siddons R- Tait, Esq. HOWARD, H. 219 Diana and the Nymphs . Mrs. Morrison. SCOTT, D. 220 Paracelsus Lecturing ... J, Gibson Craig, Esq. BLAKE, W. 221 Christ in the Lap of Truth, and between his Earthly Parents R-M. Milnes, Esq. COOK, RICHARD. 222 Ceres, disconsolate for the loss of Pr®serpine, rejects the solicitation OF Iris, sent TO her BY Jupiter . Royal Academy. JACKSON, J. 223 Portrait of J. Northcote, E.A Earl °f Carlisle. 18 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. ROTHWELL, R. 224 Study op a Child's Head T. Underwood, Esq. BEECHEY, SIR WILLIAM. 225 Portrait of John Philip Kemble Dulwich College. UWINS, T. 226 Le Chapeau de Brigand ' National Gallery. 227 Peasants coming into Naples on the Morning op a Festa T. Baring, Esq. LAWRENCE, SIR THOMAS. 228 Portrait op the Countess op Shaftesbury, as a Child Viscountess Palraerston. LAWRENCE, SIR THOMAS. 229 Portrait of Sir W. Curtis Her Majesty. DANBY, F. 230 The Wild Sea-shore R. Newshcm, Esq. DAVIS, H. W. B. 231 Early Morning — Coast op Boulogne J. Eayllar, Esq. LIVERSEEGE, H. 232 The Enquiry J. Rick, Esq. I MOORE, H. 233 Haymaking in Switzerland C. E. Mudie, Esq. MARTIN, J. 234 Belshazzar's Feast . J. Naylor, Esq. THOMSON (of Duddingston). 235 East Castle M. N. McDonald Hume, Esq. CROME, J. 236 Yarmouth Old Jetty Major Marsh. NASMYTH, P. 287 A Rivulet, with White Horse Keith Barnes, Esq. LIVERSEEGE, H. 238 Lucy Ashton .... J". Hick, Esq. DANBY, F. 239 Polyphemus J. Hick, Esq. EDDIS, E. U. 240 Naomi, Ruth, and Orpah Lord Overstone. LIDDERDALE, C. S. 241 "Happy" J. H. Mann, Esq. STANFIELD, G. C. 242 The G-rey Friars, Richmond G.W. Cosens, Esq. PATTEN, A. F. 243 The Fair Persian tempting the Sheikh with Wine ("Arabian Nights") R. Baker, Esq. 19 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. DANBY, F. 244 Passage of the Red Sea . . . .. #. . Duke of Sutherland. 245 The Fisherman's Home . National Gallery. 246 The Painter's Holiday . . Mrs. Ellison. EDDIS, E. U. 247 The Raising op the Daughter of Jairtjs . . . Hon. P. J. Lode King. MARTIN, J. 248 The Fall of Man . . . . . . . . Messrs. Graves. 249 Joshua commanding the Sun to stand still . . . J. Nat/lor, Esq. MACNEE, D. 250 Portrait of Mrs. Walkinshaw Artist. HAYDON, B. R. 251 The Mock Election Her Majesty. COLLINS, W. 252 Rustic Civility Duke of Devonshire. LIVERSEEGE, K. 253 Captain Macheath— " Beggars' Opera" .... W. Slater, Esq. CONSTABLE, J. 254 Salisbury Meadows T. Ashton, Esq. 255 Dell in Helmingham Park H. McConnel, Esq. WILKIE, SIR DAVID. 256 Nymphs Gathering Grapes G. Young, Esq. (Ryde.) 257 The Pifferari, with Pilgrims playing Hymns to the Madonna Her Majesty. 258 Princess Doria washing the Pilgrims' Feet . . Her Majesty. 259 The Confessional Marquis of Lansdowne. COLLINS, W. 260 Frost Scene : Morning after a Storm . . . . . Sir R. Peel. WARD, J. 261 A Cabinet Picture R. Rothoell, Esq. ETTY. WILLIAM. 262 Psyche giving a Casket to Venus . . .« . . T. Baring, Esq. 263 Nymph and Satyrs . • • Royal Academy. 264 Sabrina • T. Baring, Esq. VINCENT. G. 265 Greenwich Hospital W. 0, Foster, Esq. LIZARS, W. H. 266 Reading the Will National Gallery of Scotland. CONSTABLE, J.. 267 The Hay Wain . . . G. Young, Esq. (Ryde.) TURNER, J. M. W. 268 Seventh Plague of Egypt G. Young, Esq. (Ryde.) 20 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. HAYDON, B. R. 269 The Judgment of Solomon Lord Ashburton. SIMSON, W. 270 Landscape, with Cattle • D. Simson, Esq. CONSTABLE, J. 271 Arundel Castle and "Water-Mill Captain Constable. COLLINS, W. 272 Minnow Catchers t W. Bashall, Esq. 273 A Scene on the Coast op Norfolk Her Majesty. 274 "Happy as a King" . . . . . . . John Naylor, Esq. WILKIE, SIR DAVID. 275 The Maid of Saragossa . . . . '- . . . « . . Her Majesty. 276 The Parish Beadle . . . . • National Gallery. 277 The Penny Wedding : Her Majesty. 278 Pitlessie Pair - . . C. Kinnear, Esq. 279 The Guerilla taking leave of his Confessor .... Her Majesty. 280 The Guerilla's Keturn to his Family Her Majesty. 281 The Village Festival . . . . . . . National Gallery. 282 Blind Man's Buff Her Majesty. 283 Guerilla Council of War in a Spanish Posada . . . Her Majesty. CONSTABLE, J. 284 Salisbury Cathedral . Mrs. Mirehouse. 285 Landscape — Flatford Mill R. Newsham, Esq. 286 The Cenotaph at Coleorton, in Memory of Sir Joshua Reynolds . . Miss Constable. WARD, J. 287 An Alderney Bull, Cow, and Calf G. R. Ward, Esq COLLINS, W. 288 The Morning Bath H. McConnel, Esq. 289 The Shrimpers Her Majesty. VINCENT, G. 290 Landscape— Whitlingham, looking towards Norwich . . R. B. Scott, Esq. PICKERSGILL, f. r. 291 Samson betrayed Royal Institution, Manchester. TURNER, J. M. W. 292 Mercury and Herse ......... Miss Swinburne. COLLINS, W. 293 The Skittle Players G. Young, Esq. (Ryde.) NEWTON, G. S. 294 Shylock and Jessica . . . Lord Taunton. WILKIE, SIR DAVID. 295 Boys digging for a Rat . . ... . . Royal Academy. 21 Oil-Paintings.] BRITISH- DIVISION. [Principal Gallery. DUNCAN, THOMAS. 296 The Entry of Prince Charles Edward into Edinburgh . A. Hill, Esq. MULREADY, W. 297 Firing the Cannon . . . Sir B. Peel. 298 Mother and Child Department of Science and Art. 299 BURCHELL AND SOPHIA IN THE HAY-FIELD (" YlCAR OF Wakefield ") T. Baring, Esq. 300 The Whistonian Controversy T. Baring, Esq. 301 The Bathers . . T. Baring, Esq. 302 Touchwood and Cargill ("St. Eonan's Well") . . Miss Swinburne. 303 " Train up a Child " T. Baring, Esq. 304 Carpenter's Shop and Kitchen . . . . . . Miss Swinburne. CONSTABLE, J. 305 Hampstead Heath Captain Constable. 306 The Opening of Waterloo Bridge . . . . P. Westcott, Esq. 307 The Glebe Farm Miss Constable. CHALON, J. J. 308 Village Gossips Department of Science and Art. LAUDER, R. S. 309 Christ Walking on thf Sea Miss Burdett Coutts. LUCY, C. 310 Lord Nelson in the Cabin of "The Victory". . . , Sir B. Peel. LESLIE, C. R. 311 Don Quixote in the Sierra Morena, deceived by the Curate, Barber, and Dorothea Earl of Essex. 312 Merry Wives of Windsor Lord De Tabhy. GRANT, F. 313 Portrait of Lady E. S. Wortley ..... Duke of Butland. ETTY, WILLIAM. 314 Venus descending G. Young, Esq. (Byde.) WARD, J. 315 A Boar T.D. Edwards, Esq. NASMYTH, A. 316 Portrait of Robert Burns Lieut. Col. Bums. COLLINS, W. 317 The Stray Kitten J.E. Fordham, Esq. 318 The Bird-catchers— Morning Marquis of Lansdowne. NEWTON, G. S. 319 The Vicar of Wakefield reconciling his Wife to Olivia Primrose Marquis of Lansdoione. CONSTABLE, J. 320 The Lock , • • . • . . . •. • • .Mrs. Morrison. 22 Oil-Paintings.] BRITISH DIVISION. Principal Gallery.] GRANT, F. 321 Portrait of General Lord Clyde, G.C.B. . . . Earl Canning. 322 Portrait op Mrs. Markham ■ - . . . . , , . .. Artist. SCOTT, D. 323 The Duke op Gloucester taken in at the Water Gate, Calais R. Carfrae, Esq. DIGHTON, D. 324 Defeat of the Turks by the Suliotes in the Defile OF Klissura ......... P. Macintyre, Esq. FtJSELI, H. 325 CEdipus and his Daughters, when the Furies visit CEdipus J. AiJcin, Esq. COLLINS, W. 326 A Fish Auction Earl of Essex. 327 Return from the Sea-Fowls' Haunt J. Naylor, Esq. LESLIE, C. R. 328 Fairlop Fair Duchess of Norfolk. NEWTON, G. S. 329 Scene from the Beggars' Opera — Captain Mac- heath upbraided BY POLLY AND Lucy . . Marquis of Lansdowne. 330 Yorick and the Grisette National Gallery. TURNER, J. M. W. 331 The Guardship at the Nore W. 0. Foster, Esq. 332 Schaffhausen Lord Be Tabley. 333 The Beach, Hastings . . Sir A. A. Hood. 334 Pope's Villa at Twickenham Mrs. Morrison. ETTY, WILLIAM. 335 Hylas carried away by the Nymphs .... H. Farrer, Esq. 336 The World before the Flood . , . . ' . . Duke of Sutherland. 337 Benaiah, one of David's mighty men — " He slew two lion-like men of Moab" (1 Chron. xi. 22) . . . Royal Scottish Academy. WESTCOTT, P. 338 Portrait of J. Brotherton, Esq., M.P Artist. TURNER, J. M. W. 339 Italy Mrs. Morrison. NEWTON, G. S. 340 The Duenna . . . . Her Majesty. 341 The Student Royal Academy. LESLIE, C. R. 342 Children playing at Horses J. R. Wigram, Esq. 343 Queen Katherine J. Dugdale, Esq. 344 Sancho Panza in the Apartment of the Duchess . . National Gallery. 345 May-day in the Time of Queen Elizabeth . t . . .J. Naylor, Esq. 23 Oil-Paintings. J BRITISH DIVISION. [Principal Gallery. LESLIE, C. R. 3i6 Scene from "Don Quixote"— The Duke's Chaplain ENRAGED LEAVING THE TABLE Joshua Bates, Esq. 347 The Queen receiving the Sacrament after her Coronation Her Majesty. PARTRIDGE, J. 348 Portrait of Her Majesty (1840) .... II.R.H. the Prince Consort. 349 Portrait of H.R.H. the Prince Consort (1840) . , . Her Majesty. TURNER, J. M. W. 350 DUNSTANBOROUGH Castle T. Birchall, Esq. ■ 351 Mill and Lock T. Birchall, Esq. ETTY, WILLIAM. 352—354 Subjects from the History of Judith and Holofernes . Royal Scottish Academy. 1. " Now Judith had commanded her maid to stand without her bed-chamber, and to wait her coming forth. 2. " And she approached to his bed, and took hold of the hair of his head, and said, ' Strengthen me, O Lord God of Israel, this day !"' 3. " She went forth, and gave Holofernes' head to her maid, and she put it into her bag of meat." LESLIE, C. R. 355 Sir Roger de Coverley going to Church . . . Marquis of Lansdowne. 356 The Dinner at Page's House — (" Merry Wives of Windsor") . Lady Lawley. 357 A Head— Perdita Messrs. Agnew. GOOD, T. S. 358 Reading the News Mrs. Ellison. 359 An Old Woman Mrs. Ellison. MULLER, W. J. 360 A Syrian Dance H. McConnel, Esq. STONE, F. 361 Contemplation W. Bashall, Esq. STANFIELD, C. 362 French Troops crossing the Tyrol . . . . . . Messrs. Graves. GORDON, SIR J. W. 363 Portrait of Rev. Dr. Brunton University of Edinburgh. MACLISE, D. 364 Mokanna, the Yeiled Prophet of Khorassan ("Lalla Rookh") T. Ashton, Esq. ROBERTS, D. 365 Church of St. Gomer, Lierre, Belgium T. Baring, Esq. 24 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. EASTLAKE, SIR C. L. 366 Christ blessing Little Children H. McConnel, Esq. 367 The Escape of Francesco Carrara Mrs. Morrison. 368 Greek Fugitives from gcio J. Dugdale, Esq. HURLSTONE, F. Y. 369 Italian Peasant Boys Wynn Ellis, Esq. 370 Columbus asking for Alms at the Convent of La Rabida H. Wilson, Esq. 371 Italian Peasants playing at "Morra" .... H. Bradley, Esq. MEADOWS, J. Sen. 372 Dutch Boats leaving Port Artist. ETTY, WILLIAM. 373 The Combat — Woman pleading for the Vanquished . Royal Scottish Academy. 374 Cleopatra Lord Taunton. LAURENCE, S. 375 Portrait of James Spedding, Esq Mrs. John Spedding. GORDON, SIR J. W. 376 Portrait of Sir A. Gordon Cumming .... Sir A. Gordon Cumming. STANFIELD, C. 377 The Abandoned T. Baring, Esq. 378 Scene on the Maas, near Dort J. JDavies, Esq. GILBERT, J. GRAHAM. 379 Portrait of Sir J. W. Gordon Royal Scottish Academy. 380 Portrait of a Lady Artist. LEAR, E. 381 The Cedars of Lebanon Artist. 382 Corfu, from the Hill of Ascension w. Evans, Esq. DELAMOTTE, W. Sen. 383 Woodgirls IN Bisham Woods, Marlow . . . . . . Artist. LINNELL, J. 384 Under the Hawthorn-tree J". Graham, Esq. KEYL, F. W. 385 Fetching the Old Mare Home G. Turner, Jun. Esq. MULLER, W. J. 386 Salmon Trap on the Lledr e. Bradley, Esq. 387 Rhodes . Sir J. Watts. ROBERTS, D. 388 The Cathedral, Milan Jm Fenton, Esq. PATON, J. N. 389 The Quarrel of Oberon and Titania . . National Gallery of Scotland. GORDON, SIR J. W. 390 Portrait of J. M. Macleod, Esq j t m. Macleod Esq 25 ' Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. HURLSTONE, F. Y. 391 Pepino, the Roman Bot, as Eros .... Marquis of Lansdoione. BOXALL, W. 392 Portrait of P. Barlow. Esq. . . • • . . . Artist. 393 Portrait of Mrs. J. D. Coleridge , . . . . sir J. T. Coleridge. BAXTER, C. 394 Autumn Fruit c. Prater, Esq. ROBERTS, D. 395 Church of St. Lorenzo, Rome D. Salomons, Esq. LANDSEER, SIR E. 396 Portrait of J. Allen. Esq Lieut-Gen. C. R. Fox. BOSTOCK, J. 397 The Sanctuary c. Prater, Esq. LINNELL, J. 398 Sand-pits . . . . . . . . . . j. Naylor, Esq. 399 Harvest Dinner . . . J. Fenton, Esq. LINNELL, J. 400 Shepherds L Huth, Esq. LINTON, W. 401 Epping Eorest . .J. C. Grundy, Esq. COBBETT, E. J. 402 A Bit of Luncheon . . . . • . . . . H. Berger, Esq. CROSS, J. 403 Richard Cceur de Lion forg iving: Bertrand de Gourdon— Il'.M. Office of Works. SIMSON, W. 404 Fishing-smacks in a Squall off the Bass Rock . . Sir A. I. Campbell. LANDSEER, SIR E. 405 The Combat— Night Viscount Eardinge. 406 The Defeat — Morning Viscount Eardinge. 407 Bolton Abbey Duhe of Devonshire. 408 The Drive — Shooting Deer in the Pass— Scene in the Black Mount, Forest of G-lenorchy . . II.R.TI. the Prince Consort. 409 The Children of the Marquis of Abercorn. . . Marquis of Abercorn. COLLINSON, R. 410 Hopes and Fears Artist. BARNES, E. C. 411 Eus in Urbe S. TV. Haycock, Esq. ■ HURLSTONE, F. Y. 412 Margaret D'Anjou and Edward Prince of Wales after the Battle of Hexham Artist. 26 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. MACLISE, D. 413 Caxton exhibiting- A Proof Sheet to Edward IV. . . J. Forster, Esq. 414 The Banquet Scene, Macbeth . . . . . . Earl of Chesterfield. 415 The Disenchantment of Bottom — (" Midsummer , Night's Dream ") T. Agnew, Esq. LINNELL, J. 416 St. John preaching in the Wilderness R. Newsham, Esq. 417 The Sheep-fold — Evening W. Unwin, Esq. THOMPSON, J. 418 The Signal W. Preston, Esq. ETTY, WILLIAM. 419 The Homeric Dance J. Pennant, Esq. DELAMOTTE, W. Sen. 420 The Drover — near Marlow Artist. STANFIELD, C. 421 Old Holland . . . A. C. Burnand, Esq. CHAMBERS, G. 422 Dutch Indiamen getting up their Anchors after a Storm H. Bradley, Esq. WELLS, MRS. H. T. 423 "Do I like Butter?" G. P. Boyce, Esq. CARRICK, R. 424 Anxiety . L. PococJc, Esq. WITHERING-TON, W. F. 425 Children in the Hop Garden T. Fairbairn, Esq. 426 The Village Post Office J. Bones, Esq. LANDSEER, SIR E. 427 The Sanctuary H.R.E. the Prince Consort. STANFIELD, 0. 428 Tilbury Eort— Wind against Tide ..... J. Graham, Esq. LEIG-HTON, f. 429 Nanna H.R.E. the Prince of Wales. CHAMBERS, G. 430 A Sea Piece Mrs. Ellison. WELLS, MRS. H. T. 431 The Departure (An Episode of the Child's Cru- sade, 12th Century) . II. T. Wells, Esq. HAYTER, SIR G. 432 Christening of the Prince of Wales Artist. PICKERSGILL, F. R. . ' 433 The Burial of Harold . . . . . HM. Office of WorJcs. 27 Oil-Paintings.] SRITISH DIVISION. [Principal Gallery. WILLIAMS, PENRY. 434 Rustic Amateurs— Scene near Olevano .... W. C. Kerr, Esq. MULLER, W. J. 435 S. Giorgio, Venice ' . . . • W. Bashall, Esq. ROBERTS, D. 436 Ruins of the Temple op the Sun, Baalbec— Sur- prise of the Caravan J. Davies, Esq. MULLER, W. J. 437 The Baggage Waggon T. Ashton, Esq. HUGHES, A. 438 Home from Work J. Leathart, Esq. WILSON, J. 439 Taking in a Pilot G. Young, Esq. (Edinburgh.) STONE, F. 440 Cross Purposes Marquis of Lansdowne. HARVEY, G. 441 Past and Present: Children blowing Bubbles in a Graveyard . R. Piatt, Esq. PICKERSGILL, H. W. 442 Portrait of Lord Chancellor Truro . . Incorporated Law Society. HAYTER, sir g. 443 Joseph interpreting the Chief Baker's Dream . . . Rev. W. Finch. COOPER, A. 444 Battle of Marston Moor Lord Ribblesdale. RICHMOND, G. 445 Portrait of Harry Tnglis Richmond Artist. MARSHALL, C. 446 Brailes Hill, Aston Magna J. Beaufoy, Esq. BAXTER, C. 447 Love Me, Love my Dog Artist. WILSON, JOHN J. 448 Morning after a Storm, Corbiere Rocks, Jersey . . J. Hawkins, Esq. SOLOMON, MISS. 449 Behind the Curtain" Miss Burdett Coutts. GOSLING, W. W. 450 "-When he came to grene Wode," &c. (Old Song) . Marquis of Downshire. BRODIE, J. L. 451 Loed Ullin's Daughter (Campbell} Artist. CHESTER, G. 452 The Cottage on the Hill J. Page, Esq. 28 Oil-paintings. ] BRITISH D;VISlOM. [Principal Gallery. BARWELL, F. B. 453 Return of the Missing Crew Lady Antidhetta Nod. HOOK, J. C. 454 The Marriage Feast (Boccaccio's "Decameron") . . W. Bashall, Esq. LE JEUNE, H. 455 Christ blessing Little Children Mrs. Ryland. DANBY, THOMAS. 456 Llyn Gwynant Artist. LEE, F. R. 457 Where the Railway has not yet come .... Sir F. Goldsmid. O'NEILL, G. B. 458 The Auction — "Last Day op the Sale" . . . . A. C. Burnand, Esq. GILBERT, J. GRAHAM. 459 A Peasant Girl Artist. SOLOMON, A. 460 Consolation . . Artist. WHAITE, H. C. 461 A Leaf from the Book of Nature . . . ' . . . . Artist. O'NEILL, G. B. 463 The Jury G. C. Dewhurst, Esq. HULME, F. W. 463 Efos Noddyn, on the .Conway w. Herbert. Esq. TENNANT, J. 464 English River Scene • . . . , \y. Birhy, Esq. OAKES, J. W. 465 Early Twilight Artist. HUGHES, A. 466 Ophelia Sir Walter James. ANTHONY, MARK. 467 The Yew Tree . . . K A . Butler ^ ^ LANCE, G. 468 ^ UIT . Mrs. Leech. OAKES, J. W. 469 Aberfraw Bay ........ . . . . . . , M < Prance ^ ^ DRUMMOND, J. 470 Cromwell in Edinburgh $ Pender, Esq. WELLS, MRS. H. T. 471 "Peep-bo!" , Mrs.Boyce. MOORE, H. 472 A Swiss Meadow in June J. Pritchard, Esq. 29 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. STONE, M. 473 Claudio, deceived by Don John, accuses Hero ( u Much Ado about Nothing " ) J. N. Mappin, Esq. KNIGHT, W. H. 474 A Village School R. Hornsby, Jun. Esq. HAYES, E. 475 Golston Pied,— Blowing Fresh J. Morby, Esq. GOW, J. 476 Preparing the Ark for the Infant Moses .... Messrs. Volcins. HOOK, J. C. 477 "Stand Clear" A. C. Burnand, Esq. CARPENTER, MRS. 478 The Twin Sisters Mrs. Manson. WINTERHALTER, F. 479 Portraits of H.E.H. the Crown Prince of Prussia, H.E.H. the Crown Princess (Princess Boyal), and their Children Her Majesty. LANDSEER, SIR E. 480 Her Majesty and Prince Albert,— Windsor Castle, 1842 . Her Majesty. BRETT, J. 481 Yal d'Aosta J.J. EusJcin, Esq. FOGGO, J. & G. 482 Parga . . G. Foggo, Esq. DAVIS, W. 483 Harrowing ........ . . J. Miller, Esq. GOW, J. 484 A Volunteer for Cromwell Artist. FAED, JOHN. 485 Job and his Friends Hugh Stevenson, Esq. M'CALLUM, A. 488 A Moorland Queen J. Phillip, Esq. WELLS, H. T. 487 A Portrait . . Artist. HOLLAND, J. 438 The Bjalto, Venice L. Ruth, Esq. COEBETT, E. J. 439 A Welsh Scene J. Bryant, Esq. WILSON, JOHN J. 490 A FisniNG Lugger taking up Nets off Boulogne . . .A. Price, Esq. LAUDER, R. S. 491 The Bride of Lammermoor Earl of Ellesmcre. 00 Oil-Paintings.J BRITISH DIVISION. [Principal Gallery. BRETT, J. 492 The Hedger . . . . . . • Artist. MORRIS, P. R. 493 The Captive's Return G.P. Bidder, Esq. BOND, W. J. J. C. 494 The Old Bridge, "Pont Gaseg," N. Wales Artist. HARDING, J. D. 495 The Alps from between Lecco and Como ... J". Thornton, Esq. WEBBE, W. J. 493 The Cottar's Cow C. Lucas, Esq. HERING, G. E. 497 Tke Bat of Bale D. Ward Chapman, Esq. ; WILLIAMS, PENRY. 498 Ferry on the Eiver Ninfa, Pontine Marshes . W. E. Forman, Esq. KNIGHT, W. H. 499 The Broken Window — Who threw the Stone ? . B. Gibbons, Jun. Esq. BROOKS, THOMAS. 500 Shakspeare before Sir Thomas Lucy Messrs. Graves. COLLINSON, J. 501 The Writing Lesson . . Miss Burdett Coutts. DOUGLAS, W. 502 The Old Curiosity Shop, Rome . . . . . J. Gibson Craig, Esq. HEMSLEY, W. 503 No longer " Baby " E. Merger, Esq. HULME, F. W. 504 Near the Common, Woking, Surrey J. Cressingham, Esq. BROMLEY, W. 505 Eide-a-Cockhorse C. Prater, Esq. M'INNES, R. 506 Shrine of Santa Fina, in the Duomo, S. Geminiano, Tuscany B. Salomons, Esq. PAED, JOHN. 507 Boaz AND Euth . Bouglas Murray, Esq. SMITH, G. 508 Baby's Breakfast T. Baring, Esq. HEMSLEY, W. 509 The Emigrant's Letter Artist. CLARK, J. 510 The Sick Child . . . . . . . . Lewis Pococ/c, Esq. LANCE, G. 511 Fruit ........... Mrs. Earle. 31 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. COLE, V. 512 A Surrey Cork-field . . . .... . T. Redfern, Esq. LESLIE, JOHN. 513 "Children, Christ died for You" . Artist. JOHNSTON, A. 514 The Press-Gang, Sixty years ago ........ Artist. HORSLEY, J. C. 515 The Duenna's Return T. Burnand, Esq. BROWN, F. M. 513 The Last of England J. Crossley, Esq. HUGHES, E. 517 Timely Help A. Cuthell, Esq. MARKS, H. S. 518 The Franciscan Sculptor and his Model E. Akroyd, Esq. LINNELL, W. 519 Collecting the Flocks » J.. Kelk, Esq. CLAXTON. M. 520 The Sepulchre • Artist. COOPER. A. 521 Battle of Assays Artist. RANKLEY, A. 522 The Evening Song J. Thomas, Esq. WOLF. J. 523 u Just Out " — the Tale (tail) of a Teal .... Earl of Ellesmere. WILSON, JOHN J. 524 Retour au,.Port F. S. Teesdale,Esq. HERRICK, W. S. 525 The Soldier's Wife . A. Brandram, Esq. HUGHES, E. , 526 Off for School J. P. Gassiot, Esq. MORRIS, P. R. 527 Voices from the Sea* A. L. Egg, Esq. COLE, G. 523 Interior of a Welsh Shed Sir C. Douglas. ARCHER, J. 529 Mort d' Arthur J. Wyllie, Esq. HARVEY, G. 530 John Bvnyan and his blind Daughter at the Door of Bedford Gaol R. Horn, Esq. FROST, W. E. 531 Chastity T. Birchall, Esq. '62 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. PATTEN, A. F. 532 The Wife of the Water Carrier trying on the Jewels ("Arabian Sights") . . H.R.H. the Duchess of Cambridge. BROWN, F. M. 533 English Autumn Afternoon Q. Uae, Esq. COPE, C. V/. 534 Death of Princess Elizabeth, Daughter of Charles I. . Mrs. CourtauU. PICKERSGILL, H. W. 635 Portrait of a Spanish Lady Artist. HORSLEY, J. C. 536 Milton dictating "Samson Agonistes" ' . ' . ' . ' . . J. Davies, Esq. STANFIELD, G. G. 53? Richmond, Yorkshire D..Gooch, Esq. DANBY, THOMAS. 538 The Lake of Wallenstadt J. G. Morris, Esq. 539 Pelican Island . . . T. GrisseU, Esq. PETTITT, J. P. 640 The Torrent Bed of the Conway E. A. Butler, Esq. LEIGHTON, F. 541 Cimabue's Madonna carried through Florence . . . Tier Majesty. HOLIDAY, H. 542 The Burgess of Calais (Froissart's Chronicles) .... Artist: EGG, A. L. 643 The Life and Death of Buckingham . . . .J. Coles, Esq. COOPER, T. S. 544 The Mills— October Evening . T. Shaio, Esq. MUTRIE, MISS. 545 Hollyhocks' W.C. Hewitson, Esq. 646 Heather . ~ . . . JR. Hudson, Esq. NORBURY, R. 547 St. John and The Mother of Christ returning from the Crucifixion ^Artist. GOODALL, F. 548 The First Born ..... . . . . II. McConnel, Esq. BROWN, F. M. 549 King Lear . . . ,. . . * . . , , J. Leathart, Esq. DILLON, F. 550 The Colossal Pair— Thebes Mrs. Morrison. FROST, W. E. 551 Una , . . . ♦ . . . ♦ , Rer Majesty, i 33 C Oil-Paintings-.] BRITISH DIVISION. [Principal Gallery. JOHNSTON, A. 552 Lord Lindsay compelling Mary Queen of Scots to Abdicate the Crown J. Penn, Esq. JUTSUM, H. 553 Traces of Past Winters Lord Kingsdoicn. HALLIDAY, M. F. 554 The Hero of the Wreck Artist. REDGRAVE, R. 555 Quentin Matsys, the Blacksmith of Antwerp . . D. Salomons, Esq. ROBERTS, T. 556 The Sick Boy J. Cressingham, Esq. WINGFIELD, J. D. 557 A Summer Afternoon : Hampton Court . . II.R.H. the Prince Consort,, MAGUIRE, T. H. 558 The Outrage upon Sir J. Coventry in Pall Mall, 21 Dec, 1670— The cause of the " Coventry " Act . . Artist, STANFIELD, G. C. 559 St. Michael's, Ghent . L. Loyd, Esq. SEVERN, J. 660 A Venetian Masque's Finale at the Summer's Dawn . Earl of Eglinton. HILL, D. 0. 561 Ossian's Grave, Glenalmond . . , . . . . G. Patten, Esq. COBBETT, e. J. 562 A Ride in a Wheelbarrow D. Goock, Esq. BRANWHITE, C. 563 A Black Frost Sir S. Morton Peto. RICHMOND, G, 564 Portrait of Cecilia Sarah Richmond ...... Artist. DOBSON, W. C. T. 565 Der Rosenkranz Calvert Toulmin, Esq. LANCE, G. 566 The Uninvited Guest ....... v E.L. Betts, Esq. WATTS, G. F. 567 Portrait of Alfred Tennyson , Artist. 568 Portrait. of Sir John M. Lawrence Artist. LAWLESS, M. J. 669 The King's Quarters at Woodstock g. H. Flood, Esq. 670 A Drop TOO much G. H. Flood, Esq. 571 A Dinner Party in the Olden Time G, H, Flood, Esq. 34 Gil-Paintings.] BRITISH DIVISION, [Principal Gallery. GALE, W. 672 Little Grandmother .......... . . . T. Baring, Esq. BOSTOCK, J. 573 Dinah's Prayer ........ . . C. Prater, Esq. ARCHER, J. 674 Summer-time, Gloucestershire , . . . . , Artist. CARRICK, R. 675 Home and its Treasures . . . , . , , L. Pococh, Esq. PHILLIP, J. 576 The Prison Window B.C. Naylor, Esq. 577 Charity T. Robinson, Esq. POOLE, P. F. 578 Solomon Eagle Exhorting the People during the Plague— E. M. Perhins,Esq. SWINTON, J. R. 579 Portrait op Lady Claud Hamilton Artist HUNT, W. HOLMAN. 580 The Light of the World . . T. Combe, Esq. 581 The Lantern Maker's Courtship" Artist. FAED, THOMAS. 582 Conquered, but not subdued H, McConnel, Esq. WARD, E. M. 583 Charlotte Corday going to Execution Miss Barley. HILL, D. O. 584 Edinburgh, on the Queen's Birthday— from the " Mons Meg " Battery at the Castle . ' . . John Miller, Esq. WOLF, J. 585 The Ptarmigans' Haunt Earl Grosvenor. WESTCOTT, p. 586 Portrait of Leonard Kedmayne, Esq. . . . . , Artist. FROST, W. E. 587 Narcissus , . J. T. Caird, Esq. HOLLAND, J. 588 St. Lawrence, Eotterdam — An October Morning . . .J. Billon, Esq. LESLIE, JOHN. 589 A Lady Walking in a Wood . . . .... Mrs. Hat/garth. LEWIS, J. F. 590 A Street Scene in Cairo, near the Bab el Luk . . . T. Baring, Esq. POOLE, P. F. 591 The Song of Philomena on the Shore of the Beautiful Lake (Boccaccio's " Decameron") .... C. F. Perkins, Esq. 35 C 2 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. SANT, J. 592 Little Red Riding Hood . . . . . . . C. Prater, Esq. GAMBARDELLA, S. 593 Peace—An Allegory . ...... : . . . . Artist. COOKE, E. W. 594 The Goodwin Light Ship Sir Culling Eardley. FAED, THOMAS. 595 The First Break in the Family .... P. Brocl-lebanJc, Esq. DYCE, W. 596 Titian making his first Essay in colouring . . . .J. Brand, Esq. 597 The Meeting of Jacob and Rachel . . ' . . . F. Pryor, Esq. * WEBBE, W. J. 598 The White Owl . . C. Lucas, Esq. HOOK, J. C. 599 " Whose Bread is on the Waters " W. J. Lancaster, Esq. KNIGHT, J. P. COO John Knox Preaching at Perth, 1559 « Artist. CRESWICK, T. 601 The Ford ' Mrs. Ellison. MACNEE, D. 602 Portrait of Mrs. Wiseman Artist. COLE, G. 603 Pride and Humility Frances, Countess of Waldeyrave. ANTHONY, MARK. 604 Beeches and Fern J. T. Caird, Esq. PHILLIP, J. 605 "And the Prayer of Faith shall save the Sick" . . J. Todd, Esq. 606 The Contrabandists . II.R.II. the Prince Consort. O'NEIL, H. 607 Eastward Ho 1 . E. II. Leathern, Esq. HART, S. A. 608 Richard and Saladin ("Tales Of the Crusaders") . Sir 31. Montefiore. GILBERT, J. GRAHAM. 609 Portrait of Miss Oswald of Scotston Artist. CRESWICK, T. 610 On Shore . //. Boden, Esq. 611 The Passing Cloud Calvert Toulmin, Esq. HORSLEY, J. C. 612 The Madrigal W. Bashall, Esq. DYCE, W. 613 Pegwell Bay, Kent . . . J. Brand, Esq. SG Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. HOOK, J. 0. 614 " Luff, Boy " J. Stuart Hodgson, Esq. 615 The Brook . . C. Prater, Esq. HART, S. A. 616 Interior of the Synagogue, Leghorn . '. J. Joel, Esq. SANT, J. 617 The Whisper . . . . . ' . . " . " . : . \A. C. Burnand, Esq. LUCY, C. 618 Lord Saye and Sele arraigned before Jack Cade, 1451 Lord Sdye and Sele. MACNEE, D. 619 Portrait of Kev. Dr. Cooke, of Belfast . . Presbyterian College, Belfast. ROTHWELL, R. 620 Study of a Boy in Sunlight, "The Dewdrop" .... Ariist. NAISH, J. G. 621 Kynance Cove, Cornwall V/. Phillipps, Esq. GILBERT, A. 622 A Shady Nook— Barnes, Surrey .... W. A. Chapman, Esq. WELLS. MRS. H. T. 623 Heather-gatherer, Hind Hsad A. Mordan, Esq. LINNELL, W. 624 A Woody Lane ... . . . . . . T. Robinson, Esq. CLARK. J. 625 The Draught-Players . • . . . - . . . w. J. Lancaster, Esq. M'GULLOOH, H. 626 Druidical Stones— Moonlight ... . . . . A. 0. Ewinq, Esq. LANDSEER, C. 627 Mary of Scotland mourning oyer the dying Douglas at the Battle of Langsyds . . . . T. Abbott, Jan. Esq. HERING, tt E. 628 Mountain .Road near Arona . . . ... . . Sir W. B. Call. GRAVES, HON. II. 629 Rebecca . . . . . . ....... . Earl of Winchilsea. TAIT, r. 630 Susanna . . . . . . . . . . . r.w. Hand, Esq. HARDING. J. D. 631 Angers on the Loire . . ....... Capt. Leyland. KNIGHT, J. p. 632 Portrait of R. J. Lane, Esq. . . . . . , . , Artist. DOBSON, W. C. T. 633 The Children in the Market Place Messrs. Grav s. \ 37 C3 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. BOXALL, W. 634 Portrait of F. Huth, Esq. . . . . ... . . Artist. WEBSTER, T. 635 Sunday Evening J. Ptndtr, Esq. DOBSON, W. C. T. 636 Fairy Tales W.J. Lancaster, Esq. LEWIS, J. F, 637 The Kibob Shop, Constantinople K, D. Hodgson, Esq. EGO-, A. L. 638 "August the 4th" — "Have just heard that B has been dead more than a fortnight, so his poor children have now lost both parents. I hear she was seen on Friday last, evidently without a place to lay her head." Artist. GALE, W. 639 Naples, 1859 G. Goss, Esq. LE JEUNE, H. 640 Little Gretchen Mrs. Bacon. MUTRIE, MISS A. F. 641 " Where the Bee Sucks" C. Prater, Esq. 642 " York and Lancaster " C. Prater, Esq. RANKLEY, A. 643 The Tell-tale Bird D. Salomons, Esq. DAWSON, H. 644 The New Houses op Parliament ... . Right Hon. J. E. Denison. EDDIS, E. U. 645 Children at a Fountain — Portraits of the Daughters of J. H. Elwes, Esq J.H. Elwes, Esq. COLE, V. 646 Harvest-time J.Henry, Esq. PEEL, J. 647 Richmond, Yorkshire . . R. Smith, Esq. ROTHWELL, R. 648 Calisto' (Ovid's Met. B. 2) Artist. MILLAIS, J. E. 649 The Vale of Rest B. G. Windus, Esq. 650 Return of the Dove to the Ark T. Combe, Esq. COPE, C. W. 651 Lear and Cordelia . J. Marshall, Esq. 652 The Sisters . . Sir J. Watts. 38 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. COOKE, E. W. 653 Sunset on the Lagune of Venice . . . . . Miss Burdett Coutts. SEIDELL, F. L. 654 The Coliseum, Rome . . J. H. Wolff, Esq. ANSDELL, R. 655 Hunted Slaves . Artist. LEE, F. R. 656 Storm on the Cornish Coast Artist. HERBERT, J. R. 657 S. Mary Magdalen at the Foot of the Cross . W. H. Swire, Esq. 658 The Outcast of the People A. Dennistoun, Esq. 659 S. Mary Magdalen on her way to the Sepulchre . H. McConnel, Esq. ■EGG, A. L. 660 Pepys's Introduction to Nell Gwynne . W. Bashall, Esq. HARDY, F. D. 661 The Crash ! . . . . ' . . . . 8. Cartwright, Jun. Esq. FRITH, W. P. 663 Scene from " The Bride of Lammermoor " . . ♦ . D. Price, Esq. 663 Scene from " Kenilworth " D. Price, Esq. 664 Bed-time H.W. Eaton, Esq. 665 Ramsgate Sands . Her Majesty. 666 Sir Roger de Coverley and "The Spectator" . . . J. Naylor, Esq. 667 Merry-making in the Olden Time J, Graham, Esq. COOKE, E. W. 668 The " Terror " in the Ice of Frozen Strait . . . . S. Gurney, Esq. LANDSEER, SIR E. 669 Brazilian Monkeys with a Pine Apple Her Majesty. PICKERSO-ILL, H. W. 670 Portrait of Mrs. Crellin . . . , . . , / , . Artist. HEAPHY, T. 671 A First Experiment Artist. CARPENTER, MRS. 672 Portrait of a Lady . . . Lady Slade. HARGITT, E. 673 Barmouth, N. Wales C. Hargitt, Esq. MACBETH, N. 674 Portrait of Rev. Dr. Guthrie Artist. WATTS, G. F. 675 Alfred encouraging the Saxons to resist the "Danish Invaders . . . . . H.M. Office of Worhs. LEE, F. R. 676 Chequered Shade . . . A, C. Bwnand, Esq. 39 C 4 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. WEBSTER, T. 677 The Cherry Seller G. Young, Esq. (Hyde.) 678 Portraits op my Father and Mother Artist. PYNE, J. B. 679 St. Peter's, St. Angelo, and Ponte Elio Artist. BAXTER, C. 680 The Bouquet r. IT. Mann, Esq. GALE, W. 681 The Father's Blessing J. Morley, Esq. ELMORE, A. 682 The Tuileries, 20th June, 1792 J. T. Caird, Esq. 683 Charles V. at Yuste - T. Barker, Esq. 684 The Novice . . . . . . . . . . W. Bashall, Esq. 685 Marie Antoinette in the Temple J. Pender, Esq. BOXALL, W. 686 Portrait of L. Huth, Esq irtUt. ROBERTS, T. 687 The Music" Lesson ' C. Lucas, Esq. CARPENTER, MRS. 688 Portrait of Sir J. T. Coleridge Sir J. T. Coleridge HARGITT, E. 689 The Dargle, Wicklow C. Hargitt, Esq. PHILLIPS, H. W. 690 Portrait of General Eber A.J. Leu-is, Esq. NIEMANN, E. J. 691 A Quiet Shot H. D. Austin, Esq. ANSDELL, R. 692 The Lost Shepherd J. Whittaker, Esq. COOKE, E. W. 693 Scheveling Pinks :— Hauling off Shore in a heavy "Sea . . . . " Calvert Touhnin, Esq. CALDERON, P. H. 694 The Gaoler's Daughter — An Incident of the French Kevolution T. Warner, Esq. WEBSTER, T. 695 Grace C. Litcas, Esq. REDGRAVE, R. 696 Young Lad\ Bountiful E. A> Bowring, Esq. HORSLEY, J. C. 697 The Burning of the Books— "Don Quixote" , 8. Cartioright, Esq. 40 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. MILLAIS, J. E. 698 Autumn Leaves ...... . . . . J. Leathart, Esq. 699 Apple Blossoms . J. Burnett, Esq. DESANGES, L. W. 700 Portrait of the Duchess of * * * * ... . . . Artist. DILLON, F. 701 Emigrants on the Nile . . . G.H. Strutt. Esq. CLINT, A. 702 "Low walks the Sun " (near Linton, Devon) . . . W.J. Clements, Esq. OAKES, J. W. 703 A Carnarvonshire Glen Artist. SEVERN, J. 704 Ophelia ... . - * .*.'.*.* . . . DuJce of Devonshire. COPE, C. W. 705 Othello relating His Adventures ' . . . ,11. Houtdsworth, Esq. WARD, E. M. 706 MariE Antoinette listening to the Act of her Accusation in the Conciergerie T. Williams, Esq. EGG-, A. L. 707 Scene from " Henry Esmond " T. Fmrhairn, Esq. PATON, J. N. 708 Home— The Eeturn from the Crimea . . H.R.H. the Prince Consort. GOODALL, F. 709 Felice Ballarin reciting Tasso to the People of Chioggia A. C. Burnand, Esq. BUCKNER, R. 710 Portraits of Mrs. F. Wickham and her Children . Rev. F. WicTcham. HART, S. A. 711 Archbishop Langton Swearing the Barons to Main- tain the Charter J. Cressingham, Esq. BUCKNER, R. 712 A Roman Shepherd . . . .J. Leslie, Esq. DUFFIELD, W. 713 Game and Fruit % Artist. 714 From the Hill Side E. Maull, Esq. THOMAS, G. H. 715 Presentation of Crimean Medals by Her Majesty . , Her Majesty. 716 The Review in the Champ de Mars on the occa- sion of Her Majesty's Yisit to Paris, Aug. 24, 1855 . Her Majesty. PETTITT, J. P. 717 The Studio, Ffos Noddyn, N. Wales,. ;. . . . . C. Lucas, Esq. 41 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. JUTSUM, H. 718 The Hay Harvest w. Unioin, Esq. JOHNSTON, A. 719 The Arrest of John Brown, a Lollard (time of Henry VIII.) J. T. Caird, Esq. SOLOMON, A. 720 Waiting for the Verdict C. Lucas, Esq. SMITH, G. 721 "Fondly Gazing" C. R. F. Lutwidge, Esq. GALE, W. 722 Little Cardinal Messrs. Farrer. ANTHONY, MARK. 723 Hesperus .. ." E. A. Butler, Esq. CRESWICK, T. 724 Afternoon .... r ..... . Madame Bodichon. KNIGHT, J.nP. 726 My Two Boys . Artist. GOODALL, F. 726 An Episode in the Happier Days of Charles I. . W. Baslall, Esq. MARTINEAU, R. B. 727 The Last Day in the Old Home A. H. Novelli, Esq. HUNT, W. HOLMAN. 728 Valentine Rescuing Silvia from Proteus— " Two Gentlemen of Verona," Aot v. Scene 4 T. Fairbairn, Esq. WARD, E. M. 729 The Fall of Clarendon T. Wrigley, Esq. BUCKNER, R. * 730 Portrait of the Countess Della Torre Artist. M'CALLUM, A. 731 Winter Evening — Simon Foster's Oak, Sherwood Forest. J. Nasmyth, Esq. M'INNES, R. 732 The Moccoletti C. Button, Esq. ROSSITER, 0. 733 Beleaguered Artist. SOLOMON, A. 734 Waiting for the Verdict.—" Not Guilty " . . . . C. Lucas, Esq. BAXTER, C. 735 Olivia and Sophia (" Vicar of Wakefield ") . . . . C. Prater, Esq. MANN, J. H. S. 736 A Mother and her Child ... J.H. Mann, Esq. 42 ©il-Paintings.] BRITISH DIVISION. [Principal Gallery. LE JEUNE, H. 737 A Boy playing- on a Pipe, a Girl listening . . . J. Satterfield, Esq. KNIGHT, W. H. 738 Grandfather's Portrait . . . L. Pocock Esq. HUNT, A. W. 739 The Stream from Llyn Idwal, Carnarvonshire . . D, Salomons, Esq. CLARK, J. 740 The Wanderer Restored . . . .... . . . Artist. LIDDERDALE, C. S. 741 The Inventor . . . . . . ... . . J. Brand, Esq. BOWLER, H. A. 742 The Doubt . . Artist. HUGHES, A. 743 The Woodman's Child ........ J. Leathart, Esq. WYLD, W. 744 The Piazzetta, Yenice J. Piatt, Esq. WILLIAMS, PENRY. 745 Return from the Pesta of the Madonna dell'Arco . Sir M. W. Ridley. GILL, ,E. 746 Rhaiadr Du, Dol-y-Melynen, K Wales L. Loyd, Esq. WEIGALL, H. 747 Portrait of F.M. the Duke of Wellington, 1851 — D, Jones, Esq. (of Pantglas.) MASON, G. 748 In the Salt Marshes, Roman Campagna Artist. O'NEIL, H. 749 A Volunteer Artist. WARD, E. M. 750 The Antechamber at Whitehall during the Dying Moments of Charles II Artist. ANSDELL, R. 751 The Road to Seville S. Wheeler, Esq. WEIGALL, H. 752 Portrait of the Countess of Airlie Earl of Airlie. M'INNES, R. 753 Luther Listening to the Sacred Ballad ... W. H, M l Queen, Esq. WILLIS, H. B. 754 Sunny Pastures in Sussex . . . . . . . D. Salomons, Esq. PYNE, J. B. 755 Florence, from & Miniato Artist. CRESWICK, T. 756 The Valley ...»,.,.,.. H. Boden, Esq. 43 Oil-Paintings.] BRITISH DIVISION. [Principal Gallery. CALDERON. P. H. 757 La Dugdale, Esq. WHYMPER, J. W. 1002 Cleawng the Copse * • & Green, Esq. TURNER, J. M. W. 1003 TheDe vdSea . . Messrs. Agnew. 1004 The Bridge of Sighs • • Messrs. Agnew. 1005 Launceston T. Birckall, Esq. 1006 Easby Abbey F - & Baden, Esq. 56 Water Colours.] BRITISH DIVISION. [S.E. Gallery. HUNT, W. 1007 Devotion W. EastlaJce, Esq. 1008 A Boy praying . . . .... . . . . F. Craven, Esq. HAYES, E. 1009 Wind on Shore, off Gorlston Pier, Great Yarmouth. E. Badcigfe, Esq. COX, DAVID, Sen. 1010 Beaumaris W. Quilter, Esq. 1011 Fern-gatherers . - . . . . , . . . . H. Burton, Esq. SCHETKY, J. C. 1012 H.M. Frigate " Anson " wrecked in Morent's Bay, Cornwall Christy, Esq. TURNER, J. M. W. 1013 A Scene in Wales General Anger stein. 1014 Falls op the Clyde (Sketch for the Picture) . . //. Vaughan, Esq. 1015 Land's End Messrs. Agnew. 1016 Sunrise at Sea J. E. Fordham, Esq. 1017 Kewark Castle Messrs. Agnew. 1018 RiVaulx Abbey . . Messrs. Agnew. 1019 Kosehill Park . Sir A. A. Hood. 1020 Hprstmonceux Castle . . . . . . . . Sir A. A. Hood. 1021 Vale op Ashburnham Sir A. A. Hood. 1022 Lancaster C. Langton, Esq. 1023 Stamford . ... . . . . . . . . T. H. Burnett, Esq. 1024 Pevensey Bay, from Crowhurst Park .... Sir A. A. Hood. 1025 The Spot where Harold fell Sir A. A. Hood. 1028 PiOSEHiLL . . Sir A. A. Hood. 1027 An Abbey . . . . . . . . . . .J. Pender, Esq. 1028 Too Late for the Coach . . . . . . . Sir A. A. Hood. 1029 The Vale op Pevensey, from Rosehill Park . . Sir A. A. Hood. 1030 Malvern Abbey and Gateway . . . ..... Messrs. Agnew. 1031 Dartmouth Messrs. Agnew. 1032 Vale of Heathpield Sir A. A. Hood. 1033 Tivoli— A Composition J. Allnutt, Esq. 1034 Kilchurn Castle J. Price, Esq. 1035 Bodiham Castle . . Sit* A. A. Hood. 1036 Pevensey Castle Sir A. A. Hood. COX, DAVID, Sen. 1037 The Horse-fair, Birmingham ....... W. Quilter, Esq, HUNT, W. 1038 Interior of a Barn J. M. Threlfall, Esq. TURNER, J. M. W. 1039 MayencE . . Messrs. Agnew. 1040 Lebanon . . J. F. Wadmore, Esq. 1041 Chepstow . , W. Leaf, Esq. 1042 Carnarvon Castle ... ... . . . General Anger stein. 1043 Tower op London . . T. Birchall, Esq. 57 Water Colours.] BRITISH DIVISION. [S.E. Gallery. TURNER, J. M. W. 1044 Chrysbs worshipping the Setting Sun . . . . R. C. L. Bevan, Esq. 1045 Heidelberg x J. Price, Esq. 1046 Battle Abbey Sir A. A. Hood. 1047 The Children op Israel in the Yalley of Horeb . . Messrs. Agnew. 1048 Upnor Castle, on the Medway Messrs. Agnew. HUNT, W. 1049 "Thy Kingdom Come" W. Eastlake, Esq. 1050 The Ballad Singer J. Fallows, Esq. 1051 Pine- Apple and Pomegranate W. Quitter, Esq. 1052 A Study of Primroses . . . R. Wade, Esq. 1053 Reading " l The League" . . . .... .J. Fallows, Esq. 1054 Head of a Black Girl W. Leaf, Esq. TURNER, J. M. W. 1055 Negropont J. F. Wadmore, Esq. 1056 The Vale of Ashburnham . . . . . . . Sir A. A. Hood. 1057 The Catwater, Plymouth . . . . . . . . Messrs. Agnew. FRIPP, G. A. 1058 Vale of Nant Frangon, N. Wales W. F. White, Esq. HUNT, W. 1059 A Peacock W. Leaf, Esq, 1060 An Interior W. Leaf, Esq, 1061 A Girl — "Devotion" ' J. J. Jenkins, Esq, 1062 A Pine- Apple and Plums . . . . . . W. Eastlahe, Esq, 1063 A Wood Pigeon . C. Maw, Esq. 1064 The Orphans .J. Hick, Esq, 1065 Pruit . C. Maw, Esq. ABSOLON, JOHN. 1066 Berne C. R, Cheffins, Esq. WALLIS, J. 1067 Landscape— Composition , . . . . . T.D, Edwards, Esq. WEIGALL, CHARLES H. 1068 Poultry J. Rosier, Esq, BURTON, F. W. 1069 A Remnant of the Ironsides W. Quitter, Esq. TURNER, J. M. W. 1070 Falls of Reichenbach . . , . . . . ' . H. Vaz.ghan, Esq. 1071 A Church in Essex . . . . . . . . T. Birchall, Esq, 1072 Inverary Messrs. Agnew.- 1073 Carew Castle . T. Birchall, Esq< 1074 Plymouth Citadel Messrs. Agnew.- NASH, J. 1075 The Corridor, Windsor Castle Rev. C. P. Terroit 1076 The Corridor, Windsor Castle Rev, C. P, TerroU 58 Water Colours.] BRITISH DIVISION. [S.E. Gallery. MARGETTS, MRS. 1077 Wild Flowers and a Bird's Nest . . . . . . G. Haines, Esq. HAAG, CARL. 1078 Outpost, Montenegro . . . . . . . .P. Hardwick, Esq. ABSOLON, JOHN. 1079 Boulogne, 1858 .J. Moore, Esq. TURNER, W. 1080 Distant View of Loch Maree, Ross-shire • Artist. PALMER, S. 1081 Returned from India Thos. Williams, Esq. FRIPP, ALFRED D. 1082 Young England . . . , P. Eewett, Esq. TURNER, W. 1083 Ellandonan Castle and Loch Duich, Ross-shire— before Sunrise ..... ....... . . . Artist. GASTINEAU, H. 1084 Glenarm, Antrim Mrs. Morrison. COOPER, T. S. 1085 Summer S.J. Stern, Esq. 1086 Winter . . ........ . S.J. Stern, Esq. THOMAS, W. C. 1087 ECCE Homo ......... . . H.R.H. the Prince of Wales. FOSTER, BIRKET. 1088 A Cottage J. H. Foster, Esq. 1089 Cattle in a Stream J, H. Foster, Esq. COOKE, E. W. 1090 Venetian Eishing-craft off the Riva dei Schiavoni . . . Artist. 1091 The Oost Poort, Rotterdam (now demolished) Artist. FRIPP, ALFRED D. 1092 Passing the Cross at " Ave Maria " H. Hansard, Esq. CORBOULD, E. H. 1093 Murder! Fire! Thieves! . Mrs. G. H. Strutt, D'EGVILLE, J. H. 1094 Capuchin ConvSnt and Cemetery of San Michele, Venice C. JR. F. Lutwidge, Esq JUTSUM, H. 1095 Tintern Abbey Messrs. Agnew. TURNER, W. 1096 View from Quiraing, Isle of Skye . . ... . . Artist. EVANS, SAMUEL. 1097 Salmon-leap, Blair Atholl Rev. R. Day. 59 Water Colours.] BRITISH DIVISION. [S.E. Gallery. DODGSON, G. 1098 The Terrace at Haddon . . . . . . . . Mrs. Allcard. 1099 MURILLO PAINTING THE VIRGIN W. Leaf, Esq. LEWIS, J. F. - 1100 Pilgrims at a Roman Shrine T. Johnson. Esq. COLE, V1CAT. 1101 Shadows from the Beeches W. Johnson, Esq. 1102 A Field of Clover in June Artist. LINNELL, J. 1103 The Disobedient Prophet . ... . . . .J. Pender, Esq. CORBOULD, E. H. 1104 A Dream of Fair Women (Tennyson) . . . . G. H. Strutt, Esq. DADD, R. 1105 A Rocky Valley T. Birchall, Esq. * * v ' — * -HERBERT, J. R. 1106 Marino Faliero . . . A. Hall, Esq. PALMER, S. 1107 The Rising Moon J. Robinson, Esq, WARREN, E. G. 1108 SHADE . ..... . ......... H. Jenkins, Esq. DUNCAN, E. 1109 Dutch Boats riding out a Gale off the Doggerbank . J. Morley, Esq. HOLLAND, J. 1110 La Festa . . . . E. F. White, Esq. COX, DAVID, Jun. 1111 Lane Scene, Hayes Common J. Mitchell Esq. BRANWHITE, C. 1112 Ferry on the Thames .G.J. Rodgers, Esq. HAGHE, LOUIS. 1113 The Letter-writer, Rome . . . . . . . . Mrs. Ellison. LEWIS, J. F. 1114 The Halt in the Desert Sir S. Morton Pcto. PALMER, S. . 1115 After the Storm W. Quilter, Esq. 1116 The Ballad F. Craven, Esq. McKEWAN, D. H. 1117 Dache Tower, Naworth Hon. C. Howard. GO Water Colours.] BRITISH DIVISION. [S.E. Gallery. CATTERMOLE, G. 1118 The Betrayer betrayed , . . . . . . H. Burton, Esq. 1119 The Fair Geraldine H. Vaughan, Esq. 1120 The Contest H. Burton, Esq. PIDGEON, H. 0. 1121 SNOWDON, FROM THE TRATH MAWR, CARNARVONSHIRE , . . Artist, FIELDING, COPLEY. 1122 Harlech Castle . J. Roberts, Esq. CORBOULD, E. H. 1123 Faust and Marguerite in the Garden . . . .C.J. Freahe, Esq. 1124 Dinah Preaching on the Green ("Adam Bede") . . . Her Majesty. 1125 Hetty and Arthur in the Dairy ("Adam Bede"). . . Her Majesty. CATTERMOLE, G. 1126 Lord Strafford going to Execution Vaughan, Esq. 1127 Benvenuto Cellini requested by Brigands to -Value one of his own Works G. Haines, Esq. 1128 Naworth Castle H. Burton, Esq. 1129 Naworth . . . . ... . . . . . Mrs. Ellison. 1130 Banquo and Macbeth J, HicJc, Esq. 1131 Shakspeare reading his Birthday Ode to Sir Thomas Lucy w. Quilter, Esq. ROWBOTHAM, T. L. 1132 The North Foreland, from Broadstairs . . . W. H.Winsor, E& y. LEWIS, J. F. 1133 Camels in the Desert . . . ... . . . Messrs. Agnew. 1134 Sacking the Convent . . . . ; . . . . W. Leaf, Esq. HAGHE, LOUIS. 1135 Sketch of a Guard-room Rev. C. P. Terrot. CORBOULD, E. H. 1136 The Woman taken in Adultery . . . H.R.H. the Prince Consort. DADD, r. 1137 Moonlight in the Desert T. Birchall, Esq. FIELDING, COPLEY. 1138 Landscape J. Hide, Esq. 1139 Bolton Abbey , . . . ...... J. F. Wadmore, Esq. 1140 Naworth Castle J. Hick, Esq. CATTERMOLE, G. 1141 Reading the Bible, at the Time of the Reformation ., , G. Haines, Esq. 1142 Macbeth Mrs. Ellison. HERBERT, J. R. 1143 The Brides of Venice T. Johnson, Esq. OWEN, S. 1144 Dover Messrs. Agneio. 61 Water Colours.] BRITISH DIVISION. [S.E. Gallery, COX, DAVID, Jtm. 1145 Beaver Pool on the River Conway Mrs. Davison, HAGHE, LOUIS. 1146 Arabs at a Drinking- Fountain . , . ... J. Dugdale, Esq. MOLE, J. H. 1147 Gleaners—on the Detonshire Coast W. Reed, Esq. FIELDING, COPLEY. 1148 A View near Lowther, Westmoreland Messrs. Agnew. 1149 An English Landscape Messrs. Agnew. FARMER, MISS. 1150 Deceiving Granny Sir Roundell Palmer. CATTERMOLE, G. 1151 Sir Biorn with the Fiery Eyes Rev. C. P. Terrot. 1162 The Challenge Mrs. Ellison. WERNER, CARL. 1153 Canal and Palace, Venice Rev. C. P. Terrot. DOBBIN, J. 1154 Tower of S. Catarina, Plaza de las Yervas, Valencia . W. Leaf, Esq. DE WINT, P. 1155 Christ Church Mrs. Ellison. TOWNSEND, H. J. 1156 Leading the Blind 8. Redgrave, Esq. HERBERT, J. R 1 157 The Two Foscari . T. Johnson, Esq. 1158 Alvisi Sanuto and the Ambassador's Daughter (Roscoe's "Legends op Venice") T. Thomasson, Esq. 1159 The Elopement op Bianca Capella T. Thomasson, Esq. 1160 The Marriage of the Sea T. Thomasson, Esq. STONE, F. 1161 A Girl with a Mandoline Mrs. Ellison. FIELDING, COPLEY. 1162 Snowdon . . . . . W. Leaf, Esq. FARMER, MISS. 1163 Finding the Lost Sixpence Artist. COX, DAVID, Sen. 1164 The Junction of the Severn and the Wye — Chepstow Castle in the Distance " . Mrs. Ellison. THORBURN, R. 1165 Portrait of Countess Vane Earl Vane. 1166 Portrait of Mrs^D, C, Marjoribanks . . . D, C. Marjoribanks, Esq, 62 Water Colours.] BRITISH DIVISION. [S.E. Gallery. WELLS, H. T. 1167 Frances Countess of Waldegrave . . Frances, Countess of Waldegrave. 1168 Miss Wetton * Champion Wetton, Esq. 1169 Lady Gwendolen Petre E. Petre, Esq. TAYLER, E. 1170 Portrait . . . , . . . ... . , . Artist. 1171 Nelly Artist. CARRICK, T. 1172 Portrait op Thomas Carlyle, Esq Artist. 1173 Portrait of the Late William Parren, Esq, w. Farren, Esq. ESSEX, W. 1174 Enamel Portrait of Her Majesty . . . . ... . Artist. 1175 Enamel Portrait of Dr. Johnson . * . . . . . , Artist. 1176 Enamel Portrait of Sir E. Peel . Artist. 1177 Enamel — Age of Innocence (after Eeynolds) . Artist. 1178 Enamel— Flora (after Titian) Artist. ROSS, SIR W. C. 1179 Miss Burdett COUTTS . . . . . . . . , Mrs. Brown, FRIPP, ALFRED D. 1180 Pompeii J, Norton, Esq. NASH, J. 1181 A Summer Afternoon's Diversion on the Terrace, Bramshill, Hants . ... ... , . G. E. Jay, Esq. 1182 The Indian Tent— Exhibition of 1851 Miss Holland, CALLOW, W. 1183 Stirling Castle D, Burton, Esq. CAMPION, G. B. 1184 English Landscape— Autumn ......... Artist. BURTON, F. W. 1185 Faust's First Sight of Marguerite . . . . . , S. Ruclcer, Esq. JENKINS, J. J. 1186 The Pets . . . . R. NewMd, Esq. BENNETT, W. 1187 Junction of the Creta and the Tees . . . . G.H. White, Esq. TOPHAM, F. W. 1188 Peasants ....... . J. Pender, Esq. BARTHOLOMEW, V. . 1189 Flowers a*td Birds Artist. NEWTON, A. P. 1190 First Approach of Winter— Inverlochy Castle, Inverness-shire. Artist, RIVIERE, H. P. J191 The very Image of Pat , W.H, Smith, Esq. 63 Water Colours. I BRITISH DIVISION. [S.E. Gallery. GOODALL, E. A. 1192 Interior of the Church op Assisi P. Hardwire, Esq. McKEWAN, D. H. 1193 The Skirts op an Ancient Forest T.J. Miller, Esq. 1194 An Old Lime-kiln on the Lynn, N. Devon .... Captain Letois. TAYLER, F. 1195 The Queen's Buckhounds . . J. M. Thr elf all, Esq, 1193 Crossing the Ferry with Otter Hot -nd.- . H. Hitchcock, Esq. OAKLEY, 0. 1197 Hospitality - Artist. FRIPP, ALFRED D. 1198 The Pet . . . Robinson, Esq. SMITH, COLLINGWOOD. 1199 Market Day at Luino, on the Lago Maggiore . . . R. Carter, Esq. DUNCAN, E. 1200 The Harvest Moon W. Little, Esq. DAVIDSON, C. 1201 Cutting the Haystack . . . ... . . , C.J. Leaf, Esq. . MCKEWAN, D. H. 1202 A Mill on the Duddon, Cumberland. Miss Daniel. GOODALL, W. 1203 The Beehive ' . . : . ' . ' . ' . • . . . . . R. Fenton, Esq. . MARGETTS, MRS. 1204 Scarlet Geranium, Grapes, and Bacchanalian Cup . W. Delafield, Esq. FOSTER, BIRKET. 1205 Down Hill IF. Quilter, Esq. 1206 Holmwood Common . J. Morley, Esq, TAYLER, F. 1207 The Covenanters . . . J. E. Fordham, Esq. 1208 The Highland Drover J. Dugdale, Esq. 1209 Hunting — Time of George II J. Hick, Esq. 1210 Coverley Hunt . . . . ' . • . • . • . - . . J. Barrett, Esq. BURTON, F. W. 1211 The Widow of Wohlm— Costume op Upper Franconia J. Robinson, Esq.- GOODALL, E. A. 1212 S. Giorgio, Venice— Moonlight J, Robinson, Esq.- JOPLING, J. M. 1213 Die Schiffsangerinnen von Brienz . . Artist.- EVANS, WILLIAM. 1214 Doune Castle M. Van de Weyer.- DAVIDSON, C. 1215 Barnard Castle, Durham . . , Artist, 64 Water Colours.] BRITISH DIVISION. [S.E. Gallery. POOLE, P. F. 1216 Peasant Girls , . , . . . . . . w. Quilter, Esq. HARDING, J. D. 1217 The Park . R, Alexander, Esq. DUFFIELD, MRS. 1218 Eoses and Weeds Artist. DAVIDSON, C. 1219 Thatching the Haystack C. Prater, Esq. TOPHAM, F. W. 1220 The Zouave's Story of the War ..... J. Dugdale, Esq. JENKINS, J. J. 1221 Watteau . R. Newlold, Esq. GOODALL, W. 1222 Nature's Mirror R. Fenton, Esq. REDGRAVE, R. 1223 A Surrey Coombe . Artist. RIVIERE, H. P. 1224 The Son and Heir to the Hale-Acre Artist. NASH, J. 1225 The Opening of the New Hall, Lincoln's Inn Hon. Society of Lincoln 's Inn. BAYLISS, WYKE. 1226 St. George's Chapel, Windsor . . . . . . . Artist. MEADOWS, K. 1227 Besdemona interceding for Cassio Artist. TIDEY, H. 1228 Queen Map, (Shelley) ' Artist. EVANS, WILLIAM. 1229 Windsor from Dorney Common Rev. Dr. Goodford. GILLIES, MISS. 1230 The Past and the Future '. Messrs. Fores. 1231 Vivia Perpetua the day before her Martyrdom . . . C. Prater, Esq. FRIPP, ALFRED D. 1232 Peat Carriers on Moel Siabod, N. Wales . . . E. F. White, Esq. ROWBOTHAM, T. L. 1233 The Head of the Lago Maggiore, from near Pallanza . W. Lambert, Esq. THORBURN, R. 1234 Portraits of Her Majesty, Prince Alfred, and Princess Helena .... . . H.R.TLihe Prince Consort. 1236 Portraits of H.R.H. the Prince Consort and his Brother, the Duke of Saxe-Coburg , . , , Her Majesty. 65 D Water Colours.] BRITISH DIVISION. [8.E. Gallery. WELLS, H. T. 1233 Miss Mordan .... .... . . . Artist. 1237 Hon. E. Coke Hon. E. Coke. 1233 Miss Amy Wbtton Champion Wetton, Esq. 1239 Duchess of Sutherland . . ... ... . Artist. UPTON, E. 1240 Portrait op General Lord Clyde . . . . Artist. CARRICK. T. 1241 Portrait op Lord Lyndhurst Artist. 1242 Portrait of Earl Russell Artist, MOIRA, E. 1243 H.R.H. Princess Alice Artist. 1244 H.S.H. Princess of Leiningen . . . Artist. 1245 His late Majesty the Kino of Portugal .... Artist. 1246 H.R.H. Prince Alfred .... Artist. TIDEY, A. 1247 The White Mice Artist. CARRICK, T. 1248 Portrait of the Late Signor Lablache . . . • . . . Artist. ROSS, SIR W. C. 1249 Sir P. Burdett Miss Burdeit Coutts. MOIRA, E. 1250 His Majestt the King of Hanoyer Artist* THORBURN, R. 1251 Portrait of Dowager Countess of Ellesmere . .• Earl of Ellesmerci BONE, H. P. 1252 Georgiana, First Countess Spencer (after Reynolds) . . Earl Spencer '.• 1253 Lavlnia, Countess Spencer (after Reynolds) .... Earl Spencer. SEVERN, J. 1254 Portrait op John Keats Sir C. Wentworfh Dilke. COLE, VICAT. 1255 "Ukder the Greenwood Tree" //. O'Neil, Esq, VACHER, C. 1256 Attila's Invasion— The First View of Italy .... J. Penn, Esq. DUNCAN, E. 1257 The Last Man from the Wreck . . . . . . F. Craven, Esq. NASH, J. 1258 Ch vpel of the Dukes of Norfolk, Arundel Church, Commonwealth Soldiers listening to a Sermon . P. \V. Flower, Esq; MOLE, J. H. 1259 A Hopeful Parting >..... , IT. Edwards, Esq. 60 Water Colours.] BRITISH DIVISION. [S.E. Gallery. COX, DAVID, Jun. 1260 Parted Waters . . 4 . ... . ... . Sir RowideM Palmer. TIDBY, H. 1261 The Feast of Eoses (" Lalla Eookh ") Her Majesty. SMALLFIELD, F. 1262 The First from Him . J. Horsfall, Esq. DUNCAN, E. 1263 The Morning after the Gale ...... W. G. Bateson, Esq. SBTOHEL, MISS. 1264 Jessie and Colin ("Cuabbe's Tales") Miss Mather. WHYMPEE, J. W. 1265 Home of the Sea-fowl W. Dunlop, Esq. HALL, Gr. It. 1268 The Gothic Eock, Lydstep Haven, Tenby Artist. HOLLAND, J. 1267 Venice, Sunset J. Robinson, Esq. TOPHAM, F. W. 1268 Loitering . . - . . . . . .... . . F. Craven, Esq. COOPER, T. S. 1269 The Snow Drift . . . . . ... . . Messrs. Agnew. WEIGALL, CHARLES H. 1270 TV ill Honeycomb's Story (from the " Spectator ") . . H. Warren, Esq. ABSOLON, JOHN. 1271 Mademoiselle be Sombreuil saving her Father's Life . . . Artist. DUNCAN, E. 1272 Shiplake, on the Thames . . G. W. Moss, Esq. EVANS, WILLIAM. , 1273 Winter, Curling on the Ice, Dunkeld .... C.J. Leaf, Esq. DUNCAN, E. 1274 The Tuileries, with Bridge J. F. Wadmore, Esq. POOLE, P. F. 1275 Mother and Child T. Johnson, Esq. BODGrSONj Ct. 1276 On the Thames . W. G. Bateson,- Esq. ABSOLON, JOHN. 1277 Isc-la de' Pescatgri, Lago MagGiore Artist. STANFIELD, CLARKSON. 1273 Shipwreck . . . . .. T. Bir.chali, Esq. BRANWHITE, C. 1279 A Mountain Torrent — Late in Autumn . . . . J. W. Miles, Esq. 67 - D 2 Water Colours.] BRITISH DIVISION. [S.E. Gallery. HAAG, CARL. 1280 Head of an Armenian HMJH. the Prince Consort. 1281 Sabine Peasant Woman E. Sibeth, Esq. BARTHOLOMEW, V. 1282 Hollyhocks Artist. WARREN, H. 1283 Rebecca first sees Isaac . . . . . . . . W. Hart, Esq. WARREN, E. G. 1284 The Harvest Moon J. M. Redmayne, Esq. 1285 Kest in the Cool and Shady Wood Artist. BURTON, F. W. 1286 Italian Fruit-girl W. Leaf, Esq. D'EGVILLE, J. H. 1287 San Clemente, Venice Sir Roundell Palmer. ROBERTS, D. 1288 Gibraltar from the Neutral Ground Messrs. Agnew. DODGSON, G. 1289 An Interior G.J. Rodgers, Esq. ROBERTS, D. 1290 A Sand Storm T. Birchall, Esq. ABSOLON, JOHN. 1291 Isola Bella, Lago Maggiore Artist. W ARREN, H. 1292 The Wise Men Journeying H.R.E. the Prince Consort. 1293 The Peri Artist. CALLOW, W. 1294 Bolton Abbey J. Bradbury, Esq. CRIDDLE, MRS. 1295 The Sisters' School (Crabbe's " Tales of the Hall ") . W. Herbert, Esq. FAHEY, J. 1296 Selboene, Hants— from the Top of the Postal T. Bell, Esq. FRIPP, G. A. 1297 Falls of the Orchy, Argyllshire Earl Spencer. 1298 Pass of Nant Frangon, N. Wales— on the Eoad from Bangor to Capel Curig . . Col. Hon. E. Douglas Pennant, TOPHAM, F. W. 1299 A Spanish Posada . . . . G.J. Rodgers, Esq. HAGHE, LOUIS. 1300 The Forum, Rome C. Langton, Esq. CAMPION, G. B. 1301 British Troops forcing the Passage of a River under Heavy Fire . Artist. G8 Water Colours.] BRITISH DIVISION. [S.E. Gallery. EVANS, SAMUEL. 1302 Falls near Loch Rannoch Artist. HOLLAND, J. 1303 The Rialto H. Burton, Esq. READ, S. 1304 Interior or the Church op St. Lawrence, Nuremberg . C. Lucas, Esq. WYLD, W. 1305 Milan Cathedral . J. C. Harter, Esq. BRANWHITE, C. 1306 Early Moonlight . G.J. Rodgers, Esq. EVANS, WILLIAM. 1307 Summer Morning in the Highlands— Deer Stalkers HALTING AT THE BURN SlDE C.J. Leaf. Esq. NEWTON, A. P. 1308 Mentone Artiste THORBURN, R. 1309 Portrait op Lady Taunton , . Lord Taunton. 1310 Portraits op Duchess op Buccleuch and Family . . Duhe of Buccleuch. 1311 Portraits op Lady Herbert op Lea and Family . Lady Herbert of Lea. WELLS, H. T. 1312 Portraits . . . . Artist BONE, H. P. 1313 Earl op Bristol and Earl (afterwards Duke) op Bedford (after Vandyck) .J. Falloios, Esq FORD, W. B. 1314 Griselda (after Leslie) . Artist ESSEX, W. 1315 Enamel Portrait op the Duke op Wellington .... Artist. 1316 Enamel Portrait op the Empress op the French . . . Artist. 1317 Enamel Portrait op T. Moore Artist. HASLEM, J. 1318 A Frame with Five Enamels: — 1. The Queen (after Winterhalter). . . Messrs. Hunt tf'RosTcell. 2. H.R.H. Princess Louise op Prussia (after W interhalter) Artist. 3. Lady Henrietta Fermor (after Thorburn) . . . Artist. 4. From an old Miniature Artist. 5. Portrait from Life Artist. OAKLEY, O. 1319 Wandering Italians Artitt. 1320 " The Time when the Cuckoo Sings " Artist. GOODALL, E. A. 1321 The Fruit Market, Venice . Artist, 69 D 3 Water Colours.] BRITISH DIVISION. [S.E. Gallery. G-ASTINEAU, H. 1322 Hospice, and Pass of St. Gothard . , , . W. A. T. Amlmrst, Esq. HERDMAN, W. G. 1323 The Iron District— Scene in the Midland Counties . . . Artist. HAYES, M. A. 1323* Charge of the 16th Lancers at Aliwal . . Artist. BENNETT, W. 1324 Heaven's Gate, Longleat w. Agar, Esq. NESFIELD, W. A. 1325 Amphitheatre, Giant's Causeway Artist. 1326 Aurora Borealis, 24th Oct. 1847 Artist. "WERNER, CARL. 1327 The Secret Tribunal at Venice • . Artist. BENNETT, W. 1328 Forest Scene w. Agar, Esq. NAFTEL, P. J. 1329 Loch Lomond Capt. Hartley. RICHARDSON, E. 1330 Durham . Artist. HARRISON, MRS. 1331 The History of a Primrose Artist. WARREN, E. G-. 1332 Evelyn Woods //. Hitchcock, Esq. JACKSON, S. P. 1333 St. Ives Pier and Harbour H. A. Palmer, Esq. DUFFIELD, MRS. 1334 Flowers, &c Artist. WOLFE, GEORGE. 1335 Drift Wreck— Hayle Sands, Cornwall J. W. Miles, Esq. VACHER, C. 1336 Sorrento— Bay of Naples C. E . Mudie, Esq. SMITH, COLLINGWOOD. 1337 Sunset on the Lago Maggiore J. Lahoucliere, Esq. RICHARDSON, T. M. 1338 Lemberg Rev. C. P. Terrol. WEHNERT, E. H. 1330 Sir Thomas Gresham presenting the Royal Ex- change to the City Artist. 1340 Caxton Printing in Westminster Abbey J. Crojip, Esq. WKICHELO, J. 1341 A Signal of Distress, off Dover ..... . Artid. 70 Water Colours.] BRITISH DIVISION. [S.E. Gallery. LANCE, G. 1343 Fruit >' ........ Artist. TIDEY, H. 1343 Dar-thula ("Ossian") Artist. PHILP, J. G. 1344 The Old Lizard Head T. Powell, Esq. WEIGALL, CHARLES H. 1345 Wick Castle, Glamorganshire . , . . . . . Mrs. Gilbert. ROBINS, T. S. 1346 French Luggers leaving Calais Pier to succour a Vessel in Distress Artist. DUNCAN, E. 1347 The Life-Boat H. Hitchcock, Esq. LEITCH, W. L. 1348 Sunset on the Coast op Ayrshire . . . . Lord Ashburton. NAFTEL, P. J. 1349 Piccola Marina, Capri J. Harrison, Esq. WARREN, E. Gr. 1350 In the Forest op Dean C.E. Mudie, Esq. CORBAUX, MISS F. 1351 The Last Evening at Home T.H. Maudslay, Esq. JACKSON, S. P. 1352 Sty-head Tarn, Cumberland — Sunrise . . . . s.V. Hare, Esq. 1353 Warping a Disabled Vessel into Penzance Harbour . J % W. Miles, Esq. SMITH, COLLINGWOOD. 1354 Gibraltar . , ... . . . . , . . Artist, SHARPE, MISS E. 1355 Christ raising the Widow's Son Artist. WOLFE, GEORGE. 1356 A Study of the Coast J, G. Kershaw, Esq. HAAG CARL. 1357 Evening Hour .... J, Labouchere, Esq. LEE, W. 1358 The Grace. . . ' f T.H, Maudslay, Esq. D'EGVILLE, J. H. 1359 Fishing Boats off the Public Gardens, Venice . , G. E. Balfour, Esq. MOLE, J. H. 1360 The Welcome Ebenezer Foster, Esq. RICHARDSON, T. M. 1361 Scene in Glenmoriston, Loch Ness, Inverness-shire . , D. Powell, Esq. "1 D 4 Water Colours.] BRITISH DIVISION. [S.E. Gallery. PROUT, SKINNER. 1362 The Church of S. Sauveur, Caen . . . . . s. Copping, Esq. BOYS, T. S. 1363 The Rath-haus, Prague . a. D. Smith, Esq. READ, S. 1364 Interior of the Domkirche, Munster, Westphalia . K, D. Hodgson, Esq. HAGHE, L. 1365 The Opening of the Manchester Art-Treasures Exhibition T. Fairbairn, Esq. FRIPP, G. A. 1366 Lake and Falls of Ogwen, N. Wales— Sunrise . . J, Price, Esq. BOYS, T. S. 1367 Amiens, from the Banks of the Somme . . . . A. D. Smith, Esq. WHICHELO, J. 1368 Wood-cutters Felling Timber— New Forest Artist. MOLE, J. H. 1369 At Hampstead H.R.II. the Crown Princess of Prussia. FAHEY, J. 1370 View from the Tarn Dimples, Whitbeck Fell, Cumberland. Mrs. Geach. BURTON, F. W. 1371 Interior of Bamberg Cathedral W. Leaf, Esq. NESFIELD, W. A. 1372 Glen Rosie, Isle of Arran Artist. NASH, J. 1373 From "Taming the Shrew" , C. Prater, Esq. 1374 From "Taming the Shrew" C. Prater, Esq. ROBERTS, D. 1375 The Bridge of Irun W. Leaf Esq. 1376 The Bull-Ring at Seville T. BvrchaM, Esq. 1377 Procession of the Corpus Domini, Seville .... Messrs, Agnew. STANFIELD; CLARKSON. 1378 Dogana, Venice //. Vaughcm, Esq. PYNE,.J. B. 1379 The Vale of Somerset, from Cheddar Cliffs . * E. F. White, Esq. RAYNER, S. 1380 The Baron's Chapel, H addon Hall W. White, Esq. HARDING, J. D. 1881 Falls of SchaffHausen . J. Taylor, Esq. TOPHAM, F. W. 1382 The Mill-Stream , O. W. Moss, Esq. 72 Water Colours.] BRITISH DIVISION. [S.E. Gallery. VINTER, J. A. 1383 The Song of the 'Flower (Tennyson) . T. Fairbairn, Esq. COPE, C. W. 1384 First Introduction of Christianity into Britain Department of Science and Art. WELLS, H. T. 1385 Portrait of a Child Artist. SWINTON, J. 1386 Portrait of Miss Herbert, of St. James's Theatre . . Miss Herbert. 1387 Portrait of the Duchess of Wellington . . . Marchioness of Ely. LANDSEER, SIR E. 1388 Scene in the Marquis of Breadalbane's Highland Deer Forest Marquis of Breadalbane. 1389 The Fatal Duel DuTce of Sutherland. 1390 Scene in the Marquis of Breadalbane's Highland Deer Forest . . Marquis of Breadalbane. MARTIN, 0. 1391 Portrait of Daniel Webster Artist. MULREADY, W. 1392 A Pen and Ink Study Artist. 1393 A Pen and Ink Study Artist. 1394 A Pen and Ink Study , . . Artist. 1395 A Head in Chalk Artist. 1396 A Life Study '. Artist. 1397 A Life Study • Artist. 1398 Choosing the Wedding Gown— "And chose my wife as she did her wedding gown, not for a fine glossy surface, but such qualities as would wear well" (Yicar of Wakefield) T. Baring, Esq. WELLS, H. T. 1399 Miss Ridley Artist. BACKHOUSE, MRS. 1400 "Deux Sous la Piece" . C. Prater, Esq. LAURENCE, S. 1401 Portrait of W. M. Thackeray, Esq Lord Ashburton TOPHAM, F. W. 1402 Barnaby Eudge and his Mother J. Mollett, Esq. RICHMOND, G. 1403 Portrait of the Earl of Leicester Artist. 1404 The Daughters of Sir T. Gladstone .... Sir T. Gladstone. 1405 Portrait of J. Ruskin, Esq J.J. RusHn, Es HALSWELLE, K. 1406 Pen and Ink Sketch— A Child's Dream Artist 73 Water Colours.] BRITISH DIVISION. [S.E. Gallery. ROWBOTHAM, T. L. 1407 A Summer Day at Ventnor / , R. II. Manning, Esq. WHYMPER, J. W. 1408 A Corn-field E. F. White, Esq. STANFIELD, CLARKSON. 1409 Water-Colour Drawing J. F. Bateman, Esq. NEWTON, A. P. 1410 Mountain Gloom, Pass of Glencoe, Argyllshire . F. W. Strvgnell, Esq. READ, S. 1411 The High Altar, S. Augustine's, Antwerp . . . . C. Prater, Esq. HART, S. A. 1412 Othello and I ago W. Smith, Esq. WHYMPER, J. W. 1413 Tantallon Castlb Artist. ERIERLY, O. W. 1414 H.M.S. St. George H.R.II. Prince Alfred. HUNT, W. HOLMAN. 1415 Jerusalem at Night .... Artist. WERNER, CARL. 1416 Lanzi writing his History Rev. C. P. Terrot. 1417 A Monk Reading the Scriptures ...... W. Leaf, Esq. GILBERT, J. 1418 A Roman Bag-piper E. F. White, Esq. PROUT, SKINNER. 1419 The Castle of the Seigneurs de la Tremouille, at ViTRfi, Brittany A.M. Lyons, Esq. COLLINGWOOD, W. 1420 Nelson at Yarmouth, in 1800 . Artist. VACHER, C. 1421 Morning— Coast of Italy W. Leaf Esq. RICHARDSON, T. M. 1422 Glencoe, Argyllshire W. C. Hewitson, Esq. PHILP, J. G. 423 Too Rough for Fishing J. W. Pease, Esq. HAAG, CARL. 424 A Rehearsal, Cairo W. Leaf Esq. BRITISH DIVISION. BRITISH DEPENDENCIES. N.E. GALLEEY, EXHIBITION ROAD. CLASS XXXVIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. HELIGOLAND. G-ATKE. 1451 A Sea Piece Artist, IOSSS3AM iSLASMBS. MIGNOTY, GEORGE. 1452 The Inquisition Artist. PROSSALENDX, SPIRO. 1453 A Monk ... , Artist. VEJA, DIONISIO. 1454 The Family op Despo—an Incident in the Souliote War XYDIAS, NICOLAS. 1455 Apotheosis (a Sketch) ■ Artist. 1456 Death op Sappho Artist 1457 Dew-drops Ariisf ' 1458 The Page . . . . . . . Artist. 75 ARCHITECTURE I _ Architecture— that art which literally comes home to every one, and of all the Fine Arts is the most directly practical— by a singular fate, is probably less a subject of popular thought and care than any other. Most persons have a certain interest in pictures : even if not much versed in painting, they contend for the right to please themselves. But when a building is m question, we hear with alacrity the reply, ' I know nothing of architecture.' A brief sketch of the elements which compose the modern sohools will, it is hoped, at once supply the main facts of the histoiy, and explain the causes of an indifference so fatal to the progress of the art. II This story must begin far back, for in Architecture, from its essential nature and • from the similarity of the wants which it provides for, practical experience has been the source of the changes generally made, and established types have always held a strong hand over free imagination. Nothing is more curious than to watch the slow steps by which men learned the simplest expedients, and the persistency of a few forms through eveiy age between Nebuchadnezzar and the nineteenth century. We are indebted here, as for the elements of almost all human knowledge, to ancient Greece. The Greek style was itself, indeed, founded on the earlier practice of Assyria and Egypt, but it was only by the reduction of African or Asiatic architecture to European ideas and climate in Greece, Italy, and Sicily that it was able to influence later races. The mode by which spaces are covered is the simplest rule under which styles can be classed, as on this ultimately depends the greatest portion of those ornamental features which render Architecture a fine art, as distinguished from Building. The Greeks, for this purpose, confined themselves — the simplest expedient — to single stones laid flat from pier to pier. Then architecture was hence of the rudest quality in science ; but for this they compensated by a delicacy in design, a complete- ness and exquisiteness in finish, never since equalled for a moment, whilst its simplicity was set off by the contrasting elaboration of the sculpture for which their best buildings f umished little more than the plain frame. So few remains exist, that it is hardly known how the Greeks applied their style except in religious buildings ; but hi these they per- fected or invented various forms of ornament corresponding to varieties in the propor- tion adopted, from the strong severity of the Doric to the palm-like elegance of the Corinthian. And even from the scanty fragments of Attica and Sicily, it is clear that nothing could be less Hellenic than the coldness and monotony which has frozen imitated Greek architecture from the Romans downward. It is doubtful whether even the variety and picturesque arrangement of the pointed style surpassed what a pure Grecian city presented between the ages of Pericles and Alexander ; and it is certain that an Athenian w T ould have smiled at the ignorant and tasteless pedantry with which Roman professors chained the free forms of his architecture under the limits of the ' five orders.' III From the ' mother of arts ' this style passed to Rome. Here the architecture of the Lintel found the architecture of the round Arch, which the Romans in early times had learned from Etruria. By the union of what was good in these styles, a style more com- • plete than either might, under favourable conditions, probably have been developed ; but the Romans, never highly gifted in the finer qualities of the mind, were now the corrupt and degenerating inhabitants of a cosmopolitan capital, where fantasy and luxury ran riot in every extravagance of taste and puerility of imitation. Hence hi those buildings where art is most essential, the Romans matured but one structural Form of permanent value, the dome, — but one Type of structure, the basilica. The vast influence of then style" belongs not to art but to politics. Throughout those wide provinces which were held almost identical wiih .the world, Roman architecture, as displayed in buildings of civic utility — the bridge, the aqueduct, the city gate, and theatre — shared in the dominant influence of the 'masters of all,' and covered the Empire, in length and breadth, with trophies of colossal commonplace. The characteristics of the style may be summed up under solid and clearly-exhibited construction ; round arches freely used for entrances and passage-ways, and, on a larger scale, for vaults : whilst the Greek style is felt in the ornaments and supports, — the latter either single circular columns or massy piers, but in each case confined ARCHITECTURE. to a single story, above which, if further height was required, the column and arches, with the flat cornice above them, were repeated. The style of ornament, from Syria to Spain, from Treves to Tunis, exhibits no radical change from that of the Greeks, except a gradual descent through floridity to coarseness ; no vital feature whatever, so far as appears, was invented or developed. Looked at as art, the Kornan style throughout — but most con- spicuously in its ornamental or religious buildings — is an imperfect and generally awkward attempt to blend the two opposed styles which that uninventive race borrowed from their nearest neighbours in Southern Italy and Tuscany. It is a round-arched construction veneered with the pillared orders of a rectangular style. The Colosseum or Triumphal Arch of Constantine furnish familiar examples. It was a natural, an inevitable result of this mechanical and lifeless effort, that not only the beauty which these forms originally possessed, but their constructive utility should be sacrificed : that we should see pillars which give no support, and roof cornices which carry no roofing • whilst the arches that do the work lose the loveliness of their curve, through the huge unmeaning keystones by which they try to force themselves into the prominence usurped by the idle pilasters. A sense of Power, an emanation from the Majesty of the empire, given by vast masses and a construction of weighty simplicity, is the one redeeming quality of the Roman style. The Romans, commanding the resources of the world, were able to build huger piles than any . other nation, and, in so doing, a great amount of constructive ingenuity was brought into play ; but this cannot blind us to the fact, that their imperial architecture is barbarous in the true sense — a bastard and tasteless style, without even the merit of such originality as may be found in Japan or Mexico. Sense and feeling alike would set one fragment from the Parthenon of Athens before all the palaces which Nero roofed with gold, or the halls within which Diocletian gathered the population of the whole world's capital. IY The altered state of society during the later years of the Roman Empire at Rome gave, however, a new impulse to Building, and constructive necessities produced forms which became of great value to Art. In place of Temples, with their externally decorated style, vast covered Halls of Justice (Basilicas) and Baths were now required. In these attention was concentrated on internal effect and construction ; and although it cannot be said that much taste was here shown, yet, as no precedents existed, and the builders had to think their work out unaided, common sense and the great mechanical skill of the Romans led them to inventions of vast importance in later times. They now boldly threw arches from pillar to pillar — uniting thus the main features of the Greek and Tuscan styles ; they roofed vast spaces with plain circular vaults ; when the slender columns were unable to bear the weight, they united them with solid piers of masonry ; when beauty or convenience required, they crowned the building with a dome, or closed- it in a semi-circular apse. The Pantheon presents many of these discoveries. The circular form (originally derived from Etruria) became frequent for tombs and temples ; and by the time of Diocletian, we find it covered with a bold octagonal dome, and surrounded, no longer with pillars as heretofore, but with an arcade. No sooner had these changes taken place, than the Empire, divided between Rome and Constantinople, entered on its rapid fall. This — felt less visibly on the Hellespont than on the Tiber — would have checked all progress in architecture, if, meanwhile, that mysterious new life which had lurked hitherto in caves and catacombs, or shown itself in the martyr- doms of the arena, had not penetrated the ' purple chambers ' of the palace, and mounted the imperial throne with Constantine. Christianity, proclaimed the religion of the Enipire, first took possession of the vast Basilicas, which formed halls suitable for the assembling of the people, or the deliberations of the hierarchy. In cities where these were not found, or when destroyed by the invading tribes from the north, churches were built on the same plan, except that the vaulted roof was replaced by a roof of timber. Eor celebrating the mysteries of religion, — for baptism at least, and for burial — the circular temples or tombs supplied models ; these round churches being often placed near the west-end of the Basilica. As Christianity spread, the Roman style underwent a gradual change ; each province taking it up, and under the new influences of religion, interfusing a deeper sense in the decorations, and a greater variety in the plan. Separate towers were sparingly added, in a fashion to which (carried far west by early missionaries and surviving there) we may, with the greatest probability, trace those which are so peculiar a feature of Ireland. The circular plan was generally given up ; the font removed to the west-end of the oblong Basilica, and the entrance-doors richly decorated with carving or mosaic. External decoration (not sought in the original Basilica) re-appeared, and the walls were relieved by fiat pilasters and arcades. Except, however, in these points, no essential modification was introduced*, and it is hence convenient to call the altered Roman style, practised in all Western Europe, by the name Romanesque. No precise limits can be fixed for its duration, and the dark ages of war and invasion render its genealogy indistinct in many countries between 500 and 900. Y Meantime, in Eastern Europe, the greater wealth and quiet of the Empire, conjoining with the finer taste of the Greek races, and with influences which, as of old, reached them from Asia, produced in Constantinople and its neighbourhood that version of Roman style, which (in opposition to the Western Romanesque) is named Byzantine. Here, however, no essential new idea appears ; the dome which, on a large scale, became rare in the west 77 ARCHITECTURE. was carried out with splendid effect in St. Sophia ; the arts of decoration in coloured marble and mosaic were employed with prodigality, and sculptured ornament, gradually forbidden the human form by theological feelings, took a tenderness and delicacy of invention, to which Eome afforded no parallel. But in so brief a sketch as this, Byzantine architecture cannot be considered with any fullness, and except in a few cases where East and West met, notably within Venice, it has hardly held influence beyond the limits of the Greek communion. W e return to Europe proper. YI Now came that mighty change for which the work of Rome had been the prepara- tion. She had taught the world how nations might be ruled by the spirit of Lav/ : the tribes of the north now showed how they might be animated by the spirit of Liberty. The long struggle to unite these frequently antagonist forces is the history of modem Europe. We have here to note the maimer in which Architecture was affected by it. The charac- teristic of this art is, that none other comes so directly home to man, and every phase of the human mind, as it developed itself through ten centuries, is written on the buildings of the middle ages. It is in this capacity (it has been well observed) that ' Architecture is to be regarded by us with the most serious thought. We may live without heiv and worship without her, but we cannot remember without her. How cold is all history, how lifeless all imagery, compared to that which the living nation writes, and the uncorrupted marble bears ! how many pages of doubtful record might we not often spare, for a few stones left one upon another ! The ambition of the old Babel builders was well directed for this world there are but two strong conquerors of the forgetf idness of man, Poetry and Architecture, and the latter in some sort includes the former, and is mightier in its reality'. — How then did the nature of the great Teutonic invading races express itself in the art we are here concerned with ? VII A few words will sum up this : they created the only genuine style of modem Em-ope. Hitherto, it should be noted, we have found but. one such-^the Greek. The Roman, Romanesque, and Byzantine styles are transitional from this ; the principal elements in all, blending with the vigour and freedom of the north, took life again in the Gothic. Under this name, in accordance with the suggestion of Mr. Eergusson's admirable history, the whole architecture framed in Western Europe by the immigrant conquerors between 800 and 1500 will be here included, although from about 1150 onwards that Pointed form, to which the name has been restricted, began almost everywhere to supersede the Round- arched. As, however, the pointed architecture, though the most important and original development made in any style, is essentially only a development of the circular Gothic, it seems most correct to class them under the one name which points to the Teutonic origin of both ; although the long centuries of ruin and renovation have rendered it impossible to ascertain what portion the race of Theodoric itself held in revitalizing the decayed civiliza- tion of Spain and Italy. The first clear existing specimens, in fact, of the Gothic, appear due to the successors of the Goths in the valley of the Po. In the earliest Lombard buildings we find the plan and the details based on the Romanesque : but from the beginning, vaults are an essential feature. As that rich supply of single shaft columns which Roman buildings gave had been chiefly exhausted during the Romanesque period, and as the weight of vault required additional supports, columns were coupled together or united with piers of masonry : and presently by a change recommended alike by its effect and its constructive advantage, these shafts, in place of breaking off at the first story — as in the Basilica — were prolonged to the base of the roof -line. This point once reached, ribs were carried from them over tha intersections of the vault : and the Gothic system of internal construction was complete in its main features. Externally, the weight of the roof was relieved by an invention for which the Roman plan of massive walls (as exemplified in the Pantheon) was a clumsy substitute : the invention of the Buttress. This, in the round Gothic, is always kept flat, and thus in some degree repeats the form of the merely ornamental Roman pilaster. Where the inner arches (as in Italy) were ordinarily of wide span, domes were often employed as a form of vault : and this style was widely diffused thence through central and south-western France and the Rhine valley. In the doors, the plain lintel entrance which had almost exclusively pre- vailed from the Greek to the Romanesque styles, was abandoned, and they were treated as many-pillared recesses, on which the best efforts of the sculptor were more and more con- centrated. As the Gothic thus advanced, through a thousand attempts, to harmony and •vital union of features, a new and most attractive feature was, for the first time in archi- tecture, added to the design. Hitherto, speaking in a broad sense, mass in length, not mass in height, had characterized the art from the Rhine to the Euphrates. But Towers were now incorporated in all the larger public buildings : and soon, under the general impidse to build higher, the lofty angular roof already placed (in part for protection agamst northern winters) over the tower or the church, shot itself upwards into the flame-like aspiration of the Spire. How much do we owe to an invention apparently so simple ! Let the reader think what he would lose, not only of charm in effect and of picturesqueness in outline, but even of high and peaceful thought, were these features wanting from the view when at the ©lose of the day's journey our road turns and before us over the level line of blue waters a hundred towers bum in the last light of sunset, and we feel it is Venice : — or where over the massy orbs of forest and the quiet roofs gathered round it as if for familiar protection, ARCHITECTURE. some solitary spire goes darkly up, painted in purple haze upon the amethyst and sapphire sky, and announces the unknown village which is to be our resting-place. — And when the hours of happy research return, the Gothic charm which so allured us in the general aspect of twilight does not fail on nearer examination. What looked so fair in outline will be found complete and lavish in loveliness of detail. For the wild northern intensity which acquiesced at first in the Romanesque plan, has thrown all its life into the orna- ment, and covered doorways and capitals with the beasts and birds of chase, huntsmen and warriors, labourers and knights, or inwreathed them with stranger fancies, the dragons and wolves of the old mythology, the Runic knots of Fate, and the Serpent by which the world is to be devoured. VIII Whilst the round Gothic worked onward thus in the great southern river- valley of Charlemagne's empire to the perfection conspicuously exhibited in Yerona, the style, carried northwards, took other forms in the great cities that edge the Rhine. Here, between 1000 and 1200, the magnificent groups of domes and minaret-like towers were built which still adorn Cologne : churches, which in grand arrangement and balance of the parts, and in the admirable contrast kept between light and shade by the plain and the recessed portions, show that this form of architecture, if fully developed, would display qualities inferior to none ever practised. Other modifications of the same manner appear in Switzerland, Spain, and France ; each varied with a life and freedom of which the very idea appears to have vanished from the modern world : the latest phase being that worked out by the Nor- mans in their duchy, and which followed their conquests to Sicily and England. IX Then followed the last great change in hving architecture ; prepared, indeed, in all essential points by the work of the preceding centuries, and in many details known long before ; yet, by its own intrinsic beauty, seeming like a new creation. It is certain that no style has ever excelled the pointed Gothic in picturesque and lavish beauty of plan and of orna- ment, hi the poetry of its lines, in the romance with which our own associations invest it. Yet the Gothic builders themselves, Suger of S. Denis, William of Canterbury, or Marc d' Argent of S. Ouen, would have been unconscious of that halo which Time, the beautifier, has cast over their master-pieces. Every essential feature of the pointed style, except the tracery of the windows, the glass that filled them, and the arched flying buttresses that sustained them, had been before practised ; the same exquisite architecture which so moves us in the cathedral was familiar to them in the street ; the only wonder of those inventive centuries, could they have foreseen it, would have been that their descendants should submit to the long maloveliness of Wimpole Street, or admire the confectionary-pettiness of the Rue Rivoli. It must not, however, be imagined that the pointed Gothic, on the whole, — though with large allowance for the sublimity of Egypt, the variety of India, the grace of Athens, and the vitality of its own immediate predecessor, — the most consummate architecture which the world has seen, rose from the ground ' like an exhalation.' Both hi construction and in decoration it obeyed the spirit of the time. In the ornament we may trace the gradual softening and purification of the rugged northern mind which, gradually tmning from those subjects of violence or fantasy already noticed — war and wild creatures, and visions of spectral superstition, now sought its pleasure in the sculpture of sweet human forms, or enwreathed arch and capital, base and niche, with the herb of the field, or the leafage of the forest ; estooning the level length of cornice with the hawthorn or the lily, and budding forth from the spire in crowns of floral loveliness. Whilst these are the essential characteristics of the detail, the construction is based on the passion for loftier and slenderer forms than the circular style appeared able to provide. And as the previous styles from their mode of covering spaces might be classed under the Lintel and the Arch, so the pointed Gothic might be named the architecture of the Gable, whether angular or curved. The latter form, commonly called the pointed arch, is obviously capable of greater height than the semi-circle ; it had. been long known in many countries, France included, as an occasional expedient; it, now quickly became the law for all larger apertures. Two external causes aided the rapid growth of the style ; the first, that the eleventh and twelfth centuries were the great age of mediaeval building and monastic institution ; the other, the discovery of that stained glass which clothed the churches of the time with a glory surpassing any internal decoration hitherto practised. To contain this, the windows were enlarged ; to frame it, the bars of wreathed masonry, known as tracery, were invented. Soon the ambition of skilful masons, revelling in the radiance of emblazoned saints and gem-like arabesques, raised the ribbed roof to a dizzy height and placed it on piers divided by walls of coloured crystal. The real wall was planted without the building in forests of detached buttresses, — the sculptor peopled with Scripture Histories every vacant space and 'coign of vantage', — and the Cathedral of the middle ages was created ; an embodiment in stone and glass and wood- work of all that was most lovely and most daring in the minds of men ; a concentration of all they admired here, or hoped for hereafter. X To the builders of Central Northern France the clearest evidence proves that this inven- tion is due ; nor, except in France and in England, whither it was carried so soon that the style there went through a living and original development, was it truly understood during the Middle Ages. Space, however, fails to trace a course, which, after two centuries, through many causes, though none inevitably inherent in the pointed style itself, led to a gradual decline, even in France and England ; whilst in Spain, Italy, and Germany, the style was ARCHITECTURE. never really understood, or exhibited in its force and purity. In Venice, indeed, Gothic forms, uniting with the Eomanesque of Constantinople, produced a manner of extraordinary grace and individuality, and one so directly adapted to modem city requirements, that only the modern indifference to architecture can have prevented its introduction. But we must pass to its later phases. That mighty change in the human mind, which gave birth to the Reformation and to the revival of ancient literature, fell precisely at the time when the perfec- tion of the Italian art in painting and sculpture, with other causes, rendered Italy omnipotent over European taste. And there a pedantry, which to us seems incredible in its puerile absurdity, led men to the conviction that the art of the Romans — a race at no time capable of any spontaneous or real Fine Art — was the one rule and law for the Christendom of 1500 years later. Incredible to us, we have said ... in all matters but in Architecture. For m Architecture that imitation of Roman work, best known through the name of Palladio, reigns in every capital and city of Europe. No one would deny that great genius and inordinate expense have given us a few buildings in which the Italian style has been led to graceful or noble results, when in the exceptionally-gif ted hands of San Micheli or Scamozzi, Wren or Chambers, of the architects of the original Louvre or the original Whitehall. But no one can possibly assert, that the style which has filled London with the dead monotony of Gower or Harley Streets, or the pale common-place of Belgravia, Tyburnia, and Kensing- ton — which has pierced Paris and Madrid with the feeble frivolities of the Rue Rivoli and the Strada de Toledo — which has in ten thousand towns substituted baldness and bareness and blackness for the colour and charm and life of Gothic, the square hole for the traceried window or clustered doorway, the square outline for the pinnacled shrine, — ivnable to employ the commonest material, and costly, beyond the reach of all but the very rich, when employing the finer In a practical country, and an age which has renewed the popular love for art, is it needful to waste words on the conclusion ? XI To state the plain facts should be sufficient : we have seen that the Roman style is a heterogeneous and mechanical formation, put together from foreign styles by a tasteless race, by whom they were misunderstood, and arrested by political causes bef ore it had reached that stage of unity which alone gives a soul to art. This style, restored in part from ruins, in part from the treatises of Roman theorizers, was applied in later times, when society was altered, to the palaces and churches of Italy and France, during a century of the deepest social degradation, — to minister to the luxury of Francis or Borgia, or supply temples for the infidel superstitions of Leo and Julius. It was never treated as suitable for ordinary life : it cannot be rendered suitable for it. Unable to condescend to a cottage, it triumphs as the decoration of the stage. Palladian, Renaissance, Italian, Louis Quatorze., Louis Quinze, whatever name it bears, it is still but the copy of a copied architecture— a galvanized pedantry. Architecture such as this can have no hold on men's hearts ; vulgar pride or learned connoisseurship are the only tastes it appeals to. And from, its fatal domination has arisen an evil worse than the frozen formality it fosters j wherever this Palladianism has spread, with it spreads like a canker that dead indifference to the art, which will never be cured whilst men live in houses and meet in buildings that can give them no real pleasure. But when once a practical, intelligible, and beautiful style arises, the natural delight in Archi- tecture our race has always taken, in healthy days of taste, will arise with it, and the cold arrogant spectres of the bastard Roman pass beyond the reach of contempt itself. Nor should it be fancied, that to return to former excellence involves that copied art which will never be other than lifeless. Gothic, fair as it was, never reached its full development j we have but to take up the thread which the dilettante dropped, and carry out, with far greater means, the style invented for us by our neighbours and our countrymen. The examples here quoted have been mostly selected from churches, — buildings which both invited the greatest skill and have survived most frequently to modem days. But the peculiar glory of Gothic in all its phases is, that it is equally adapted to every architectural requirement of human life. No other style is at once so high, and so humble ; so rigid in obedience to its purpose, or so free in arrangement and detail. What was done of old in the minster, was done hi the street ; the style of the Country was the style of the Town. This was not an architecture, as those of Egypt and of Greece, reserved in its purity for religion ; not as that of Rome, incapable of descending without loss of essential character to private dwellings; but like the 'common sun, the air, the skies,' suitable at once to the church and the palace, the factoiy and the town hall, cottage and castle ; taking each material and carrying to the utmost its capabilities, from the marble hi its snowy slab or purple-veined tablet, to the earth of the field, or the rubble of the quarry ; at home no less in shops and alleys, than where the manor-house lights up the landscape with its gray or russet gables, or the valleyside chapel stands like a chased tabernacle of precious workmanship, amongst rude rocks and the frowning mountain walls of nature. And it shovld speciaUy be noted, that Gothic alone has been able to beautify the dwellings of the Poor. These are no idle phrases ; they are strictly exemplified during all the centuries of the round and pointed Gothic ; nor, so far as we know, has any other style been equal to the same universality of service. It is not on remote or elaborate or anti- quarian reasons that its excellence rests : Gothic is simply the one style which, by the circumstances of its development, has united hi itself all the best constructive and the best 80 ARCHITECTURE. obnamental forms of the world's inventions in Architecture. From the lowliest offices of use to the loftiest majesty of loveliness, this noble art has shown herself equal to the occasion • unrestricted by varieties of climate, nay, finding in them only additional opportunities for beauty and for convenience ; at once the most economical in means, the most varied in adaptabilities, the most intelligible and exquisite in results. It is no fine figure to say, that by ten thousand proofs Gothic has stamped itself on the fair face of Europe as the Architecture of Heaven, and the Architecture of Home. Man's requirements in the province of building do. not substantially vary ; they are amongst the things ' that have been, and will be again.' In this matter, then, on which side is Common Sense ? Why seek impossible new forms, or repeat styles which are bastard, or lifeless, or unpractical, — whilst men of like passions and blood with ourselves have solved the problem once, perfectly, and for ever? F. T. P. 81 BRITISH DIVISION. CLASS XXXVII. ARCHITECTURE. A.-DESIGNS. N.E. GALLERY, EXHIBITION ROAD. FERGUSSON, J. 1501 Design for a National Palace of the Fine Arts— Garden Front. 1502 The Same — Entrance Front. 1503 Mausoleum at Halicarnassus — restored according to recent- discoveries. WIGGINTON, W. 1504 Elevation of a Design for a Museum at the East of London. 1505 Perspective Yiew of a Design (No. 1) for the Wedgwood Memorial, at Burslem. y KNOWLES, J. T. 1506 The Entrance Hall at the Grosvenor Hotel, Victoria Station. 1507 Exterior of the Grosvenor Hotel. 1508 Interior of the Music Room at Montserrat, Cintra, Portugal. BOULNOIS, W. A. 1509 A Country House. NEWMAN & BILLING. 1510 The Bayswater Athenaeum, Westbourne Grove. WILSON, J. 1511 Wadbury House, Somerset, Glen Avon, Lansdown. WARING, J. B. 1512 Principal Facade of a National Institute of Science and Art, adapted FOR THE SITE OF BURLINGTON HOUSE, PICCADILLY. 1513 Design for a Club House. BRODRICK, O. 1514 The Town Hall, Hull. 1515 Victoria Hall (in the Town Hall, Leeds). 1516 The Town Hall, Leeds. 82 Architecture.] BRITISH DIVISION. [N.E. Gallery. THOMAS, J. 1517 The Royal Park Dairy. 1518 The Queen's Boudoir, Windsor. ELLIS, E. 1519 The Corn Exchange, Bury St. Edmund's. „ Shops, &c. Fenchurcii Street. „ Design for covering in the Court of the Eoyal Exchange. SMITH, T. R. 1520 Designs for Warehouses, Manchester. HARD WICK, P. C. 1521 General Yiew of the Schools attached to the Boyal Hospital, Green- wich. (Showing the proposed Alterations.) OLIVER & LAMB. 1522 View of the Clock Tower, Drinking Fountains, and Barometer Case, erected at Tynemouth, Northumberland. KERR, R. 1523 Design for covering the Boyal Exchange, London. 1524 Design for Government Offices. 1525 Another of the same. MARRABLE, F. 1526 Proposed High Level Boad and Viaduct from Hatton Garden to St. Sepulchre's Church — View looking East. 1527 The Same— looking West. CURREY, H. 1528 The Peninsular and Oriental Steam Navigation Company's Offices, Leadenhall Street. 1529 Railway Hotel, London Bridge Terminus. SMIRKE, S. 1533 A Study iN Polychromy, showing how Coloured Marbles and Terra Cottas may be ornamentally used in External Architecture. TARRING:, J. 1531 A Design for Government Offices, submitted to the late Sir W. Moles? worth. HIRST, J. H. 1532 Design for the Government Offices — To be grouped together in the space bounded by Downing Street, St. James's Park, Great George Street, and Parliament Street. (The small Photographs show Internal Views of the Glass-covered Streets, and Geometric Elevation and Sections.) MURRAY, J. 1533 The Palace Hotel, Buckingham Gate. 1534 The New Custom-house at Folkestone. HENMAN, C. 1535 A Design for a New System of Street Architecture, in connection with the Thames Embankment. 83 Architecture.] BRITISH DIVISION. [N.E. Gallery. BANKS & BARRY. 1536 A Street Facade. 1537 Manchester Assize Courts (Proposed Design). 1538 Liverpool Free Library (Proposed Design). 1539 Proposed New Town Hall, Preston. 1540 Bylatjgh Hall, Norfolk ; erected in 1851. — Yiew from the Gardens. 1541 The New Foreign Office (Design to which the Second Premium was awarded). SMITH, T. R. 1542-3 Stratton Addle y Park, Oxfordshire— from the North-West. 1544 Designs for Warehouses, Manchester. PENROSE, F. C. 1545 Interior, showing the East-end of St. Paul's, and the Altar-piece, in- tended by Sir Christopher Wren. 1546 A Section of St. Paul's Cathedral. (Being a Design for its Decorative Com- pletion, with Mosaic Paintings, &c.) BARRY, E. M. 1547 The Birmingham and Midland Institute. 1548 Design for the New Government Offices, Westminster. 1549 Leeds Grammar School. 1550 St. Giles's-in-the-Fields National Schools, Endell Street. BELCHER, J. Jun. 1551 Design for the Town Hall, Northampton. COLLING, J. K. 1552 New Picture Gallery erected at Hooton Hall, Cheshire. 1553 New Sculpture Gallery. 1554 New Church erected in Hooton Park, Cheshire. 1555 Ashwicke Hall, Gloucestershire. THOMSON, J. 1556 The Ceiling, from the Upper Gallery, Grittleton Wilts. 1557 The Grand Staircase, from the Landing. 1558 The Central Hall, from the Ground Floor. GREEN, J. W. & DE VILLE, L. 1559 The Hartley Institution, Southampton. 1560 Prize Competition Design for the Grand Opera House at Rio de Janeiro. 1561 Prize Competition Design for Assize Courts, Brussels. ROBINS, E. C. 1562 Prize Design for the Rev. C. Spurgeon's Tabernacle. 1563 Coombe Cliff House, Croydon. 1564 Croydon Cemetery Chapels. teulon, s. s. 1565 Tortworth Court. 1566 Shadwell Court. 1567 Elvetham Hall. 1568 The Clock Tower, Shadwell Court. 1569 Trinity Church, Hastings. 1570 Elvetham Hall. 84 Architecture.] BRITISH DIVISION. [N.E. Gallery. ST. AUBYN, J. P. 1571 St. Stephen's, Devonport. 1572 St. Mary's, Widford, near Chelmsford— South-east View. 1573 Delamore, Ivy Bridge, Devon — North-east View. FULLER, J. F. 1574 A Study for an Entrance Gateway to a Nobleman's Park. THOMPSON, M. 1575 The Presbyterian Church, Morpeth, Northumberland, built for Dr. Anderson. 1576 Church at Great Lumley, Durham. 1577 Interior of Chester-le-Street Church, Durham, showing the restorations. KENDALL, H. E. Jun. 1578 Design for a City in the Italian Style. 1579 Mansion (Elizabethan Style), near Carlisle. 1580 Mansion (Tudor Style), Knebworth, Hertfordshire. PRICHARD & SEDDON. 1581 The West Front of Llandaff Cathedral. ' HADFIELD, M. E. 1582 The Church of St. Joseph, Stockport. WORTHING TON, T. 1583 A Study of Ecclesiastical Architecture. BRUTON, E. G. 1584 Design for the Obelisk proposed to be erected in honour of the late Prince Consort, on the site of the Great Exhibition of 1851. TRACY, S. W. 1585 Perspective View of a Prospect Tower. NORTON, J. 1586 Some Works of Ecclesiastical and Domestic Architecture in Great Britain, Russia, and France, executed or designed between the Years 1851—62. SIR t. deane, son; & WOODWARD. 1587 House at Galway for the Marquis of Clanricarde. 1588 Interior of the Examination Hall, Queen's College, Cork. 1589 Design for the War Office : Staircase Angle. WADMORE & BAKER. 1590 Proposed Church and Parsonage, at Surbiton, Surrey. 1591 Interior of the Chapel of the Grammar School at Tonbridge, Kent. SCOTT, G. G. & WILLIAMS, II, 1592 Interior of St. Michael's, Cornhill. 85 Architecture.] BRITISH DIVISION. [N.E. Gallery. SCOTT, G. G. 1593 The Martyrs' Memorial, Oxford. 1594 New Buildings and Raglan Memorial, Westminster. 1595 Restoration of the Westminster Chapter House. 1596 Kelham Hall, Newark-on-Trent. 1597 Designs for .the New Government Offices. 1598 St. John's Church, Nev/foundland. 1599 Interior of St. George's Church, Doncaster. 1600 The New Church of St. Nicholas, Hamburg. 1601 Court of New Government Offices. 1602 Kelham Hall, Newark-on-Trent. 1603 New Government Offices. 1604 Prize Design for the Hotel de Ville, Hamburg. 1605 Reredos — Lichfield Cathedral. ROBERTS, E. 1606 Lodge to Grass Farm, Finchley. PEARSON, J. L. 1607 A Collection of Designs of Towers and Spires. DUNN, A. M. 1608 Design for the froposbd Memorial to George Stephenson, to be erected in Newcastle. AITKEN, G. S. 1609 Design for a National Monument. MORRIS AND WIGGINTON. 1610 Designs for the Wedgwood Memorial, Burslem. BURY, T. 1611 A Combination of Works Designed and Executed. 1612 New Lodge, Windsor Forest — The Grand Staircase. 1613 New Lodge, Windsor Forest — Exterior View. 1614 Farming Woods Hall, Northamptonshire— The Dining Hall. FERREY, B. 1615 Wynnstay — Exterior View. 1616 Restoration of Bishop's Palace, Wells. 1617 View of Bulstrode. CHAMBERLAIN, J. H. 1618—21 Examples of Domestic " Gothic."— Exterior Architecture. WATERHOUSE, A. 1622 View of the Royal Insurance Company's Offices, Manchester. 1623 The Residence of W. G. Bateson, Esq., Allerton, near Liverpool- North-east View. 1624 The Same— South-west View. 1625 PERSPEcnvE View of the Manchester Assize Courts. 1626 The Same— Interior of the Great Hall. 8G Architecture.] BRITISH DIVISION. [N.E. Gallery. CLARKE, J. 1627 Interior of St. Luke's Church, Heywood, Lancashire. 1628 Burley Manor. 1629 Great Malvern. 1630 New Chapel, House of Charity, Rose Street, Soho. 1631 — 2 Designs for Country Houses. 1633 Proposed Church at Point de Galle, Ceylon— Exterior View. 163-4—9 Sketches of Churches — Exteriors and Interiors. 1640 St. Luke's Church, Heywood — Exterior. 1641 Interior of the Proposed Church at Point de Galle. SLATER, V/. 1641a Doorway, Sherborne Church. COLLINS, H. H. 1642 A Selection from an Architectural Census: — Marine Residence at Seagrove, Devonshire. Exterior and Interior of the Synagogue, Bryanstone Street. A Marine Residence, Great Yarmouth. Warehouses erected in Australia. Exterior and Interior of Great Yarmouth Assembly Rooms. A Villa at Hawkhurst, Kent. Shop and House, Lombard Street, E.C. LEWIS, T. H. 1643 Street Fronts in London. 1644 Staplehurst Place, Kent (Addition). 1645 Park Cottages, Kent and Surrey. 1646 The Wick, Richmond (as altered). 1646a New Warehouses in the Blackfriars Road. ORDISH & LE FEUVRE. 1647 Proposed High Level Railway Bridge over the Thames— below bridge. BLAND, J. G. 1648 The Gold Pen Manufactory, erected in Birmingham, for Mr. Wiley 1649 The Warehouse, erected in Birmingham, for Mr. J. Taylor. 1650 Ironmonger's Shop, Birmingham. ALLOM, T. 1651—2 Designs for the Thames Embankment. ALLOM, A. 1653 Designs for a Metropolitan Institution of Fine Arts. 1654 Metropolitan Sea-water Baths. 1655 Roman Court. 1656 Great Hall for Architecture and Sculpture. NEWTON, H. R. 1657 Yiew of London, from the Yictoria Tower, Westminster ; showing a Proposition for the Embankment of the Thames. WIG-LEY, G. J. 1658 Design for a Church at Constantinople. 87 Architecture.] BRITISH DIVISION. [N.E. Gallery. WIG-LEY, G. J. 1659—60 Design for the Church of St. Peter and St. Paul, Cork. 1661 The Church of the Santissimo Redektore, Kome. WYATT, M. DIGBY. 1662 Sketch for a Gothic India Office. 1663 Calcutta Post Office — Exterior. 1664 The same — Interior. 1665 Military Chapel, Warley, Essex — Interior. 1666 No. 96, Gracechurch Street, City. 1667 The Italian Court at the Crystal Palace. 1668 San Benedetto, Subiaco. 1669 Studies in Italy. 1670 Studies for Metal Work. 1671 Mosaic Work Designs. 1672 Vaults and Ceilings. 1673 The Queen's Screen at the Crystal Palace. 1674 India House Museum of Sculpture. 1675 Interior of the Garrison Chapel, Woolwich. (With T. H. Wyatt.) 1676 The Pompeian House at the Crystal Palace. 1677 Geometrical Designs. 1678 Portions of the Paddington and Windsor Railway Stations. 1679 The Arch of Titus, Rome. 1680 The Ceiling of the Sala di Cambio, Perugia. 1681 Chancel and Memorial Window, North Marston Church, Bucks. 1682 San Lorenzo, Naples— Interior. 1683 Coed-y-Pane Church, Monmouthshire — Interior. 1684 Pavement of the Manchester Atheneum. 1685 The Gallery at Compton Wynniatts. 1686 Portable Church, Rangoon. 1687 Pompeian Decorations— Original Studies. 1688 Pulpit at Pistoia, &c. 1689 The Morning Room, Ashridge. JONES, OWEN 1690 Decorations at Christ Church, Streatham. 1691 Design for the Exhibition Building, Manchester.* 1692 Crystal Palace, Sydenham. 1693 Design for the Decoration of the Great Exhibition Building, 1851. 1694—8 Views of the Proposed "Palace of the People" at Muswell Hill. 1699 Design for the Interior of the Manchester Exhibition, 1857. 1700 Ceiling of Hancock's Show-rooms, Bond Street. 1701 Interior of St. James's Hall. 1702 Ceiling of St. James's Hall. 1703 St. James's Hall, Piccadilly Front. 1704 London Crystal Palace Bazaar. 1705 Dairy, Fonthill. 1706 London Crystal Palace — Facade. 1707 Garden Front— 3, Kensington Palace Gardens. 1708 Osler's, Oxford Street— Facade. 88 Architecture.] BRITISH DIVISION. [N.E. Gallery. JONES, OWEN. 1709 Cape— designed for the Park at Sydenham. EDMESTON, J. 1715 Clock Tower, Geelong, Victoria. 1716 The Galleries op the Architectural Exhibition, Conduit Street, W., with a Design for their Decoration. 1717 Photograph of the Porch, Knight's Hill, Norwood, 1718 Ground Floor, 114, Piccadilly. 1719 Tomb at Highgate Cemetery. 1720 House in Gresham Street, City. HARDWICK, P. C. 1721 Sketches of Buildings designed and executed between the Years 1844 and 1862. WILLIAMS, H. 1722 Schools and Almshouses of the Drapers' Company, at Tottenham, Middlesex. 1723 — 4 Howell's Schools for Orphan Girls, erected by the Drapers' Company, at Llandaff, S. Wales, and Denbigh, N. Wales. HIOKES & ISAAC. 1725 The Bath Markets. 1726 Chapels and Buildings of Walcot Cemetery, Bath. 1727 The Bath Markets. 1728 The Bath Markets. LAMB, E. B. 1729 The Ball-room and Conservatory at Montreal, Seyenoaks. 1730 Town Hall and Assembly Booms, Berkhampstead. 1731 Aldwork Hall, near York. 1732 Alterations and Additions at Nun Afpleton, Tadcaster. BRANDON, D. 1733 Blackmore Park, Worcestershire. 1734 Hemsted House, Kent. 1735 The New Entrance and Alterations at Alton Towers. 1736 Hemsted House, Kent— Garden Front. 1737 Colesborne House, Gloucestershire. 1738 Taverham Hall, Norfolk. GIBSON, J. 1739 Bodelwyddan Church, St. Asaph— Exterior. 1740 The Same — Interior. (Erected for the Dowager Lady WUlougTaby de Broke.) 1741 Imperial Insurance Offices, London. 1742 Woodcote, Warwick, the Seat of H. C. Wise, Esq. 1743 National Bank of Scotland, Glasgow. 1744 House for F. B. Pickersgill, Esq., B.A., Highgate. ROUMIEU, R. L. 1745 The Principal Staircase, Franks, Kent. 1746 French Protestant Church proposed to be erected at Versailles. 89 Architecture.] BRITISH DIVISION. [N.E. Gallery. HAYWARD, C. F. 1747 A Design for Buildings to be erected on the New Thames Embankment. 1748 The same— Block Plan. 1749 A Design. for the Park Facade of the Foreign Minister's Residence in the New Government Offices, Westminster. 1750 St. Mary's- at-the-W alls, Colchester. 1751 Sketches of a Design for the Vaughan Library, Harrow. 1752 St. Peter's Church, Colchester— Proposed Restorations. 1753 The Interior of St. Andrew's Church, Haverstock Hill. „ A Design for a Venetian Palace. GILES, J. 1754 Villa erected in Wimbledon Park for J. Reeve, Esq. CHANCELLOR, F. 1755 Architectural Census of Chelmsford. (Being Views of Buildings erected since 1851.) SEARLE, C. G. 1756 Buildings Designed and Executed. BOWMAN, H. 1757 Volunteers' Drill Ground and Armoury, Stockport, Cheshire. BOOTH, L. 1758 A Drinking Fountain, and Pillar for a Marine Barometer, erected at Southport, Lancashire. CLARKE, G. S. 1759 Cowley Manor. 1760 Cowley Manor — Italian Garden, and Water-works. 1761 The Asylum for Sailors' Orphan,-!, Sxaresbrook, Essex. 1762 Printing-house, St. John Street. 1763 The Phjnd Asylum, Brighton. 1764 A Warehouse, Wood Street, City. 1765 Turkish Baths, Jermyn Street, St. James's. ROSS, J. 1766 Prize Design for Agricultural Cottages built and exhibited by the Royal Agricultural Society, at thetr Meeting, 1SG1. RICHARDSON, C. J. 1767 View of Houses in Prince Albert's Road, built for James Whatman, Esq. GODWIN, G. 1768 South Porch, St. Mary Redcliffe, Bristol,— as restored. 1769 Walls Court Farm, near Bristol. WYATT, T. H. 1770 Views in Wimborne Minster,— as restored. 1771 Garrison Chapel, Woolwich. 1772 Views of Mansions. 1778 Mansion at Broadford, Kent. TARRING, J. 1774 The Trinity Presbyterian Church, Cork, 90 Architecture.] BRITISH DIVISION. [N.E. Gallery, WYATT, T. H. 1775 Proposed Addition to Banqueting Hall, Whitehall. 1776 Orchardleigh Park, Somersetshire. 1777 St. Katharine's Church, Savernake Forest, Wilts. 1778 Oarlett Park. GRAY, 0. 1779—88 Designs for Street Architecture. HABERSHON, W. Gr. & PITE. 1789 Philological Schools, Marylebone Eoad. 1790 Bed well House, Herts. 1791 Byram Park Terrace, Yorkshire. 1792 Belvedere Church, -Erith, Kent. 1793 Clapham Presbyterian Church. 1791 Duncrub Castle, Perthshire, N.B. 1795 Warter Priory Terraces. 1796 Free Church Manse, Dunning, KB. 1797 Myddelton Schools, Barnard Castle, Yorkshire. 1798 Westbourne Groa'e Terrace Church. 1799 Half Timber Mansion, near Warrington. '1800 Assembly Booms, Newport, Monmouth. MORGAN, Of. 1801 Barracks (for the Guards) now being erected at Chelsea. 1802 Design for the Jews' Hospital, London. 1803 Designs for a Public Building. WILSON & NICHOLL. 1804 Chapel of St. Patrick, Low Leyton, Essex. CLARKE, G. R. 1805 Chancel of the Church of St. James, Staunton, Worcestershire. POLLEN, G-, H. 1806 Sketch of a Building to be erected at Christ Church, Oxford. STREET, G. E. 1807 Church at Bournemouth, Hants. 1808 Proposed Church of St. Dionis, London. 1809-10 Church at Cowley, near Oxford. 1811 Interior of the Church at Bournemouth, Hants. 1812 Church of St. James the Less, Garden Street, Westminster. 1813-14 Church of St. Philip and St. James, Oxford. 1815 Church of St. James the Less, Garden Street, Westminster. 1816 Second Prize Design for the Cathedral at Constantinople. 1817 School-room and Chapel at Uppingham. 1818-19 Second Prize Design for the Cathedral at Constantinople. INMAN, W. S. 1820 The Hall of King's College, Cambridge. (Part of a Design selected, in the Public Competition of 1822, for completing tee College founded by King Henry the Sixth.) 01 Architecture.] BRITISH DIVISION. [N.E. Gallery. BURG-ES, W. 1821 GrARDE-ROBE, GAYHURST. 1822 Designs for Jewellery. CLTJTTON & BURG-ES. 1823 Photographs op the successful Design for Lille Cathedral. BURGES, W, 1824 Bird's-eye View of a Mediaeval Town. 1825 Memorial Church, Constantinople— Exterior View. 1826 The Same — Interior View. 1827 Design for a Fountain. 1828 Waltham Abbey — New East End. CARPENTER, R. C. 1829 St. Paul's Church, Brighton. „ St. Mary Magdalen, Munster Square, London. „ The Lady Chapel, St. Patrick's Cathedral, Dublin. 1830 The Chapel, Hurstpierpoint College, Sussex. 1831 The Garden-Front of Bedgebury Park House. CARPENTER, R. C. & SLATER, W. 1832—3 Lancing College, Sussex. SLATER, W. 1834 Burntisland Church, N.B. 1835 Sherborne Abbey — Interior of the Choir (as restored). 1836 Interior of Burntisland Church, N.B. 1837 Kilmore Cathedral — Exterior View. 1838 Honolulu Cathedral, Sandwich Isles. 1839 Mortuary Chapel of the Digbys, Sherborne, Dorset. 1840 Limerick Cathedral — Interior View. 1840a Designs for Monuments, Pulpits, Stalls, &c. BARNETT, J. 1841 Cemetery Church, Finchley. 1842 Interior 17 & 18, Cornhill. 1843 St. Stephen's Church, South Lambeth. 1844 Cemetery Chapel, Finchley. 1845 A House in Cornhill. 1846 Wexham Lodge. 1847 Bangor College. 1848 Schools at Caterham. WILSON, J. 1849 Trinity Chapel, Liverpool. „ All Saints' Church, Whitley, Yorkshire. „ New Schools Long Ashton, near Bristol. „ St. John's Schools, Heaton Mersey, near Manchester. 1S50 Lath and Landsdowne College, Bath. 1851 The Congregational Church, Camberwell. JAMES, J. 1852 View of Spring Hill College, near Birmingham. 92 Architecture.] BRITISH DIVISION. [N.E. Gallery. ROBERTS, E. 1853 Plans and Views of Christ College, Pinohley, erected in 1861. BRANDON, R. 1854 St Peter's Church, Westminster. 1855 View of Datchet Church, Bucks. 1856 View of St. Peter's Church, Westminster— Interior. ROBINS, E. 0. 1857 Design for the Ornamentation of Lambeth Bridge. LLOYD & UNDERWOOD. 1858 Design for a Volunteer Club-house. FRANCIS, F. & H. 1859 St. Mary's Church, Kilburn. 1860 Almshouses and Schools, erected for the Right Hon. L. Sullivan. 1861 The Consumption Hospital, Brompton. 1862 Warrington Church, Lancashire. GOLDIE, G. 1863 Interior of St. Mary's Church, Lanark. 1864 Design for the Church of St. Peter and St. Paul, Berne, Switzerland 1865 St. Patrick's Church, Bandon, Ireland. 1866 St. Peter's Church, Phibsboro', Dublin. 1867 Choir of St. Vincent's Church, Cork. 1868 St Peter's, Dublin. 1869 Choir, St. John's, Salford. N.E. [TRANSEPT] GALLERY, EXHIBITION ROAD. ORDISH & LE FEUVRE. 1870 Drawing of the Crystal Palace now being erected at Amsterdam. NICHOLLS & BOW YE R. 1871 Perspective View of the Wedgwood Memorial Institute, Burslem. NESFIELD, ¥, E. 1872 Sketches from Prance. 1873 Interior of the Great Hall about to be erected at Combe Abbey, near Coventry. SIR T. DEANE, SON, & WOODWARD. 1874 St. Mary's, Tuam. GOMPERTZ, F. J. 1875 A Cathedral of the Thirteenth Century. IRVINE, J. T. 1876—8 Architectural and Decorative Designs. NICHOLL, S. J. 1879—81 Studies of Ecclesiastical Architecture. 93 Architecture.] BRITISH DIVISION. [N.E-. Gallery. MYLNE, R. W. 1882 Design for a Stone Bridge, Blackpriars. WHICHCORD, J. 1883 A Country Mansion. PRICHARD & SEDDON. 1884—1909 A series of Photographs from Buildings and Designs. WILLIAMS, J. 1910 Photograph of an Altar-piece. ROBERTS, H. 1911 Model Lodging-houses for the Labouring Classes. 1912 The Great Banqueting Boom, Fishmongers' Hall. CHRISTOPHER, J. T. 1913 E. A. Prize Drawings of Bow Church, London. FALKENER, E. 1914 Pompeian Studies : The Atrium of the Romans. 1915 The Hyp.ethron of the Parthenon, Athens, with the Colossal Statue of Minerva, by Phidias. 1916 Interior of the Mosque at Ballat, Asia Minor. 1917 Ephesus : A Restoration of the City from Plans and Measurements takes on the Spot. 1918 Interior of an Asiatic Cheek. Theatre. 1919 Pompeian Studies: The Maritime Villa. COCKERELL, F. P. 1920 Pompeii— <; An Actor at Home." 1921 Bale — " Domus l^eta, uxor optima." 1922 Art in Devotion. COCKERELL, C. R. 1923 Restoration of the Forum, Rome. 1924 The Theatre, Pompeii; Restored from Measurements and Delineations made on the spot. TITE, W. 1925 Works and Designs of Intco Jones. RICHARDSON, W. 1926 Tynemouth Priory. 1927 Rivaulx Abbey, Yorkshire. 19,28 Old Hall, Fountains Abbey, Yorkshire. DOBSON & KYLE. 1929 New Buildings, Newcastle-ox-Tyne. ., Views of Cornhill and Queen Street. CLARKE, J. 1930 A Country House. TEULCN, W. M. 1931 National Schools, Dynevor Castle, Carmarthenshire. 1932 A Room in Henbury House, Dorset. 1933 Plan of a Morning Room. 94 Architecture.] BRITISH DIVISION. [N.E. Gallery. BARRY, SIR 0. 1934 Entrance Front of Bridgwater House. 1935 Design for the Concentration of New Government Offices. 1936 Sketches in the East. 1937 Proposed Government Offices. 1938 Plan of Improvements connected with the New Palace; Government Offices; and Thames Embankment, Westminster. 1939. Highclere Castle, Hants. 1940 The Eiver Parade of *he New Palace, "Westminster. 1941-2 Original Sketches made in the East, a.d. 1818-19. (Contributed by the Executors.) POCOCK, W. W. 1943 Interior Yiew of the Metropolitan Tabernacle, erected for the Rev C. H. Spurgeon. 1944 The Same— Exterior View. RICHARDSON, C. J. 1945 A Group of Elizabethan Villas. GUILLAUME, G. H. 19*8 Netley Abbey, BOULNOIS, W. A. 1947—8 A Residence, erected at Gotiienbourg (Sweden"), for Oscar Dickson, Esq, MASTERS, H. 1949 Design for a Public Hall For the City of Bristol. APPLETON, E. 1950 Interior of the New Church, Torquay. 1951 Freemasons' Hall, Torquay. 1952 Interior of the Congregational Chapel, Plymouth. 1953 Design for a Church at Torquay. 1954 Design for the Congregational Chapel at Plymouth. 1955 Design for a Church- at Edinburgh. ROBINSON, G. T. 1956 Exterior of the Church of St. Luke, Blakenhall, Wolverhampton, „ The Same— Interior. 1957 Rural Schools erected in "Warwickshire. HELLYER, T. 1958—60 The Library, Drawing-room, and Dining-room, at Apley Tower, Ryde, Isle of Wight. HILL, W. 1961-2 Westwood Villa, near Leeds. WILCOX, W. T. 1963 Design for a Preparatory College. ASHPITEL, A. 1964 Side of a Room in the House of the Quaestor, Pompeii, by Morelli, 1965 Design for a Water Entrance (Gold Medal Drawing), by the lati<: E. GlFFARD. 95 Architecture.] BRITISH DIVISION. [N.E. GaUery. ASHPITEL, A. 1966 Rome as it is. 1967 Rome in its Glory. Restoration of the Forum j from the Top of the Palatine Mount. 1968 Triumphal Bridge for Blackfriars. 1969—72 Proposed Restorations at St. Margaret's, Westminster. GARLING-, H. B. 1973 Suggestions for Completing the Facade of the Exhibition Building. TREHEARNE, W. J. 1974 The Hall at Mudie's Library. ROBINSON, J. 1975 A Design for Courts of Justice, to which the Travelling Studentship in Architecture of the Royal Academy was awarded, 1861. DONALDSON, T. L. 1976 View of a Temple to Victory, according to the usages of the Ancients; 1977 View of a Design for Hallyburton, Cupar Angus, N.B. 1978 Study for the proposed British Consulate Buildings at Alexandria, Egypt. FRIPP, S. 0. 1979—80 A Memorial Design. 1981 A Design for the Law Courts, Manchester. 1982 The Same— Perspective View. CORSON, W. R. 1983 Lillesden, Kent— erected for E. Loyd, Jun. Esq. 1984 Auchencairn, Kirkcudbright, N.B.— erected for Ivie Mackie, Esq. 1985 Castlestead, Yorkshire— erected for G. Metcalfe, Esq. 1986 North wood, Manchester— erected for T. Fairbairn, Esq. TAYLOR, J. Jun. 1987—90 Views of Villus. FRANCIS, F. & H. 1991 The National Discount Company's Offices, Cornhill. MASTERS, H. 1992 Designs submitted in competition for Nottingham Grammar School. I' ANSON, E. 1993 A Group of Buildings in the City of London. 1994 The Corn-Exchange Chambers, Seething Lane. 1995 The Interior of Merchant Taylors' Hall, Tiireadneedle Street. WORTHINGTON, T. 1996 Design tor the Manchester Assize Courts. 1997 Baths and Wash-houses built in Manchester and the Neighbourhood. t TRUEFITT, G. 1998 Designs and Drawings of Works executed in England and Wales. DOBSON, J. 1999 South-west View of Lambton Castle, Durham. 2000 Interior of the Central Railway Station, Newcastle-on-Tynb, 96 Architecture.] BRITISH DIVISION. [N.E. Gallery. DEASON, J. 2001 Drawings of Ecclesiastical and other Buildings recently erected in England. SPIERS, R. P. 2002—3 An Observatory — Subject of competition at the Ecole des Beaux Arts. Paris. 2004 Design for a House for Four Brothers. BROMLEY, SIR W. M. 2005 Designs for Public Offices from Charing-cross to the Houses of Parliament. JONES, H. 2006 British and Irish Magnetic Telegraph Company's Office. 2007 Sovereign Life Assurance Office. 2008 Cardiff Town Hall. CORSON, G. 2009 North-west Yiew of Foxhill, near Leeds. 2010 The Same — South-east Yiew. 2011 Warehouses, "Wellington Street, Leeds. 2012 A Warehouse, Manchester. DOBSON, W. D. 2013—14 Designs for Architectural Carvings. WHITE, G. 2015 Perspective of Church, Coventry. 2016 Gable-end, S. Gudule, Brussels. 2017 Restoration .of the Lady Chapel, St. George's Cathedral, South wark. THOMSON, A. & G. 2018—26 Designs for Buildings of various kinds. 2027 Photographic Yiew of St. Yincent Street Church, Glasgow. 2028 Photographic Yiew of Caledonia Road Church, Glasgow. 2029 Photographic Yiew of a Suburban Yilla. DOUGLAS, O. & STEVENSON. 2030 Auchenheglish House, Loch Lomond. SALMON, J. 2031 The Old Abbey Church, Paisley. 2032 The Abbey Church, Paisley (restored). LESSELS, J. 2033 Design for the Mansion House, Speddoch, Dumfriesshire. matheson, r. 2034 Perspective Yiew of" the New General Post-Office at Edinburgh. PLAYFAXR, W. H, 2034a Design for a Monument. MILNE, R. W. 2035 The Crown^steeple of King's College, Aberdeen. 97 B Architecture.] BRITISH DIVISION. [N.E. Gallery. MILNE, R. W. 2036 The Crown-steeple op St. Michael's, Linlithgow. 2037 The Crown-steeple of St. Giles's, Edinburgh. HAY, W. H. 2033 Design for completing the National Monument in Edinburgh. LOW, D. PATON. 2039 Cosmical Development of Architecture— Classic versus Gothic. t (Contributed by Haig and Low.) COUSIN, D. 2040 The Savings Bank and Free Church Offices, Edinburgh. BRYCE, D. Jun. 2041 The Mausoleum at Hamilton Palace, Lanarkshire. 2042 North-west View of Kinnaird Castle, Forfarshire. 2043 North Front of Craigenar, Renfrewshire. 2044 Entrance Front of Panmure House, Forfarshire. 2045 North-east View of. Glen, Peebleshire. PILKINGTON, F. T. 2046 View of the Free Church now being erected in Edinburgh. SALMON, J. 2047 Abbey - Church, Paisley"— Geometrical Elevation of the West Front. BURNET, J. » 2018 Elgin Place Chapel, Glasgow. HONEYMAN, J. 2019, 2052 Design for the Houses of Parliament, Sydney. , RHIND, D. 2050 The Commercial Bank of Scotland, Edinburgh. THOMSON, J. 2051 The New Glasgow College (as designed by the late John*Baird). BURNET, J. 2053 South-east View, Newfield, Ayrshire. 2054 Seamen's Chapel, Glasgow. DOUGLAS, C. & STEVENSON. 2055 Kelvinside Church, Glasgow. GOWANS, J. 2056 Drawings of Model Houses for Tradesmen, as built in Edinburgh. ,, Drawings of Labourers' Model Cottages, as built at Redhall, near Edinburgh, and Gowan Bank, Linlithgowshire. „ Perspectives, Elevations, and Interiors of Rockville. Edinburgh. PEDDIE & KINNEAR. 2057 North Entrance to Cockburn Street, Edinburgh. 2058 Interior of the Royal Bank of Scotland, Edinburgh. RHIND, D. 2059 The Commercial Bank of Scotland, Glasgow. 98 Architecture.] BRITISH DIVISION. [N.E. Gallery. HONEYMAN, J. Jun. 2060 Free Church, Greenock. DOUGLAS, C. & STEVENSON. 2061 Macdonald Testimonial Church, Glasgow. 2062 Trinity Presbyterian Church, Hampstead. 2063 Campsie Free Church, Glasgow. 2064 — 5 Briggate Church, Glasgow. 2068 Broomielaw Free Church, Glasgow. PLAYFAIH, W. H. 2066a Design for a Country House. COUSIN, D. 2067 Class-room for Teaching the Theory of Music, — in connection with the University of Edinburgh. BRYOE, D. Jun. 2068 The Star Hotel, Edinburgh. MASTERS, H. 2072 Design for the Clock Tower, Hereford. LIGHTLY, W. 2073 The Church of St. Margaret, Tatterford. 2074 Parsonage House, Keedham. 2075 Interior of St. Andrew's Church, Thursford (restored). WHITE, W. 2076 All Saints' Church, Notting Hill, — Elevation of octagonal stage of Steeple, with small Sketches. 2077 A Group of Parsonages and Schools. 2078 Eenovations of the Medley al Chapel (with attached portions of the House) at Bishop's Court, Devon. 2079 Parish Church of Lyndhurst (as re-built). 2080 Woolston, Southampton, — New District Church. REID, W. 2081 Design for the National Monument. BENTLEY, J. 2082 Study for a Chancel. FOWKB, GAPT. 2083 Interior of the Great Music Hall originally proposed for the International Exhibition, 1862. LOCKWOOD, A. rib MAWSON, W. 2084 Holy Trinity Church, Hull. 2085 Mill at Saltaire. , OLIVER, II. 2086 Architectural Sketches by Old Masters. BURGES, V7, 2087 Designs for Drinking Fountains. 99 E 2 Architecture.] BRITISH DIVISION. [N.E. Gallery. PUGIN, E. W. & ASHLIN. 2088 Convent now being erected near Hereford. 2089 View in the Transept op the Church at Maynooth. 2090 St. Boniface's Roman Catholic Church, London. 2091 St. Dominic's Church, Washington, U.S.A. 2092 St. Patrick's Church, Maynooth. 2093 St. Patrick's New Church, Maynooth. 2094 St. Patrick's New Church, Maynooth. 2095 Yiew of the proposed Church and Monastery of St. Augustine, John Street, Dublin. 2096 St. Patrick's CnuRcn, Maynooth. 2097 Cathedral Church of St. Thomas, Northampton. 2098 New Exhibition Room, Ascot College. 2099 St. Dominic's Church, Washington, U.S.A. SCOTT, G. G. 2100 Photographs, illustrating the Details of Kelham Hall. HALL, H. 2101 Parochial Schools and other Buildings. TEULON, W. M. 2102 Winter Garden at Enville. 2103 Progmore, near Hereford. 2104 Long Hull. 2105 West Broyle, Chichester. 2106 S.W. View of proposed Warehousemen and Clerks' Schools. PAGE. T. 2107 Suspension Bridge, Chelsea. 2108 New Westminster Bridge. HUNT & STEPHENSON. 2109, 10 Allsopp's Brewery. GLUTTON, H. 2111 Designs for Churches. 2112 Chapel of the Roman Catholic Church, Farm Street. 2113 Altar, Chapel of the Roman Catholic Church, Farm Street. RICHARDSON, C. G. 2114 A Suburban Estate laid out for Building. WILSON, F. R. 2115, 16 The Church of St. Peter and St. Paul, Brenckburn Priory. LAING, J. J. 2117 Study from part of Rouen Cathedral. 100 Architecture. BRITISH DIVISION. [N.B. Gallery. CLASS XXXVII. ARCHITECTURE B.-MODELS. N.E. GALLERY, EXHIBITION ROAD, TITE, W. 2126 The Portico (Western Facade) of the Eotal Exchange. PROSSER, T. 2127 A Rifle Drill-shed. LOCKWOOD, H. F. 2128 Saltaire. AMBUCHI, T. 2129 Yersailles. THWAITE, C. N. 2130 The Crossley Orphan Schools, &c, Halifax. LONG, C. A. 2131 A Drinking Fountain erected in High Street, Shoreditch, London. SLIE, J. 2132 St. Paul's Cathedral, London. HARRISON, W. 2133 The Arcades and Terraces in the Royal Horticultural Gardens. (Designed by S. Smirke, Esq.) SMITH, H. 2134 A Chimney-piece — Renaissance Style. (Designed by J. B. Ferret, Esq. v THWAITE, C. N. 2135 Bowden Church, near Manchester (as restored). PAYNE, A. 2136 Salisbury Cathedral. ANDREWS, E. 2137 Chichester Cross. 2138 Windsor Castle. ROBINSON, J. B. 2139 Gothic Monument erected to the Rey. J. G. Pike, Founder of the Baptist Missionary Society. WORRALL, H. 2140 Broadway Church, Westminster. 101 E 3 Architecture.] BRITISH DIVISION. [N.E. Gallery. ASHTON, W. 2141 Ealing Church, Middlesex. DARBISHIRE, H. A. 2142 One Block of Dwellings for the Industrious Poor, erected by Miss burdett coutts, in cliarles street, hackney koad, london, n.e. HUMPHRIS, R. T. 2143 Gloucester Cathedral. GIBSON, J. 2144 BODELWYDDAN CHURCH, ST. ASAPH. ANDERTON, J. H. 2145 Lincoln Cathedral. NORBTJRY, J. Jun. 2146 The English Cathedrals. (In Cork. Scale, 25 ft. to 1 in.) GOWANS, J. 2150 Group— The Science and Practice of Architect tre Rewarded. (Exhibited in the Industrial Department.) 102 Elf&RAYING I This, of all the Fine Arts of design the most popular and the most generally diffused, appears to be at the same time that of which the technical processes are least f amiliar. It is, therefore, thought that a few words mainly on this point will be the most useful intro- duction to the masterpieces of modern work here collected. The three forms of Engraving which include almost the whole art employ respectively the surfaces of Wood, Stone, and Metal to give the impression. In the first, the ink is laid on projecting portions : in the second, on portions of plane surface chemically prepared to receive it : in the third, within hollows sunk below the surface, whence it is removed by wiping. In Wood Engraving what the artist cuts away, forms the light ; what he leaves , the lines. In Lithography, — whether plain or in colours, — what he lays on with ink or chalk is repeated on the paper. It is on metal only that the lines he cuts in are repro- duced by the printing-ink. This latter art is therefore Engraving in the strict sense, and the one which bears the name by custom. It is also by its nature capable of the greatest variety in style, and of the most powerful or the most delicate effects in execution. The texture of wood does not carry cuttings of the freedom and complexity possible in metal, and strokes cannot be laid over strokes to strengthen and gradate the effect. Nor can the surface lines of lithography in its different forms, drawn with ink or chalk, approach the united force and tenderness of the lines which may be sunk into the steel or the copper. Engraving on Metal thus holds the first rank, and may claim precedence in our brief notice. II Of the three principal forms of Engraving on Metal that in which the design is entirely expressed by Lines is the most powerful, durable, and difficult. Line Engraving is, therefore, confined to important works, or those executed with sufficient care to be capable of bearing complete reproduction. In its first form it was thus employed by Raphael's Engraver, Marc- Antonio Raimondi, to multiply his master's designs, and by the great German painter, Diirer, to publish his own. These early works aim exactly at the effect of fine and finished drawings : small in size, simple in handling, and never rendering either the texture of objects or the effects of sky and air in landscape, — they are, however of unequalled grace and power in Form and Expression. As the Sixteenth century advanced and Painting degenerated, these qualities were lost from the companion Art : and before long Engraving took a new direction, attempting to reproduce not Drawings, but Pictures. This attempt required larger size, greater complexity and care in the set of the lines more attention to the texture of objects and to landscape details ; — above all, the preservation of the tone and light and shade of the original. Thus the modem style was gradually formed • aiming at translating Colours, whilst the old style facsimilarized Designs. To trace the development of this Art would be to sketch the progress of Oil Painting : it must suffice here to add that it was hardly before this century that Line Engraving, especially in Prance fulfilled its object by reproducing the complete general effect of Pictures (so far as that effect does not essentially depend on Colour) — whether figure-scenes or landscapes. HI The artists who probably contributed most to the final advance in Line Engraving are our countrymen, Strange, Sharp, and Woollett, who towards the middle of the Eighteenth century were among the first to take definitely successful steps in this larger manner Strange is not always 'faithful to the expression of his originals, but in a blended tenderness and brilliancy of effect he is yet unequalled, and to his invention is due that curious net- work of lines by which modern Engravers aim at representing every surface, however varied The Charles I (after Vandyke), the Sleeping Child and Angel (G-uido), are amongst Strange's masterpieces. Sharp's work has more severity and meaning : his John Hunter (Reynolds) is of the highest merit. Woollett's prints from Wilson and Claude exhibit the beginning of that Art which within fifty years became capable of rendering the infinite sweetness and magnificence of Turner. Line Engraving was then carried on and refined by Morghen of Rome and F, MiiUer in Germany. The Last Supper (da Vinci), the Transfiguration and Virgin with the Goldfinch (Raphael), the Aurora (G-uido), by Morghen : the Madonna di San Sisto (Raphael) of Miiller are amongst their best pieces. At the same period lived Longhi of Milan, whose engravings,— the Madonna qf the Lake (da Vinci), the Magdalene, (Correggio), above all the Marriage of the Virgin (Raphael) are, perhaps, the best master- P E 4 ENGRAVING. pieces of this art for truth and tenderness. Desnoyers in France produced works of more vigour and brilliancy, but less faithful and delicate. His Belle Jardiniere and Virgin of the Rocks are rather spirited translations than reproductions of what Kaphael and Leonardo da Vinci painted. Amongst later Line Engravers, Garavaglia, Toschi, Jesi, in Italy : in France, Calamatta, Dupont, and Forster ; in Germany, Mandel and Keller ; with the English, C. Turner, Miller, Cooke, Willmore, Finden, the Heaths, Eaimbach, and Burnet, deserve re- spectful enumeration. ry Much as we owe to an art which has placed so much of beauty and nobleness within the world's reach, it must, however, be owned that Line Engraving rarely has suc- ceeded in a complete conquest over its besetting sin, — the sacrifice of the sweet largeness and repose which mark all good Painting, to the display of mechanical dexterity in the conduct of the lines. The single Line Engraver who appears to have given his style variety and vitality sufficient to render not only the design, but the veiy touch and manner of the original, is Schiavone of Venice. His two prints from Titian's Assumption and Entombment are almost alone in the art for painterlike qualities, and show the breadth, freedom, and ten- derness to which true feeling may cany it. V Those qualities, however, which Line Engraving so rarely shows, are in part supplied by the second great division of Metal Engraving : Mezzotint. In this art (in- vented about 1640, probably by the German Siegen and carried out by Rupert, nephew of Charles I.), the plate, in place of showing a polished surface, is first evenly roughened. This roughness which, by retaining the ink, would produce if untouched a square of abso- lute blackness on the paper, — the artist scrapes away and polishes, more or less in proportion to the depth of tint required. Where he most polishes the plate, the printer's hand, removing the ink, leaves the whitest space : — the darkest lines are often cut in with a graver. Could this be done always or often with success, Mezzotint, — uniting the breadth of Painting with the sharpness of Line Engraving, — would be the most perfect style. But except in a few instances,— perhaps most notably by Turner in the prints from his own design,— this frequently attempted coalition appears to have foiled skilful hands by its deep inherent difficulty. VI Mezzotint is one of those branches of art which for the last hundred years have flourished most in England. Lupton and C. Turner in pure mezzotint, C. Landseer and Cousens in a mixed style are our most conspicuous recent masters : but even their excellent works do not appear to equal that great series, mainly from the paintings of Sir J. Reynolds, which was produced in the eighteenth century by S. Reynolds, MArdell, J. R. Smith, "Watson, and others. Few of these prints fail in the fine artist-like qualities of breadth and transparency : some (the Guardian Angels, Virgin and Child, Collina are delightful examples) possess a charm and tenderness which will one day place them amongst the most treasured treasures of art. VII In the two forms of Line Engraving hitherto noticed, the incisions are mainly produced by tools. In the third, Etching, the lines are mainly produced by acids. These lines are sketched with a fine point through a very thin acid-resisting coat of wax, laid first over the copper or steel plate : the acid then cuts through the exposed surface to a depth regulated by its strength and the time allowed for its operation. Hence Etching, of all modes of Engraving, unites the greatest freedom with force ; and as the process is not essentially different from that of Drawing, it has been followed by many Painters. Etchings have thus a value essentially their own : they are the actual work of the original designer, free from the coldness or errors of translation through another hand. Every European nation in turn has been successful in this art. The etchings of the School of Overbeck in Germany, of Goya in Spain, Pinelli in Italy, are more or less known and appreciated. But in our own days the brilliancy of the French and the delicacy of English artists have carried the method to an excellence which, except by Rembrandt of old, has never been equalled. Nor has even he surpassed the spirit, variety, and picturesqueness of Cruikshank, — since Hogarth, our greatest Humourist in Etching. VIII Of the many forms of what, from the Stone employed at first as the plate, has been called Lithography, detailed notice will not be appropriate here, as the processes belong more to mechanical agency than to pure art. In all, the principle is the same : a drawing on a flat surface receives the ink, whether of uniform or varied tints ; which by chemical means is kept from adhesion to the untouched portion of the surface. The rapid progress of this, the most easy and inexpensive of all modes of Engraving, during the forty years since its invention, especially in the reproduction of coloured designs (Chrornotint) has been of service, where brightness of effect and absolute finish of drawing are not required. But until more keenness can be given to the lines, more depth to the shadows, more trans- parency to the general texture, the art will not take an equal place with Metal or Wood Engraving. IX The Woodcut was the earliest method by which designs were reproduced, and has a ong and curious history before the eighteenth century. By that time it had so greatly declined as hardly to rank amongst Fine Arts. From this state Wood Engraving was raised at once to excellence by the almost unaided skill of Bewick of Northumberland (1753 — 1817) It was, perhaps, happy that a man so gifted should have found the field empty and have been thus able to begin the art anew, The older woodcuts had rarely attempted 104 ENGRAVING. morejfchan to reproduce drawings. Bewick added an effectiveness in light and shade, a delicacy and variety to his work which gave woodcuts henceforth an independent existence in pictorial expression. This great change, — one of the most decided in the history of art, — he effected by his unusual good sense, truth to nature, and tenderness in feeling. His mode of engraving was to bring out the design, where possible, by white lines laid on black : to build, as it were, from darkness upwards to light. He thus followed, it will be readily seen, the natural treatment or law of his material : for the lines cut into the woodcut form the whites, as those cut by the line-engraver form the darks, of the impression : and the proper direction of each art is indicated by this difference. Bewick's other gifts are shown in the exquisite simplicity, truth, and invention of his well-known woodcuts. These cannot be too carefully studied : they have a directness in reaching their point, a breadth and largeness in style exactly analogous to the qualities of Yelasquez. So little are perfection andgreatness in Art dependent on size or material. H Bewick's peculiar excellence has not been since equalled, Wood Engraving has been both in France and England carried of late to a wonderful height in finish and brilliancy. The aim has, perhaps, lain too decidedly in this direction, as if in competition with etching : — a vain struggle, which risks loss in the natural treatment and natural effects of the woodcut, already indicated. By a return within the strict limits fixed by the material, by moderation and study from nature, the admirable skill which a multitude of artists have attained will, no doubt, be able to bring Wood Engraving before long to further perfection. The excellent series of Parables here exhibited appears one instance among several of the truer manner. F. T. P. 105 BRITISH DIVISION. CLASS XL. ETCHINGS AND ENGRAVINGS. A.-D ECEASED ENGRAVERS. N.E. GALLERY, EXHIBITION ROAD. I.-ETCHINGS. MORTIMER, J. H. 2201 Shipwreck Mortimer „ Scene from the Tempest . . . Ditto . BARRY, J. 2202 Jupiter and Juno on Mount Ida . . Barry . 2203 Orpheus instructing the Savages . Ditto . SCHIAVONETTI, L. 2204 The Canterbury Pilgrimage . . Stothard STOTHARD, T. 2205 Illustrations to Ritson's Ancient Songs — Stothard WILKIE, SIR D. 2206 Two Etchings Wilkie . 2207 Five Etchings Ditto . HILLS, R. 2208 Two Etchings Hills 2209 Two Etchings Ditto . GEDDES, A. 2210 Portrait of his Mother . . . Geddes . „ Sir W. Allan Ditto . „- Col. Phillips Ditto . „ A Portrait . ... Yan Dyck COLLINS, W. 2211 Cromer Collins . 2212 Boys Fishing . .... Ditto . 106 Colnaghi <$• Co, Ditto Ditto Ditto . II. Graves 4' Co. W. H. Carpenter, Esq. . Duke of Buecleuch. Ditto . Mrs. Garle. Ditto W. H. Carpenter, Esq. . Ditto . Ditto . Ditto W. Smith, Esq. Ditto Engraving.] BRITISH DIVISION. [K.B. GaUery. TURNER, J 2213 Crowhurst 2214 Mer de Glace . 2215 JEsacus and Hesperie 2216 Via Mala . 2217 Aqueduct . 2218 Prcbmium Landscape 2219 Etchings from Nature M. W. Turner Ditto Ditto Ditto Ditto Ditto BRAND ARD, R. . Brandard J. Heugh, Esq. Ditto J. Dillon, Esq. Ditto Ditto Coln&gki § Co. Mrs. Bran II.— LINE. HOGARTH, W. 2220 His own Portrait Hogarth F. Blade, 2221 The Distressed Poet .... Ditto . Ditto 2222 The Enraged Musician .... Ditto . Ditto 1—6. The Harlot's Progress : — 2223 Plate I. The Arrival in London. Ditto . Ditto 2224 „ II. Breakfast Scene. Ditto . Ditto 2225 „ III. Apprehended for Bobbery . Ditto . Ditto 2226 n IV. Imprisoned in Bridewell . Ditto . Ditto 2227 >, v. Ditto . Ditto 2228 „ vt Funeral Party Ditto . Ditto 1—8. The Rake's Progress : — 2229 Plate I. The Inheritance Ditto . Ditto 2230 „ II. The Rake's Levee Ditto . Ditto 2231 ,;, in. The Orgie .... Ditto . Ditto 2232 „ iv. The Arrest .... Ditto . Ditto 2233 M V. The Marriage . . . Ditto . Ditto 2234 » VI. The Gaming-house Ditto . Ditto 2235 „ VII. The Fleet Prison . . Ditto . . . Ditto 2236 Ditto . Ditto 2237 Morning Ditto . Ditto 2238 Noon . Ditto . Ditto 2239 Evening Ditto . Ditto 2240 Night Ditto . Ditto SULLIVAN, L. 2241 The March to Finchley . . . Hogarth . . F. Blade, Esq. VIVARES, F. 2242 His own Portrait . . . . Sir C. Price. 2243 The Rape of Europa . . . . Claude . . . ColnagH $ Co. 2244 St. John preaching 2245 The Watering-place 107 BROWNE, J. . Salv. Rosa . Rubens . F. Blade, Esq. . Sir C. Price. Engraving.] BRITISH DIVISION. [N.E. Gallery. STRANGE, Sir R. 2246 2247 2248 2249 2250 2251 2252 2253 2254 2255 2256 2257 2258 2259 2260 2261 2262 2263 Virgin and Child, with St. Jerome St. Cecilia Cleopatra Fortune . Venus Danae Charles I., in his Robes „ with Horse Henrietta Maria and Family Correggio Eaphael Guido Ditto . Titian . Ditto . Yan Dyck Ditto . Ditto . BARTOLOZZI, F. The Silence A. Caracci Clytie , Ditto . Diploma of the Royal Academy . . Cipriani . Mary Queen op Scots, and her Son . Zucchero Five Tickets Cipriani Two Tickets \ ' \ Ditto . One Ticket Ditto . One Ticket Ditto . Three Marlborough Gems ... . F. Slade, Esq. Ditto Ditto Ditto Ditto Ditto Colnaghi § Co F. Slade, Esq Colnaghi Gilpin- .... Ditto 2309 Mr. Bell's Horse Cooper F. Slade, Esq. 109 Engraving.] BRITISH DIVISION. [N.E. Gallery. SCOTT, J. 2310 Tut? TT^II^TFP Reinagle . . Sir C. Price. Fox Hounds . . " Ditto . Ditto Pointers Gilpin . Ditto j> Partridges Elmer . Ditto FITTLEB, J. 2311 Lord Duncan's Victory LOUTIIERBOURG . 71. Craves $ Co. 2312 Benjamin West .... Harlow . Ditto HEATH, J. 2313 The Dead Soldier Wright . . //. Graves cf Co. 2314 Death of Lord Nelson- West Colnaghi $ Co. 2315 General Washington .... Stuart . A. Evans, Esq. 2316 Illustration to Ladies' Pocket-Book, 1779 Stothard . Sir C. Price. 2317 Mrs. Siddons as Jane Shore Ditto . Ditto Ariadne Ditto . Ditto Illustration to Tom Jones. Ditto . Ditto » Vertumnus and Pomona Ditto . Ditto " Paris and Helen Westall Ditto ARMSTRONG, C. 2318 Michael Angelo M. Angelo . Sir C. Price. BROMLEY, W. 2319 The Death of Lord Nelson Devis Colnaghi cj- Co. 2320 The Duke op Wellington . Lawrence II. Graves cf Co. 2321 „ „ ,, on Horseback Ditto . Ditto 2322 Illustration to the Guardian . Smirke . Sir C Price » „ „ Tristram Shandy . Stothard Ditto „ „ „ the Spectator . Burney . Ditto »> „ „ the Rape op the Look STOTHARD Ditto RAIMBACH , A. 2323 Nelson Boarding the Spanish Frigate — Westall F. Slade, Esq. 2324 Count TJgolino Sir J. Reynolds . Pule of Buccleuch. 2325 The Village Politicians WlLKIE . Ditto 2326 The Cut Finger Ditto . Ditto ' 2327 The Rent-Day Ditto . . ' . -Ditto 2328 Distraining for Rent .... Ditto . Ditto 2329 Blind Man's Buff Ditlo . F. Slade, Esq. 2330 The Errand-Boy Ditto . Ditto 2331 The Spanish Mother .... Ditto . Puke of Buccleuch. 2332 Gil Blas and the Sick Monkey Smirke . . Sir C. Price. n Robinson Crusoe Stothard Ditto » Knighting Don Quixote Smirke . Ditto COOKE, G. 2333 Rotterdam . . ... Callcott F. Slade, Esq. 2334 Naples .... . Turner . . E. W. Cooke, E,q. 110 Engraving.] BRITISH DIVISION. [N.E. Gallery. 2335 2336 2337 2338 2339 2340 2341 2342 2343 2344 2345 2346 2347 2348 2349 COOKE, Hythe . . . . . Dover . . . . . . . , Brighton Poole ...... Edinburgh from Calton Hill . G. Turner Ditto Ditto Ditto Ditto „ Distant Yiew of . . Callcott Pendennis Castle Turner Florence Ditto Teignmouth ....... Ditto The Diving Bell Stanfield COOKE, torbay, from brixham The Mew-stone Lyme-Begis The Tamar and Terridge Plymouth Citadel. W. B. Turner Ditto Ditto Ditto Ditto E. W. Cooke, Esq. Ditto Ditto Ditto F. Slade, Esq. Ditto E. W. Cooke, Esq. Ditto Ditto Ditto E. W. Cooke, Esq. Ditto Ditto Ditto Ditto 2350 Alpine Mastiffs . 2351 Cascade of Terni . „ Grotto of Posilipo LANDSEBR, J. . Landseer . Turner . . Hake will Duke of Bucclevch. F. Slade, Esq. Ditto MITCHELL, J. 2352 Alfred in the Neat-herd's Cottage. Wilkie 2353 Easby 2354 Eome. KEUX, J. LE. . Turner Ditto DnJce of BuGcleuch. F. Slade, Esq. Ditto HEATH, C. 2355 Christ Healing the Sick . . . West 2356 The Lovers' Quarbel .... Newton . 2357 Gentleman of the Court of Charles I. — Vandyck 2358 Benjamin West . . . . Newton . 2359 Illustration to Bobinson Crusoe . Stothard „ „ „ the Idler . . . B. Cook . „ „ „ Byron . . . Stothard „ „ „ Shenstone . . . B. Cook „ ,, ,, Goldsmith . . . West all Bishop Percy IT. Graves § Co. F. Slade, Esq. Colnaghi § Co. H. Graves cf Co. Sir C. Price. Ditto • Ditto Ditto Ditto Ditto ENGLEHEART, F. 2360 The Only Daughter .... Wilkie . 2361 Duncan Gray Ditto . 2362 Two Vignettes to Don Quixote. . Smirke . Illustration to the Lady of the Lake B. Cook . „ „ „ Apollonius. . . Ditto . „ „ „ Akenside . . . Stothard „ „ „ Homer . . . B. Cook . Ill Duke of Buccleuch. F. Slade, Esq. Sir C. Price. Ditto Ditto Ditto Ditto Engraving.] BRITISH DIVISION. [N.B. Gallery. SMITH, E. 2363 The Piper . Wilkie . . Duke of Buccleuch. 2364 li Guess my Name " Ditto . Ditto 2365 Puck . Sir J. Reynolds . Colnaghi * 7 '77 T? . H. W. Pickersgill, Esq. GIBBON, B. P. 2369 Jack in Office . . . Landseer F. Slade, Esq. 2370 Ditto 2371 The Fireside Party . . Ditto rVf7.\ . Duke of Buccleuch. 2372 The Shepherd's Grave Ditto . Ditto 2373 The Shepherd's Chief Mourner . Ditto . Ditto FINDEN, V/. 2374 The Tillage Festival . . Teniers . F. Slade, Esq. 2375 Earl Spencer . Ditto 2376 II. Graves § Co. 2377 The Village Festival . . Wilkie . W Kin rip Fan 2378 The Naughty Boy . . Landseer Duke of Buccleuch. Dutch Fireside . Leslie . Sir C. Price. Ditto „ Parisina . . Stothard Ditto Dutch Courtship . Leslie . . Ditto » The Rivals ... Ditto : Ditto " Lalla Rookh . . Smirke . Ditto RADCLYFFE, w. 2380 r . Hiiaae, J^sq /Cool. Ditto TAYLOR, W. D. 2382 Acis and Galatea . . R. Cook . Colnaghi $ Co. 2383 The Duke of Wellington . . . Lawrence Ditto BRAND ARD, R. 2384 Crossing the Brook . Turner . Mrs. Brandard. 2385 Snow-Storm, Whalers, Rain, Steam, Ditto III.— MEZZOTINT. MAC ARDELL, J. 2386 Time clipping Cupid's Wt\gs . . Tan Dyck . E. S. Moraan, Esq. 2387 Mary Duchess of Ancaster . . Hudson .... Ditto 2388 Portrait of R. E. Pine , . Hogarth . . . F. Slade, Esq. 2389 Countess Grammont . . . . Lely .... Ditto 112 Engraving.] BRITISH DIVISION. [Ef.E. Gallery. HOUSTON R. 2390 Meeting op the Burgomasters . Rembrandt . H. Graves cj- Co. 2391 Woman Plucking a Fowl . Ditto E. S. Morgan, Esq. 2392 Duchess of Marlborough and Child- -Sir J. Reynolds . Dulce of Buccleuch, ■pTTTTTTT'T? r Hi 1 JtliiiXV/j W. 2393 A .Tttw T? A "RT5T XJL i2i VV _1.L ty i J L) L ...... Rembrandt . E. S. Morgan, Esq. 2394 An Orrery Wright . A. Evans, Esq. 2395 Drawing from a Model Ditto . . W.H. Carpenter, Esq. 2396 The Lord of the Yineyard. . ■ . Rembrandt . E. S. Morgan, Esq. JJ1A.U1N , J. 2397 Sir J. Reynolds . Dulce of Buccleuch. oqno Dr. ROBERTSON ..... Ditto . . r . H. Carpenter, Esq. 2399 Mrs. Blake as Juno .... Ditto . . Duke of Buccleuch. 2400 Ditto . Ditto 2401 GrARRICK AS ABEL DRUGGER . Zoffany . . F. Slade, Esq. 2402 The Tigress Stubbs . . Sir C. Price. DOUGHTY, W. 2403 Dr. Johnson Sir J. Reynolds . Duke of Buccleuch. 2404 ■ Ditto . . Ditto 2405 Ditto . . . Ditto FISHER, E. 2406 Garrick between Tragedy and Comedy— Sir J. Reynolds .F. Slade, Esq. 2407 Ditto . . Duke of Buccleuch. 2408 Lady Sarah Bunbury .... Ditto . Ditto 2409 Hope nursing Love .... Ditto . Ditto WATSON, T. 2410 Lady Bamppylde . . . . Sir J. Reynolds . Duke of Buccleuch. 2411 Duchess op Cleveland .... Lely . F. Slade, Esq. 2412 Countess op Northumberland . Ditto . Ditto 2413 A Strawberry-Girl .... Sir J. Reynolds Ditto WATSON, J. OA 1 A The Marquis of Granby Sir J. Reynolds . Dulce of Buccleuch. 2415 Duchess of Manchester and Son _ Ditto . Ditto 2416 Duchess op Cumberland ' Ditto . Ditto 2417 Countess of Carlisle .... Ditto . Ditto 2418 Ditto . Ditto 2419 Ditto . Ditto DICKINSON , W. 2420 Sir J. Reynolds .F. Slade, Esq. 2421 Mrs. Sheridan as St. Cecilia . Ditto . Ditto 2422 Mrs. Pelham Ditto . . Duke of Buccleuch. 2423 Parsons and Moody . . . Mortimer ,E. S. Morgan, Esq. JONES, J. 2424 Romney . J. Young, Esq. 2425 Charles James Fox .... Sir J. Reynolds . Duke of Buccleuch. 2426 Ditto . Djtto 113 Engraving.] BRITISH DIVISION. [N.E. Gallery. 2427 Dr. Goldsmith 2428 Mrs, Bouverie and Mrs. Crewe MARCHI, G. . Sir J. Reynolds . Duke, of Buccleuch. Ditto .... Ditto 2429 Miss Horneck 2430 Mrs. Carnac . 2431 Mrs. Musters . 2432 Madame Schinderlin . 2433 Master Crewe 2434 Infant Jupiter 2435 The Banished Lord DUNKARTON, R. . Sir J. Reynolds SMITH, J. R. Sir J. Reynolds Ditto Ditto Ditto Ditto Ditto , F. Slade, Esq. Duke of Buccleuch. Ditto . F. Slade, Esq. Duke of Buccleuch. .F. Slade, Esq. Ditto GREEN, V. 2436 2437 2438 2439 2440 2441 2442 2443 2444 2445 2446 2447 2448 2449 2450 Regulus leaving Rome. The Death op Epaminondas The Death op Bayard . Duchess op Devonshire Duchess op Rutland . The Three Ladies "Waldegrave The Air-Pump West Ditto . Ditto . Sir J. Reynolds Ditto . Ditto . Wright . A Fruit-piece A Flower-piece The Fruit Market The Green Market The Fish Market . The Game Market The Royal Academy A Blacksmith's Shop EARLOM, R. Van Huysum Ditto . Snyders, &c. Ditto . Ditto . Ditto . ZOFFANY Wright . Colnaghi cj- Co. n. Graves cj- Co. Ditto Duke of Buccleuch. Ditto Ditto W. II. Carpenter, Esq. F. Slade, Esq. Ditto II. Graves cj- Co. Ditto Ditto Ditto Duke of Buccleuch. W. H. Carpenter, Esq. 2451 2452 HODGES, Shipbuilder and his Wife The Infant Hercules . 0. H. . Rembrandt . //. Graves cj- Co. Sir J. Reynolds . Duke of Buccleuch. WARD, 2453 The Snake in the Grass 2454 Outside of a Country Ale-house 2455 The Raby Pack .... 2456 The Death of the Elk . W. . Sir J. Reynolds . J. Ward . . H. B. Chalon . Rubens . F. Slade, Esq. . Mrs. Garle. Ditto E. S. Morgan, Esq. WARD, J. 2457 The Centurion Cornelius 2458 Diana and her Nymphs 2459 Mrs. Billington 2460 The Baring Family 2461 Studies from Nature . 114 • . Rembrandt . : Rubens . . Sir J. Reynolds . Lawrence . J. Ward , G. R. Ward, Esq. . Mrs. Garle. . G. B. Ward, Esq. H. Graves cj- Co. E. S. Morgan, Esq. Engraving.] BRITISH DIVISION. [N.E. Gallery. BROMLEY, J. 2462 The Trial of Lord William Russell . Hayter 2463 Lady Jane Grey refusing the Crown . Leslie Rural Amusement Mrs. Wolfe 2466 The Kemble Family 2467 Dorothea 2468 Glaucjs and Scylla 2469 Mill and Lock 2470 Coast of Yorkshire 2471 Prcemium Landscape 2472 Rembrandt's Mill 2473 The Falconer . 2474 Sir J. Reynolds 2475 Bishop Hebeii . 2476 Mazeppa . . Lawrence Ditto . CLINT, G. Harlow SAY. W. REYNOLDS T. Clarke Turner . Ditto . Ditto . Ditto . S. W. Rembrandt . Northcote . Sir J. Reynolds Phillips H. Yernet . TURNER, J. M. W. Source of the Arveron . . . Turner Calais Harbour Ditto Interior of a Church .... Ditto Raglan Castle Ditto A River-Scene and Town . . . Ditto H. Graves cf Co. Ditto Colnaglii cj- Co. F. Bromley, Esq. J. Dillon, Esq. E. S. Morgan, Esq. J. Dillon, Esq. Ditto Ditto J. Heugh, Esq. S. Morgan, Esq. Colnaglii cj" Co. F. Slade, Esq. II. Graves § Co. Ditto J. Ileugh, Esq. Ditto F. Seymour Iladen, Esq. . . Ditto _ Ditto . TURNER, 0. The Marlborough Family James Watt Sir Robert Peel . The Wreck Jason . Norham Castle Little Devil's Bridge Egremont Sea-piece Falls of the Clyde Mont St. G-othard . Sir J. Reynolds Lawrence Ditto Turner Ditto Ditto Ditto Ditto Ditto Ditto Duke of Buccleuch. Colnaglii cj" Co. II. Graves § Co. . Sir C. Price. J. Dillon, Esq. Ditto J. Ileugh, Esq. Ditto Ditto Ditto 2492 Belshazzar's Feast 2493 The Fall of Nineveh MARTIN, J. . Martin . Ditto . II. Graves # Co. Ditto 2494^ Suspense . GIBBON, B. P. . Landseer W. Smith, Esq. 115 Engraving.] BRITISH DIVISION. [N.E. Gallery. SV.-STIPPLE. BARTOLOZZI, F. 2495 The Death of Lord Chatham . . Copley . 2496 Lord Mansfield Sir J. Reynolds 2497 2498 2499 2500 2501 2502 2503 HA WARD, P. George, Prince of Wales . . .Sir J. Reynolds Mrs. Siddons as the Tragic Muse . Ditto . The Infant Academy .... Ditto . Cymon and Iphigenia . . . . Ditto . STRUTT, J. Adam and Eve . . . . . Raphael Subject from the Pilgrim's Progress Stothard Ditto Ditto . . Ditto . 2504 Mrs. Stanhope 2505 Sir J. Reynolds 2506 Benjamin West WATSON, CAROLINE . Sir J. Reynolds J. .T.410 < . ' Ditto . - . . G. Stuart schiavonetti, L. & N. 2507 Illustration to Gay .... Westall „ Puck ' . Sir J. Reynolds „ Illustration to Shenstone . . . Smirke . 2508 Yenus 2509 Felina COLLYER, J. . Sir J. Reynolds Ditto , CARDON, A. 2510 Madonna del Gatto .... Baroccio 2511 Garrick between Tragedy and Comedy— Sir J. Reynolds „ Illustration to Cowper . . . Smirke . „ „ Ovid . . . Stothard „ „ Logan . . . Westall SCRIVEN, E. 2512 Miranda . . . . . . . Hilton . 2513 Head of an Old Woman . . . Rembrandt . 2514 The Earl of Surrey .... Holbein . MEYER, H. 2515 Sir Roger de Coverlet . . . Leslie . 2516 Lord Nelson Hoppner 2517 Ladt Leicester . . . . Lawrence . LEWIS, F. O. 2518 Cardinal Gonsalvi .... Lawrence . 2519 Marquess Douglas and Sister . . Ditto ' . 2520 Calmadt's Children . - . . . Ditto . 116 - Colnaghi $ Co. Duke of Bucchuch. Duke, of Bucchuch. F. Slade, Esq. Ditto , Duke of Bucchuch. R. Fisher, Esq. W. Smith, Esq. Ditto Duke of Bucchuch. Mr. A. Evans. F. Slade, Esq. . Sir C. Price. Ditto Ditto F. Slade, Esq. Duke of Bucchuch. F. Slade, Esq. . Sir C. Price. Ditto Ditto Ditto F. Slade, Esq. Colnaghi cj- Co. F. Slade, Esq. II. Graves, cj' Co. Colnaghi cj- Co. Ditto Colnaghi cj- Co. Mi Graves cj- Co. Ditto Engraving.] BRITISH DIVISION. [N.E. Gallery. V.-WOOD. BEWICK, T. 2521 A Frame containing many op his best Works Rev. T. Hugo. BRANSTON, R. 2522 Nine Engravings Thurston, &c. J. L. Williams, Esq. CLENNELL, L. 2523 Diploma of the Highland Society . West .... Dr. Percy. 2524 Illustrations to Kogers's Poems . Stothard . . . Ditto NESBIT, C. 2525 Newcastle-on-Tyne .... Johnson .... Dr. Percy. 2526 Nine Engravings Thurston, &c. J. L. Williams, Esq. WILLIAMS, S. 2527 Fourteen Engravings .... Cope, &c. . J. L. Williams, Esq. LANDELLS, E. 2528 Eight Engravings . . Dr. Percy. CLASS XL. ETCHINGS AND ENGRAVINGS. B.— LIVING ENGRAVERS. N.E. GALLEKY, EXHIBITION ROAD. I.-ETCHINGS. CRUIKSHANK, G. 2530 The Opening op the Great Exhibition of 1851 . . . ... Artist. 2531 All the World going to the Great Exhibition . ' ., ... , Ditto 2532 The Crowded Streets op London Ditto 2533 The Comet's Tail . . Ditto 2534 The Triumph op Cupid Ditto 2535 ' A Bad Sailor ...... . . . . Ditto 2536 1—6. Hop-o'-my-Thumb Ditto 2537 7—12. Cinderella Ditto 2538 13—18. Jack and the Bean Stalk Ditto 117 Engraving.] BRITISH DIVISION. [N.E. Gallery. 2539 2540 2541 2542 2543 2544 2545 2546 2547 2548 THE ETCHING CLUE. Selection op Works by the Members . . . The Etching Club Ditto Ditto ... . .... Ditto FAIRHOLT, F. W. Anglo-Saxon Antiquities ... . .... Artist View of Ightham Moat-house, Kent . , .... Ditto Anglo-Gallic Coins Ditto HAYTER, SIR G. The Assumption op the Virgin . . Titian .... Artist LANDSEER, SIR E. Various Etchings of Animals . . Sir E. Landseer Dule of Bucclevch Ditto Ditto . . . Ditto .... Ditto Ditto Ditto . . . Ditto .... Ditto RADCLYFFE, E. The Windy Day D. Cox .... Artist A Welsh Funeral— Bettws-y-Coed . Ditto . . . Ditto WHISTLER, J. A. Thames Warehouses .... . F. Seymour Jfaden, Esq Thames Police Ditto Limehouse .... Ditto Black Lion Wharf Ditto II.— LINE. ALLEN, J. B. 2549 Jerusalem prom the Mount of Olives . Turner 2550 Greek Convent on the Brook Kedron . . • Caudebec on the Seine Amboise on the Loire Havre on the Seine St. Germain's The Temple of Jupiter The Decline of Carthage Ditto Ditto Ditto Ditto Ditto Ditto Ditto ARMYTAGE, J. C. 2551 Dutch Boats Turner „ Sun Rising through Vapour . . Ditto „ The Bridge of Sighs .... Ditto Approach to Venice .... Ditto BURNET, J. 2552 Chelsea Pensioners 2553 The Blind Fiddler 2554 The Babbit on the Wall 118 WlLKIE Ditto J)U(o liev. T. Burnet, D.D . J. T. Clack, Esq . Ditto Engraving.] BRITISH DIVISION, [N.E. GaUery. CHEVALIER, W. 2555 The First Ear-ring .... Wilkie .... Artist. COOKE, E. W. 2556 Demolition op Old London Bridge, Jan. 24, 1831 Artist, 2557 New London Bridge from Billings- gate . . . . . Ditto 2558 St. Magnus and the Monument, with part op Old London Bridge, Aug. 1831 . Ditto 2559 Steps op, New London Bridge .... . . Ditto COUSEN, J. £560 Mercury and Herse .... Turner .... Artist, DOO, G. T. 2561 The Raising op Lazarus . . . Seb. del Piombo . . Artist. 2562 The Combat Etty . . . . Ditto 2563 Ecge Homo Correggio . . . Ditto 2564 II Cristo Giovanile .... Raphael . Ditto 2565 "Nature" Lawrence . . . Artist. 2566 GEVARTIUS Yandyck . . . Ditto 2567 H.R.H. the Duke op York . . . Lawrence . . . Ditto 2568 Lady Selina Meade .... Ditto .... Ditto m GOLDING, R. 2569 H.R.H. the Princess Charlotte . . Lawrence . . H. White, Esq. GOODALL, E. 2570 Cranmer at the Traitors' Gate . . E. Goodall . . . Artist. 2571 Tivoli Turner . . . Ditto 2572 Building op Carthage .... Ditto . . . Ditto „ Ulysses deriding Polyphemus . . Ditto . . . . Ditto „ The Swing E. Goodall . . . Ditto „ Felice Ballarin reciting Tasso . . Ditto .... Ditto 2573 1—10. Subjects from Rogers' Italy . Ditto . . . Ditto GRAVES, R. 2574 Highland Whiskey Still . . . Landseer . . . Artist. 2575 Lord Byron Phillips . . Ditto 2576 Examination of Shakspeare . . Harvey . , . Ditto GREATBACH, W. 2577 Christening of the Prince of Wales . Hayter .... Artist. HUMPHRYS, W. 2578 Sancho and the Duchess . . . . . Leslie .... Artist. 2579 La Maddalena . . . . . Correggio . . . Ditto 2580 Kitty Fisher Sir J. Reynolds . . Ditto 119 Engraving.] BRITISH DIVISION. [N.E. Gallery. JEAYONS, T. 2581 Dutch Boats E. W. Cooke . . Artist. 2582 Plymouth Turner .... Ditto 2583 Exeter . . " . . . . . Ditto . .' . . Ditto JOUBERT, F. 2584 La Penserosa Winterhalter . . Artist. 2585 Marchioness of Waterford, and Viscountess Canning .... Thorburn . . . Ditto 2586 The Little Anglers . . . . Le Jeune . . . Ditto 2587 The Archbishop op Armagh . . . Eddis .... Ditto LEMON, H. 2588 Harvey Demonstrating the Circula- tion op the Blood .... Hannah . . . Artist. - • PRIOR, T. A. 2589 Heidelberg Turner .... Artist. 2590 Zurich Ditto .... Ditto PYE, J. 2591 Hardraw Fall Turner . . . . Artist. 2592 Temple of Jupiter, in the Island op Egina . . . . . . . Ditto ... . Ditto 2593 The Birthplace of Wickliffe, York- shire Ditto ■, Ditto RADCLYFFE, e. 2594: The Hay field Absolon . . Artist. ROBINSON, J. H. 2595 Napoleon and Pope Pius YII. . . Wilkie .... Artist. 2596 The Countess of Bedford . . . Vandyck . . . Ditto 2597 The Emperor Theodosius Bepused Admission into the Church . . Ditto .... Ditto 2598 Sir Walter Scott Lawrence . . . Ditto 2599 The Wolf and the Lamb . . . Mulready . . . Ditto ROLLS, C. 2600 Benjamin West, P.R.A Lawrence . . . Artist. 2601 Sir Roger de Coverley and the Gipsies . . • Leslie .... Ditto 2602 The Moment of Yictory . . . .A. Fraser . . . Ditto 2603 1—8. Book Illustrations . . . Landseer, &c. . . Ditto SHARPE. C. W. 2604 Ramsgate Sands Frith .... Artist. SHENTON, H. C. 2605 Loan of a Bite Mulready . . . Artist. 2606 The Clemency of Richard Cosur de Lion . . . . . . .J. Cross . » . Ditto 120 Engraving.] BRITISH DIVISION. [N.E. Gallery. STEPHENSON, J. 2607 . Watts . Artist, 2608 . Maguire Ditto STOCKS, L. 2609 "Many happy Returns op the Day" . Frith Artist, 2610 The Rubber Webster Ditto 2611 ! Frith Ditto 2612 The Dame-school .... ; Webster Ditto AVIO The Glee Maiden .... . Lauder . Ditto 2614 Moses preparing for the Fair . Maclise . Ditto 2615 Various Book-plates , Ditto WALLIS, R. 2616 Approach to Yenice . Turner . Artist. 2617 Ditto . Ditto WATT, J. H. OR-\ O 40lb Christ blessing the Little Children . Eastlake • • Artist. 2619 Drovers departing for the South . Landseer Ditto 2620 A Court- yard in the Olden Time . Landseer • • Ditto WILLMORE, J. T. 2621 The Nearest Way in Summer Time . Creswick & Ansdell Artist. 2622 Mercury and Argus . Turner . Ditto III.— MEZZOTINT. ATKINSON, T. L. 2623 , Landseer . 11. Gi 'av&s $ Co. 2624 The Shepherd's Prayer . Ditto Ditto 2625 . OSSANI . Ditto BARLOW, r. o. 2626 . MlLLAIS . Artist. 2627 . Frith Ditto 2628 Ditto BELLIN, S. 2629 Her Majesty opening the Crystal . Selous . Artist. 2630 The Independents asserting Liberty . Herbert Ditto BROMLEY 2631 Caxton's Printing-office . . . . Maclise Artist. COUSINS, S. 2632 A Midsummer Night's Dream . Landseer Artist. 2633 Bolton Abbey in the Olden Time Ditto . Ditto 2634 The Return from Hawking . Ditto . Ditto 2635 The Infant Samuel . Sant Ditto 2636 . Lawrence Ditto 121 Engraving.] BRITISH DIVISION. [N.E. Gallery. DAVEY, W. T. 2687 Summer-time A. Johnstone 2638 The Last Sleep of Argyle . . . E. M. Ward . FAED, J. 2639 Shakspeare and his Friends . . John Faed . 2640 Christ blessing the Little Children . Le Jeune 2641 Evangeline T. Faed LANDSEER, T. 2642 Swimming Deer Sir E. Landseer . 2643 Doubtful Crumbs Ditto . LEWIS, C. G. 2644 A Scottish Raid Rosa Bonheur 2645 Bouricairos crossing the Pyrenees . . Ditto 2646 Morning in the Highlands .... Ditto LUPTON, t. 2647 Lord Chancellor Cottenham , . Briggs . 2648 Dr. Jenkyns Ditto 2649 Lord Byron Phillips SANDERS, G. 2650 Archbishop Beresford . . , . C. Smith. 2651 Sir Edward Kerrison, Bart. . . Richmond SIMMONS, W. H. 2652 The Proscribed Royalist . . . Millais . 2653 The Light of the World . . H. Hunt. STACPOOLE, F. 2654 "Buy a Dog, Ma'am?" .... Ansdell. 2655 The Welcome Faed 2656 Right Hon. James Wilson . . .Sir J. W. Gordon STEPHENSON, J. 2657 " My Ain Fireside " ' Faed WALKER, W. 2658 The Cabinet of Lord Aberdeen . . Gilbert . WARD, G. R. 2659 Tyndall translating the Bible . . A. Johnstone 2660 Mohammed Ali, late Pacha of Egypt . Brigstocke . 2661 C vi: din al Wiseman . . . Herbert. Artist Ditto Artist Ditto Ditto Artist Ditto E. Gambart, Esq . Ditto . Ditto Artist Ditto Ditto Artist Ditto Artist Ditto Artist Ditto Ditto Artist Artist Artist Ditto Ditto 122 Engraving.] BRITISH DIVISION. [N.E. Gallery. IV.-STIPPLE. HOLL, F. TT "R TT TTTV PtjTTCP'P riONPOUT PTTOTOftTJAPH BY DlTPPA Artist. 2663 The Dowager Countess of Harewood . Richmond . . Ditto 2664 The Spinning-Wheel .... Topham .... Ditto 2665 Ditto 2666 Diiio 2667 Miss Harriet Martineau . . . Richmond Ditto HOLL, V/. 2668 Old English Merrymaking in the Olden Time — Frith . Artist. 2669 Robert Hitchens, Esq Richmond Ditto WALKER, W. 2670 Sir Henry Raeburn .... Raeburn Artist. V.— WOOD. DALZIEL (BROTHERS). 2671 English Landscapes . . . . . . B. Foster 2672 Illustrations to the Parables . . Millats . 2673 Various Examples Various. EVANS, E. 2674 Various Examples 2675 Various Examples Various . GREEN, W. T. Various . HARVEY, W. 2676 The Assassination op Dentatus. . Haydon 2677 Illustrations to Dr. Henderson's History oe Wines JACKSON, M. 2678 The Life-Boat The Morning of the Gale . The Last Man from the Wreck Oyster Boats .... A Country Churchyard . Winter Moonlight E. Duncan . Ditto . Ditto . Ditto S. Reed . . Ditto LEIGHTON, J. and H. 2679 1 — 12. Subjects representing the Life of Man LINTON, W. J. 2680 The Raft Gr. Harvey 2681 Subjects from Deceased Artists MEASOM, W. 2682 1—4. Landscapes 2683 II Penseroso . 123 Leitch and Holland Huskinson The Artists. Ditto Ditto Artist. Artist. . Miss So7*tis. Artist. Artist.' Dido Ditto Ditto Ditto Ditto The Artists. Artist. Ditto Artist. Ditto Engraving.] BRITISH DIVISION. [N.E. Gallery. SWAIN, J. 2684 Various Specimens .... Millais, &c. . . . Artist. THOMAS, W. L. 2685 1—2. Subjects from the "Princess" . Maclise .... Artist. 2686 Queen Mab's Grotto .... Turner .... Ditto 2687 Sancho Panza Leslie .... Ditto THOMPSON, J. 2688 Various Specimens ... . . . Wilkie, &c. . . . Artist. 2689 Various Specimens Various . . . Ditto WILLIAMS, J. L. 2690 Nine Specimens . . . Various . . . Artist, VI.-LITHOGRAPHS. BOYS, T. S. 2691 The Belfry at Ghent Artist, 2692 The Cathedral at Laon Ditto HARDING, J. D. 2693 Shipley Bridge ..... . .... Artist. 2694 BUCKLAND, NEAR DORKING ... . .... Ditto 2695 Bettws, North Wales Ditto 2696 Brunnen . . .... Ditto 2697 Lledr Bridge ...... . . Ditto 2698 Row near Trefriew .... . .... Ditto 2699 The Falls on the Brent, and Lady Fall Ditto 2700 Pandy Mill Ditto LANE, R. J. 2701 Nineteen Specimens Artist. LYNCH, J. H. 2702 H.R.H. the Prince of Wales . Winterhalter . . Artist. 2703 „ Princess Alice ' . . . E. Moira . . . Ditto 2704 H.S.H. The Princess Hopenlohe . . Winterhalter . . Ditto MAGUIRE, T. H. 2705 Her Majesty Winterhalter . . Artist. 2706 H.R.H. the Prince Consort, and the Duke of Saxe Coburg-Gotha . . Thorburn . . . Ditto 124 BRITISH DIVISION CLASS XXXYIII a. ART DESIGNS FOR MANUFACTURES. A.-D ECEASED ARTISTS. N.E. [TRANSEPT] GALLERY, EXHIBITION ROAD. ADAM, R. 2731 Design for a Capital to be called the' British Order C.J. Richardson, Esq. 2732 Design for an Alcove, &c. . . C.J. Richardson, Esq. ADAM & CIPRIANI. 2733 Design for a Chimney-Piece C. J. Richardson, Esq. BACON, J. 2734 Designs for Monuments (two frames) T.B. Phillips, Esq. BRETTING-HAM. 2735 Design for Interior Decoration . . . . C. J. Richardson, Esq. CATTON. 2736 Design for a Candelabrum . . . . 8. Kensington Museum. 2737 Design for a Candelabrum . 8. Kensington Museum. 2738 Design for a Candelabrum 8. Kensington Museum. CHAMBERS, SIR W. 2739 JiESiGN FOR GrUiLLOCHE AND Capital . . . C. J. Richardson, Esq. 2740 Design for Ceiling C. J. Richardson, Esq. 2741 Design for Chimney Piece . . . . . C. J. Richardson, Esq. 2742 Design for an Ewer C. J. Richardson, Esq. 2743 Design for Decoration of Vase and Prieze . . C. J. Richardson, Esq. 2744 Model of Her Majesty's State Coach, the Panels Painted by Cipriani ..- Vezey % Co. CHANTREY, SIR F. ' 2745 Model of Figure of Kemble. 2745a Model of Figure of 2Esculapius ...... Hunt tf Roshell. CHIPPENDALE, J. 2746 Designs for Furniture (three frames) . . . .J. Chippendale, Esq. 125 Art Designs.] BRITISH DIVISION. [N.E. Gallery. FLAXMAN, J. 2747 Designs for Ceramic Ware Wedgwood # Son. 2748 Designs for Chessmen ■ Wedgwood cj- Son. 2749 Shield of Achilles— Original Model .... W. G. Nicholl, Esq. 2749a The same (Electrotyped) W. G. Nicholl, Esq. 2750 Designs for Silver Work (two frames) .... 77. Vaughan, Esq. 2751 Design for Plateau H. Vaughan, Esq. I 2752 Designs for Silver Work, &c. (four frames) . . S. Kensington Museum. GANDY, 3. 2753 Design for a Chandelier C.J. Richardson, Esq. GANDY & SOANE. 2754 Design for the Interior Decoration of a Masonic HALL . . . . C.J. Richardson. Esq. ] JEANNEST, E. 2754a Designs for Metal Work Elkington Co. KENT. 2755 Designs for Fire-places S. Kensington Museum. 2756 Designs for Fire-places, and a Looking-glass Frame S. Kensington Museum. 2757 Designs for a Fire-place, &c S. Kensington Museum. 2758 Design for a Chimney Piece and Orchestra . C. J. Richardson, Esq.- 2759 Design for a Chimney Piece and Ceiling . . C.J. Richardson, Esq. 2760 Design for a Chimney Piece and Furniture . C. J. Richardson, Esq. KILBURN. 2761 A Volume of Designs for Printed Goods . . Symonds, Cunliffe, cj- Co. LOCK, MATTHIAS. 2762—3 Designs for Furniture (four frames) . . . . J. Chippendale, Esq. NOLLEKENS. 2764 A Model for Silver Work . . . E. H. Corbould, Esq, PITTS, J. 2765 A Model for the Shield of 2Eneas Hunt cj- Roskell. j PUGIN, A. W. 2766 Design for a Portrait Frame W. IE Rogers, Esq. 2767 Design for Metal Work HardmSh ♦» Artist, 180 Art Designs.] BRITISH DIVISION. [N.E. Gallery. HILL, OCTAVIA. 2879 Design for a Carved Frame (executed by G. A. Rogers) Anna Mary Harrison. HOLLAND, W. 2880-2 Designs for Interior Decorations Artist. 2883 Designs for Stained Glass Windows (seven frames.) . . . Artist. HORSLEY, J. C. 2884 Designs for Art Manufactures— 1855-6 (two frames) . Felix Summerly. HOWARD, V. 2885 Design for Wall Paper Department of Science and Art. ILLSTON, GEORGE. 2886 Design for a Chandelier . . . . . . , . Sheffield School of Art, JACKSON, WILLENS, & MORELL. 2887 Designs for Metal Work (thirteen frames) .... Elhington § Co. JAMES, CHARLOTTE. 2888 Design for a Cabinet Panel Female School of Art. 2889 -Design for Paper-hangings Female School of Art. 2890 Designs for Table Glass ..... . . . Female School of Art. JAY, ISABELLA. 2891 Design for a Tea Service Female School of Art. JENKS, F. 2892 Design for a Majolica Dish Art Un ion of London. JENNER & KNEWSTUB. 2893 Designs for Initial Letters, Monograms, &c. . . . , Artists. JONES, H. Jrm. 2894 Design for Illumination Artist. JONES, OWEN. 2895 Designs for Book-Covers II. Smith, Esq. 2895 a Designs for Illuminated Works . . . . . ... Artist. JULYAN, MARY E. 2896 Design for Wall-paper ...... Female School of Art. KILPATRICK, WM. 2897 Designs for a Carpet . Glasgow School of Art. KREMER, J. 2898 Design for Cast-iron Gates Artist. LAING, J. 2899 An Illumination Artist. 2900 An Illumination . Artist. 2901 Designs for Illuminations . . . . . . . . Artist. ^ LARA, LAURENT DE. 2902 Illuminations (thirty-three frames) . . Illummatwg Art Union of London , LAW, ELIZA. 2903 Designs for Book-Covers Artist. 2904 Designs for Silk Hangings ........ Artist. 131 f 2 Art Designs.] BRITISH DIVISION. [N.E. Gallery. LEFTWICH, T. V/. 2905 Designs for Ceilings and Floors ... . Artist. LEIGHTON, J. 2906 Cast from a Bible Cover. 2906a Great Exhibition Commemoration Shield, 1851. 2907 Design for the Seal of the Eoyal Dramatic College W. R. Sams, Esq. 2908 Designs for a Library Window Artist. 2909 Designs for Tiles and Diapers Artist. 2910 Design for a Tazza . Art Union of London. LESSELS, JOHN. 2911 Design for Book Stamps, Panels, Frontispieces, &o. . . . Artist. 2912 Design for Embossed Glass . . . . . . . . . Artist. LIDDELL, J. 2913 Design for the Metal Case of a Clock near the Italian Court . Artist. LOOK, H. H. 2914 Design for a Filter Artist. LONGLEY, GEORGE. 2916 Design for Illuminations Artist, M'CULLOCH, JAMES. 2916 Designs for Book-Covers Artist. M'GREGOR, SARAH. 2917 Designs for Honiton Lace Collars and Cuffs . Female School of Art. 2917a Designs for Wall Papers. M'LAREN, ARCHIBALD. 2918 Design for a Book-Case Glasyoiu School of Art. M'LAREN, WALTER. 2918a Design for an Ecclesiastical Decoration . . Glasgow School of Art. MACLISE, D., R.A. 2919 Design for Ceramic- ware— The Seven Ages of Man— Art Union of London. 2920 Design for a Bracelet . Felix Summerly. 2921 Design for a Silver Cup . . . .... Society of Arts. M'MILLAN, CHARLES. 2922 Design for an Embroidered Handkerchief Artist. MEYER, CHARLES. 2923 Designs for Jewellery (two frames) Artist. MID WOOD, W. H. 2924 Design for a Book-Cover .... Department of 'Science and Art. MINTON, CAMPEELL, &o. 2925 Designs for the Pavement for the Capitol, Washington . Artist. 2926 Design for the Pavement qf Exeter College Chapel , >♦ ( . ,, Artist. MURPHY, NEIL. 8937 Designs for Textile Fabrics (three frames) . . , Artist. 132 Art Designs.] BRITISH DIVISION. [N.E. Gallery. NICHOLLS, ALFRED. NICHOLSON, W ALTER, 2929 Design for A Race-Cup Sheffield School of Art. O'CONNOR, MESSRS. 2939 Design for Stained Glass . Artist. ORTNER &, HOTJLE. 2932 Designs for Seals, Heraldry, &c Artist. OWEN BROTHERS. 2933 Design for Eibbons Artist. PATRICK, ELIZABETH. 2935 Design for a Beer- Jug Glasgow School of Art. POW, MARY M. 2936 Design for a Stair-Oarpet ..... Liverpool School of Art. POWELL, SAMUEL. 2937 Design for a Stained Glass Window Artist. RAIMBACH, DAVID. 2938 Design for Wrought-iron Gates - Artist. RANDALL, J. 2939 Design for a Looking-glass Frame . . Department of Science and Art. RAWLE, J. S. 2940 Designs for Watch-Cases .... Department of Science ami Art. RENNIE, GEORGE. 2941 Design for Gates in Cast-iron or Bronze . . Sheffield School of Art. RICHARDSON, CHAS. J. 2942 Designs for Furniture (five frames) Artist. RICHMOND, ANDREW. 2943 Designs for Harness Curtains Artist. 2944 Design for a Curtain Artist. ROBINSON, G. T. 2945 Designs . . Artist. ROGERS, W. H. 2946 Designs for Wood-carving W. G. Rogers, Esq. 2947 Designs for the Royal Cradle W. G. Rogers, Esq. ROSKELL, NICHOLAS. 2948 Designs for Silver Work, Cups, &c Hunt $ Roshell. SIMPSON & SON. 2949 Designs for Tesselated Pavements (2 frames) . Artist, SLOCOMBE, ALFRED. 2950 Design for Water-marked Paper Arhst, 2951 Designs for, Book-Covers, Bookbinders, &q, . Artist, 2953 Paper Labels (two frames)" , Artist, 133 F 8 Art Designs.] BRITISH DIVISION. [N.E. Gallery. SLOCOMBE, CHARLES P. 2953 Design for a Vase in Commemoration of the Eussian War . Artist. 2954 2955 Design for a Lamp at Buckingham Palace . 2956 Design for a Volunteer Badge, and Stamped Paper . . . Artist. 2957 Design for Beliefs on the base of a Centre-piece . . . Artist. 2958 2959 Design for a Centre-piece Artist. SMALLFIELD, F. 2961 Artist. 2962 Designs for a Loving-cup . Artist. 2963 Designs for a Jewel-cup .... . , . Artist. SMITH, THERESA. 2964 Design for a Honiton Lace Flounce t emale School of Art. 2965 SOUNES. W. H. 2966 Design for Parian— Merlin and Vivien Artist. SPARKES, J. STIRLING, WM. (of Keir). 2967 Designs for Majolica Plates Artist. STANNUS, HUGH H. 2966 Sheffield School of Art. 2969 Design for a Silver Tankard Sheffield School of Art. 2970 Design for a Silver Tankard Sheffield School of Art. 2971 Sheffield School of Art. STEVENS, ALFRED. 2972 2973 Designs for a Vase in Nevers Ware Minton, Campbell, $ Co. 2974 Designs for Printed and Enamelled Earthen- STREET, G. E. 2975 Design for a Pavement .... Minton, Campbell, tj' Co. STRETCH, MARTHA. 2976 Design for a Carpet Warrington School of Art. STEANE, ISAAC. 2977 Designs for Iron Work .... Coventry School of Art. SUMMERLY, FELIX. SYKES, GODFREY. 2978 Design for Spandrels .... Department of Science and Art. SYKES, GODFREY. 2979 Design for a Frieze Department of Science and Art. 134 Art Designs. ) BRITISH DIVISION. fN.E. Gallery. SYKES, GODFREY. 2980 Design for the Arcades in the Horticul- tural Society's Gardens . . . Department of Science and Art. 2981 Design for a Decoration of Arcades, and for a Certificate Department of Science and Art, 2982 Designs for Execution in Terra-cotta . Department of Science and Art, 2983 Designs for the Decoration of Arcades. Department of Science and Art. 2984 Designs for Fountains .... Department of Science and Art, 2985 Design for Fountains .... Department of Science and Art. 2986 Sketch Designs for a Book-cover, Cer- tificate, &c. . . . . . . Department of Science and Art, 2987 Design for a Lamp Department of Science and Art. 2988 Design for the Bronze Doors of a School of Art Department of Science and Art. TAYLOR, W. H. 2989 Design for Illuminations Artist. THEAKER, GEORGE. 2991 Design for a Chandelier Sheffield School of Art, THOMAS, JOHN. 2992 Designs for a Chimney-piece, Yase, Mirrors, &c. ... Artist. 2993 Designs for China Panels for Her Majesty's Chamber, Windsor Castle ..." Artist. 2994 Designs for Iron Gates, Fountains, Monuments, &c. . . . Artist. THOMAS, W. G. 2995 Design for a Table . . Artist, 2996 Designs for Clocks (two frames) Artist. TOWNROE, R. 2997 Design for a Tea-Urn Sheffield School of Art. 2998 Design for a Silver Breakfast Service . . . Sheffield School of Art. TOWNSEND, H. J. 2999 Designs for Art Manufactures, 1845—6 . . Felix Summerly. 3000 Designs for Art Manufactures, 1845—6 . . . - Felix Summerly. TRUEFITT, G. 3001 Design for Metal "Work . . . Artist. TURNER, READ. 3002 Design for a Mantel-piece Sheffield School of Art. 3002a Designs' for Table Knives Sheffield School of Art. TURNER, E. P. 3003 Design for a Loving-cup Sheffield School of Art. 3004 Design for a Salver Sheffield School of Art. STAUNTON, G. C. 3005 Designs for a Writing-Desk, Claret-Jug, Dagger-Hilt, &c, (fourteen frames) - . , . , Ellington § Co, 135 F4 Art Designs.] BRITISH DIVISION. [Principal Gallery. VON HOLTORP, H. 3006 Designs for Wall Decorations Artist. 3007 Designs for Stained Glass Artist. VANE, LADY HARRY. 3008 Designs for China Door-plates Artist. VON STURMER, F. 3009 Design for a Silver Tray, &c Artist, 3010 Designs for China Plaques. VERDIER, W. 3011 Illumination Artist. 3012 Design for a Stamp or Seal Artist. WALLIS, J. W. 3013 Sketches for Wood Carving . . . . . . . , \ Artist. WARRINGTON, WILLIAM. 3014 Design for Stained Class Windows (9 frames) .... Artist. WARREN, A. H. 3015 Design for Illumination Artist. WELSH, EDWARD J. 3016 Design for a Fire-place * Artist. UWINS, PUGIN, &. MACKENZIE. 3017 A Volume of Original Drawings from Westminster Abbey J. Attnutt, Esq. WILLIS, GEORGINA M. 3018 Design for Illumination Artist. WILSON, F. 3019 Design for the Window of a Baptistery Artist. 3020 Design for a Circular Window of a Church . . . Artist. WYATT, M. DIGBY. 3021 Designs for Art Industry — Working Drawings made for various Manufacturers (fifteen frames) Artist. YCJILL, WALTER. 3022 Design for a Carpet Artist. 3023 Designs for Shawls (three frames) Artist. 3024 Design for Silk-hangings . Artist. m SCULPTURE I Sculpture, the forlorn hope of modern art, has never been such more conspicuously than during the eighteenth century. In Assyria, Egypt, Greece, and Home, this art stood first in popular estimate, roused the deepest interest, was practised by the ablest men. During the middle ages, again, Sculpture, though less decidedly an element in religion, held her own still, in union with architecture, in England, France, Germany, and Italy, filling the churches with bas-reliefs and monuments, and preceding everywhere the sister art of painting in her renewal and development. Even the sixteenth century, that time of crisis between triumph and degradation, by reproductions of ancient work, or by its employment for decoration and display, gave a kind of third life to sculpture. But by 1750, the art had fallen to the lowest point, at once in technical skill, vitality of meaning, and general estimation ; nor can it be said that the efforts of later years have as yet, in any real sense, restored it to its former glories. Sculpture awakens but a cold, feeble, artificial interest, the brief enthusiasm of personal patronage or pedantry. If it appeals at all to popular sympathies, they are the sympathies of ignorance for mechanical trick or mechanical grandeur, for mere mass or for mere minuteness : not for deep or tender feeling, truth to nature, freshness of invention, refinement in handling, loftiness in aim, — for those qualities, in a word, without which the block in the mountain side is far more living than the statue. II Whence this deathly decline in an art second to poetry alone in antiquity and noble- ness ? It cannot be that modern life has no place or desire for sculpture. The races into whose religion it enters are far more populous and extended than dming the Roman empire or the middle ages : even amongst those who do not thus employ it, sculpture is largely required for architecture and for portrait. There is- no proof that true genius for the art (always very rare) has been lost from the inheritance of European nations. It is probable that the peculiar technical nature of sculpture may explain its decay. Stone carving preceded and gave the style to metal casting ; and the materials for the chisel, by their essential quality requiring and befitting only largeness, grandeur, delicacy in expression, and vital handling of detail— simple earnestness, to put it in brief, — at once greatly restrict the sphere of the sculptor in subject and in execution, and expose his art to suffer first and with most injury any decline in national taste. Whilst this, as in what may be properly called the mediaeval days of Greece and of Christendom, retains a healthy severity and earnestness, sculpture flourishes. But, by a circle often repeated, men's minds turn gradually from loftier qualities to the elaborate, the ingenious, and the sentimental — to meretricious pettiness and analytic detail. Poetry and painting — arts more truly plastic than that which bears the name— « accommodate themselves to the change, and, taking the better elements in the altered taste, or turning to new fields" altogether, produce admirable works : — Giotto and Leonardo 'are followed by Tintoret and Rubens ; Wordsworth and Shelley replace Shakespeare and his successors : or perhaps some solitary genius lets the present take its way, and is content to influence the years to come by £ Paradise Lost.' But sculpture has not this facility of transformation. For a time she may rival painting in finish and ornament, and fill the churches of Yenice or of Toledo with work which seems to pass the limits of human patience and ingenuity ; appeal to vulgar interest by the mechanical effects of deceptive imitation or spasmodic vigour ; to vulgar wealth by size or costliness of material ; to vulgar patronage, in her last struggles, by flattery or self-assertion ; — but these efforts gradually fail, and the art, losing all sight of its purpose, whilst the spectators lose all idea of judging it by the test of truth and nature, sinks into slovenliness and nonentity. III This fashion of decay was exhibited fully under the falling empires, of Rome and Spain. But in Italy and France another and not less fatal cause was concurrently awakened, — the direct result of that intellectual movement of the sixteenth century, to which we owe so much of the deepest moment to modem life. Sculpture in those countries — and in England, when the art was here revived — did not sink into fancifulness and ornamentahsm only : subjects suitable to the essential conditions of marble were retained — were, indeed, held, as before, the true region of the art. Simplicity, tenderness, grandeur, thought, were required of the sculptor ; but, by a perversity rare even in the annals of human perverseness, at the moment when these qualities were required, they were rendered absolutely un- attainable by the subjects prescribed to him. Like the tyrant of the great Roman epic, SCULPTURE. the false taste of that age chained a living art to a dead mythology, and the sculptors of Christendom were compelled to reproduce the pantheon of Paganism. To state this is surely sufficient : such an attempt any way could produce only what has been produced — three centuries of abortive endeavour. But the attempt itself, owing to the imperfect scholarship and corrupt ideals of the Renaissance period in France and Italy, was made under the least favourable conditions ; for the mythology and the legends which pedantiy and fashion (follies allied not then only) gave as the sole legitimate subjects for sculpture, were—not the once vital and always poetical belief of the glorious Athens, of Ionia or of Achaia, the personified powers of nature and of the soul, — but those misunderstood and perverted repetitions with which a race, below the Greek as much in morality as in intellect, had amused itself under imperial despotism. It was the Roman Renaissance, the tales of Ovid, the legends of Apuleius, the travestied heroes of Livy or of Lucan, which supplied an existence, false and shallow as its sources, to modern SCTlpture : crushing many a noble artist by the dead weight of themes which he could not vivify, paralyzing his hand by com- pelling him to study, not from natme, but from stone ; and, at the same time, ruining the taste of whole nations, by placing befoi-e them works which they could neither understand, nor enjoy, nor compare with any real standard. IV _ What wonder that, beneath this double persecution, the lust for luxury and oraa- mentalism — the mania for the copy of a copied mythology — sculpture should' have fallen to the low estate of a hundred years since ? that more than one century has been required before she can even see the ways of truth and tenderness and nature open once again before her ? — that the declining taste which gradually sank sculpture to its level shoidd itself sink through reaction from the degenerate art ? As this public decline has been almost always in the direction of display and ornament, it might be expected that at least the qualities of refinement and delicacy in work would be secure to last and nourish. This has been the case for a while ; but, under two irresistible causes, even manual dexterity and carefulness finally disappear. Excellence in art is not only always accompanied by tenderness and finish, but tenderness and finish cannot exist in any high degree in separation from ex- cellence. This law, from the nature of the material, holds more strictly true in regard to sculpture than to painting or poetiy. No art can less afford to decline from the highest standard than the art which is summed up in this one quality — simple earnestness. Thus, when decoration or falsehood are sought instead, true sculpture, and with this delicacy and refinement, become impossible. Pubhc taste, reacting on the artist, now fulfils the second law of degeneracy. No longer educated by models of excellence, what sculpture can do in her glory is soon forgotten, with hardly less completeness than if she were numbered amongst the arts confessedly lost from the fields of human achievement. Neither energy in the figure or meaning in the group, neither vitality in the surface or truth in the drapery, are longer looked for or missed : the dulled perception, and uneducated apathetic eye, would hardly recognize them if present. The sculptor follows the fashion by which his labour and his gains are so much facilitated ; and soon a barbarous slovenliness, varied from time to time by some new phase of false elaboration, or meretricious pedantiy, sets in, and the Athene' of Phidias is succeeded by the Icons of Byzantium. V Then, in modem days — for the Lower Empire has not reigned on the Hellespont only — begins a period of chaos. It is disputed whether repetitions of a dead antiquity or sentimental subjects from the present, the ideal or the real, should be aimed at. Learned speculation takes the place of living work ; the bewilderment spreads and multiplies between patron and artist : whilst the perplexed public, dimly conscious that what are paraded as masterpieces cannot be such works as of old were the ransom of cities, alternately echoes the applause which appears to come from some mysterious upper world of taste beyond its knowledge, or more wisely confesses that neither interest or pleasure can be found in sculpture. Meanwhile, the true artist — if such there be — fallen on alien days, labovus on unfelt and unregarded ; for his works are judged or neglected by those who refer neither to nature or to previous achieved success as standards. His example is thus lost, and the art pursues its forlorn career, fed by idle praise, or frozen by general incredulity. VI That this attitude of the pubhc mind is the continual complaint of European sculptors and of those seriously interested in the art, must be the justification for thus giving what, at the same time, is a confession that European sculpture is in an unhealthy and unsatisfactory state. It may be also an excuse for not chronicling the stages or censuring the failures in a course which cannot be regarded as a course of triumph. And the reasons for the decline first noticed suggest that the artists have been, in large degree, rather its -victims than its causes. Sculpture, of all arts the most arduous in execution, is at the same time, the most delicate of nature : like some tender and sympathetic living creature, if not understood, she fades and perishes. If few modem sculptors of merit for all time in Imaginative work can be named, — if the prevailing schools of the last hundred years must be divided mainly between the ornamental, the pedantic, and the commonplace, — not without certain groups only characterized by extravagance or emptiness, — these judgments should not be given without great reserve as regards the individuals who have suffered from the long train of external depressing influences. That such classes should comprise so many minor sculptors is not wonderful, when men by nature so highly gifted as Canova and Flaxman have been able to carry the art so little onwai'd, and have left no permanent effect except from SCULPTURE. the defective side, — Canova turning his followers to operatic sentirnentalism ; Flaxman, to antiquarian revival. Yet the Italian, by the grace and finish of his early works, appeared to his contemporaries the restorer of a lost art ; whilst the neglected Englishman, whom Canova praised with the hberality of genius, possessed a loveliness of invention, a sense of simplicity, an instinctive poetry and grace, which, in a more appreciative age, would have placed the name of Flaxman with the best of his contemporaries in national estimation. If, however, the favourite subjects of these men, of Thorvaldsen, Gibson, and other distinguished artists are remembered, it is intelligible why imaginative sculp- ture should be the fallen art she has long been, praised by patrons, meaningless to the world at large. Will it not at some time appear one of the strangest of delusions, that a mythology, dead for two thousand years, should have been fancied a living interest to the nineteenth century? There is a little dialogue in Sterne's novel which dramatically sets forth the attitude of the connoisseur and the common-sense spectator towards 'ideal sculpture : ' — 1 There are two LovesT said Mr. Shandy, ' the first, without mother, where Yenus had nothing to do; the second, begotten of Jupiter and Dione.' — 1 Pray, brother,' quoth my Uncle Toby, ' what has a man who believes in God to do with this V YII One branch of sculpture, however, remains, which has always maintained more or less of life ; and to this, with, the recovery of a more vital manner in architecture, and the re-union of the arts so long divorced, we may fairly look with hope for the future. Fcr Portraiture, since mastery in it was first reached (hardly before the age of Alexander), has remained, and must always remain, the foundation of excellence in sculpture, as it will finally be recognized in regard to painting. The corrupting influences of popular taste, already described, act with less immediate force on the bust than on the statue. Men are here a little less unwilling to compare the semblance with the reality, and wanderings from nature are more easily, traced, or censured with greater freedom. It is true that here also the general false position of the art appears. How few public or monumental statues can be named which do not fail, often utterly, from the conventional classical style, bringing with it feebleness in modelling and tameness in outline, — from meretricious trick, or shallow artifice, — from vacuousness and slovenly execution ! Conspicuously placed as they are, how few have any interest or influence over the thousands who would be ' moved as by a trumpet ''by the real effigy of a Bichard, a Wellington, a Newton, a Napier, a Peel, — even of the Sovereigns in then succession, or men of local mark and position ! To foreigners who visit Trafalgar Square or St. Paul's, — to Englishmen who know Berlin and Paris, the Louvre and the Santa Croce, — it will be needless to add more, or give the list of recognized too-familiar failures. But Foley, Eauch, and Eietschel, may be properly named amongst the few honourable exceptions. YILT These remarks apply to the larger and more difficult style of portrait statues. But returning to the bust, a series of heads, occasionally figures, of real excellence may be traced during the last hundred years, rarely, perhaps, rising to high and severe perfection in design, most rarely to vitality hi execution, yet often proving that men whose ability was sacrificed in imaginative art, with better opportunity would have rivalled better times. Amongst those Englishmen who rank thus are Nolle'kens, Banks, Chantrey, Flaxman, Watson, Foley ; Canova, Danneker, with many more less known here, in France, Germany, and Italy. The work of Nollekens, though not rising to genius, is careful and lifelike. No one will fail to find truth and grandeur hi Eauch, Foley, and Watson. Canova brought to his busts the smoothness and elaboration, Flaxman the poetry, of his ideal groups. Chantrey's influence on the art has been unhappy ; himself a master in picturesque effect and facile likeness, but far less successful in truth of modelling and execution, he left a school in which the picturesque soon faded into commonplace, and severity into slovenliness. Several sculptors (as Behnes and Butler), have more or less escaped this overshadowing tradition ; and we may note Foley, Watson, and Woolner as artists who have boldly and consistently renewed the earlier and severer style. The works of the two former have been spoken of already as truthful, dignified, and conscientious 3 to these qualities the latter adds simple earnestness and intensity in expression, inventiveness in arrangement, with a tender- ness and finish in execution without which marble never passes into vitality. Of similar quality in Art are the Animal designs by Julius Haehnel, of Schmiedeberg in Prussia. Widely different as these are in subject, there is a greatness and a grace about them, which raises his work to an excellence, within its sphere not inferior to that of the Arthur and Constance. The Giraffe in her stateliness, the Lion in his strength and his repose, have been rendered in no extant sculpture with a truth and insight like Haehnel's. The works of such men, whenever we meet with them, supply more or less a measure of what serious sculpture can reach. Let us hope that spectators, comparing excellence in modem art with real life, and then again with what has been done by master-artists of old, will gradually learn to praise and encourage such work alone as agrees with the one and only standard — Nature. Give us but this, and Sculpture will soon follow the brighter fortunes of Painting. F. T. P. 139 BRITISH DIVISION. CLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. A. — DECEASED ARTISTS. PRINCIPAL GALLERY, CROMWELL ROAD. BANKS. T., R.A. (1735—1805). Marble Statue — A Falling Titan Royal Academy. Plaster Statue — Achilles lamenting the Loss of BRISEIS British Institution. " Aaxp'ucra.j, erdpuiv arxp e£ero voatyi XiaaOels" — //. i. 849. Plaster Bas Relief— Thetis rising to console Achilles From the Marble in the National Gallery. 11 KapTraAtjixws S'aveSv 7roA.i/js aAb?, tjvt ojui'xAtj .'—II. i. 35&. Tfrra-cotta Model — Statuette — Achilles putting on his Helmet . . E. H. Corbonld, Esq. NOLLEKENS, J., R.A. (1737—1823). Marble Statue— Mercury Earl of Yarborough . Marble Statue— Yen us tying her Sandal . . T. Chamberlayne, Esq. Plaster Bas Relief— Cupid and Psyche embracing From the Marble in the Royal Academy. Marble Bust— Right Hon. William Pitt . . Lieut. -Gen. Anger stein. * # * this is the first of the numerous busts made by the sculptor, from the cast which, he took of Mr, Pitt's face after death. Marble Bust — Right Hon. Charles James Fox . T. Chamberlaijne, Esq. Marble Bust — Earl of Liverpool Her Majesty. Marble Bust — Marquis of Rockingham .... Earl of Yarborough. Marble Bust— Sir Joseph Banks Earl of Yarborough. BACON, J.. R.A. (17-10—1799). Plaster^Statue — Mars . . Society of Arts. FLAXMAN, J., R.A. (1755—1826). Marble Group — The Fury of Athamas : Ino endea- vouring to rescue her Children, Learchus and melicertes, from destruction by their Father Marble Group — Cephalus and Aurora . 140 Marquis oj Bristol. H. T. Hope, Esq. Sculpture.] BRITISH DIVISION. [Principal Gallery. FLAXMAN, J., R.A. (1755— 182G.) Plaster Bas Belief— " Thy Kingdom Come " . Plaster Bas Belief — "Deliver us from Evil" *#* This and the preceding were models for two panels on a monument erected by Sir Francis Baring in Mcheldever Church, Hants. Plaster Bas Belief — The Good Samaritan . Plaster Bas Belief — Family Affection (St. John, xiii. 33, 34) *** Model for part of a monument to the Countess Spencer, in Brington Church, Northamptonshire. Plaster Bas Belief — Maternal Affection Plaster Bas Belief — Mercury bearing Pandora from Olympus Stlver Gilt — Shield of Achilles, from the De- scription of Homer (H, xviii. 478 — G07) .... Her Majesty. ROSSI, J. C. P., R.A. (1762—1839). Marble Bust — Lord-Chancellor Thurlow .... Her Majesty, HILLS, R. (1765—1844). Bronze Figure— A Stag . . ' The late Mrs. Garle. WESTMACOTT, SIR R., R.A. (1775—1856). Marble Group — Nymph and Cupid .... Marquis of Westminster. Marble Statue — A Nymph Earl of Carlisle. Plaster Group — The Distressed Mother H. Cole. Esq. CHANTREY, SIR P., R.A. (1782—1841). Marble Statue — John Dalton, L.L.D. . . Royal Institution, Manchester. Marble Bust — Viscount Castlereagh . . . . . Her Majesty. ' Marble Bust — First Duke of Sutherland . . . British Institution. Marble Bust — Bight Hon. George Canning . . . Duke of Devonshire. Marble Bust — The late Sir Bobert Peel .... Her Majesty. Marble Bust — Benjamin "West, P.B.A Royal Academy. Marble Bust — Henry Bone, B.A Royal Academy. Marble Bust— John Bennie G. Rennie, E$q. G-QTT, J. (1785—1860). Marble Group— A Fox and two Cubs B. Gott, Esq. Terra-cotta Model — An Episode of the Deluge . . . B. Gott, Esq. Terra-cotta Model — A Member of the Humane Society . . ' B. Gott, Esq. Terra-cotta Model — A Sly Beggar B. Gott, Esq. CAMPBELL, T. (1790—1858). Marble Statue— Cupid taking the Form of As- canius, to deceive Dido Lord Kinnaird. " pueri puer indue vultus." — Vifg. Avn. i. 684. Marble Bust — Princess Pauline Borghese . . . Duke of Devonshire. Marble Bust — The late Earl Grey Her Majesty. 141 Sculpture.] BRITISH DIVISION. [Principal Gallery. JOSEPH, S. (1791—1850.) Plaster Statue— William Wilberforce Rev. R. AinsUe. (Model for the monument erected in Westminster Abbey.) WYATT, R. J. (1795—1850.) Marble Group — Ino and Bacchus .... Marquis of Abercorn. Marble Group — Nymph and Cupid R. S. Holford, Esq. Marble Statue — Girl Bathing H. T. Hope, Esq. RENNIB, G. (1801—1860). Marble Group — Cupid and Hymen ...... Mrst G. Rennie. WATSON. M. L. (1804—1847). Plaster Bas Relief — Sleep and Death bearing the Body of Sarpedon J. IF. Foley, Esq. " Heixne Sd ixiv 7ro/A7rotcrii/ a,ua KpaiTrvol J- Naylor, Esq. Marble Statue— Jeanie Deans before Queen Caro- line (from Scott's " Heart of Midlothian.") . . .J. C. Bowring, Esq. STEELE, J. Marble Bust— H.E.H. the Prince op "Wales . The High School, Edinburgh. Marble Bust — Miss Florence Nightingale . An Association of Soldiers. STEPHENS, E. B. Plaster Group — Mercy on the Battle-field Artist. Marble Group— Evening — Going to the Bath THEED, W. Marble Statue— The Bard (from Gray's Poem) . Corporation of London. Plaster Statue — The late Henry Hallam Artist. (Model for a Statue to be erected in St. Pauls.) Marble Group — The Prodigal's Beturn .... Earl oj Yarborough. Marble Bust — H.E.H. the Prince Consort .... Her Majesty. Marble Statue — Bebecca at the Well Miss Bridge. Marble Bust — Sir John Lawrence .... The Grocers' 1 Company. Seven Plaster Bas-reliefs — Models for Bronze Beliefs, illus- trative of English History, erected in the Souse of Lords Artist. THORN YCROFT, T. Marble Bust— H.E.H. the Prince Consort .... Miss Pine. THORNYCROFT, MRS. Marble Bust — H.E.H. the Crown Princess of Prussia (Princess Eoyal op England) . . . . . Miss Pine. Marble Bust — H.E.H. the Princess Alice ... . Miss Pine. Eive Plaster Statues — Models for Marbles in the possession of Her Majesty, at Osborne House . . . Artist. 1. Peace (Portrait of H.E.H. the Princess Helena). 2. Plenty (Portrait of H.E.H. the Princess Louise). 3. The Hunter (Portrait of H.E.H. Prince Arthur). 4. The Fisherman (Portrait of H.E.H. Prince Leopold). 5. H.E.H. the Princess Beatrice. Plaster Statue (bronzed)— The Skipping-Girl .... Artist. 149 Sculpture.] BRITISH DIVISION. [Principal Gallery. THRUPP, F. Marble Group— Boys Struggling for Grapes .... Artist. Plaster Group — Nymph and Cupid ....... Artist. The Hamadryads Bringing Lilies to Alexis (Virg. Ecl.ii.Ab) | . | Artist. WEEKES, H. Marble Statue — Sardanapalus (from Byron's Tragedy) Corporation of London. Marble Group— The Mother's Eiss Artist. Marble Bust — Mary Woolstonecraft (Mrs. Godwin) . Sir Percy Shelley. Marble Bust — Professor Green Artist. Marble Bust — Lord Chancellor Truro House of Lords. Marble Bust — The late Dean (Buckland) of Westminster Museum of Economic Geology. Marble Bust— The late Allan Cunningham Artist. Marble Bust— An African Princess Artist. WESTMACOTT, J. S. Marble Statue— The Peri Artist. " One morn, a Peri at the gate Of Eden stood disconsolate." — Moore's Ijalla Roohh. Plaster Statue— A Girl at a Fountain Artist. Plaster Statue— Victory taking the Wreath from her Head, to crown a Yictor in Battle Artist. WESTMACOTT, R., R.A. Marble Statue — David with the Head of Goliath . . . Artist. Marble Bust— The late Earl Talbot, K.G. (as Lord- Lieutenant of Ireland) Hon. Mrs. J. C. Talbot. Marble Bas-relief — Blue-bell Earl of Ellesmere. WILSON, J. A Case of Intaglio Gems, with impressions from the same Artist. WOOD, S. Marble Statue— Elaine . F. Squire, Esq. " And thus they moved away ; she stayed a minute, Then made a sudden step to the gate ; and there Her bright hair, blown about the serious face, Yet rosy, kindled with her brother's kiss, Paused in the gateway, standing by the shield In silence, while she watch'd their arms far off Sparkle, until they dipp'd below the downs. Then to her tower she climb'd, and took the shield, There kept it, and so lived in fantasy."— Tennyson, Idylls of the King. WOODINGTON. Marble Bust— Ariel . . • Artist. 150 Sculpture.] BRITISH DIVISION. [Principal Gallery. WOOLNER, T. Marble Group— Brother and Sister T. Fairbaim, Esq. Marble Statuette— Love . A. E. Novelli, Esq. Plaster Statue— Lord Bacon Artist. (Model for the statue erected in the New Museum at Oxford.) Marble Bust — Professor Sedgwick . . . Trinity College, Cambridge. Marble Bust— Alfred Tennyson, Esq. . . Trinity College, Cambridge. Marble Bust — Bajah Brooke T. Fairbaim, Esq. Marble Bust — The Bev F. D. Maurice . . . . . Mrs. Maurice. Marble Bust— W. Shaen, Esq W. Shaen, Esq. Marble Bust— W. Fairbairn, Esq T. Fairbaim, Esq. WYON, E. Marble Statue— Britomart (from Spenser's "Faerie Queene") Corporation of London. WYON, J. S. Specimens of Medals , , Artist. WYON, L. C. Specimens of Medals . Artist. 161 - FINE ART DEPARTMENT. ii. FOBEExN DIVISION. NOTICE. The late period at which the arrangement of Works of Art was completed in the Foieign Division renders an accurate list and statement of their position impossible. It may be assumed, generally, that the Principal Gallery contains none but Oil Paintings [Class 38] and Sculpture [Class 39] ; and that works exhibited in Class 37 [Architecture] and Class 40 [Engravings] are to be found in the Side Galleries. The sequence of numbers is, from the same cause, much interrupted. For instance, in the Principal Gallery, the Pictures begin with 49, the first French number, and immediately after 226, with which they end, follows 650, the earliest number in the German list. In place of following, as was intended, the disposition of the Pictures on the walls, it has, in most cases, been necessary to adopt the order (alphabetical as to names) observed in com- piling the lists ; with which, it is needless to observe, the arrangement on the walls cannot coincide. FOREIGN SCHOOLS OF OIL PAHTIM France I Fair France, a country rich in so many glorious memories, had given birth before this century to several distinguished Painters, whose influence over the style of their successors has never died out. But that great change Avhich confers on French history so con- spicuous a place in the modern history of Europe, moved the land ' through all its being ' with an impulse so mighty that we may accept the Revolution as a starting-point not less for the Literature and the Fine Arts of France than for her Politics. Under Lewis XIV, Painting, with much else, had fallen into a hollow and lif eless pomp ; and though two men of original genius, Watteau (1684 — 1721) and G-reuze (1725 — 1805), illustrated the follow- ing reigns, yet the courtly grace of the first and the sentimental grace of the latter only reflected the prevalent fashions of the day, and were insufficient elements to create a living School, able in any real sense to speak to the nation at large. Watteau and G-reuze, with then contemporaries, appear to have worked for Paris alone, and its little coteries of luxurious or cultivated citizens : an unhealthy position, and in the last degree remote from the conditions under which art nourished in Athens or Florence or mediaeval France her- self. David (1748 — 1825), in the opinion of his countrymen, restored Painting to the national sympathies by means at first sight the most alien from such result : — by infusing what was thought a Greek severity alike in the subjects, design, and execution of his pictures. This style, however, harmonized with the false Classicalism of the Revolution before the predominance of its ' First Consul : ' when that stage was passed, and the vision of Roman Liberty melted into the reality of Roman Imperialism, the art of David became in part distasteful, in part was transfigured into the modem School of France. II It would be presumptuous to attempt in this summary a full review of recent Foreign art ; but the general course of its development may, it is hoped, be sketched here without impropriety. Speaking thus, it may be said that French Painting appears obviously to differ from English in three main points ; the subjects are far oftener ' Historical : ' the draw- ing is more generally correct : the colour and execution less varied and less brilliant. These qualities are strongly exhibited by David's work : in which, indeed, Historical Painting is too commonly taken only in that infelicitous sense which limits it to scenes from long-past and pictorially -irrecoverable history. Few, indeed, are the subjects of ancient times which can be, or which have been, successfully rendered : unless treated (as in the naif Middle Ages both by Painters and Poets) in the style of the day, or unless in themselves of very wide and vitally enduring interest (as scenes from Scripture), they may rouse a transient enthusiasm, but, like the mythology of Sculpture, have no real hold on common sympathies. It cannot be enforced and remembered too clearly, that the Present is the true region of all high Historical Art. This was felt in France even by David's pupil Gros, but it is to the pupil of David's own closest follower Guerin, — Ge'ricault (1791 — 1824) — a man who fulfilled much and promised more — that the liberation of Painting in France from the Classicalism of David is ascribed. Henceforward men felt free to choose then own style and subject ; Schools of modern life, of landscape, and of romantic tales and fancy sprung up : and the art, as in England, became again a representation, more or less complete, of the general tendencies of the century. III Every age is, however, wont to overestimate its own originality. Far more of the Past survives in the Present than men easily recognize : and what appear the conspicuous qualities of earlier French art are yet conspicuous in the latest. The careful design and the historical direction of the great Poussin and of Le Sueur reappear in David : and the best qualities of David, united with a lofty tone of poetry and an ineffable tenderness of outline and expression, in Ingres. Every truly great Historical Painter is a master in Portrait : and the portraits of Ingres deserve the careful study of all who feel how little of the human face, God's masterwork on earth, is commonly rendered by Painting or Sculpture. With Ingres maybe classed (subject to that diffidence which should never be absent from foreign attempts at classification) Delaroche and Leopold Robert, although by them Historical art js taken in an increasingly wider, and hence more truthful and more popular, sense. Dela- FOREIGN SCHOOLS OF OIL PAINTING. roche has dealt mainly with famous scenes from later European history, Eobert with Italian life in the points most characteristic of the provinces of the country. Horace Vernet presents this School in its most rigorously modern aspect, choosing liis subjects from the many wars of France during this century. The power, the dramatic vivacity, and generally conscientious design of these artsts are familiar to us : — the courage with which they have ventured on vast or crowded compositions, on canvass and in fresco, is a charac- teristic not less worthy admiration. IV Watteau is the only Colourist for whom high rank is claimed in the earlier French School, which in this great quality for two hundred years suffered under the shadow and the chill cast from the later Bolognese Painters. But this tradition also was happily broken in modern times, and the value and charm of Colour have been illustrated conspicuously — one wonders they ever needed illustration — in the works of Delacroix and Decamps : — the former a copious and inventive artist in large works which, like Etty's, range over several styles, but are in all subordinate to the exhibition of that gift which (as most distinctively and emphatically the Painter's gift), where it exists in force, always makes itself predominant. French critics, who have seen Rubens hi Delacroix, have compared De'camps to Rembrandt. He has the same love of Eastern scenes, the same love of rich colour contrasted with abun- dance of shade : but Decamps' residence in Egypt permitted him to penetrate oriental life and landscape more closely than was possible to the illustrious Hollander. De'camps did not, however, confine himself to such subjects; but, in whatever he touched, he has displayed a peculiar charm of that and a decided originality. Y Several of the artists hitherto named, by a decision which all visitors will regret, are not represented in this Exhibition ; but some idea of their work is essential to a just under- standing of the school as it exists. The bent, however, of the living oil painters in France, appears in general away from historical subjects, and turned towards the regions most popular with us, — familiar incident and landscape. Yet the national taste does not fail to make it itself felt throughout. French colouring is still comparatively subdued : a low tone, accompanied by an indistinct or blurred outline, is frequently aimed at. This manner is not that gradation of individual tints and loss of outline from flush of colour which Titian or Tmner practised ; it appears rather a reaction from the severity of the school of David, combined with a general aim at delicacy of effect. This style in colouring has hence natu- rally found its way into pictures of familiar incident. The subjects are selected with greater point, freedom, and variety, than in England : the scene is not so commonly domestic. Yet it is worth note that in this last region of art (so conspicuously English), England pos- sesses no painter equal in truth and tenderness of feeling to Edouard Frere. His works, with those of Plassan, Trayer, Troyon, and others, display another excellent national quality ; tact and ease in telling the story, and a determination not to exceed the limits of the style adopted by the • artist. The aim may not alwa} T s or often be high — but it is rarely not at- tained. The picture — and the remark might obviously be extended much beyond Art, in France — is almost always definite, hardly ever widely suggestive. But it must be enough here to indicate that sympathy between painting and the national mind in other respects, which stamps all art, when genuine and vital. YI This quality is, however, less consonant to landscape than to figure-subjects. Human action is a clear-cut thing, a limited region, if compared with the boundless mystery on Nature. Many pictures here show that France is rising to power in landscape : the works of Watelet, Jeanron, Corot, Ziem, Gudin, with those of De'camps and Marilhat elsewhere noticed, exemplify the variety of range attempted : yet, on the whole, we feel that the mirror which French art holds up by preference is less to Nature than to Human Nature. Even when Man is less prominent, living inhabitants, — as in the animal pieces of Troyon and the Bonheurs, — are not only h a produced as accessories, but form a main feature in the design. VII It may lastly be noticed that the same dominant interest hi human life has led to much vigorous rendering of foreign manners, or incidents from the earlier world of Europe, treated in a more romantic or vivid manner than by the elder historical school, by Marilhat, Couture, Ge'rome, and others. Here, too, we find what should not be passed over, as a frequent and honourable characteristic of the higher French art : definite and well-considered Thought. When this quality is an artist's aim, there is always risk of loss in the special aim of Painting — pleasure conveyed through form and colour : — yet, when the work is in the hands of a Ge'rome, the result will be one of those triumphs rare in the annals of any art, — pictures which, from the least to the most cultivated spectator, leave a remem- brance not to be wiped out. It is not in his own country alone that the career of this painter is watched with hope and appreciation. From the splendid drawing, firm rendering, vivid characterization, and thoughtful choice of subject shown in the ' Augurs,' the ' Gla- diators,' and the i Phryne,' Europe may fairly expect what-*-within the peculiar range which Ge'rome has chosen,— can hardly fail to be masterpieces. Germany VIII Of the German school it is more difficult to speak than of the French. Truly reflecting one noble side of the national mind, it has thereby passed under influences with which 156 FOREIGN SCHOOLS OF OIL PARTING. foreigners cannot easily or completely sympathize. Speculative thought and theory have here held sway over Art not less powerful than elsewhere has been often exercised by Fashion ; prescribing to the painter the subjects and style of his work, and taming the wild Teutonic imagination to academic or ascetic discipline. The works of the great schools of modern Germany appear strange to those who are accustomed to think of true art as something closely identified with freedom ; to look for nature, exhibited in actual life or in landscape, and to expect skill, force, and sweetness in the management of oil colours. Yet the direc- tion of German taste has been strictly controlled by those large miderlying laws which may be traced everywhere in the history of art, and can alone furnish just explanations of its development. Painting, with literature, had, chming the last century, fallen in Germany under French influences : here and there some national feeling was shown, and a solitary and neglected artist, Asmus Carstens, of Holstein, practised a severer style ; but in the main it appears to have rarely exceeded the limits of decoration. There was abundance of imi- tative work, and what may be called f urnittire painting, but nothing which answered to the life and power which, towards the close of the period, the great writers Lessing, Goethe, Schiller, Bichter, and many more, threw into the literature. These men, though not artists, occupied themselves much with the abstract theory of art, and a philosophy of Painting and Sculpture was formed amongst the many philosophies to which that age gave birth. Then followed the invasions from France : the national spirit was roused, and it became a natural feeling that the style which was least French wordd be most genuinely German. A definite plan was settled by the painters studying in Eome in 1810, and laws laid down for the subjects, aim, and execution of the art of the future. IX Hence arose the two principal schools between which painting is yet chiefly divided from Dusseldorff to Vienna. Mediaeval religion has been the main theme of Overbeck, Steinle, and Deger : mediaeval and ancient history of Cornelius, Schnorr, and Kaulbach. The artists of the first school have worked most at Rome : those of the historical or epic at Munich, Berlin, Dresden, Bonn, and elsewhere. Between the styles of these men, with their nume- rous scholars, great differences of course exist : Cornelius and Kaulbach display much bold- ness and variety of invention, suitable to the vast wall-paintings with which they have covered the churches and palaces of Germany : — the religious painters have worked more frequently on a smaller scale and in oil colours, and their pictures, like those of the early artists whose style they have followed, aim rather at sweetness and repose than energetic action. And beside these two main schools, modem Germany has produced numerous painters of incident, amongst whom the Dusseldorff artists, Schadow, Bendemann, Sohn, Kohler, and Hildebrandt, are the most celebrated : — with Lessing," Achenbach, Koch, and others, who have pursued landscape. X It has not here been thought necessary to map out minutely the many German centres of painting, or fill the page with names unfamiliar in England. It will be seen, however, even from this brief sketch, that the scheme of a complete national school has been carried out, and the various fields in the f ah realm of art all attempted in Germany. Yet through all ramifications and divergencies, a strong general similarity exists, derived from what has been already noticed as the starting-point of the school. Everywhere an English spectator will be reminded that the foundations of this art were laid in a complete and erudite theory that its first masters were of opinion that ' reference to nature may easily interfere with the ideal character of a composition,' and that ' power of colouring and facility of hand are unfavourable to high art.' Everywhere also he will see proofs of a lofty and serious Endea- vour, of a' predominant Thoughtfulness, of a careful study of approved ancient masters. But the main efforts have been laid out on large mural paintings ; and hence, of all modem schools, the German is least completely represented hi any Collection. A man must visit Munich or Berlin to see those vast philosophical histories and epics by Kaulbach and Cor-, nelius, which read, we might almost say, like so many pages from Herder or Hegel. In these the Idea is everywhere dominant : but from them, to the smallest scene of common life or landscape, the national characteristics here indicated will rarely be found absent. Holland and Belgium XI The course of modem art has been dissimilar in these contiguous countries. That intensely powerful national spirit which so distinguishes the Dutch, has hitherto mainly kept their school from that close approximation to the French which has occurred in Bel- , gium. Scenes of common life, landscapes, cattle, and inanimate things, treated often with admirable skill, were of old the glory of Holland. The same choice of subject still prevails. Schotel and Schelfhout have gained distinction in landscape : Van Os and Van Stry, Omme- ganck and Meissonier of France, Avith other native Hollanders, present more or less of the qualities which are admired in the cattle and figure painters of the 17th and 18th centuries. In Belgium all trace of the art of Ptubens and Vandyke had long since faded and been replaced during the first thirty years of the century by the style of David, whose influence over Flemish painting outlived his influence over French. Meanwhile in David's native land Painting had taken a new and more animated life, which in due time was felt in Flanders. Wappers in 1830 began against the dead false classical style a reaction which— by more than mere coincidence, we may believe— coincided with the birth of the Belgian FOREIGN SCHOOLS OF OIL PAINTING. kingdom. He was rapidly followed by Leys. These men have been both mainly devoted to historical subjects of national interest, but their art does not deviate into those more poetical and primitive regions which have found so much favour in Germany. It has been the distinction of "Wappers that he made the first great step towards a living style ; but the colour of Leys and the insight he shows into character deserve special notice. Rather later in the same direction have followed De Keyser and Gallait : the first choosing scenes of dramatic action, the latter of pensive sentiment. Subjects from romance and poetry have been also attempted by these men, who thus form a link between the more strictly Historical School and the school of common life and incident. This style, with the landscape work of De Marneffe and others, has, however, as yet hardly received the develop- ment which was so rapidly reached by Le}-s and Wappers, who, by natural instinct, turned at once to that branch of the art which, from Yaii Eyck to Rubens, was the characteristic of Flemish painting. XII The Schools hitherto noticed are either known in England by many examples or belong to countries with which Englishmen are familiar. Yet in regard to them, the criti- cism of a foreigner must be given with diffidence ; and even if the mainlines have been here correctly laid in, it cannot but be that natives of Germany or France will find the details or points of view require a forbearance which (it is hoped) will be exercised. But from the specimens of remoter or less developed Schools which we are now allowed to study, it might be rash and unsafe to attempt even a sketch of Painting in the Russia and Scandinavia of to-day, — still less in countries which, like Spain, Italy, and America, appeal so decidedly to the Future. Artists of ability have not been wanting here during this century, (Calame, Tidemand, and Lindegriin, in Switzerland, Norway, and Sweden, may be specially noted), yet it is probable that in none of these states has Art yet taken a form which fully represents the nation as it is, — certainly none that answers to what is anticipated by those which in a certain sense we may call the more settled nations of Europe. Englishmen at least will not fail in such sympathetic anticipation : they will welcome with warmth the proofs which other countries give that Art, with vigorous Peace and manly Liberty, Free Thought and Free Action, has entered also on the ways of life : — convinced that Painting, advancing always at even pace with the national mind, will become everywhere more Individual at once and more Universal, and in confident hope that the fair promise of many lands will ere long be followed by fairer fulfilment. F. T. P. ,158 rOREI&l? DIVISION. FRENCH SCHOOL. CLASS XXXYII. ARCHITECTURE. S.W. GALLERY, PRINCE ALBERT'S ROAD. LAISNK ; 1,2 Church of St. Nazaire, at Bezier (four sheets). VIOLLET-LE-DUC. 3,4,5 Eamparts of Avignon (six sheets). VERDIER. 6 Town-Hall of Compiegne (one sheet). BURY & SULPIS. 7 Church of St. G-ermer, after Boeswilwald. SAUVAGEOT. 8 Church of St. Aignan, after Lassus. DE MERINDOL 9 Church of CondIs, Department of the Cher (one sheet), „ Church of Plainpied, Department of the Cher (two sheets). LEMAITRE. 10 Pont du Gard, after Questel. GAUCHEREL. 11 Church of Vetheuil, after Durand. MILLET. 12 Church of Boulogne (two sheets). „ Church of Cogniat, Department of the Allier. „ Church of Rieux, Marne. RUPRICH ROBERT. 13 Abbey of Hambye, Department of La Manche (two sheets), 159 France.] FOREIGN DIVISION. [Architecture. GUILLAUMOT. 14 Church of St. Michel d'Entraigues, after Abadie. GODEBCEUF. 15 Church at Auvers (Seine et Oise). BOESWILWALD. 16 Church of Muizox, 3 sheets. HUGUENET. 17 Church at St. Nazaire de Carcassonne, after Viollet-le-Duc. 18 Abb aye d'Ourscamp, after Laisne. SOUDAIN. 19 Church of Eu, after Viollet-le-Duc. 20 Church of Poissy, after Viollet-le-Duc. SAUVAGEOT. 21 City of Carcassonne, after Viollet-le-Duc. PENEL and SOUDAIN. 22 Abbey of Charlieu, after Desjardins. 23 Church of Paray-le-Monial, after Millet. SULPIS. 24 Church of St. Germer, after Boeswilwad. 25 Hall of the Synod at Sens, after Viollet-le-Duc. PENEL. 26 Church of St. Saturnin, Toulouse, after Viollet-le-Duc. GUILLAUMOT. »27 Chateau de Blois, after Duban. LAMBERT. 28 Church of Rivikres (two sheets). DENUELLE, ALEX. DOM. 29,30 1. Paintings of the Chapel of St. Pierre, in the Church of the Celestins, at Avignon. „ 2. Painting of Our Lady of the Dome, at Avignon. „ 3. Painting of the Cathedral of Autun. NORMAND. 31, 32 Drawings of Prince Napoleon's House. HUGUENET. 33 Five Architectural Engravings, for Decoration. 34 Four Architectural Engravings, for Decoration. GAUCHEREL. 35 View of the Gate of Bannes (Aquafortis on Zinc) 36 Five Ivories, after the Castings of the Arundel Society, London, 37 Chasse de S. Eleuthere, at Tournai. 160 France.] FOREIGN DIVISION. [Painting. CLASS XXXVIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. A.-PAINTINGS IN OIL. PLASSAN, ANTOINE EMILE. 49 An Interior Duke of Hamilton. GERuME, JEAN LEON. 50 Eastern Scene Duke of Hamilton. NEGRE, CHARLES. 51 The Power of Man , Artist. DUBUFE PILS, EDOUARD. 53 Portrait of Mrs. William Smith W. Smith, Esq. 54 Portrait op Mdlle. Rosa Bonheur S. Gurney, Esq. BELLY, LEON. 55 The Banks OF the Nile Artist. LANDELLE, CHARLES. 56 Sunday-Mass at Beost, Lower Pyrenees .... M. Emile Pereire. HILLEMACHER, EUGENE ERNEST. 57 James Watt . . . Artist. BALLEROY, ALBERT DE, and BELLY, L. 58 Hounds IN Covert The Artists. BRETON, JULES ADOLPHE. 59 The "Benediction des Bles" in Artois . . . Musee du Luxembourg, 60 The Weeders . . M.le Comte T. Duchatel. COROT, JEAN BAPTISTE CORNEILLE. 61 Landscape . . . 31. le Vicomte Doria, PERIGNON, ALEXIS. 63 Portrait of Mdme. X Mdme. X. • 63 Portrait of Mons. A. D M. Aries Dufour, AMAURY-DUVAL, EUGENE EMMANUEL. _ 64 The Annunciation . . . . . . . The Imperial Government, 65 Portrait of Mdlle. Emma Eleury of the " Comedie Franchise " Mdlle, Fleury. FRANCAIS, FRANCOIS LOUIS. 66 The Banks of the Seine— Evening- ..... , Artist, 161 Gr France.] foreign: division. [Painting. BENOUVILLE, LEON FRANCOIS. 67 S. Francesco d'Assisi Musee du Luxembourg. FELON, JOSEPH. 68 Venus Rising from the Sea ' Artist. ST. JEAN, SIMON. 69 A Yine Stock The Imperial Government. SCHEFFER, ARY. 70 St. Augustine and St. Monica The Imperial Government. BROWNE, MDME. HENRIETTE. 71 Portrait of M. le Baron de S . . . M. le Baron de 8 72 Sisters of Charity M. Laperche. FLANDRIN, JEAN HIPPOLYTE. 73 A Figure— Study Musee du Luxembourg, 74 La Jeune fille A l'CEillet M. le Marquis Maison. GLAIZE, AUGUSTE BARTHELEMY 75 UN Pilori Artist. " On les persecute, on les tue, Sauf, apres un lent examen, A leur dresser ime statue, Pour la gloire du genre humain." Beranger, Chanson des Fous. BRION, GUST AVE. 76 The Blessing M. GoupiU 77 A Wedding Entertainment in Alsace Artist. 77a The Burial , Artist. BEAUME, JOSEPH. 78 A Stag-hunt 1 . Artist, INGRES, JEAN AUGUSTE DOMINIQUE. J 9 The Spring M.k Comte C, Duchdteh TOURNEMINE, CHARLES EMILE DE. £0 Recollections of the Lower Danube Artistt PILS, ISIDORE ALEXANDRE AUGUSTIN. 81 The Landing of the French Army in the Crimea II.I.H. Prince Napoleon. 82 An Incident at the Battle of the Alma .... Musee de Versailles. YVON, ADOLPHE. £3 Battle of Solferino H.M. the Emperor of the French; 84 Curtain of the Malakoff .... H.M. the Emperor of the French. (Reduced copies of the pictures in the Musee de Versailles.) 162 France.] FOREIGN DIVISION. [Painting 1 . BELLANGE, JOSEPH LOUIS HIPPOLYTE. 85 The Two Friends — Sebastopol, 1855 Duke of Hamilton. "Et tels avaient vecu les deux jeunes amis, Tels on les retrouvait dans le trepas nnis." DUVAL LE CAMUS, JULES. 86 Jacques Clement Resolving on the Murder of Henry III. . . Artist, VERNET, EMILE JEAN HORACE. 87 Portrait op Marshal Bosquet Musee de Versailles. 88 Portrait op Marshal MacMahon, Due de Magenta . . Musee de Versailles. 89 The Battle op the Alma H.I.H. Prince Napoleon. GLEYRE, GABRIEL CHARLES. 90 Illusions Destroyed Musee du Luxembourg. MULLER, CHARLES LOUIS. 91 Mass in the " Keig-n op Terror " Artist. 92 Madame Mere The Imperial Government. COMTE, PIERRE CHARLES. 93 Lady Jane Grey M. le Comte de Morny. 91 Henri III. and the Duo de Guise .... Musee du Luxembourg. PLANDRIN, JEAN HIPPOLYTE. 95 Portrait op H.I.H. Prince Napoleon (Jerome) . H.I.H. Prince Napoleon. FLANDRIN, JEAN PAUL. 96 The Sabine Mountains Musee du Luxembourg. GENDRON, AUGUSTE. 97 • Sunday at Florence (Fifteenth Century) . . Musee du Luxembourg. BARRIAS, FELIX JOSEPH. 98 The Exiles of Tiberius Musee du Luxembourg. SCHUTSENBERGER. 99 A Sea-piece M. Jacquemard. CABAT, LOUIS. 3,00 Evening Musee du Luxembourg . LANOUE, FELIX HIPPOLYTE. 101 The Pine Forest op II Gombo, at Pisa . . . The Imperial Government. DESJOBERT, LOUIS REMEE EUGENE. 102 View taken in the Bay op St. Owen, Jersey Artist. YVON, ADOLPHE. 103 Gorge of the Malakopp .... HM. the Emperor of the Fr end. 101 The Attack on the Malakofp . . . H.M. the Emperor of 'the French. (Reduced copies of the pictures in the Musee de Versailles.) 163 G 2 France.] FOREIGN DIVISION. [Painting. OUVRIE, PIERRE JUSTIN. ;?105 View of Schaffhausen, from the Rhine Artist, BELLANGE, JOSEPH LOUIS HIPPOLYTE. 106 A Square of Republican Infantry repulsing Aus- trian Dragoons, 1795 - . . . . . . . , Artist BOUGUEREAU, WILLIAM ADOLPHE. 107 The Triumph of Martyrdom Musee du Luxembourg. DELAROCHE, PAUL. 108 Portrait of M. Emile Pereire M. Emile Pereire. 109 The Virgin in Contemplation before the Crown of Thorns The Sons of M. Delaroche. jETIAN 110 A Martyr in the Reign of Dioci 111 The Return from Calyary . 112 Good Friday 113 Marie Antoinette . M. le Baron (FEichtal, . The Sons of M. Delaroche, M. le Baron cVEichtal, , , M, Perkins, COURBET, GU STAVE. 114 Stags Fighting . M. F. Petit. FRERE, THEODORE CHARLES. 115 Ruins of the Temple of Koum Ombos (Upper Egypt) , , , Artist, DAUZATS, ADRIEN. 116 Tns Environs of Damascus Mme. Vve, L, Delbos, BUTTURA, EUGENE FERDINAND. 117 Daphnis and Chloe . Mme. Buitura, LAYS, JEAN PIERRE. 118 A Vase of Flowers AWst. AUBERT, ERNEST JEAN. 119 A Confession M. Corlieu, 120 A Reverie i/. Engel^ GEROME, JEAN LEON. 122 Ave, Cesar Imperator, Morituri te Salutant . . . M. F. Petit. 123 The Pifferari M. Isaac Pereire. 124 Rembrandt engraving a Plate in*Aqua Fortis . M. le Comte de Morny.^ ZIEM, FELIX. 125 View of Venice Musee du Luxembourg. DIAZ DE LA PENA, NARCISSE. 126 Interior of a Forest M.le Comte de Morny. LOUBON, EMILE. 137 Evening on the Pontine Marshes Artist. JACQUAND, CLAUDIUS. 128 Gaston de Foix taking leave of his Mother .... Artist. 161 France.] FOREIGN DIVISION. [Painting. BONHEUR, MDLLE. ROSA. 129 Ploughing in the Neighbourhood of Severs . Muses da Luxembourg. DAUBIGNY, CHARLES FRANCOIS. 130 The Banks of the Oise . ...... M. Paton. HARPIGNIES, HENRI. 131 A Belt of Wood on the Banks of the Allier . ... , Artist. PATROIS, ISIDORE. 132 Procession of the Holy Images in the Neighbourhood of St. Petersburg Artist. LEMAN, JACQUES EDMOND. 133 Corneille before Louis XIV. . . ■ Artist. LENEPVEU, JULES EUGENE. 134 The Virgin on Mount Calvary Artist. ZIEM, FELIX. 135 View of Venice : Evening M.le Comte de Morny. ROUX, LOUIS. 136 Bernard Palissy . . M. Emile Pereire. CHAPLIN, CHARLES. 137 Portrait of a Lady Artist. LUMINAIS, EVARISTE. 138 A Horse Pair in France . .• Art id. TISSIER, ANGE. 139 Portrait of Abd-el-Kader Musee de Versailles. JUNDT, GUSTAVE. 140 A Souvenir of the Tyrol Artist. JOBBE DUVAL, FELIX. 141 The Procession to Calvary Mr. Brooking LELEUX, ARMAND. 142 The Youthful Convalescent Artist. ISABEY, LOUIS GABRIEL EUGENE. 143 Embarkation of Ruyter and de Wytt . . . Musee du Luxembourg. DESGOFFE, BLAISE. 144 A Vase of Rock Crystal of the 14th Century .... Artist. CARAUD, JOSEPH. 145 Mdlle. de la Valliere taking the Veil, 1674 ..... Artist. LAEMLEIN, ALEXANDRE. 146 The Vision of Zechariah Musee de Pochefort. 165 Gr 3 France.] FOREIGN DIVISION. [Painting. FROMENTIN, EUGENE. 147 A Shepherd of the Hill-country, Algeria H.M. the Empress of the French. 148 A Khalif's Audience M. Couteaux, of Brussels. 149 Gentlemen returning from a Frolic Artist. ROUSSEAU, THEODORE. 150 A Pond • M. Tesse. 151 Tree's 21. le Comte de Morny. DUVERGER, THEOPHILE EMMANUEL. 152 Gipsies ' Artist. CHARLET, NICOLAS TOUSSAINT. 153 Soldiers playing at Cards (age of Louis XY.) . . M. Ad. Moreo.u. ROQUEPLAN, CAMILLE. 154 The Antiquary M. le Due de Galliera. DE DREUX, ALFRED. 155 Portrait of General Fleury, Aide-de-Camp of H.M. the Emperor of the French 21. le General Fleury. DELACROIX, EUGENE. 156 The Bishop of Liege M. F. Villot. DECAMPS, ALEXANDRE GABRIEL. 157 The Guardians of the Sepulchre M.F. Petit. 158 Landscape M. Cottier. RICARD, LOUIS GUST AVE. 160 Portrait of Mdme. de C Mdme. de C. 161 Portrait of M. X M. X- HEBERT, AUGUSTE ANTOINE ERNEST. 162 Rosa Nera at the Fountain . . . H.M. the Empress of the Trench. GUILLEMIN, ALEXANDRE MARIE. 163 Women Winnowing — Ossau, Lower Pyrenees . . . 21. Durand Ruel. JALABERT, CHARLES. 164 Yillanella — A Souvenil of Rome 21. Ph. Hottinguer, RIGO, JULES ALFRED. 165 General Canrobert Inspecting a Trench during the Siege of Sebastopol . Musee de Versailles. TROYON, CONSTANT. 166 Oxen going to the Plough Musee du Luxembourg. BAUDRY, PAUL JACQUES AIME. 167 Led a M. Villeneure. 168 Fortune and the Little Child Musee du Luxembourg 169 St. John Mdme. la Comtesse Swieytows, GUDIN, THEODORE. 170 The Arrival of Queen Victoria at Cherbourg H.M. the Emperor of the French 1G6 France.] FOREIGN DIVISION. [Painting. JADIN, LOUIS GODEFROY. 171 View of Home, from the Arco di Parma Artist. LAVIEILLE, EUGENE ANTOINE SAMUEL. 172 A Snow Effect Artist. ROBERT-FLEURY, JOSEPH NICOLAS. 173 Charles V. at the Conyent of St. Just .... M. Emile Pereire. 174 Louis XIV. . '. . . M,U Comte de Morny. LAMBINET, EMILE. 175 Landscape — Heath Scene Musee du Luxembourg. ST. JEAN, SIMON. 176 The Vessel for Holy "Water at the Church of Notre Dame des Roses Musee du Luxembourg. FLANDRIN, JEAN HIPPOLYTE. 177 Portrait of H.M. the Emperor Napoleon III. H.M. the Emperor of the French. BELLEL, JEAN JOSEPH. 178 View at Tauves in Auvergne , . Artist. LENEPVEU, JULES EUGENE. 179 The Martyrs in the Catacombs .... Musee du Luxembourg. BARON, HENRI. 180 The Return from the Chase (Chateau de Nointel) . . M. Bejaud. TASSAERT, NICOLAS FRANCOIS OCTAVE. 181 The Unhappy Family Musee du Luxembourg. BUTTURA, EUGENE FERDINAND. 182 Banks of the Seine at Bougival Mme. Buttura, CHAVET, victor. 183 A Visit to the Studio Artist. VETTER, JEAN HEGESIPPE. 184 G oing out for a Walk .... H.M, the Empress of the French. 185 The " Quart d'Heure" of Rabelais M. Buddicom. ' BROWNE, MDME. HENRIETTE. 186 The Infant School . M.le Comte de Morny. MEISSONNIER, JEAN LOUIS ERNEST. 187 The Student M.le Comte de Morny. 188 Breakfast M.le Comte de Morny. 189 H.M. the Emperor of the French at Solferino . H.M. the Emperor- of the French. 190 H.M. the Emperor Napoleon I H.I.H. Prince Napoleon. 191 The Bravos M.le Comte de Morny. AIGUIER, AUGUSTE. 192 The Gulf of Val Bonete (Department of the Var) » . . Artist, 167 G- 4 France.] FOREIGN DIVISION. LPainting. LARIVIERE, CHARLES PHILIPPE. 193 Portrait op Marshal St. Arnaud . < Musee de Versailles 194 Portrait of Marshal Niel Musee de Versailles. FICHEL, EUGENE. 195 Strolling Singers in an Alehouse Artist. PLASSAN, ANTOINE EMILE. 196 Morning Prayer Her Majesty the Queen, (The property of the Prince Consort, to whom it was presented by Her Majesty.) TISSOT, JAMES. 197 A Walk in the Snow. M. Emile Pereire.l ROUSSEAU, PHILIPPE. 198 The Alchemist . Artist. \ CURZON, PAUL ALFRED DE. 199 The Convent Garden , Artist} 200 Lie-washing on the Cervara ^riiKJ CABANEL, ALEXANDRE. 201 The Glorification of St Louis . . . . The Imperial Government 202 A Nymph Carried away by a Faun . . U.M. the Emperor of the Frenchl LAUGEE, DESIRE FRANCOIS. 203 Good News— Magenta ! Artist \ LANDELLE, CHARLES. 204 The Women of Jerusalem Captives at Babylon .... Artist] FRERE, PIERRE EDOUARD. 205 The Infant School J. Knoicles, Esd 206 The Slide F. Turquand, Esd 207 A Cottage Interior— Supper-time J. Kershaw, Esd* TRAYER, JEAN BAPTISTE JULES. 208 Anxiety M. Gambar>\ 209 An Examination « . . M. Gambar.\ < STEINHEIL, LOUIS CHARLES AUGUSTE. 210 A Vase with Wall-flowers M. Meissonnit,\ 211 Mother and Child Artis' FORTIN, CHARLES. 212 The Blessing Musee du Luxembourg BARRIAS, FELIX JOSEPH. 213 The Landing of the French Army in the Crimea . Musk de VersaitU LELEUX, ADOLPHE. 214 A Wedding in Lower Brittany . . . E,M. the Emperor of the Frenc 168 France.] FOREIGN DIVISION. [Painting. BOULANGER, GUSTAVE RODOLPH. 215 Aiiab Herdsmen General Fleury. 216 Arab Scouts General Fleury. HEBERT, AUGUSTE ANTOINE ERNEST. 217 "Les Cervarolles" Musee du Luxembourg, GUIGNET, ADRIEN. 218 Xerxes . ... M. Sipierre. JADIN, LOUIS GODEFROY. 219 The "Hallali:" Boar-Hunt in the Forest of FONTAINEBLEAU Artist. ST. JEAN, SIMON. I 220 Oranges M.le Comte cle Morny. FLANDRIN, JEAN PAUL. 1 221 Solitude Musee du Luxembourg. ROEHN, ALPHONSE JEAN. ; 222 The Poacher Musee du Luxembourg. MARILHAT. | 223 Old Cairo r M.le Comte DucMtel I 224 View op Cairo M. Goupil. 225 The Necropolis op Cairo M. F, Petit. LAUGEE, DESIRE FRANCOIS. I 226 Coming out op School Artist. HEDOUIN, EDMOND. 227 A Fan Artist. TOURNY, JOSEPH. 228 The Madonna del Sacco after A. del Sarto Artist. 229 Portrait of Mdlle. B . . Artist. 230 Portrait of Mme. T Artist. 231 Head op a Monk Artist. ALIGNY, THEODORE CARUELLE D\ 232 View of G-enazzano (Environs of Rome) . . The Imperial Government. 233 View of Royat (France) The Imperial Government. LEPEO, CHARLES. 234 A Frame of Enamels Artist. BENOUVILLE, LEON FRANQOIS. 235 Martyrs led to Execution — a Sketch . . . Musee du Luxembourg. INGRES, JEAN AUGUSTE DOMINIQUE. 236 Portrait of M. le Comte de Nieuwerkerke . M. le Comte de Nieuwerleerhe. 237 A Monument Artist. 238 Drawings on Vellum 169 D'ARAMON. Artist. France.] FOREIGN DIVISION. [Painting. FAIVRE-DUFFER, LOUIS STANISLAS. 239 Four Portraits of Ladies and Children (Pastel) .... Artist!, 240 Three Portraits of Ladies and Children (Miniatures in Oil) . Artist. CHARLET, NICOLAS TOTJISSANT. 241 A Frame Containing the following Drawings . . . M. de Lacombe. 1. A Landscape. 2. The Gambler. 3. Napoleon. 4. The Paralytic. 5. Madonna. 6. The Schoolmistress. 7. A Landscape. 8. " Le Dragon d'Elite." 9. Two Drunkards. 10. The Cuirassier. 11. A Landscape. 12. The Two "Invalides." 13. "Le petit Savoyard." 14. The " Invalids " and his Children. 15. The Old Herdsman. 16. The Dying Cuirassier. RAFFET, DENIS AUGUSTE MARIE. 242 A Representative of the People at his Post . . M. Ad. Moreau. 243 Andalusia (Malaga) Prince Demidoff. 244 Devotion of the Clergy at Rome Prince Demidoff. 245 The Army of Italy Prince Demidoff. 246 The Moerow Prince Demidoff. ANTIGNA, JEAN PIERRE ALEXANDRE. 247 Daughters of Eve Artist, DECAMPS, ALEXANDRE GABRIEL. 249 The Little Pastrycooks M. Ad. Moreau. PONCET, JEAN BAPTISTS. 250 A Young Flute-Player on the Sea-shore Artist. LAMI, EUGENE LOUIS. 251 Subjects taken from the Works of Alfred de Musset . . M. H. Didier. VALERIO, THEODORE. 252 Turks from the Borders of the Black Sea ... . Artist. 253 Albanian Bashi-Bazouks . Artist. 254 An Egyptian Dervish Artist. PENSEE, CHARLES. 255 Contrasts of Life, — a Landscape .... Artist. 256 The Hermitage • Artist. BELLEL, JEAN JOSEPH. 257 Three Sketches from the " Album des Vosges " H.M. the Emperor of the French. 170 France.] FOREIGN DIVISION. [Painting. MIRBEL, MADAME DE (nee LIZINKA RUE). 258 A Frame Of Miniatures Artist, SEBRON, HIPPOLYTE. 260 The Cathedral, Milan Artist. APPIAN, ADOLPHE. 281 A Landscape— Creyr (Isere) . . . . . ... Artist. 262 The Lake op Poizieux (Isere) . -Artist. VIDAL, VINCENT. 263 Loyes of the Angels : 1. The Fall " Artist. 264 „ „ 2. The Story Artist. BID A, ALEXANDRE. 265 The Massacre of the Mamelukes (drawing) Artist. 266 An Arab Harem (drawing) Artist. 267 The Great Oonde at Eocroy (drawing) ....... Artist. MONTESSUY, FRANCOIS. 268 A Fortune-Teller predicting his Elevation to the Popedom to Sixtus V. when a Child . . . . Artist. DARGENT, YAN. 273 "Les Layandieres de la Nuit" ..." Artist. BREST, FABIUS. 274 The Market in the Court of the Mosque of Djeni-djami at Constantinople Artist. JUNDT, GUSTAVE. 275 The First Step Artist. GIRAUD, CHARLES. 276 The Study of the Director-General of the Louyre . . . Artist. LAMBRON, ALBERT. 277 " Un Flaneur " Artist. GRISEE, LOUIS JOSEPH. 278 A Frame of Enamels, containing — 1. Portrait of a Young Man, after Maas. 2. Portrait of a Gentleman, after Largilliere. 3. Portrait of Mdlle. Fanny S . 4. Portrait of Mme. L . 5. Portrait of Mme. Y . 6. Portrait of M. G- . 7. Portrait of Mdlle. E. Y . 8. The Holy Family, after Raphael. MARCHAL, CHARLES FRANC.OIS. 279 Interior of a Tap -Room on a Fete-day among the Protestant Peasants of the Canton of Bouxwiller (Lower Rhine) M. Joubert. 171 France.] FOREIGN DIVISION. [Painting. ZO, ACHILLE. 280 The Blind Man of Toledo Artist. 280a Gipsies . . Artist. REYNAUD, FRANgOIS. 281 Peasant Girls of the Abruzzi Artist. LECOINTE, CHARLES JOSEPH. 282 Roman Peasants playing at "La Ruzzica" near the Porta S. Paolo Artist. PROTAIS, PAUL ALEXANDRE. 283 Le Camp du Moulin ........ . Artist. CHABAL-DUSSURGEY, PIERRE ADRIEN. 284 A Vase of Flowers Artist. CHAPLIN, CHARLES. 285 Portrait of a Gentleman M. Priestley. VEYRASSAT, JULES JACQUES. 286 Horses towing on the Banks of the Seine Artist. HUET, PAUL. 287 The Inundation at St. Cloud Musk du Luxembourg. BUSSON, CHARLES. 288 After the Rains of Autumn Artist. MARECHAL, LAURENT CHARLES. 289 Galileo at Velletri (Pastel) Artist. 290 Death of Columbus . Artist. OUVRIE, PIERRE JUSTIN. 291 View of Salzburg. Artist. BELLY, LEON. 292 Approach to an Egyptian Village .... II. J. II. Prince Napoleon. HAMON, JEAN LOUIS. 293 " My Sister is not there " .... II. M. the Empress of the French. MATET, CHARLES PAULIN FRA NCDIS. 294 Study of a Man's Head Musee de Laon. HERBELIN, MME. JEANNE MATHILDE. 295 A Frame of Miniatures : 1. Portrait of M. Eugene Delacroix. 2. Portrait of M. Benoit-Champy. 3. Portrait of M. Isabey, p£re. 4. Portrait of M. Dauzats. 5. Portrait of M. Chaplin. 6. A Girl Knitting. 7. An Italian Woman. 8. A Young Girl with a Rose. France.] FOREIGN DIVISION. [Sculpture. WINTERHALTER. 296 Portrait of H.M. the Empress op the French, 1862. II.M. the Emperor of the French. CASTIGLIONE, JOSEPH. 297 Portrait op H.M. the Empress op the Feench, 1801. H.M. the Emperor of the French. 298 Boudoir op H.M. the Empress op the French, 1861. H.M. the Empress of the French. ROLLER. 299 A Portrait CLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. PRINCIPAL GALLERY, CROMWELL ROAD. GUMERY, CHARLES ALPHONSE. 301 Bronze Statue— A Faun Playing with a Kid . . The Imperial Government LEQUESNE, EUGENE LOUIS. 302 Bronze Statue— A Dancing Faun . . . The Imperial Government. LEHARIVEL-DUROCHER, VICTOR. 303 Marble Statue — Reality and Appearance . The Imperial Government. ROCHET, LOUIS. 304 Napoleon Bonaparte at Brienne . Artist. CAVELIER, PIERRE JULES. 305 Bust op Henriquel Dupont M. Goupil. 306 Bust of Ary Sohepfer ......... M. Goupil. JALEY, JEAN LOUIS NICOLAS. 307 Marble Statue — A Reverie The Imperial Government. CRAUCK, GUSTAVE ADOLPHE DESIRE. 308 Bronze Statue— A Faun .... H.M. the Emperor of the French. GRUYERE, THEODORE CHARLES. 309 Marble Statue— Chactas at the Tomb op Atala . The Imperial Government. FREMIET, EMMANUEL. 310 A Cat and her Kittens ...... The Imperial Government. GASTON GUITTON, VICTOR EDOUARD. 311 The Traveller and the Dove (Anacreon, Ode ix) The Imperial Government 173 France.] FOREIGN DIVISION. [Sculpture. SCHOENEWERK, ALEXANDRE. 312 Marble Statue — On the Bank op a Stream H.M. the Empress of the French. MAILLET, JACQUES LEONARD. 313 Marble Group— Agrippina and Caligula . . . Musee du Luxembourg. CABET, JEAN BAPTISTE PAUL. 314 " Suzanne" H.M. the Empress of the French. MONTAGNY, ETIENNE. 315 Marble Statue— St. Louis Eglise de S. Louis d'Antin. LOISON, PIERRE. 316 A Young Girl carrying a Vase 31. Emile Pereire. PERRAUD, JEAN JOSEPH. 317 Marble Statue — Adam The Imperial Government. NANTEUIL, CHARLES FRANCOIS LEBEUF. 318 Bust of M. le Baron Boucher Desnoyers . The Imperial Government. MOREAU, MATHURIN. 319 Marble Statue— The Spinner .... The Imperial Government. TRIQUETI, HENRI DE. 320 A Bronze Vase, with Bas-reliefs in Ivory, representing the Dreams of Youth and Maturity. . . . • Artist. CAVELIER, PIERRE JULES. 321 Marble Group — Cornelia The Imperial Government. VECHTE, ANTOINE. 322 A Chased Silver Vase— Subjects from "Paradise Lost " The Imperial Government. DAVID (D' ANGERS), PIERRE JEAN. 323 The Death of Barra Mdme. David (d Angers). CLESINGER, JEAN BAPTISTE AUGUSTE. 324 Bust of a Woman of the Trastevere, Bome ... M. Barbedienne. ISELIN, HENRI FREDERIC. 325 Marble Bust — H. M. the Emperor of the French H.M. the Emperor of the French. RUDE, FRANQOIS. 326 Head of Christ Mdme. Sophie Rude. BARYE, ANTOINE LOUIS. 327 Theseus slbduing the Centaur Bienor Artist. MICHEL PASCAL, FRANQOIS. 328 Children kissing the Cross M. le Comte de Morny. 329 The Crowns M. le Comte de Morny. MILLET, AIME. 330 Ariadne Musee du Luxembourg. 174 France.] FOREIGM DIVISION. [Sculpture. GUILLAUME, CLAUDE JEAN BAPTISTE EUGENE. 331 The Tomb of the Gracchi The Imperial Government. DE BAY, JEAN BAPTISTE JOSEPH. 332 Bashfulness yielding to Love Musee du Luxembourg. MENE, PIERRE JULES. 333 The Death of the Fox Artist. MARCELLIN, JEAN ESPRIT. 334 Cypris Nursing Love Artist. OLIVA, ALEXANDRE. 335 Bust of l'Abbe Deguerry M. Deguerry. BONNASSIEUX, JEAN MARIE. 336 Marble Statue— Meditation .... TJie Imperial Government. ISELIN, HENRI FREDERIC. 337 Bust of President Boileau Artist. SCHRODER, LOUIS. 338 Love lamenting over a withered Rose . . . Musee du Luxembourg. CORDIER, CHARLES. 339 Bust of a Man (Negro type) . Artist. 340 Bust of a Negress of the Cape Artist. AIZELIN, EUGENE. 341 Nyssia at the Bath H.I.H. Prince Napoleon. CARPEAUX, JEAN BAPTISTE. 343 Bronze Statue— " L'Enfant a la Coquille" Artist. CLE SINGER, JEAN BAPTISTE AUGUSTE. 343 Marble Statue — Diana reposing M. Barbedienne. CAIN, AUGUSTE. 345 Linnets defending their Nest against a Dormouse .... Artist. OUDINE, EUGENE ANDRE. 346 A Frame of Medals . Artist. MERLEY, LOUIS. 347 A Frame of Medals DAVID, ADOLPHE. 348 Shell Cameo— Apotheosis of Napoleon I. Th e City of Paris. FAROCHON, EUGENE. 349 A Frame of Medals and Designs Artist. DAVID (D' ANGERS), PIERRE JEAN. 350 A Frame of Medallions ...... Mdme, David (d Angers). 175 France.] FOREIGN DIVISION. [Engraving. CLASS XL, ETCHINGS AND ENGRAVINGS. S.W. GALLERY, PRINCE ALBERT'S ROAD. LITHOGRAPHS. MOUILLERON, ADOLPHE. 361 11 Un, Coin de Jardin " .... KarlBadmer 362 The Night Patrol Rembrandt . 363 The Jewish School .... Robert Fleury LEROUX, EUGENE. 364 Arab Recruits Bid a 365 Lazarus Guignet SIROUY, -ACHILLE. 386 "It was not I" Hamon . 367 The Wolf and the Lamb . . . Mulready SOULANGE-TESSIER, LOUIS EMMANUEL. 368 Paris and Helen Prud'hon 369 Capture op the Malakoff . . . Yvon . • . 370 Ploughing in the Neighbourhood op Nevers Rosa Bonheur NANTEUIL, CELESTIN. 371 The Studio of Velasquez, las Meninas— Velasquez 372 Souvenirs . . 373 Expectations DESMAISONS, PIERRE EMILE. 374 Prayer Vidal . 375 Helene Ditto . 376 Edith . Ditto . 377 Repose Ditto . RAFFET, DENIS AUGUSTE MARIE. 378 Lithographs from the Siege of Rome : — Battery No. 9. The Flying Sap. The Reconnaissance. Attacking Columns. France.] FOREIGN DIVISION. [Engraving. RAFFET, DENIS AUGUSTE MARIE. 379 A Frame of Lithographs :— Tartars Coming Out of a Mosque. TUGUDA. A Tartar Family Journeying. 380 A Frame of Lithographs :— Le Reveil. La G-rande Revue. Le Combat d'Oued-Alleg. Le Bataillon Sacre. LASSALLE, EMILE. 381 The Seven Capital Sins . . . Godefroy Sadin 382 Portrait of Madame de Calonne . Ricard , f 383 Dante and Virgil Eugene Delacroix LAURENS, JULES JOSEPH AUGUSTIN. 384 The " Jeune Menage" .... Van Muyden, AUBERT, ERNEST JEAN. 385 The " Theatre- G-uignol" . . . Hamon , , 386 Palestrina Heilbuth . CHARLET, NICOLAS TOUSSAINT. 387 A Frame of Lithographs :— quand on ne sait pas son chemin ; l'ecole chretienne, convoi d'artillerie j freres, faites donc finir l'ecole mutuelle ! on va se former, en avant la bataille ! La maison du garde-chasse ; RlNDZIGLIN J VOILA, JE VOUS INTERROGE; JE TE DONNE DE QUOI QUE j'AI ; JE SUIS TAMBOUR, VIEILLE GARDE J ' CRfi COQUIN, JE LES HAi'S-T-Y ;~ DlSCOURS DU LEGIONNAIRE A SES ENFANTS ; JE GROGNE. 388 A Frame of Lithographs :— Le Fran^ais apres la victoire; la vieille armee frangaise ; Le laboureur nourrit le soldat; L'AUMOnB ; Le grenadier de LA VIEILLE GARDE; JE SUIS INNOCENT, DIT LE CONSCRIT. 177 France.] FOREIGN DIVISION. [Engraving. ENGRAVINGS. MERYON, "CHARLES. 389 The " Grand Chatelet " at Paris, from an old drawing 390 " Le Numero 22 de la Rue de l'Ecole de Medicine " LAROCHE, ADRIEN BARTHELEMY LEON. 391 The Oxen Troton . 392 The G-amekeeper Troyon . POLLET, VICTOR FLORENCE. 393 Solomon's Wall Bida m VALERIO, THEODORE. 394—6 Three Frames — Subjects from Hung ary and the Danubian Provinces during the Crimean War . PREVOST, ZACHEE. 397 Our Lord in the House of Simon the Pharisee Paul Yt ronese MARTINET, ACHILLE LOUIS. 398 Portrait of His Majesty the Emperor of thf French on Horseback . . Horace Yernet 399 The last Honours paid to Counts Egmont and Horn . . . . L. Gallait 400 The last Moments of Count Egmont L. Gallait 401 The Daughter of Tintoeetto . . Cogniet . 402 Mary in the Desert . . . . Paul Delaroche LAURENS, JULES JOSEPH AUGUSTIN. 403 Velleda Cabanel 404 The Horse-pond Rosa Bonheur ST. ETIENNE, FRANCIS DE. 405 Recollections of Auvergne 406 Environs of Arta 407 The Aqueduct of the Alhambra .... 408 The Coast of Yrege, near Lodeve .... LEFEVRE ERNEST. 409, 410 Two Frames containing Engravings in Aquafortis CHAPLIN, CHARLES. 411 The Wife of Rubens .... Rubens . LEVY, GUSTAVE. 412 Portrait of Beranger . . . .A. Sandoz . LEFEVRE, ACHILLE DESIRE. 414 The Immaculate Conception . . Murillo . 415 " La Notte " Correggio . 416 Jupiter and Antiope .... Correggio 178 France.] FOREIGN DIVISION. [Engraving. LOUIS, ARISTIDE. 417 Napoleon in" his Study .... Paul Delaroche 418 Innocence Greuze . LEROY, ALPHONSE. 419 A Child (Study) Leonardo da Vinci. 420 The Entombment Raphael. 421 A Man's Head . ... Rembrandt . HENRIQUEL-DUPONT, LOUIS PIERRE. 422 The Hemicycle op the Palais des Beaux Arts Paul Delaroche 423 Moses in the Bulrushes . . Paul Delaroche 424 The Virgin and Child .... Raphael. LECOMTE, NARCISSE. 425 Beatrix Ary Scheffer BERTINOT, G-U STAVE NICHOLAS. 426 Salome receiving the head of St. John — Luini BRACQUEMOND, FELIX. 427 Teal and other Birds on the Gate of a Farm. (Two subjects) FRANQOIS, ALPHONSE. 428 General Bonaparte .... Paul Delaroche 429 Marie Antoinette condemned to Death by the Revolutionary Tribunal . . . . . . Paul Delaroche blanohard, auguste. 430 " Christus Remunerator "... Ary Scheffer 431 Paust and Marguerite . . . Ary Scheffer FLAMENG, LEOPOLD. 432 Scenes and Public Buildings in Paris .... 433 The Spring Ingres . 434 St. Sebastian Leonardo da Vinci PREVOST, ZACHEE. 436 The Marriage at Cana of Galilee . , DAUBIGNY, CHARLES FRANCOIS. 437 The Brake 438 The Sun-stroke Ruysdael FRANCOIS, JULES. 440 "Le Galant Militaire" . . . Terburg. 441 Napoleon at Pontainebleau . . Paul Delaroche CARON, ADOLPHE ALEXANDRE JOSEPH 439 Christ on the Mount of Olives. . Ary Scheffer 179 France.] FOREIGN DIVISION. [Engraving. LALLEMAND. 443 An Engraving Yvon 444 Another Yvon 442 Portrait of H.M. the Emperor . . Yvon GIRARD. 445 The Two Pigeons . . Benouville . BRIDOUX, AUGUSTIN FRANCOIS EUGENE. 446 The Holy Family Murillo . 447 Madonna Raphael BERTINOT, GU STAVE NICOLAS. 448 Fraternal Lovr Bouguereau . 449 "Le Re veil" Jalabert BELLAY, PAUL ALPHONSE. 450 Figure op a Child .... Raphael. 451 Figure of a Child .... Ditto . 452 Figure of a Child .... Ditto . 453 Four Heads of Roman Peasants . .... BEAUGRAND, ACHILLE VICTOR. 454 St. Augustine and St. Monica . . Ary Scheffer HEDOUIN, EDMOND. 455 A Frame containing three Compositions in Aqua- fortis : 1. "Le mot d'Ordre." 2. "La Patrouille." 3. " La Sortie." , GAUCHEREL. L. 456 Head of a Man 180 GERMAN SCHOOL. CLASS XXXVII. ARCHITECTURE. ABLER. [Prussia.] 501—2 The Brick Architecture of Prussia (Yol. I.) Ernst § Korn. 503—6 Designs for the New Town Hall, Berlin . . Corporation of Berlin. BOTTICHER. [Prussia.] 507—9 Tectonic System op Ancient Greece (Map) . . - . . Ernst § Korn. „ Designs for Architectural Ornaments Ernst $ Korn. CORSSEN. [Prussia.] 510—11 Drawing-copies for Machinery . . . . . . Ernst § Korn. Von DIEBITSOH, 0. [Prussia.] 513 Travelling Studies and Architectural Sketches .... Artist. EMMERICH, JUL. [Prussia.] 513—17 Drawings of a Theatre . . . Roijal Academy of Architecture, Berlin ERNST & KORN. [Prussia.] 518—19 Magazine of Architecture (Eleventh. Year— Text and Map)— Ernst 4' Korn. • FRANKE. [Saxe-Coburg G-otha.] 520 Architectural Drawings . Artist. GIESE, E. F. [Saxony.] 521 Plan of the New Opera House at Yienna (First Prize) — Photograph , Artist. 522 Plan of the New Bank at Altenburg (First Prize)— Photograph Artist. . G-RAEB. [Prussia.] 522—6 Twelve Chromo-Lithographic Yiews of Babelsberg . Ernst ^ Korn. 181 Germany.] FOREIGN DIVISION. [Architecture. HABELT, PAUL. [Prussia.] 527 — 33 Drawings of a Princely Residence — Royal Academy of Architecture, Berlin. HITZIG. [Prussia.] 534—5 Designs for Buildings executed at Berlin and elsewhere (i. ii. 1. 2.) 536 The "Victoria Strasse," Berlin HITZIG, J. [Prussia.] 537—43 The New Exchange, Berlin . . . Corporation of Merchants, Berlin. (Modelled in plaster by Dankberg.) a. Models, Elevation, and Sections. b. Ground Plan. c. Two Models of Ornamental Trellices of the Interior Balustrades. d. Two Capitals of Interior Columns in Zinc, Electro-coppered, with a piece of the Shaft in Polished Granite. e. Capitals of Columns in the Facade. (Exhibited in the Nave.) KNOBLAUCH, E. [Prussia.] 544—49 Architectural Designs Artist, 1 — 5. Plans of the new Synagogue in the Oranienburger Strasse, Berlin. The Residence of Count Arnim-Boytzenburg, in the Pariser-Platz, Berlin. The Residence of Herr von Behr, Wiliielms- Platz, Berlin. KRUGER, B. H. G. [Saxony.] 550 Plans of the Mortuary Chapel of Count Lucknt.r at Altfrancken— Photograph. LUCAE, RICHARD. [Prussia.] 551—5 Ground Plan, Profiles, and Fronts, for Museum of Arts on a Small Scale . Royal Academy of Architecture, Berlin. 556 Architectural Sketch-book Ernst 4' Korn. MEURON, A. and HALLER, M. [Hamburg.] 557 Plans of Buildings in the Zoological Gardens, Hamburg (five sheets) MEYER. [Prussia.] 558 Hand-book of Gardening / . Ernst # Korn. NEBEL, FR. [Hesse-Darmstadt.] 559 Model of the Amphitheatre of Nismes Artist. 182 . Ernst tj- Korn. . Ernst & Korn. Germany.] FOREIGN DIVISION. [Architecture. Von QTJAST. [Prussia.] 560 Historical Monuments of Architecture in Prussia . . Ernst § Korn. RUNGE. [Prussia.] 561 The Brick Architecture oe Italy Ernst § Korn. SALZENBERG. [Prussia.] 562 Monuments op Early Christian Architecture at Con- stantinople Ernst H.M. the King of the Belgians. 1871 Quarrelling about the Booty 1872 The Bad Neighbours WAUTERS, CH. 1873 Bathing-Women WILLEMS, FL. 1874 The Bride's Toilet ... Musee Royal 1875 The Message ......... MM. Vander Donckt. 1876 The Introduction , MM. Vander Donckt. 1877 The Toilet * MM. Vander Donckt. 237 Belgium.] FOREIGN DIVISION. [Sculpture. CLASS XXXIX. SCULPTURE, MODELS, DIE SINKING, AND INTAGLIOS. DE CUYPER, P. J. 1886 Cupid in Chains 1887 Head op Christ 1888 Head of the Madonna ....... FIERS, L. 1889 Marble Group,— L' amour 1 la Coquille . FRAIKIN, C. A. 1890 Venus Anadyomene IT. R.TI. the Duke of Brabant. 1891 A Child with a Pigeon FRISON, B. 1892 A Young Girl at her Toilet 1893 Plaster Statue, — Nais GEEFS, THEODORE & JEAN. 1894 Bronze, — The Yictor Musee Royal. GEEFS, G. 1895 Statue : Genevieve of Brabant IF. Mardon, Esq. GEEFS, JOSEPH. 1896 The Angel of Evil Musee Royal. JEHOTTE, LOUIS. 1897 Model of the Monument of Charlemagne . 1898 A Child with Grapes 1899 Bronze Statue,— Cain JOUVENEL, A. 1900 Medals (two frames) KESSELS, M. 1901 Discobolus : hurling the Discus Musee Royal. 1902 Discobolus : sitting Posture . Musee Royal. 1903 Group representing a Scene at the Deluge . . . Musee Royal. PUYENBROECK, P. 1904 Cupid in the Roses SOPERS, A. 1905 A Young Neapolitan Playing "a la rauglia" Musee Royal. 1906 The Young Fawn 238 Belgium.] FOREIGN DIVISION. [Sculpture. TUERLINCKX, J. 1907 Model of the Statue of Margaret of Austria, erected at Malines in 1849 (half the size of the original) VAN HOVE, VICTOR. 1908 Bronze— A Child playing with a Cat WIENER, JACQUES. 1909 Bronze Medals: Collection of European Monu- ments . WIENER, LEOPOLD. 1910 Bronze Medals (three Frames) 1911 Marble Bust : Hope CLASS XL. ETCHINGS AND ENGRAVINGS. BAL, J. 1918 The Temptation Gall ait . „ Queen Joanna G-allait . „ La Belle Jardiniere .... Eaphael BIOT, G. 1919 Oh ! . . . . . , . . Madou . „ Madonna della Scala .... Correggio CORR. 1920 Vierge au perroquet , Eubens . „ Salvator Mundi . . . . . L. da Vinci „ Christ on the Cross .... Vandyck DEGROX. 1921 The Infant Jesus Cuffens . „ la sul amite portaels DEMANNEZ, J. 1922 La bonne Aventure .... Navez „ Portrait of Vandyck .... Vandyck ., Portrait of M. Codefroid . . . Calamatta DESVACHEZ, D. 1923 The Conspiracy of the Nobles at Brussels, 1566 . . . . De Biefve „ Holy Family Navez . „ Portrait of Duquesnot . . . Vandyck 239 Belgium.] FOREIGN DIVISION. [Engraving. DURAND. 1924 The Infant Saviour .... Guffens . FRANCE, J. 1935 Paul and Virginia .... Van Lerius . „ Judas Iscariot Thomas . „ Portrait of the Comte de Morny . Robert . „ Bas-relief L. della Robbia 1926 Regret Robert . „ Head of an Italian .... Titian . „ Portrait of H. Conscience . . Tuerlinckx . „ NOLET DE BRAUWERE .... TUERLINCKX . MEUNIER, J. B. 1927 A Rat-hunt ...... Madou . „ L'Arquebusier Madop . MICHIELS, J. 1928 Peter the Great Wappers NAUWENS. 1929 After the Storm Verheyden . WILDIERS, J. 1930 Massacre of the Innocents . . De Keyser . „ The Page Witcamp MICHIELS, J. B. 1931 Specimens of Copper-plate Engraving 240 SPANISH SCHOOL. CLASS XXXYII. ARCHITECTURE. LECUMBERRY. 1941 Model of the Lunatic Asylum called Maniacomio REGENT, E. 1943 Design foe, a Building for a University Library [In the Gallery of the Spanish Industrial Court.] CLASS XXXYIIL PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. BAYER. 1943 Portrait of a Lady Seiior Valentin Carderera, CANO, EDUARDO. 1944 The Execution of D. Alvaro de Luna, Favourite of King Juan II. of Castile, at Valladolid, 2nd June, 1453 . Museo National. CASADO, JOSE. 1945 Death of King Ferdinand IY Museo National, 1946 Semir amis (Dante " Inferno") FIERROS, D. 1947 The Muneria (Spanish Dancers) .... Duke of Montpensier. 1948 A Portrait of Moratin Academy of S. Fernando. GrISBERT, ANTONIO. 1949 The Execution of Padilla, Bravo, and Maldonado Congreso de los Diputados, (" On his arrival at the place of execution, Padilla saw the body of Juan Bravo, and exclaimed, 4 Lie there, thou true gentleman ! ' Lifting his eyes to heaven, he pronounced the words, 1 0 Lord, deal not with us after our sins,' and a moment afterwards, his speech and his life were at an end.") — La Fuente, Historia de Espana. 1950 Death of Don Carlos (Son of Philip II.) . H.M. the Queen of Spain. 241 Spain.] FOREIGN DIVISION. [Painting. GONZALVO, PABLO. 1951 View of the Transept, Cathedral of Toledo . . Museo National. 1952 Yiew of the Cloister of S. Juan de los Reyes de Toledo Museo National. HAES, CARLOS DE. 1953 Landscape in Andalusia HERNANDEZ, GERMAN. 1954 Socrates reproving Alcibiades in the House of a Courtesan Museo National. LOPEZ, VICENTE. 1955 Portrait of Senor Vabela Academy of S. Fernando. LOZANO, ISIDORO. 1956 St. Paul surprised by Nero in the Act of con- verting Sabina PorpcEA Museo National. MADRAZO. 1957 Interment of St. Cecilia in the Catacombs . . . Museo National' MAELLA. 1958 The Forty Martyrs Academy of 8. Fernando. MANZANO, VICTOR. 1959 Ferdinand and Isabella Administering Justice . H.M.the Queen of Spa in. 1960 Farewell, for ever ! MARTI, Y. ALSINA. 1961 A Landscape MARTINEZ, ESPINOZA. 1962 A Group of Galicians at the Virgin del Puerto MAURETA, GABRIEL. 1963 Queen Joanna embracing the Coffin which con- tains the Body of her Husband 1964 A Lady bestowing Alms MIRABENT. 1965 Fruit and Flowers MONTANES. 1966 Samuel appearing to Saul Museo National. ROCA, MARIANO. 1967 Cattle Museo National. SORIANO, MURILLO. 1968 The -Sigh of a Moor TOME, F. HERNANDEZ. 1969 Interior of the Church of San Isidro, Madrid Museo National. 242 Spain.] FOREIGN DIVISION. [Sculpture. GOYA, FRANCISCO. 1970 Portrait of Her Majesty Donna Maria Louisa 1971 Portrait of a Gentleman ..... M. F. T. 1972 A Lady visiting a Sick Man .... MENSAQUE. 1973 Fruit CLASS XXXIX. SCULPTURE, &c. 1975 A Dead Christ 1976 A Faun (Bronze) BELLVER. MORATILLA, FELIPE. CLASS XL. ETCHINGS AND ENGRAVINGS. AMETTLER, BLAB. 1978 The Waterman . . . . Yelasquez Calcografia National. CARMONA, D. M. S. 1979 "Los Borrachos" . • . . . . Velasquez . Calcografia National. ENGUIDANOS, T. 1980 " La Carita Romana " . . . . Murillo . Calcografia National. ESTEVE, RAFAEL. 1981 Jacob blessing his Children . . Guercino . Calcografia National. • MARTINEZ, DOMINGO. 1982 The Legend of the Foundation of S. Maria Maggiore, Rome . . Murillo . Calcografia National. 1983 The Conception Murillo . Calcografia National. 1984 Part of the Choir, Cathedral of Toledo . . . Calcografia National. 243 Spain.] FOREIGN DIVISION. [Engraving. MUNTANER, FRANCISCO 1985 St. Bernard Murillo . Calcografia National. SELMA, FERNANDO. 1986 San Ildefonso . ... Murillo . Calcografia National. CARDERERA. VALENTIN. 1987 ICONOGRAFIA ESPANOLA MARQUIER, LUIS. 1988 Specimens of Photographs on Stone 244 SWITZERLAND. CLASS XXXYIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. PRINCIPAL GALLERY, CROMWELL ROAD. ANDIRAN, FRANO/OIS DE. 2001 Lake Leman . Artist. 2002 Tempest on the Coast of Brittany . . . . . . . Artist. BUCHSER, FRANK. 2003 Peasant Life in Andalusia— coming into Gibraltar . . . Artist. 2004 A Doubtful Suitor . . Artist. BUTTLER ANTOINE. 2005 Sunset at Rome Artist. CASTAN, GUST AVE. 2006 Interior of a Forest, Winter Artist. 2007 " Un temps gris" Artist. DIDAY, FRANO/OIS. 2008 Mont Saleve Artist. 2009 Storm in a Forest Artist. DUMONT, ALFRED. 2010 The Steps leading up to the Church at Sion .... Artist. 2011 Entrance to the Chateau de Valere Artist. DUVAL, ETIENNE. 2012 Interior of a Forest, Chigi— Papal States Artist. GUIGON, CHARLES. 2013 Lake Lioson Artist. 2014 The Banks of the Rhone ..... . Artist. 2015 On the Shores of a Lake Artist. HUMBERT, CHARLES. 2016 Cattle on the Pastures— Bernese Alps . . . . . . Artist. 2017 La Mare des Fontaines — Yaudois Alps Artist. LOPPE, GABRIEL. 2018 Les G-randes Jorasses, Le Jardin, and Le Col du Geant, from the Summit of Mont Blanc Artist. 2019 Les Rochers and the Hut on the Grands Mulets, Valley of Ohamounix Artist. 245 Switzerland.] FOREIGN DIVISION. [Painting. MENNET, LOUIS. 2020 A Storm on the Lake of the Four Cantons, off the Grutli . Artist. MEURON, ALBERT DE. 202»1 Souvenirs of the Alps RAPP, JEAN R. 2022 Yiew of Seelisberg . Artist. RITTMEYER, EMILE. 2023 A Woman of the Canton of Appenzell Artist. SOMMER, FRANQOIS. 2024 The Lake of Thun Artist. 2025 Valley of Lauterbrunnen Artist. STUCKELBERG, ERNEST. 2028 "Die Sennerin am Hasliberg" Artist. ZELGER, J. 2027 Glacier of the Bernina Artist. ZUBERBUHLER, FREDERIC. 2028 The Disturbed Fete— Reminiscence of a Wedding near Paris . Artist. N.W. GALLERY, PRINCE ALBERT'S ROAD. BALMER, JOSEPH. 2029 Ciirtst and the Woman of Samaria Artist. BERTHOUD, LEON. 2030 Banks of the Anio Artist. BRYNER, JEAN. 2031 View of the Jungfrau, from the Faulhorn . . . Artist. BUCHSER, FRANK. 2032 A Moorish Mill, in Spain Artist. 2033 A Suspicious Card Party . Artist. BUTTLER, ANTOINE. 2034 Death of Struthan Winkelried .... Artist. CALAME, A. 2035 The Plateau of the Righi Artist. COLLIGNON, ANNA. 2036 Meditation (Pastel) . Artist. COURRIER, LOUISE. 2037 After Meissonnier Artist. DARIER, ALBERT. 2038 The Intercepted Letter Artist 246 Switzerland.] FOREIGN DM8IOM. [Painting. DUCHOSAL, SUZANNE. 2039 The Four Savants— after Rubens (Enamel) . 2040 Copy of Yandyck's Portrait of Himself (Enamel) DUPONT, JUSTIN. 2041 Beatrice di Cenci— after G-uido 2042 Eest in the Forest— after Fournois 2043 Portrait of G-eneral Dufour . 2044 The Wetterhorn — after Niederhausen 2045 Monks playing at Ball 2046 Madame de Maintenon and Marie Antoinette Artist, Artist, Artist A rtist Artist Artist Artist- Artist FELLER, CHARLES. 2047 Nelson at Aboukir— Battle of the Nile 2048 Geneva, from Pregny — Autumn Evening . 20M) GrRINDELWALD ...... 2050 Castle of Chillon Artist Artist Artist Artist 2051 Evening 2052 Morning fontanesi, a. Artist Artist GILLET, FREDERIC. 2053 The Grandmother GILLET, JEANNE. 2054 An Enamel— after Watteau . GLARDON-LEUBEL. 2055 Portrait of Mad. G- 2056 Soap-bubbles — after Boucher . Artist Artist Artist Artist HEBERT, JULES. 2057 The Day after the Assault .... 2058 Sceisie in the East— A Damsel bearing Water 2059 Scene in the East— Rest near the Well 2060 Sunning after the Bath 2061 Young Roman Mother 2062 A Monk reading 2083 La Haesquana, Spain (Oil) . . . 2064 The Funeral (Water Colours) 2055 A Condottiere counting his Money , 2066 Milkmaid — Friesland . . 2067 La Haesquana, Spain (Water Colours) . 2068 A Conversation on the Canal at Yenice 2069 A Fisherwoman— The Farewell 2070 A Woman of Sorrento— Evening Artist Artist Artist- Artist Artist Artist Artist Artist Artist Art' st Artist Artist Artist Artist HEBERT, JULIETTE. 2071 A Young Roman Woman and Child . 2072 Portrait of M. St. Ours, a G-enevese Artist . 2072a Portrait of Mlle, Rath 247 Artist Council of State, Geneva Artist Switzerland,] FOREIGN DIVISION. [Painting. IMER, EDOUARD. 2073 Soumabre Water Artist. „ Pont du Gard , . Artist. „ Sunset . Artist. JACOT-GUILLARMOT. 2074 A Wallachian Peasant Woman Artist. 2075 Hungarian Equipage Council of State, Geneva. JAGGI, B. ~ 2076 Environs op Lucerne Artist. 2077 The Jura, from Basle Artist. JUILLERAT, HENRI. 2078 S. Maria Maggiore, Rome Mad. Charles Moullet, Berne. 2079 The Wetterhorn Mad. Charles Moullet, Berne. LAGIER, ERICA. 2080 Sleep Artist. 2081 The Waking Artist. 2082 Two Little Ladies (Pastel) Artist. LANDESMANN-KRAIL, MADAME. 2083 My little wee Wife Artist. 2084 A Secret .• Artist. LUGARDON, ALBERT. 2085 Cattle on the Alps of Faucigny Artist. 2086 The Ranz des Vaches— Mont Blanc, from Maglan . . . Artist. MENNET, LOUIS. 2087 A Reminiscence of Brittany ........ Artist. MEURON, ALBERT DE. 2088 Chamois Hunters Reposing . . H.R.H. Prince Frederick Charles of Prussia. SCHEFFER, GABRIEL. 2089 Earth Artist. 2090 Heaven Artist. 2091 Giotto, as an Old Man Artist. SORDET, EUGENE. 2092 A Mountain Stream— Haut Valais . . . . . . . Artist. SUTER, jaques. 2093 On the Lake of Thun Artist. 2094 Cefalu in Sicily Artist. VAN MUYDEN. 2095 Children playing round their Mother .... E. Romilly, Esq. 2096 The Cure's Visit E. Romilly, Esq. 2097 The Capuchin's Walk M. Benzon-Lehmann. ZIMMERMANN, FREDERIC. 2098 Lake of Engstlen, Canton of Berne Artist. 2099 Reminiscences of Interlachen, Lake of Brienz .... Artist. 248 Switzerland.] FOREIGN DIVISION. [Art Designs. ZUBERBUHLER, FREDERIC. 2100 A Visit to " Nurse " Artist. 2101 Domestic Happiness Artist. CLASS XXXYIII a. ART DESIGNS FOR MANUFACTURES. INDUSTRIAL COURT. DELESVAUX, EUGENE. 2102 Drawings for Jewellery Artist. OERTLE, JOHN. 2103 Designs for Embroidery Artist. 2104 Destgns for Embroidery Artist. 2105 Design? *X)r Embroidery Artist. GLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. N.W. GALLERY, PRDICE ALBERT'S ROAD. KLARER, JOSEPH. 2106 The Saviour and Mary Magdalen (Wood carving) . Artist. [Exhibited in the Industrial Court.] MENN, CHARLES. 2107 Bust of Mr. Goodyear .... . Artist. ROSSI, ALEXANDRE. 2108 Mantel-piece of Carrara Marble . Artist. 249 Switzerland.] FOREIGN DIVISION. [Engraving. CLASS XL. ETCHINGS AND ENGRAVINGS. N.W. GAUERY, PRIMCE ALBERT'S ROAD. BOUVIER, ABRAHAM. 2109 Portrait of Cervantes Artist. 2110 Portrait op Ariosto Artist. 2111 Portrait of Duval Artist. 2112 Portrait of Miss C. . . . Artist. KNECHT, JAQUES. 2113—14 Engravings Artist. [Exhibited in the Industrial Court.] WEBER, FREDERIC. 2115 La Vierge au Linge .... Raphael .... Artist. 2116 An Italian Peasant Woman at a Fountain Keiser .... * Artist. 2117 Napoleon and his Son .... Steuben Artist. 2118 Elizabeth of Interlachen . . . Winterhalter . . . Artist. 2119 Portrait of Himself .... Holbein .... Artist. 2r.o ITALIAN SCHOOL. CLASS XXXYIL ARCHITECTURAL DESIGNS AND MODELS. N.W. GALLERY, PRINCE ALBERT'S ROAD. A.-DESSGNS. BACOANI, GAETANO. 2141—5 A Court of Justice Fine Arts Academy, Florence. BARABINO, CARLO. 2146—51 Carlo Felice Theatre, at Genoa .... Ligurian Academy. 2152 — 7 The Academy, at Genoa Ligurian Academy. BETTARINI, LUIGI. 2158—61 A M: T itary College Fine Arts Academy, Florence BIANCHI, pietro. 2162—5 Church op S. Francesco di Paolo . . Fine Arts Academy, Florence. BONSIGNORI, FERDINANDO. 2166—72 Designs for a Theatre Fine Arts Academy, Florence. BRIG-LIA, NICCOLA. 2173 Collection of Architectural Details and restored Pompeian Monuments Artist. CACCIALLI, GIUSEPPE. 2174 Album of Architectural Works executed at the Villa of Poggio Imperiale, Florence . Fine Arts Academy, Florence. 2175 Proposed Restoration of the Royal Yilla of Pratolino near Florence . . . ' Architect. CANTONS, SIMONE. 2176—80 The Ducal Palace, at Genoa Ligurian Academy. CATALANO, TRAVAGLINI & VENERI. 2181 Restoration of the Church of Alphonzo of Arragon Architect. 2182 — 90 Restoration of the House of the Faun, at Pompeii Architect. CORAZZI. 2191 Design for a Metropolitan Cathedral — Drawing . . . Artist. DAMIANI, GIUSEPPE. 2192 Design for a Metropolitan Cemetery Artist. 251 Italy.] FOREIGN DIVISION. ' [Architecture. DE SANTIS, VINCENZO. 2193—8 Design for a Pantheon Fine Arts Academy, Florence FERRI, GAETANO. 2199—2203 The Holy House op Loreto Architect. FIOCCA, GIUSTINO. 2204 Restoration of Pompey's Forum— Design Artist. GASSE, LUIGI & STEFANO. 2205 Capo di Monte Observatory, Naples . . Institute of Fine Arts, Naples. GIOFFREDI, MARIA. 2206 Church of the Spirito Santo, at Naples . . Institute of Fine Arts, Naples. MARSIGLI, GIUSEPPE, ABBATE, GIUSEPPE, & ALA, ANTONIO. 3207—12 Guache Drawings — Specimens of the Walls and Mosaics at Pompeii .... National Museum, Naples. MARTELLI, GIUSEPPE. 2213—20 Designs for a Metropolitan Cathedral . Fine Arts Academy, Florence. MINUCCI DEL ROSSO, STEFANO. 2222—5 Designs for a University .... Fine Arts Academy, Florence. NICOLINI, ANTONIO. 2226 Theatre of S. Carlo, at Naples . . . Institute of Fine Arts, Naples. NICOLINI, FAUSTO & FELICE. 2227 A Volume of Lithochromic Plates— Monuments of Pompeii The Authors. PACCAGNINI, FRANCESCO. 2228 A Terrace by the Seaside Fine Arts Academy, Florence. PAOLETTI, GASPARE. 2229 Front of the Villa of Poggio Imperiale, Florence v . Fine Arts Academy, Florence. 2230 The Leopoldine Thermae, Montecatini, near Lucca (a volume) Fine Arts Academy, Florence. PETRICOLA, GIUSEPPE. 2231 Principal Entrance of the Cathedral of Mon- reale (Palermo)— Drawing Artist. POCCIANTI. 2232 Public Baths Fine Arts Academy, Florence. 2233 La Meridiana Wing of the Pitti Palace, at Florence ........ Fine Arts Academy, Florence. 2234 Reservoir (Cisternone), Leghorn . . . Fine Arts Academy, Florence. REJA, GERARDO. 2235 Restoration of the Temple of Pollux— Drawing . . . Artist. RESASCO, GIOVANNI BATTISTA. 2236 Design for a Cemetery— Drawing Artht, 252 Italy.] FOREIGN DIVISION, [Architecture. ROSSI-MELOCCHI, COSIMO. 2237 — 9 Design for a Public Library . . . Fine Arts Academy, Florence. SCHIANTERELLI, POMPEO. 2340 The National Museum at Naples . . . Institute of Fine Arts, Naples. VALENTE, PIETRO. 2241 Acton House, Naples Institute of Fine Arts, Naples. VANVITELLI, Sen. 2242—58 The Royal Palace at Caserta, Naples . . H.M.the King of Itahj. VANVITELLI, Jim. 2259 Angri House, at Naples Institute of Fine Arts, Naples. VENERI, PASQUALE MARIA. 2260 The Tomb op King Ladislas, in the Church of S. Giovanni A Carbonara, at Naples ". . Institute of Fine Arts, Naples. B.— MODELS. BASILE, GIOVANNI-BATTISTA FILIPPO. 2261 The Temple of Vesta as it is . Architect. 2262 The Temple of Vesta restored , . . , . . Architect. CASTELLI, GIOVANNI, and ABBATE, GIUSEPPE. 2263 The House of the Tragic Poet, at Pompeii . National Museum, Naples. LA VEGA, FRANCESCO. 2264 The Theatre at Herculaneum .... National Museum, Naples. PADIGLIONE, FELICE. 2265 The Temple of Neptune, at P^stum . National Museum, Naples. 2266 An Ancient Tomb National Museum, Naples. GLASS XXXVIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS, A.-PAINTINQS \U OIL AFFANNI, IGNAZIO. 2271 Jephtha's Daughter .......... Artist. AGNENI, E. 2272 The Shades of the Great Florentines . 2273 Domenichino assisted by Country-women near Eome AMICONI, B. 2274 The G-leaner ....... 253 Italy.] FOREIGN DIVISION. [Painting. APPIANI, ANDREA. 2275 Olympus Roy. Acad. Erera. 2276 Venus attiring herself (Fresco) Heirs of the Artist. APPIANI, ANDREA, Jun. 2277 Sterne's Mary Artist. AZEGLIO, MASSIMO D\ 2278 Victor Amedeus II. in Sicily H.M. the King of Italy. BACCANI, ATTILIO. 2279 Galileo visited by Milton BARBO, LUIGI. 2280 Portrait of a Lady Artist. BARUCCO, FELICE. 2281 H.M. King Victor Emmanuel II Artist. BENVENUTI, PIETRO. 2282 " Suffer Little Children to come unto Me " . National Gallery, Florence. BERTI, GIORGIO. 2283 Peasant Woman of Sonnina - Artist. 2284- Odalisca Artist. BERTINI, GIUSEPPE, & BROTHERS. 2285 The Virgin and Child (Coloured Glass Window) irtist. BISI, GIUSEPPE A. 2286 Composition Landscape Artist, BISI, LUIGI. 2287 Interior of the Church of S. Eustorgio at Milan H.M. the King of Italy. OALAMAJ, BALDASSARE. 2288 The Plague at Florence National Gallery, Florence. CANALETTO, A. C. 2289 View of Venice CANELLA, GIUSEPPE. 2290 Landscape near Milan Elena-Mari Canella. 2291 Monte Rosa Elena-Mari Canella. CATTANEO, AMANZIO. 2292 Fra Benedetto of Fojano and Clement VII. . . Roy. Acad. Erera. CECCHINI. 2293 A Landscape CHIERICI, ALFONSO. 2294 S. TORELLO Marquis Malaspina. CIANFANELLI, NICOLA. 2295 La Monaca di Monza Lttigi Paganini. D'ANTONI, ANDREA. 2296 The Judgment of Minos Artist. 254 Italy.] FOREIGN DIVISION. [Painting . 2297 2299 2300 2301 2302 2303 2S04 2305 2307 2309 2310 2311 2312 2313 2314 2315 2316 2317 2318 DEVERS, GIUSEPPE. A Female Head, after Art Scheffer (Enamel) . . . City of Turin. FASANOTTI, GAETANO. A Landscape on the Plains of the Ticino . . Roy. Acad. Br era, FERRARI, GIOVANNI BATTISTA. The Banks of the Mella Artist, FERRARI, PIETRO. Portrait of a Gentleman Royal Gallery, Parma. Portrait of a Lady . . . . . Royal Gallery, Parma. GAMBA, ENRICO. Titian's Funeral E.M. the King of Italy. GASTALDI, ANDREA. PlETRO MlCCA City of Turin, GIANI, GIUSEPPE. Count Cavour Artist. GONIN, FRANCESCO. Charles Emmanuel II. dying EM, the King of Italy. GONIN, GUIDO. Aspiration to Heaven H.R.E. the Duchess of Genoa. GOZZI, MARCO. Landscape — Morning Roy. Acad, Brera, HAYEZ, FRANCESCO. The taking of Jerusalem Artist. Portrait of Madame Juva . . ... . . . Signor Juva. Portrait of the Artist ' . Vincenza Eayez. INDUNO, DOMENICO. The Bulletin of the Peace of Villafranca. . . . Artist. INDUNO, GIROLAMO. A Bivouac of Garibaldini near Capua Artist. Military Ambulance in Casa Borromeo, Milan, in 1859 . . Artist. LANFREDINI, ALESSANDRO. Passignano when a Child Tito Puliti. LODI, MASSIMO. Italy consoling Rome and Yenice Artist: MANCINELLI, GIUSEPPPE. Virgin and Child Artist. The Conception Artist. MANCINI, FRANCESCO. Forest Scene— Composition Artist, 255 Italy.] FOREIGN DIVISION. [Painting. MARCHESI, LUIGI. 2319 Interior of the Sacristy op S. Giovanni, at Parma — H.M. the King of Italy. 2320 Interior of the Cathedral of Parma . . . H.M. the King of Italy. 2321 Church of S. Rocco, at Parma » . . Professor Ferrarini, Parma. 2322 An Ancient Chemist's Shop Ministry of Public Instruction. 2323 Farm Yard Ministry of Public Instruction. MARKO, CARLO. 2324 A Wood near the Campagna di Roma Artist MARINELLI, VINCENZO. 2325 An Eastern Scene Artist. MARTINI, BIAGIO. 2326 Diogenes in his Tub Parma Royal Gallery. MATSCHEF, CARLO, 2327 Interior of the Church of St. Maria de' Miracolt, at Venice . Artist. MORELLI, DOMENICO. 2328 The Iconoclasts II. M. the King of Italy. MUSSINI, CESARE. 2329 Marino Faliero, Doge of Venice Artist, PALAGI, PALAGIO. 2330 Merit rewarded, and Ignorance unmasked . . . Count Castellani. PEROTTI, EDOARDO. 2331 Country Life Ministry of Ptiblic Instruction, PESSINA, GIOVANNI. 2332 Principal Entrance of the Church of S. Ambrogio, at Milan . Artist, PRINETTI, CONSTANTINO. 2333 Landscape The Artist's Mother, PRIOLO-PAOLO. 2334 The Flight of Queen Bianca . . ... 2335 Beatrice Cenci in Prison PUCCINELLI, ANTONIO. 2336 A Platonic Conversation F. Shane, Esq. RAIMONDI, LUDOVICO. 2337 Service at the Convent of the Certosa, at Florence . . Artist. RAPISSARDI, MICHELE.' ' 2338 G-oTHE'S Margaret Artist. RICHARDS-GAGGIOTTI, EMMA. 2339 Madonna 2340 The Crusade RIGHINI, CAMILLO. 2341 Interior of a Sacristy .... H.R.II. the Prince of Piedmont; RIMINI, ABRAMO. 2342 True Love, after Raphael Artist, 256 Italy.] FOREIGN DIVISION. [Painting. ROY, PIETRO. 2343 A Hungarian Magnate Artist. SAL A, ELISEO. 2344: General Cima Heirs of General Cima. SCARAMUZZA, FRANCESCO. 234:5 Aminta . ' . . Royal Academy, Parma. SCATTOLA, DOMENICO. 234:6 Bernard de Palissy . Milan Artists' Society. SCHIAVONE, NATALE. 234:7 Innocence asleep . Napoleone Moriani. SMARGIASSI, GABRIELS. 2348 Buonconte Li Montefeltro H.M. the King of Italy. TONCINI, LORENZO. 2349 The Murder of Pier Luigi Farnese . . . Count Prosper o Trissino. VANUCCI, FELICE. 2350 Fruit (8 Paintings) . . . ... . . . . . . Artist. TJSSI, STEFANO. 2351 The Expulsion of the Duke of Athens . . National Gallery, Florence. UVA CESARE. 2352 Yiew of Capri — Distemper . Artist. ZUCCHERELLI, F. 2353 A Landscape ZUCCOLI, LUIGI. 2354 A Scene during the Five Days at Milan, in 1848 . . . Artist. B.-PAINTINGS IN WATER COLOURS, AND DRAWINGS, ALOYSIO-JUVARA, TOMASO. 2355 The Presentation in the Temple (after Gerolamo Aldibrandi) Artist. CALAMATTA, LUIGI. 2356 Madonna di Fuligno (after Eaphael) Artist. 2357 Ezekiel's Yision (after Eaphael) Artist. 2358 The Fornarina (after Raphael) Artist. 2359 Madonna dell'Ostia (after Ingres) . Artist. GAZZOTTO, VINCENZO. 2360—2 Pen and Ink Drawings from the " Inferno," " Purgatorio," and " Paradiso " of Dante . . Sansone TOrmona. 257 K Italy.] FOREIGN DIVISION. [Painting. GIGOLA, GIOVANNI BATTISTA. 2863 "The Corsair" (Byron), Illustrated with original Miniatures Brescia Athenceum. 2364 Leda (Enamel) Brescia Athenceum. 2365 Eugene Beauharnais (Miniature on Ivory) .... Brescia Athenceum. 2366 The Temptation of St. Anthony (Miniature on Ivory) . Brescia Athenceum. JESI, SAMUELE. 2367 Hagar (after Guercino) . . . . . . • Gio. Bat. Venturi. ROY, PIETRO. 2368 The Corpse of Manfred, King of Sicily— Cartoon . . . Artist, TOSCHI, PAOLO. 2369 Glory,— from the fresco of Correggio at Parma . Royal Academy, Parma. TRICCA, ANGELO. 2370 The Last Supper (after Raphael's painting hi the Monastery of St. Onofrio) . . . . . . . . . Artist, VERGA, NAPOLEONE. Miniatures on Parchment : — 2371 Diploma of the City of Perugia Conferring Nobility on Marquis Pepoli Artist. 2372 Similar Diploma from the City of Terni Artist. 2373 Twelve Miniatures :— Philosophers and Literary Men— Allegorical Figures . . . . ' . . . . Artist. BOSSOLI, carlo. 2374 Four Distemper Pictures, representing the Palace of the Italian Exhibition at Florence . MUZZI, ANTONIO. 2375 The Revolution at Bologna, in 1818 CLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. CANOVA, ANTONIO. 2378 Marble Statue— Venus 2379 Marble Bust— Napoleon 2380 Marble Bust— Madame Letizia .... ALBERTONI, GIOVANNI. 2381 Marble Statue— Nymph of Diana . 2382 Marble Bust— H.M. King Victor Emmanuel . ANGELINI, TITO. 2383 Marble Statue— Eve 258 Artist. Artist. Comte de Fiearhn. Italy.] FOREIGN DIVISION. [Sculpture. ANTONINI, GIUSEPPE. 2384 Crucifix (Ivory) Artist, 2385 Crucifix, with the Yirgin Mart and St. John .... Artist. ARGENTI, GIOSUE. 2386 Marble Statue— The Christian Martyr . . . . . Artist. BARBERA, ROSOLINO. 2387 Marble Statue— Diogenes . Artist, BARTOLINI, LORENZO. 2388 Marble Bust— Lord Byron „ Marble Bust— Countess G-otccioli . ' . BASSI, BENEDETTO. 2389 Five Cameos (stone) Artist. BERNASCONI, PIETRO. 2390 Marble Bust— Prayer Artist. BEZZI, A. 2391—95 Ten small Terra-Cotta Statues BIANCHI, ACHILLE. 2390 Marble Statuette— Alpinolo (from Cantl 's No vel, " Margherita Pusterla ") . . n , . . Artist. BOGAZZI, SCIPIONE. 2397 Marble Bust— H.M. Queen Victoria Sarteschi Brothers. BOTTINELLI, ANTONIO. 2398 Marble Statue— Camilla , . . Artist. BUZZI-LEONE, LUIGI. 2399 Plaster Bas-relief— The Plight into Egypt .... Artist. PALI, ANTONIO. 2400 Plaster Statue— The Pugilist Artist. CALI, GENNARO. 2401 Marble Group— Piety City of Naples. CAMBX, ULISSE, & FALCINI, MARIANO. 2402 Plaster Model— Monument to Wellington Artists. COCCHI, POMPEO. 2403 Marble Statuette—The Betrothed of One of the Thousand . Artist. CORBELLINI, QUINTILIO. 2404 Marble Statue— Bashfulness ........ Artist.. OORTI, OASTANTIO. 2405 Plaster Statue— Lucifer Artist. COSTA, PIETRO. 2406 Marble Statue— The Indian Artist. CRICA, PASQUALE. 2407 Marble Group— A Cock Fighting with Snakes .... Artist. CROFF, GIUSEPPE. 2408 Marble Statue— Prometheus Artist. 259 K 2 ; Italy. J FOREIGN DIVISION. [Sculpture. DAL NEGRO, PIETRO. 2409 Marble Statuette — Eve before the Fall Artist. 2410 Colossal Marble Bust— Italy Artist. DELISI. BENEDETTO. 3411 Flaster Statue— The Brazen Serpent . . . The Italian Government, FABBRICOTTI, ACHILLE. 2412 A Cock (Marble) Artist, FINELLI, CARLO. 2413 Marble Group— The Three Hours . . . . . . Carlo Tonelli. 2414 Marble Bust— Paris . . Carlo Tonelli. 2415 Marble Bust — Yenus Carlo Tonelli. FINIZIO, GIOVANNI. 2416 1—5. Cameos— Shell and Lava Artist. FRANZONI, ANDREA. 2417 Marble Bust— H.M. King Victor Emmanuel II. . . Sarteschi Brothers. FULLER, CHARLES. 2418 Equestrian Statue in Plaster— Lady Godiva .... Artist. 2419 Bronze Statue— Shipwrecked Man Artist. (Cast by Clemente Papi.) FUMEO, PIETRO. 2420 Marble Bust— Napoleon when First Consul . . . v • Artist. FUNAJOLI, L. ALBINO. 2420a Eleven Alabaster Bassi Rilievi (Portraits) .... GALLETTI, STEFANO. 2421 Marble Statue— Our Saviour Artist. GIANI, VINCENZO. 2422 Marble Bust— Count Cavour Artist. GUIDONI, CESARE. 2423 Marble Bust— Garibaldi Sarteschi Brothers. JORINI, LUIGI. 2424 Marble Bust— Our Saviour Artist. LANDICINI, GIUSEPPE. 2425 1—9. Shell Cameos Artist. MAGNI, PIETRO. 2426 Marble Statue— Socrates in the Theatre of Athens . . Artist. 2427 Marble Statue— Angelica Artist. 2428 Marble Statue — A Girl reading . . . Ministry of Public Instruction. MANFREDINI, GAETANO. 2429 Marble Group— Children playing Giuseppe Somaini. MOLLICA, GIOVANNI. 2430 Terra-cotta Group— The Earnese Bull Artist. 2431 1—8. Statuettes in Terra-cotta Artist, 260 Italy.] FOREIGN DIVISION. [Sculpture. PANDIANI, ADELAIDE. 2432 Marble Bust— Mary Magdalen Artist. PANDIANI, GIOVANNI. 2433 Marble Statue— Garibaldi . . Artist, -PARMA NATIONAL LIBRARY, 2434 Type— : — Roman Text (No. 6, Tondo Catania.)* „ Roman Capitals (Nos. 53, 83, 94). Palestine Italics (No. 5, Corsivo Fuligno). „ Greek Text (No. 21). „ Greek Capitals (Nos. 17, 28.) * Words within brackets refer to the nomenclature given in the Manuale Bodoniano. Thompson's Seasons. 1 vol. folio, parchment. Parma, printed by Bodoni, 1794. TPY . . . Artist. SANGIORGIO, ABBONDIO. 2447 Marble Statue— Eve Artist. SELERONI, GIOVANNI. 2448 Marble Statue— Resignation Artist. SPAVENTI, filippo. 2449 Marble Statue — Innocence Artist. 2450 Marble Statue— The Desolate One Artist. STRAZZA, GIOVANNI. 2451 Marble Statue— The Bride ... . H.M. the King of Italy. 261 K 3 Italy.] FOREIGN DIVISION. [Engraving. TANTARDINI, ANTONIO. 2452 Colossal Plaster Statue— Moses Artist. 2453 Marble Statue— Pining for Home Artist. 2454 Marble Statue— The Bather Adelaide Bistort. TAKE, GIUSEPPE. 2455 Lava, Bas-relief on — St. Peter and St. Paul . . . . Artist. VELA, VINCENZO. 2456 Marble Statue— Morning Prayer . . . . . Count Ghdio Litto. ZACCAGNA, ASDRUBALE. 2457 Marble Statuette— A Dancing Girl .... Sarteschi Brothers. FANTACCHIOTTI, EBUARDO. 2458 Marble Statue — Musidora „ Marble Group— An Infant Sleeping with a Dog „ Marble Statue — A Girl with a Snake . PAMPALONI, L. 2459 The Penitent Magdalen T.Du Lou'a//, Etf MAROCCHETTI. 2460 Bronze Group— Love, with a Dog . „ Bronze Statue — Sir Jamsetjee Jejeebhoy PAMPALONI, GIOVANNI. 2461 Marble Statue— S. Mary Magdalen TENERANI, PIETRO. 2462 Marble Statue— Psyche . . . . VILLA, IGNAZIO. 2453 Marble Group— Hagar and Ishmael 2464 Marble Statue— Hero expecting Leander 2464a Marble Bust— F.mth CLASS XL. ETCHINGS AND ENGRAVINGS. ALOYSIO, JUVARA. 2465 2466 Portrait of Marquis Santangelo . Artist. 2467 Portrait of General Filangieri Artist. 2168 Portraits of Rubens and Vandyke . Artist, 2469 Portrait of Rembrandt ... . Artist. ANDERLONI, PIETRO. 2470 The Woman taken in Adultery . Titian . Royal Acad. Brera, 2471 Royal Acad. Brera. BARTOLOZZI, FRANCESCO. 2472 . Colnaghi, Scott, <.]• Co. BIGOLA, LODOVICO. 2473 Portrait of the Comte de Chambord '. Artist. 262 Italy.] FOREIGN DiVSSIO'M. [Engraving. CALAMATTA, LUIGI. 2474 La Gioconda L. da Vinci .... Artist. 2475 Erancesca da Rimini .... Art Scheffer . . . Artist. 2476 Portrait of Rubens .... Rubens Artist. 2477^ Madonna della Seggiola . . . Raphael .... Artist. 2478 The Yow of Louis XIII. . . . Ingres . . . . . Artist. 2479 Portrait of G-eorges Sand . . . Calamatta .... Artist. 2480 Portrait of L'Abbe Lamennais . . Calamatta .... Artist. CHIOSSONI, DOMENICO. 2481 LTtalia Artistica — A Book of Engravings ..... Artist. CHIOSSONI, EDOARDO. 2482 Bread and Tears . , . D. Induno ..... Artist, DALOO, ANTONIO. 2483 Christ on the Cross .... G-uido Reni .... Artist. 2484 Madonna della Seggiola . . . Erancia . . . ... Artist. FOSELLA, GIOVANNI. 2485 Madonna del Baldacchino. . Artist. GARAVAGLIA, GIOVITA. 2486 The Meeting of Rachel and Jacob . Appiani . . Royal Acad. Btera. 2487 Madonna della Seggiola . . . Raphael . . G. Vaughan, Esq. JESI, SAMUELE. 2488 Hagar ....... Guercino . Big. G. B. Venturi. LAURO, AGOSTINO. • 2489 A Study of Trees Artist. LONGHI, GIUSEPPE. 2490 Lo Sposalizio Raphael . Royal Acad. Brera. 2491 The Decollation of St. John Baptist G-. Dow . . . G. Vaughan, Esq. 2492 The Entombment . . . . . D. Crespi . Royal Acad. Brera . 2493 Portrait Royal Acad. Brera. 2494 Portrait * Royal Acad. Brera. MQRGHEN, RAPHAEL. 2495 The Last Supper . * . . . . L. da Yinci . Royal Acad. Brera. 2496 Madonna del Sacco . . . .A. del Sarto . Royal Acad. Brera. 2497 Marquis Moncada Vandyke . Royal Acad. Brera. 2498 Madonna della Seggiola . . . Raphael . Royal Acad. Brera. 2499 Portrait of Tasso . , . Royal Acad. Brera. 2500 Portrait of George Jonas ... . . Royal Acad. Brera. 2501 Portrait of Lady Hamilton, as Thalia . . . Royal Acad. Brera. PORPORATI. 2502 Venus and Cupid P. Battoni . . R. Buchner, Esq. RAIMONDI, CARLO. 2503 Confidence in God (from the Statue by Bartolini) .... Artist. 2504 Portrait of Benjamin Franklin . . . . . ; . Artist. 2505 The Musician .... Artist. 263 K 4 Italy.] FOREIGN DIVISION. [Engraving. 2506 The Death of Priam .... Benvenuti . Naples Ins. of Fine Arts. RICCIANI, ANTONIO. RIMINI, ABRAMO. ROSASPINA, FRANCESCO. 2509 A Dance of Cupids .... Albano . . Royal Acad. Brera. SABATELLI, LUICI. 2510 The Plague at Florence (etchings) . . . Royal Acad. Brera. 2511 The Revelations (1—6 etchings) .... Sons of the Artist. SCHIAVONE. 2512 The Assumption of the Virgin . Titian . . . G. Vaughan, Esq. SILVANI, FERDINANDO. 2513 Christ in the G-arden . . . Delaroche .... Artist. 2514 Christ comforted by Angels Artist SIVALLI, LUIGI. 2515 St. Jerome Correggio .... Artist. TOSCHI, PAOLO. 2516 Lo Spasimo di Sicilia .... Raphael . . G. Vaughan, Esq. 2517 The Descent from the Cross . . D. di Volterra . G. Vaughan, Esq. 2518 St. John with St. Augustin . . Correggio . Colnaghi, Scott, <]• Co. 2519 Two Angels . . . . . . Correggio . ColnagU, Scott, # Co. 2520 Madonna della Scala .... Correggio . Colnaghi, Scott, cf Co. 2521 Diana Correggio . Colnaghi, Scott, # Co. 2522 The Deposition A. Canova . Colnaghi, Scott, # Co. 2523 SS. Lucia and Apollonia . . . Parmegiano . Colnaghi, Scott, $ Co. 2524 H.M. Charles Albert . . . . H. Vernet . Colnaghi, Scott, $ Co. VOLPATO, GIOVANNI. 2525 Nox GrUERCiNO i . . G. Vaughan, Esq. 2526 Lucifer Guercino . . G. Vaughan, Esq. 2527 The Entombment Raphael . Colnaghi, Scott, $ Co, LITHOGRAPHS. FANOLI, MICHELE, Milan. 2528 The Three Maries . . . . Landelle .... Artist. 2529 Will of the Wisp .... G-endron .... Artist. 2530 Orpiiet's Jalabert .... Artist. 2531 Origin of tiTe Regattas at Venice , Artist. 264 ROMAN SCHOOL. CLASS XXXYIL ARCHITECTURE. ROSSI, P. 2551 Ground Plan and Section of a Mill for Grain. 2552 Ground Plan and Section of a Mill for crushing Olives, &c. CLASS XXXYIIL PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. A.-PAINTINGS. BERTUCCTNI, A. 2557 The Campagna, Eome, from the " Sacco Pastore." 2558 The Claudian Aqueduct, from the Via Appia Nuova. BOMPIANI, R. 2559 " Australia." 2560 The Holy Family. 2561 Madonna and Child. 2561a Three small Pictures — Eoman Costumes. CAPALTI, Cav. A. 2562 The " Sulamitide." 2563 A Portrait. 2564 A Portrait. 2565 Hector. 2566 Portrait of a Gentleman. CAPOBIANCHI, V. 2567 Madonna and Child (inlaid frame). CLERICT, A. 2568 The Chimney-place of the Capuchins. 2569 A Storm, with a Group of Ciociari. 2570 A Storm, with a Ciociara Woman praying before a Shrine. 265 Rome.] FOREIGN DIVISION. [Painting. DE ROSSI, C. 2571—80 The Daily Occupations of a Lady,— in the Pompeian style 1. Rising. 6. Music. 2. The Bath. 7. The Chase. 3. The Toilet. 8. Dancing. 4. Breakfast. 9. Evening. 5. Study of Drawing. 10. Sleep. Cupid avenging the Death of Adonis. Venus and the Graces at the Toilet of Love. Repose after a Ball (Costume of Cerbara). A ClOCIARA LYING ON THE SEA-SHORE AWAITING A BOAT. DIES, C. 2581 Lucia Descending to Beatrice — (Dante "Inferno.") CUMBO-BORGIA, Cav. E. 2582 View near Tivoli. knebel, f. 2583 Olevano. KNEBEL, T. 2584 The Cliffs of Pussino, near Tor di Quinto. MAES, G. B. 2585 Two Pifferari. 2586 A Young Albanian Girl. 2587 A Ciociara praying. MARCHI, V. 2588 One of the Chambers in the Vatican. MARIANI, C. 2589 The Charity of a Pious Lady. MORANI, Cav. V. 2590 Dante and Beatrice meeting the Queen Costanza (" Paradiso " Canto III.) 2591 A Scene— Costumes in the Environs of Rome. MULLER, G. 2592 Portrait of the Artist and his Brother. 2593 Head of a Ciociara. 2594 A Bacchante. PARIS, CARLO DE. 2595 Moses crossing the Red Sea. PORCELLI, A. 2590 The Pine Forest of Ravenna. 2597 Reminiscences of the Flemish School. RICCI, L. 2598 The Carnival at Rome. RIVERUZZI, G. 2599 The Falls of Terni. 2GG Rome.] FOREIGN DIVISION. [Painting. ROMAKO, A. 2600 Eoys blowing Soap Bubbles. SCHENETZ, Comm. V. 2601 A Woman presenting a Sick Child to a Monk. SEVERATI, F. 2602 Portrait op Pope Pius IX. (on Porcelain). 2603 Portrait of Cardinal Antonelli. THELEN, F. 2604 Portrait op Cardinal Antonelli. WIDER, G. 2605 Taking the Veil. 2606 The Grand Penitentiary, Cardinal Ferret'ti, absolving Penitents in St. Peter's, on Good Friday. IRONSIDE, MISS A. 2607 Ars longa, vita brevis .......... Artist. 2607a S. Agnes . Artist. 2608 S. Catherine Artist. PLATNER, F. 2609 Altar-piece, painted for the Roman Catholic Church, Plymouth. B.-PAIMTINGS M WATER COLOURS AUQ DRAWINGS. BARLOCCT-RICCARDI, V. B. 2610 A Holy Family, after Lorenzo di Credi, 2611 The Yiolin Player, after Eaphael. BORANI, G. B. 2612 The Transfiguration, after Raphael. 2613 St. Francis of Paul. A copy from the painting of Cammuccini, at Naples. DEVICO, Prof. A. 2614—5 Ornaments from the Third Loggia of Raphael. 2616 The Tazza of the Capitol. RIVERUZZI, G. 2617 The Pope washing Pilgrims' Feet, on Holy Thursday, in St. Peter's. ROCCHI, D. 2618 Heliodorus. A copy from the Fresco by Raphael. SCALABRINI, F. 2619 Adam and Eve, after Raphael. (Water Colours.) MARCHI, V. 2620 Four Water Colour Drawings from the Vatican, and S. Clemente. 267 Roma.] FOREIGN DIVISION. [Sculpture. CLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. IN THE ROMAN COURT. ACHTERMANN, G. 2621 Plaster Group— Pieta. ADAMS, J. 2622 Marble Statue — A Boy playing at Nux. ALDOBRANDINI, PRINCE D. C. 2623 Terra-cotta Vase, with Etruscan Figures and Gold Ornaments. 2624 A Yase of Chinese Terra-cotta (maroon varnish), Figures in Silver BURNT IN IN THE CHINESE STYLE. 2625 A similar Vase. 2626 A Pierced Cylinder op Terra-cotta, with internal Tubes, tainted with Figures in the Etruscan Style. 2627 A Large Vase, ornamented in the Etruscan Style. 2628 Two Cut Columns (Braccetello di Spagna, imitation). 2629 Another (Green Porphyry, imitation). ANDREI, F. 2630 Marble Statue— A Child with a Bird's Nest. ENGEL. G. 2631 Marble Group — "Amore Rapito." BARRATTA, E. 2632 Marble Statue — A Bacchante. 2633 A Sleeping Boy— (Marble). BENZONI, G. M. 2631 Marble Group — Mary asks her Mother to explain the Prophecy of Isaiah. 2635 Marble Bust— Cardinal Wiseman. 2636 Marble Statue— Hope in God. 2637 The Four Seasons— Heads in Marble. 2638 Marble Bust — Maria Santissima. 2639' Marble Group— Zephyr and Flora dancing. 2640 Marble Statue— Diana Hunting. 2641 Marble Figure— Insidious Love. BIANCHI, G. 2642 Two Bronze Medals (one gilt) of Pope Pius IX. BIENAIME, A. 2643 Marble Statue — La Prima Gioventu. BIENAIME, L. 2644 Marble Group — Conjugal Harmony. 26S Rome.] FOREIGN DIVISION. [Sculpture. BISETTI, A. 2645 Marble Statue — Venus Rising from the Sea. BOMPIANI, R. 2645a Plaster Model — Australia. BRAZZA, COUNT A. 2646 A Boy Playing with a Swan — Marble. CELLI, V. 2647 Bronze Model of the Coliseum. DIES, G. 2647a The Principal Buildings op the Roman Forum— in Gtallo Antico. EROLI, P. 2648 A Bas-relief in Ivory. 2649 A Crucifix — Figure in Ivory. GATLEY, A. 2650 A Tiger in the Act of Springing — (Marble). 2651 A Sleeping Lioness — (Marble). GNACCARINI, E. 2652 Marble Bust— Tasso. GUGLIELMI, L. 2653 Plaster Group— La Sposa e l'Indovina. HASSENPFLUG, C. 2654 Marble Figure— Echo. IMHOFF, E. 2655 Marble Group— Hagar and Ishmael. IVES, C. E. 2656 Marble Statue — Rebecca; on a Pedestal of Rosso di Lev ante. 2657 Marble Statue— Pandora. jacometti. 2658 Plaster Group— Pieta. 2659 The Infant Saviour embracing the Cross— (Marble). KELLI, 0. 2660 Marble Statue— Innocence. LOMBARDI, G. B. 2661 A Sitting Figure (Marble)— Innocence. 2662 A Boy sleeping among Flowers. 2663 A sleeping Boy covered with a Veil. LTJCATELLI, G. 2664 Trajan's Column (Rosso Antico). 2665 Two Obelisks (one Rosso Antico) : One of the Lateran, and one of the Piazza del Popolo. 2666 A Large Vase of Egyptian Alabaster, in the Form of a Bell, with Handles. 2667 A Column of Red Oriental Granite on a Base of White Marble. LUCCARDI, V. 2668 Marble Statue— Susanna at the Bath. 269 Rome.] FOREIGN DIVISION. [Sculpture. MACDONALD, L. 2669 Marble Statue — A Bacchante. MAJOLI, L, 2670 Marble Statue — The Immaculate Conception; with four small Bas-reliefs on the Pedestal. MALPIERI, T. 2671 A Shepherd and his Dog. MANZI, L. M. 2672 The Deposition from the Cross; after Dr. 0. Cornelius. MELI, G. 2673 A Marble Crucifix presented by the Pope to Bt. Bev. Dr. Grant. MOZIER, J. 2674 Marble Group — The Prodigal Son. 2675 Marble Statue Jepthah's Daughter. 2676 Marble Statue— An Indian Girl. (From Bryant's poem) R. Woodward. Esq. of California. 2677 Marble Statue— Queen Esther. 2678 Marble Statue—" The Wept of Wishton-Wish." MULLER, O. 2679 Marble Bust— Ciociara. 2680 A Young Fawn— (Marble). ROGERS, R. 2681 Marble Statue— Buth. SALPINI, D. 2682 Marble Bust— The Guardian Angel. SAULINI, Cav. T. 2683 A Copy of a Tazza in the Vatican (Rosso Antico). 2684 Another. 2685 Another. SCHUBERT, H. 2686 Plaster Bas-relief— The Deposition from the Cross. SPAGNA, Cav. P. P. 2687 Trajan's Column ; on a Marble Pedestal. 2688 A Group in Silver— Part of a Table Service executed for Prince D'Marc Antonio Borghese. 2689—90 Smaller Groups for Candelabra. STORY, W. 2691 Marble Statue— Cleopatra seated. 2692 Marble Statue— Sibilla Libica. TESSIERI, PROP. 2693 A Contrivance for studying Medals, Gems, &c. VOSS, C. 2694 Marble Statue— Hebe offering Drink to Jupiter's Eagle. 2695 A Collection of Fifty Bronze Medals, from the Pontifical Mint (Con- tributed BY MONSIGNOR G. FERRARI). 270 Rome.] FOREIGN DIVISION. [Sculpture CAMEOS. D'ESTRADA, D. 2696 A Case containing Pietra-dura Cameos : 1. Cupid. 2. Minerva. 3. Jupiter. 4. Head op Achilles. (From Antiques.) 5. A Lion with Love. G. An Angel— after Guido. " A Case containing: 1 — 12. Mosaics op the Hours — after Eaphael. Shell Cameo : Two Angels— after Guido. LUPI, F. 2697 1—5. Pietra-dura Cameos— Heads op Jupiter^ Adonis, Atalanta, Venus. and Arethusa. ODELLI, A. 2698 A Cameo in Pietra-dura. PIKLER. 2699 Cameo, cut prom a Sardonyx, representing a Bacchanal. PISTRUCOI, B. 2700 Oriental Onyx Cameos:— 1. Minerva. 2. Medusa. 3. Anothee. 4. A Croup — A Nymph, Cupid, and a Lion. PISTRUCOI, E. 2701 Onyx Cameos :— 1. Death op Adonis. 2. Minerva. 3. Head op a Bacchante. 4. Head op a Bacchante. 5. Jasper Cameo — Head op Ceres. SAULINI, Cav. T. 2702 A Case containing : — (A) Shell Cameos: 1. 2. 3. in different stages op progress. 4. Day. 5. Night— after Thorvaldsen. 6. Nymph and Cupid. 7. Phaeton. 8. Zephyr and Psyche. 9. Cupid and Psyche: — after Gtbson. 10. . Britannia. 11. Ocean. 12. Education op Bacchus. 13. Hebe. (Originals by Saulini.) 14. The Finding op Moses— after Spence. 15. Jupiter Destroying the Giants— from an Antique. (B) Onyx Cameos : 16. Rome— by Saulini. 17. Aurora. 18. Antinous. 19. Hercules. 20. A Nymph (From Antiques.) VOTIERI, G-. 2702a A Case containing Sixty-nine Shell Cameos. 2703 Cameo-Portrait op Cardinal Wiseman. » MOSAICS. BARBERI, L. 2704 A Table— The Triumph op Genius, the Arts, and Sciences. 271 Rome.] FOREIGN DIVISION. [Sculpture. BARBERI, M. A. 2705 A Black Table— The Piazza of St. Peter's, surrounded by a Border INTERSPERSED WITH MEDALS. 2706 A Round Table — Yiew of the Apennines. 2707 An Oval Table— View of the Ponte dell' Arno ; the Border of gilt bronze. 2708 1—3. Presse-papier Mosaics. 2709 Rosso Antico Mosaics. 2710 1—15. Specimens of Mosaic Work. BARZOTTI, B. 2711 Mosaic Picture— The Pope blessing the People from the Loggia of St. Peter's. D'ESTRADA, D. 2712 A Table: — Presented to Her Majesty by the Pope. 2713 A Black Marble Table— View of the Piazza of St. Peter's. 2714 A Table — View of the Roman Forum. 2715 Another — Five principal Views of Rome. 2716 A Box, with Gold Mountings, and Mosaic Work in the Byzantine Style. DIES, G. 2717 A Marble Table— The Shield of Minerva. 2718 A Table— The Tazza of the Capitol. 2719 A Table— Views of Rome, and a Pompeian Border. 2720 A Table, with Flowers and Views, and a Pompeian Border. MOG-LIA, Cav. L. 2721 Mosaic Picture— La Madonna della Seggiola. MONACHESI, A. 2722 A Marble Table, with Eight Mosaics representing the Chase. • RICCARDI, L. 2723 A Table, with a Wreath of Leaves, Birds, and Flowers. 2724 A Table— Flowers, on a White Ground. ROSSI, A. 2725 A Round Black Table— A Basket of Flowers, surrounded by a Creek Border. 2726 A Black Table— "The Doves," in a Garland. 2727 The Roman Forum. SIBILIO. 2728 Panorama of Rome. TADDEI, L. 2729 A Round Black Table, with Roses. 2730 Another— Wreath and Flowers. FROM THE VATICAN. Mosaic Pictures: — 2731 The Virgin and Child— after Sassoferrato.^ 2732 View of the Pantheon. 2733 Vase of Flowers. 2734 La Madonna della Seggiola. 272 Rome.] FOREIGN DIVISION. [Engraving, CLASS XL. ETCHINGS AND ENGRAVINGS. CALCOGRAFIA CAMERALE. 2738 Engravings prom the Frescoes in the Sistine Chapel (a volume). 2739 Engravings prom the Frescoes of Fra Angelico da Fiesole, in the Chapel of Nicolo Y. (a volume.) 2740 — 1 Mezzotint Engravings from Pictures on a Ceiling in the Yatican. 2742 Outlines from the Frescoes in the Chapel of the SanTo Speco, at Subiaco (a volume) . 2743 Outlines of Ornaments in the Sistine Chapel (a volume). 2744 A Collection of Greek and Roman Ornaments in outline. Contributed by the Minister of Finance. CLETER, G. 2745 The Addolorata . . . . Carlo Cignani. CLETER, G. & CACCHIATELLI, P. 2746 The Monuments of the Yia Appia DE'ROSSL Cav. G. B. 2747 Chromo-Lithographs and Works on Inscriptions. DEVICO, A. 2748 A Yolume of Ornaments, ancient and modern (lithograph). Contributed by the Minister of Finance. PEOLI, G. 2749 Feoli's Roman Antiquities. FOLO, P. 2750 La Madonna di Monte luce . . . Giulio Romano 2751 II Fattore Raphael MARCUCCI, G. 2752 The Holy Family Michael Angelo. 2753—60 Engravings from the Frescoes in the stanze of the yatican . . raphael 1. Theology, commonly called " Disputa del Sacramento." 2. Philosophy j or, the School of Athens. . 3. Poetry. 4. Incendio del Borgo. 5. The Expulsion of Heliodorus from the Temple. 6. The Mass of Bolsena. 7. The Deliverance of St. Peter from Prison. 8. Attila. • 2761 Modesty and Yanity . . . . L. da Yinci 273 Rome.] FOREIGN DIVISION. [Engraving. MARTINI, M. 2762 II Presepe L. di Credi 2763 Giove Bjconosciuto .... Camuccini 2764 Portrait of Cardinal Antonelli MARTINI, M. & CLETER, G. 2765 Madonna Carlo Doloe . MONETA, N. 2766 Portrait of Pope Pius IX. . NAVONE, Cav. G. D. 2767 Engravings of Cinque Cento Buildings in Rome.. With a volume of the work. PETRI, Comm. G. 276S " L'Orbe Catolico," 3 vols, with maps. Contributed by the Minister of Finance. 274 IVIODERN GREEK SCHOOL. CLASS XXXVIII. ' PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. GREEK INDUSTRIAL COURT. VRYSAKIS, T. 2791 Sortie of the Garrison op Missolonghi Artist. 2792 The Camp op Karaiskakis at the Piraeus Artist. 2793 Greece assembling her Sons . . . . . . . Artist. 2794 Lord Byron at Missolonghi Artist. PALEOLOGOS, E. 2795 The Banishment op Aristides Artist. CLASS XXXIX. SCULPTURE, MODELS, DIE-SINKING, AND INTAGLIOS. GREEK INDUSTRIAL COURT. AGATHANGELOS, D. 2796 Wood-carving — The Coming op our Lord Artist. PHYTALJE, L. & G. 2797 Plaster Cast— Codrus mortally wounded Artist. 2798 Plaster Statue— Diacos ......... Artist. ~ 2799 Siatub of Michael Tossitza (part of a Monument erected to his memory in Athens) . .... . . . Artist. 2300 Bas-relief (part of the same Monument) Artist. 2801 Marble Statuette — The Greek Shepherd Artist. 2802' Marble Statuette — The Greek of 1821 . . . . . Artist. 2803 Marble Bust— "Morning" Artist. 2804 Marble Bust— Maria Philemon . . . ■ . , . . Artist. 2805 Marble Bust — Maria Phytales Artist. 2808 Bust— Dora DTstria Artist. 2807 Bust— Captain Hamilton Artist. 2808 Bust— G. Eumorphopoulos Artist. 2809 Bust — A. Baltazzi ; Artist. 275 Greece.] FOREIGN DIVISION. [Sculpture. KOSSOS, J. 2810 Statuette— " Greece " Artist. 2811 Statuette — Rhigas Pher.eos Artist. 2812 Marble Bust — "Diacos" Artist. 2813 Colossal Head— "Greece" Artist. 2814 Marble Bust— Jupiter Olympius Artist. 2815 Marble Statue— Apollo Belvedere Artist. 2816 Marble Bust — The Patriarch Gregorios Artist. 2817 Marble Bust— John Capodistrias, President op Greece . . Artist. 2818 Marble Bust — Captain Hastings Artist. 2819 Marble Bust— Lord Byron Artist. 2820 Marble Bust — Ajax Artist. 2821 Marble Bust— Cupid Artist. 2822 Marble Bust— Cupid (copy) Artist. 2823 Marble— Psyche (copy) Artist. 2824 Marble— Apollo Belvedere (copy) Artist MALACATES, F. 2825 Marble Bas-relief— " Niobe" Artist. 2826 Profile Head of Admiral Kanaris Artist. MALACATES, J. 2827 Marble— A Funereal Monument Artist. PAPAGEORGIOU, C. 2828 Wood-carving— Sacred Micrography Artist PRAOUDAKES, M. 2329 Micrography of Biblical Subjects in Wood Artist. SCHIADOPOULOS, P. 2830 Wood-carving — Our Lord driving out the Money Changers from the Temple Artist. 2831 Wood-carving— The Battle of the Granicus Artist. 27G BRAZIL. CLASS XXXYIIL PAINTINGS IN QIL AND WATER COLOURS, AND DRAWING-S. BRAZILIAN INDUSTRIAL COURT. GUIMARAES, 0. 2845 A Miniature . . . CARVALHO, J. dos R. 2846 Flowers . . MOTTAj A. J. da. 2847 A Brazilian Forest 2848 Fruit > . MULLER. 2849 A Landscape . ALMEIDA, M. J. di. 2850 Pen and Ink Portrait of H.I.M. the Empress of Brazil CLASS XXXIX. SCULPTURE, MODELS, DIE SINKING, AND INTAGLIOS BRAZILIAN INDUSTRIAL COURT. SPANGENBERG, 0. 2851 Carved Ornaments of Coffee-wood .... DEVESAS, A. F. dos S. 2852 A Pedestal of Eose and Satin-wood IMPERIAL MINT OF RIO JANEIRO. 2853 A Collection $f Medals and Cold and Silver Coins. GLASS XL. ETCHINGS AND ENGRAVINGS. BRAZILIAN INDUSTRIAL COURT. PINHO. A. di. 2854 Lithographic Portraits 277 UNITED STATES. CLASS XXXYIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. N.W. GALLERY, PRINCE ALBERT'S ROAD, AND INDUSTRIAL COURT. HARVEY, G. 2865 Portrait op Daniel Webster 2860 Portrait of tiie Mother of Washington GLASS, J. W. 2867 The Night March Artist. HUNTINGTON, D. 2868 Portrait of Mrs. Cropsey Artist. MIGNOT, L. R. 2869 Head Waters of the Susquehanah .... CROPSEY, J. F. 2870 A Cane Brake in Louisiana 2871 Autumn on the Hudson River Artist. 2872 Scene in the Catskill Mountains Artist. 2873 Spring Artist. 2874 Sea Coast, Isle of Wight Artist. HAYS, W. J. 2875 A Herd of Bisons crossing a river bottom, on the Upper Missouri Artist. 2876 Prairie Dog Tillage, on the Upper Missouri, Nebraska Territory Artist. KELLOGG, M. K. 2877 Bath Scene . . Artist. 2877a The Flower of the Seraglio 2878 Portrait of John Thomas, Esq Artist, 2879 Portrait of Mrs. John Thomas Artist. PAGE, W. 2880 Italian Peasants Artist, 2881 Venus Artist. 2882 Portrait of W. Page, Esq. Artist. 2883 Portrait of Mrs. W. Page Artist, 278 United States.] FOREIGN DIVISION. [Sculpture, &c. CLASS XXXIX. SCULPTURE, MODELS, DIE SINKING, AND INTAGLIOS. KUNTZE, E. 2886 Statue of America CLASS XL, ETCHINGS AND ENGRAVINGS. INDUSTRIAL COURT, SMILEY, J. 3887 Voyage of Life . . . . T. Cole 1. Infancy. 3. Manhood. 2. Youth. 4. Old Age. AMERICAN BANK NOTE COMPANY. 2888 American Bank Notes SARTAIN. J. 2889 Men of Progress — Inventors . Schusele . 279 PORTUGUESE SCHOOL. CLASS XXXVIII. PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. ANNUNCIAgAO, T. 2891 Oxen treading out Corn at Ribatejo .... Artist. SILVA, M. da. 2892 S. Onofrio . . . Artist TURKEY. CLASS XXXYIIL PAINTINGS IN OIL AND WATER COLOURS, AND DRAWINGS. MUSURUS-BEY, PAUL. (Born 1842.) 2901 A Turkish Gentleman in his Morning-gown . 2902 Still Life— " In the Kitchen" 2903 Still Life— "In the Studio" 2904 Portrait of Miss C. Musurus 2905 Portrait of a Gentleman 280 u)3 &Ut&0M't#: Printed by Truscott, Son, & Simmons, suffolk lane, cannon street, city. PINE ARTS CATALOGUE ADVERTISES. J CRYSTAL PALACE. OPEN EVERY DAY (except Sunday) from NINE in the MORNING, And on Sundays to Shareholders,* from One p.m. till Dusk. It is hardly necessary to enter into details of the varied beauties and numerous attractions of the Ciystal Palace. To those who are strangers to London, however, it may be interesting to state that THE FINE ARTS COURTS, COMPRISING THE RENAISSANCE, THE ASSYRIAN, THE GREEK, THE ROMAN, THE BYZANTINE, THE MEDIEVAL, THE EGYPTIAN-, THE ITALIAN, contain a collection of reproductions by casts from the originals of nearly all the chef d'oeuvres of Plastic Art in the world. THE ALHAMBRA AND POMPEIAN COURTS are equally acknowledged to be unique. The Palace itself, the most fairy -like and, at the same time, the most extensive structure of its class in Europe, stands alone in the estimation of all who have seen it. Placed on a commanding hill, overlooking an immense tract of the most varied and lovely country, its base is ABOVE THE LEVEL OF TpE CROSS ON THE TOP OF ST. PAUL'S CATHEDRAL. From the top of the lofty Water Towers London appears spread out as on a map ; on the West the view embraces Windsor Castle, on the East the extensive landscape of the richly- wooded hills of Surrey and Kent. THE FOUNTAINS AND SERIES OF WATERWORKS far excel in volume and altitude all the great jets d'eaux of other countries. Some of the jets rise to the height of 240 feet ; there are 12,000 jets, and the quantity discharged is nearly 600 tons per minute. THE &EAID PIOWEE SHOW OF THE SEASON will be held in the Great Transept and Naves of the Palace (a locale perfectly unrivalled) on Saturday, 24th May. THE AUTUMN SHOW IN SEPTEMBER. THE PAEK AID GAKDENS CONTAIN THE MOST VAKIED AND BEAUTIFUL COLLECTION OF PLANTS OF ALL KINDS. THE ENGLISH PARK comprises a hundred and fifty acres, beautifully planted and laid out. THE ITALIAN GARDENS OF THE TERRACES contain the finest Statues and Vases of the ancient and modern world, beautiful Fountains, Basins, and Myriads of Flowers. For particulars apply at the Secretary's Office, at the Palace. A [OVER. 1 FINE ARTS CATALOGUE ADVERTISER. THE REPRODUCTIONS OF on the margin of the extensive Lower Lakes form one of the most extraordinary feats of science. IN THE LOWER GROUNDS ARE FACILITIES FOR BOATINC, ARCHERY, CRICKET, AND OTHER AMUSEMENTS. THE EXHIBITORS' DEPARTMENT will be found stocked with all kinds of Goods on Sale. The China, Glass, French, Stationery, Carriage, Furniture, Hand Machinery, and other Courts, offer peculiar advantages to purchasers. Toys and Presents for Children may be found in abundance in the Galleries. THE PICTURE GALLERY AND PHOTOGRAPHS EXHIBITED BY THE SOUTH LONDON PHOTOGRAPHIC SOCIETY also offer then attractions to Visitors. THE GREAT HANDEL ORCHESTRA possesses seats for upwards of Four Thousand Visitors. THE DEPARTMENT OF MACHINERY IN MOTION includes a complete set of Cotton Machinery. Daily Performances by the full Orchestra of the Company, AND FREQUENT VOCAL AND INSTRUMENTAL CONCERTS BY THE MOST DISTINGUISHED ARTISTES. A PERFORMANCE ON THE GREAT ORGAN EVERY DAY. SEASON TICKETS, Admitting to the whole of the above varied and magnificent scene, One Guinea. The most complete and efficient gei vice for all classes of Refreshments, for Dinners, Ddjeuners, and Wedding Breakfasts, served in the neAV suite of rooms overlooking the Park and Grounds, commanding views of the scenery of the neighbouring Counties. The distance from London by road is about seven miles, through some of the most pleasant outskirts of London. By rail from London Bridge and Victoria Stations the journey is accomplished in about twenty minutes. Trains throughout the day as frequent as required. Fares: — Ninepence Thud Class, One Shilling Second Class, One Shilling and Sixpence for First Class, Return Tickets. Guide Books at Twopence and One Shilling each in the Palace, or at No. 2, Exeter Hall, where every information may be had respecting special attractions and arrangements, particulars of which will also be found in the Daily MorningJ?apers. During the Exhibition the Palace and Grounds will be open from Nine each morning until dark. Admission ONE SHILLING, exoeDt on SDeoial occasions FINE AETS CATALOGUE ADVEBTISEB. 3 REFRESHMENT DEPARTMENT. The period of the International Exhibition affords Mr. F. Strange the opportunity to announce that every description of Eefreshment, from the most simple repast to the most recherche banquet, can be obtained at the Crystal Palace, at prices suitable to the means of all classes of visitors. He would draw particular attention to his COLD COLLATION, at which every description of Cold Meat is supplied ad libitum, with Salad, Bread, Cheese. &c, at Is. Gd. per head ; with Chicken, Tongue, Ham, &c, 2s. 6d. per head. * Eoom will also be set apart for a HOT DINNER FROM THE JOINT, with Vegetables, Bread, Cheese, &c, served ad libitum, at 2s*. per head. At the Counters in the Palace and Grounds, LIGHT REFRESHMENTS, consisting of Tea, Coffee, Chocolate, Ices, Sandwiches, Meat Pies, Ale, Stout, Lemonade, Soda and Seltzer Water, Perry, Cider, Confectionery, Wines, &c, will be served at the most moderate prices. An elegant suite of Private Dining Rooms and Large Coffee Room, the finest in the world, situated in the South Wing of the Building, has been furnished and decorated in the most costly style. These Booms command an uninterrupted view of the Grounds and Park, and of the unrivalled scenery of Kent and Surrey. Here visitors may be served with all the delicacies of the season prepared by the most celebrated chefs from Paris. Any of the above Booms may be engaged for Banquets, W edcling Breakfasts, &c, and will be reserved for parties who may give timely notice of their requirements. F. Strange has collected a Stock of Wines which cannot be surpassed in England. It comprises the choicest vintages of France, Germany, Spain, and Portugal. Whilst arranging for the comforts of the wealthy, F. Strange has not forgotten the requirements of visitors of more limited means. In the THIRD CLASS REFRESHMENT ROOMS the Public may be supplied with everything of the very best quality at the following prices : — Cup of Tea . . . .3d. Plate of Meat .... 6d. Bread .1 Cheese . . . . .2 Porter . . , per quart 4 Ale and Stout . . . do. 6 Boll and Butter .... 2 Lemonade, Soda Water,]. „ Gingerade . per bottle > The Pale Ale for the Eefreshment Department is supplied exclusively by Messrs. Bass & Co., the Stout, Porter, and Mild Ale by Messrs. Combe, Delafield, & Co., and the D ublin Stout by Messrs. Guinness & Co., whose names are sufficient to guarantee their being of the best quality. FREDERICK STRANGE, ■Purveyor. Crystal Palace, Sydenham. foVSK A 3 FINE ARTS CATALOGUE ADVERTISER. feat Criemthtl lanM jftstifal, i86a. The Directors of the Crystal Palace Company and the Committee of the Sacked Harmonic Societt beg to announce that the mm mmmm mmm himwm WILL BE HELD AT TIIE CRYSTAL PALACE, AS FOLLOWS:— MESSIAH - Monday, 23rd June, SELECTION - - - Wednesday, 25th June, ISRAEL IN EGYPT - - Friday, 27th June, Commencing each day at One o'Clock precisely. The Full Rehearsal will take place on the preceding Saturday Horning. The Great Orchestra of the Crystal Palace has been completely roofed in, and such other alterations and additions will be made to the Centre Transept, with a view to the improve- ment of its acoustic qualities, as will render it no less thoroughly adapted for the perform- ance of music than it is already unrivalled for the convenient accommodation of large numbers. The BAND and CHORUS, most carefully selected from Metropolitan, Provincial, and Continental sources of the highest musical reputation, will consist of about FOUR THOUSAND PERFORM ERS, And it is confidently affirmed that this Festival will be by far the MOST COMPLETE AND MAGNIFICENT MUSICAL DISPLAY EVER WITNESSED. Conductor - - Mr. COSTA. Numbered Stalls in the Area . . . Two-and-a-half Guineas the Set for the Three days, Ditto, Single Tickets One Guinea each day, Gallery Stalls Five Guineas the Set for the Three days, Tickets for Seats in Blocks, but) -a-,, „ n „;«<»., without numbers ..... ! Half-a-Gumea, may be seemed at the Crystal Palace, or at the Central Ticket Office, No. 2, Exeter Hall, where also the Full Programme of Arrangements, with the Block Plan of Seats, may be had by personal or written application. The most complete arrangements will be made for the convenience of visitors by rail, and extra carriage entrances will be provided for those who travel by road. Attendants will be found at each entrance to the Palace, assisted by a body of 200 gentlemen, whosr honorary services as stewards will ensure the utmost convenience to visitors in reaching their seats. The price of admission on the Rehearsal day, as well as for Unreserved Tickets on the days of Performance, will be duly advertised. NOTE.— Intending visitors are recommended to apply for Tickets as early as possible. Even the Crystal Palace, with its vast space, has limits of accommodation which cannot be exceeded. This caution is the more requisite because of the large increase to the number of visitors to London for the International Exhibition, coupled with the great number of Tickets already disposed of. Visitors to the International Exhibition may gain some idea of the enormous Kusical force which vnll be gathered together on this occasion, from inspection of the Model of the 0-*v es tra exhibited in the Centre Avenue of the Exhibition Building. FINE AETS CATALOGUE ADVERTISER. 5 ESTABLISHED 1832. CONDUCTOR, MR, COSTA, • thirtieth: season, laes THE REMAINING SUBSCRIPTION CONCERTS will be given on the following Evenings, viz. : — Friday . . ... . . . 9th May, 1862. ^ „ . . . . . . . . 30th „ „ To afford the opportunity for foreigners and other visitors to London witnessing the Oratorios given by the Society, ADDITIONAL PERFORMANCES will be given on some Fridays in 1862, as during the period of the 1851 Exhibition. These performances are by far the most complete and perfect ever given' at Exeter Hall. The entire ORCHESTRA NUMBERS NEARLY SEVEN HUNDRED PERFORMERS. The demand for Tickets, at all times very great, during the coming International Exhibition is likely to be very much in excess of any possible supply. To prevent disappointment, intending visitors should in all cases make early application for Tickets, the prices of which are 3s., 5s., and 10s. 6d. Persons resident in the country, and intending to remain only a few days in London, are advised to apply by letter beforehand for Tickets, enclosing Post-office Order, which should be made payable to Mr. James Peck, at the Charing Cross Office. The performances commence each evening at Eight o'Clock. The Rooms of the Society are at No. 6, Exeter Hall. They are open daily from Ten till Five o'Clock, for the sale of Tickets. *** Arrangements have been made for a series of Great Choral Meetings of the Sixteen Hundred Amateur Members of the London Division of the Handel Festival Choir. These will take place in the Large Hall. Admission to witness them will be strictly confined to Subscribers to the Sacred Harmonic Society, and to persons receiving special invitations from the Committee of the Society. FINE AETS CATALOGUE ADVERTISER. Exhibitors in Classes 32 and 36. Also in the "Trophy," in connection with Class 36 in the Great Nave. lessrs. IECII & BAZII, 4, LEADENHALL STREET, AND 112, REGENT STREET LONDON, Dressing Case, Travelling Dressing Bag, and Despatch Box Manufacturers, and Producers of the finest English Cutlery, Most respectfully announce to Visitors to London, that during the period of the International Exhibi- tion, their extensive and richly-furnished Show-Eooms will be open to the inspection of all who may honour them with a visit, without any importunity or offensive solicitation to purchase being observed by their Assistants. Messrs. Mechi & BAZIN feel that although the " Great Exhibition" will naturally prove the one- engrossing and all-powerful attraction to the immense numbers who will arrive from all parts of the habitable globe, they but fulfil a duty they owe to a large and generous Public in thus submitting for their free inspection some of the finest productions in their particular department of manufactures : productions which, while embodying all the elements of high quality— embracing every point and combination of real utility, with a studied regard to purity of design— are yet confined within the limits of a judicious and equitable economy. In anticipation of the requirements of this " year of years," from which all expect, and doubtless will receive, large and gratifying results, Messrs. MECHI & BAZIN have not been unmindful of the wants and necessities of the many, and have specially prepared a very large variety of novelties, of an useful and appreciable character, adapted either for personal use and convenience or as souvenirs to relatives and friends, who, being tbemselves precluded sharing in " London's glorious sight," can yet, by these means, have ample opportunity afforded them of appreciating its results, iu the handiwork of its citizens. The following comprise their leading manufactures, every article being warranted of the best quality, and exchanged after purchase, if not approved. Ladies' DRESSING OASES, in Fancy Woods, also in Eussia and Morocco Leather, with best electro- plated top-fittings, from 28s. to £1.5 each ; and, with rich silver fittings, from £8 10s. to £200 each. The £10 10s. silver-fitted Case is strongly recommended for its utility and completeness. GENTLEMEN'S DRESSING CASES, in every variety, sufficiently portable for travelling purposes, and, on a more extended scale, for the toilet-table, in Eussia, Morocco, and Solid Leather, also in every description of Fancy Woods, varying in price from 17s. 6d. to £300 each. LADIES' TRAVELLING DRESSING BAGS, in Morocco and Eussia Leather, with best cut-glass and electro -plated fittings, complete, from 55s. to £15 each. Ditto, ditto, silver-fitted, £6 10s. to £200 each. Travelling DRESSING BAGS FOR GENTLEMEN, in Eussia and Morocco Leather, fitted with the finest Cutlery, from 70s. to £250 each. THE "NEW Mechian DRESSING BAG (Registered)" by Messrs. MECHI & BAZIN, by its simple combination, gives a power of employing every inch of space not occupied with the fittings, for packing Linen, Clothes, &c, from £10 10s. to £100 each. Despatch Boxes, of the most approved and useful designs, in Eussia and Morocco Leather, fitted with Bramah and Chubbs' Locks, and containing every requisite for writing, from 40s. to £100. EMPTY BOXES, in Morocco and Eussia Leather, with or without trays for despatches, valuable papers, &c, from 20s. to £15 each. THE "UNITED SERVICE" DESPATCH BOX AND DRESSING CASE combined, "Registered" by Messrs. MECHI & BAZIN, forms, by its simple and effective construction, a most useful, complete, and portable Travelling Case, containing all the requisites for the writing and dressing-tables, with ample space for letters, papers, &c, from £10 to £100. Eazors in sets of Two, Four, and Seven, in cases. Scissors in sets. Needles of finest qitality. Sportsman's and Pocket. Knives. Table and Cheese Knives. The Magic Eazor Strop and Paste. Cases of Plated and Silver Dessert Knives. Knitting Boxes, fitted. Backgammon and Chess Boards. Wood and Ivory Chessmen. Tourists' Writing Cases. Work Boxes for Ladies. Envelope and Blotting Cases. Tea Chests and Caddies. Courier and Money Bags. Stationery Cabinets of all kinds. Portemonnaies and Pocket Books. Hair Brushes in Ivory and Wood. Writing Desks in Plain and Fancy Woods. JeAvel and Trinket Boxes. Gold and Silver Pencil Cases. Photographic Albums in all varieties. Carte de Visits Portraits of 2500 Popular Men and Women of the day. Catalogues of names free. Messrs. MECHI & BAZIN, DRESSING CASS MAKERS, 112, REGENT STREET, AND 4, LEADENHALL STREET, LONDON. A 4 8 FINE ARTS CATALOGUE ADVERTISER. 120 Girls— many total Orphans— others daughters ot Soldiers in India or Canada— are now applying for admission. The Committee are unable to admit any from want of Funds. FINE ARTS CATALOGUE ADVERTISES. 9 ALLIANCE BRITISH AID FOREIGN fife snfc Jfire 1, BARTHOLOMEW LANE, Branch Offices : — EDINBURGH— IPSWICH.— BURY ST. EDMUNDS. LONDON. E.C. Agencies. In the Principal Towns THROUGHOUT THE KINGDOM. Capital FIVE MILLIONS Sterling. ESTABLISHED BY ACT OP PARLIAMENT, MARCH, 1824. James Alexander, Esq. Charles G. Barnett, Esq. George H. Barnett, Esq. Benjamin Cohen, Esq. James Fletcher, Esq. J. M. Montefiore, Esq. Six- A. De Rothschild, Bart. BaronL. N. DeRothschild,M.P. Oswald Smith, Esq. Thomas Charles Smith, Esq. President — Sir Moses Montefiore, Bart. Directors. William Gladstone, Esq. Samuel Gurney, Esq., M.P. James Helme, Esq. Sampson Lucas, Esq. Elliot Macnaghten, Esq. Thomas Masterman, Esq. Auditors— George J. Goscheu, Esq.— Andrew Johnston, Esq.— Oswald A. Smith, Esq. Bankers. — Messrs. Barnett, Hoare, Barnett & Co. Actuary.— Francis A. Engelbach, Esq. Secretory.— David Maclagan, Esq. Physician.— George Owen Rees, M.D., F.R.S., 26, Albemarle Street. Standing Counsel.— Arthur Cohen, Esq. Solicitors .—Messrs. Pearce, Phillips, Winckworth & Pearce. Surveyors— Wyatt Papworth, Esq.— Thomas G. Allason, Esq. Perfect Security is guaranteed by the large Invested Capital and the personal responsibility of the numerous and wealthy body of Shareholders. ILIFE BE P AKTMENT. Sates Moderate : Comparing most favorably, at the Younger Ages, with those of other offices. ■, « Actual Service in Volunteer Corps and in the Militia covered by the Company s Policies. Loans granted on the sole security of the Company's Policies, to nearly the full extent of their Surrender Value. Days of Grace. Policies in full force during the Thirty days allowed for renewal, though death occur before payment of the Premium. The Participating Assured enjoy Four-fifths of the declared Profits every five years, by Bonus added to the sum assured, or by reduction of Premium throughout the remainder of life. . Premiums payable in a variety of ways namely, during entire duration of life, or for any fixed number of years and then to cease, or on an increasing or decreasing scale, at fixed intervals. FUSE DEPARTMENT. Rates, varying from Is. 6d., for Common Risks upwards. _ Promptitude and Liberality in the settlement of claims. Indemnity for losses by Lightning. , Losses by Explosion made good, unless, occasioned by Gunpowder on the premises, or unless specially excepted by agreement in the Policy. Fidl information respecting Life Assurance, on application to FRANCIS A. ENGELBACH, Actuary. Communications on Fire and General Business, to be addressed to David MACLAGAN, Secretary. *** B-etailcd Prospectuses forwarded on request. 10 FINE ARTS CATALOGUE ADVERTISER. HAO-IMAO IISTJILOCE OFFICE, 1, NEW BRIDGE STREET, BLACKFRIARS, LONDON, E.G. ESTABLISHED 1696. DIRECTORS. THE HOIST. WILLIAM ASHLEY. T. PALMER CHAPMAH, Esq. LIEUT. -GEN. THE HON. SIR E. CUST. JOHN LETTSOM ELLIOT. Esq. JAMES ESDAILE, Esq. JOHN GURNEY HOARE, Esq. T. FULLER MAITLAND, Esq. WILLIAM SCOTT, Esq. JOHN SPERLING, Esq. THOMAS TURNER, Esq. HENRY WILSON, Esq. W. ESDAILE WINTER, Esq. AUDITORS. OLONEL THE HON. P. F. CUST. | JAMES ESDAILE, Esq. | GORDON E. SURTEES, Esq. BANKERS— Messrs. GOSLINGS & SHARPE, 19, Fleet Street. PHYSICIAN— THOMAS K. CHAMBERS, M.D., 22B, Brook Street, Grosvenor Square. STANDING COUNSEL— THE HON. A. J. ASHLEY, 32, Lincoln's-Inn-Fields. SOLICITORS— Messrs. NICHOLL, BURNETT, & NEWMAN, 18, Carey Street. ACTUARY— JAMES M. TERRY, Esq. SECRETARY— RICHARD RAY, Esq. LIFE DEPARTMENT. This office offers alow scale of premiums to non-members without participation in profits, or a member's scale of premiums with an annual participation in the WHOLE of the profits after five annual payments. Eor the last 13 years participation in profits has yielded an annual abatement of 52£ per cent, on the premiums of all policies of five years' standing. The Effect of the Abatement is thus shown: — Age when Sum Annual Premium Reduced Insured. Insured. for First Five Years. Annual Premium. 20 £1,000 £21 15 10 £10 7 2 30 2,000 53 8 4 25 7 7 40 3,000 101 17 6 48 8 0 50 5,000 228 15 0 108 13 4 If, instead of taking the benefit of a reduced payment, a member chooses to employ the amount of the abatement in a further insurance, he may, Avithout increasing his outlay, take out an additional policy at the end of the first five years of, on an average, more than 45 per cent, on the sum originally insured, and at the end of the second five years of above 20 per cent, more, with further additions afterwards. The following Table presents Examples of the Amounts to be thus obtained at the existing rate of profits: — Age when Insured. Original Amount of Policy. Amount, with additions, by re-assuring at end of first five years. Amount, with additions, by re-assuring at end of second five years. 20 £1,000 £1,475 £1,700 30 2,000 2,937 3,370 40 3,000 4,372 4,985 50 5,000 7,131 8,023 As a third alternative, a member may have the amount of the abatement converted year by year into a proportionate bonus payable at death. Insurances effected before the 24th June next will participate in profits in the year 1867. FIRE DEPARTMENT. Insurances are effected at the usual rates. By order of the Board, RICHARD RAY, Sec. fine arts catalogue advertiser. 11 INTERNATIONAL LIFE ASSURANCE SOCIETY, No. 142, STRAND, LONDON. CAPITAL, HALE A MILLION. (Empowered by Act of Parliament.) FOR LIFE ASSURANCES, SURVIVORSHIPS, IMMEDIATE AND DEFERRED ANNUITIES, ENDOWMENTS, ETC. AMONGST the advantages offered by the INTERNATIONAL is that of the WITHDRAWAL SYSTEM, originated by and obtainable in this Society only, and which embraces the following important features :— 1. Half the Annual Premiums may remain unpaid from the first until the Policy becomes a claim. 2. If full Premiums are paid, the assured may at any time withdraw one-half their aggregate amount, either as a loan without security and without forfeiture, or as the surrender value of the Policy. Immediate and Deferred Annuities, and Endowment Assurances, payable at 50, 55, 60, or 65, or pre- decease. Applications for Agencies to be addressed to the Chief Office, where Prospectuses, Forms of Proposal, and every information may be obtained. 142, Strand, London, W.C. EDMOND S. SYMES, Chairman. LA COMPA&NIE AMIAISE " INTERNATIONAL," POUR LES ASSURANCES SUR LA VIE. LONDRES: 142, STRAND. EONDEE EN 1837. CAPITAL DE GARANTIE, 12,500,000 FRANCS. LA Compagnie "International" embrasse toutes les diverses combinaisons d'Assurances sur la vie. 1. Les Assurances en cas de dices peuvent embrasser la vie eutiere, ou Men elles petivent Stre subor- donne"es a l'existence de telle personne par rapport a telle autre. Le systeme "withdrawal" de l'lnternational presente des avantages que Ton ne peut obtenir dans aucune autre Socidte, c.a.d. l'assnre, d'apres ce systeme, a la faculty, a telle e'poque que se soit, pendant que sa Police est en vigueur, de retirer jusqu' a la moitie" de ses primes entieres, ou mgme de n'en verser que la moitie des le commencement de l'Assurance. 2. Les Assurances en cas de vie sont des trois sortes :— Rente Viageres Immddiates ; Rentes Viageres Diffe're'es ou Temporaires ; Dotations ou Capitaux Diffe'tes. 3. D'apres l'Assurance Mixte, qui est une combinaison de ces deux sortes d'Assurances, le Capital garanti est payable a 1' Assure' lui meme, s'il atteint un age de'termind, ou a ses helitiers s'il meurt avant cet age. S'addresser, pour plus amples renseignements, au siege Principal de la Compagnie a Londres, 142, Strand. EDMOND S. SYMES, President. GUARDIAN EIRE AND LIES ASSURANCE COMPANY, No. 11, LOMBARD STREET, LONDON, E.G. Established 1821. Subscribed Capital — Two Millions. HENRY VIGNE, Esq., Chairman. Henry iiulse berens, Esq. CHARLES WM. CURTIS, Esq. CHARLES F. DEVAS, Esq. Francis hart Dyke, Esq. Sir WALTER R. FARQUHAR, Bart DIRECTORS. Sir M. T. FARQUHAR, Bart., M.P., Deputy Chairman. THOMSON HANKEY, Esq., M.P. JOHN HARVEY, Esq. John G. Hubbard, Esq., M.P. JOHN LABOUCHERE, Esq. John Martin, Esq. ROWLAND MITCHELL, Esq. JAMES MORRIS, Esq. HENRY NORMAN, Esq. HENRY R. REYNOLDS, Esq. JAMES TULLOCH, Esq. CORNELIUS PAINE, Jun., Esq. AUDITORS. LEWIS LOYD, Esq. J HENRY SYKES THORNTON, Esq. | Secretary— THOS. TALLEMACH, Esq. | Actuary— SAMUEL BROWN, Esq. {Superintendent of Fire Department— ISAAC Delvalle, Esq. LIFE DEPARTMENT. UNDER THE PROVISIONS OF AN ACT OF PARLIAMENT, this Company now offers to new Insurers EIGHTY PER CENT. OF THE PROFITS, AT QUINQUENNIAL DIVISIONS, OR A LOW RATE OF PREMIUM, without participation of Profits. Since 1821, Reversionary Bonuses of £1,058,000 have been allotted to the Assured out of Profits. At Christmas, 1859, the Life Assurances in force, with Bonuses, amounted to £4,730,000, the Income from the Life Brancb £207,000, and the Life Assurance Fund (independent of the Capital) £1,018,000. EXAMPLE OF ANNUAL PREMIUMS FOR THE ASSURANCE OF £100 ON DEATH. Age. With Profits. Without Profits. Age. With Profits. Without Profits. 20 £2 10 £1 13 3 40 £3 5 0 £2 17 0 25 2 5 4 1 17 4 45 3 14 11 3 6 11 30 2 10 7 2 2 7 50 4 8 0 4 0 0 35 2 17 0 2 9 0 60 6 7 2 6 0 0 LOCAL MILITIA AND VOLUNTEER CORPS.— No extra Premium is required for Service therein. LOANS granted on Life Policies to the extent of their values, if such value be not less than £50. ASSIGNMENTS OF POLICIES.— Written Notices of, received and registered. MEDICAL FEES paid by the Company, and no charge for Policy Stamps. FIRE DEPARTMENT. Insurances are effected upon everv description of Property at moderate rates. ANNUAL PREMIUM FOR £100.— Ordinary Risks Is. 6d. ; Hazardous 2s. 6d. ; Doubly Hazardous 4s. 6d. ; Special Risks, according to agreement. Losses caused by Explosion of Gas are admitted. Agents at Dublin, Edinburgh, Manchester, and nearly every Town in the Country, from whom Prospectuses may be obtained. 12 FINE ARTS CATALOGUE ADVERTISER. # FINE ARTS CATALOGUE ADVERTISER. 13 THE UNITED KINGDOM TEMPERANCE AND GENERAL PROVIDENT INSTITUTION, 1, ADELAIDE PLACE, LONDON BRIDGE, LONDON, ESTABLISHED 1840 FOE THE MUTUAL INSURANCE OF LIVES AND ANNUITIES. TOTAL ABSTAINERS INSURED IN A SEPARATE SECTION. ACCUMULATED CAPITAL, £409,000. ANNUAL INCOME, £122,000. Assurances completed in the year 1861 for £453,223. DIVISION OF PROFITS EVERY FIVE YEARS. In 1855 a Bonus was declared, ranging from 35 to 75 per Cent. ; and in 1860, 24 to 86 per . Cent, on the amount of Premiums paid. ROBERT WARNER, Chairman. PETER HARDY, F.R.S., Actuary. THOMAS CASH, Secretary. THE LONDON SEASON. To all who court the gay and festive scenes the following are indispensable.: — ROWLANDS' MACASSAR OIL Is a delightfully fragrant and transparent Preparation for the Hair, and as an Invigorator and Beautifler beyond all precedent. In dressing the Hair nothing can equal its effect, rendering it so admirably soft that it will lie in any direction, and imparting a transcendent lustre. Price 3s. 6d., 7s., 10s. 6d., equal to four small, and 21s. per Bottle. ROWLANDS' KALYDOR, For the Skin and Complexion, is unequalled for its rare and inestimable qualities. The radiant bloom it imparts to the cheek, the softness and delicacy which it induces of the hands and arms, its capability of soothing irritation, and remoAdng cutaneous defects, discolorations, and all unsightly appearances, render it indispensable to every Toilet. Price 4s. 6d. and 8s. 6d. per Bottle. ROWLANDS' ODOMTO, OR PEARL DENTIFRICE. For Preserving and Beautifying the Teeth, imparting a pearl-like whiteness, strengthening the Gums, and for giving a pleasing fragrance to the Breath. Price 2s. 9d. per Box. Sold by A. ROWLAND & SONS, 20, HATTON GARDEN, and by Chemists and Perfumers. »*« Ask for "ROWLANDS'" Articles. u FINE ARTS CATALOGUE ADVERTISER. CIRAGE ANGLAIS. I ENGLISCHE SCIIUHWICIISE. TINTA INGLESE PER LE SCARPE. LUSTRE INGLES PARA ZAPATOS. REAL JAPAN BLACKING- MADE BY DAT AND MARTIN, This inestimable composition, with half the usual labour, produces a most brilliant Jet Black, fully equal to the highest Japan Varnish; affords peculiar nourishment to the leather ; will not soil the finest linen: is perfectly free from any unpleasant smell, and will retain its virtues in any climate. Sold throughout the civilised world— in Bottles at Is. Gd., Is , and 6d. each. SPECIAL NOTICE. The public is hereby cautioned, that the Label of the above Eminent Manufacturers is closely imitated upon spurious and worthless descriptions ; and purchasers are, therefore, particularly requested to observe that the article supplied to them bears the Signature of the_Firm, as at foot, and Address in full — without which none is genuine. Londo.i, May, 1S62. FINE AKTS CATALOGUE ADVERTISER. 15 THE PATENT PLTJIBA&O CRUCIBLE G0IP Y - PATENTEES OF THE PLUMBAGO BELTING POTS, MANUFACTURERS AND IMPORTERS OE ALL DESCRIPTIONS OF Melting Pots, Crucibles, and other Eire Standing &oods, BATTERSEA WORKS, LONDON, S.W. THE Crucibles manufactured by this Company have been in most successful use for many years. They are now used exclusively by the English, Australian, and Indian Mints; the French, Russian, and other Continental Mints : the Royal Arsenals of Woolwich, Brest, and Toulon, &c. &c. ; and have been adopted by most of the large Engineers, Brass Founders, and Refiners in this country and abroad. The great superiority of these Melting Pots consists in their capability of melting on an average Forty Pourings of the most difficult metals, and a still greater number of those of an ordinary character, some of them having actually reached the extraordinary number of 96 meltings. They are unaffected by change of temperature, never crack, and become heated much more rapidly than any other Crucibles. In consequence of their great durability the saving of waste is also very considerable. The Company have recently introduced Crucibles especially adapted for the following purposes, viz., MALLEABLE IRON MELTING, the average working of which has proved to be about seven days; STEEL MELTING, which are found to save nearly a ton and a half of Fuel to every ton of Steel fused ; and for Zinc Melting, lasting much longer than the ordinary Iron pots, and saving the great loss which arises from mixture with Iron. The following are a few of the numerous Testimonials which the Company have received:— " ROYAL LABORATORY, WOOLWICH ARSENAL, March 13, 1862. "In reply to your letter, requesting a Testimonial as to the value o£ the Patent Plumbago Crucibles, I beg to state that these Crucibles have now been used in this department for melting gun-metal, &c, for upwards of two and a-half years, and are found to answer better than any other description. They endure, on an average, from five to six days, and the quantity melted in an 80 lb. Crucible, before it becomes unserviceable, varies from 25 to 36 cwt. "E. W. BOXER, Superintendent." "ROYAL MINT, March 13, 1861. " I beg to certify that the Plumbago Crucibles of the Plumbago Company have for some time been adopted in this establishment to the exclusion of all others, and have been found to be of excellent quality. " The original cost is considerable, but in use they are in the end found to be more economical than any other Crucibles, on account of their endurance in the fire and general freedom from casualties. "ROBERT MUSHET." " WOOD STREET, CHEAPSIDE. " Having adopted your Plumbago Melting Pots, which we use to a considerable extent, for the last few years. We are so highly satisfied with their quality that we should on no account think of using any other, we find them more efficient, less liable to break, and a great saving in time. We have much pleasure in stating that they work to our entire satisfaction. 50,000 ozs. and upwards have been melted in one 1000 oz. Pot, and sometimes a larger quantity.— We are, yours truly, " BROWN & WINGROVE, Refiners to the Bank of England,:' " These Crucibles, although dear in first cost, in consequence of being made entirely of pure Plumbago, possess qualities that have never been hitherto approached. I have now used them between two and three years, and must add that I cannot say too much in their praise. " Each Crucible runs from 40 to 60 pourings of pure metal, and can with safety be dipped in cold water when at a red heat, and used again immediately, as if it had not undergone any change of temperature. All the Crucibles that I have had last an entire week, and we never have an accident, they literally wear out, &c. &c. (Signed) " CHARLES DIERICKX, Master of the French Mint." *" ROYAL MINT REFINERY, LONDON. " Upon the recommendation of Mon. Charles Dierickx, Director of the Paris Mint, we tried your Patent Crucibles, and have used them for the last three years. We can fully endorse M. Charles Bierickx's published opinion. " F. T. ARNOULD, for DE ROTHSCHILD & SONS." " ASSAY OFFICES. 78 & 79, HATTON GARDEN, LONDON, E.C., October 14th, 1858. " We have much pleasure in adding our testimony in favour of your Patent Plumbago Crucibles, which are superior to anything of the kind we have ever used.— We remain, yours truly, " JOHNSON & MATTHEY." SHREWSBURY WORKS, SHEFFIELD. " In reply to your letter, we write to say, that your Patent Plumbago Crucibles (which we have been using during the last three years), are much superior to anything of the kind we have ever met with, and can recommend them both for their safety and durability.— We are, yours truly, " MARTIN, HALL, & CO." " Atlas works, Manchester. " We have much pleasure in testifying to the excellent quality of the Crucibles hitherto supplied by you, and hope shortly to send you further orders.— Yours truly, " SHARP, STEWART & CO." " RAILWAY CARRIAGE, WAGON, WHEEL, AND IRON MANUFACTORY, OPENSHAW, MANCHESTER. " In reply to your enquiry, I have much pleasure in testifying to the excellent quality of your Patent Plumbago Crucibles, which I have now been using for nearly eighteen months. I consider that they are the best Crucibles I have ever used, and more economical than any other kind. I shalLpon- tinue to use them in preference to any other description so long as the quality is maintained.— Yours faithfully, " JOHN ASHBURY." 16 FINE ARTS CATALOGUE ADVERTISER, / / m pin &p6z, TRADE MARK PATENT CORN FLOUR An essential article of diet, recommended by the most eminent autho- rities, and adopted by the best families. Prepared by a process to which long experience has given the greatest perfection, and from Maize carefully selected from the choicest crops. It is prepared without fermentation, and is guaranteed to keep sweet for years in any climate. Its uses are : — Puddings, Custards, Blancmange, Cakes, &c, and for light-supper or breakfast, and especially suited to the delicacy of children and invalids : for all the uses of Arrowroot — to the very best of which it is preferred — it is prepared in the usual way. Article essentiel de nourriture, recommande par les premiers medecins, et employe par les plus hautes families. Prepare moyennant un procede auquel une longue expe- rience a prete" le plus grand perfectionnement, et fait du MaVs tire des recoltes plus recherch6es. II est prepare" sans fermentation, et on garantit qu'il se conservera en tout climat et pendant plusieurs annees. On s'en sert pour la confection des Tourtes et de toute espece de patisserie, gateaux, &c, a manger au souper ou dejefiner; et a cause de ses qualites nutritives, il convient admirablement aux e«fants et aux malades, a la place de Yarrow-root, auquel on le prefere, on le traite de la meme maniere. Dieses ausgezeichnete, von den angesehensten Arzten empfohlene und in den ersten und vornehmsten Familien eingef iihrte Nahrungsmittel wird aus den besten , sorgtaltig ausgelesenen Mais-Kornern nach einem durch langjahrige Erfahrung zur hiichten Vollkommenheit gereiften Verfahren bereitet. Es ist durchaus rein und frei von alien Beimischungen ; es wird ohneGahrung bereitet und halt sich Jahre langin alien Klimaten Es wird zur Bex-eitungvon Puddingen.Eierrahm, weisser Gallerte.Kuchen u.a.m. ge- braucht, und eignet sich vorziiglich zu einem leichten Friihstuck oder Abendessen, ganz besonders aber i'i'.r zarte Kinder und krankliche und sch-wachliche Personen. Es iiber- trifft das Pfeilwurzmehiin jeder Beziehung. Es wird auf die gewohnliche Art zubereitet Manufactured by BROWN & POLSON, Paisley, Manchester, Dublin, and 23, Ironmonger Lane, London. FINE AETS CATALOGUE ADVERTISER. LIMITED STATES OF AMERICA, 17 OSWEGO PEEPAEED CORN, FOB, PUDDINGS, CUSTARDS, BLANC MANGE, &c., Is the preparation of Indian Corn that was honourably mentioned at the Great Exhibition, 1851. It can be used for any purpose as Arrowroot, to which it will be found cheaper, and in many respects superior. Its economy, its excellence, and various uses, commend it as a " Popular Household Store." This article was first made known to the people of America in the year 1849, and rapidly acquired an extensive sale throughout that Continent. It was introduced into this country in the year 1851, and has since obtained a great success, which, as usual in this age of competition, has caused many imitations, the proprietors of some of which, in addition to other unworthy statements, have the audacity to make a public claim to originality. The Proprietors of the Oswego American Prepared Corn have alone the right, without reservation, to claim for their manufacture of a Pood from Indian Com, the title of Original, Sold by most Grocers throughout the country, in 1 lb. and £ lb. Packets. WHOLESALE AGENTS. ROBINSON, BELLVILLE, & CO., LONDON. WILLIAM BOALER & CO., MANCHESTER. ROBDTSOFS PATENT BARLEY Is used for making a delicious Custard Pudding, for Barley Cakes, for thickening Broths and Soups for Infants' and Children's Pood, for Invalids' Diet, and is preferred to Pearl Barley for making Barley Water. ROBHSOFS PATENT GROATS, The most esteemed and best known preparation for making pure and delicate Gruel, a standard Pood in the Sick Eoom, a nutritious Supper for the Aged, and all persons of weak digestion. The above Patent articles for more than forty years have maintained their position as the finest and purest preparations of the Barley and the Oat. Modern Chemistry has shown that they are rich in flesh-forming matter, and contrast favourably with Sago, Arrowroot, Tapioca, Com Flour, and other carbonaceous starches. The Patent Barley and the Patent Groats, whilst equal in facility of digestion, are superior in nutritive value to Arrowroot, &c, the former articles containing four times more nutritious or flesh-forming matter than the latter. This important fact should not be lost sight of when Pood for the Infant or Invalid is ordered. PEEPAEED AND SOLD WHOLESALE AND FOE EXPOETATION BY ROBIMSON, BELLVSLLE, & Co., purveyors to the queen, 64, RED LION STREET, HOLBORN, LONDON. ESTABLISHED 1764. 18 FINE AETS CATALOGUE ADVERTISE!?. BE CAR EFUL WHAT YO U EAT. BOR WICK S BAKING POWDER, For making Digestive Bread without Yeatt, and Puddings and Pastry with half the rsual quantity of Eggs and Butter, has long been so distinguished by its healthfulness and general utility, as to require no puffing by the Proprietor. The recommendations of such gentlemen as the Queen's Private Baker; the late Sir "William Bur- nett, Director-General of the Medical Department of the Xavy ; Dr. Hassall, Analyst to the Lancet, and Author of " Food, and its Adulterations ; " Captain Allen Young, of the Arctic yacht " Fox," and other Gentlemen, of the highest eminence, wbo have no interest in telling lies to promote its sale, arc suffi- cient to satisfy every unprejudiced mind of its superiority over every other Baking Powder, and is much stronger evidence of its excellence than anything the manufacturer can himself say in its praise. It is free from alum, found in most of the worthless imitations. Try it once, and you will never use the trash made from inexpensive materials, and recommended by unprincipled shopkeepers, because they realize a larger profit by the sale. -As you value your health, insist upon having Borwick's Baking Powder only. Sold Retail by most Druggists, Grocers, and Oilmen, in Id., 2d., 4d., and Gd. packets, and Is. boxes. Wholesale by G. BORWICK, 21, Little Moorfields, E.C. THE OXLY SURE SPECIFIC FOR CONSUMPTION. THE PATENT OZONIZED COD LIVER OIL Conveys artificially to the lungs of the delicate and consumptive, OZONE, the vital principle in oxygen, without the effort of inhalation, and has the wonderful effect of reducing the pulse to its proper stan- dard, while it strengthens and invigorates the system— restoring the consumptive, unless in the last stage, to health. The deodorising properties m OZONE, and its beneficial influence upon an impure atmosphere, are now beginning to be fully understood and appreciated ; hence, when medicine ceases to have its effect, delicate persons arc ordered to the sea-side, and other localities, where the atmosphere is better charged with OZONE. The idea of impregnating Cod Liver Oil with an element so essential to life and health, and thus conveving it, in increased proportions, to the lungs, was conceived by Mr. DTJGALD CAMPBELL, Analytical Chemist to Brompton Consumption Hospital: and its wonderful effect in reducing the pulse and restoring to health was first proved by Dr. TUOMPSON, Physician to the said Hospital. Its efficacy has since been borne out by some of the most eminent men of the day, who have succeeded not only in restoring the most delicate to health, but in effectually curing nume- rous cases of incipient consumption by its use. The Licensee could add numerous testimonials in confirmation of the above, but as OZONIZED COD LIVER OIL is not a quack medicine, but a specific for which Letters Patent have been taken out, and the beneficial effects of which must be so obvious to every thinking mind, he prefers appealing to the good sense of the public to try it (if under the supervision of a medical man, so much the better), feeling a confidence that its beneficial effects will soon become so apparent, that the latter will recommend, and the former will use, no other. Sold by all Chemists— Half-pint bottles, 2s. 6d. ; pints, 4s. 9d. ; and quarts, 9s. SAMUEL BEEGEE & CO., BY SPECIAL APPOINTMENT SOLE MANUFACTURERS OF W. T. BEEGER'S G-REAT EXHIBITION MEDAL, 1851. The continuous and increasing sale of this old established Starch, well-known in the Home as also in the Colonial Markets, is its best recommendation, and proves the excellence which obtained it a Prize Medal at the last Exhibition. The greatest care is taken in every department of the manufacturing process, that the make is always of one uniform quality, and the specimens now shown ay ill, it is believed, bear comparison with any. It is recom- mended that, as far as practicable, purchases shordd be made only in the original packages of 5 lb., 1 lb., i lb., \ lb., and 2 oz., each of which bears the names of the Makers and Patentee. SOI/D BY ALL EESPECTABLE GEOCEES, B£i{?a» SOLE EXHIBITORS AND MANUFACTURERS OF THE ROY^L TISSTJE DB VERRE, CLASS 20; ALSO EXHIBITORS OF Superb Foreign and British Silks, beautiful specimens of Irish Table Linen, Shawls, and various articles manufactured expressly for their Establishment, HAVE THE LARGEST STOCK IN THE METROPOLIS OP SILKS OF EVEEY DESCRIPTION, MANTLES, SHAWLS, FANCY DRESSES, MUSLINS, BAREGES, MUSLINS DE SOIE, RIBBONS, LACE COODS, HOSIERY, &o. &c. Every Article is marked in plain figures, at the lowest Wholesale Prices for ready money. 58, 59, 60, 61, 62, OXFORD STREET, 3, 4, 5, WELLS STREET. CARRIAGE ENTRANCE TO THE SALOONS— 5, WELLS STREET. FINE ARTS CATALOGUE ADYEETISEE. 25 ME. C. F. HANCOCK, JEWELLER AND SILVERSMITH TO THE PRINCIPAL SOVEREIGNS AND COURTS OF EUROPE, SOLICITS the honour of a visit to inspect his New Stock of Jewellery and Works of Art and taste in Gold and Silver, now displayed in the New Show Room which he has recently added to his premises. Miniature Medals of the Order of the Bath, Legion d'Honneur, the Medjidie, with all the different Clasps ; also all the Miniature Indian Medals to the present time, with their Clasps, Bars, and Ribbons, including the CRIMEAN, FRENCH, SARDINIAN, CAFFRE, AND CHINESE. GREAT VARIETIES OF RACE CUPS AND PRESENTATION PLATE. N.B.— A LAEGrE STOCK OF SECOND HAND PLATE. THE VICTORIA CROSS. The Miniature Victoria Cross, made from gun-metal taken at Sebastopol, can only be obtained at C. F. HANCOCK'S, JEWELLERS' COURT, INTERNATIONAL EXHIBITION, 1862, 38 39, BRUTON STREET, BOND STREET, LONDON. WATERPR OOFS FOR INDIA. EDMISTON 8c SON, Sole Manufacturers of the only Waterproof Clothing guaranteed to withstand the climate of India. THE POCKET S I P H O N 1 A (Weight 12 ozs.), Price from 40s.; all Silk, 50s. to 60s. This Coat can be earned in the pocket. Stout Siphonias, 35s. Leggings, 10s. 6d. Fishing Stockings, 21s. per pair. Portable Folding Bath. Air Beds, Camp Sheets, Folding Buckets, &c. None should go to sea without Life Belts, 10s. 6d. each. PORTABLE INDIA-RUBBER BOATS, Designed expressly for the Indian rivers, to carry one or more persons, weighing from 10 to 40 lbs. Price £7 10s., £10 10s., and £18 18s., folding hi a compass of 3 feet. Knapsacks for Tourists, 18s. 6d. each. EDWISTON & SON, INDIA RUBBER MANUFACTURERS, 5, CHARING CROSS, (Late 69, STRAND), OPPOSITE THE STATUE OF CHARLES I. 2G FINE ARTS CATALOGUE ADVERTISER. None are superior,"— Art Journal. " Theirs are the finest."— Photo. News. " Soft, brilliant, and full of life." — Athenaeum. ALBUM PORTRAITS, TEN FOE 10s., OR TWENTY-ONE FOR £1. For the above, to hold 25, from 3s. 6d. each, with gilt edges and gilt clasp. to hold 50, elegantly boimd in Morocco, with gilt clasp, from 10s. 6d. each. LONDON PHOTOGRAPHIC AND STEREOSCOPIC COMPANY, 54, CHEAPSIDE (corner of bow church yard), 110, RECENT STREET (OPPOSITE VIGO STREET). Dressing Rooms, and Lady Attendants. STEREOSCOPES AND SLIDES IN EVERY VARIETY. A FINE SERIES OF INSTANTANEOUS PARIS AND LONDON VIEWS. GEORGE S. N0TTAGE, Managing Partner. MLEAtf, IELHUISH, & HAES' 86, HAYMARKET, S.W. AND ALDERSHOTT. (EXHIBITORS IN THE EXHIBITION, CLASS 14.) Messrs. McLEAN, MELHUISH, & HAES profess to equal all other houses in their untouched Photographs, and to surpass them in their highly finished Photographic Miniatures ; they profess to execute a Coloured Photographic Portrait, so that it will be difficult, if not impossible, to distinguish it from Ivory. A careful inspection of their Specimens, exhibited in Class 14, will show that this is no idle boast. Photographic Tiews of the International Exhibition of 1862. EVERY VARIETY PUBLISHED KEPT IN STOCK. Photographic Apparatus, every requisite for the Professional Artist or Amateur, with fuU Instructions for use. Sole Depot for the much admired Universal Objectives. PRINTERS AND PUBLISHERS TO THE AMATEUR PHOTOGRAPHIC ASSOCIATION. Sole Agents in England for the Photographs on Enamel of M. Lafon de Camarsac. FINE ARTS CATALOGUE ADVERTISER. 27 Established 1837. ,0 Incorporated 1846. FOR THE PROMOTION OF THE KNOWLEDGE AND LOVE OF THE FINE ARTS. Each Subscriber of One Guinea will receive an impression of a fine Engraving from the original picture by T. F. Dicksee, "A LABOUR OF LOVE;" And, in addition, a series of Sixteen Illustrations in outline, by P. Priolo, of ALFRED TENNYSON'S POEM, "ftrglls of tfje Ittitg," BESIDES THE CHANCE OP A PRIZE IN THE NEXT ANNUAL DISTRIBUTION, TO BE SELECTED BY HIMSELF FROM ONE OF THE PUBLIC EXHIBITIONS, AND COMPRISING PICTURES, STATUARY, CASTS IN BRONZE AND PARIAN, MEDALS, AND OTHER VALUABLE WORKS. SPECIMENS MAY BE SEEN IN THE CROSS AVENUE. 444, WEST STRAND, May 1,1862. gf $S SSSKE*} horary Secret, THE USEFUL KNOWLEDGE SOCIETY'S ATLASES. From the Series of Maps designed by the Society for the Diffusion of Usef ul Knowledge. The Maps (size 17 by 14 inches) may be had separately, price 6d. each plain, 9d. coloured. **# Specimen Copies of the Atlases are on view at the Exhibition. They are all elegantly bound, and the Maps well coloured. Cyclopsedian Atlas, 39 selected Maps, 1 Guinea. Family Atlas, 80 selected Maps, 3 Guineas. Atlas of Modern Geography, the entire series of 150 Modern Maps, 5 Guineas. General Atlas, the entire series of 174 Ancient and Modern Maps, 7 Guineas. Complete Atlas, with the addition of 50 Plans of Celebrated Cities, 9 Guineas. THE HARROW EDUCATIONAL ATLASES, VIZ.:— Senior Modern, 30 Maps, 12s. 6d. I Senior Classical, 23 Maps, 12s. 6d. Junior Modern, 14 Maps, 7s. | Junior Classical, 14 Maps, 7s. A Specimen Map gratis on application. GENERAL ADVERTISEMENT. The LOW PRICE of THE USEFUL KNOWLEDGE SOCIETY'S extensive Series of Maps, induces the Publisher to state, that they are in every respect of the highest character, whether as to beauty of execution, scale, or accuracy of engraving. The latest discoveries and alterations arc inserted on the plates, as soon as fully authenticated', and several of the. Means have been repeatedly re-engraved— the whole series being thus 'rendered a faithful delineation of the current state of Geographical Knowledge. Detailed Catalogues gratis, and post frt ' LONDON: EDW ARD STANFORD, 6^ Charing Cross, S.W., and at the Exhibition, in Class 29, " Educational Appliances." Eighth Edition, 5s., Cloth lettered. (Postage 4d.) RAG-ONOT'S VOCABULAIRB SYMBOLIQUE ANG-LO-FRANC, AIS, 850 Woodcuts (with the text), and 9 whole-page Copper-plates, illustrative of Every-day Objects. Eighth, and much improved Edition (which should be particularly specified), 4to., 5s., Cloth lettered. Also, adapted from the above, SYMBOLISCHES ENGLISCH— DEUTSCHES WORTERBTJCH. Edited and Revised by FALCK LEBAHN, PH. DR., with nearly 850 Woodcuts, and 8 full-page Lithographic plates, 8vo., 6s., Cloth lettered. The above are excellent Manuals for Foreigners.— Translations into other languages are contemplated. LONDON: LOCKWOOD & CO., Stationers' Court, E.C., and at the Exhibition, Class 29, "Educational Appliances." Thirty-Fifth Edition, Is., Cloth lettered. (Postage 3d.) A TRAP TO- CATCH A SUNBEAM. — "Aide-toi, et le ciel t'aidera" is its motto.- Several other Works by same Authoress, uniform in size and price. LONDON: LOCKWOOD & CO., Stationers' Court, E.C. -Lit. Gaz, 28 FINE ARTS CATALOGUE ADVERTISER. THE ATHEMOT. From the 5th of October the price of the ATHENJEUM has been THREEPENCE. Thirty years ago, when the Athenaeum came into the hands of its present Proprietors, its price was Eightpence, and its contents, with advertisements, forty-eight columns. Con- vinced that the circulation of Literary Journals was restricted by high price, and that every advantage offered to the public would bring increase of circulation and authority, the Pro- prietors reduced the price one-half — to Fourpence. The experiment succeeded, and cheap Literary Journals became the rule. The Proprietors have always held to the principle then proved. They have given to the public the benefit of every change in the law, increasing the size without increase of price, until the average has become double its former size — above ninety-six columns. The Proprietors, taking advantage of the abolition of the Paper Duty, therefore resolved that from the 5th of October the price of the Athenaeum should be reduced to Threepence. EVERY SATURDAY, OF ANY BOOKSELLER OR NEWS-AGENT, PRICE THREEPENCE. Each Half-yearly Volume complete in itself with Title-Page and Index. THE ATHENAEUM COISTT^IITS : Reviews of every important New Book. Reports of the Learned Societies. Authentic Accounts of Scientific Voyages and Expeditions. Foreign Correspondence on Subjects relating to Literature, Science and Art. Criticisms on Art, Music and Drama. Biographical Notices of distinguished Men. Original Papers and Poems. Weekly Gossip. THE ATHENiEUM is so conducted that the reader, however distant, is, in respect to Literature, Science and Art, on an equality in point of information with the best-informed circles of the Metropolis. Subscription for Twelve Months, 13s. ; Six Months, 6s. 6d. OFFICE FOR ADVERTISEMENTS: 20, WELLINGTON STREET, STRAND, LONDON, W.C. Newspaper for the Gardening* and Farming Interest. Every Saturday, price Fivepence, or Sixpence stamped, each Volume complete in itself, Thirty-two frequently Thirty-six Folio Pages, THE G-ARDEORS' CHRONICLE AND AGRICULTURAL GAZETTE ; A WEEKLY RECORD OF RURAL ECONOMY AND GENERAL NEWS. THE HORTICULTURAL PART EDITED BY PROFESSOR LINDLEY. OFFICE FOR ADVERTISEMENTS : 41, WELLINGTON STREET, COVENT GARDEN, LONDON, W.C. FINE ARTS CATALOGUE ADVERTISER 20 3S3U^OK»^ CS-"0"Z33^S TO jLaOT^ 13 1362, Just Published in a neat portable Volume, _J BLACK'S |_ INTERNATIONAL EXHIBITION GUIDE TO LONDON^ A Complete Guide to all the Sights of the Metropolis and Places of Interest in the Yicinity. Illustrated by a large and accurate Plan of the City — Map of the Environs — Plans of th 6 * Exhibition and Public Buildings — Views, &c. In a neat Case for the pocket, BLACK'S NEW PLAN OF LONDON, AN ACCURATE GUIDE TO THE STREETS AND PUBLIC BUILDINGS. In neat portable volumes, illustrated with Maps, Charts, and Views. BLACK'S GUIDEBOOKS. ENGLAND, 105. 6(1. SCOTLAND, Ss. 6d. IRELAND, 55. English lakes, 5s. WALES, N. & S., 5s. NORTH WALES, 35. 6d. YORKSHIRE. DERBYSHIRE, 25. WARWICKSHIRE, 25. WATERING PLACES, 25. 6d. SOUTH OP ENGLAND. KENT, 25 larger edit., 55. SURREY, 55. SUSSEX, 15. 6d. HAMPSHIRE, 25. ISLE OP WIGHT, 15. 6d. DORSET. DEVON. CORNWALL. GLOUCESTER, HERE- FORD. BLACK'S TRAVELLING MAPS. ENGLAND, 45. 6d., 25. 6d. IRELAND, 25. 6d. SCOTLAND,4i. 6d., 25. 6d. LAKE DISTRICT, 25. Gd. DITTO, large 12-sheet WALES, N. & S., 15. 6d. Map, each sheet 25. in MDISPENSABLE WORKS] 1 OF REFERENCE ffig. ENCYL0PJ1DIA BBITAMICA DICTIONARY OF ARTS. MANUFACTURES, SCIENCES, & GENERAL LITERATURE. In 21 "^ols. Quarto and Index. Eighth Edition, Illustrated by upwards of 5000 Engravings on Wood and Steel. PRICES : In Full Cloth Price £25 12 0 In Half Russia, Marbled Edges .... 82 2 6 BLACK'S GENERAL ATLAS ; A SERIES OP FIFTY-SIX MAPS, BEAUTIFULLY COLOURED, OP THE PRINCIPAL COUNTRIES AND DIVISIONS OP THE WORLD. Containing all the Latest Discoveries, and a Map showing the SEAT OF WAR IN AMERICA. Accompanied by an Alphabetical Index of G5,000 Names, forming a ready Key to the places mentioned in the Maps. In Folio, Half Bound Morocco, Gilt Edges, price £3. " For fiction read Scott alone ; all novels after his are worthless." — Charlotte Bronte. WAVERLEY NOVELS COMPLETE SETS. £2 25. THE PEOPLE'S EDITION, in 5 large tdIs. Royal 8vo. cloth, gilt backs. Illustrate*! with 100 full page woodcuts and a portrait of the Author. £3 10s. THE CABINET EDITION, in 25 handy vols, cloth lettered, with frontispiece and vig- nette. Each volume contains an entire novel. £6 10$. THE EDITION OP 1847, in 48 vols. 12mo. with frontispiece and vignette. Printed in very readable type. EacfiVnoveMs divided — into two vols. £10 ios. the new illustrated edition, in 48 vols, fcap 8vo. with upwards of 1500 woodcuts and 96 steel engravings. Printed from a new and beautiful type. This edition is a continuation of the Abbotsford and Author's Favourite editions. £12 12s. THE LIBRARY EDITION, in 25 vols, demy 8vo. illustrated with 204 fine steel engrav- ings by the most eminent artists of their time, and printed in large and legible type. This edition, which cost £15,000 in its pro- duction, should find a place in every gentleman's library. SIK, WALTER SCOTT'S POEMS, In One Vol. 12mo. cloth gilt, price, 5s. SCOTT'S POETICAL WORKS, Containing the Author's Notes and latest Correc- tions, and Illustrated with several Woodcuts and a Portrait of the Author. . Descriptive Catalogues of Sir Walter Scott's Works can be had from any Bookseller, and specimen pages, will be forwarded by the Pub- lishers on application. EDINBURGH: ADAM AND CHAELES BLACK. LONDON: SOLD BY ALL BOOKSELLERS. 30 FINE ARTS CATALOGUE ADVERTISER. EUROPEAN AND COLONIAL NO. 122, PALL MALL, LONDON, S.W. Established 1858 for the Supply op PURE WINES op the Highest Character at a Saying op at least 80 per Cext. ROYAL VICTORIA SHERRY (the Standard of Excellence), 27s. BEAITJOLAIS, 20s. per dozen. SPLENDID OLD PORT 37s. (Ten years in the wood.) • PALE COGNAC BRANDY . 48s. and 56s. ST. JULIEN CLARET . 18s., 20s., 24s. SPARKLING EPERNAY CHAM- PAGNE 34s. (Equal to that usually charged GOs. per dozen. EXCELLENT DIOER SHEMT 20s. and 24s. FINE OLD POET 24s. and 30s. BOTTLES and packages included. Six Dozen delivered free to any Railway Station in England or Wales. Terms — Cash, or Reference. Price Lists sent free on application. "WILLIAM REID TIPPING, Manager. N.B. — Wines and Spirits Shipped to all parts of the World, FREE ON BOARD, at above rates, with vsual allowance TO THE TRADE. STORES-3!4, OXFORD STREET, W. (NEAR HANOVER SQUARE.) CELLARS— MAR YLE BONE COURT-HOUSE. Wines are shipped direct to this Company from the Growers, who are part Proprietors. All articles sold at this Establishment warranted pure ; and as quality is the only test of cheapness, buyers may rely on a saving of 25 per cent, on the Wines, and a large percentage mi Spirits. CLARETS, HOOKS, and MOSELLES, 1 s., 15s., 18s., 22s., 24s., 28s., 34s., 36s., 42s.. 05s., 60s., to 72s. SHERRIES, from 18s. PORTS, from 20s. CHAMPAGNES, SPARKLING HOCKS, and MO- SELLES, 32s., 36s., 42s., 52s., and 60s. Moe't's and Mumm's, first quality, 60s. Widow Cliquot's, 76s. IMPERIAL SHERRY, at 30s. PORT, at 36s. CHAMPAGNE, at 36s. \ IMPERIAL BRANDY, at 16s. 6d. XL SHERRY, at 36s. INYALIDS' PORT, 30s. J CLARETS, at 14s. and upwards. f PARTICULARLY OLD BOTTLED PORTS, CHOICE SHERRIES, DELICATE HAUT RHINE, ) np „„, lllril „ rr , and other RHINE WINES, OLD IRISH and SCOTCH WHISKIES, including the ( RECOMMENDED. Gem of the Emerald Isle, and OLD BRANDIES, including Martell's, Hennessy's, 1 Otard's and Robins'. / VICHY and other MINERAL WATERS imported. FULL PRICED LISTS ON APPLICATION. Orders received at all Stations of the LONDON DISTRICT TELEGRAPH COMPANY free of Cnarge to Sender. IMPORTANT FEATURE— INFALLIBLE SECURITY. In order to supply the demands of our Customers, we bottle BASS & CO. S PALE ALE, GUINNESS'S STOUT, and BARCLAY'S PORTER, all secured with Patent Trade Mark Capsules, thus effec- tually preventing the refilling of bottles with any other Ales or Stout, and sold at usual Prices. FINE ARTS CATALOGUE ADVERTISER. 31 SALT & CO.'S EAST INDIA PALE AND BURTON ALES MAY BE OBTAINED IN" CASK DIRECT PROM THE BREWERY, BURTON-ON-TRENT, OR FROM THE UNDERMENTIONED STORES : — LONDON 18, Strand. LIVERPOOL . . . . . .72, Henry Street. MANCHESTER 37, Brown Street. NEWCASTLE-ON-TYNE . . . Manor Chare. BIRMINGHAM Old Court House, High Street. NOTTINGHAM 44, Greyhound Street. WOLVERHAMPTON . . . . 14, Snow Hill. SHEFFIELD 12, George Street. BRISTOL ....... 10, Stephen Street. DUBLIN 11, Temple Lane. BELFAST 4|, Hill Street. GLASGOW St. Vincent Place. LEITH 75, Constitution Street. DUNDEE ... 16, Dock Street. The Ales may also be procured in casks of 18 gallons and upwards, and in glass from the principal Bottlers in the United Kingdom, a list of whom may be had on application at the Brewery, or at any of the Branch Offices. Ales for Export Brewed Specially for Foreign Consumption. RACCETTS INTERNATIONAL BRANDY Reserved for special introduction at the Exhibition of 1862. No more desirable a result can possibly follow the opening of the International Exhibition of 1862 than the introduction to public notice of the above Pure, Fine-flavoured, and Mellow Spirit, which equals, if not surpasses, the First Brands of Cognac, at a saving of fully one-third to the consumer. Trade price for really Choice Cognac Brandy . . 36s. per gallon. RAGGETT'S INTERNATIONAL BRANDY, equally fine . 24S. „ Saving, per gallon, 12s. Sample Bottles may be had at 4s. 6d. Raggett (late Blockey), 21, Duke Street; St. James's— Established 100 years. THE WINES OF THE SEASON RAGGETT (late BLOCKEY) confidently submits the following WINES as the best in the English Market, at their respective quotations : — Pure Light Claret, from the Vineyards of the Domaine de Lascombes, Me*doc . 30s. per dozen. Duff Gordon's Select Pale Dinner Sherry ' 36s. .„ „ Choice Old Pole and Golden Sherries 42s. „ „ Superb Dry Pale Sherry, Vintage 1841 . . . . . . 48s. „ Cockburn & Co.'s High-flavoured, Old Crusted Port, 5 years in bottle . . 48s. „ Pommery & Greno's Dry Champagne 54s. Raggett (late Blockey), 21, Duke Street, St. James's.— Established 100 years. BLO C KEY'S L ON DO This pure and highly nourishing malt beverage stands Unrivalled for its restorative properties, as an article of daily food . DR. HASSALL'S REPORT :— " I have carefully analysed Blockey's well-known Stout, as obtained from 21, Duke Street, St. James's, and find it to be a geuuine, most wholesome, and highly nourishing beverage, less heavy, and consequently more digestible than London Stout m general.— Signed, ARTHUR HILL HASSALL, M.D., London ; Analyst of the Lancet Sanitary Commission. Casks of 4-i, 6, 9, and 18 gallons, at Is. 8d. per gallon ; 3s. per dozen pints, 5s. quarts. Scotch, Burton, and Bass' and Allsopp's Pale Ales, in like quantities, at 2s. per gallon. Kaggett (late Blockey), 21, Duke Street, St. James's.— Established 100 years* 32 FINE ARTS CATALOGUE ADVERTISER, BASS & CO/S ALES. J>ASS, IIATCLIFF & GRETTON beg to announce that their ALES may be ob- tained in Butts (108 Gallons), Hogsheads (54 Gallons), Barrels (36' Gallons), and Kilderkins (18 Gallons), from the BREWERY, BURTON-ON-TRENT ; from their STORES as under ; and in Cash, as well as in Bottle, wholesale from all respectable "WINE AND BEER MERCHANTS; and in retail on Draught, and in Bottle from the LICENSED VICTUALLERS. LONDON LIVERPOOL MANCHESTER DUBLIN CORK BELFAST GLASGOW HBWCASTLE-on-Tyne BIRMINGHAM STOKE WOLVERHAMPTON- BRISTOL NOTTINGHAM DERBY DEVON & Cornwall •■• SHREWSBURY 3 Wharf, City Basin, E.C. 28, James Street, 34, Corporation Street. 68, Middle Abbey Street. 10, Lavitt's Quay. 10, Hill Street. 43, Dunlop Street. Trafalgar Goods Station. Newhall Street. Company's Wharf. Market Street. Tontine Warehouses, Quay Head. 1, Long Row. Corn Market. 42, Union St., Plymouth. Wyle Cop. FINE ARTS CATALOGUE ADVERTISER. SAM L ALLSOPP & SONS BREWERS, BURTON-ON-TRENT, BEG TO ANNOUNCE that the Contractors for the Refreshment Department of the International Exhibition obtain their supplies of Pale Ale from Messrs. Samuel Allsopp & Sons' Brewery, at Burton- on-Trent. O % I O :* H S Oh ^ O & Messrs. Allsopp & Sons' Pale Mild and Strong Ales are supplied (Carriage Free) from their Stores at London— 61 King William Street Liverpool — Cook Street Manchester— Ducie Place Leeds — Commercial Buildings Birmingham— Upper Temple St. Derby — London Road Leicester— Granby Street Bath— 5 Edgar Buildings Dudley — Burnt Tree Chesterfield — Low Pavement Nottingham— Maypole Yard Wolverhampton — Exchange St Worcester— The Cross Stoke-Upon-Trent— Wharf St. South Wales— 13 King St. Bristol Dublin — 1 Crampton Quay Cork — 25 Cook Street Glasgow— 115 St. Vincent Street „ f 47 North Bridge EDINBURGH -{ 11 Union Street Lane Paris — 279 Rue St. Honore ON THE SAME TERMS AS FROM THE BREWERY AT BURTON-ON-TRENT. 54 FINE ARTS CATALOGUE ADVERTISER. IND, CO OPE, & Co., ROMFORD BREWERY, ESSEX. Families supplied in Casks of 9, 18, &-36 Gallons. London Stores:— 10, OSBORN STREET. Woolwich :— 8, WELLINGTON STREET. AGENTS IN ALL THE PRINCIPAL TOWNS IN THE UNITED KINGDOM. Paris Stores :— No. 31, RUE DE LA SOURDIERE. Report on the Light Bitter Ale of Messrs. Ind, Coope, & Co., Romford, by Dr. Hassall. " I have visited and inspected the Brewery of Messrs. IND, COOPE, & Co., at Romford. I was much pleased at the careful and scientific manner in which^ the various brewing operations are therein conducted. I have also subjected to analysis their LIGHT BITTER ALE ; it is a pleasant and most wholesome Ale, possessing, from its agreeaLle bitterness, tonic and stomachic properties. " From its lightness, as well as its stomachic effects, this Ale is particularly suited for use during the hot months of Summer. (Signed) " ARTHUR HILL HASSALL, M.D." IND, COOPE, & Co., BREWERY, BTJKTON-TJPON-TRENT. EAST INDIA PALE AND OTHER BURTON ALES. STORES- London :— 10, OSBORN STREET, WHITECHAPEL. Liverpool:— 22, KING STREET. Bristol :— 9, QUAY HEAD. Birmingham :-36, BROAD STREET. AGENTS IN ALL THE PRINCIPAL TOWNS IN THE KINGDOM. Paris Depot :— No. 31, RUE DE LA SOURDIERE. FINE ARTS CATALOGUE ADVERTISER. 3 SEWING AND EMBROIDERING MACHINES. flEWTOH" WXLSOtf & 00., 144, HIGH HOLBORN, LONDON, W.C. ; PARIS HOUSE-6, FAUBOURG MONTMARTRE ; PATENTEES AND MANUFACTURERS OF SEWING MACHINES, AND AGENTS FOR THE "GROVER & BAKER" SEWING MACHINE COMPANY, OF AMERICA, These machines are both for domestic and manufacturing purposes, and include all the stitches yet produced by the Sewing Machine. The family machines, unlike all others, do both plain and fancy work, incl ading running, hemming, felling, tucking, gathering, binding, cording, quilting, braiding, and em- broidering. They are simple, and light to operate— noiseless in action,perfect in mechanism, and not liable to derangement. Magnificent specimens of the work of these machines, in- cluding' almost every garment for man, woman, or child, will be found at the Stand, Class 7 ; and patterns of the work, in the different stitches, may be obtained gratis, or will be for- warded post free on application. Illustrated Catalogues of the whole of NEWTON WILSON & CO'S manufacture in English, French, or German, forwarded by post, or obtained free at the Stand in the Eastern Transept. NEWTON WILSON & Co.'s PATENT CAKPET SWEEPERS, Taking up all the dust and making none, requiring no damping, no kneeling, and no subsequent dusting! Applicable to all kinds of carpets. Prices— 12s. Gd., 15s., and 18s. The machines in the manu- facturing department include special adaptations for different trade purposes — as tailoring, boot -making, harness work, stitching shoe-soles, &c. &c. The chief features of these machines are wide range oi application, strength, durabi- lity, simplicity, speed, and quietness. Special machines for peculiar embroidery, and stitching two lines of sewing at one time; for herring-bone stitching ; for button -hole making : and, finally, for darn- ing stockings. Every machine is guaranteed, and the possibility of mistake is provided against by the fol- lowing arrangement, viz. :— that after a month's use of any machine, it may be exchanged, without charge, for amy other. THE GORMLL TEA ESTABLISHMENT. CONTRACTORS TO HER MAJESTY'S GOVERNMENT, STRACHAN & Co., DEALERS IN FINE TEA, 26, COBNHILL, LONDON, E.G. (OPPOSITE THE EOYAL EXCHANGE.) " QUALITY AND ECONOMY COMBINED " is their Maxim. REPORT OF DR. HAS S ALL ( The Chief Analyst of the Sanitary Commission of (he " Lancet," on Food) on the Teas and Coffees sold by Messrs. Strachan & Co., 2(5, Cornhill, London, E.C. :— "Having purchased through my own Agents, and in the ordinary way of business, a variety of samples of the several qualities of Teas and Coffees vended by Messrs. Strachan & Co., I have subjected the whole of them to microscopical examination and chemical analysis, and found them to be perfectly genuine." TEA. — Present Prices. BLACK.— Strong "Domestic" - " Intermediate ditto - „ .The "Drawing-room" Tea (guaranteed the finest) - GREEN— Strong "Domestic" - „ Imperial, or Young Hyson (re- commended) - The finest Gunpowder, Hyson, or Young Hyson - per lb. s. d. * 6 COFFEE. — Present Prices, per lb. s. d. Fine Plantation— Strong useful Domestic 1 4 Finest ditto, Mountain Berry (very choice and highly recommended) - - -17 Delicious "Drawing-room" (very fra- grant, and composed of the finest growths imported into this country) - 1 10 As in Tea so in Coffee, S. & Co. do not encourage the sale of low qualities, unworthy of the name of Coffee. Seven lbs. and upwards of Tea sent free of carriage within GO miles of London, and a reduction of 2d. per lb. made on original packages of 40 and 80 lbs., which may be had direct from the Dock Ware- houses, and cleared, if required, by the buyer's own agents. J lb. the smallest quantity sold. CARTS TO ALL PARTS OF LONDON DAILY. B 2 36 FINE ARTS CATALOGUE ADVERTISER. EOYAL STRAND THEATRE. — Sole Lessee and Manager, Mr. SWANBOROUGH, Sen. Open every Evening for Comedietta, Burlesque, Extrava- ganza, and Farce. Supported by the most Popular Company in London. Prices— Private Boxes, £115., £1 Us. 6d., and £2 25.; Stalls 5s.; Boxes 3.S.; Pit Is. 6rZ.; Gallery Gel. Second Price at Nine o'clock to Pit and Boxes only, Boxes Is. &d., Pit Is. Box Office open from 10 to 5 daily— no charge for Booking. Acting Manager— Mr. W. II. SWANBOROUGH. MADAME TLSSAUD'S EXHIBITION, at the Bazaar, Baker-street, London. Established nearly a century. The Times of April 14th states: "In no other place in Europe are so many touching and impor- tant memorials of the great Emperor to be found; even for a National Collection our gallant Allies might be proud to possess the relics which are here preserved; Madame Tussaud's Exhibition is with- out a rival, either here or on the Continent ; all who have attempted competition have proved but so many foils to set up the superior attractions of her admirable collection of les homines celebres." THE SOUTH KENSINGTON MUSEUM, Containing Works of Decorative Art, Modern Pictures, Sculpture and Engravings, Architectural Illustrations, Building Materials, Educational Apparatus and Books, Illustrations of Food and Animal Products, is open FREE on Mondavs, Tuesdays, and Saturdays, from 10 a.m. till 10 p.m. The STUDENTS' Days arc Wednesdays, Thursdays, and Fridays, when the public are admitted on payment of - 'hv'.uii >\ c.h;ar and hv:,,\iU\ ^Kil*. in )-, packets of four tablet* or eight squares, may be obtained of all dealer* in town and country. N.B. Each tablet and fifjnarc is stamped with the name of Brccknell. — Brecknell, Turner, & Sons, by appointment to Her Majesty, manufacturers of wax, spermaceti, stear- ine, composite, and tallow candles ; agents to Price's Patent Candle Company, dealers in all other patent candles, all kinds of household and toilet soaps, and in colza, sperm, vegetable, and other lamp oils, &c. Beehive, 31, Haymarket. KING'S EFFERVESCENT CITRATE OF MAG- NESIA is the original Preparation for which the Proprietor received a Medal at the Great Exhi- bition in 1851, and has had the sanction and recom- mendation of the most eminent physicians in London, and throughout the empire, for the last fifteen years, as a most agreeable and efficacious saline aperient and febrifuge, suitable for all ages and all climates. Testimonials accompany each bottle. Sold by all chemists.— TV. W. KIXG, Sole Proprietor, 15, Percy-street, TV. DINNEFORD'S PURE FLUID MAGNESIA has been, during twenty-five years, emphatically sanctioned by the Medical Profession, and univer- sally accepted by the Public, as the Best Remedy for acidity of the stomach, heartburn, headache, gout, and indigestion, and as a mild aperient for delicate constitutions, more especially for Ladies and Children. It is prepared, in a state of perfect purity and uniform strength, only by DINNKFORI) & CO., 172, New Bond-street, London ; and sold by all respectable Chemists throughout the world. SIR J. MURRAY'S Patent Fluid MAGNESIA; Sir J. Murray's re-carbonated Cordial cam- phor; Sir J. Murray's vERATED EXTRACT OP QUININE SALTS. This Tonic combines the Antacid and Camphor Fluids with Red Bark, forming the best restorative in weakening discharges, indiges- tion, fevers, agues, or low spirit s. Each fluid ounce contains 2 grains Quinine.— Bottles, Is. and 2s., at LINDER'S, 104, Strand, London ; and all agents, with Dispensing Bottles and Books, directing medical men to make Tinctures without spirits. WOTHERSPOON'S VICTORIA LOZENGE^ BEING MADE BY SELF-ACTING MACHINERY ARE FREE FROM HANDLING, And are recommended for their PERFECT PURITY, DELICIOUS FLAVOURS, AN?) Freedom from all Colouring Matter. Sold in Packets at Id., 2d., 4d., 8d., and Is. id. each. By Grocers, Druggists, and Confectioners. And Wholesale by WOTHERSPOON & CO., Glasgow and London. JEAN MARIE FARINA, Rhein, Strasse, Cologne. London: 2, Salter's Hall- court, & 1G, St. Swiihin's-lane, Cannon-street, City. Extrait d'Eau de Cologne . 205. per box (0 bottles). Lavande 15s. „ „ As in Farina's Fountains. Delivered carriage paid to all parts of the United Kingdom. Eau de Cologne and Lavande in bond, for export- ation, at 0s. &l5s. Gd. per doz. Also in wicker bottles. QUININE. Simplest and best preparation, WATERS'S QUiNINE WINE. Unsurpassed as a tonic— Pleasant to the taste. " Our correspondent may rely upon its purity."— Lancet. Sold by all grocers, chemists, and wine merchants, 30s. per dozen quart bottles.— ROBERT WATERS, 2, Martin's-lane, Gannon-street, London. UNDER ROYAL PATRONAGE. Give INSTANT RELIEF, & A RAPID CURE of ASTHMA, OGISONiPTSON, INFLUENZA, COUGHS, COLDS, And all Disorders of the Breath, Throat, & Lungs. Small Books, containing many hundreds of properly-authenti- catetl (Htres of Asthma, Consumption, Coughs, Influenza, fyc, fyc, may be had from every Agent in the Kingdom. IN COUCH S The effect of Dr. LOCOCK'S PULMONIC WAFERS is truly surprising, as within ten minutes after taking a dose, the most violent cough is subdued. They have a pleasant tasts. 2Fa J&itujet* anti public Speakers. These Wafers, by their action on the Throat and Lungs, remove all hoarseness in a few hours, and wonderfully increase the power and flexibility of the Voice. Prepared only by the Proprietor's Agents, Da Silva and Co., 1, Bride-lane, Fleet-street, London. Sold at Is. ljd., 2s. 9d., and lis. per box, by all Druggists; Ifote. — Full directions are Burt Q n Ale> stout -Porter, Stout, and Barclay's Porter, bottled expressly for every clirhate. SsALT'S EXPORT ALE, Stout-Porter, KJ - ^ and Stout, in casks, at brewery prices. MOODY & CO., AGENTS, 40, LIME STREET, LONDON. T. H. KILMER & SONS' SUPERIOR FURNITURE, As shown in the Industrial Exhibition, Classes 22 and 30, THE CRYSTAL PALACE, SYDENHAM, And at their extensive MANUFACTORY AND WAREROOMS, 28, 31, 32, & 34, Berners Street, Oxford Street, LONDON, W. N OSOTTTS LOOKING CLASSES AND GILT DECORATIVE EURNITUPE. Class'SO. Re- puted for superior quality and perfection in work- manship. Finished in pure gold, with best French plates. The London and Paris Looking Glass Manufactory, established forty years. Entrance to Show-rooms, 898 & ;:;>!), Oxford-street. Manufac- tory, 3 & 4, Great Chapel-street, and 102J, Dean- street, London, W. TjlURNITTJRE, CARPETS, AND BEDDING.— See i our Catalogue, elaborately illustrated with 350 Engravings, containing price of every article, and estimates for completely furnishing houses of any class. This very useful guide forw arded, gratis and post-free, on application to LEWIN CRAWCO UR 6i CO., Cabinet Manufacturers, 22 & 23, Queen's- buildings, Knightsbridge, within five minutes' walk of the Exhibition, and at 12, Sloane-street.IJelgravia. Country orders carriage free. N.B.— An elegant and complete walnut drawing- room suite, 30 guineas; dining-room ditto,in Spanish mahogany, 28 guineas ; and two handsome and com- plete bed-room suites, 3() and 28 guineas. The whole nearly new, and bargains. ATKINSON $c CO., Contractors to Her Majesty's Government, Cabinet Manufacturers, Upholstery, and Carpet Warehousemen, Drapers, Silk Mercers, &c, GO, 70, 71, 72, 73, 74, & 75, Westminster Bridge Road, L A M B E T H. N.B.— On the left-hand side offer crossing the N"ew \V estminster Bridge from the Houses of Parliament. DECORATION AND FURNITURE. JONES & CO., ( Late Robson & Jones.) Respectfully solicit an inspection of their Stock of F1J.ENCH and ENGLISH PAPERIIANGINGS and FURNITURE, of the newest designs at moderate prices. 214, PICCADILLY, W. (near the Circus.) SSViEE'S SPRING MATTRESS (TUCKER'S PATENT). Comfortable, cleanly, simple, portable, and inexpen- sive. An inspection of this important improvement in Bedding is particularly requested. Price for the 3-ft. size, 25s.; other sizes in proportion. WILLIAM SMEE & SONS, Wholesale Cabinet-makers, Upholsterers, and Bedding Warehousemen, 6, FINSBURY PAVEMENT, LONDON", E.C. Purchasers are earnestly warned against in- fringements and imitations. Each genuine Mattress bears the label, " Tucker's Patent. FURNITURE CARRIAGE FREE TO ANY PART OF THE KINGDOM R&.S.BEYFUS. 144 , OXFORD STREET (OPPOSITE BOND Si) & 91 TO 95. CITY ROAD. ILLUS T RATED CATALOC UES GRATIS. CHINA AMD GLASS ROOsVIS. A choice collect ion at very moderate charges. A priced catalogue sent free on application. JOHN % SHARPUS, 49 & 50, OXFORD STREET, W. GLASS SHADES. FERN CASES and AQUARIUMS. PHOTOGRAPHIC GLASS. WINDOW GLASS. CLAUDET & HOUGHTON, 89, HIGH HOLBORN, LONDON. LINTON'S CHINA. IY1 IN TON'S MAJOLICA. IVMNTON'S EARTHENWARE. ENGRAVED AND CUT GLASS. WILLIAM MORTLOCK, 18, REGENT STREET, PICCADILLY, LONDON. By Special Appointment to the Queen. FINE ARTS CATALOGUE ADVERTISER. 41 GLASS, CHINA, AND EARTHENWARE, for Home Use and Exportation . — STOKE Y & SOX beg respectfully to remind the Public that in every department ot their Establishment the highest degree of excellence is associated with prices the most moderate. A large stock always on hand. See specimens at the International Exhibition, Classes 34 and 35, and at 19, King William-street, and 55, Cannon-street, London-bridge, E.C. OXFOR D. JOY, STANDEN, & Co., TAILORS AND ROBE MAKERS, 5, PARK STREET (opposite Wadham College). Their Case of Robes is in Class 27C, close to the south-east entrance to the Picture Gallery. Patterns, estimates, and prices sent post free. BEALE & mMAU, Hosiers, Shirt Makers, and Outfitters, 10 H.R.H. the PRINCE OF WALES, H.I.M. the EMPEROR 0*F FRANCE, and H.M. the KING OF THE NETHERLANDS. 131, NEW BOND STREET, LONDON, W. BENZINE COLLAS. Ladies' Dresses, Gloves, Wearing Apparel, and Household Furniture of every description can be cleaned from grease, oil, tar, or paint, without injury to the colour or texture, by using the Benzine coll as. Price 1.9. Gd. per bottle. Sold by SANGER, 150, Oxford-street, London, and most chemists in town and country. A. BLACKEORNE'S SPECIAL LACE AND EMBROIDERY WAREHOUSE, EXHIBITOR. Eruxellcs, Honiton, Irish, Spanish, French, and Antique Laces. The real old hand-spun French Cambric Handkerchiefs. Novelties in Embroidered and Lace ditto. Ladies' Trousseau and Outfitting Department replete with every novelty, at the most reasonable prices. London: 35, South Audley-street, Grosvenor- square, W. MARRIAGE TROUSSEAUX AND ULTIDI^ItT OUTFITS. CHRISTIAN & RATHBONE, 11, WIGMORE STREET, W. SHIRTS. MORNING- AED DRESS SHIRTS Of every description, fitting with precision and ease, at moderate prices. Measure Papers sent on application. CAPPER & WATERS, 26, KEG-ENT STREET, PICCADILLY, S.W. MICHELL, Artificial Florist, respectfully an- nounces to Ladies that during the Exhibition season he will (as usual) weekly receive from Paris the most recherche" productions in Wreaths, Head Dresses, Dress Caps, Floral Dress Trimmings, Fans, Court Plumes, &c. Special attention given to the Bridal Department; a large assortment of Veils always on hand, in Honiton, plain and fancy tulles, &c. Goods forwarded on approval to all parts of the kingdom.— 93 & 94, Oxford-street. IMPROVEMENTS II SHIRTS. MESSRS. RODGERS Solicit attention to their IMPROVED CORAZZA SHIRTS, combining all the recent improvements, which, for ease, elegance, and durability, cannot be excelled. Six for 31s. Gd., and six for 42s. All the new patterns in Coloured Flannel Shirts. Patterns for selection post-free for two stamps. Rodgers' Illustrated Catalogue, containing in- structions for measurement and detailed informa- tion relative to Shirts and Hosiery, post-free for one stamp. RODGERS & CO., Improved Shirt Makers and Outfitters, 59, ST. MARTIN'S LANE, CHARING CROSS, LONDON, W.C Established CO years. S. BLAGKWELL, SADDLER, HARNESS MANUFACTURER, &c. 259, OXFORD ST. (near the Marble Arch), W., and No. 42, Class 26, EXHIBITION, v utt* for 6UTTA PERCHA JOCKEYS, o A */*i^% SAFETY REINS, MG@ * ^ RUBBER SPRINGS, ,rf^\^><\ 3 ■ > ^SBf ^ SPRING HOOKS, §k->^s^. ANTI-CRSB BITERS %^ SOCIABLE LANDAUS AND DIOROPH AS With recently patented improvements, and every other kind of Carriage, manufactured by ROCK &c SON HASTINGS, AND CRYSTAL PALACE. Prize Medals :— London, 1851 ; Paris, 1855. H. L. TURRILL, {Late llobson & Co.) Coach Builder, by appointment, to Her Majesty, Original Builder of the " SHOWFUL or GENTLE- MAN'S HANSOM," and Manufacturer of every description of Carriage, 67, SOUTH ATTDLEY STREET, Grosvenor Square, W., and 22 & 23, LONG ACRE, W.C, London . Carriages let on Hire, with option of Purchase, for any period. Exhibitor, Class G. ELEY'S SPORTING- AND MILITARY AMMUNITION. Wholesale only, ELEY BROTHERS GEAY'S INN ROAD, LONDON. 42 MSB ARTS CATALOGUE ADVERTISER. PARKER, FIELD, ft SONS, Gunmakers to Her Majesty, tfcc, dtc., lliflchiakers to H. late H.H. the Prince Consort, 253, High Holborn, & Mahscll-strect, Minories, London, Manufacturers of the Enfield Rifle for the War Department. Rifles, Pistols, and Swords, of every description. Small Bore Rifle, New breech-loading Guns, revolving Pistols, &c. BURROW'S LANDSCAPE GLASSES. "The best Binoculars yet in- vented." In sling cases, 3£ and G Guineas each. TARGET TELESCOPES, FOR LONG RANGES, Very light and handy, 25s. and 30s. each. W. & J. BURROW, GREAT MALVERN, London Agents — B. ARNOLD, 72, Baker-street, W.; WALES & MCCULLOCH, 5G, Cheapside, E.C. R. W. WINFIELD & SON, CAMBRIDGE STREET WORKS, BIRMINGHAM, AND 141, FLEET STREET, LONDON, E.C. Class 31. BRASS FOUNDRY, BEDSTEADS, GAS CHANDELIERS, TUBING AND METALS. Sec Advertisement in Industrial Catalogue, also in Illustrated Official Catalogue, Part XIII. Ironmongery & Brass Foundry Of the Lest manufacture at the lowest prices. A Prize Medal for superior Locks was awarded to J. H. BOOBBYER at the Great Exhibition of 1851 lor Locks. Patent Spindled China Mortise Furniture, white, 1*. 2d. per set. J. II. BOOBBYER's Superior Four-Lever Drawer and Cut Cupboard Locks, 2s. each, the best make; also Mort ise Locks for Room Doors. Locks of every sort made to order, to go on place of Old Locks, at any price required, if not found on stock. 14, J. II. BOOBBYER, (Late Sturch & Boobbyer.) Stanhope Street, Newcastle Street, STRAND, LONDON, W.C. To Families, Tailors, Shirt Collar, Dress, Boot and Shoe Makers, Saddlers, and others. W. F. THOMAS & Co's PATENT SEWING MACHINES. In these Machines, made by the original patentees and intro- ducers of the invention with all the improve- ments that 14 years'ex- perience has enabled them to effect, stand foremost and unrival- led for all practical purposes. They are guarant eed to perform their work efficiently, Jwith exceeding ra- pidity, regularity, and ^durability, and to give ^=no trouble ; they are, 3 in fact, the only reli- able Machines. The stitching produced is alike on both sides of the material, without cord or ridge, and the thread cannot be pulled out. Hemming, Binding, Gathering, &c, may be ac- complished with facility. Illustrated Catalogues and Specimens of the work may be had of W. F. THOMAS & Co., 06, Newgate Street, London. A HUMPHRIES, Agricultural Engineer, Atlas Works, Pershwe, Worcestershire, Manufacturer of the celebrated combined Steam Thrashing Machines, which have obtained the first prize at the Bath and West of England Society's Meetings for six years in succession ; also the £20 prize at the Royal Agricultural Show at Canterbury. Rrice £93. Illustrated priced Catalogue on applica- tion. SAMUEL CALLEY, BRIXHAM, DEVON, Manufacturer of Patent Compositions for Ship's Metal Sheathing, Iron Ships, Wood, Iron, and other surfaces. Also, Manufacturer of the celebrated Torbay Iron Ore and Metallic Paints, and Mineral Ochres. Manufactory, New-road, Brixham, Devon. Prices and Testimonials on application at the Works. MESSRS. B. SMITH & SON, PRINTING INK MANUFACTURERS, 7, WINE OFFICE COURT, FLEET STREET, LONDON. Every variety of Black and Coloured Inks ; Lamp Black and other Blacks; also Varnishes, pale, and as fast drying as may be required, are manufactured and can be obtained at the lowest prices. HIND'S PATENT AND OTHER WEI&HIM MACHINERY, And the most approved CRANES AND TURNTABLES, ARE MANUFACTURED BY RICHARD KITCHIN Engineer and Jronfounder, SCOTLAND BANK IRON WORKS, WARRINGTON. WASHING MACHINERY. THOMAS BRADFORD, Engineer and Patentee, 03, Fleet-street, London, and Manchester.— Comprising Washing Machines, with and without the wringing and mangling apparatus attached, for the use of "pri- vate family or public institution ; PatentBox Man- gles Cottage Mangles, Metal Calendering Machines, Napkin and Linen Presses, Drying Closets, Ironing Stoves and Irons, and eveiy other laundry requisite. Estimates and plans for steam laundries on appli- cation, and stating requirements (see Power Ma- chine in motion in Class VIII.) The machines may be seen in practical operation daily at the Ware- house, 03, Fleet-street, London. Descriptive pamphlet post-free or on application. By Special Appointment to Her Majesty Queen Victoria. EDELSTEN & WILLIAMS, (Late D. F. Tayler & Co.) Patent Solid-headed Pin Manufacturers, Iron Wire Drawers, &c, &c, Pearl Button Manufacturers, and General Merchants NEW HALL WORKS, GEORGE ST., BIRMINGHAM. ANTIQUITIES, CURIOSITIES, ORNAMENTS. JACKSON'S CEMENT Surpasses in neatness, in strength, in cheapness, and retains its virtues in all climates. It has stood the test of time, and in all quar- ters of the world. Sold by chemists, &c. A sample bottle per post, free for fourteen stamps, from the Proprietor, Strangeways Manchester. FINE AETS CATALOGUE ADYEETISEE, 43 P HICK'S Treble i'.'it--ni Fire-v^Wi^ qi^) w-l Burglar-proof SAFES, with drill-proof doors and. ttnpickable and gunpowder-proof iocks, are the only Bales that should ever be used for tne security oi cash and valuables against fire and the modern bur- glar. Price's Patent " Ne-plus-ultra" Lnpickable Locks for all purposes and of every size. Lists post free. — GEORGE PRICE, Cleveland Woriis, Wolver- hampton. London Depot : 23, Moorgate-street. SAFETY LAMP, FOR COAL MINES, &c. ( New Patent.) MOPE SAFETY— MOPE LIGHT. 2*0 GLASS— SECURELY LOCKED. CONSUMES THE GAS. For fuller description see "Illustrated Catalogue," Class 1. Patentee and Sole Manufacturer, C. E. CRAWLEY, 17, GRACECHURCH STREET LONDON, E.G. ^mfiSbfateit starch, USED IN THE ROYAL LAUNDRY, ffiHE Ladies are respectfully informed that this 1 Starch is exclusively used in the Royal Laun- dry; and Her Majesty's Laundress says, mat although she has tried Wheaten, Pice, and othei Powder Starches, she has found none ol them equal to the Glenfield, which is the finest Starch she ever used. , , „ , , In Packets of Id., 2d., id., and Sd. each. WOTHERSPOON & CO., Glasgow and London. THE LONDON AND PROVINCIAL TURKISH BATH COMPANY (Limited), 7G, JERMYN STREET, LONDON. The Establishment of this Company in Jermyn Street is now completed. Prospectuses to be had on the premises. 1VTTNE ELMS CEMENT WORKS, London.— The -L^ Portland, Roman, Medina, and Parian Ce- ments of these Works are known in every village of England, and at most of the Continental ports and cities. Parian Cement is a beautiful internal stucco ; the other Cements are highly approved in the hydraulic works of the Thames Tunnel, Menai Bridge, Harbours of Dover and Alderney, &c., &c., as well us i n the grand operations of Cherbourg, Roche- fort, &c. Manufactured by FRANCIS BROTHERS & POTT. Foreigners are invited to the above address to see the qualities tested. Is. CLOCKS. Is. The EVERLASTING, Is., 18. (id., 2s., 3s., 45., 5s., Gs., 7s. Gd., 10s., 12s. 6d,15s., &c. Within three miles, 'Zd . ; booked and packed for rail, Gd. extra. The SILENT NIGHT LAMP CLOCK, from 15s. Gd.— PREEGE & CO., 380, Oxford- street, W., Clock Manufactory and Fancv Warehouse. Depot for DERBYSHIRE SPAR, and English and Foreign ILLUMINATED GLASS. Glass Cobbler Straws, Gd. per dozen, 4s. per gross. GREER, MANUFACTURING CUTLER, 90, NEWGATE STREET. GREER'S CELEBRATED TABLE CUTLERY. Ivory -handle Table Knives. Desserts. Carvers. Best quality . . 30s. 24s. 10s. Medium „ . . 20s. lGs. 7s. Electro-plated Spoons and Forks, 40s. and 3Gs.; Des- sert ditto, 30s. and 24s. ; Teas, &c. 16s. and 12s. Razors, Scissors, Needles, Corkscrews, Penknives, &c. &c. LARGE CHINESE WAKEHQUSE, 18 & 19, FENCHUKCH STREET, CITY, BAKER STREET BAZAAR, V/. THE CONSERVATIVE LAND SOCIETY, Established 7th Sept., 1852, and enrolled under 6 & 7 William IV., c. 32. TRUSTEES. The Viscount Ranelagh. | J. C. Cobbold, Esq.,M.P. EXECUTIVE COMMITTEE. Chairman— Viscount Ranelagh . Vice-Chairman— Col. Brownlow Knox, M.P. Bective, Earl of, M.P. | Meyrick, Lt.-Col Bourke, Hon. Robert. Cobbold, J. C, Esq., M.P Currie, H. W., Esq. Holmes, T. Knox, Esq. Ingestre, Viscount, M.P. Secretary— Charles Lewis Gruneisen, Esq. Offices— 33, Norfolk-street, Strand, London, W.C. Investments can be made (at the option of the investors) for Savings and Capital, either in the Share, Deposit, or Land Departments, or in all the three divisions of business. Plots, or Houses, or Ground Rents, in eighteen counties. Newcomen, C. E., Esq. Palk, L., Sir, Bart., M.P. Pownall, Henry, Esq. Talbot, Hon. & Rev. W.C. Winstanley, N., Esq. THE LARGEST COLLECTION OF CHiMESE & JAPANESE GOODS IN ENGLAND. MANUFACTORY— CANTON, CHINA. SHIPPING AGENTS WILLIAMS & GEILS, Forwarding, Shipping, and Insurance Agents for all descriptions of Machinery and all other classes of Merchandize. 166, Fcnchnrch Street, LONDON, E.C. , and Shipping Office Chambers, Junction Place, HULL. AG-ENCE MARITIME. MM. WILLIAMS et GEILS, Expe'diteurs et Agents d' Affaires, et cf Assurances Maritime pour toute especes de Machines et de Merchandises en general, a Londres :— 166, Fenchurch Street, City, E.C. & Hull :— Shipping Office Chambers, Junction Place. SCHIFFS-AGENTUR. WILLIAMS & GEILS, , Spediteurs, Schiffs-und Assecuranz-Agenten fiir alter lei Maschinen und Waar.en. Addresse in London :— 166, Fenchurch Street, E.C. Addresse in Hull :— Shipping Office Chambers, Junction Place. GROGGON'S PATENT FELTS, As supplied largely by them HER MAJESTY'S GOVERNMENT, ASPHALTE ROOFING FELT is perfectly imper- vious to rain, snow, and frost, and a non-conductor of heat. Price Id. per square foot, or Sd. per yard of 32 inches wide. In rolls of 25 yards long. INODOROUS FELT, saturated with water > I materials, free from offensive smell, is very suitable for lining damp walls, &c. Price Id. per square foot, or Sd. per yard of 32 inches wide. In rolls of 15 yards long. „ ; . "NON-CONDUCTING DRY HAIR FELT IS formed entirely of hair, and is used for covering boilers and steam pipes, effecting a saving in fuel of fully 25 per cent., and deadening sound. 2, DOWGATE HILL, LONDON ; 2, GOREE PIAZZAS, LIVERPOOL. 44 FINE ARTS CATALOGUE ADVERTISER. USTTEK^T^TIOISr^IL, EXHIBITIOIT, 1851. (See Official Illustrated Catalogue, Part XII., Class 31.) PEYTON & PEYTON, BORDESLEY WORKS, BIRMINGHAM, 49, LONG- ACRE, W.C., and 46, MOORGATE STREET, LONDON, E.C., MANUFACTURERS OF BRASS AND IRON BEDSTEADS, SOFAS, COUCHES, AND CHAIRS, Of every description, and suitable for all markets ; BRASS DESK AND OTHER RAILINGS AND PICTURE RODS, AND OF THE IMPROVED HAT AND UMBRELLA STANDS, Of Brass and Iron, or of Wrought and Cast-Iron combined; AND Iron Founders, lachinists, and Engineers. PEYTON & PEYTON (the original firm having been Peyton & Harlow) at various times introduced the following among other Patented Improvements in the manufacture of Brass and Iron Bedsteads :— The Dovetail Joint and the use of Chilled Castings in Head and Foot Rails (both now universally adopted), under their original Patent (Church & Harlow's), dated lGth December, 1841 ; the Improved Iron Lath Sackina; the Patented Process for Ornamenting Brass Bed- steads and Japanned Iron Bedsteads, in imitation of Papier Mache"; and they now request particular attention to THEIR RECENT IMPROVEMENTS, Secured to them by FIVE patents, under the protection of which the Bedsteads exhibited in the International Exhibition, 18G2, are manufactured, viz.:— An improved method of fixing tester and curtain rods together, and of fixing the brackets which support the testers and pillars of Bedsteads ; (Patent dated 21st April, 18G0.) An improved mode of attaching the sides and ends of Bedsteads, whereby a more massive and more ornamental appearance can be given to the pillars; (Patent dated 9th June, 1860.) This object being further attained by the use of improved moulds or chills employed in casting the pillars ; ( Provisional Protection granted 20th November, 18G1.) An improved method of making the dovetail joints of Bedsteads, whereby the lath bottoms can be attached and tightened in the simplest and firmest manner, by an inexperienced person, and with- out any spanner or other loose article, or any part liable to derangement, such as a turning stud. An improved bottom for Bedsteads, both metallic and wooden, which, while it possesses great elas- ticity, is not liable to sink in the middle— a defect much complained of and difficult to remedy. SHOW EOOMS- BORDESLEY WORKS, BIRMINGHAM, and 49, LONG ACRE, LONDON, W.C., Where a Stock is kept of 2000 FINISHED BEDSTEADS. CITY OFFICE-46, MOORGATE STREET, E.C. FINE ARTS CATALOGUE ADVERTISER. 45 LONDON, CHATHAM, AND DOVER RAILWAY. The most direct and convenient Eoute between the WEST END OF LONDON and PARIS, BRUSSELS, and the CONTINENT. Through Tickets are now issued, and the Trains run in direct correspondence with the Royal Mail Steamers, to and from CALAIS and OSTEND. The London Terminus at VICTORIA STATION is in the immediate vicinity of several splendid New Hotels, close to BUCKINGHAM PALACE, the Houses of Parliament, the Clubs, the Theatres, and the Parks, and is situated only One Mile from the INTERNATIONAL EXHIBITION BUILDING-. Full particulars of Times, Fares, &c, to be had at the several Railway Stations in France, Belgium,' and Germany; at the Stations of the London, Chatham, and Dover Railway, and in the General Conveyance Enquiry Office within the Building of the INTERNATIONAL EXHIBITION. J. S. FORBES, General Manager. ROYAL. SHIP HOTEL • DOVER. This Hotel is situated at the Harbour Terminus of the London, Chatham, and Dover Railway. First rate accommodation. Excellent Wines. A Ladies' Coffee Room. To secure rooms address " THE MANAGER." Porters and Vehicles always in readiness on the arrival of the Packets and Trains. AVIS AUX ETR ANGERS. EXPOSITION INTERNATIONALE. LE CHEMIN DE FER DE LONDRES, CHATHAM, ET DOUVRES, Est la route la plus directe et la phis commode entre le WEST END fquartier Ouest) DE LONDRES et PARIS, BRUXELLES, ANYERS, et toute l'EUROPE CONTINENTALS On peut se procurer des a present des Billets directs, soit pour le Trajet simple, soit pour l'Aller et le Retour. Les Convois sont en correspondance avec les Bateaux-a-vapeur Malles-Postes-Koyales, qui font le service entre CALAIS, OSTENDE, et DOUVRES. La Gare de Londres, VICTORIA STATION, a Pim- lico, se trouve dans le voisinage immediat de plusieurs Hotels magnifiques, nouvellement con- struits, tout pres du PALAIS DE BUCKINGHAM, des Chambres du Parlement, des Clubs, des Theatres, al des Pares et des Jardins Royaux, et n' est qu'a un m ille de distance de 1'ExPOSITION INTERNATIONALE. Pour tous les renseignements necessaires sur les heures de depart et d'arrivee" des Bateaux-a-vapeur et des Convois, ainsi que sur le Tarif des Billets, etc., MM. les voyageurs sont pries de s'adresser aux Bureaux des differentcs Stations de Chemin de Fer en France, en Belgique, et en Alleniagne, ainsi qu'aux Stations du CHEMIN DE FER DE LONDRES, CHATHAM, et DOUVRES, et au " Bureau de Ren- seignements sur les Transports Generaux," dans l'interieur de 1'EXPOSITION INTERNATIONALE. DOUVRES. ROYAL SHIP HOTEL. Cet Hotel, spacieux et tenu sur le meilleur pied, est situe pres du Port de Douvres, en face de la Gare du Chemin de Fer de Londres, Chatham, et Douvres. On y parle plusieurs langues e'trangeres. Salle-a-manger particuliere pour les Dames. Pour tous renseignements s'adresser au Gerant de l'Hotel. STREET BROTHERS, BRITISH AND COLONIAL ADVERTISING AGENTS, BY APPOINTMENT TO Her Majesty's Commissioners of the International Exhibition of 1862 the Board of Trade Departments ; Science and Art ; Museum of Practical Geology, &c. &c. PRINTERS, STATIONERS, AND COUNTY COURT CONTRACTORS, NEWSPAPERS, BOOKS, &c. DESPATCHED TO ALL PARTS OF THE WORLD. ADVERTISEMENTS INSERTED IN THE ENGLISH, FOREIGN, AND COLONIAL NEWSPAPERS, MAGAZINES, &c. 11, Serle Street, Lincoln's Inn, London, W.C. 46 FINE ARTS CATALOGUE ADVERTISER. INTERNATIONAL EXHIBITION. MAY BE OBTAINED ON PERSONAL APPLICATION AT THE Offices of the Exhibition Building, South Kensington (near the Eastern Dome), PRICE THREE GUINEAS AND FIVE GUINEAS EACH. The latter entitles the owner to an immediate admission to the Gardens of the Royal Horticultural Society, including the Flower Shows, Fetes, and Promenades. CASES TOR PEESEKTO THE SEASON TICKETS May be obtained at Is., Is. 6d., and 2s. 6d. each. Applications through the post should be addressed to F. R. Sandford, Esq., Secretary, International Exhibition, London, W., and must be accompanied by Post-Office Orders payable to J. J. Mayo, Esq., at the Post-Office, Charing Cross. Cheques or Country Notes will not be received. SEASON TICKETS MAY ALSO BE OBTAINED AT The Royal Horticultural Society, South Kensington, W. South Kensington Museum, W. The Society op Arts, John Street, xVdelphi, W.C. Crystal Palace Ticket Office, 2, Exeter Hall, Strand, W.C. Austin's Ticket Office, St. James's Hall, 28, Piccadilly, W. Milanb's Library, 35, Chapel Street, Belgrave Square, S.W. Sams' Library, 1, St. James's Street, S.W. Westerton's Library, Knightsbridge, S.W. Letts, Son, & Co., 8, Royal Exchange, E.C. Keith, Prowse, & Co., 48, Cheapside, E.C. . J. Mitchell, 33, Bond Street, W. R. Yv r . Ollivier, 19, Old Bond Street, W. W. W. Marshall, 21, Edgware Road, near Marble Arch, W. Cramer, Beale, & Wood, 201, Regent Street, W. Chappell & Co., 49, New Bond Street, W. Shaw & Co., 27, Southampton Row, Russell Square, W.C. J. Roberts, 2, ArabeUa Row, Pimlico, S.W. Smith & Son, News Agents, 186, Strand, Yf.C, and the Book Stalls at the principal Railway Stations. PINE AKTS CATALOGUE ADVEETISEE. 47 1ST MAY, 18G2. ROYAL HORTICULTURAL SOCIETY. REMAINING EXHIBITIONS & MEETINGS IN 1862, TO BE HELD AT THE GARDEN, SOUTH KEMSlfMCTOIM, W. RULES FOR THE ADMISSION OF FELLOWS. Every Candidate is to lie proposed by a Fellow, wlio must be personally acquainted witb liim. Any Fellow may withdraw from the Society by signifying a wish to do so, by letter. Should any Fellow propose to reside abroad, the Council have power to remit all payments which may fall due during such residence abroad. Recommendation Papers for Election maybe had at the Secretary's Office, South Kensington, where payment of subscriptions should be made. SUBSCRIPTIONS. WITHOUT A TRANSFERABLE TICKET. Entrance, £2 2s., and Annual Subscription, £2 2s. Compounded for by a single payment of 20 Guineas. This rate gives admission to the Fellow at all times, and the right of personally introducing two friends, except on the Shows on May 21, June 11 June 26, July 2, September 10, and I f or the issue of a joint cardlor those who', not being October 8 ; also on the day of the Uncovering of FeUows 0 f the Society, may wish, during the period Value of the Prizes offered at the remaining Exhibitions for 1862, besides Medals. For details of Prizes and Rules apply to Mr. Eyles. May 21 (Wednesday) FIRST GREAT SHOW . £463 10 June 11 (Wednesday) SECOND GREAT SHOYf 546 5 „ 26 (Thursday) ROSE SHOW 138 5 July 2 (Wednesday) THIRD GREAT SHOW 532 0 Sept. 10 (Wednesday) AUTUMN FLOWER SHOW 131 IS Oct. 8, , and 10, GREAT INTERNATIONAL SHOW of FRUIT, GOURDS, EOOTS, VEGETABLES, and CEREALS . . 235 5 ARRANGEMENTS WITH THE INTERNA- TIONAL EXHIBITION. The Council, conceiving that it would be a con- venience to a large number of persons coming to London on the occasion of the Great Exhibition, have arranged with Her Majesty's Commissioners the Memorial, and on the first day of the American Show ; also right to Ballot for Plants and Seeds, &c. WITH A TRANSFERABLE TICKET. Entrance, £2 2s.* and Annual Subscription, £4 4.s. Compounded for by a single payment of 40 G-uineas. This rate gives the above privileges of admission to the Fellow himself, and an exact repetition of them to the bearer of the Transferable Ticket, with Ballot for Plants and Seeds, &c. EXTRA TRANSFERABLE TICKET FOR LIFE, AD- MITTING ONLY ONE, BOTH ON ORDINARY DAYS AND SHOW DAYS. Composition, £10 10.?. Fellows paying 2 Guineas, or 20 Guineas, are en- titled to purchase one such ticket. Fellows pay- ing 4 Guineas or 40 Guineas, three such tickets. REMAINING DAYS OF EXHIBITIONS AND MEETINGS. May 2, Friday. Election of Fellows. „ 6, Tuesday. Fruit and Floral Committee. „ 12, Monday. Election of Fellows. „ 21, WEDNESDAY. FIRST GREAT SHOW. „ 28, Wednesday. Election of Fellows and Ballot for Plants. „ 30, Friday. Opening of American Show. During June there will be a Grand Show of American Plants by Messrs. Waterer & God- frey, of Knaphill Nursery, Woking, Surrey. June 0, Friday. Election of Fellows. 11, WEDNESDAY. SECOND GREAT SHOW. „ 20, Friday. Election of Fellows. „ 26, THURSDAY. ROSE SHOW, and Fruit and Floral Sub-Committee. July 2, WEDNESDAY. THIRD GREAT SHOW. „ 4, Friday. Election of Fellows. „ 22, Tuesday. Fruit and Floral Committee. At some period during the season it is expected that the Memorial of the Exhibition of 1851 will be finished, and probably publicly un- covered. August 1, Friday. Election of Fellows. „ 12, Tuesday. Fruit and Floral Committee. ,, 26, Tuesday. Fruit and Floral Committee. Sept. 5, Friday. Election of Fellows. 10, WEDNESDAY. SHOW OF AUTUMN FLOWERS. „ 23, Tuesday. Fruit and Floral Committee. October 8, Wednesday. Fruit and Floral Sub-Com- mittee. „ 8,9, andlO. GREAT INTERNATIONAL SHOW OF FRUITS, GOURDS, ROOTS, VEGETABLES, AND CEREALS. The Show of Gourds, Roots, and Cereals to continue until the 18th. Nov. 7, Friday. Election of Fellows „ 11, Tuesday. Fruit and Floral Committee. Dec. 9, Tuesday. Fruit and Floral Committee. of the Exhibition, from 1st of May to 18th of October, to have a personal free admission to both or either. The price fixed on is Five Guineas. The card, which will be forfeited if transferred, will admit the one person who has signed it to the Opening Ceremony of the Great Exhibition, to visit it on every clay that it is open to the public, and to be present during the same period at all the Garden Fetes and Prome- nades of the Horticultural Society, to the 18th of October. - The Council have the pleasure to announce, that Her Majesty's Commissioners for the Exhibition of 1851 have given their consent that from the 30th of April to the 18th of October visitors maybe permitted to use a temporary roadway for admission from Kensington Gore leading to the back of the Con- servatory. The Council ha ve sought this concession in order to abate the confusion which, without it, must be attendant on the number of carriages visiting the International Exhibition of 1862. June 26. Sept. 10. Oct. 8. „ 9. „ 10. » 11- ADMISSION OF THE PUBLIC. I.— HORTICULTURAL EXHIBITIONS. May 30. OPENING- DAY of the AMERICAN SHOW, but contingent upon the season .25 rose show 2 autumn Flower show ... 2 FRUIT and VEGETABLE SHOW . 2 Ditto . 1 Ditto . 1 5. GOURDS and ROOTS .... 1 Admission by payment at the door, or by tickets previously purchased. II. — GREAT MEETINGS. May 21. FIRST GREAT MEETING. June 11. SECOND Ditto. July 2. THIRD Ditto. Uncovering of the memorial of 1851. Admission by Tickets, price 55. each, purchased previously to the day of the Show. If payment is made at the door, 75. 6d. will be charged for each admission. III. — ORDINARY DAYS. From 1st May to 2,1st May. . . . No admission by payment, s.d. . (Band) l 0 . (Band) l o Wednesdays (Band) 2 6 Thursdays . (Band) l & Fridays . . (Band) 1 Saturdays . (Bands) 5 From 2nd June to 18 th October. Sundays No admission by payment. Mondays. . (Band) } , Qjge&SL akme . . . , 10 Garden and Exhibition 1 6 Garden from Exhibition 0 6 Sundays . Mondays. Tuesdays Tuesdays Wednesdays Thursdays Fridays . Saturdays 3 (Band) j) i (Band) ) 5 :Band) Bands) 5 0 48 FINE ARTS CATALOGUE ADVERTISER. BAY & SON, LITHOGRAPHERS to the QUEEN, Illustrated, Illuminated, & General Book & Fine- Art Publishers. Dedicated, by Command, to Her Most Gracious Majesty the Queen, And by permission of Her Majesty'' s Commissioners. MASTERPIECES of INDUSTRIAL AUT & SCULPTURE at the INTERNATIONAL EXHIBITION, 1862, by J. B. Waring. This collection will consist of 300 Plates, containing several hundred Illustrations of the best examples in Sculpture and the Decorative. and Industrial Arts ; to be executed in the highest style of excellence attainable in Chromo-lithography, from coloured Photographs, &c, taken for the purpose, with the express permission of the Exhibitors, by Francis Bedford ; and will form a complete and valuable epitome of the state of the Industrial Arts throughout the World in the year 1862 ; a work, as one of reference, calculated to advance the state of these Arts in the future. It will be of such per- manent value, and of such elegance and beauty in its production, as to render it necessary for every library in the world, and fit for the drawing-room table. THE EDITION WILL BE LIMITED TO 2,000 COPIES, and the Stones will then be Destroyed, thus insuring the fullest permanent value for every copy issued. SUBSCRIBERS' IT AMES SHOULD BE SENT TO THE PUBLISHERS AT ONCE. The Work will be published in Parts, each to contain Five Plates and Descriptive Text. The entire work will form Three Volumes. Part I. May 1st. To be completed in 12 months. Day & Son's Authentic Views of the International Exhibition Building, and its Contents, of all sizes and at all prices. The Photographs in the East, by Mr. Bedford, who, by command, has accompanied His Royal Highness the Prince of "Wales in his Tour through the Holy Land, &c. &c. will be published by Messrs. Day & Son on Mr. Bedford's return. The terms of publication of this highly interesting and beautiful Series may be had on application. A list of Mr. Bedford's English Photographs may also be had. Illuminated and Illustrated Works in preparation. CAPT. COWPER P. COLES' (R.N.) SHOT-PROOF (Cupola) STEAM RAFT, contrasted with the .appropriation of the Invention in the " Monitor." Views, Elevations, Sec- tions, and Plans : with Dimensions, Price 7s. 6d. ; also Views of Armour-clad Ships, each 10s. 6d. Lately Published. 1. The Victoria Psalter. Illuminated by Owen Jones. De- dicated by command to the Queen. Bound in leather, in relief, £12. 12s. 2. Painting in Water-Colour. By Aaron Penlcy. With Water-Colour Studies, £4. 4s. Proofs, £6. 6s. 3. The Sermon on the Mount. Illuminated by W. & G. Audsley. Magnificently bound, £8. 8?., £10. 103., and £12. 12s. A splendid and extraordinary work. 4. Manuals for the Practice of Illuminating. By Wyatt & Tymms, Is. (id. each. 5. Mr. C. T. Newton's Discoveries at Halicarnassus is out of print, and can only ba obtained at the price of £21. 6. Mr. W. Eden Nesfield's work on Mediaeval Architecture in France and Italy. Just ready, £4. A list of other Architectural Works. ; 7. A List of Illuminated and Illustrated Works ; 8. A List of Government Educa- tional Diagrams ; 9. A List of Books and rriuts, illustrative of .all parts of the world ; 10. A List of Chromo-litho„n-aphs from Drawings, lent for publi- cation by the Queen, may be had on application. THE DESTROYED PLATE CEEIST BLESSING LITTLE CHILDREN, By EASTLAKE and WATT, 22 by 29, on paper 44 by 33. Artists' Proofs, India, published at £15. 15s. price £5. 5s. Before Letters, ditto 12 12 „ 4 4 Inscription Proofs, ditto 8 8 „ 3 3 After Letters proof, plain, ditto 5 5 „ 2 2 Prints, plain ditto 4 4 „ 11 1. Ephesus, and the Temple of Diana. E. Falkcner, £2. 2s. 2. The Miniatures and Ornaments of Anglo-Saxon and Irish Manuscripts. J. O. Westwood. 200 copies printed, and the stones destroyed. In 17 parts, at £1. Is. 3. Anatomy for Artist?. By J. Marshall, £1. Is. 4. The Church's Floral Kalendar. Miss Cuyler, with 38 Illuminated pages by Tymms, £1. lis. 6d. 5. The Prisoner of Chillon. Illuminated by Audsley, £1. Is. 6. The Colours of the British Army. By R. F. McNair, in 36 parts at 5s. 7. The History of Joseph and his Brethren. Illuminated aud Illustrated by O. Jones and H. Warren, £2. 2s. 8 One Thousand aud One Initial Letters. Designed and Illuminated by O. Jones, £4. 4s. 9. Bunyan's Pilgrim's Progress, 30 Water-Colour Drawings. By J. Nash, £3. 3s. 10. Indian Fables, Translated from the Sanicrit and Illus- trated in Colours. By Florence Jacnmb, £2. 2s. 11. The Art of Decorative Design. By C. Dreiser, 290 Illus- trations, many Chromo lithographs. 12. Sketches from Nature in Pencil and Water-Colours. By G. Stubbs, 17 Plates £1. Is. 13. Passages from English Poets. Illus' rated by the Junior Etching Club, 47plate3, proofs £G. 6 s. fine copies £i. 3s. Books nearly out of Print, never to be reproduced, the Stones being destroyed. L THE GRAMMAR OF ORNAMENT. By OWEN JONES. Published at £19. 19s., present price £12. 12s. 2. ROBERTS'S SKETCHES IN THE HOLY LAND, &c. 6 vols, in parts, published at £7. 7s. price £3. 10s. 6 da. 3 ditto. 9 0 „ 4 10 6 do. 3, half mor., ditto 10 10 „ 5 0 6 do. 3, morocco, ditto 11 11 „ 6 0 3. THE ART OF ILLUMINATING. By M. D. WYATT and W. R. TYMMS. Published at £o. 10s., price £2. 23. A List of other Works nearly out of print may be had. COMMISSIONS EXECUTED IN EVERY BRANCH OF THE FINE ARTS. Tl A V Rr QAM ™H0GRAPHERS to the QUEEN, CHROMO-LITHOGRAPHERS, Ull. X 0& 01/11 5 steel and Copper-plate Engravers and Printers, Draughtsmen and Engravers on Wood, Artistic, Scientific, or Commercial— Architectural Draughtsmen and Colourists ; Letter-pre3s Printers and Bookbinders : in fact, Producers of all Parts and the entirety of "Works of every class. BANK NOTE AND CHEQUE ENGRAVERS AND PRINTERS, PHOTOGRAPHERS, ETC. PATENTEES AND SOLE WORKERS OF A NEW SYSTEM OF AUTOMATIC LITHO- GRAPHY AND CHROMO-LITHOGRAPHY, which offers immense advantages to all Consumers of plain, ornamental, or colour Printing. Estimates on application. Picture-Frame Makers, &c. PRESSES, STONES, AND EVERY MATERIAL FOR THE PRACTICE OF LITHOGRAPHY. 4 to 9, GATE STREET, LINOOLN'S-INM" FIELDS, LOFDON, W.C. DAY 4* SON show Specimens of their Productions, and Copies of their Works, at their Stall, North Gallery, near Eastern Dome ; and exhibit Colour-printing in action in the Processes Court. ^ f