Yale Center for British Art and British Studies CATALOG-UE OF DEAWINGS BY BRITISH ARTISTS AND ARTISTS OF FOREIGN ORIGIN WORKING IN GREAT BRITAIN, PBEBBEVED IN THE DEPARTMENT OF PRINTS AND DRAWINGS Df THB BRITISH MUSEUM. BY LAURENCE BINYON, B.A., ASSISTANT IN THE DEPAETMENT OP FEINTS AND DEA WINGS. VOL. II. PRINTED BY ORDER OF THE TRUSTEES. SOLD AT THE BBITISB MUSEUM; AND BT Longmans and Co., 39 Patebnostbb Bow ; Bbbnabd Quabitch, 15 Piccadilly ; AsHEB and Co., 13 Bedpoed Stbebt, Coveht Gabden; Kegan Paul, Tbbnoh, TBfJBNBB and Co., Patbenostbb House, Chaeing Cboss Road ; and Heney Fbowdb, Oxpobd Univbesity Peess, Amen Corner, London. 1900. [.4H rights reserved.'] LONDON: PRINTED BY WILLIAM CLOWES AND SONS, Limited. STAMFORD STREET AND CHAEING CBOSS. PEEFACE The present volume, following that issued by the Trustees in 1898, is the second of a complete catalogue of drawings by British artists and foreign artists working in Great Britain, which is in course of compilation by Mr. Laurence Binyon, Assistant in the Department of Prints and Drawings. It extends from the letter D to H, and includes therefore several of the names in English art, such as Flaxman, Gainsborough, Girtin, Hogarth, which are both most distinguished in themselves and best illustrated in the Museum collection. The name which fills the most considerable space is that of John Doyle the political caricaturist (" H - B"). He is represented by a very numerous series of the original sketches for his published caricatures, purchased by the Trustees in 1882. Other leading names, of earlier date, are those of foreigners, as for instance Holbein and HoUar, who by reason whether of length of residence or of the inspiring and transforming influence they exercised upon native artists cannot be omitted from a catalogue intended, as this is, to give something like a complete historical conspectus of the arts of the draughtsman and sketcher as practised in Great Britain. The plan and method of the work are in all respects the same as those adopted in volume I., and are fully explained in the preface to that volume. In the brief biographical notices will be found a few new results of research, in the shape of birth-dates and other matters not printed elsewhere. SIDNEY COLVIN. CATALOGUE OF DKAWINGS, VOL. II. DACKETT, T. (worked about 1684). Miniature painter : biography unkno-wn. 1. Portbait op a Gentleman. Half-length, in an oval, -wearing full -wig, face in tliree-quarters, eyes full. Signed and dated T. Daakettfe : ad : vivum, 1684. Pencil on vellum ; roy., 4| x 3f in. Bequeathed by the Kev. C. M. Craoherode, 1799. DADD, Richard (b. 1819, ). Painter ; studied at the Royal Academy, and exhibited, chiefly at Suffolk Street, 1837-1842 ; worked in London, in Italy and S-wdtzerland ; became insane in 1843, when he killed his father ; confined from 1844 in an asylum. 1. Eecklessntess : a Pakty of Brigands. Four brigands aud a woman resting at noon on a rocky height ; the woman, seated on the ground against the rock, is about to pour wine from a flask, and looks towards a brigand, who squats on the grountl, T., holding a cup; another brigand, sitting behind the woman, holds a gun ; a third stands behiiid him, emptying a ii;)sk into his mouth ; the fourth reclines, with arms crossed, on the top of the rock 1. above the woman, his gun in the foreground, leaning up sgaiiist his knee. In the distance bare hills, and r., a ruined fortres.s on a wooded height, with a glimpse of sea beyond. Inscribed Sketch to illustrate the Passions. Tlie liecjdessness, hy Richard Dadd, Bethlehem Hospital, London. March IS* A.D. 1855. Water colours ; roy., 14J x lOJ in. Purchased May, 1875. DAHL, Michael (b. 16o6, d. 1743). Portrait painter ; born and educated at Stockholm ; came to England 1678, and, after studying in France and Italy, settled in London 1688; gained considerable vogue as a portrait painter, succeeding to the practice of Kjieller. 1. Ijj->;er Coubt of a Building. View of the inner court of a classical building from one of the sides, with the other side seen in perspective from 1. foreground to r. distance. The court is cros-.ed by two bsilustraded galleries, the nearer of which leads up to an upper part of the building ; on the pillars supporting it are tropldrs. Pen and Indian-ink wash ; roy., lOJ x 14| in. 2. Pokteait op a Gentleman. Whole-lenglh, standing in a paved court, a pillar 1., statues of War and Justice in niches behind ; with r. arm across the body, aud bat under 1. arm ; the face in three-quarters. Pen, -washed with Indian ink, on bluish-grey paper; roy., ISJ x 123 i„. vm. TT E Dramngs of the British School. 3. Poeteait op John CHnEOHiLL, first DnKE of Marleoeottgh. Whole length, in armour, standing, nearly full face, looking r., 1. hand on hip, r. hand on helmet ; landscape background, with cavalry skirmish r. Inscribed by Horace Walpole, John, Dulce of Marlborough, drawn by JDahl. Lord Portmore has the picture at Weybridge, Pen and Indian-ink wash on drab paper ; imp., 19| X Hf m- Drawings after both of these portraits were made by one of the brothers Byng. See Vol. I. of this catalogue, p. 160, No. 1 (10) and (15). All purchased at the Bull sale, June, 1881. DALL, Nicholas Thomas (d. 1777). Landscape painter; by birth a Dane ; settled in London about 1760, and was scene-painter at Covent Garden; elected A.R.A. in 1771, and exhibited landscapes at the Academy till his death. 1. EoOKY Landscape. A wild foreground of rocks, with a cave in the centre and trailing brambles ; beyond, a wall of cliifs shutting in the valley ; a few trees at the 1. in the middle distance. Probably a sketch for a stage scene. Signed and dated on the margin, outside a border drawn round the subject and arched at the top : N. T. Dall, 1775. Water colours and body colours, with some pen-work ; imp., 16J x 15J in. Purchased May, 1890, at the Percy sale. DANBY, Francis, A.R.A. (b. 1793, d. 1861). Painter; born near Wexford; studied drawing at Dublin; from 1813 worked at Bristol and in London, from 1829-1841 in Switzerland, and from 1841 till his death in England again, chiefly at Exmonth ; elected A.R.A. 1825. Painted historical and ideal landscapes in an ambitious and somewhat theatrical style. 1. A Garden Nook. A group of young trees and a flight of stone steps at the bottom of a grassy hank, sloping up steeply r. Black chalk on blue-tinted paper, heightened with white ; roy., 7| x 5| in. 2. Study of Foliage. A hedge of straggling bushes aud creepers. Black chalk sketch on drab paper, heightened with white; roy., 7| x 32 in. Nos. 1 and 2 were purchased January, 1872. 3. In Kensington Gardens. Broken ground with shrubs and roots; a narrow glade opening through tiees beyond, and two figures at the end of it. Inscribed Kingsington [sic] Gardens. F. Danby. Pencil ; roy., 5 x 6 J in. Purchased February, 1880. i. EowNHAM Febry ON THE AvoN, NBAE Clipton. A broad, sandy shore with trees above a hedge r., aud a man in the foreground breaking stones near a disused capstan; flowing 1., the river lies in sunshine, with boats crossing at thefei-ry,just beyond which, on the further bank, is the harbour entrance and a block ot buildings ; in the distance, woods and fields and hills Water colours ; roy., 7J x 17f in. Purchased May, 1885, at the Cheney sale. 5. Conway Castle. The castle towards the 1. rises dark from the broad waters of the harbour the shore of which occupies the foreground; the low sun, bursting from a cloud above the castle owers, shines throu|h the foliage of a tree on thf near bank 1 and sheds a yellow light on the further shores and on a wooded islet r.; a ferry-boat with cattle crosses the river; some figures Tnd vessels are visible under the castle; and two oxen enter the water in the foreground Water colours ; roy., 12 x 18J in. luie^iuuuu. Purchased May, 1890, at the Percy sale. Thomas Danby. — George Dance. DANBY, Thomas (b. about 1817, d. 1886). Landscape painter ; younger son of Francis Danby ; studied in Paris ; worked chiefly in Wales ; influenced by his friend P. F. Poole, R.A. ; elected Associate of the Water Colour Society in 1867 and Member in 1870. 1. Two on one mount, roy., viz. : — (a) Landscape Stcdy. A clump of trees and u hut on the flat shore of an estuary, with distant mountains beyond. Water colours on greyish paper, heightened with whits ; 3| x -tf in. (b) Shrimping at Sunrise. A man shrimping on a low shore, the water reflecting yellow gleams of dawn above a bauk of clouds ; at a little distance, 1., a boat and two figures. Water colours and body colours ; 3J x 4J in. Presented by Sir A. W. Franks, K.C.B., in October, 1891. DANCE, George, R.A. (b. 1741, d. 1825). Architect; son of George Dance, the architect, whom he succeeded as Surveyor to the City of London ; one of the original members of the Royal Academy ; rebuilt Newgate and designed other buildings, but after 1798 devoted himself chiefly to chalk portraits, seventy-two of which were engraved by W. Daniell. [1-8.] Portraits engraved bv William Daniell, E.A., for Dance's Collection of Portraits. Two vols. 1807-1814. 1. Sawrey Gilpin, E.A. Head and shoulders iu profile, looking r. Inscribed Sawrey Gilpin, R.A. Pencil; roy., lOJ x 7f in. See below in this catalogue, under Sawrey Gilpin. Purchased May, 1879. 2. Jo-\-AS Drtander. Half-length, seated, looking 1., with arms folded. Signed Geo. Dance, June 9th, 1795. Pencil ; roy., 9i x 7J in. , -, t j • Jonas Dryander (b. 1748, d. 1810), botanist, was bom and educated in Sweden ¦ came to England, and was appointed librarian to Sir Joseph Banks, the catalogue of whose librnry, published 1796-1800, was his greatest work ; he was librarian to the Eoyal Sooiety and the Linnean Society. Purchased December, 1884. 3 Besnet Langton, LL.D. Head and bust in profile looking 1. Signed and dated Geo. Dance, April 28"', 1798. Pencil ; roy., 10 x 7J in. . . „ „ ^ j. j Bennet Langton, b. 1736, educated at Trinity College, Oxford, was a distinguished Greek scholar; succeeded his friend Dr. Johnson, as Professor ot Ancient Literature at the Royal Academy; died 1801. 4. General Pasquale Paoli. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, July 18", 1797. Pasquale^'paoli b. 1 7''26 in Corsica, entered the service of the King of Naples ; returned 1755 to Corsica as commander-in-chief, and governed with conspicuous wisdom and success; came to England 1769 after a defeat by the French, but returned 1790, and was at the head of aff -irs till 1795, when he was forced to retire again to England, and died there in 1807. 5 The Chevalier d'Eon. Head and bust, seated in profile lookuog 1-, weariiig woman's dress and cap, with star on breast. Dated and signed May 26'", 1793, Penci" tinted in Indian ink and water colours ; roy., 10iJ>< 7f in. ChMles Genevieve Louis Auguste Andre Timothee D'Eon de Beaumont, b 1728 of an old French family, acted as secret agent for Louis XV. m Eussia ; served 'a camVagn as captain of dragoons: came to England 1762 on a political Draivings of the British Bchool, mission, and remained till 1777, when he was ordered back to France and compelled to wear woman's clothes ; in England from 1785 till his death in 1810, supporting himself by exhibitions of fencing. His sex was long a theme for disputes and wagers. 6. William Thomas Lewis. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, Oct' 28"', 1798. Pencil, with water-colour tint on lips and cheek; roy., 10 x 7f in. William Thomas Lewis, actor, called ' Gentleman Lewis,' b. about 1748, first made a name in Dublin ; after 1773 played at Covent Garden ; an admirable comedian ; died 1811. 7. Prince Hoare. Head and bust in profile looking 1. Signed and dated Geo. Dance. Nov 12"', 1798. Pencil, with slight tint on lips and cheek; roy., 9 J x 7 J in. Prince Hoare, painter, b. 1755, studied under Mengs at Eome ; painted portraits and historical subjects, and wrote several works on art. 8. Thomas Girtin. Head and shoulders in profile looking 1. Signed and dated Geo. Dance, Aug" 28"', 1798. Pencil, with red on lips and ear ; roy., 10 x 7§ in. See below, in this catalogue, under Girtin. [9-27.] Portraits not engraved. 9, Thomas Banks, E.A. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, July IS'', 1794. Pencil, with slight tint on lips and cheek ; roy., 10 x 7J in. A slightly different portrait of Banks, dated Feb., 1793, was engraved in the ' Collection of Portraits.' Thomas Banks, sculptor, b. 1785, studied in London and in Rome ; worked for a time at St. Petersburg, afterwards till his death, 1805, in London ; the first English sculptor, according to Eeynolds, to produce works of classic grace. 10. William Daniell, E.A. Head and bust, seated, in profile lookinf 1 Sio-ned and dated Geo. Dance, Dec'' 7'\ 1794. ° Pencil, touched with red on lips ; roy., 10 x 7f in. See in this catalogue under W. Daniell. 11. John Wulcot ('Peter Pindar'). Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, July 17"', 1793. Pi ncil, with red on lips and cheek ; roy., 9J x 7J in. John Wolcot, b. 1738 in Devon, practised medicine in Jamaica and in Cornwal, where he discovered the painter Opie; best known by his satirical odes, published under the name of Peter Pindar, on artists of the day ; died 1819. 12. The Eev. Daniel Ltsoss. Head and bust, seated, in profile looking 1. Dated and signed Dec 14"', 1793, Geo. Dance. Pencil, with red on lips and cheek ; roy., llf x 9 in Daniel Lysons, topographer, b. 1762, was chaplain to Horace Walpole, and rec(or of E^dmartou; his principal work is the 'Environs of London,' in four volumes, admirably compiled. He died 1834. 13. Samuel Lysons, F.S.A. Head and bust, seated, in profile looking 1 Signed and dated Geo. Dance, JiUy 17"', 1793. '^^ = '• oiguea Pencil, with red on lips and cheek; roy 10 x 73 in Towp'^'^nf 'l^nnl'n ^^ ^"''""'^ ^^f "'' ^^ ^'^^^' ^^'^ ^«^P«^ °^ ^^^ ^ecords in the tiie chief work of hi, iT' antiquary, and an artist of some accomplishment; 1819 'Eeliquise Britannico-Eomanas ' ; he died ''¦ 'GerDl::::my il%^:' ^'^^*' ^^^'^^' » ^-^'^ ^-^--^g l- S'^-d and dated Pencil, touched with red on lips ; roy 10x7* in - "Ir??-.^';!"™*.^' '""^ 1744 in Switzerland, succeeded his father as assistant in the British Museum, and was principal librarian 1799-1827 -died Isl?! George Dance. 15. De. Eichard Beooklesby. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, May ITi'', 1795. Pencil, touched with red on lips ; roy., 10 x 7j in. Eichtird Brocklesby, physician, b. 1722, graduated at Leydi-n, and practised in London ; remembered as the beloved friend of Burke and of Johnson, and as the author of a wurk on music as a cure of diseases, and another on the improvement of military hospitals ; he died 1797. 16. Thom-\-S Holcroft. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, May 9"', 1795. Pencil, touched with red on lips and cheek; roy., 10 x 7| in. Thonias Holcroft, dramatist, b. 1745, after many adventures and struggles with poverty won success at Covent Garden with an adaptation of the ' Mariiige de Figaro,' and became celebrated by his comedy ' The Read to Ruin,' which still keeps the stage ; he wrote also novels and translations ; died 1809. 17. Robert Beettinghaii. Head and bust, seated, in profile looking 1. Dated and signed Xov^ 3"', 1793, Geo. Dance. Pencil, with red tint on cheek and lips ; roy., 123 x 9| in. Eobert Furze Brettingliaiu, architect, b. 1750, after studying in Italy became one of the most successful ai-chitects of his day ; he built a number of prisons, and many mansions throughout the country ; died about 1806. IS. John Julius Angeesteln. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, Febv 9"', 1795. PencO, tinted on the face ; roy., 10 x 7J in. John Julius Angerstein, b. 1735, of Rusaiim extraction, went to l-'.nghind young, and became an underwriter at Lloyd's aud one of the most iniiuential merchants in Loudon ; his fine collection of pictures, bought for the nation at his death, formed the nucleus ofthe National Gallery. 19. Nicholas Ee-vett. Half-length, seated, nearly in profile, looking 1. Signed and dated Geo. Dance, Xoif 29'', 1800. Pencil, touched with red on the lips ; roy., 10| x 7| in. See in this catalogue under Eevett. 20. Chaeles Bueney, D.D. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, April 12'*, 1794. Pencil, with red on lips and on waistcoat; roy., lOJ x 7f in. For Buiney's biography, see under his portrait by H. Edridge. 21. S. P. Coce:eeell. Head and bust, seated, in profile looking 1. Signed aud dated Geo. Dance, July 28'\ 1793. Pencil, partially tinted in water colours ; roy., 9J X 7g in. Samuel Pepys Cockerell, architect, b. 1754, was pupil of Sir Eobert Taylor, and had an extensive practice ; died 1827. He married Ann, daughter of John Whetham, of St. Ives, and one of their sons was Charles Robert, a more distinguished architect than his father. 22 Mrs S. P. Cockeeell. Half-length, seated in a chair, in profile looking 1. Signed and dated Geo. Dance, Oct' 6", 1793. Pencil, with water-colour tint on face and sash ; roy., 12J X 9 m. See note on the preceding drawing. 23 Michael Angelo Booker. Head and bust, seated, in profile looking 1. Signed and dated Geo. Dance, Nov' 24", 1793. Pencil, touched with red on face ; roy., 12| X 9J in. See in this catalogue under Rooker. 24. Edward Edwards. Head and shoulders, in profile looking 1. Signed and dated Geo. Dance, June V, 1793. , Pencil, partly tinted in water colours ; roy., 10 x 7| m. See in this catalogue under Edwards. 25 Mrs Opie. Half-length, seated in a chair, in profile looking 1., wearing a cap. Signed and dated Geo. Dance, Feb'' 16"', 1794. Pencil, with red tint on tace and sash ; roy., lOj x 7g in. Drawings of ihe British School. Mary Bunn, daughter of Benjamin Bunn, solicitor, was married to John Opie, the Coruish painter, in 1782, two years after he had settled in London. 'J'he marriage was unhappy, and- she eloped in 1795, the year after tliis drawing was made. Opie obtained a divorce in 1796, and in the next year made a more fortunate marriage with the charming and gifted Amelia Alderson, of Norwich. 26. Portrait of a Gentleman Unknown. Head and bust of a middle-aged man in profile looking 1. Pencil, with slight tint on face ; roy., 9J x 6| in. Nos. 3-26 were purchased July, 1898. 27. Portrait op Benjamin Smith. Head and shoulders, seated, in profile looking 1. Signed and dated Geo. Dance, July 11"', 1796. Pencil, with tint on face ; roy., 10 x 7J in. See in this catalogue under Benjamin Smith. Presented by W. Barclay Squire, Esq., August, 1898. 28. Portrait op John Steers. Head and shoulders, seated, in profile looking 1. Signed and dated Geo. Dance, March 10th, 1798. Pencil, with slight tint on face ; roy., 9J x 7f in. 29. Mr. Scott, Brickmakbr. Head and bust, seated, iu profile looking 1. Dated Aug. 30"'. Pencil, with slight tint on face ; roy., lOJ x 7f in. Nos. 28 and 29 were presented by the Trustees of the National Portrait Gallery, November, 1898. DANCE, Nathaniel, afterwards Sir Nathaniel Dance-Holland, R.A. (b. 1735, d. 1811). Painter; elder brother of the preceding, G-eorge Dance ; pupil of F. Hayman, and studied also in Italy ; elected R.A. 1768; painted portraits and historical pictures till 1790, when he retired from his profession, took the name of Holland and entered Parliament. 1. Satirical Portrait op James Barry, E.A. Barry stands with his back turned and his hands in his pockets, aud a surly expression on his face ; labels, with Mr. Soup Maigre and The Blue Bells of Ireland, proceed from his mouth ; near him, r., is another man -with his back and face turned saying Monsieur Roast Beef. Beneath are some lines — On his coming to Rome Barry swore with a frown Ev'ry man who oppos'd him he'd hick or knock down, etc. Pencil ; roy., lOJ x 7i in. Presented by J. H. Anderdon, Esq., June, 1868. 2. Two on one mount, roy., viz. : — (a) Poe'teait op a Gentleman. Head and shoulders of an old man with long curling hair, in three-quarter face, looking 1. Pencil ; oval ; roy., 8 x 6i in. ^'^ ^s:z:L\mriT:;t:,ut "'' "^° "^^™^ ^ ^'^' ^•^•' -"^^ ^^^^ Pencil ; oval ; 7i x 6i in. 8. Two on one mount, roy., viz. : — ^"^ tking I., "wLlnfC'"- ^ '°""^ "^"' ^¦^¦' ^^-°^* - '-'' ^-«' Pencil ; oval ; roy., 8 x 6 in. ^'^ Srkirgupt'vJeXgV "''''"'^'^' ""'''' ^•^•' ^ t^^-q-t- Pencil ; oval ; roy., 8 X 6g in. Possibly a portrait of Bartolozzi. Nathaniel Dance. 4. Portrait of a Gentleman. Head aud shoulders of a young man in three- quarter face turned 1., eyes full. Pencil ; roy., 9 J x 7J in. 5. Portrait of a Gentleman. A young man, H.L,, in three-quarter face. looking 1. Pencil ; roy., 10 X 7J in. 6. Portrait op the Eev. John Penton. H.L., nearly in profile, looking 1., with arms folded. Pencil ; roy., 8 x 6 in. 7. Two on one mount, roy,, viz. : — (a) Poeteait Study. A young man, W.L., seated on a chair, directed 1., face full. Pencil ; roy., 7| x 5J in. (b) A Man sketchin-o. W.L. figure of a man seated towards the r. sketching in a book- on his knee ; two spaniels lying on the floor r. Pencil ; 7J X 5J in. 8. Two on one mount, roy., viz. : — (a) A Man eeading. W.L. figure of a man seated towards the r., reading at a table, -with one hand raised to his ohin. Pencil ; 6 J X 5 in. (6) A IMan sketching. A man wearing a hat seen from behind, W.L., seated sketching before a window, his book resting on the sill. Indian ink with pen outlines ; 7f x 6 in. 9. A Poeteait Group. H.L. group of five men ; the one at the r. young and apparently an ofiicer in the army ; next him, two clergymen talking together ; at the 1. two men with short hair, both looking 1. Pen and ink ; roy., 5J x 6| in. 10. 06. ' Diable 1' A man riding along a road brought up by a dead ass Ij ing r., at which his horse stops ; a post-chaise 1. behind. Above, a sketch of a man -writing at a table. Pen aud ink sketch ; roy., 9f x 7 J in. Bev. ' Peste ! ' The same incident. The horse is now lashing out furiously with his heels, and the post-chaise is disappearing in the distance. Nos. 2-9 were purchased July, 1898, with the album of sketches described below. 11. Album once belonging to George Dance and described by him on the cover as ' Drawings, Sketches and Fragments by my late brother Nathaniel Dance, Esq"., E.A., afterwards created Sir Nathaniel Holland, Baronet. Geo. Dance, 1818.' (1) Study op a Bearded Face, frowning and looking up. Black chalk. (2) (a) Study of a Young Man's Head lying on one side, and foreshortened. (5) Study op the same Head, looking up. (c) Two Studies of a Female Head, from the antique. Black chalk. (3) Head op a Barbarian, from the antique. Black chalk. (4) (a) Part op a Female Head, from the antique. Black chalk. (6) The same Head. Bed chalk. (5) Study op a Nude Male Figure, from behind. Black chalk on grey paper, heightened with white. (6) Study of a Male Head, from a oast. Black chalk. (7) Study op a Woman's Figuee, naked to the waist. Bed chalk on drub paper, heightened wilh white. Drawings of the British School. (8) (a) Study of Arms and Drapery. Black chalk. (6) Study of a Man's Legs in Knee Breeches. Black chalk on blueish paper, heightened with white. (9) (a) (6) (c) Studies of Legs and Feet, in costume. Black chalk. (10) (a) Study op Drapery, and an Angel ; from a picture. Pen and ink. (b) An Italian in a Cloak, seated. Black and white chalk on brown paper. (11) (a) (6) (c) Studies of Legs. Black chalk, or red chalk. (12) (a) Anatomical Study of a Leg. Red chalk. (6) Two Studies op Heads. Black chalk on drab paper, heightened with white. (13) Gardens on the Pinoian Hill, Rome. Black chalk sketch. (14) Landscape with Trees, and a Cave in Rocks. Black chalk on grey paper, heightened with white. (15) Italian Landscape ; trees framing a distant view. Black chalk sketch. (16) Gardens of the Villa Mediois, Rome. Black chalk sketch. (17) (a) A Female Figure, moving 1. (6) A Youth with a Spear, in classical attire. (c) Portrait Sketch op a Lady, T.Q.L., holding a palette and brushes, the face in 1. profile. Pencil. (18) (a) An Old Man playing a Lyre. Black chalk. (V) Apollo singing and playing a Lyre. Red chalk, black chalk, and pen. (e) Sketch of Lady with huge Head-dress. Pen and ink. (19) A Man asleep in a Chair, a Book in his Hand. Black chalk. (20) A Stout Old Gentleman walking l.. Hat in Hand. Pencil. (21) A Man kneeling, seen peom behind. Black chalk. (22) (a) An Old Man (apparently the sitter for the portrait described above, No. 5) writing at a Table. Pencil. (6) A Young Man lying on his Side asleep, a Dog beside him. Black chalk. (23) (a) Sketch op a Young Lady. Pencil. (6) Head of a Mulatto. Pencil. (c) A Man in a Cloak and a Boy, seen prom BEmND. Pen and ink. (d) Two Ladies walking, seen prom behind. Pencil. (24) (a) A Sculptured Vase. (6) A Child's Hand lying in a Woman's Hand. Black chalk. (25) (a) Fore Legs of a Geeyhound. (6) Head of a Geeyhound. Black chalk. (26) Study op a Dog. Black chalk. ^''^ ^"^ lla'cSr^d chalk°" ^'''^' ^'"™" ^"^ ''°^''™« ' ^^^ - Bamboo. ^^^ ?cnTnTink^^™' ^'^¦' °^ ^" °^^ "'"' '" '' ^'°^^'' '"^^^^ «"d speaking. Nathaniel Dance.— Eendrik Danckerts.—Edwd. Thos. Daniell. 9 (28) (a) A Roman Hero vowing Vengeance. Pencil. (6) Anatomical Study of an Arm and Shoulder. Black chalk. (29) Female Head, peom the Antique. Black chal-k on drab paper, heightened with white. (30) (a) (6) (c) Studies op Legs, draped and undeaped. Black chalk on blueish paper, heightened with white. (31) Studies op a Woman, Head and Bust; and of two Hands clasped. Black chalk on grey paper, heightened with white. (32) Study op a Leg and op a Foot. Bed chalk. (33) (84) (35) Studies of Drapery. Black chalk on grey paper, heightened with white. (36) An Indian Landscape. Water colours over black chalk. (37) Sheet op Figure Sketches done at BROADSTAins. Indian ink and pen. The last two seem to be not by Dance but by a different hand. Purchased July, 1898. DANCKERTS, Hendrik (b. about 1630, d. about 1680). Landscape painter and engraver ; born at the Hague and trained as an engraver ; painted landscapes ih Italy ; came to England about 1667, and was engaged by Charles II. to paint views ; left England about 1679 and died soon after. 1. Landscape Study. Trees on a high rocky bank, with a road in front, and a view of fields and hills 1. Inscribed by H. Danckerts. Pencil and Indian-ink wash on blueish grey paper ; roy., lOf x 8J in. Purchased December, 1871. DANIELL, Rev. Edward Thomas (b. 1804, d. 1842). Amateur painter ; born in London and educated at Norwich, where he had drawing lessons from Crome ; proceeded to Balliol College, Oxford, 1823 ; B.A. 1828 ; a friend of Linnell and admirer of Blake ; worked as a clergyman in Norfolk and London, 1832-1840, when he started for the East ; made many fine drawings in Greece, Palestine and Lycia, and died at Adalia in Pamphylia. Daniell -was also an admirable etcher, and his etched work, well represented in the department, is most remarkable for the time at which it was produced. The following drawings were made during Daniell's tour in Lycia with Lieutenant Spratt and Professor Forbes in the spring of 1842, aud during a subsequent unaccom panied tour in the summer of the same year, which ended in his death from fever. They have been arranged, as far as is consistent with convenience of mounting, according to the route followed by the travellers, and detailed in Spratt and Forbes' ' Travels in Lycia,' etc., London, 1847, to which book references are made. The spelling of Turkish names of localities is that adopted in the two volumes published by the Austrian Expedition of 1881-82, 'Eeisen in Lykien,' etc., Vienna, 1884 and 1889. [1-46.] Drawings made during the first tour. 1. Laenaka, Cyprus, peom the Sea. The town is seen at some distance, built along the shore, with a tall minaret and palm trees 1. and the mountains of Santa Croce and Triiodos behind it towards the r. ; in the foreground a small Bailing boat. Probably sketched by Daniell on his way from Syria to Smyrna. Water colours on buff-tinted paper ; imp., 9J X 20J in. 10 Drawings of the British School. 2. Two on one mount, imp., viz. : — (a) Cos, FEOM the Kababoglia Islands. A long view of a barren rocky coast with purple mountains beyond a gulf; seen over a tranquil sea. Water colours with pen outlines on buff paper ; 4J x 14 in. (6) The Lyoian Coast with the Valley op the Xanthus, peom the Sea. A sketch of hilly coast, broken in the centre by the valley of the Xanthus, with the snowy Massicytus Mountains in the distance. Water colours on buff paper, heightened with white ; 6 J X 20 in. 3. Two on one mount, imp., viz. : — (a) The Islands op Calymnus and Leeds. The mountainous coast of Calymnus projecting from the 1., with Leros towards the r., sea in the foreground. Inscribed, Calimno Lero. Water colours with pen outlines on buff paper ; 4J x 14 in. (6) In the Gulf of Makei. The mouth of the gulf seen from the sea, backed by mountains of the Taurus range, and enclosed by the rocky coast. Dated, Dec. 23''', 1841. Water colours and body colours on buff paper ; 9 J x 20J in. 4. Makei, the ancient Telmessus, looking West. View from a height, looking across a valley to the rocky hill on which are the ruins of Telmessus ; beyond are the bare, rose-coloured hills enclosing r. the waters of the gulf, on which H.M.S. Beacon is seen at anchor. Dated, Maori, January 8, 1842. Water colours with pen outlines on buff paper ; imp., 14 x 20 J in. 5. The Acropolis op Telmessus, looking North East. The acropolis of the ancient town, on its isolated hill, rises toward the 1., a wooded valley between it and steep crags r., iu which are rock tombs. In the foreground a road leading down past a tomb 1., which a Turk with a pack horse is passing. Beneath 1. is a glimpse of sea ; beyond, the bare plain enclosed by mountains, with the distant snow of Taurus r. Water colours and body colours on buff paper ; imp., 18J x 20J in. 6. Book Tombs at Telmessus. A wall of cliff, with a view 1. over the plain to distant mountains ; in the face of the cliff a number of rock tombs ; a figure on a path in the 1. foreground. Pen sketch on buff paper ; imp., 20J x 14 in. Compare -views of the same tombs iu ' Eeisen in Lykien,' I., Plates xiv. and XV. ; and in Scharf's ' Lycia' (1847), Plate v. 7. Two on one mount, imp., viz. : — (a) Monument on the Sea Side of Mount Cragus. A square limestone column, hollowed at the summit, with a small window near the top (Spratt and Forbes, p. 21). A Turk is seated at the foot of the column 1., beyond which the ground slopes in a hollow to the sea, with the mountains rising 1. Water-colour and pen sketch on buff paper ; 10| x 13J in. (6) The Massicytus Mountains, from Pinara. View from high ground, looking east across the valley of the Xanthus, glimpses of which are visible in the distance, to the hills with broken gorges rising 1. into snowy peaks. Dated, From Pinara, Jany. 5, 1842. Water-colour and pen sketch on buff paper ; lOJ X 18J in. 8. Two on one mount, imp., viz. : — (a) Valley between Cragus and Anticragus. The valley with its woods lying in luminous shadow and rising beyond into a bold peak, with further ranges r., coloured by sunset. In the foreground a hut and three figures seated by a tree. Pen and ink sketch washed with water colours and body colours on buff paper ; imp., lOJ x 14 in. (6) Massicytus Mountains, from Pinaea. View from the acropolis of Pinara, the massive wall of which crowns the precipice 1. above the plain of Xanthus, to the distant rosy snows of Massicytus; iu the foreground a turbaned figure. Pen sketch, washed with water colours and body colours, on buff paper • 10 X 14 in. J , V e . EdivarA Thomas Daniell. 11 9. Xanthus, prom the South, with the Kiosk of Kinik. The river flows into the 1. foreground from under the heights of the ancient town, which occupy the middle distance ; the Kiosk of the modern village of Kinik is under plane-trees on the gentle slope of the bank r. ; on the same bnnk a horse drinks from the water near a group of women washing clothes ; another group is under a plane farther up the stream ; and in the foreground a woman moves away alone. Pen and pencil sketch on buff paper ; imp , 13| X 20J in. 10. The Valley of the Xanthus, looking South, from above the ancient City. A vast prospect over tho plain to the distant sea. The river winds to the sea from the r., under the ancient town wliich occupies the centre, the Harpy Tomb standing conspicuous to the r. of the theatre ; in the foreground are rocky slopes, and in the distance flat-topped hills. Pen sketch on drab paper ; imp., 14 x 20 in. Compare similar views in Spratt and Forbes, p. 28 (by Spratt) ; in Scharf's 'Lycia ' ; and in ' Eeisen in Lykien,' I., Plate xxiii. 11. The 'Horse' Tomb, Xanthus; now in the British Museum. The top of a hill sloping 1., with bushes and scattered stone fragments, among which rises the tomb, showing a frieze of warriors on its sides ; nearer, r., lies the arched top, which had been taken off by the men of Sir Charles Fellows' expedition before remo-ving it to England (Fellows' ' Travels in Asia Minor and Lycia,' 1852, p. 448) ; in the distance, 1., the plain stretches to the sea. Water colours on drab paper ; imp., 14 x 20 in. 12. View of Xanthus, looking South, prom the Eastern Ascent to the Upper Acropolis. The slopes of the acropolis, with a tall square monument, still standing (' Etisen in Lykien,' I., Plate xxv.) on the brow of the hill x. Two figures are at the base of the monument, and another stands on the lower ground in the centre near the overthrown ' Horse ' Tomb ; beyond, the plain, and distant flat-topped hills. Pen sketch on pale buff paper ; imp., 14 X 20f in. 13. Interior of a House at Xanthus. A man in European clothes and a fez (pro bably Spratt or Forbes) seated reading in the middle of a large room, with roof of rafters, a bed in a wooden recess r., and an open door beyond 1. ; knapsack and broad hat hang at the foot of the bed, and a box lies under the window 1., through which a turbaned figure is visible. Water colours and pen on pale buff paper ; imp., 18J x 19| in. 14. The Haepy Tomb, Xanthus. The Harpy Tomb, a tall square monument as it appeared before the reliefs were removed from it, stands towards the r. ; further off 1. another tomb with arched top ; fragments of stone lie around and brushwood beyond, with a turbaned figure r., and in the r. distance a hill. Water colours on pale buff paper ; imp., 13| X 20J in. 15. Two on one mount, imp., viz. : — (a) Inteeior op a Turkish Cottage at Pinaea. Three Europeans (probably Spratt, Forbes and Hoskyn), seated on the floor of a low room, with fire burning 1., and a window and door in the further wall. Two natives stand r. ; one inside and one outside the door. (Spratt & Forbes, p. 6.) Water colours ; 5} X lOJ in. (6) Junction op the Mangye Tsohai with the Xanthus. The Mangyr comes down from the r., and joins the Xanthus as it sweeps on m a broad channel towards the 1. The snow-crowned mass of Anticragus bounds the horizon; and lower hills fill the middle distance, sloping down to the Xanthus from the 1. _ , . , ^ j -j-t, „!,,•(.„. Water colours and pen on pale buff paper, heightened with white, lOJ X 14 in. 16 Source op the Xanthus. The river source bubbles up among rocks, foamin- down in a strong stream to the r. Trees hang over it in the foreground and beyond rises the mountain side. 'The Xanthus is born a full grown river (Spratt and Forbes, I. p. 39). , . , ^ -, -.t, i„-i^ . j^r, Water colours and pen on buff paper, heightened with white , imp., 14 X 20i in. 12 Draivings of the British School. 17. Tlos, from the North-Bast. A rough hill-side with scattered trees sloping 1. into a woody glen, beyond which rises a massive height crowned I. by the acropolis of Tlos, and descending towards the r. in perpendicular cliffs,^ honey combed with rock-tombs. Further r. appears the level plain of the Xanthus, and the snow-capped ridges of Anticragus above Pinara. In the foreground 1. is a man with a mule. Water colours and pen, on buff paper, heightened with white; imp., 13J X 20 J in. Compare the drawing of Tlos, made from an almost identical point, by Miiller, also iu the department (described, infra, under Miiller, W. J.). Although both sketches were taken in winter, the colouring is very different in tlie two. A similar -view, by Forbes, is lithographed in Spratt and Forbes (I. p. 38), and a photograph of the acropolis and cliiirs is reproduced in ' Eeisen in Lykien,' I., Plate XLii. 18. Tlos from the South-West. Tlos rises in the centre on its hill, beyond a great stretch of level ground, with dark purple ranges iu the distance 1., and r. the crowding peaks of Massicytus, fiushed with sunset under rosy clouds. Scattered ruins appear on the slopes beneath the acropolis, and broken ivy- covered masses of Eoman buildings nearer r. Water colours, with some pen work, on buff paper ; imp., 14 x 20 in. 19. Two on one mount, imp., viz. : — (a) Bellerophon Tomb, Tlos. Part of the face of the cliff (described above in No. 18); to the r., a temple tomb cut in the face of the cliff, with pediment supported on tapering square columns; towards the 1. an inscrip tion, and a low doorway cut in the rock beneath. (Spratt and Forbes, I., p. 34.) Water-colour and pencil sketch on buff paper ; imp., 13^ x 10 in. (6) Pinara. A towering mass of rock, faced hy a precipice, in which numberless tombs are pierced, and crowned with ruins, rising in a ravine, with the sheer heights of Cragus around. (Spratt and Forbes, I., p. 8.) Pen sketch on buff' paper ; imp., 6J x 12J in. 20. Two on one mount, imp., viz. : — (n) Pedestal op a Monument at Tlos. A quadrangular pedestal with a bas-relief representing Tlos besieged ; above, a fragment with lower part of a relief of a warrior. (Spratt and Forbes, I., p. 31.) Water-colour sketch, on buff paper ; 7| x i2| iu. Casts from the reliefs on this monument are in the British Museum. (i) Gate of the City op Patara. A gate with three round arches and bushes growing about the top of it ; beyond, the plain, with scattered ruins and tombs and a glimpse of the sea between two hills. In the foregrouud r. a Lycian boy and two sheep. Water colours and pen on buff paper, heightened with white ; 7| X 14 in. 21. Orahn, the ancient Araxa. A broad hollow, -nith high bank 1., on which are the village houses among trees. Beyond, 1. and r., the near and lofty peaks of Taurus. (Spratt and Forbes, I., p. 38.) Unfinished pen sketch on buff paper; imp., lOJ x 19| in. 22. The Harbour op Antiphellus; with the Island of Castelorizo. View from a height looking down on the little port of Antiphilo, with tombs and remains of the ancient Antiphellus clustered by the shore of a bay, which lies calm under noonday sunshine. A long promontory, enclosing the bay, runs out r., with islands and the harbour of Vatliy beyond ; "l. appears the head of another cape, and between them is the island of Castelorizo (Megiste). Water colours and body colours on buff paper; imp., 12^ x' 19§ in. 23. The Valley op Kassabae prom Phellus, looking West. View from a height The Bide of a mountain slopes steeply down towards the 1., with tombs carved in the rock; at the 1 beneath rises a tower and fortification, and beyond, the plain ot Kassabar, with the Dembra winding through it, stretches to distant mountains. Water colours and body colours, with some pen work, on buff paper; imp., Edward Thomas Daniell. 13 24. Remains of an ancient Christian Cathedral, Kassabae. View from the interior of the ruin under the central dome, looking north-east, the eastern end r. consisting of a semicircle with tall windows, broken at the top ; under the great uorthern arch of the dome 1. are two figm-es. (Spratt aud Forbes, I., p. 105.) Pen sketch on buff" paper ; 12f x 19J in. 25. Portico op a Turkish House at Kassabae. Interior of a long outer corridor of woodwork on the first floor of a house, a raised seat or platform 1., and a view of Kassabar village and mountains beyond. At the end of the corridor, a divan, and near it a Turk and a European, standing above an outer staircase leading up from below, on which are two more figures. The house is that in ¦ft'hich the travellers stayed at Kassabar. (Spratt and Forbes, I., p. 88.) Sepia sketeh with pen outlines; atl., 14i x 27 in. 26. The Gorge op the Dembra. A gorge between towering pine-covered precipices under which a torrent streams among scattered boulders ; a small party of horsemen at some distance 1. follow a path which borders the torrent and is lost towards the r. in the winding of the gorge. (Spratt and Forbes, I., p. 123.) Pen sketch partly washed with sepia on buff paper, heightened with white ; imp., 19J X 13J in. 27. lilYRA. View over the plain to the near mountains ; in the centre of the foreground two massive Roman walls form an angle ; close under the mountain towards the 1. is the theatre of Myra, with tombs in the rook-face above it. (Spratt & Forbes, I., p. 132.) Water colours, body colours, and pen on buff paper ; imp., 13J X 19J in. 28. Theatre op Myra. A field in the foreground, with the remains of the theatre r., its mined arches opening on the field ; immediately above, the steep wall of the mount lin, with numberless rock-tombs in its face. Two figures near the foreground 1., and another r. Water colours, body colours and pen on buff paper ; imp., 18 X 19J in. 29. EuiNS OP SuEA, neab Myea. A hillside sloping down to the 1., where there is a glimpse of distant sea, the slope strewn with rocks and ruins, among which is conspicuous a tomb with a hollow chamber, surmounted by an arched, crested monument ; higher up r. is another rock-tomb, aud iu the foreground r. a great block carved with turban-headed tombstones. Inscribed hy Daniell, ^OVPA. Pen sketch, washed with water colours and body colours on buff paper; imp., 9J X 14 in. 30. The Plain and Bay op Phineka. A vast prospect from a height, crowned with ruins . f an Hellenic fortress, and sloping suddenly down 1. to the shore of the bay, which stretches to the distance r. Beyond the great plain, through which two rivers, the Arycandus and Limyrus, come blue from the 1. into the sea, rises the Solyma range, and in the far distance the snowy ridge of the Pamphylian Taurus. Water colours and body colours, with some pen-work, on buff paper; 13 X 19§ in. 31. Two on one mount, imp., viz. : — ((() Book Tomes at Limyba. A hillside of stratified limestone, with a great number of tombs excavated along the outcrop of each stratum ; the hill slopes down to the 1., where the plain of Phineka appears, and mountains rising beyond. In the foreground, 1,, on rising ground, four natives. (Spratt and Forbes, I., p. 148.) Pen sketch on buff paper; 10 x H in. Compare the photograph reproduced in 'Eeisen in Lykien,' PI. xii. (6) Summee D-wellinq in a ' Jaila ' or Upland. A group of trees, between the stems of which is built a low shed, with roof of boughs, containing three seated figures ; a third figure stands outside, near the foreground ; 1. a wall runs from the trees, with horse tethered near the end of it, and mountains appear in the distance. Pen sketch on buff paper; 10 x 14 in. 14 Drawings of the British School. 82. Village of Armudly, on the Plain op Phineka. The level plain, with cattle feeding in the foreground, and a Turk standing on a hillock r. ; the scattered buildings of the village, with small mosque and minaret in the centre, appear at a little distance close under the mountains. Pen over pencil on buff paper ; imp., 9 J x 19| in. 83. Two on one mount, imp., viz. : — (a) Karditsch. A wide view from a height, over a rooky region, descending into a valley, with a stream (the Limyrus ?), beyond which rises a snow- topped mountain range. In the foreground the vilage of Karditsch, a few huts and sheds. Pen sketch, slightly washed with water colours and body colours, on buff paper; 10 X 14 in. (6) Rock Tombs in Lycia. View down a narrow valley, with rock-tombs, mostly arched at the top, clustered up its sides, which rise into precipices r. ; at the end of the valley a great hollow of undulating country, closed by a mountain range. Pen sketch over pencil, on buff paper; 10 x 14 in. 34. Distant View op Aoalissus and Edebessus. View from a mountain side over a vast and wild valley, sloping up steeply into precipitous ridges against the sky. Half-way up the slope a few tombs and ruins show the site of Aoalissus, and close under the mountain wall, further off, are the remains of Edebessus. Pencil on huff paper ; imp., 13J x lOJ in. 85. Olympus in Lyoia. A narrow river flowing out from the r. foreground into the sea. The ruins of Olympus cover a hill rising 1. above the river at its mouth, and there are other ruins on the low bank r. A road in the 1. foreground follows the stream to the foot of the hill ; a Turk rides along it, and a number of planks lie on the bank. Pen on buff paper ; imp., 12 x 19J in. 36. Mount Solyma fbom Dbliktash (Olympus). The sandy shore of a bay, -with a vessel lying moored in the shallow water ; r. an isolated steep rock, 1. the ruin- covered hill of Olympus, beyond which, and all along the further shore of the blue bay, rises the range of Solyma, culminating in a snowy peak. Water colours and body colours over pencil, on buff paper; imp., 13 x 19|in. 87, The Valley op the Chim.«ra, near Olympus. A wild and rocky ravine, descending steeply from the 1., with the r. side in shadow; the slopes broken into frequent precipices, with scattered trees. Water colours and pen, on buff paper ; imp., 20J x 18^ in. 88. The Fibe op the Chimjsea. A mountain side, sloping steeply up from the foreground to a wooded ridge ; some way up the slope a heap of ruins, at the corner of which, 1., shoots out the flame of the Chimzera ; and beneath the ruins a cavity in the rock, in which a Turk is standing, while another sits on the brink. (Spratt and Forbes, I., p. 198.) Pen, washed with water colours aud body colours, on buff paper; imp,, 19J X 13J in. Compare the two photographs reproduced in 'Reisen in Lykien,' IL, PI. xvii. The legendary terror, famous as the Chimaara, which Bellerophon subdued, Virgil's 'flammis armata Chimasra,' is a jet of iuHammable gas issuing from a crevice in the rook; it is now resoited to without fear by both Greeks and Turks, and used for purposes of cooking. 39. The Solyma Range peom the South. Bioad sands enclosing a bay r., by the edge of which, near the foreground, are two natives, one seated. At the end of the sands a low range of hills, the site of Phaselis, backed by the towering mountains of Snlyma ; two great peaks, with a hollow between them, rising conspicuous in the centre. Water colours, body colours, and pen on buff paper ; imp., 11 x 19J in. 40. Teemessus, looking S.E. View from a height looHng down on a plateau covered with the rums of the city, the theatre being conspicuous at the further edge towards the 1. From the gorges bounding the plateau and overlooking Edward Thomas Daniell. 15 the city, mountain ranges rising into a bold rocky 'mass 1., and stretching r. to the plain of Adalia, the long sweep of the coast and the sea. Water colours aud body colours on grey paper, with pen outlines; atl., 19 X 27J in. 41. EuiNS op the Geeat Wall in the Pass below Teemessus. View from the side of the pass, on the opposite side of which the mountain, broken into precipices, rises 1. to a great height, and falls r. into a valley which continues the pass at right angles, winding away into the distant hills. The wall, guarded by towers, crosses the pass at the 1. (Spratt and Forbes, I., pp. 231 and 240.) Pencil, partly washed with water colours on buff paper; imp., 13J x 19| in. 42. Stadium op Cibyea. View from the hillside in which the stadium is excavated, looking east over the Cibyratic plain to the mountains, with the lake of Gjolhissar in the distance 1. ; the curved end of the stadium rises r. in tiers of seats, surmounted by a ruined tower. (Spratt and Forbes, I., p. 258.) Water colours, body colours, and pen on buff paper ; imp., 18J x 19J in. Compare the view by Spratt (Spratt and Forbes, I., p. 260), and the photograph reproduced in ' Eeisen in Lykien,' II., PI. xxx. 43. Peont op the Odeum at Cibyea. A long high wall, with five low arched doorways in the centre and a square doorway on each side, flanked 1. by another wall, seen in perspective ; the whole building is ruined at the top. (Spratt and Forbes, I., p. 257.) Pencil and pen, slightly washed with Indian ink, on buff paper ; imp., 12J X 19J in. Compare the photograph reproduced in ' Eeisen in Lykien,' IL, PI. xxxi. 44. The To-wn op Elmaly. Part of an undulating plain, with a group of trees toward the 1., bounded by a low range of hills, on the slopes of which is the town. Pen, and slight sepia wash on buff paper; imp., 18 J X 20| in. Compare the photograph reproduced in ' Eeisen in Lykien,' II., PI. xxi. 45. Village op Gjombe (Komba). A village -with a few square and massive buildings clustered on the top of an isolated hill rising in a valley, with a steep height overhanging it r. and mountain ranges beyond. Water colours on buff paper; imp., 18| x 20 J in. 48. A Mountain Pass in Lycia. A pass under high hills r., capped by precipitous crags -winding round to the r., with a mountain rising darkly 1., broken into an isolated peak. Perhaps a view of the Acropolis of Pinara, from the S.W. Water colours and pen ; imp., 9| x 19| in. [47-55.] Dra-wings made during the second tour. 47. Rhodes, feom the Sea. The battlemented wall of the harbour, projecting towards the r. in a bastion with a tall fortified tower ; behind the wall 1. the roofs and minarets of the town, and r. the open country. Water colours and body colours on buff paper ; imp., 10 X 20f in. 48. Sebaidjik. The upper part of a craggy hill, rising iu a barren valley among mountains. On the hill are scattered trees, and near the foreground fragments of a wall and other ruins. Dated Sahar-raji, July 4"', 1842. Body colours, water colours and pen on buff paper ; imp., 13J X 19J in. 49. Tschand-ye, -with Euins, peobably of Mabmoea. A precipitous crag, crowned with ancient fortifications, lising almost sheer in front from a valley in which are rock-tombs 1., and sloping down among trees r. ; beyond, a wide valley rising into conical peaks and opening 1. on the plain of Adalia, washed r. by the blue sea, and bounded by far-off mountains. Water colours and pen on buff paper; imp , 19^ X 13J in. In Daniell's account of his last tour (Spratt and Forbes, IL, p. 18), he says, ' I passed ihe entire of next day among the ruins, and iu making an upright sketch-' doubtless the drawing just described. The ruins were supposed by Danieli to be those of Olbia, but according to Spratt and Forbes, as also Benndorf and Niemann, are probably those of Marmora. 16 Drawings of the British School. 50. Stadium and Theatre op Pebge, in Pamphylia, from the Foetifications. View from a ruined wall running straight from the 1. foreground to a tower, behind which are the remains of other buildings, and beyond them, at some distance, a low flat-topped hill with a ruin, perhaps of the Gymnasium, at its r. extremity ; the end of a similar hill is visible, r., with the theatre built on its lower slope ; and between this and the foreground is the stadium, in the midst of level fields ; the figures of three natives in the foreground. Water colours, body colours and pen, on buff paper ; imp., 13 X 19§ in. Compare the plan of Perge in Lanckoronski's ' Villes de Pamphylie et de la Pisidie,' tome I., p. 36. 51. SiLLYUM, in Pamphylia. View from the south-west. The Acropolis, an isolated hill, rises from an undulating foreground, and occupies the whole view, except for a glimpse of mountain-peaks in the 1. distance ; at the top it is broken into pieoipices, and all up the slope are remains of massive architecture aud fortified roads. A native pitcher, a bow and arrows, lie in the foreground, r., at the side of a road, along which a Tui-k is driving an ox, followed by a boy. Water colours, body colours, and pen on buff paper ; imp., 1 8J x 19J in. 52. Theatre and Stadium of Selge, in Pisidia, prom the South- West. The remains of a Eoman building, with two natives seated, r., in the foreground, looking over a row of square arches and down the length of the stadium to the theatre, built on a &lr>pe opposite towards the I. Below the theatre, in a hollow T., are a row of columns and other scattered ruins ; beyond, the ground gradually rises to distant mountain ridges sharp against the sky. Body colours and water colours on buff paper ; imp., 13J X 19J in. This sketch is lithographed in Spratt and Forbes, II., p. 26, where Daniell mentions it as a ' sketch of the first view that struck me. . I did not finish the outline till nearly four o'clock.' 53. Selge, from below the Theatre, looking South-West, View looking up to the height from which the preceding sketch was made ; a row of Ionic columns stands in the foreground, with a path winding past them to the r., and flve natives in single file coming do-wn it from the huts of the modern village, Serhghe or Surk; to the 1. is level ground, with scattered ruins and trees rising up to the heigrhts which bound the view, their slopes covered with various remains of buildings (Spratt and Forbes. II., p. 27). Water colours and pen on buff paper ; imp., 12 J x 19J in. 54. BozBOEOUN, prom Selge. View from a height, looking down on a vast square ruin rising in the foreground, 1., above the valley, which stretches away, continually rising to the distance, in a succession of snail-shaped hillocks ; bounding the view, Eozboroun springs sheer from the slope, its steep face darkened by an approaching storm. Water colours and pencil on buff paper ; imp., 19J x 13J in. 'On my fourth day,' writes Daniell (Spratt aud Forbes, II., p. 27), 'I determined to attempt the glories of Boz-boroom ; but I had scarcely begun to colour when the whole effect was changed by a thunderstorm, and huge rolling clouds, not concealing the mountain, but . . . completely changing the effect . . . The rain reached me at two o'clock, just as I was about to complete my foreground.' 55. Aqueduct of Aspendus, in Pamphylia, from the Aoeopolis. View looking north to the mountains, from which the aqueduct brought water to the city. The slope of the Acropolis occupies the r. foreground, and the ruined aqueduct runs from the r. half way across the middle distance, then turns at rio-ht angles and crosses the undulating plain to the foot of the hills ; at the angle, and at the further end. are remains of two towers ; to the 1. is open country, and in the centre foreground is a Turk with his wife and child, moving away. Water colours, body colours aud pen on buff paper; imp., 13J x 19J in. Compare a similar view in Lanokoronski (II., p. 126), who also gives an elevation of the aqueduct aud its towers. All purchased November, 1872. Samuel Daniell. — Tliomas Daniell. — William Daniell. 17 DANIELL, Samuel (b. 1775, d. 1811). Painter; younger brother of WUliam and nephew of Thomas Daniell ; went to South Africa during the first British occupation of the Cape, and visited Bechu- analand ; in 1806 sailed to Ceylon and lived there till his death. 1. SmvEK Mountain, Deakenstbin, South Afkioa. A lake or stream in the foreground r., with bushes on the bank, from which rises a low, broad hill, and behind that the mountain, culminating iu abrupt precipices, with a cleft between it and other high crags r. In the 1. foreground, by the water, two figures and an ox cart ; and a house among trees at a little distance. Inscribed No. 1. Pencil over red chalk outline ; roy., 6| x 8| in. Engraved by W. Daniell in ' Sketches ... of Southern Africa.' PI. 13. 1820. Purchased May, 1890, at the Percy sale. DANIELL, Thomas (b. 1749, d. 1840). Painter; born at Kingston-on- Thames ; studied at the Royal Academy ; went in 1784 to India with his nephew WiUiam, and worked there, the two publishing on their return 'Oriental Scenery,' completed 1808; elected A.R.A. 1796, and R.A, 1799 ; retired early from his profession. 1. Near Gordale, Cra-ven. A narrow wooded valley, down which a rocky torrent comes foaming. Indian ink and pen, tinted with water colours ; roy., 5i x 8 in. 2. St. Anne's Hiix, neae Cheetsey, Soeeey. A road in the foreground curving under a sandy bank 1. to the centre, where another tree-bordered road from the r. joins it, and disappearing down a slope to undulating wooded country beyond ; in the foreground, towards the r., a young tree rising up against the placid sky. Pencil, with Indian ink and water-colour wash; roy., 7J X 12 J in. 3. Cheddar Cliffs, Someeset. View looking down the valley between broken crags in the foreground, with an isolated peak rising towards the l.,and another peak beyond more to the r. Water colours over Indian ink ; roy., 5| x 1^ in. -t. Cheddae Clipps ; auothee View. View down the winding gorge, with a stream issuing from the r. side, and breaking over rocks into the foreground ; at the 1. an overhanging rock crowning the grass slope ; two figures on a tum of the path at a lii tie distance. Water colours over Indian ink; imp., 12| X 18J in. Nos. 1-4 were purchased May, 1872. 5. A Wateepall in India. View looking up a river with steep, rocky and wooded banks, between which, at some distance, it foams down in a great fall to a basin, then, broken by a lower fall, flows swiftly into the 1. foreground, under high rocks r., on which are two natives, one with spear and shield. Water colours over Indian ink ; atl., 18 j x 24J in. Purchased at the Percy sale, May, 1890. DANIELL, William, R.A. (b. 1769, d. 1837). Painter; nephew of Thomas DanieU, whom he accompanied to India 1784, and helped in the publication of 'Oriental Scenery' on their return; exhibited many Indian scenes, and later views in England and Scotland ; elected A.R.A. 1807, R.A. 1822 ; published several works, the chief being 'A Voyage round Great Britain' (1814). 1. On the Ganges. Stairs of a temple, 1., on a jutting shore, round which the river flows into the foreground, under mountains r., wilh a few boats sailing down it ; a few natives on the stairs, and a palm above ; by the water, 1., a girl -with a pitcher. Bistre wash and pen sketch on grey paper ; roy., lOJ X 14 J in. Presented by Jolin Henderson, Esq., January, 1863. VOL. II. "^ 18 Dramngs of the British School. 2. On the Thames, near Clpvedbn. The river flows from the r. foreground to the 1., broken 1. by a wooded island ; on the near bank, 1., some trees and a ferry bell ; on the further bank woods bounded by a paling, and wooded hills beyond, with a tower showing above ; a boat on the stream r. Water colours over Indian ink ; roy., 5 x lOf in. Purchased May, 1872. 3. At Chelow. Low shores, with water in the foreground, and a few huts under a grove of palms ; near the shore some smaUer trees and some figures aud boats under them. Inscribed Chelow. Slight pencil sketch ; roy., 5 x 6J in. Presented by J. Deffett Francis, Esq., February, 1875. 4. The Haeboue Mouth, Bosoastle, Cornwall. The entrance to the harbour, with a cutter sailing in, seen from the cliff at the eastem side ; a signal station at the top of the opposite cliff, beyond which the rocky coast stretches r. ; cormorants and gulls on a rock in the foreground. Signed with monogram, and dated Bosoastle, 19 Augt., and inscribed with memoranda. Pencil and black chalk on brownish paper, heightened with white ; roy., 7| X 10| in. Different from the -view of Bosoastle in the ' Voyage round Great Britain.' 5. Harbour at Hartland, Devon. A cove, bounded on the further side by rocky cliffs ; 1., a schooner lying beached at low tide behind a stone jetty, and some men and a horse in the foreground. Signed with monogram. Pencil and black chalk on brownish paper, heightened with white; roy., 71 X lOi in. Diflerent from the view of Hartland iu the 'Voyage round Great Britain.' Nos. 4 and 5 were transferred from the Map Boom, May and December, 1881. 6. Fire at Sea. A ship on flre at a little distance ; in the foreground, 1., a brig lying-to in the swell, aud a boat approaching her, r., from the other ship ; a second boat further off. Pencil, with some pen and sepia ; roy., 6| x 9f in. 7. Two on one mount, roy., viz. : — (o) Man-op- War at Anouor. A man-of-war, seen astern, lying at anchor near a mountainous coast ; boats coming aud going about her. Pencil ; 8§ X 5J in. (6) Coast Scene. View across a bay or estuary, with rocks in the foreground and a cutter approaching ; on the further shore a castle on a bold promontory, and a ship at anchor in a bay beyond. Pencil ; 6J X 6J in. 8. Two on one mount, roy., viz. :— (a) Study op Shipping. A sloop advancing to the foreground ; a small boat, 1., a man-of-war anchored beyond, r., and a brig sailiuK awav. I. Pencil; 4f x 3J in. (6) The Mdmbles Lighthouse, S-wansea. A little bay, with boats on the beach and at sea, bounded r. by a jutting slope, beyond which appears the Mumbles Rock and lighthouse. Pencil ; 6J X 9 in. Engraved by the artist in aquatint for the ' Voyage round Great Britain.' 9. Four on one mount, roy., viz. : — (o) Cupid chasing a Bird. Inscribed, I shall catch you. Pencil ; 4J X 5J in. (fc) A Baby Asleep. Inscribed Emma. Pencil ; 4 X 4 J in. (c) A Lady playing a Harpbiohoed ; another lady standing over her. Pencil ; 5 J X 4i in. (d) Two Childeen on a Chaie, reading together. Pencil and pen ; 6g x 4| in. William Daniell. 19 10. A Javanese Soldier. Half-length portrait in profile, wearing a cap and unbuttoned tunic. Signed W. D. delt, and inscribed Javanese. Pencil with red chalk outhne ; roy., 8 J X 6g in. 11. Two on one mount, roy., viz. : — (a) As Indian Soldier, holding spear and shield ; a man with a horse behind. Pencil ; 7J X 4| iu. (6) A Sea Seepent seizing a Horse, on the shore of the sea, a high mountain and a ship beyond. Pencil and pen ; 6| X 85 in. 12. Two on one mount, roy., viz. : — (o) Nude Figuee on Hoeseback. Pencil ; 7 X 75 in. (5) A Wabrioe caeeyino off a Girl on Horseback. Dated 1797. Pencil ; 7J X lOJ in. 13. Two on one mount, roy., viz. : — (a) A Waerioe and Chaeioteee js a Foue-hoesed Chabiot. Pen and sepia ; 7J x 9 J in. (6) A Waerioe on Horseback, with lifted battle-axe. Pen and pencil ; 8J x 10| in. 14, Two on one mount, roy., viz. : — (a) Two Horsemen chaeging. Pen and pencil sketch ; 6| X 7J in. (6) Theee Soldiees on Hoeseback. Pen and pencU sketch ; 65 x 7^ in. 15. A Hoesemas steieeng at a Fallen Soldier. Pen and pencil sketch ; roy., 9 x 8| in. [16-17] Studies after Samuel Daniell. 16. Two Heads of South Apeioan Nattves. Inscribed Hottentot and Booehuana [Beohuana]. Pencil, with red chalk outlines ; roy., 6J x 8J in. 17. Two on one mount, roy., -viz. : — (o) Cape Fox. The male in the foreground, the female behind, r., on a rocky upland, with Table Mountain in the distance. PencO, with red chalk outlines ; 6J X 8g in. (b) Cape Sheep. A ram with ewe, 1. ; Table Mountain behind. Pencil, with red chalk outlines ; 6f X 8| in. Nos. 6-17 were presented by Sir A. W. Franks, K.C.B., July, 1885. 18. Two on one mount : — (a) The ' Abbegavbnny ' in a Gale. Inscribed Abergavenny, June 1, 1794, and signed W. D. Pencil ; 4f X 4J in. (6) The ' Abeegavennt ' sbttinq Sail. Inscribed Abergavenny, 1794, and signed W. D. The"'^ Abergavenny/ an Indiaman, was wrecked off Portland, 1805, and in her perished Captain Woidsworth, commemorated by his brother in the lines on ' A Picture of Peel Castle in a Storm." 19 Hindoo Watee-caebibes. A Hindoo with a goad standing beside a slate- Sred bullock with skins of water slung across its back ; behmd r near a house and trees, a man lading another bullock ; 1., a village with palms by a bay with a few boats, and natives coming and going. Water colours ; roy., 10| x 13| in. ^ ^ 20 Drawings of the British School. 20. Sayer Island, Bay op Bengal. A near view, from the sea, of part of a rooky island, rising into wooded mounds, with a peak further off and above, and ending 1. in a group of sheer rocks, beyond which is a glimpse of open sea, and a ship ; in the r. foreground a sailing boat, which two men are bringing to anchor, and three figures on the rocky platform of shore. Water colours and Indian ink ; roy., llf x 18| in. 21. Hindoo Bridal Ceremony. Four Hindoo girls, kneeling or standing by the side of a river, setting their burning lamps to float upon the stream and uttering prayers and spells ; beyond them, r., the groves and palaces of a city, lighted 1. by a full moon. Water colours and Indian ink ; roy., 9J x 7f in. Engraved.Nos. 18-21 were purchased at the Percy sale. May, 1890. 22. A View of the Frigates stationed in the Hope. View do-wn the Thames near Gravesend, winding away in the distance to the r. ; a line of frigates flying the British ensign anchored across the river ; a Trinity yacht and Eoyal yacht nearer, and other ships beyond. In the margin below ; A View of the Frigates stationed in the Hope under the command of the Elder Brethren of the Trinity House ; also the names of the ships and their commanders, and a dedication (for the aquatint engraved from this drawing) Te the Bight Hon'''' William Pitt, Colonel, Joseph Cotton, Lt.-Col., John Travers, Major, the Captn., Officers and Volunteers of the Trinity House Royal Artillery Corps, etc. Water colours ; ant,, 18 x 28f in. The Hope is a reach of the Thames near Gravesend. At the time of fhe threatened French invasion in 1803, the Trinity House volunteered to undertake the defence of the Thames. The Government accepted the offer, and ten frigates were placed at the disposal of the Elder Brethren, who raised a force of 1200 men as ' Eoyal Trinity House Volunteer Artillery,' and also manned the frigates. Purchased October, 1872. 23. View of London from below the Towee, 1805. View of London from a height, looking up the river, with the Pool in the foreground 1. and the Tower 1., under a setting sun. Water colours ; 13J x 23J in. In Portfolio vin. (No. 68) of the Grace Collection of London Views, purchased November, 1880. An aquatint from the drawing is in the same portfolio. 24. View op London peom One Teee Hill, Geeenwioh Paek. Water colours ; 18| x 23J in. In Portfolio xxxvi. (No. 42) of the Grace Collection. 25. Album, containing pencil drawings made for the ' Voyage round Great Britain,' 1814. ' (1) Swansea, from the harbour. (2) Swansea Harbour, with the Mumbles in the distance. (3) The Mumbles Book and Lightship. (4) The Mumbles, from another side ; the same view as No. 8 (6) above. (5) Oystebmouth Castle, from the beach. (6) OxwicH Bay. (7) Worm's Head, from Ehosih Cliffs, looking W. (8) Cliffs near Woem's Head. (9) St. Donats ; castle and glen. (10) Tenby Pier. (11) Tenby. (12) Tenby, peom aoeoss the Bay. (13) Manoebebe Castle. WilUam Daniell. 21 (14) St. Gowan's Head. (15) Clipps and Caves near St. Gowan's Head, (16) Rocks near Bosheston. (17) Bat neae St. Gowan's Head. (18) Clipp near St. Gowan's. (19) Neae St. Gowan's, a rent in the cliffs. (20) St. Gowan's. (21) Coast neae Bosheston Meee. (22) Cove neae St. Gowan's. (23) Fragment op Cliff in the Sea, near Bosheston. (24) MiLFOED Ha-ven. (25) Milford Havbn ; another view. (26) The Stack Rock, Milford Haven. (27) Little Haven. (28) Little Haven ; another view. (29) Entrance to Solva. (30) Bridge and Euin at St, David's. (81) Solva ; looking inland. (32) Solva ; looking seaward. (33) Abbb Castel. (34) Poet Claysh. (85) Fishguard ; from above the harbour. (36) Neae St. Justtnian's Chapel, St. David's Head. (37) Near St. Justinian's Chapel ; another view. (38) Near Lannanno, Fishguard Bay. (39) Goodwtch Bay. (40) Good-wtch, near Fishguard. (41) Ne-wport. (42) St. Doomael's, near Cardigan. (43) Coast, with Boats, near Cardigan. (44) Limekilns, Cardigan. (45) St. Dogmabl's. (46) Cardigan Bridge. (47) View peom Caedigan Beidge. (48) KiNMAES Head, Entbancb to Caediqan Rivee. (49) Newquay. (50) Newquay Head. 26. (1) Isle op Scalpa, near Skye. (2) Near Vaternish. (3) Peioey at Eowadill, Haeeis. From the N.W. (4) Lighthouse on the Isle of Scalpa. (5) Loch Seafoeth, Skye. (6) Loch Duioh. (7) View looking up Loch Houene. (8) Loch Duich, with Shiel House. (9) Loch Duich ; another view. 22 Drawings of the British School. (10) House on the Isle op Eaasay. (11) Brockhill Castle, Isle op Eaasay. (12) Upper End of Loch Eynort (Ainneart), Isle of Skye. (13) Upper End op Looh Eynoet ; a more distant view. (14) Looh Eynoet. (15) View feom neae Sconsoe, Skye. (16) Between Soonsoe and Poetebb. Dated July 23, 1815. (17) POETEEB. (18) DuNVEGAN Castle, Skye. (19) DuNVEGAN Castle ; from the opposite side. (20) DuNVEQAN Castle ; a small sketch. (21) DuNVEGAN Castle ; another view. (22) DuNTULM Castle, Skye. (23) In Looh Bracadail, Skye, between Ulinish and Talisoar (Thallasgor). (24) Thallasgor Head. (25) Ulinish, Skye. (26) Beibshmeal, Thallasgoe. (27) The same Mountain. (28) Neae Thallasgoe. (29) Basaltic Pillars on Brieshmeal, Thallasgoe. (30) Thallasgoe. (81) Beach neae Thallasgoe. (32) Between Thallasgoe and Scavaio. (33) Loch Coeuisk. (34) Loch Coeuisk. 'A young gull in the water and thousands of swallows attacking it.' (35) Neae Steath Aied, Skye. (36) Enteanob to the Cave op Strath Aied. (37) Lock Veakibh, neab Broadpoed, Skye. (88) LooH Vrakish. (39) Loch Hourne, from Skye. (40) Between Kyle Ebay and Kyle Akin, Skye. (41) KiRKTOWN, Glenblg, Inverness. (42) Glenbeq Bay. (43) Towers in Glbnbeg. (44) The same Towers; a more distant view. (45) KiRKTO-WN, Glenelg. (46) Glenbbg, Ilandeeooh. (47) Looh Hourne Head. (48) From the Inn at Looh Houene. (49) Looh Houene Head. (50) Loch Houene. (51) Loch Hourne ; another view. (52) Looh Houene, with herring boats. (53) Aenisdale, Looh Hourne. (54) King's House, Black Mountain, Glencob. (55) Clough Lighthouse, Skye. W. Daniell— J. S. Davis.— G. Dawe. 23 (56) Aedqowan, Aeqyleshiee, from the sea. SlRDGOWan, from inland. With two sep the seat of Sir Michael Shaw Stewart. Nos, 25 and 26 were purchased from Miss Daniell, October, 1867. (57) Ardgowan, from inland. With two separate sketches of Ardgowan House the seat of Sir Michael Shaw Stewart. ' DAVIS, John Scarlett (b. 1804). Painter, etcher, and lithographer; born at Hereford; student at the Royal Academy, 1820; worked in London and exhibited at various galleries 1822-44 ; well-known for his painting of interiors ; died young. 1. Portrait op the Artist. H.L., seated in a chair, in three-quarter face, directed r., eyes looking a little 1., the 1. hand up to the face. Signed and dated, J. Scarlett Daris, 1829. Sepia ; roy, 7J x 5f in. 2. View in the Court op a Public Building. A view through an arch into a court surrounded by a building. Signed and dated, Scarlett Davis, 1830. Monochrome wash with pen outlines, heightened with white ; roy., 8| X 7i in. 3. A Street. View looking up a street, with houses on either side ; near the foreground 1., a walled garden in front of the houses ; r., a tree behind a wall with a gate. PencU ; roy., 5| x 13J in. 4. Poeteait of a Gentleman in the Poeoh of his House. An old gentleman carrying a gun, standing in a rustic, creeper-covered porch ; a mulhoned -window 1., and thatch above. Signed and dated, /. Scarlett Davis, 1883. Pencil ; roy., 7J x 9i in. Nos. 1-4 were purchased March, 1868. 5. Past op Dudley Castle. A tower over an archway, flanked by walls, that to the r. pierced -with many windows ; the whole in ruins, with the upper part broken off; the ground in front heaped up and hiding the lower part of the building. Inscribed with title and signed, John Scarlett Davis. Water coloui-s tinted over pencil, with some pen work ; roy., 6i X lOJ in. Presented by John Deffett Francis, Esq., December, 1874. DAWE, George, R.A. (b. 1781, d. 1829). Painter and mezzotint engraver; born in London, son of Philip Dawe the engraver; pro duced a number of mezzotints before he was twenty-one, when he gave up engraving; painted historical subjects tUl about 1816, and afterwards almost entirely portraits ; elected A.R.A. 1809, R.A. 1814; invited to Petersburg 1819 bythe Emperor Alexander, and painted there a vast series of portraits of Russian officers ; died in London. 1. Nicholas I., Empeeoe op Russia. An oval; H.L., three-quarter face, looking r., in red uniform. Water colours, highly finished ; roy., 7 X 5i in. Purchased August, 1882. Nicholas I., b. 1796, succeeded his brother Alexander in 1825, and died in 1855, during the Crimean war, which he had brought about. 2. Admieal ScmsoHKOPP, Eussian Ministee of Public Insteuction. Head in full face of an old man with white hair, wearing a coat with turned up collar. Black, white and red chalks on drab paper ; roy., 16| x llj in. Engraved by T. Wright, and published 1827. Purchased at the Percy sale, May, 1890. 24 Drawings of the British School. DAYES, Edward (b. 1760, d. 1804). Water-colour painter and mezzo tint engraver; studied engraving under W. Pether ; worked in London and exhibited at the Royal Academy from 1786 tUl his death by suicide; painting numbers of views in various parts of England as well as figure subjects ; draughtsman to the Duke of York, and master of Thomas Girtin [q.v.] ; much employed for topographical publications. 1. Gouldeings, neae Heetford. A river flowing into the foreground, past a house overlooking it from a gentle slope among trees ; near the foreground 1. a party of ladies and gentlemen taking leave of a friend departing in a boat, the crew of which are hoisting sail. Signed E. Dayes. Water colours ; roy., 12J X 16| in. Purchased May, 1870. 2. Two on one mount, roy., viz. : — (a) PoBCHESTEE Castle, Hants. A cluster of ruined walls surrounding the massive keep, which rises against a cloudy sky ; two figures near the 1. foreground. Water colours ; 5| x 8| in. Purchased September, 1886. (6) Corwen, Merionethshibe. A cottage, behind which" rises, r., the rook- strewn mountain side ; a rough road in the foreground, and a woman in front of the cottage door. Signed E. Dayes. Water colours ; 8f x lOf in. Purchased August, 1861. 3. The Intbeioe of St. Paul's on the Day op Gbnbeal Thanksgiving, Apeil 23, 1789. View under the Dome, with crowded galleries erected across the transept.-', looking west down the nave, up which between files of soldiers and beefeaters the Eoyal Procession comes. Signed and dated Edward Dayes, 1789. Indian ink with pen outlines, slightly tinted with water colours ; atl., 15J X 25i in. Engraved by J. Neagle, and published 1789. Dayes also made a view of the Clioir of St. Paul's on the same occasion, engraved and published by E. Pollard. Purchased February, 1872. 4. King Geoege III. ebviewing Eight Thousand Volunteers in Hyde Pabk, June 4, 1799. The King, attended by his suite 1., lifts his hat as a regiment files past to the r. ; further off other regimeuts marching 1. with bands playing aud colours flying ; beyond, the trees and houses bordering the Park. Signed and dated Edw''. Dayes, 1799. Water colours; atl., 15g X 25J in. Engraved by J. CoUyer, 1799. Purchased July, 1859. 5. View or Someeset House Teebaoe, looking towaeds Blackfeiars Beidge, 1796. Groups of ladies and gentlemen on the terrace; the river r. and St. Paul's beyond. Indian ink, with pen outlines; 14J x 20 in. In Portfolio vl (No. 224) of the Grace Collection of London Views, purchased November, 1880. 6. Hanovee Square, 1787, with Outlines by Eobeet Thew. View, looking S"uth ; with a number of flgures and a pony chaise. Signed, on the collars of two dogs iu the foreground, Thew and Dayes. Water colours and Indian ink; 15J x 21| in. Engraved in mezzotint by E. Pullard and E. Jukes. In Portfolio xxix. (No. 74) of the Grace Collection. Edward Dayes. — James Deacon. — William Wood Deane. 25 [7-11] Drawings after Dayes, 7, London and St. Paul's prom the Temple Staies. Pencil; 7 X llJ in. 8. Sketch peom Milfoed Lane Staies op the old Buildings neae Someeset House, looking towaeds St. Paul's. Pencil ; 13| x 15J in. 9. Wbstminstee peom Somerset House Terrace. Indian ink, with pen outlines; 13 x 20 in. Nos. 7-9 are in the Portfolio vi. of the Grace Collection (Nos. 251, 238, 229). 10. The old Entrance to Carlton House feom St. James's Park. With sentries at the gate. Water colours; roy., 18^ x 18f in. In Portfolio xii. (No. 27) of the Grace Collection. Nos. 7, 8, 9 and 10 may be after Dayes, but are certainly not irom his hand. 11. Bloomsbury Square, 1787. Looking across the square to Bedford House ; with figures In the street, and a milkmai-l driving cows. Water colours ; 14J x 21J in. In Portfolio xxvni. (N'o. 70) of the Grace Collection. This dra-wing is a copy from the mezzotint by Pollard and Jukes, after Dayes ; the print is in the same portfolio. DEACON, James (d. 1750). Miniature painter and wood-engraver ; 'a gentleman of great talents for music and drawing' (Walpole), who late in life took up painting as a profession. 1. PoETEAiTS OF Samuel Scott AND HIS WiFE. Separate studies of the two heads, pasted on one sheet of paper, inscribed Mrs. Sr.ott by Mr. Deacon, and Samuel Scott by Mr. Deacon ; the painter, iu profile, looking 1., wearing a cap ; lus wife, also in profile, looking r., and wearing a cap tied under the chin. Indian ink ; roy., 4 J X 6| in. For Samuel Scott see in this catalogue under his name. Purchased February, 1852. DEANE, William Wood (b. 1825, d. 1873). Architect and painter; born in London; studied and practised as an architect till about 1856, when he devoted himself to painting; worked in London, but made frequent sketching tours abroad, especially in Italy ; some of his most brilliant drawings were made in Spain, in the company of P. W. Topham [q.v.]. 1. Bellaggio, Lake op Como. View between two houses, and over the roofs of a narrow street to the lake and the mountain rising steeply beyi 'ud ; the foreground in shadow, -with light falling on part of the house to the 1., and into the little street. Signed W. W. Deane. Water colours ; roy., 13| X 8 J in. Purchased October, 1881. 2 Italian Landscape; a Sandpit. A road, with a sandpit r„ from which a workman brings sand in a basket to a waggon in which is another man, while a third sits by the road, 1, . , , -j. oi -lo- Water colours on coarse drab paper, heightened with white ; roy., 8i X irf in. Dr. Percy, in a note on this drawing, says : ' He was a pupil of Cox. Is it not by Cox ? ' 3 Wild Landscape. A rough upland with boulders in the foreground and dense ' trees on the skirts of a wood r., broken at a little distance, 1,, into a hollow, beyond which appears a mountain under wild and blowing clouds. Charcoal and wash ; roy., lOJ X 15J in, Nos. 2 and 3 were purchased at the Percy sale (bought earlier at the Deane sale), ilay, 1890. 26 Drawings of the British School. DE CORT, Henry Francis (b. 1742, d. 1810). Landscape painter; born at Antwerp, and student there under Herreyns and H. J. Antonissen ; painted landscapes with towns or architecture ; worked in Paris; returned to Antwerp, 1788, but shortly after came to England ; exhibited at the Royal Academy, 1790-1806. 1. Landscape, -with Cottage. A thatched cottage of timber and plaster at a little distance beyond a stream, over which a path comes by a footbridge past the cottage into the foreground ; at the 1., by the bridge, a tree ; broken palings along the stream ; behind the cottage 1. a view of fields and distant hills. Sepia and Indian ink over pencil ; roy,, 16^ x 12| in. Purchased July, 1859. 2. View of Moocas Cocet, Heebfoedshiee. A wide view of the valley of a river, which winds from the r. foreground past a wooded cliff, L, with Moccas Court on sloping ground r. in the middle distance, and low hills rising behind it. Inscribed Moccas Court, Hereford. Sepia and pencil ; roy., 8| x 13J in. Purchased October, 1872. 8. Viaduct at Chiek, Denbighshiee. A valley between wooded hills, crossed in the middle distance by the viaduct ; in the foreground, the sloping banks of a river at the 1. and draining works towards the r. Signed aud dated H. de Cort, 1802. Indian ink and sepia over pencil ; imp., 14J x 20J in. Purchased May, 1894. 4. View in Stoke Paek, neae Windsoe. Two great elms growing side by side, near a pool, 1., with other trees beyond. Sepia and pencil ; atl., 23 x 18| ins. 5. Windsoe Fobest, neae Ceanboene House. A giant oak rising at the r. side of a road through the forest, with another oak partly seen r., and trees in a thicket beyond ; two figures at a little distance r., and another coming up the road 1. Sepia and pencil ; atl., 24| x 18J in. Nos. 4 and 5 were purchased March, 1867. DE HEERE, Lucas (b. 1534, d. 1584). Painter and poet; born at Ghent ; pupU of Erans Eloris ; was employed by Philip IL, and later by Adolf of Burgundy ; set up a school at Ghent, where poetry was cultivated as much as painting, till proscribed by the Inquisition, 1568 ; took refuge in England (which he had probably -vdsited in 1554), and remained here till 1577 ; returned to Ghent and designed several pageants there before his death. Best known in England by his portraits, some of which are attributed to Holbein. 1. EsTHEE BEPOEE Ahasueeus. In the foregi-ound, r., Ahasuerus enthroned under a canopy receives Esther, who kneels to kiss his golden sceptre, two women holding up her train, and others standing behind ; near the king's throne are counsellors and soldiers ; beyond, r., a temple, and 1., a mound witli the gallows on which the sons of Haman were to hang. Dated 1558. Above the date an inscription seems to have been obliterated ; and part of the drawing at the bottom is wanting, through a tear in the paper. Pen, partly tinted in water colours; roy., llj x 9 in. Bequeathed by Sir Hans Sloane, Bart., 1758. DE LA COUR, F. J. (worked about 1830). Water-colour painter; life unknown ; probably a drawing-master ; sometimes imitated Prout. 1. KiLWAY Abbey, Coek. The ruin of the abbey, backed by trees, stands on a knoll to the r. of a path leading from the foreground to a wooded hollow 1., above which appear roofs and towers, and beyond, distant mountains across a strip of sea ; on the path, a shepherd with his sheep. Signed F. J. de la Cour. Water colours and Indian ink ; roy., 6 X lOJ in. Purchased at the Percy sale. May, 1890. p. H. De La Motte.— W. De La Motte.— S. P. Denning. 27 DE LA MOTTE, Philip Henry (worked about 1861-1876). Painter; son of WUUam de la Motte ; worked in London ; Professor of drawing at King's College, London. 1. At Selboene. A path leading through a gate into a plantation, with a fleld Ijeyond ; a butterfly over the gate, and a lady about to enter with a butterfly net. Water colours ; roy., 9J x 6J in. 2. At Southwold. A 'flshing-boat, dismasted and heaped with barrels, drawn up on the beach by a calm sea ; a net in the foreground, and a few vessels in the ofifing. Signed P. H. D. Water colours ; roy., 7 X lOJ in. Both purchased August, 1892. DE LA MOTTE, William (b. 1775, d. 1863). Landscape painter, etcher, and lithographer; born at Weymouth, where he was noticed by George III., and placed with Benjamin West ; exhibited at the Royal Academy 1795-1848; painted landscapes in water colours and oils; foUowed Girtin in his early drawings. 1. FoEOLAZ, S-wiTZBELAND. Woods On an upland, with mountains rising behind, snow-capped in the distance r. ; in the foreground a blasted tree growing side ways to the 1. above a rough path, along which a boy drives a flock of goats. Signed and dated W" de la Motte 1804, Forclas. Water colours and body colours; roy., 8J x 11 J in. Purchased December, 1866. 2. A Wateemill. a stream coming down from dark hills between two buildings near the foreground, joined by a slight bridge, carrying the water over a wheel r. ; a group of birches iu front of the wheel. Indian ink and indigo ; roy., 10 j x 8| in. Purchased March, 1868. 3. Castle of Godesbeeg. The banks of the Rhine, with peasants passing, or kneeling before a tall Gothic shrine 1. ; on the further side, towards the r., the ruined castle on its conical hill. Signed and dated TF" de la Motte, 1826, Black chalk on drab paper, heightened with white; roy., 65 x lOJ in. Purchased August, 1871. 4. Shephbeds on a Mountain Eoad. Two men, one on horseback, driving a flock of sheep along a road which comes winding from the 1., under wooded crags r. ; trees in the foreground, r. and 1. Signed and dated IF" de la Motte, 1 801. Pencil ; roy., 10 X 14J in. Purchased October, 1872. 5. Study of a Teee. A tall elm, overgrown with masses of ivy springing from the foreground, -with a boulder r. ; beyond, gently rising hills, and three meu by a rook 1. Pencil, with Indian ink and sepia wash; roy., 18 J X 13| in. Presented by J. Deffett Francis, Esq., December, 1874. DENNING, Stephen Poyntz (b. 1795, d. 1864). Miniature painter; pupU of John Wright ; exhibited at the Royal Academy 1814-1851 ; curator of the Dulwich Gallery. 1. Poeteait of Heney Peteie. Three-quarter length, seated in an armchair, the face in three-quarters, looking r. ; a bookshelf behind, r. Signed and dated S. P. Denning, 1885. Water colours over pencil ; highly flnished ; roy., 18§ x lOf in. Henry Petrie, antiquary, b. 1768, found an early and useful friend in J. F. Dibdin, and through him in Lord Spencer ; was appointed keeper of the records in the Tower, 1819, and soon after began, with government help, the preparation of materials for the early history of Britain, his life work ; the 28 Drawings of the British School. first volume, ' Monumenta Historica Britannica,' was compiled 1835, but not published till 1848, by Sir T. D. Hardy. Petrie died 1842. 2. Poeteait of Michael Beyan. Nearly three-quarter length, seated in a chair, the face in three-quarters looking 1.; behind, the Pieta by Annibale Carracoi, formerly in the Orleans Collection and now at Castle Howard. Water colours and body colours over pencil ; highly finished ; roy., 9J x 7J in. At the back of the mount is pasted a memorandum. Drawn from life hy 8. P. Denning. From the collection of J. Wadmore, Esq. Micliael Bryan, author of the ' Dictionary of Painters.' Bryan, b. at Newcastle-on-Tyne, 1757, lived for some years in Flanders, and after his return made frequent visits to the continent, acquiring much knowledge of pictures, which he turned to account in the ' Dictionary,' first issued 1813- 1816 ; died 1821. Purchased May, 1891. DERBY, William (b. 1786, d. 1847). Painter; born at Birmingham; pupil of Joseph Barber; painted portraits and miniatures, and was especially skilled in water-colour copies from oU paintings; made drawings for Lodge's 'Portraits.' 1. Poeteait of De. Kidd. Short three-quarter length, full face, in gown and bands. Water colours over pencil ; highly finished ; roy., 7J x 5J in. James Kidd, b. 1761 near Loughbrickland, co. Down, began life as a school master iu Ireland; emigrated 1784 to America, where he studied Hebrew; returning, became professor of Oriental languages at Aberdeen, 1793, and soou also gained renown as a powerful preacher ; died 1834. Purchased at the Percy sale, May, 1890. DEVIS, Anthony Thomas (b. 1729, d. 1817). Water-colour painter; brother of Arthur Devis ; exhibited a few landscapes between 1772-1781. 1. Landscape, with a euinbd Castle. View looking up a river or estuary, with a ruined castle on a low cliff 1., above a small fishing village ; beyond, higher cliffs, aud in the r. distance a range of mountains ; in the foreground 1. two men and a woman on a bank under trees. Signed A. Devis. Indian ink and sepia over black chalk ; roy., 10| x 15J in. Purchased August, 1859. 2. Woods at Veenon House, neae Beiton Febey, at the Mouth op the Neath Rivee, GLAMOEGANsmsB. A road descending 1. behind a wooded bank on which are two sheep, with a view over sloping meadows to the river and grassy wooded shores beyond ; a few boats sailing on the river, which flows out past a little promontory r. to the sea ; a woman and a man with a dog on the road in the r. foreground ; the whole scene beyond bathed in peaceful sunshine. Water colours over black chalk and pencil ; 12^ x 17i in. Purchased February, 1861. 3. Abeeavon Hells, Glamobganshiee. Wooded hills, bare at the top, sloping from the r. to a valley filled with trees ; fields with gorse in the foreground, and two goats 1. ; beyond, 1,, a succession of hills. Signed Anthony Devis. Water colours ; roy., 9| X 15 in. Purchased May, 1890, at the Percy sale. DEVIS, Arthur (b. 1708, d. 1787). Painter; bom at Preston; father of A. W. Devis; pupU of P. TUlemans; painted portraits; worked in London. 1. Poeteait Sketch op a Lady. Whole length of a young lady in semi-classioal costume, her arms by her side, looking down. Signed ^T Devis Pen and sepia; roy., 8i x 5| in. Purchased May, 1890, at the Percy sale. Arthur William Devis. — James Devoto. — John Devoto. 29 DEVIS, Arthur William (b. 1763, d. 1822). Painter ; son and pupU of Arthur Devis ; appointed as a young man draughtsman to an East India Company's ship, wrecked on the Pelew Islands ; returned home by way of China and Bengal ; painted the Death of Nelson and other historical works, besides many portraits. 1. Aba Koogeb. Head and shoulders of a savage, with beard, and curly hair tied in a sort of pigtail, in three-quarter face looking r. ; probably one of the savages of the Pelew Islands, with whom the wrecked crew of the ' Antelope ' made friends. Inscribed Ara Kooger. Pencil ; roy., 9J X 7J in. Purchased July, 1876. 2. A Je-wish Tomb. A few steps leading up to a hollow chamber of carved rock containing a sarcophagus ; palm, aloe and other plants growing around ; an inscription in Hebrew, imperfectly represented, on the sarcophagus, and another, meaning ' Tomb of Manasseh [or perhaps Moses],' on the lintel above. Signed A. W. Devis del. Indian ink and sepia; irregular oval ; roy., lOJ x 9| in. Purchased May, 1888. 3. Poeteait op a young Hindoo. Half-length, of a young man with slight moustache, iu a turban, with knife in sash, nearly full face, turned a little 1. Signed A. W. Devis, del. morning. Pen and slight sepia wash ; roy., 8i x 5| in. A stipple engraving, unsigned, from this drawing is in the department. 4. A Chinese Lady. Head and shoulders, iu full face, wearing necklace and ear-rings. Signed Art. W. Devis del. Pencil with a little pen work, tinted with sepia and lake ; roy., 7f X 6^ in. Nos. 8 and 4 were purchased May, 1890, at the Percy sale. DEVOTO, James (worked about 1730). Draughtsman ; biography unknown. 1. Poeteait op a Naval Offioee. Half-length portrait of an oflBcer, nearly full face, turned a little r., 1. hand on hip, r. hand in coat ; a globe upon a table beside him 1. In an ornamental oval, with English flags and cannon at each side ; above, a decorative panel on which is a drawing of a sea-fight. Signed above, James Devoto delinedt. Pencil, with the decorations in water colours, on vellum ; roy., 12 x 8J in. This has been supposed the portrait of Admiral Bowater, who died in 1829, and was born long after this drawing was made. 2 Poeteait of a Lady. Half-length of a lady of plain features, three-quarter face, looking r., with a bird perched on her 1. hand, held in front of her. In a decorative oval on a, background of brickwork, with a panel below inscribed James Devoto Delinuat [sic]. Pencil on vellum ; roy., llj X 8| in. Both purchased November, 1861. DEVOTO John (worked about 1776). Draughtsman ; exhibited a flower piece at the Society of Arts, 1776, and is described in the catalogue as Drawing-master, of Bedford Street, Covent Garden. Made a few designs for books. 1. Two on one mount, roy., viz. : — (o) Classical Landscape. A ruined temple 1,, with fallen fragments r reflected in a pool, by which rise two trees against a background of distant peaks. Signed J. Devoto. Pen and ink ; 5J x 6 in. 30 Drawings of the British School. (6) Oh. Landscape Composition. A square monument and two pillars bearing part of a pediment rising among ruins ; 1., a fantastic peak. Signed J. D. de. and again J. Devoto. Pen and ink ; 4| x 6| in. Bev. Fantastic Landscape. An archway built in a mass of rock surmounted by classical monuments with statues. Pen and ink. Purchased June, 1881. DE WILDE, Samuel (b. 1748, d. 1832). Portrait painter; born in Holland of Dutch parentage, and brought as a chUd to England ; produced a few etchings and mezzotints ; exhibited portraits and subjects, and from about 1795 devoted himself to the portraiture of actors in character, painting all the theatrical celebrities of his day ; a collection of these portraits is in the Garrick Club. 1. Stephen Kemble. In ordinary dress, half-length, in three-quarter face, looking full. Signed and dated De 'Wilde, May, 1817. Red chalk, with Indian ink and water-colour wash ; roy., 8J x 6J in. Stephen Kemble (b. 1758, d. 1822), brother of J. P. Kemble and of Mrs. Siddons, was an actor of some reputation, playing in England and Scotland, from about 1784 to 1822. Portraits of him as Bajazet and as Falstaff, by De Wilde, are in the Garrick Club. 2. Mes. Atkots as Selima in 'Selima and Azoe.' Whole length, in Oriental costume, holding a rose in 1. hand. Dated and signed Dem'' 6, 1805, De Wilde. Pencil and red chalk, partly tinted in water colours ; roy., 14f x 9 in. Engraved in stipple by E. Cooper. Mrs. Atkins is said to have been ' A beautiful vocalist of her time.' 3. Mastbe Betty as Oebstes in 'The Distbest Mothee.' Whole length, in classical dress and plumed helmet, in the act of drawing his sword, and looking a little 1. Signed and dated S. De Wilde, 1805. Pencil and red chalk, tinted in water colours ; roy., 14f x 8^ in. William Henry West Betty, known as 'the young Eoscius,' b. 1791 at Shrewsbury, first appeared as an actor at Belfast in 1808, and enjoyed wonderful success in Ireland, Scotland, and 1804-5 in London ; appeared again at intervals till 1824, when he retired ; died 1874. No. 3 was purchased May, 1822. 4. Masteb Betty as Captain Flash in 'Miss in hee 'Teens.' Whole length, in captain's uniform and cocked hat ; hands on hips, and looking 1. Signed and dated De Wilde, June 4", 1806. Engraved in stipple by E. Cooper. Pencil and red chalk, tinted in water colours ; roy., 14| x 8J iu. 5. Me. Collins as Shabp in ' The Lying Valet,' Whole length, full face, with hat in both hands, smiling, and with eyes looking 1. Signed and dated S. De Wilde, Jan. 21"', 1805. Inscribed Mr. Collins as Sharp. Engraved in stipple by Leney. Pencil and red chalk, tinted in water colours ; roy., 14f x 8J in. 6. Me. De Camp as Coupee in ' The Viegin Unmask'd.' Whole length, in a striped coat and knee-breeches, fiddle in raised 1. hand, hat in r. hand, r. leg raised in dancing attitude, moving r. Signed and dated S. De Wilde, April, 1806. Pencil and red chalk, tinted in water colours ; roy., 14J x 8J in. Vincent De Camp was brother of Mrs. C. Kemble. 7. Me. Dowton as De. Cantwell in ' The Hypocrite.' Whole length, standing, in full face, Bible in hands, eyes uplifted. Signed and dated S. De Wilde delin. May, 1812. Water colours and red chalk ; roy., 14| x 8 J in. William Dowton (b. 1764, d. 1851) flourished in the last years of the eighteenth century and early years of the nineteenth as a fine actor of old men's parts, especially Dr. Cantwell and Sir Anthony Absolute. Samuel De Wilde. 31 8. Me. Egerton as Clytus in 'The Rival Queens, oe Death op Alexandee THE Geeat.' Whole length, wearing a cuirass, and looking towards the 1. with an expression of angry protest. Signed and dated S. De Wilde delin. July, 1816. Water colours and red chalk ; roy., 14J x 9 in. Daniel Egerton (b. 1772, d. 1835), after playing for some time in the provinces, appeared 1809 at Covent Garden, where he remained for most of his career, playing secondary parts in serious plays. 9. Mes. Egbeton as Meg Meeeilies in ' Guy Manneeing.' Whole length, looking towards the r., with 1. hand extended and r. hand grasping a ragged staff. Signed and dated De Wilde, 1816. Water colours and red chalk ; roy,, 14| x 9 in. Sarah Egerton (b. 1782, d. 1847) took to the stage in 1803 at Bath ; married Daniel Egerton ; was a failure in London till she won success in Meg Merrilies and other melodramatic parts. 10. Me. Elliston as Duke Aeanza in 'The Honeymoon.' Whole length, wearing a broad hat -with feathers, with r. hand extended, and looking towards 1. Signed and dated S. De Wilde. July, 1808. Water colours and red chalk ; roy., 14J x 9 in. Engraved iu stipple by Sciiven. Robert William Elliston (b. 1774, d. 1881) first gained notice as an actor at Bath ; played both in comedy aud tragedy at the Haymarket and Drury Lane, and was manager of Drury Lane 1819-1826; the most brilliantly versatile actor of his day ; Lamb's ' joyousest of embodied spirits.' 11. Me. Fawcett as Robin Roughbad m 'Fortune's Frolic' Whole length, in countryman's dress, holding a whip, full face, looking r. Signed aud dated S.De Wilde f D. i"', 1805. Pencil and red chalk, tinted with water colours ; roy., 14i x 9J in. Engraved in stipple by Woodman ; the head alone engraved also by Hopwood. John Fawcett (b. 1768, d. 1837) made a reputation in Yorkshire, whence he was engaged for Covent Garden, with which he was connected from 1791 till his retirement in 1880; admirable in low comedy; author of some dramatic pieces. 12. Mes. Glovee as Eugenia ln 'The Foundling op the Foeest.' Whole length, in mourning dress, reading a paper held iu 1. hand. Signed aud dated S. De Wilde delin., 1811. Water colours and red chalk ; roy., 14J X 8 j in. Julia Betterton (b. 1779, d. 1850), daughter of an actor, first appeared in Loudon 1797, and was one of the beat comic actresses of her day. She married Samuel Glover. 13 Me Haeley as Wbllboen in -A New Way to pay Old Debts.' Whole length, looking towards the r,, 1. arm extended, r. hand holdmg a stick. Signed and dated De Wilde delin. D'., 1816. Water colours and red chalk ; roy., 14 J X 9J in. ,01=^-1, i,- John Pritt Harley (h. 1786, d. 1858) was very popular from 1815 till his death, succeeding to John Bannister's parts, and celebrated for his humour and versatility. 14 Me HttL AS Leandee in 'The Padlock.' Whole length, in academical costume with gold-tasseled cap in 1. hand, and pointing behmd hm with r. hand. Signed and dated S. De Wilde, N. 12, 1805. , „ ^ o, .„ Pencil and red chalk, tinted with water colours ; roy., 15J X 9| in. Engraved in stipple by Schiavonetti. , , , Tames Hill d 1817 (?), was an actor and singer who had some success in seconTary parts at Bath and in London, 1796-1805, after which he disappeared. 15 Mes Heney Johnson as Catheeinb in ' The Exile.' Whole length, smiling, and holding a pair of scissors in one hand and a ringlet of hair in the other. Water colours and red chalk; roy,, 14i X 9 in. 32 Drawings of the British School. 16. William Maoready the Elder as Mr. Colloony in 'The Irishman in London.' Whole length, in riding dress and hat, whip in r. hand. Dated and signed October 20", 1805. S. De Wilde. Pencil aud red chalk, washed with water colours ; roy., 14f X 8| in. William Macready (b. 1755, d. 1829), father of W. C. Maoready, was a fair actor, but was best known as manager of theatres at Birmingham, Sheffield, and other country towns. 17. Mes. Mattocks as Lettioe in ' The Inteiguing Chambermaid.' Whole length, pointing 1. with r. hand, and looking towards the r. Pencil and red chalk, with a few touches in water colours ; roy., 18J x 8§ in. Engraved in stipple Isy Williamson. Isabella Mattocks (b. 1746, d. 1826), daughter of an actor, Lewis Hallam, went on the stage as a child, and from 1752 to 1808 was a constant performer at Covent Garden ; brilliant in comedy, especially in chambermaids' parts. A portrait of her by De Wilde, as Lady Restless, is at the Garrick Club. 18. Mrs. Mathews in ' The Masquerade.' Whole length, in rich dress, with a necklace and pearls in her hair, and holding a candle iu r, hand. Water colours and red chalk ; roy., 14| x 9 ins. Anne Jackson, half-sister of Frances Kelly, married Charles Mathews in 1803 ; acted with him at the Haymarket till 1810, when she retired, and died 1869 ; she edited her husband's memoirs and wrote two other books of anecdote. 19. Mr. Auberey as The Lay Brother in ' The Duenna.' Whole length, in brown serge garment, staring with terrified expression. Signed and dated S. De Wilde delin., July 11, 1810. Water colours and red chalk ; roy., llf x 8J ins. 20. Mr. Young as Mr. Haller in 'The Stranger.' Whole length, seated, directed 1., with book in 1. hand, and looking towards the r. Water colours and red chalk ; roy., 14J x 9 in. Charles Mayne Young, b. 1777, d. 1856, made his first appearance on the stage at Liverpool; from 1807 played in Lomlon, first at the Haymarket, after 1810 at Covent Garden as second to Kemble, whom he surpassed in many parts; excelled alike in comedy and tragedy ; took his farewell iu ' Hamlet ' 1832. Nos. 1-20, with the exception of No. 8, were acquired before 1837. 21. John Raphael Smith. Half-length, full face, laughing and leanino- his chin on his r. hand. Ivscnhed De Wilde delint. J.R.Smith. Pencil and water colour sketch ; 8J x 6J in. Inserted in Vol. III. of the interleaved catalogues of the Society of Arts presented by J. H. Anderdon, Esq., 1869. DE WINT, Peter (b. 1784, d. 1849). Landscape painter ; born m Stafford shire, of a family originally Dutch ; apprenticed for a time to J. R. Smith [q.v.], the engraver ; befriended by Dr. Monro, of the Adelphi ; studied at the Royal Academy ; a prominent member of the Old' Water Colour Society, where most of his works appeared ; painted admirable landscapes in oUs, but more often in water colours, dis tinguished by their powerful simplicity of style and grave richness of colouring; worked especially in the neighbourhood of Lincoln but also in other parts of England. ' 1. Westminster Abbey peom Tothill Fields. A broad expanse ,of marshy fields, bounded by trees and the low houses of Westminster, above which rises in the centre the Abbey, clear in yellow light again»t the smoke of London and a white bank of cloud ; to the r., the four pium.cles of St. John's, and Lambeth Palace ; to the 1., m the distance, St. Paul's. The foiegiouud is unfinished \\ ater colours ; roy., 4| x 12J in. Peter De Wint. 33 2. The Obseevatoey, Geeenwich. A hollow in the Park, with groups of trees and a line of cedars planted across it and up the 1. slope, on the top of which stands the Observatory. Water colours; roy., 4| x 9i in. Nos. 1 and 2 were presented by Chambers Hall, Esq., AprU, 1851. ^yo. Gloucestbe. a view from a level meadow at the north-west of the city ; the Cathedral standing towards the 1. and other churches towards the r., all in the glow of a warm sunset which purples the roofs of the houses and illumines the clouds above ; beyond the city, r., a low hill. Water colours ; roy., 5 J x 15J in, 4. Two on one mount, roy., viz. : — ^a) On the Thames. The river bank with shady ash and elm and willow rising above a boathouse, and mirrored in the quiet water. Water colours ; 6J x 4 in. ' (6) Salisbuey Cathedbal. Marshy meadows, with a tree r. rising by a sluice, and two cows 1. ; at some distance the cathedral above dark woods. Water colour sketch ; 7| X 6| iu. Nos. 8 and 4 were purchased June, 1886. .5. Lancaster. A ridge of broken ground, with low trees all across it, over which, on rising slopes and filling a shadowy hollow to the r., appear the roofs of the town, dominated beyond by the Castle hill, with its battlemented towers and keep, and St. George's Church, touched with light, at the r. Water colours ; roy., 8J x 15J iu. Purchased October, 1886. 6. Ceewe Hall. The house, backed by trees, seen across a pond at the end of the lawn ; swans on the water, and trees r. and 1. Unfinished. Water colours, with foreground in pencil only ; roy., 7 X 11 in. Crewe HaU, near Crewe, has been since burned down and rebuilt. Purchased July, 1888. 7. Two on one mount, roy., viz : — (a) A China Vase. A small blue and white china vase, with a lid, standing on a table ; a red pocket-book beside it. Water-colour sketch, unfinished ; 6J x 6J in. (6) Jug and Basket. A brown earthen jug and a basket, with a cloth hanging over the jug from the top, and spotted red handkerchief lying against the basket. Water-colour sketch ; 3 J x 9§ in. 8. China Vase and Basket op Mus^heooms, etc The same blue and white vase as that described above. No. 7 (a), standing on a purple-spotted handker chief, with a basket of mushr.ioms beside it, aud a pear, a red pocket-book and two tumblers on a tray (the last sketched in pencil only) ; all on a green covered table. Water colours, unfinished; roy., 8| x 11 J in. Nos. 7 and 8 were purchased at the Percy sale. May, 1890. 9 Landscape with a wide Peospect. A hill with trees of spreading branches on the slope, r., and a donkey in their shade, looking over an immense plain ; roofs and smoking chimneys of a village at the foot of the hill, woods beyond, and fields stretching into an endless level distance under an empty Water-colour sketch ; roy., llj X 18| in. Purchased July, 1892. 10 The Glen The side of a wild rocky glen, with cattle by a stream, 1., and the sun breaking in white rays through leafy branches ofthe trees above. Water colours, unfinished ; ant., 80 x 21^ m. Purchased at the Gaskoin sale, July, 1885. vol. n. D 34 Drawings of the British School. 11. The Pool of London. A view looking up to St. Paul's, with shipping on either side, and small boats in mid-stream. Sepia ; 4f X 8 J in. In Portfolio vm. (No. 3) of the Grace Collection of London Views, purchased November, 1880. DIBDIN, Charles (b. 1745, d. 1814). Dramatist, song-writer, and amateur painter ; early noted for his love of music and the stage ; acted, composed music, and latterly gave musical entertainments ; best known by his v6ry numerous sea-songs ; painted some -views of the Lakes, engraved in aquatint by J. HiU. 1. Lyme Begis, Doesetshiee. View from the Cobb, looking east along the coast, with cottages on the shore, 1., and hills above extending beyond to the hills about Charmouth; two men puiting out in a boat with fiahing-nets 1, ; other boats on the beach, and others sailing in the bay, one near the r. foreground. Inscribed Lyme, Dorsetshire, taken from the Cohb. Dibdin feet. Indian ink and indigo ; roy., lOf x 16 in. 2. Church at Lyme Eegis. The church, seen from the north-east of the church- ynrd, with the village houses among trees on the hOl r., and the bay with boats 1.; a man and woman by a gravestone r. Inscribed Church at Lyme, Dorset shire. Dibdin feet. Indian ink and indigo ; roy., lOJ X 15J in. Both purchased July, 1876. DIBDIN, Thomas Colman (b. 1810). Painter; exhibited a number of landscapes between 1831 and 1883. 1. Cld Cottages. A group of thatched cottages by a path which comes into the r. foreground ; a man sitting on a felled tree -trunk 1., and a girl standing beside him. Signed and dated T. C. Dibdin, 1840 [or 1849 ; the lower part of the flgures cut off.] Water colours and body colours ; roy., 9| x 1 3 in. Purchased August, 1875. DIGHTON, Denis (b. 1792, d. 1827). Painter and etcher; son of Robert Dighton ; studied at the Royal Academy ; appointed miUtary draughtsman to the Prince of Wales, 1815, and best known by his battle pictures. ' [1-2.] Drawings after Augustus Earle, for 'Journal of a Residence in Chile' and 'Journal of a Voyage to Brazil,' by Maria Graham (Lady Callcott), both published 1824. See Vol. I. of this catalogue, pp. 178-189. 1. Two on one mount, roy., viz. : — (o) Costume op Chile. The court of a house at Melipilla, with an arcade at the end of it, and men and women grouped in the shade, some playing guitars. lusoribed D. Dighton. Indian ink ; 6| x 8| in. Engraved in aquatint with the above title by E. Finden iu the ' Journal in Chile,' p. 262. (6) Gate and Slave Maeket at Peenambuco. View down a street crowded with slaves, who are guarded by soldiers r. ; a man riding through them 1. Inscribed D. Dighton from Earl. Costume of Chile. Indian ink ; 6| x 9J in. Engraved in aquatint by E. Finden in the ' Journal iu Brazil,' p. 107. Denis Dighton. — Richard Dighton. — Robert Dighton. 3a 2. Two on one mount, roy., viz. : — (a) Cacique meeting Cabrera's Troops. The Cacique rides slowly 1. ; he is nearly naked, and holds a long lance upright; a troop of his followers ride behind. Inscribed D. Dighton. Cacique meeting a friendly force. Indian ink ; 8| x 6| in. Engraved in aquatint by E. Finden in the ' Journal in Chile,' p. 419. This drawing illustrates an incident in the War of Independence in Argentina. Don Jose Miguel Carrera was general of the national troops, who were assisted by Indians. (6) Teavblling or Spanish America. A lady and gentleman travelling in a two-wheeled closed carriage, drawn by a pair of mules, with an Indian riding postillion ; vultures at the roadside ; mountains in the distance. Inscribed D. Dightcm, from Earl. Road from Calao [Callao] to Lima. Indian ink ; 6f x 8§ in. Engraved in aquatint by E. Finden as frontispiece to the ' Journal in ChUe.' Bequeathed by Sir A. W. Callcolt, with the albums of sketches by Lady CaUcott, AprU, 1845. DIGHTON, Richard (worked about 1800-1827). Draughtsman; son of Robert Dighton, whose style he followed in a series of etched profile portraits of a mUdly satirical character. 1. Peopile of a Gentleman. Whole length of a middle-aged person standing in profile, turned 1., hat in hand, ami wearing yellow gloves. Signed and dated Rich''. Dighton, ColeAill Street, Chelsea, 1827. Water colours over pencil ; roy., 10| x 8f in. This portrait is similar iu character to the etched series, and perhaps an etching of it exists. Purchased August, 1877. DIGHTON, Robert (b. 1752, d. 1814). Painter and etcher; published ' A Book of Heads ' 1795, and etched a number of satirical portraits ; worked and taught drawing in London, and had some celebrity as a caricaturist. 1 'Keep within Compass.' Within a circle described by a pair of compasses, which make an arch over her head, a lady, standing in a trim garden, pauses in the perusal of the pleasures of ' Imagination Realiz'd,' to contemplate an open box filled wilh bank notes and gold, the Reward of Virtue ; a spaniel at her feet' looks up at her; in tbe background are woo.led grounds, with a mansion at the top of the hill and a farm at the foot. Outside the circle at each corner are depicted the miseries of vice ; at the top 1. a woman ruined by gambling, i. a drunken mother dropping her child ; at tlie bottom 1., a prostitute. arrested by the watch, and r. beating h. mp in Bridewell. .^ , • „ Beneath the circle, Prudence Produaeth Esteem, and above it, taintly pencilled oniy. Keep within Compass. Monochrometiated with water colours; roy., 12ix 10 in. Enoraved anonymouslv, and published by Carington Bowles, 1785. In the print a couplet runs round the circle left blank in the drawing :— Keep 'within Compass, and you shall be sure To avoid many troubles which others endure. And below is the verse : — Attend unto this simple fact 1 That virtuous and prudent ways As thro' this life you rove, \ Will gam esteem and love. 36 Drawings of the British School. 2. Glee Singees executing a Catch. A party of twelve glee singers sitting or standing at the further side of a round table, on which is a bowl of punch, and singing the catch (by William Bates), " Sir, you are a comical fellow — Nay, you are a comical fellow — What, I — am a comical fellow." The chairman wearing a red coat, and with wig awry, is conspicuous in the centre. A dog in the foreground stands up and puts its forepaws on the table. Signature nearly obliterated. (Drawn on a mended piece of paper.) Monochrome tinted with water colours ; roy., 12J x 9| in. Nos. 1 and 2 were purchased July, 1859. 3. Men-of-Wae bound poe the Port op Pleasuee. A wharf at Gravesend, the starting place of the Chatham Tide Coach, which is seen in the background, its tup crowded -with sailors; in the foreground are sailors newly come ashore, being cajohd out of their money by women; one in the centre about to (jive his purse to a dishevelled beauty who leans on his shoulder; another sitting on his aea- cliest r. aud embracing a girl round the waist, and another 1. losing his purse as he gets a kiss. Signed R. Dighton del. Monochrome tinted with water colours ; roy., 12| x 9f in. Purchased March, 1875. 4. ' There is Gallantey foe you I And my Boy mentioned in the Dispatch I! I ' A gloss red Englishman in a chair reading of a French defeat iu the Lond(m Gazette Extiaordinary and snapping his fingers in exultation. Inscribed as above. Indian ink, coarsely tinted with water colours; roy., 14i x llJ in. 5. ' CoMME oB Corse nous mJine ! Il fait payee chee ses Ceoix d'Honneub ! ' A lean, lanky Frenchman on a rusli-bottom chair, exclaiming in fury at the news of a French defeat in the Moniteur (dated 1813). Inscribed as above. Indian ink, coarsely tinted with water colours ; roy., 14| x llJ in. Nos. 4 and 5 were purchased July, 1875. 6. An Exhibition of Caeioatuees. A picture gallery hung with large, unframed caricatures, among which ' An Imperial Stride ' (Catherine II. stepping from Eussia to Constantinople) and ' A Weeping Willow ' (0. J. Fox) are noticeable. The foreground is filled with groups of ladies and gentlemen, prominent being an officer ogling two ladies who are coming from the r., and neglectful of his wife, who tries to draw his attention to one of the pictures ; 1. a meagre little man endeavouring to support his massive spouse, who shakes in apoplectic fits of laughter, and behind are two crapulous fat parsons, winking and riotously merry ; further back, near two doors, are other groups, some on seats by the wall. At the extreme r. a young man in a blue coat carrying a whip ; and behind, a short man with a great paunch, enjoying a picture through his eyeglass. Monochrome tinted with water colours ; atl., 17| x 26| iu. Purchased May, 1876. 7. Me. Aiokin as Bollngbeoke in ' Eichaed II.' Whole length, wearing a wig, with plumed hat in one hand, aud pointing with the other, as he says : ' Go^ some of you, convey him to the Tower.' (Act iv., sc. 1.) Indian ink, tinted with water colours; 4 J x 3J in. Engraved by C. Grignion for Bell's ediiiou of Shakespeare, 1776. Francis Aickiu (d. 1805) was born in Dublin, and after sirollin" in Ireland was -at Drury Lane 1765-1774, then at Covent Garden till 1792, afterwards a manager; called ' Tyrant Aickiu,' from his success in passionate declamatory parts. In Vol. I. of the Buruey Collection of ' Theatrical Portraits,' purchased 1817. 8. Me. Beereton as Teoilus. Whole length, in a Trojan costume of the eighteenth ceutury, with ermine trimmed cloak, saying ; ' I tell thee, Lord of Greece, She is as far high-soaring o'er thy praises As thou unworthy to be called her servant.' ('Troilus and Cressida,' Act. iv., sc. 4.) Indian ink, tinted with water colours ; 4J x 8f in. Engraved anonymously for Bell's ediiion of Shakespeare, 1776. William Brereton died 1787. In Vol. II. of the Burney Collection. Robert Dighton. — Arthur Ditehfield. 37 9. Me. Weston in the Character op Custard. Whole length, with hand raised, protesting, ' I was taken with none, sir ; I was taken with a damosel ' (' Love's Labour's Lost,' Act i., so. 1). Signed R. Dighton inoen' del'- Indian ink, t'uted with water colours; (with margin) 6J x 4 J in. Engraved by C. Grignion. Thomas Weston born 1727, died 1776. In Vol. X. of the Burney CoUectiou. DITCHFIELD, Arthur (b. 1842, d. 1888). Landscape painter and etcher ; born in London and lived in London ; studied a'u the Roya? Academy ; painted in water colours and oils ; worked much in Paris, the South of Europe and Algiers. A complete set of his etchings is in the department. 1. Armed Knight Bock, Land's End, Cornwall. A prospect, seawanl, from cliff top, 1., with the group of rocks rising r. at a little distance. Signed with monogram, and dated [1 8]81. Charcoal and stump ; roy., 8f x 11 in. 2. Barras Nose. Tintagel. A rocky promontory, seen from the Castle cliffs, across the little bay ; the sea running storinily in, under a c-loiided sky, and foaming up the dark rocks. Signed with monogram, and diited 1881. Chaicoal and stump ; roy., 8i x lOf in. 3. Lechlade. The church with its tall spire appears at a little distance beyond the Thames, which comes curving past clumps of willows, 1., into the fore ground ; r., deep meadows with a cow coming down by a teuce ; trees higher U|i, and a large house beyond, near the church, backed by dark elms against breezy clouds. Signed with monogram, and dated 1885. Black chalk, charcoal and stump ; roy., lOf x 16J in. 4. On the Thames. View up the river, which winds into the r. foreground through wide grass meadows, where, just beyond a little bridge, crossed by a tow-path 1., haymakers are busy; at some distance, r., a long row of poplais, with a low round tower among them ; over all, a summer sky and the wind blowing soft clouds Irom the 1. Signed with monogram, and dated '85. Black chalk, charcoal and stump ; roy., 8 X 16i in. 5 Pastoral Landscape. A meadow bordering a stream, which flows at the 1. into a sunny distance, and rising, r., in a smooth slope, with a few single trees growing on it, and further off a tall clump of them ; a figure piping at the foot Sf one of the single trees; three children running, with joined hands from another isolated tree on the stream's bank towards the foreground, a d,-g beside them ; and a deer descending the slope, r. Signed and dated A. Ditchjield, Black chalk, charcoal and stump; roy., ISf X 12J in. 6. EoMANTic Landscape. A pool, with swans among its reeds, overshadowed on the further side by thh-k bushes and trees, between the stems of which is a glimpse of far off mountain under twilight sky. Signed and dated Arthur Ditehfield, Wll. . ,„, ,„, . Black chalk, charcoal and stump; imp., 1»J X l^i m. 7 A Rainpool in the Alpes Maeitimbs. An irregular pool of blue water lying tn a sZy hollow among gentle slopes, covered with dw.rf woods rising into higher ranges beyond, backed by a long line of snowy peaks. Signed and dated A. D., 3, 86. Water colours; imp., 12^ X 19J m. 8 Les BLANCmsSEUSES. Low meadows bordering a river seen at the 1., by the bank of wh^h two women are washing linen; beyond, groups of tall poplars some neaSome Ztan" rising against^the light clouds of a placid sky. Signed and dated A. Ditehfield, 1869, Water colours ; imp., 13J X 21J in. 38 Drawings of the British School. 9. Leigh, near Southend ; Morning. A slope of rough ground, descending gently to a railway, runs from the 1. to the village, half hidden among trees towards the r. ; beneath the railway, the wide water of the Thames, with rowing boats and sailing boats and a jetty running out below the village ; beyond, the level marshy land stretching to the distance, threaded with streams. Water colours ; imp,, 8J x 19^ in. 10. Leigh, near Southend ; Evening. View from the village itself, the houses clustered on a slope rising from the shore to a road which passes r. ; in the foreground, 1., a gate and a path leading to the road; beyond, the water and endless marshy landscape pale iu the twilight, which steeps the village in cold purple shadow. Water colours ; imp., 9 X 19§ in. 11. Summer Clouds over the Sea. A sea of vivid opalescent blue, profoundly calm and faintly reflecting a range of thunder cloud, which rises vague from the horizon into crowded, snowy heads. Water colours ; imp., 9| x 19J iu. All presented by Mrs. J. L. Roget, June, 1889. DIXON, E. H. (worked about 1847-1859). Landspape painter; exhibited a very few pictures at the Royal Academy and other galleries. 1. An enormous Dustheap at King's Cross, covered with Snow. Signed and dated E. H. D. 1840, and inscribed View of the Great Dustheap (Mr. Starkey's), King's Cross, Battle Bridge, from the Maiden Lane (the present York Road). It was removed in 1848 to assist in rebuilding the city of Moscow, Bussia. The Great Northern Railway Terminus has been built on the spot. Water-colour sketch ; 8J X llf in. 2. Old St. Pangeas Church from the Fields. Looking towards Hampstead. Inscribed Old St. Pancras Church from the Shepherd & Shepherdess [in Charrington Street], 1787. Apparently copied from a drawing of that date. Water colours ; 6 x 9 in. Compare the drawing by J. W. Archer, described Vol. I., p. 56, No. (1). 3. Old Copenhagen House. Signed E. H. D., and inscribed Copenhagen House, Islington, July, 1841. Water colours ; 6| x 10| in. 4. Old Copenhagen House. From fields, looking towards Highgate Church. Signed and dated E. H. D., 1840, and inscribed Old Copenhagen House, Islinqton. Water colours ; 9J x 13^ in. Compare the drawing by Archer, described Vol. I., p. 57, No. (16). 5. Primrose Hill, with Shakespeare's Oak. Water colours ; 2J X 6J in. 6. Primrose Hill in Winter. The same view, covered with snow. Water colours ; 2J x 5J in. All purchased August, 1871, and placed with London Topography. DOBSON, John (b. 1787, d. 1865). Architect; born at North Shields; studied architecture in Newcastle-on-Tyne, and water colours in London with John Varley ; returned to Newcastle, and remained there till his death, designing most of the new streets and pubUc buildings in that town; one of the first inaugurators of the Gothic revival, and an architect of great and varied talents. 1. Shields Harbour. View from the south : low cliff and rocks, among which aie two men 1. and beyond the calm water of the harbour the promontory rising w-ith the Priory, lighthouse, and Collingwood's monument on the top of It, and the open sea showing r. Inscribed A'o. l.—Slcetchfrom Haven. J. D Sepia wash and pen, heightened with white; roy., lOg x 14J in J. Dobson. — G. T. Doo. — E. E. Downing. — /. Doivnman. 39 2. Shields Harbour. View from the south-west, more distant than the preceding, looking across the still water to the clitt and rock.-<, and the promontory with its buildings rising beyond ; a boat in the foregrouud, r. Inscribed No. 2. Sepia wash and pen, heightened with white; roy., lOJ x 14| in. 3. Shields Hakboue. View from a point mu'-h farther within the harbour than the preceding, with shipping aud a steam-tug lying in front of a jetty and lighthouse 1., a rowing boat r., and the proniontnry ami Priory in the distance towards the r. Irxsciihcd No. 3 sketch from Shields Harbour. J.D. Sepia wash and pen, heightened with white ; roy., lOf x 14f in. 4. Shields Haeboue. From the sea to the north-east ; a near view of the Priory and CoUiiigwood monument on its promontory, extending from the r., with sta and jutting headl md beyond it 1. ; near the r. foreground a boat. luocribed No. 4. Sketch from tlie North-East. Sepia wash and pen, heiglitened with white ; roy., lOJ x 14| in. All purchased May, 1894. DOO, George Thomas, R.A. (b. 1800, d. 1886). Line-engraver; pupU of Charles Heath; elected A.R.A. 1856, R.A. 1857 ; a tine collection of proofs of his engravings is in the department. 1. EcoE Homo ; aptbe the Pictuee by Cobeeggio in the National Galleey. Pencil outliue ; 14^ x 12 in. 2. Pilgrims aeri-ving in sight op Rome; apteb Sie Charles Eastlake. PencU outliue; 18| x 28 J in. 3. The Peopfbeed Kiss; aptbe Sie Thomas Lawrence. PencU outline ; 12| x 10 in. 4. The Child with Flowers (Poeteait of Miss Murray); after Sir Thomas Lawrence. PencU outline; 12| x 10 in. 5. Portia and Bassanio; after G. S. Newton. PencU outline ; 15i x 13^ iu. 8. The Dutch Girl; after G. S. Newton. PencU outline; 9J x 7 J in. These engraver's drawings were presented by the artist, December, 1852. DOWNING, H. E. (worked about 1827-1833). Water-colour painter ; member of the New Water Colour Society. 1. Scene in a French To-wn. Women marketing at booths erected before old gabled and high-chimneyed houses; a stormy sky behind. Signed and dated H. E. Downing, 1829. Water colours ; roy., 18| x 9| in. Purchased June, 1885. DOWNMAN, John, A.R.A. (d. 1824). Painter; born in Devonshire; pupU of Benjamin West; studied at the Royal Academy from 1769 ; elected A.R.A. 1795 ; exhibited historical and fancy subjects in water colours, but chiefly portraits ; best known by his very numerous and often charming " stained " portrait drawings ; worked in Cambridge, Plymouth, Exeter, London, and Chester ; died at Wrexham. 1 Mes Wells, the Acteess. Half-length of a young lady of slim figure wearing ' a high-crowned hat with ribbons, smiling and looking up towards the 1.; moss- roses in her bosom. Signed and dated J. Doumman 1792. Chalks and water colours ; roy., 7| x 5| in- 40 Draivings of the British School. Mary Wells was a well-known actress of the time. There are other portraits of her as Lavinia in ' Titus Andronicus ' and as Imogen in ' Cymbeline.' Here she is probably represented as one of the ' Merry Wives of Windsor.' Purchased June, 1868. 2. Miss BuLTEBL. Hiilf-length, iu profile, looking 1. Inscribed and dated Miss Bulteel of Devon, 1781. Chalks and stump ; oval ; roy , 8 J x 6J in. A slip, pasted on the mount, records in the artist's handwriting : Miss Bulteel from Devon, 1781. Orig' study. Her mental and personal attractions made numberless suitors. I drew four of this. The sitter was the daughter of John Bulteel, Esq., of Lynham House, Devon. 8. Lady Chaelottb Maria Waldegeave. Half-length, in profile, looking 1. Chalks aud stump ; oval ; roy., 8J x 6 J in. On a slip below. Lady C'° Maria Waldegrave, 1780. Orig' study. 2""' daughter of the Earl. She married George, Earl of Euston, and died young, 1808. 4. Mrs. Byfield. Half-length, in profile, 1 oking r. ; fluted column behind the head, landscape r. Signed and dated .7". Downman, 1792. Clialks and stump with water colours ; oval ; roy., 8^ X 6| in. On a slip below, Mrs. Byfield, 1792. Original. Wife of the Architect. Sung to admiration. 5. Miss Abbott. Half-length, turned r., the face nearly full ; the eyes full. Signed and dated /. Downman. 1798. Chalks, stump, and water colours ; oval ; roy., 8 x 6J in. On a slip below, Miss Abbott, 1793. Original. Admired as most amiahle. 6. Two on one mount, roy., viz. : — (a) Hugh Downman, M.D. Half-length, in profile, looking 1. Inscribed X>^ D., 1796. Pencil, charcoal and stump, with water-colour tint on the face ; 8J X 65 in. Engraved by James Fuller. On a slip below, D". Downman, Physician and Author at Exeter, Devonshire, by J. D., 1796. Hugh Downman, M.D., b. 1740, educated at Exeter School and at Balliol, was ordained 1763, but gave up divinity for medicine, practising at Ext ter ; publ.shed poems, the best known of which was ' Intancy, or the Management of Children,' and plays, some of which were acted ; retired 1805, and died 1809. (b) Mrs. Downman, Wife op Dr. Downman. Half length. In profile, looking 1. Charcoal and stump, touched with black and red chalks ; 8J x 6J in. On a slip below, Mrs. Downman, his lady, she was first Cousin to Lord Courtenay. 7. Mrs. Downman, Mother of the Aetist. Half length, in profile, looking 1. Signed, /. D. Charcoal and stump with red chalk on cheek and lips ; roy., 8J x 6f in. On a slip below. Mother EW' Downman. 8. The Hon. Captain Hugh Conway, apterwaeds Loed Hugh Seymoue. Half length in three-quarter face, looking 1. Charcoal and stump, with water colours on the face; oval ; roy., 8J X 6} in. On a slip below, The Hon''' Cap" Hugh Conway, 1781. First Sitting. He became Admiral Lord Hugh Seymour. His brother became 2"^ Marquis of Hert ford. I drew three portraits of him. Lord Hugh Seymour, b. 1759, fifth son of the first Marquis of Hertford, entered the navy 1770 and served on various stations abroad till 1782 ; conj- manded a ship under Howe in 1794; appointed vice-admiral 1709; died in Jamaica, 1801. John Dotvnman. 41 9. Two on one mount, roy., viz. : — (a) Lady Henby Osboenb and hee Son. Whole length. Lady Henry sitting in profile, turned 1. and holding up a map for her boy, who stands beside her r., to look at. PUlars and landscape behind. Signed /. D. Below on the broad margin. Sketch for Lady Henry Osborne and Son. Sepia, touched with red chalk on the faces; (without margin) 15J x SJin. (b) Mes. Laekins with Two op hee Childeen. Three-quarter length ; she sits at the r. looking at her child Isabella, who stands 1. holding a rattle; the other child, a baby, is on her lap ; behind, a landscape, and a lost child, now a cherub, regard ng the group from a cloud. Signed, /". D. On the margin above, 5"' [child] Isabella ; 8"> Charles ; M"- Larkins. Below, Sketch of part of M"- Larkins' Family, of Clare Hall, near West Mailing, Kent. Sepia over charcoal, with red chalk on the faces ; (without margin) 5J X 6 in. 10. Two on one mount, roy., viz. : — (a) Theee Children op the Laekins Family. Three-quarter length ; a boy standing 1., with cricket bat and ball in his hands, his two sisters standing by hiin r., embraced. Sepia over charcoal, with red chalk on the faces ; 5f x 6J in. On a slip below, the signature J". D. and Sketch of three more of M"- Larkins' Family. (6) Theee Youngee Children of the Larkins Family. Three-quarter length ; CamUla, the eldest of the three, stands before a curtain 1., with Caroline leaning on her shoulder ; John, the youngest, standing r., holds an apple in one hand, and has his other hand on the neck of a dog sitting in a chair. Inscribed on the upper margin, 4"' Camilla ; 6"' Caroline ; 7"" John. Sepia over charcoal, with red chalk on faces ; (without margin) 5J x ejin. On a slip below. Sketch of three more of M"'- Larkins' Family. Separate portraits of the Larkins family are in the Maitland Collection. 11. Two on one mount, roy., viz. : — (a) Miss Ives. Three-quarter length, seated under a tree, turned to the r., face va three-quarters, eyes full, with 1. hand raised ; wearing a feathered hat, and with striped sash round waist. Sepia, with a little red on the cheeks ; 6i x 4j in. On a slip below, J" D. Sketch for a portrait of Miss Ives. She was a daughter of Jeremiah Ives, of Catton, near Norwich. (6) A Lady. Three-quarter length, seated in profile, looking r., under a tree, with 1. elbow on a table, and a letter in r. hand. Signed twice over, /. D. Sepia, with a little red on the cheeks ; 6f X 5 in. 12. Mrs. Deew. Miniature of head and shoulders, nearly full face, turned slightly 1., eyes full. Chalks and stump on vellum ; oval ; roy., 2f x 1| in. Pasted on paper, on which is written M"- Drew, Exeter. Nos, 2-12 were purchased April, 1884. From the collection of Sir Robert Cunliffe, Bart. 13. Album, containing 'Sketches and first Ideas, by John Downman, Limner. Collected by his daughter Isabella Coe [Chloe] B.' Some of those described above were removed from this album. (1) The Altae op Hope. A female figure looking up to the 1., where a ray breaks from a cloud ; r., a smoking tripod. Signed, J' D. Black chalk and stump. (2) An Indian Maid woeshipping the Sun. She kneels under a palm tree looking 1. with outstretched arms to where the sun rises over a hill beyond the river. Signed /' D. Sepia and pen, with a touch of red chalk on the face. 42 Drawings of the British School. (3) Innocence. A naked girl seated on a bank beneath a tree with a lamb beside her. Signed, J" D. Black chalk and stump. (4) ' The Bonny Seaman.' A girl sitting r. by a spinning wheel holds out her hands with a gesture of welcome towiirds a sailor who comes up in the distance 1. from the sea. SigUi-d, /¦' D. Black chalk and stump, with a touch of red chalk. On the page below first sketch for my Drawing from the old Ballad of the ' Bonny Seaman.' (5) Lady Elizabeth Lamb. Nearly whole length, by a curtain and pillar, in profile looking 1. Sepia wash and pen, with vermilion on the cheeks. (6) The Bravo of Venice. An illustration to M. G. Lewis's romance. Abellino, the Bravo, shooting his pistol in the presLUoeof the Doge Andreas, Signed. Pen and ink, (7) Design for a Portrait. Three-quarter length of a lady seated, turned towards the 1., holding up a letter in r. hand, face in three-quarters and eyes looking full; behind her a figure, with face hidden, all bnt the eyes and brow, by a cloak held up ; a window 1. Siu;ned, J" D(ownman added in anotuer hand). Sepia wa.sh aud pen, with a little vermilion. (8) Design for a Portrait op a Lady and Child. Almist whole length of a lady seated looking 1. and smilingly rallying the child standing on her knees for its fear of a dog barking on a table 1. Signed, J° D. Sepia wash and pen, with vermilion on the faces. (9) ' The concluding Scene from the Story op Elizabeth.' A group of four figures, two of them kneeling, in a landscape. Indian.ink. (10) 'Sketch fob the Three Miss Lushingtons.' Three-quarter length of two young girls standing together, the taller at the r. playing a tambourine, the other a triangle. Signed, J" D. Black chalk and stump, with red chalk on the faces. (11) Illustration to Goethe's Werther. Charlotte seated on a low seat in a garden discovering, with a gesture of delight, her name written on a tree at the r. Signed, /" [D cut off.] Sepia, with vermilion on lips and cheek. (12) 'Tragedy.' Half-length of a female figure, with dishevelled hair and agitated expression, looking 1., and grasping a dagger in r. hand. Black chalk and stump. (13) ' Comedy.' Half-length of a girl moving r., » mask in her hand, aud smiling. Black chalk and stump, with a little red and blue chalk. On the page below. Comedy, a design hy J". D. (14) A Boy -with a Dog. Half-length of a young boy with a dog under his arm and a flower in tlie other hand. Inscribed C. I. D. Black chalk and stump, with a little red and blue chalk. (15) 'Isabella Chloe Downman when a Ch'ld.' Half-length, standing iu profile, looking r. Inscribed Isabella Chloe Downman. Chalks. (16) Utha. Half-length study of a female figure in a helmet looking up 1., with i. arm extended. Black and red chalks and stump. On the page beneath, Study for Utha in my Picture from Fingal. (17) Fair Rosamond. Rosamond seated, half kneeling, and looking up 1. in despair, her 1. hand pointing to a bottle of poison on the ground ; 1. the departing figure of the Queen with crown on head and dagger in hand. On the page below, /". D. Fair Rosamond. Black chalk and stump. (18) Saint Cecilia and an Angel. Saint Cecilia facing 1. and playing a harp ; the angel standing at her shoulder listening in delight. Enclosed in an oval, round which are traces of the original larger design, and variations upon it. Black chalk and stump, with red chalk on the faces. Below, on the page, J" D. and St. Cecilia and Angel, the Angel Remus Jackson, for his Father the Composer of Music. John Downman. 43 (19) The Child in the Eagle's Nest. A mother climbing a cliff to rescue her child from an eagle's nest ; the eagle hovers threatening r. Biack chalk and stump. Below on the page, J' D. Design for a Picture from the account given of an Eagle carrying off a Woman's child at Kesivick, Cumberland. (20) Eve at the Fountain. Sitting on the grass by a pool, she catches sight of her image in the water 1. ; r. two lambs, aud trees beyond. Signed /" D. Black chalk and stump, with a little blue chalk. Below on the page, Eve painted tlie size of life hy J" D. (21) ' The Dove kept most part of 20 yeaes by J" D.' Oil colours on paper. (22) Study op Feet. On the page below. Study from my own feet, J" D. Black chalk and stump. (23) Study of a Hand. On the page below, Study from I. C. D. [Isabella Chloe Downman] hand by J" D. Chalks and stump. (24) The Aetist's Son. Half-length of a boy in three-quarter face, looking r., with head bent on one side. Inscribed D. Downman. Black chalk and stump, with a little red chalk. On the page below, Son of J"" Downman's hy J" D. (25) Miss Ritson. Half-length, in habit and hat, with shawl round the neck ; the face in three-quarters turned 1., eyes full. Chalks aud stump. On the page below. Miss Bitson, 1790, by J"' D. (26) Moses. The Lawgiver, seen to the waist, pointing with r. hand to the tablets held in his 1. hand. Black chalk and stump. On the page below ^rs< idea for Moses. J" D. (27) The Angel op the Agony. An angel bending down with a cup in his hand. Black chalk aud red chalk, with stump and yellow ochre wash. On the page below first idea of the Angel in the Altar Piece in Wellclose Square, London. J" D. (28) ' The old Woman ant) hee Cats.' Two cats on a table by which sits an old woman who has grown singularly oat-like in face. Signed J" D. Pen and ink. (29) ' Study op a Monkey's Head.' Black chalk and stump. (30) Jane Shoee. Jane Shore knocking at Alicia's door: an illustration to Rowe's tragedy. Signed and dated J. D. 1783. Sepia. (31) ' Study of a Lamb.' Signed on the page below /"¦ D. (82) MiNEEVA. Head in a helmet wreathed with oak, looking up 1. With study of an oak-leaf. Black, red and white chalk and stump. (33) A Kitten. Inscribed, Our favourite Puss Tibby at Mailing, J" D. (34) (a) and (6) Two Studies op a Toad. On the page below. Toad from our pond. West Mailing, hy J' D. Black chalk and stump. (35) A Spaniel. On the page below, The Head of a favourite Spaniel at Mailing. J" D. Black chalk and stump. (36) and (37) Two Studies of Robins. Chalks and stump. (38) Arms of the Downman Family. Water colours and gold on vellum. Purchased AprU, 1884. From the collection of Sir Robert Cunliffe, Bart. Attributed to Downman. A Lady. Half-length, seated under a tree in profile looking r., music book in hand. o c, • Chalks, stump aud water colours ; oval ; roy., 8 x bi m. Purchased October, 1870. Inferior work, perhaps a copy. 44 Drawings of the British School. DOYLE, John, known as "H. B." (b. 1797, d. 1868). Painter, litho grapher, and caricaturist ; born at Dublin ; studied drawing there under Grabrielli and Comerford ; from 1821 to bis death worked in London, first as a portrait painter, then as a lithographer ; famous for the long series of lithographed Political Sketches (1821-1851), which, with a certain loss of force, introduced a new spirit into English satiric art, supplanting Gillray's ferocity and extravagance by the tradition of urbanity and good humour, which was continued by ' Punch.' After 1851 Doyle produced no more. [1829.] 1. Ob. The Appaeition. The ghost of Canning r., appearing to the members of the Cabinet, Lord Lyndliurst, Lord EUenborough, Mr. Peel, Lord Bathurst, and the Duke of Wellington, who recoil in confusion and terror while Canning points to the Roman Catholic Emancipation Bill, for which he had vainly worked, and which the Ministry had just passed (1829). Pencil ; roy., 9J x 15J in. Political sketches, No 1. Bev. Present State op Public Opinion partially Illustrated. Two politicians, two tradesmen, a fop, a farmer, and a young lady meditating on the news of George IV.'s serious illness, and on the various ways in which his death would affect them. Inscribed as in the lithograph. (Published 1830, the year of George IV.'s death.) Pencil. Political sketches, No. 64. 2. Ob. The Prophecy. The Duke of Cumberland, r., as Macbeth, hailed future king by Lord Redesdale, Lord Eldon, and Lord Manners, as the three witches. Pencil: roy., 9J x 14^ in. Political sketches. No. 2. The Duke of Cumberland, the most able and the most obnoxious of the brothers of George IV,, intrigued very actively against Wellington's ministry in their endeavour to pass the Catholic Emancipation Bill. Lord Eldon, with his supporters, joined him in these intrigues, and was supposed to countenance his designs on the throne, to which he stood third in succession. Cf. No. 4 (rev.) and No. 10 (oh.). Bev. A Joinder in the Pleas. Sir R. Sugden and Sir James Scarlett, the newly appointed Solicitor-General and Attorney-General, shaking hands. Sir N. Tindal, the old Solicitor-General, seen behind in the centre. Sir Ciiarles Wetherell, the old Attorney-General, 1., and Brougham going away r. Another figure, not in the lithograph, is talking with Wetherell. Pencil. Political sketches. No. 12. These new appointments were occasioned by the dismissal of Wetherell from his office, for opposing the Catholic Emancipation Bill. Tindal was made Chief Justice of the Common Pleas. 3. Ob. The Old White Lion, The Duke of Wellington visiting Lord Eldon, the 'Old White Lion,' to conciliate him on his defeat over the Emancipation Bill. Lord Lyndhurst, who succeeded Eldon as Lord Chancellor in 1827, looking in at the door. PencU ; roy,, 9i X 13i in. Political sketches. No. 3. Bev. An unpublished Sketch. A waggon with a long train of horses attached to eaoh end, and pulling different ways ; Brougham standing near and talking to a man with a whip, and the Duke of Wellington 1. Pencil. John Doxjle. 45 4. Oh. The Battle op the Pamphletbees. Sir E. J. Wilmot Horton, r., mounted on a rocking-horse (inscribed Emigration in the lithograph), and discharging a blunderbuss at Mr. Sadler, who fires a pistol iu his face. PencU ; roy., 9J x 13J in. Political sketches. No. 4. Wilmot Horton, member for Newcastle-under-Lyme, published in 1829 'The Causes of Pauperism Considered . . .A Defence of the Emigration Committee against the charges of Mr. Sadler.' Michael Sadler, afterwards prominent as a leader of social reform, was elected member for Newark this same year. Bev. Damon and Pythias. Lord Eldon and the Duke of Cumberland walking arm-in-arm, an allusion to their association in resistance of the Catholic Emancipation BUI. A slight sketch of a group below. Pencil.Political sketches. No. 7. 5. Oh. A Mysteeious Visit. Lord Eldon visiting George IV., who sits on a sofa, the Duke of Cumberland standing by r. ; Peel and Lord Lyndhurst whispering together behind, 1. Pencil ; roy. (r. lower corner cut off), 7f X llJ in. Political sketches, No. 9. The allusion is to the pressure put upon the King by Lord Eldon and the Duke of Cumberland to veto the Catholic Emancipation Bill. Eldon had two interviews with the King just before the Bill was passed. Bev. 'The Man wot peefees his Ch^baotee to his Place.' Portrait of Sir Charles Wetherell, who attacked the Catnolic Eiuanuipation Bill, and therefore lost his post of Attorney-General ; a slight sketch of his successor iu the robes of office, r. Pencil.PoHtical sketches. No, 15 ; somewhat modified in the lithograph. 6. Oh. A Mysteeious Visit; anotbee Sketch. The King is seen here in front. Lord Eldon from behind. PencU ; roy. (r. top comer cut off), 8f x lOJ in. Bev. Eepose. The Duke of Wellington asleep, his feet on a chair. Black chalk. Political sketches, No. 14. 7. Oh. 'The Man wot peepbes his Chaeactee to his Place.' As in the lithograph. Pencil ; roy., 13J x 9i in. PoUtical sketches. No. 15. Bev. A Beoad Hint. Lord Lyndhurst, the Chancellor, introducing Broughnm to WelUngton, as anxious to ' ei.roll himself among the Duke's political friends.' Political ski tches. No. 18. Brougham was at this period (1829) the most brUliant figure among the Whigs ;°both parties coveted his talents, but distrusted his character. Never fully accepted by his own side, he continually coquetted with the Tories, and drifted at last into a bitter isolation, admired and feared, but not respected, attacking all alike, but chiefly his old friends. 8. Oh. A Cabinet Cueiosity. Loid EUenborough (chief of the Protestant party in the Cabinet). PencU and red chalk ; roy., 18| x lOJ in. Political sketches. No. 16. Bev John Bull and his Doctors. John Bull sending away his doctors, and congratulated by the Duke of Wellington on the strength of his right arm. Lords Sidmouth and Eldon among the doctors, r. PeucU. 46 Drawings of the British School. ^. Oh. A small Paety of Supbeannuated Politicians. Lord Manners announced by a footman, 1., to Miss Vansittart, who sits at a round table, with her back towards the spectator ; Lord Redesdale talking to Lord Eldon, near whom stands Lord Bexley (Nicholas Vansittait), and Lord Sidmouth sits r. Pen over pencil ; roy., lOJ x 12 in. Political sketches. No. 17. The party consists of retired politicians who were opposed to Catholic emancipation. yBev. A Jockey. A jockey on a horse. Black chalk. 10. Oh. The Jockey. The Duke of Cumberland as 'the jockey wot hopes in the long run to distance the Colonel [the Duke of York] and Old Shiver-my-Timbers [the Duke of Clarence], give Kentina [Princess Victoria] the "go-by " and win the Crown Stakes.' Pencil ; roy., 13| X 8 in. Political sketches, No. 18. See note on No. 2 (Oh.). Bev. Viirious slight studies, including one for ' Political Harmonics.' Pencil. 11. Ob. Sheet of Sketches. Our Worthy Magistrate, Sir Rich* Birnie; Two Personages of Great Weight on the 'Turf; and Townsend, the Bow Street Officer. Peui-il and black chalk ; roy., lOJ x 8| in. Political sketches, Nos. 19, 20 and 41. Sir Richard Birnio, police magistrate at Bow Street, had distinguished himself iu the apprehension of the Cato Street conspirators (1820), and was much esteemed by ministers. He died 1832. Bev. Eepose. The r. half of the sketch described above, No. 6 (Bev.). Political Sketches, No. 14. 12. Oh. Two Peesonages op Geeat Weight on the Tuep. Mr. Thornhill, a man of huge bulk, and Sam Chifney, the famous jockey, who trained Thornhill's horses at Newmarket, and to whom Thornhill at his death in 1843 left his house and stables. With studies for ' The Frog and the Bull,' and others of the Political Sketches. Pencil ; roy., 12J x 9J in. Political sketches. No. 20. Bev. Sheet of Studies. Studies for ' Tho Frog and the Bull,' ' Political Harmonics,' etc. Pencil. 13. Oh. The Affidavit. Lady Lyndhurst taking the oath before Lord Tenterden ; Lord Lyndhurst standing before her r. Black chalk ; rough sketch ; roy., 9| X 13 in. Political sketches, No. 22. Bev. A Political Eiddle. Donna Maria, the young Queen of Portugal, received with an embrace by George IV., who sits on a sofa remonstrating with the Duke of Wellington, behind whom, r,, stand Lord Aberdeen and Lord Beresford, With a sketch of a man in a carriage. Pencil and black chalk sketch. Political sketches. No. 21. The throne of Portugal was usurped 1828 by Dom Miguel, uncle of the child Queen, who came to England and quite won over the English public. The King was enchanted with her. Wellington's Government, in which Aberdeen was Foreign Secretary and Beresford Master-General of the Ordnance, became unpopular on account of the support which, without acknowledging him, they had given Dom Miguel, especially in the affair of Terceira. John Doyle. 47 14. 06. Political Harmonics. Peel playing the piano and Wellington fiddling ; Goulburn (Chancellor of the Exchequer) turns over the pages for Peel ; at the r., the Duke of Cumbi-rland iind Lord Eldon are looking through the window, aud near them the Dnke of Eiehmond (not in the lithograpli). PencU, with pen study of Wellington's head ; roy., 9J x llf in. Political sketches. No. 28. The allusion is apparently to the state of affairs in 1829, when Wellington's Administration was still nominally in power, but was no longer supported by the old Tory party, who were more anxious for its downfall than the Whigs. Peel was especially hated. Bev. A Sheet of rough Studies, including a sketch of Prince Esterhazy, Lord EUenborough (?), etc. Black chalk and pen. 15. Political Harmonics. As lithographed. Eed chalk outline ; roy., 10 x 12 in. 16. 06. Embarkation op a French Caego in an English Bottom. Prince Polignac iu a boat glumly expressing his apprehensions after surveying the horizon, while Wellington shoves off the boat aud tells Polignac to follow his directions and all will be well. Pencil ; roy., 9J x 14f in. Political sketches. No. 24. PoUgnac, French Amb issador to Englmd, left London for Paris in 1829, and was made Piiaie Minister by Charles X. Polignac accepted office on the understanding that there was nu chaiu-e of Wellington retiring, and he was looked on as WeUington's nominee. The appoiuiment was violently unpopular in France, and Polignac fell in July, 1830, at the Eevolution. 1 'Bev. A Scene in the Couet of Chancery. Mr. Long Pole WeUesley appealing '' to Lord Lyndhurst, who presides r. ; behind WeUesley, Mr, Bligh ; Sir E, Sugden and Mr. Denman 1. Pencil and pen ; roy., 8| X l-lj in. Political sketches. No. 27. The case was WeUesley -o. the Duke of Beaufort. Mr. WeUesley petifioned against an order made by Lord Eldon that his intercourse with his children should be severely restricted. He conducted his own case, and was opposed by the Solicitor-General, Sugden. Lord Lyndhurst upheld Lord Eldon's order, 81 July, 1829. 17. Embarkation of a French Caego in an English Bottom. Red chalk outline (r. top corner cut off) ; roy., 8| x 12| in. 18. 06. The Feog and the Bull. Polignac the Frog trying to swell himself to the dimensions of WeUington the Bull. Pen ami pencil, rough sketch ; roy., 9J x 14 J in. Political sketches, No. 25. See above. No. 16 (06.). Bev. The Modebn Quixote. This unpublished sketch represents Sir Francis Burdett (the 'Modern Quixote') leading in a lady (Lady Conyngham?), whose train is held by a satyr, to a reception of George IV.'s. Wellington, Eldon and others are also present. ^ Pen and pencil. ^9. 06. A Scene in the Court of Chancery. The same composition as No. 16 (Bev.) reversed, with added figures. Pencil and pen ; roy., 9 x 14| in. Bev. The same Subject. Slight pen sketch. 20. The same Subject. As lithographed. Red chalk outline ; roy., 7| X 12^ in. 21. 06. Newcastle veesus Newaee. The Duke of Newcastle turning away a tenant and his family for not voting in his interest ; the tenant reproaches Mii-hael Sadler, the member for Newark, who stands by the Duke, 1. Pencil ; roy., 9J X H in. Political sketches. No. 28. 48 Drawings of the British School. The Duke of Newcastle's open assertion that the franchises of Newark were his property, and his saying, ' May I not do what I like with my own ? ' gave a great stimulus to the agitiition for Parliamentary Reform. Bev. Sheet of Studies. Small sketch of the last subject ; and Lord Sidmouth comforting the Duke of Cumberland, r. 22. Russian Diplomaoy. The Russian Ambassador at Constantinople, sword in hand, oflering the Treaty of Adrlanople to the trembling Sultan for signature (September, 1 829). Pencil ; roy., 9| X 14f in. Political sketi-hes. No. 29. See note on No. 24 (Rev.). 23. 06. The Vindication. George IV. leaning on Wellington's arm, and putting up his glasses to scrutinise tbe Duke of Cumberland, who was falsely reported to have cut off his moustaches ; Lord Strathaven and Lord Mountcharles stand 1., and a third figure behind Wellington. Pencil ; roy., 8| x 18J in. Political sketches. No. 31. Modified in the lithograph, where the King is seated, holding H. B.'s caricature, ' The Goat wot Lost his Beard,' aud Wellington is absent. Bev. The Duke of Wellington. And a slight study of George IV. Pencil. 24. 06. The Vindication. As lithographed. (A hole cut in the paper at the 1.) Pencil ; roy., 9 X 14| in. \^v. The Coup de Geaob. The Russian eagle fastening its claws on the defeated Turkey; at the 1. Wellington remonstrates indignantly with Polignac, who says his hands are tied by French opinion ; at the r. the Russian minister telling Austria not to interfere, and the Prussian minister looking on iu excitement. Political sketches. No. 35. The Peace of Adrlanople was forced on Turkey, September, 1829, by the successes of the Russian arms under Diebitsch. Wellington was strongly opposed to the conditions imposed, but found it hopeless to fight against the treaty. 25. 06. Consolation; oe, Otium cum Digkitatb. Lord Eldon sitting in a chair with an enormous glass of beer in his hand, and a gigantic cheese on the table beside him. Pencil and pen ; roy , 9 X 9 in. Political sketches. No. 33. Bev. Sheet of Sketches. A steam carriage ; and a sketch of George IV. Pencil and black chalk. 26. 06. John Bull's Complaint to the Public Sohoolmastee. John Bull complaining to Mr. Brougham of Wellington's undignified conduct in pa\ing attention to the attacks made upon him in the Press. Inscribed with speeches to the same effect as in the lithograph, but differently worded. Pen and pencil ; roy., 9 J X 14| in. Political sketches. No. 34. Wellington's prosecution early in 1880 of the ' Morning Journal ' for libels (partly written by the Duke of Cumberland's chaplain) injured him more in the eyes of the nation than any other act of his career. His reputation had already suffered from his challenging Lord Winchilsea to a duel. Bev. Repulsed, but not Discoueaged. WeUington and Peel shutting the door on a Jew, who pleads hopefully to get in; Brougham and O'Connell expostulate ; behind, a man winks as he takes the oath ; at the 1., among others, the Rev, Edward Irving. Political sketches, No. 63. Alter the passing of Catholic Emancipation the cause of the Jews was strongly advocated, and a bill was brought in for their relief in 1830, but was thrown out in the second readiug. John Doyle. 49 [1830,] 27, Sie Eobeet Peel as a Knight. Peel, in full armour, advancing with calm smile through a lurid stormy landscape, attacked on all sides by shrieking demons and vampires, towards the distant temple of Fame. Pencil ; roy., 12J x 6 J iu. Political sketches. No. 36. Peel, who succeeded his father in the baronetcy in 1830, was the one minister in the Commons who inspired respect or interest. Though bitterly assailed in the press, especially the ' Morning Journal ' and the ' Standard ' (represented by demons in this sketch), he went his way and took no notice of detractors. His conduct shone by contrast with that of Wellington. 28. 06. ' Hawthorn.' The Duke of Cumberland as Hawthorn, with dog and gun, singing. Pencil ; roy., 11| x 7J in. PoUtical sketches. No. 38. , Bev. Geoege TV. driving. PencU. V2i 29. 06. Bombardment Extraordinary. The 'Morning Journal's' Punch and Judy show bombarded by a cannon made of the bulky form of the Attorney- General Scarlett, pushed forward by Sugden and Brougham, and fired by the Duke of Wellington, who is supported by Lyndhurst with his mace. Lord Holland, with his gouty feet in bandages, lifts his crutch in protest; and the Duke of Cumberland, and Lord Ehlon, who has been playing the Pan's pipe before the show, hurry frightened off. Above, the forms of Canning, Fox, and other dead WTiig ministers look down in horror. Pencil and pen; roy. (torn at 1, upper corner), 10| x 15f in. PoUtical sketches. No. 39. For WeUington's piess prosecutions, cf. No. 26 (06.). Lord HoUand was one of the most prominent Whig peers of the day, and a strong vindicator of civil and religious freedom. Rev. A Pair op "veby Riotous Fellows. Lord Stanhope and Lord Eldon arm-in-arm, refusing to be quiet at the bidding of policeman Wellington. Rough pencU sketch. Political sketches. No. 56. Lord Stanhope moved an amendment to the address at tho opening of the / session of 1830, expressing the hostility of extreme Tories to Wellington's policy. '30. 06. A Beight Thought. Mr. Long Pole WeUesley sitting at a writing-table' and exclaiming that he will write a faithful history of the Court of Chancery. A female figure, not in the lithograph, lightly sketched iu r. Pencil; roy., 7J x llf in. PoUtical sketches, No. 42. See note to No. 16 {Rev.). Bev. Studv foe the same Subject. Bough pencU sketch. 31. 06. Effects op the Maech of the Russians among the Tubes. The Sultan and members of his suite dancing with ladies of the European Embassies. A conjectured effect of the Russian ascendency at Constantinople. See note on No. 24 (Rev.). PencU; roy., 8f x I2f in. Political sketches, No. 44. Rev. A Wild Elephant led away between Two Tame Ones. Described below. No. 86 (06.). Rough pencil sketch. 32 New Police Activity. George IV., as a magistrate, teUing WeUington and Peel, dressed as policemen, to take away the disbanded watchmen, who have been robbing the hen roosts, to a house of correction ; farmers appear to com plain of the robberies ; Lord Eldon pleads the cause of the ' Charleys.' PencU ; 7J X 16 in. Political sketches, No. 45. ., , , . ,„„„ , r> i » i i ^i. The Metropolitan Police Force was instituted in 1829 by Peel, to take the place of the feeble and imcompetent body of watchmen. vol. ii. B 50 Drawings of the British School. 33. Ob. The same Subject. Rough pencil sketch; roy., 7| x 12| in. Rev. Sheet of Sketches. Various notabilities of the day, two on horseback. Pencil. 34. George IV. Study for ' New Police Activity.' Pencil ; roy., 7| X 3| in. 85. Make Way for the Speakee. Manners Sutton, the Speaker, preceded by Mr. Ball and by Mr. Seymour, bearing the mace, entering the House of Commons. Pencil aud bia k chalk ; roy., 7f x 12J in. 36. 06. A Wild Elephant led away between Two Tame Ones. Wellington and Peel trying to calm Lord EUenborough, who tears his hair in desperate agitation. Inscribed with speeches to the same effect as in the lithograph. Pencil; roy., 11 X 9 iu. Political sketches. No. 47. Lord EUenborough, appointed to the presidency of the Board of Control iu 1828, had busied himself with Indian aff.drs, aud iu 1829 wrote to the Governor of Bombay advising that two Puisne judges should sit with the Chief Justice Grant, to check him, ' like a wild elephant between two tame ones,' The letttr, though private, was published by mistake, and in 1830 it appeared in the Times. The indiscretion brought on EUenborough a violent attack. Rev. Exteemes meet in a Eadical Embbaoe. The Marquis of Blandford and Daniel O'Connell embracing. lusoribed as in the lithograph. Pencil. PoUtical sketches. No. 53. The Marquis of Blandford, an extreme Tory, in his anger at the Government for passing the Catholic Belief Bill, made common cause with the extreme Radicals on the question of Parliamentary Reform, and thus found himself in unexpected and incongruous alliance with O'Connell, who also supported Eeform to gain his Irish ends. 37. 06. A Political Euse. Mr. George Banks in the House of Commons, explain ing to an amused Opposition that ' most opportunely a copy of the letter has come to light, and proves my conjecture to have been singularly correct, the word is not renew, but re-view.' (This speech is given in the lithograph.) PencU ; roy., 9 X 12J in. Political sketches, No. 48. Rev. A Eefleotion UPON TUB FuTUEE Peospects OP Gebbce. Prince Leopold of Saxe-Coburg regiirding himself in a mirror. (A corner of the paper, with the head of the Prince, torn off.) Pencil. Political sketches, No. 51. At the peace of Adrianople it was decided that Greece should become an indepi ndent monarchy. The crown was offered to Prince John of Saxony, who ret'u.-ed it, and then to Leopold, who hesitated and made conditions, and after some months finally rejected it. 38. 06. The Altebation op the Cueeency. The Manufacturer, the Agriculturist, and the Fundholder ; the first two in dejection at the news of the alteration, the third in high spirits. Pencil ; roy., 8| X llJ in. Political sketches, No. 49. Rev. Dangebous Effects op Idleness. Lord Eldon telling the Duke of Richmond, one of Wellington's Tory opponents, that he doesn't know what to do with himself, and proposing to have ' a dash at the great captain, just for the fun of the thing.' Pencil. Political sketches. No. 62. 39. The Altebation of the Currency. Bough sketch. Black chalk ; roy., 7| x 8| in. John Doyle. 51 40. A NEW Faecb, called a County Meeting. Magistrates aud landowners of Derby bringing a petition to the Duke of Wellington, who is astonished at the power with which they credit him. Red chalk outlme ; roy., 9J x 13i in. PoUtical sketches, No. 50. Probably an allusion to the opposition of magistrates and landowners to the repeal of the beer tax, proposed by the Government in 1830. v4l. 05. The Abatement. Goulbiurn, at Wellington's suggestion, giving John Bull back a shUling of his rent. Pen and pencil sketch ; roy., 8J X 12| in. The Budget brought in by Goulburn, Chancellor of the Exchequer, in 1830, proposed to apply part of the surplus to remission of the taxes on leather, beer, and cider. The savings effected by the measure conciliated moderate meu iu the Commons, but seemed insufficient to the Eadical economists and futile to the distressed classes throughout the country. Rev. A new Faece called a County Meeting. Rough pencil sketch. 42. 06. A VEBY niPEBTiNENT QUESTION. Paul Pry (Liston) calling on Wellington and Peel to suggest that their first step in retrenchment might be the reduction of their own salaries. Pencil and red chalk ; roy., 9 x 14J in. PoUtical sketches. No. 54. Sir James Graham moved, February 12, 1830, for a reduction of the salaries of public servants, but withdrew his motion on the Government pledging itself in general terms to all retrenchment possible. Paul Pry, first acted by Liston iu 1825, had become the most famous and popular part of that comedian. Bev. Russian Diplomacy. A rough study. See above, No. 22. Black chalk. 43. Cobbett's Lectuee. WilUam Cobbett addressing a meeting, and asking why they don't send him, the only man capable of solving all difficulties, to ParUament. (Cut at the 1. and at the top, so that only part of Cobbett's head appears.) PencU ; roy., 7| x 12 in. Political sketches. No. 55. Cobbett, after many adventures and vicissitudes as a soldier, bookseller, and pamphleteer in England and America, had ardently espoused the popular cause about 1804, and in 1880 was the most prominent journalist iu England on the side of reform, but had not yet attained his ambition of a seat in Parliament. 44. A Paie op -veey Riotous Fellows. See above. No. 29 (Bev.). Eed chalk ; roy., 10| x 15J in. yi5. Auction Extraordinary. The Marquis of Chandns put up to auction as an automaton deserving a jilace in the Kiug's Cabinet of Curiosities. Lord Nugi-nt, 1., expresses distaste ; Wellington, r., remarks to Peel that they may as well have him. Pen and pencil ; roy., 12 x 10| in. Political sketches. No. 58. On the transference of Herries to the Presidency of the Board of Trade from the Mastership of the Mint, Wellington otfered the latter post to the Marquis of Chandos, who, however, refused it. 46. A Touch op the Palpable Obscure. Peel and Wellington standing back to back, and each reading from scrolls in the clouds the counsel given by the shade of Lord Liverpool, which stands above, in favour of ' a revision of the Banking System,' and ' Further reduction in all the expenses of the State.' Pen and pencU; roy., 8 x 12| in. (Liverpool's head drawn on a separate piece of paper, 2 x 8| in.). Political sketches, No. 59. 47. The Woolsack; a Sketch from Natdee. Lord Lyndhurst, sitting with sphinx-like expression between the Duke of Cumberland, the most detested 52 Drawings of the British School. and most Tory, and the Duke of Sussex, the most popular and most Liberal of the brothers of George IV. Pen and pencil ; roy., 7J X lOJ in. Political sketches. No. 60. 48. 06. The Woolsack. Study for the same subject. Pencil ; roy., 9 x 13| in. Bev. The Absteuse Joke ; A Scene off Teeoeiea. On board of a man-of-war. Dom Miguel thrusting back George IV,, who attempts to interfere, while he reads intercepted despatches. At the r, John Bull is with difficulty held back by Wellington and Aberdeen. Eough black-chalk sketch. Political sketches, No. 10. See above, note on No. 13 (Bev.). An army of Portuguese Loyalists, defeated by Dom Miguel, took refuge in England. From Plymouth they sailed to Terceira, the chief of the Azores Islands, which were loyal, and which Dom Miguel had decided to reduce. Wellington sent a man-of-war to prevent these Loyalists from landing, and they were driven to France. This caused great indignation in England, where both king and people espoused the cause of Donna Maria. ^/49. 06. A Hint to Duellists. Wellington brought up before Chief Justice Bailey, who tells the jury that duelling is murder. Pen and pencil ; roy., 9 X 131 in. Political sketches. No. 6. On March 21, 18i9, Wellington challenged Lord Winchilsea, who had slandered him in a letter to the ' Standard,' to a duel ; they fought with pistols in Battersea fields, but neither was touched. Bev. The Coup de Gbaob. Described above, No. 24 (Rev.). Pencil. 50. 06. Alas, pooe Yoeiok. Lord Eldon and the Duke of Cumberland standing in mourning dress before the doors of the ' Morning Journal.' Pencil ; roy,, 12x9 ins. Political sketches. No. 65. See note on No. 26 (06.). The ' Morning Journal ' ceased to exist on the 13th of May. Rev. Unpublished Sketch. Two gentlemen meeting and shaking hands. Pencil. 51. 06. The Magic Mieeoe, oe a Peep into Fdtueity. Time showing John Bull a mirror in which appear the Duke of Cumberland and the Duke of Wellington dragging Princess Victoria one way and the Duchess of Kent and Prince Leopold dragging her another. Eed chalk ; roy., 9 x 13J in. Political sketches, No. 68. Bev. Guy Fawkes, ob the Anniveesaey op the Popish Plot. Wellington burnt in effigy by the ultra Tories, the Duke of Cumberland, Lords Eldon, Sidmouth, Stanhope, etc. Eough pencil sketch. Political sketches, No. 88. 51"". The Magic Mieeoe. Eed chalk; roy., 9 X 18J in. 62. 06. The Geeek Papees. Lord Holland in Greek costume demanding to see one of the papers on Greek affairs which Lord Aberdeen, the Foreign Secretary, insists on keeping back. Lord Londonderry, dressed as a Turk, thinks there cau be no harm iu showing it to a philo-Turk like himself. Wellington in the background advises giving as little information as possible. PencU ; roy., 9J x lOJ in. Political sketches. No. 70. Bev. Unpublished Sketch. An old gentleman inspecting two horses. Pencil, John Doyle. 53. The Ghebee worshipping the eisinq Sun. Brougham on the sea sliOrej:;;^ worshipping the sun of the new king as it rises from the waves. "~-~Cl!2;-- Pencil ; roy., 9J x 13J in. Political sketches. No. 71. George IV. died June 26, 1830, when WUliam IV. succeeded to the throne. 54. A Eoyal Commission. Lord Rosslyn, Lord Lyndhurst and Lord Shaftesbury sitting in a row. Pencil; roy., 7f x llf in. PoUtical sketches. No. 73. 55. 05. The Loed Chancellob wot is to be. The Duke of Wellington iu the Chancellor's robes. Peneil; roy., 15| X SJ in. Political sketches. No. 98. The Duke had differed from the Chancellor on a point of law ; the Duke proved to be right. Bev. A Sketch at Beighton. William IV., Queen Adelaide, and their suite riding at Brighton. Pencil and chalk. [1831.] 56. 06. A Handsome avd Peomising Pupil ; Studies poe the Lithogeapu. Two studies of Orator Hunt in the House of Commons. In the lithograph he is represented as a boy sitting on the knee of Sir Joseph Yorke. Pencil ; roy., 8J X 14| in. Political sketches, No. 109. Henry Hunt, the Eadical agitator and hero of the ' Peterloo massacre' of 1819, -was elected member for Preston 1880, and took his seat February 3, 1831 ; he was an active and multifarious speaker, but pleased no party and found no foUowing. Bev. An unpublished Sketch. The royal coach, and spectators. PenciL [1832.] 57. The Mountain in Laeoue. The Duke of Buckingham as a mother in bed, attended by Lord Eldon and Lord Sidmouth, and newly deUvered of a mouse, which WelUngton, Aberdeen, Lyndhurst, and Londonderry, dressed as nurses, are examining on a cushion. PencU and pen ; roy., 8J x 15 in. Political sketches. No. 192. The Duke of Buckingham, a man of huge p-oportions, had proposed a ' moderate ' scheme of reform, so moderate, indeed, as to be scarcely perceptible at all. 58. 06. S-WEAEiNG op the HoEATn. Lord Grey swearing Lords Harrowby, Whamcliffe and Haddington on their swords. PencU and pen ; roy., iOf x lljin. Political sketches, No. 191. . ,, t. These three lords were the chiefs of the moderate Tories among the Peers, called ' The Waverers,' who exerted themselves to arrange a compromise on the Eeform BUI of 1882 ; and it was owing to them that the second readuig was carried in the Lords on AprU 14th by a majority of nine. Bev Design foe a New Coinage. 'The reverse of a sovereign, a little ma^ified.' WelUngton as a knight, overcome by the dragon Grey. Beneath, 1884 (in the lithograph 1833). Pencil. Political sketches. No. 193. 59. 06. Design poe a New Coinage. Pen and pencil ; roy., 9§ X 11 in. Bev The Judgment of Midas. A very rough sketch; John BuU seated in the centre, Grey as Midas, 1., WeUington as Apollo, r. PencU. 54 Drawings of the British School. "eO. 06. A Melancholy Consolation. Grey and Durham sitting gloomily at a table, while Brougham at once consoles and disappoints them by announcing that public anger at the fate of the Eeform BUI has not broken out in acts of violence. Inscribed with plainer speeches than the lithograph. Ungrateful people ! says Durham. Most provoking, says Brougham. Pencil ; roy., 8| x 12J in. Political sketches, No. 196. Lord Grey's Ministry, unable to persuade the King to create new peers enough to carry through the Reform Bill, resigned May 9, 1832. 'Bev. A Late Scene at Hounslow. Grey and Brougham eating chops at an inn, the sign of which, the Red Lion, perturbs Lord Grey as a bad omen. Pen and pencil. 61. Coeonee's Inquest upon the Late Administeation. A party of politicians, in groups, including ' the Waverers ' (Harrowby and Wharnchffe), O'Connell, Hunt, Wellington and Lyndhurst, discussing Grey's fall; at ther., EUenborough letting a cat out of a bag : John Bull at the 1. suspects foul play somewhere. Eough pen and red chalk sketch ; roy., 9J X 13| in. Political sketches. No, 197. / 62. 06. Up and Down, oe the Political See-Saw. Grey and WeUington on a see-saw balanced by William IV. in the middle ; John Bull gets under the plank at Grey's end and prevents his going down again. Wellington warns the King that he'll be down if he doesn't mind. Pen and pencil ; roy., 9 J X 14 J in. Political sketches. No. 199. On Grey's resignation the King sent for Wellington, who tried in vain to form a Government, and public feeling was so strong that Grey had to be recalled to power. Bev. Don Quixote attended by Sanoho Panza. Grey as Don Quixote sallying forth attended by John Bull, on their expedition for the reform of abuses. y Eough pencil sketch. ^3. A Scene feom Cindeeella. Cinderella (Queen Adelaide) asking the Fairy (WUliam IV.) what they shall do for a coachman, as the fine lackeys already provided cannot drive ; the Fairy tells a servant (Lyndhurst) to bring a caged rat (Wellington), which she will change by her magic into a coachman. Pen and pencil ; roy., 18§ x 14| in. Political sketches. No. 200. An allusion to the negotiations between the King and Lyndhurst, who was first sent for on Grey's resignation, and who persuaded Welliugton to attempt to form a Government. 64. 06. Who abe 'We'? Lord EUenborough explaining in the House of Lords what the Tory plan of Eeform would have been ; his colleagues, sitting in front, express astonishment at the scheme. EUenborough professed to speak for his party, but apparently his ideas were all his own. In the lithograph the Duke of Buckingham is introduced. Pencil and pen ; roy., 9 x 13 in. Political sketches. No. 203. ^Bev. A Constitutional Tilt; oe which is Best? Lord HoUand and Lord Wynford (Sir W. D. Best) tilting at each other with their crutches. Both were lame with gout. Best was made a peer and Deputy-Speaker of the House of Lords in 1829. Pen and pencil. Political sketches. No. 204. 65. 06. Scene from the Faece op Tll be Youe Second !' Lord Grey and Lord Kenyon fighting with swords ; the Duke of Cumberland parting them. Lord Kenyon was a close adherent of the Duke of Cumberland. Pen and pencil ; roy., 9J x 15 in. Political sketches. No. 202. Bev. An unpublished Sketch. Brougham as Lord Chancellor in the House of Lords. Slight and unfinished. PencU. Yb John Doyle. 55 66. 06. A most extraordinary Eat. The Duke of Wellington as an enormous rat, with the Tory chiefs on his back, rushing headlong down a slope ; Grey and Brougham, as terriei-s, leap after them through a fence, over which John Bull is looking. (Cut at r. lower corner.) Pen and pencil ; roy., 9 x 13^ in. Political sketches. No. 201. ' An allusion to WeUington's withdrawal from Parliament, followed by others of his party, during the final stages of the passing of the Reform Bill. Bev. Lineal Descent of the Crown. Grey, astride of an inn-sign, the Crown, hacking at it with a bill-hook and cheered on from below by the Radical agitators. Hunt, O'Connell and Cobbett. PencU. Political sketches, No. 209. y&l. Ob. The New Reform Coach. A coach going down hiU, driven by Grey, with the Reform leaders on the top and WiUiam IV. inside ; WeUington calls out to them that they have thrown away their drag chain, unl is answered with derisiou. Inscribed with speeches of the same purport as in the lithograph. Pen and pencU ; roy., 1 1 J X 18 in. PoUtical sketches. No. 207. Bev. The Fate op Maesyas. A rough sketch for a subject not lithographed. Lord Grey as Apollo, Wellmgton as Marsyas. Pencil. 68 01 Study foe a Pictuee op Olivee Ceomwell dissolving the Long Parlia ment. Colonel L. G. Grove (weU-knuwn by his letters to the limes, signed 'Radical') teUing Cobbett to 'take away this bauble.' PencU; roy., 9 X 12J in. PoUtical sketches, No. 210. Bev. Lord Granville Someeset on Hoeseback. PencU. V^ A Battle Eoyal, oe a Set-to poe a Ceown. Dom Miguel and Dora Pedro tbout™fight for the crown of Portugal, the English ministers and poi, icians l(X)king on° WelUngton aud Aberdeen backing Miguel against his brother. John BuU, who appears in the lithograph 1., is not introduced. Pen and pencil; roy., 9f X 14 J in. Political sketches, No. 211. 70 06. Unpublished Sketch. Grey and other Eeform leaders on the edge of the '"¦ precipice of anarchy, lured on by the R-di«al agitators beneath. Pen and pencil ; roy. (a double sheet folded), Hj X iWs m. /p T=„ Ptvat Artistes WeUin»ton and Grey as ballet dan -ers; the former ^^Ses^a'^yonTto fuS round mo?e quickly than he .-i-;^^^ 1^«- P^-"- "- self on standing on one leg. Inscribed as m the hthograph. Pen and pencil. PoUtical sketches. No. 213. 71. 06. ^ ^ ri „riTTi> Grpv Lansdowne, Melbourne, Goderich, ^^ollindfa\^dreZiroflXond^r;si^gUithe House of Lords during a prosy speech. Pen and pencU ; roy., 9i X 14| m. PoUtical sketches, No. 212. Bev. AN IMPOETANT PEI.TION. Lord HoU^^^^^^^^ ^;\^r"1irLr';?r^pfecra:'t and with other memoranda, &c. Rough pen and pencil sketch. PoUtical sketches. No. 218. [Between the foregoing sketch and the next there is a considerable gap in the series— from 1832 to 1837.] 56 Drawings of the British School. [1837.] 72. 06. An Old Song to a New Tune. (' Row, brothers, row.') John Bull and William IV., the latter looking sea-sick, iu a boat desperately rowed by Lords Palmerston, Dunoannon and Melbourne, and steered by Lord John Russell. Black chalk on drab paper ; roy., 6f x 13f in. Political sketches. No. 488. Since 1835 Lord Melbourne's administration had been in office; but the Whig government had never been strong, and by the spring of 1887 was reduced to impotence, opposed alike by Tories aud by Radicals. Bev. Eeminiscbnobs op Thalbeeq. Three portrait profile studies of the pianist playing. Black chalk and pencil. Sigismond Thalberg, born at Geneva, 1812, was not successful as a composer, but won a brilliant reputation as a pianist in Vienna and Paris and iu London, where he gave concerts in 1886. He died 1871. 73. 06, Bied-oatohing Extraordinary, Lord John RusseU trying to catch a cock sparrow (Mr. Roebuck) by putting salt on its tail. In the lithograph Mr. Wakley as a magpie, and Mr. Hume as a jackdaw, are also introduced. Black chalk on drab paper; roy., 10| x 14 in. Political sketches, No. 490. Mr. Roebuck, himself an ardent Reformer, was at this time, 1837, one of the bitterest opponents of the Whigs. yBev. We, the People op England. Mr. Hume, Mr. Roebuck, and Mr. Wakley sitdng cross-legged, tailoring; Dr. Bowring approaching r. (The last ia omitted in the lithograph.) Black chalk and pencil. Political sketches. No. 491. Hume, Wakley, and Roebuck were leaders of the Independent Eadical Party, who claimed to represent the people. Dr., afterwards Sir John, Bowring was at this time member for the Clyde Burghs ; he was already well known as a linguist, traveller, and economic reformer, and in politics belonged also to the philosophical Eadicals. Vr. [1888.] 74. L\ Belle Alliance. Marshal Soult introduced to Lord HiU by the Duke of Wellington. Black chalk on drab paper ; roy., 8J x 8 in. Political sketches. No. 549. Soult and Hill, who had fought so many brUliant and determined battles against each other in the Peninsula, met, as friends, in 1838, when Soult was sent as Ambassailor Extraordinary to the Coronation of Queen Victoria. 75. 06. Jonah theown oveeboai-d; and another subject. Lord Minto thrown overboard by the Government, a slight sketch; and a bishop (?) as a bird perched on a spade. Political sketches, No. 550. Black chalk and pencil ; roy., 12 J x 9 J in. Bev. A Gentleman on Horseback. Black chalk. Jig. None but the Brave deserve the Fair. A parody of Landseer's picture ; Lord John Eussell and Peel as the two stags fighting in tho foreground ; the Queen, Wellington, and others as the deer, looking on. Black chalk ; roy., 9J x 12J in. Political sketches. No. 553. Peel and Lord John Eussell were at this period in prominent antagonism, as Pitt and Fox earUer, Gladstone and Disraeli later. John Doyle. 57 77. 06. A Trap-ist on Retreat. Three studies of O'Connell as a monk, praying, digging, aud wheeling a barrow. The first study was adopted in the lithograph, where he is praying to a skull and cross-bones. Black chalk; roy., 9| x 11 in. Political sketches. No. 554. The allusion is to O'Connell's new project of agitation, started in the autumn of 1838, through a society called the Precursor Sooiety. Bev. The same Subject, differently treated. Small rough study. Black chalk. 78. 06. A Scene prom Don Giovanni. The Duke of Eutlaud as Don Giovanni ; Sir Frederick Trench as Leporello, startled at the signs of life given by the statue of the Commendatore (WeUington). Black chalk and Indian ink ; Toy., lOJ X 12J in. Political sketches. No. 555. A committee was formed in 1838 for erecting a Wellington memorial ; the Duke of Eutlaud ^^as chairman, and Sir Frederick Trench took an active part in determining the form which the memorial was to take, the statue, taken down in 1883, placed on the top of the arch in front of Apsley House. Greville ('Memoirs,' Vol. it., p. 110) calls it 'a gross job of Sir Frederick Trench's.' Bev. The Duke op Hamilton on Horseback. Black chalk. /; 79. The Broken Hong Meechant. The Duke of Sussex in Chinese dress, seated cross-legged, and showing an empty tea-chcot. Black chalk ; roy., 9J x 8f in. The Duke of Sussex quarrelled with the Government, July, 1888, on account of their refusal to apply to Parliament for an increased allowance. His claim was moved in the House of Commons, but rejected, and the Duke was greatly mortified. /80. A Conteast. Lord Melbourne asleep on the Treasury box; Brougham, 1., trying to upset him with the lever of faction ; WeUington, r., refraining from using the lever in his hand ; Brougham would if he could, Wellington could if he would. Black chalk and Indian ink ; roy., 8J x 13J in. Political sketches. No. 560. Brougham, now out of office, was a powerful opponent of Lord Melbourne, whose studied affectation of careless indifference further weakened in the eyes of the country his weak Government. 81. 06. Van Ambuegh outdone. O'Connell as Van Amburgh (the famous lion- tainer), with his foot on Melbourne's head, surrounded by the fawning or frightened forms of the other ministers. Pen and pencil ; roy., 9J X 12| in. PoUtical sketches. No. 561. Bev A Metamoephosis, oe John Bull tuened into a Milch Cow. Spring- Rice, the Chancellor of the Exchequer, trying to milk John Bull. Peel and O'Connell, with empty paUs, r., and Mr. Shiel, 1., are only slightly indicated. Pen and pencil. Political sketches, No. 552. , „ , There was at this time a series of deficits on the Budget. 82. A Scene peom Macbeth. Lord Durham (Banquo) appearing to Melbourne (Macbeth), the other ministers and the Queen. Pen and pencil ; roy., Sf X 13i in. PoUtical sketches. No. 562. , j, « , i • -, ooo -a Lord Durham, appointed Governor-General of Canada early in 1838, arrived there in May and issued an ordinance dealing with the captive rebels in June. This ordinance was disallowed by the Government, and Durham resigned, landing at Plymouth December 1, two days before this sketch was pubhshed. Drawings of the British School. 83. A Eow IN THE Playground. Lord Durham complaining to the other boys (Melbourne and the Whig ministers) that they have allowed Brougham to give him such a blow. Sir William Molesworth offers a copy of ' The Westminster Ee-view ' as a plaster. Wellington looks on, 1. Lithographed with additional figures, and with modifications. Eough pen and pencil sketch ; roy., 9J X 18 J -in. PoUtical sketches. No. 568. Lord Brougham attacked Lord Durham's ordinance in the House of Lords in August, and carried his motion. John Stnart Mill eloquently defended Durham in ' The Westmin^ter Eeview,' aud the article helped to cause a strong feeling in his favour among the ijublic. 84. 06. Demosthenes on the Sea-shoee giving a Lesson to a New Disciple. Brougham describing his speech agaiust Durham to Wellington on the sea-shore at Walraer. Pen and pencil; roy., llf x 9| in. Political sketches. No. 564. Bev. The Duenna. The Duenna (Melbourne) pushing the Queen away from the window, lest she should listen to Durham's serenade. Pen and pencil. Political sketches, No. 565. 85, Another Peep into the Playgeound : ' You'ee none of my Child.' Durham hustled and pushed away by the other boys (politicians of all parties). Eough pen and pencil sketch ; roy., 9 x 12| in. Political sketches. No. 566. v/o6. Coach Dinnee, Castle Inn, Windsoe. The Whig Ministry seated at dinner ; John Bull announcing that they must make room for the Opposition papsengers, Wellington and Peel ; and Melbourne replying that they will be ready soon, when they have taken a little more ' salery.' Eough pen and pencil sketch ; roy., 9 x 1 3| in. Political sketches, No. 567. •^7. 06. A Dbsebtee. Durham, handcuffed and led between two grenadiers (Melbourne and Wellington), with Brougham bringing up the rear. Pen and pencil ; roy., 8f X 12 J in. Political sketches, No. 568. yBev. The Dis-Oeganist. Lord Durham playing discords of rage and despair on an organ, of which Mr. Eoebuck blows the bellows ; Brougham looking on in malicious triumph ; and Melbourne and the Queeu stopping then- ears. Eough pen sketch. Political sketches, No. 571. 88. A Coachman Wanted ; candidates for the place. John Bull explaining to Brougham that his missus doesu't want an Omnibus man ; Melbourne asking Wellington to take the job, as he is tired of it; Wellington unwilling, and Durham sullenly defiant. Modified in the lithograph. Eough pen and pencil sketch ; roy., 9| x 14 in. Political sketches, No. 570. 89. 06. CoMio Pantomime, a curious Metamoephosis. Melbourne as Harlequin, Palmerston as Pantaloon, Lord John Eussell as Polichinelle, and Lord Morpeth as Clown exclaiming at the sudden transformation of Windsor Castle into the Crown Tavern. Pen and pencU ; roy., OJ X 14J in. PoUtical sketches, No, 572. Bev. The Disowned. The Beadle (John Bull) showing Brougham a baby which has been left at his door, but which he disowns. Two women r. Rough pen and pencil sketch. Political sketches. No. 569. In December, 1838, Brougham issued a pamphlet letter to the Queen, a bitter brilliant satire, which he did not openly acknowledge, though everybody recognised the authorship. John Doyle. 59 [1839.] 90. Feeding the Animals — Change op Diet. O'Connell as the lion tamer feeding the ministers with the corn-law question and cheap bread ; the Queen looking on. Modified iu the lithograph. Black chalk, rough sketch ; roy., 9 X llf in. Political sketches, No. 573. In 1839 the distress caused by successive bad harvests had reached an acute state, and the question of the repeal of the Corn Laws had become one of the most urgent problems of the day. 91. The Eival Quixotes. Brougham and Durham mounted on donkeys and tilting at each other with poles; Durham, hit in the stomach, falls off his donkey backward. Black chalk; roy., 8 J x 12 J in. PoliUcal sketches, No. 574. 92. Olivee inteoduced to the eespectable old Gentleman. Lord Normanby (the Artful Dodger) introducing Lord Morpeth (Oliver Twist) to O'Connell (Fagin) ; Melbourne and other ministers at a table. A parody of Cruikshank's illustration to ' Oliver Twist.' Pen aud black chalk; roy., 10| X 10| in. Political sketches. No. 576. Lord Morpeth was Irish Secretary, Lord Normanby Lord Lieutenant of Ireland. The latter provoked vinlent opposition amongst the Orangemen and Protestants by his friendliness with O'Connell, by his overriding of harsh and partisan judgments, and by his appointments of Catholics. 93. Playing off a peactioal Joke upon an old Feiend. Melbourne robbing Lord Glenelg, who is asleep in his chair, of the Colonial Seals, while Lord Duncannon puts the Privy Seals on the table instead ; Lords Normanby and Morpeth come in r. Black chaUi; roy., 8| x 12J in. PoUtical sketches. No. 577. Lord Glenelg had approved of Lord Durham's ordinance, and was dismissed in consequence by the Government from the Colonial Office, in which Lord Normanby succeeded him. He was offere(J the Privy Seal, but refused it. 94. 06. A Teiangulae Duel (not) peom Mb. Midshipman Easy. Brougham, Melbourne, and Durham ; the last firing in the air. Pen and pencil ; roy., 9J x 18 in. Political sketches. No. 578. Bev. A Jockey on Hoeseback. Black chalk. 95 06. A Council op Wae. O'Connell sitting at a table, on which is a large ' Plan of Attack,' explaining it to Lords Morpeth, Fortescue, and Normanby. Black chalk ; roy. (cut at 1. lower corner), 9| x 12 in. Political sketches, No. 579. ^ , -., , -.t i. See above, note to No. 92. Lord Fortescue succeeded Lord Normanby, March, 1839. Bev Dentatus. Lord Normanby (Dentatus) defending himself against the OBsiaught of Lord Eoden, Lord CharleviUe, and Lord Westmeath ; while Brougham hurls a stone at him from above. Black chalk. Political sketches. No. 588. On March 21, 1839, Lord Eoden, leader of the Orangemen, carried a motion in the House of Lords for a Commitee of Inquiry into Lord Normanby's Irish Administration. In AprU, however, the House of Commons approved by vote the Irish policy of the Government. 60 Drawings of the British School. 96. Jack Feost in Downing Steeet ; oe, a Secebtaey op State badly Mauled. Lord John Eussell sitting in his office, with an imp on his shoulder tearing at his hair ; Mr. Fox-Maule, his secretary, enters in astonishment. Pen and pencil ; rny., 9J X 12f in. PoUtical sketches. No. 580. John Frost, a magistrate and a well-known Chartist, was called to account, in February, by Eussell, the Home Secretary, for seditious speeches, and though his answer was insolent, he was not removed from the magistracy for some time. 97. H. B. DISOOVEBED IN HIS Studio. Brougham painting a portrait of Lord Fortescue ; Lyndhurst, grinding his colours, complains that the likeness is too flattering, ' Not iu your usual style.' Black chalk; roy., 9 J X llf in. Political sketches. No. 581. 98. 05. A Leap out of Nicholas Niokleby. O'Connell and Lord Normanby, Morgan O'Connell and Lord Morpeth embracing eaoh other at parting on the Dublin steamboat pier. Black chalk; roy., lOJ x 13 in. / PoUtical sketches. No. 582. •.'Bev. A Design foe a Nelson Monument. Nelson on a chariot, with Neptune and Britannia looking up to him. With two other slight studies for the same subject. Black chalk and pen. The Nelson Column in Trafalgar Square was being projected at this time, and was begun in 1840. 06. Who is to have the Stick? Wellington and Lord John Eussell as two dogs fighting for a stick, representing a Parliamentary Committee on Ireland. Black chalk ; roy., 9J x 12J iu. Political sketches. No. 585 See above, note on No. 95 (Rev.). yRev. Don Giovanni in London. Melbourne falling in terror on his knees, surrounded by an 'infernal chorus' of Eadicals — Brougham, Durham, Grote, and Sir W. Molesworth. Black chalk. Political sketches, No. 586. 100. 06. Who is to have the Stick? A study for No. 99 (06.). Black chalk; roy., 9^ x 11 J iu. /^. v^O Bev. A Gentleman on Hoeseback. Pen and pencil. 01. 05. Whist. Melbourne and the Queen playing whist against Peel and Wellington. Peel reproaches the Queen with having revoked, and Wellington asks to see the last trick. Black chalk ; roy., 9 x 12 in. PoUtical sketches. No. 590. On May 7th, 1839, the Whig Ministry resigned. The Queen sent for Peel, but insisted on retaining the ladies of the household, most of whom were near relatives of the Whig ministers. Peel objected, the negotiation fell to the ground, and Melbourne returned to power. Bev. The Somnambulist. Lord Glenelg holding a candle and walking out of the Colonial Office in his sleep. Black chalk. Political sketches. No. 575. See above, note to No. 93. 102. A Scene feom the Faece op 'The Invinciblbs.' The ladies of the house hold, cheered on by the Queen, putting Wellington and Peel to rout at the point of the bayonet. Black chalk and pen ; roy., lOf x 13J in. PoUtical sketches. No. 591. s/i John Doyle. 61 103. The Thimble Rig. Melbourne, surrounded by ministers and ladies of the household, performing the thimble trick, by which he has just cheated Peel and Wellington out of a sovereign. Black chalk and pen; rny., llj x 15| in. Political sketches. No. 593. 104. 05. Anothee Scene feom Don Giovanni. Don Giovanni (Melbourne) vainly trying to wrest his hand from the grasp of the Commendatore (Brougham). Black chalk; roy., 9 x llf in. Political sketches, No. 594. Brougham made a violent and powerful attack on Melbourne in the House of Lords for the part played by the Government in the affair of the ladies of the household. Bev. A Lady on Hoeseback. Black chalk. 105. GuLLivEB AND HIS NuBSB. Gulliver (Melbourne) floundering in the cow-dung (the Jamaica question) ; his nurse (Wellington) stoops to rescue him. Tiie Queen looks on, r., iu great concern. Black chalk; roy., 9f x 13i in. Political sketches. No. 595. The Jamaica question was that which brought about the resignation of the Whigs. x/o 06. 05. Child's Play. The ladies of the household making a ring round the Queen, and crying, ' Can't get out ! ' PencU and red chalk ; roy., 8| x 12J in. PoUtical sketches. No. 597. Bev. Thalbbeg at the Piano. With other flgures looking on. See above. No. 72 (Bev.). PencU. 107. CuBious Instance of (Ministeeial) Eesusoitation. Melbourne lying in bed, with the ladies of the household attending on him, and the Queen offering him smelling salts. Study for part of the lithographed composition. Black chalk : roy., 9J x 5J in. PoUtical sketches. No. 599. 108. 06. A New Version of 'Can't Get Out.' A ring of Tory leaders, including Peel, Goulburn, Sir E. Inglis, Sir James Graham, and Lord Ashley, surrounding Mr. Wyse. Black chalk ; roy., 9f x 15 in. Political sketches. No. 600. Bev. An Unpublished Sketch. The ' Eadical ' and the ' Old Tory ' omnibuses. SUght black chalk sketch. 109. A Peessuee pbom Without. Mr. Spring-Rice on horseback, met by John Bull -with a demand for Uniform Penny Postage. Pen and pencU ; roy., 12 x 10 in. Political sketches. No. 608. Uniform Penny Postage was forced on the Government by public opinion, through the efforts of Eowland Hill, whose biU was brought in by Spring-Eice, July, 1839, and became law in 1840. 110 What in Paeliamentaey Pheasb may be teemed '.a Paie.' Mr. Disraeli, seen from behind, and Sir E. Bnlwer-Lytton. PencU ; roy., 9 X 6 in. Political sketches. No. 604. , , , j „ „„ DisraeU had been in Parliament since 1887, and was already looked on as Ukelv to rise high; Bulwer-Lytton, who entered Parliament six years earlier, had made less mark in politics than in literature ; the two were close friends and rival fops. 62 Drawings of the British School. 111. Men of Feeling. Mr. Spring-Rice, Chancellor of the Exchequer, handing the Whig ministers their quarterly cheques ; Melbourne saying that ' Men of feeling could not desert their sovereign under such circumstances,' and the others heartily assenting. Pencil and pen ; roy., 9 J x 12J in. PoUtical sketches. No. 606. 112. Symptoms op Insubobdination. Melbourne as a boy in a temper reproved by his nurse (Wellington); Peel carrying Lord J. Russell in his arms 1., Brougham and Lyndhurst looking on r. Pencil; roy., 9| X 12J in. Political sketches. No. 607. 118. The Fall op Achilles. Achilles (Wellington) following Polyxena and the , priest of Minerva (the Queen and Melbourne) into the temple, while Paris (Lord John Russell) aims a dart at his vulnerable heel. Above, a sketch of Brougham. Pen and pencil ; roy., lOf X 14f in. Political sketches. No. 609. 114. The Road to Ruin. The Queen and her ministers driving down hill, Eussell and Spring-Rice as postillions, trying to restrain the horses (O'Connell, Whittle, Harvey, aud Hume) ; the Queen and Melbourne a little alarmed at the pace. Pen and pencil ; roy., 10^ x 15i iu. Political sketches, No. 610. 115. Peaotising poe the Touenambnt. Lords and Commons tilting at each other over the question of Ireland ; at the r.. Brougham riding at a ring, and Lord Londonderry at the dummy of Lord Durham. Without the figures of O'Connell and Eussell, inserted in the lithograph. Black chalk ; roy., lOJ x 16 in. Political sketches. No. 611. A reference to the attack made by Brougham iu the Lords on the Irish policy of the Government, on August 6th. Bev. An Ibish Subject. The Queen and her principal Ministers on an Irish car, with Spring-Eice as driver. The horse (O'Connell) has just shied at the Bill for Eenewal of the Bank of Ireland Charter, and greatly alarms the Queeu and Eussell. Rough pencil sketch. Political sketches. No. 608. \/116. A Trip to Dovee. Wellington being driven to Dover, Sir Francis Burdett riding postillion, Lyndhurst sitting at the back, and Brougham hanging on behind. Black chalk and pen ; roy., 9f x 151 in. Political sketches, No. 612. On August 30 a great dinner was given at Dover fo the Duke as Lord Warden of the Cinque Ports. Brougham made a speech of exaggerated eulogy at the dinner. 117. Alteeed Oikoumstanoes of Mb. Mantalinl Nicholas and Kate Nickleby (Melbourne and the Queen) coming upon Mr. and Mrs. Mantalini (Loid Normanby and O'Connell) busy mangling and quarrelling over their work. Pen and pencil ; roy., 18 X 8| in. Political sketches. No. 616. See above, note on No. 92. Lord Normanby, after a brief occupation of the Colonial Office, exchanged posts with Lord John Russell and became H>me Secretary. 118. Doing Penance in a White Sheet. Lord Londonderry doing penance in a sheet for his duel with Henry Grattan, who had made an absurd charge against the Tories. Peel and Wellington (who had formerly countenanced duelling themselves) looking on, 1. Pen and pencil; roy., lOJ x 13J in. Political sketches, No. 617. John Doyle. 63 119. An Ibish Wake. Brougham lying in bed, pretending to be dead, Mr. Leader telling him to keep quiet, and the chief men of both parties engaged in a funeral wake. Pen and pencil ; roy., llj x 12 J in. PoUtical sketches. No. 618. In November of this year Brougham wrote a letter, purporting to be from someone else, describing his own death. For twenty-four hours this was believed. 120. 06. Friar Tuck and the Sacristan. Friar Tuck (O'Connell) and the Sacristan (Melbourne) holding a ' devils' mass ' on the supposed death of Athelstane (Brougham), who is pushing open the door. Pencil and pen ; roy., llf x 19f in. Political sketches. No. 619. Bev. A Gentleman on Horseback. Black chalk. 121. A Distinguished Teetotalist. Sir John Campbell, the Attorney-General, who had declared at a public breakfast in Edinburgh that ' Chartism was extinct,' sipping tea and uncomfortably refiecting on the account in the morning's newspaper of the Chartist riots at Newport on November 3, headed by Frost, Slight black (-halk sketch ; roy., 18| x 12 in. Political sketches. No. 621. [1810.] ¦^122. Pq-wer on its Last Legs (Power in ' His Last Legs.') Prince Albert lying on his back on a sofa, one leg up in the air, Melbourne standing over him on a chair, and John Bull looking on in astonishment. Eough pen sketch; roy., lOJ X 13| in. Political sketches. No. 623. On 16 January the Queen opened Parliament and announced her intended marriage with Prince Albert. ' His Last Legs ' was a popular piece, in which Tyrone Power (b. 1797, d. 1841) was then acting. 123. The same Subject, but with the composition reversed. Pen and pencil ; roy., lOJ x 15 in. 124. Beauty and the Beast. O'Connell, as a bear, kneeling before the Queen, who looks at him in horror, and offering 500,000 fighting Irishmen, to keep down the Tories. Pen and pencil ; roy., 9J X 13J in. Political sketches, No. 624. 125. 06. A Sheriff's Sale ; or Auction Bxteaoedinaey. Lord John Eussell knocking down the Law of Libel, BiU of Eights, etc., without reserve. Peel acting as his clerk, Melbourne carrying the bundle to be sold, and O'Connell applauding. Without the figures of other Whig leaders inserted in the lithograph. Pen and pencU ; roy., 16i X llj in. Political sketches. No. 625. . . „r c^ i j t This refers to what was called the PrivUege Question. A Mr. Stockdale prosecuted Messrs. Hansnrd for a libel published in the Parliamentary Debates, and judgment was given for the prosecutiuu. The House of Commons defended theU: printers, and committed the Sheriffs for levying damages on Harsird. In this matter Peel warmly supported EusseU, though he afterwards acknow ledged that he had gone too far. Rev. Poeteait of Sib Eobeet Peel. Pencil. 126 Scene peom Faust, pebbly teanslated. Faust (Peel) following Mephis- topheles (Eussell) up the Brocken, lured by the Will o' the Wisp PrivUege. PencU; roy., lOJ x 15|in. Political sketches, No. 626. 64 Drawings of the British School. v/l27. The new Leadee op the Opposition. Colonel Sibthorp, carrying in his hand his amendment reducing the vote to Prince Albert from £50,000 to £80,000 a year. Pen and pencil ; roy., 11| x 8J in. Political sketches. No. 627. Colonel Sibthorp was member for Lincoln, an eccentric and violent Tory; he proposed on Jan. 27 the amendment iu question, which was carried against the Government. 128. 05. MusciPULA. A parody of Eeynolds' picture of a child showing a caged mouse to a cat ; RusseU is the child. Peel the cat, and the Sheriff of Middlesex the mouse. Pencil ; roy., 15| x lOJ in. PoUtical sketches, No. 629. See note to No. 125 (06,). Rev. The Little teying to walk in the Steps op the Geeat. Lord John Russell trying to walk in the steps of Pitt, with other sketches, including one of Russell in hat and boots much too big for him. Pen and black chalk. Political sketches. No, 692. 129. 05. Tableau from the new Play op Maey Stuaet. The Queen (as Mary) holding Melbourne's hand, as he kneels beside her, startled at the entry of Wellington in armour, holding a huge sword and followed by Peel and Lyndhurst. Slight pencil sketch ; roy , 10 J X 15^ in. Political sketches, No. 630, Bev. A Gentleman on Hoeseback. Pen and pencil. 130. 05. CoMus AND THE Lady. The Queen surrounded by revellers, who offer wines and fruit : Melbourne, ' war ; ' O'Connell, ' repeal ; ' Muntz, ' Chartism,' etc. Wellington and Peel (as the Lady's brothers) come to the rescue 1. Pen and pencil ; roy., lOf x 16 in. Political sketches. No. 632. i/fsi Bev. Loed Nugent on Hoeseback. Pen and pencil. 31. 05. The Omnibus Race. The Tory coach, with John Bull inside, leaving the Whigs, with the Queen and Prince Consort, in spite of the furious whipping of the horses (Morpeth and Russell) by O'Connell. Pen and pencil; roy., 10 j x 15J in. Political sketches, No. 633. Bev. The Beggae's Petition. O'Connell as an Irishwoman, carrying a baby, and with a number of starving children in his train, presenting a Beggar's' Petition to Lord Morpeth, who drops his BiU for the Suptiression of Mendicity in Ireland in horror ; Shiel, the second great Irish agitator, squats at O'Connell's feet. Pencil and pen. Political sketches. No. 631. 132. 06. Cupid taming the Elements; aptee West. Palmerston as Cupid, driving a chariot drawn by the Uon and the unicorn, among the astonished Powers. Russ-ia laughs, but China is horrified. Pencil; roy., 11 x 14J in. Political sketches. No. 634. Lord Palmerston's confident and daring foreign policy, over which his colleagues exercised no control, was now beginning to be conspicuous. England had been plunged into hostility with China over the opium question, in 1839 and the war was now progressing. ' Bev. Peince Louis Napoleon on Hoeseback. Pencil. John Doyle. 65 133. 05. AroLLO and the Tuneful Nine. A frieze, with O'Connell in the centre as Apollo, and the Whig ministers on either side as the Muses. Inscribed below, A has relief, modern antique, in rather a dilapidated condition. Pencil ; roy., 10 x 15f in. Political sketches. No. 636. Bev. Chinese Jugglees. Sir James Graham pulling yards of paper out of Palmer ston's mouth. The figure of John Bull, introduced in the lithograph, is absent. Pencil. Political sketches. No. 637. On April 7 Sir James Graham moved a vote of censure on ministers for the policy which had led to war with China. Palmerston produced in justification a long series of papers on China. v^34. 06. The ' Dilly ' looking up. The Tory coach, driven by Stanley, and carrying Peel and his followers, waiting to start. Mr. Wood and Lord Howick, arriving late, are told by Sir F. Burdett, who holds the horses, to get up behind, as there is no room in front, much to their disgust. Pen and pencil; roy,, 10 J x 15J iu. Political sketches. No. 642. Lord Howick, son of Earl Grey, and Charles Wood, afterwards Lord Halifax, seceded from the Government on the Irish Registration BiU, and were supposed to be inclined to enter the Conservative ranks for good. ^ev. Vacation Amusements: Swing Swong. Lord Howick swinging Mr. Wood on a swing slung between the trees of Conservatism and Radicalism. Pen and pencil. Political sketches, No. 652. 135. 06. A Beummagbm M.P. Two portraits of Mr. G. F. Muntz, a burly figure with a great black beard, elected member for Birmingham May, 1840, and prominent among the extreme Eadicals. PencU and pen over pencU; roy., loj x 10 J in. Political sketches, No. 643. Rev. Vacation Amusements : Pheasant Shooting. Normanby and Melbourne about to shoot a pair of pheasants (the Duke and Duchess of Beaufort). Eough pen sketch. Political sketches, No. 651. ^ , ,, . ^ ^ « t , j The Duke of Beaufort was offered the post of Lord-Lieutenant ot Ireland, and the Duchess that of Mistress of Ihe Robes. 186 05. New Game of Snap-apple. Lord Grey looking over a wall, and holding in a sti-ing an apple (Lord Howick and Mr. Wood), which EusseU and Morpeth, Stanley and Graham, are biting at alternately ; O'ConueU and Peel (very roughly indicated) looking on. PencU; roy., 15J x lOf in. Political sketches. No. 646. See above, note on No. 134 (05.). Bev Tam o' Shantee. Tam (Lord John RusseU) mounted on Meg (O'ConneU) who springs across the bridge, leaving her taU in the hands of the witch (Lord Stanley). Pencil. Political sketches. No. 644. ¦ l ±i n _ i Lord Stanley's Irish Registration BiU was carried against the Government, and made great progress, but was eventuaUy abandoned by Lord Stanley. 137 Chess; a pbepbtual Check-Gamb deawn. Stanley and RusseU playing chess ; Stanley, after perpetually checking 1^*^ °PP°°|,"^ '« ""^^^ V° 7^"' Cm challenges him to another game (next session). Peel and Sir James Graham and another figure, not in the lithograph, look on. Rough penoU sketch ; roy., 10| X 15§ in. Political sketches, No. 647. Bev Robinson Ceusoe and his Man Feiday. Crusoe (Lord Howick) teUmg FridayTMr. Wood) to follow him. With a sketch of a gentleman driving. Pencil. Political sketches. No. 641. ^ vol. il 66 Drawings of the British School. vi38. 05. The Shuttlecock Ministby. O'Connell and Peel playing battledore and shuttlecock with the Whig Ministry. Pen and pencil ; roy., 10| X 14|- in. Political sketches. No. 649. Bev. The Maequis of Anglbsea on Hoeseback. Pen and pencU. \139. 06. Beeaking up for the Vacation. Queen Victoria saying good-bye to her ministers as they leave for the holidays on the coach, which O'Connell drives; Wellington as an old housekeeper standing behind the Queen, and Brougham holding out his hat by the door ; Howick and Wood look sulkily on. Pen and pencil; roy., 11 J X 16J in. Political sketches. No. 650. Rev. Playing at Nine Pins. Sir James Graham and Lord Stanley playing at nine pins ; Graham has just knocked over Palmerston with his China resolutions : Stanley has his Irish Registration Bill ready to bowl at Eussell. Stanley's figure is sketched in twice; and above is a sketch for 'Vacation Amusements, No. 4.' Pencil. Political sketches, No. 635. 140. Ob. Vacation Amusements, No, 8; Ceioeet, a long Innings. A game of cricket ; Morpeth and Eussell in, the Tories fielding, Wellington and O'Connell umpires. Stanley is bowling, and Morpeth about to bat. Pencil; roy., lij X 16J in. Political sketches, No. 658. Rev. The Duke op Newcastle biding. With a small sketch of the Earl of Wilton, also on horseback. Pencil. 141. 06. Vacation Amusements, No. 4 ; cultivating the Fine Aets. Melbourne and the Queen drawing, and Prince Albert painting. Mr. (afterwards Sir George) Hayter stands over Melbourne, who is drawing a portrait of John Bull. The Queen remarks that ' he is a good subject, if well treated.' Pencil and pen ; roy., 9| X 15§ in. Political sketches, No. 654. Bev. Design fob the New Postal Envelopes. A parody of the design on Mulready's well-known envelope, representing Britannia scattering letters over either hemisphere ; Palmerston is substituted for Britannia ; Wellington and Peel are introduced r., and at the 1. Spring-Bice's secretary reading out to him the Post Office deficiency for the year. Pen and pencil. A design by Mulready appeared on the first penny postal envelope issued by Eowland HiU in 1840. There were many caricatures of it besides this by H. B. ; the best known, hy Leech, appeared in Punch. 142. 05. Vacation Amusements, No, 5 ; Angling. Pnlmerston and Russell fishing in Conservative waters, without getting a bite ; Peel and Wellington look on from the further bank. Pen and pencil ; roy., 11| x 16| in. Political sketches, No. 655. Rev. The Queen and Peince Consoet, in an open carriage and pair ; the Prince driving. 143. 06. Dives and Lazaeus. The Bishop of London (Blomfield) and Archbishop of Canterbury dining together, and sending a servant down to Sydney Smith, who receives the crumbs brought him in his lap. Pen aud pencil ; roy'., 18 x 9J in. Bev. A Gentleman riding. With a slight sketch for No. 142 (iJev.). Pencil, John Doyle. 67 144. 06. Newest Edition of Dame Paetinqton and hee Mop. Lord Ebringtou, Lord Lieutenant of Ireland, as Dame Partington, vainly struggling to drive back with a mop the wave of O'Coimell's nfjitation for Rp]ienl, Pencil; v..y,, iO.V X 14J in. Political sketches, Nu. 657. Reir. Lord Caedigan on Hoeseback. Pencil. 140. 06. A JoccLATOE ; ok Teacher of Wonderful Animals. Palmerston piping and playing on a drum inscribed Treaty of July, 1840, while the Russian bear stands on his head, the Gallic cock struts on stilts, and two dogs (Austria and Prussia) dance on their hind legs. Pen and pencil; roy., 9 x 12J iu. Political sketches, Xo. tioS. The Treaty of July 15th, 1840, signed by England, Russia, Austria and Prussia, was intended to settle the affairs of the East by compelling the Pasha of Egypt to relinquish Syria. France had refused to follow the policy adopted under Palmerston's leadership by the four Powers ; and the treaty was signed without her knowledge, Bev. A Pair op ' Wood '-be Conseevatives. Lord Howick and Mr, Charles Wood. See above, note on No. 184 (05.) Pencil, Political sketches, No. 638. 146. 06. Guy Pawkes. O'Connell as Fawkes, discovered by Stanley and Peel. Rough pen sketch ; roy., 10 x 14| in. Political sketches, No. 660. Eev. Pandoba. Palmerston as Pandora letting out War from her box. Pen and pencil. Political sketches. No. S61. Palmerston's Eastern policy threatened to bring England into war with France, but was pereisted in by that minister with entire disregard of opi.nion and of the apprehensions of his colleagues. Success soon justified his confidence, 147. 05. Study fob the last Subject, etc. With two portrait studies (one in full face, one in profile) of Liszt at the piano ; and a slight sketch for the Great Moth (Political sketches. No. 645 -, representing Sir Frederick Trench allured by the Bude Light (patented 1839-41). Pencil ; roy., lOj x 14 in. Bev. Loed Duncannon on Hoeseback. Pencil and pen. 148. Ob. PoLmcAL Show-box. O'Connell picking John Bull's pocket while his attention is engaged in looking at the British successes in Syria and China, shown him in a peep-show by Palmerston. Melbourne as policeman walks away in the Queen's train, paying no attention. (In the Uthograph Normanby is introduced with Melbourne.) Pencil; roy., 11 J X 16J in. PoUtical sketches. No. 662. ' Bev. The Wandebing Minstrel, or a Solo on the Union Pipes. Lord Ebringtou playing the bag-pipes, with Lord Morpeth holding the hat by hia side to a group of boys (including the Recorder of Dublin, Mr, Shaw), while O'ConneU from a window shouts to him to go away. Also a sketch for 'The Three Secretaries' (PoUtical sketches, No. 693): Palmerston ' Sticking Piaister,' EusseU ' Corn Plaister,' and Normanby ' Court Plaister.' Pencil, and pen over penciL Political sketches. No. 664. 149 06 A new Illustration of the Fable op tub Bull and the Feog. The French Frog demanding an explanation from the English Bull for his insulting 68 Drawings of the British School. size ; the Eussian bear looking on and whispering with the Austrian and Prussian eagles. Modified and reversed in the lithograph. Pencil ; roy., 10 x 13 in. Political sketches, No. 665. Bev. St. Geoege and the Deagon. Stanley, as St. George, mounted and about to strike the already wounded dragon (O'Connell) with his sword. In » medallion. Pencil. Political sketches. No. 640. An allusion to Stanley's Irish Registration Bill. 150. A Beown (Beuen) Study. O'ConneU sitting in gloomy contemplation pf the news of Colonel Bruen's election for Carlow. Pencil ; roy., lOJ x 14J in. Political sketches, No. 666. Rev. The New Pasha of Egypt. Palmerston as a turbaned Pasha on an Arab horse, under a palm-tree, attended by Lord Ponsonby. Pencil. PoUtical sketches. No. 663. Ponsonby, the English ambassador at Constantinople, had powerfully seconded Palmerston's policy, which ended in the bombardment and capture of Beyrout, and the deposition of the Pasha, Mahomet AU. A 51. 06. The Taking of Chusan. The Conservative leaders in a man-of-war's boat, with Wellington standing up in the bows, approaching a fort, over the wall of which Melbourne, dressed as a Chinaman, hangs a board inscribed Spare us for the sake of our women. Pen and pencil; roy., 9J X 15Jin. Political sketches. No. 667. Bev. Unpublished Sketch. Three lawyers consulting together. Pencil. 152. 06. The Waits. The Conservative chiefs, Peel, Wellington, Stanley, Lyndhurst, and Graham, muffled up and patiently playing their various instruments in the cold. Pen and pencil ; roy., lOJ x 13J in. Political sketches. No. 668. Rev. The Eael of Wilton on Hoeseback. Pen and pencil. [1841.] -a58. 05. The Pbooession of the Flitch of Bacon. A pnrody of the picture by Stothard. The procession moves 1. ; Duncannon, Morpeth, Brougham, and Sir F. Burdett playing instruments in front ; then Lord Cottenham, the Lord Chancellor, on horseback, carrying the flitch; next, two women scattering flowers before the Queen and Prince Consort, who ride together on the same horse, attended on each side by Wellington and Palmerston, and followed hy Melbourne. The composition as lithographed is completed by the sketch described below. No. 154 (06.). Pen and pencil ; roy., OJ X 15f in. Political sketches, Nos. 669 and 670. Bev. The Duke op Beaupoet on Hoeseback. Pencil. 154, 06, The Pbocession of the Flitch of Bacon, fhe rest of the composition just described. Following the Queen and Prince rido Russell, the Duchess of Kent and Stanley, and the Duke of Sussex on foot ; the Archbishop of Canterbury lightiy Uidicated beyond, and Howick and Wood looking down from a garden wall. Rough pencil sketch ; roy., lOJ x 14| iu. Political sketches, Nos. 669 and 070. John Doyle. 69 Bev. Staet FOE the Great Westminster Trial Stakes. Lord Granville Somerset riding Stanley, and Russell riding Morpeth, about to start on their race ; O'Connell cracks his whip at Morpeth ; Mr. Tennant stands by Stanley's head, and Lord George Beutinck by him. Pencil.Political sketches. No. 671. The early part of this session was occupied by the contest between fhe rival Irish Registration Bills of Stanley and Morpeth. ^155. 06. Criminal in Custody. Query, 'Which be the Malefactor?' Lord Cardigan, preceded by Black Rod, going to his trial before the House of Lords for his duel with Captain Tuckett ; Wellington, Winchelsea, Peel, Londonderry, and other jieers who had fought duels themselves are looking on. Pen and pencil ; roy., 9J x 12J in. Bev. Nicholas Niokleby's Inteoduction to Squeees. Peel (Nickleby) asking Brougham (Squeers) if he had not advertised for an assistant ; Morpeth and Eussell as two small boys sitting disconsolate on a box. Pencil. Political sketches. No. 672. 156. 06. A New Tale (Tail) of a Tub : the Climax — A Knotty Point. Taken from an iUustrated poem founded on a ludicrous Indian adventure. O'Connell as a tiger caught iu a barrel, with his tail coming through the bung-hole, and assaUed with a brick by Lord Stanley and two bottles by Lord Granville Somerset. The tub represents the Irish Registration Bill. Pencil ; roy., IOf x 16J in. PoUtical sketches, Xo. 674. Bev. Loed Palmeeston on Hoeseback. Pen and pencil. 157. 05. CicBEO IN Catilinam. Peel in the House of Commons denouncing O'ConneU, who sits with Morpeth and Russell in the Front Bench. Rough pen sketch ; roy., IOf X 16 J in. PoUtical sketches. No. 675. Bev. Melboubnb on Hoeseback. PencU. 158. 06. Scene feom 'The Hypoceite.' Morpeth as Maw- Worm pomting to O'ConneU (Dr. Cantwell) as a saint; Lord Ebringtou (Old Lady Lambert) looking on. A scene from Isaac Bickerstaffe's adaptation of Molifere's ' Tartuffe.' Pencil; roy., 9 x 14 J in. PoUtical sketches, No. 678. Bev. A Peeambulatoey Advbetisbment. Peel and Stanley attracted by the advertisement of 'w(h)igs on improved principles' on a cart driven by Lord Howick and Charles Wood. Inscribed as in the lithograph. Pen and pencU. PoUtical sketches, No. 682. Lord Howick and Mr. Wood were at 'this time detached from the Whigs (see above, note to No. 184, 06.), and Peel was thought to be making overtures to them on the part of the Tories. W59. 05. An Ageicultueal Subject. RusseU and Morpeth ploughing up tho constitution, and O'Connell sowing sedition. Eough pen sketch ; roy., 9 X 12| in. PoUtical sketches, No. 679. Bev. A Gentleman on Horseback. Pencil. 70 Drawings of the British School. 160. Vingt-un versus Fives. Peel and the Tory leaders inviting Howick and Wood to join them at Vingt-un; Morpeth and Eussell pressing them to try another game of Fives. O'Connell stands sulkily by. Eough pen and pencil sketch ; roy., 10 x 15 in. Political sketches. No. 680. Bev. A Gentleman on Horseback. Pencil. 161. A distinguished Amateur in the Chaeactee of Jeeemy Diddlbe. Melbourne as Jeremy Diddler, in the farce of ' Eaising the Wind,' looking ruefully at the Corn Laws, which he holds in his hand. Pen over pencil ; rov., 10^ x 6| in. Political sketches. No. 681. 162. Steeeing between Soylla and Chaeybdis. Lord Howick and Mr. Wood steering nervously between the Scylla of Eadicalism and the Charybdis of Conservatism. Pen over pencil ; roy., 7J x 9 in. Political sketches, No. 685. 163. A Scene peom 'Dee Feeisohutz.' Melbourne as Casper, surrounded by the skulls of lost measures, asking a respite from Zamiel (O'ConneU), and promising new sacrifices, but in vain. Pen and pencil ; roy., 9f x 14 in. Political sketches. No. 686, 164. 06. An unhappy Angler fishing for a Budget. The Chancellor of the Exchequer, Sir F. T. Baring, in a punt, fishing the Tory preserves; John Bull on the bank warning him off. Inscribed as in the lithograph. Black chalk and pencil ; roy., 9J X 15J in. Political sketches. No. 687. The Budget was introduced April 30th ; but the ministers were unable to carry it, and their defeat led directly to their final fall. Bev. Scene from Bomeastes Furioso. Mr. Eobert Gordon as Bombastes, hanging his boots (Sugar Duties and Corn Laws) to the tree in defiance. Pencil. Political sketches. No. 683. Eeduction of the Sugar Duties and of the Duties on Coi-n was proposed by the Government. Gordon, Secretary to the Treasury, resigned May 2, on account of the latter proposal. 165. A good Man struggling with Difficulties. Sir F. T. Baring, Chancellor of the Exchequer, sitting between Macaulay and More O'Ferral, one with the Army and the other with the Navy Estimates in his hand. Black chalk and pen ; roy., 8f x 10| in. Political sketches. No. 691. 166. 05. A PiT-iABLB Situation. Eussell and Morpeth crouching under the statue of Pitt, and Peel as a policeman coming to drive them from their shelter. With a slight pencil sketch for the next subject. Pen; roy., 16 X 11 in. Political sketches. No. 695. ^JRev. Don Quixote attacking the Windmill. Thiers (Don Quixote) attack ing the windmill (Palmerston's Treaty of July, 1840) ; Louis Philippe (Sancho Panza) looking on in dismay. Pen and pencil. Political sketches, No. 659. 167. Another Ccetius; A Pictueesque Finale. Lord John Russell leaping on horseback into the abyss of the Corn Laws ; the Whig ministers looking on in consternation. Pen and pencil ; roy., 8J x 14| in. Political sketches, No. 697. The elections gave the Conservatives a majority of over eighty. John Doyle. 71 168. Illustration oi' the Dog in the Mangee. Melbourne as the dog. Peel aa the ox, John Bull looking over a partition. Modified in the Uthograph. Pencil; roy., 8^ x 12 m. Political sketches, No. 702. 169. 06. Study foe the s.vme Subject. PencU; roy., 6| X 8J in. Ber. Barxaby Budge and his Eaven. O'ConneU and John Russell. Rough pencil study. Political sketches, No. 703. 170. 06. Beginning in good Old English Style. Peel and Russell shaking hands before their boxing-match on the question of the Goru Laws ; Melbourne and Palmerston despondently backing RusseU 1. ; John Bull and WeUington r. Pen and pencil; roy., lOJ X 15 J in. Bev. Two Subjects on one Sheet. A Pais of Long-headed Fellows, Peel and Wellington ; and The Fox and the Ceow. RusseU, the fox, persuading Peel, the crow, by taunts to open his mouth and declare his Corn-Law policy. Pen and pencU ; and pencil. Political sketches, Nos. 704 and 706. RusseU advocated a fixed duty. Peel a sliding scale. 171. The Fox and the Crow. Rough pencil study ; roy., llf X 6f in. 172. 05. A Paie of Sad Dogs. Melbourne and Eussell arm-in-arm, jeered at by a butcher's boy, who cries, ' Does your mother know you're out ? ' Pen ; roy., 10 X 7| in. PoUtical sketches, No. 707. Bev. Unpublished Sketch. The English Bull led by the nose by Peel (?), Eough pen sketch, 173. A Soliloquy. Melbourne meditating on the cleverness of the ' boy Jones,' who had found his way a third time into the Palace, and wishing he knew the secret. Inscribed as iu the lithograph. PencU ; roy., llf X 7J in. PoUtical sketches, X"o. 708. On 15 March a boy called Jones got into Buckingham Palace at night for the third time. 174. Sqiplb Aeithmetic. Peel, as a schoolmaster, asking Melbourne and Eussell to add one to ninety. Ihey appear puzzled, and Brougham, looking in at the door, smiles at the slowness of his old pupils. Inscribed as in the lithograph. Pen and pencil ; roy., 12J X 8 ins. Political sketches. No. 709. The Whig Government was defeated on the address in the Commons by a majority of 91, and at last resigned. 175. A New Beading op the Political Phease Finality. Peel putting a Con servative extinguisher on the dying candle of Whiggery. PencU; roy., llJ x 11 J in. Political sketches. No. 710. Russell had been nicknamed 'Finality Jack' on account of a speech made in November, 1837, in which he said he could advocate no further measures in electoral reform. vl76 New Omnibus. John Bull getting into the Conservative omnibus, Wellington, as conductor, helping him in. and Mr. Wakley, as crossing-sweeper, holding his hat for a penny ; Russell, as a rival conductor, trying to dissuade John Bull from getting in. Pen and peneU ; roy., 12f X 9| in. Political sketches. No. 711. 72 Drawings of the British School. ^177. 06. A Geeat Diplomatist discovering a New-Maeket poe his Talents. Palmerston at Newmarket giving instructions to John Day, the jockey, to force the pace and tire out the rival horses. Rouah pen and pencil sketch ; roy., 11 J x 15 in. Political sketches. No. 712. Bev. Two Sketches on One Sheet, (a) Eace between the Haee and the Tortoise. Peel, the tortoise, arriving at Free Trade before Russell, the hare. Pen and ink. (5) A Problem Not to be Found in Euclid. The Bishop of Exeter (H. Phillpotts) revolving the chances of his being moved to T/[ondon] if L[ondon') moves to C[anterbury]. At the time when this was published (184.3) Howley was Archbishop of Canterbury, Blomfield Bishop of London. Howley was succeeded by Sumner, and Phillpotts died Bishop of Exeter. Black chalk. Political sketches, Nos. 765 and 766. 178. A Cautious Game. Peel and Wellington playing Melbourne and Eussell at whist. Peel complains that Eussell looks into his hand, and Wellington asks them all to talk less and act more. Inscribed as in the lithograph, in which the composition is reversed. Pen and pencil ; roy., 7J X 12J in. Political sketches. No. 713. Peel had not yet declared his policy on the Com Laws, and each party was watching the other carefully. 179. Exchequer Bill Affair; a Dark Teansaotion. Lord Monteagle (Spring- Rice) standing by a window and examining his own signature on a bill. The Chancellor of the Exchequer (Goulburn), sitting in his chair, offers a candle, as the weather is foggy, but Monteagle prefers daylight. The clerk who brings the bills is'removed in the lithograph to the background. Pen and pencil ; roy., llf x 7| in. Political sketches. No. 715. This refers to a great forgery of Exchequer bills, through which the Treasury lost large sums. Lord Monteagle was Controller of the Exchequer at the time. [1842.] 180. Beeaking-up of the Ice: a Sad Disastee. Morpeth disappearing through the ice, in spite of O'Connell's efforts to rescue him. Pen and pencil ; roy., 7| x 12| in. Political ski-tches. No. 716. Morpeth, who had been rejected by the West Biding of Yorkshire at the General Election, July, 1841, was nominated in his absence for Dublin, January, 1842, but defeated in spite of O'Connell's support. 181. 05. A Cabinet Pudding. Melbourne and Palmerston looking on Peel and his followers, who are about to cut up their cabinet pudding ; Wellington asks them to join. Pen and pencil ; roy., 7J x 12f in. Political sketches, No. 717. Bev. A Gentleman on Hoeseback. Pencil. 182. A Suicidal Plunge. Eussell plunging into a pond (a motion for correspon dence regarding recent appointments of judges in Scotland and Ireland.) Black chalk : roy., 9J, x 7g in. PoUtical sketches, No. 718. On Feb. 10, Lord John Eussell made an attack on two judges, and 'exposed himself miserably and unaccountably ' (Greville). John Doyle. 73 V^e 183. 06, Late Attempt at Suicide. Peel and Graham bringing Eussell up before Alderman Lawrie, charged with suicide ; the magistrate thinks it is a case for the treadmill ; Mr. Wakley protests. Eough pen sketch ; roy., 8g x 12J in. Political sketches. No. 719. Bev. A Xe-w Beading of the Political Phease Finality. Described above. No. 175. This sketch is in reverse. Pencil. va84. 06. Theowing the Lasso. Peel catching the Duke of Buckingham with the ribbon of the Garter. Pen and pencil ; roy., 9 X 14f in. PoUtical sketches, No. 720. The Duke of Buckingham was Lord Privy Seal in Peel's Cabinet, but resigned in February, when Peel proposed to deal with the Corn Laws. In April he -(yas made a Knight of the Garter. 'ev. Eevival of the Good Old Constitutional Peaotice op Buening a Peime Ministeb in Effigy. Melbourne, Eussell, and the other Whig leaders, cheered on by O'Connell, carrying Peel's effigy to a bonfire. Eough pen and pencil sketch. PoUtical sketches, Xo. 721. Peel's modification of the Com Law, establishing a sliding scale of duties, was introduced by him in February. The Opposition derided him for adopting their own measures. 185. 06. An M.P. of bather Loose Habits. Profile portrait of the Earl of Euston, in loose and shabby dress, walking 1. (Also a rough pen sketch for ' Cutting the Gordian Knot,' described below. No. 187.) Pencil; roy., lOJ X 14 J in. Political sketches. No. 723. Rev. A Gentleman on Hoeseback. PencU. 186. Good Teaining. Peel training Mr. Leader, Sir E. Inglis and Mr. Muntz to sit up on their hind legs and beg for information. O'Connell sulks in a corner. Pen and pencil ; roy., 7| x lOJ in. Political sketches. No. 724. At the opening of the session, Eadical members were urgent to know how the Government proposed to relieve the prevalent distress. Peel was at first extremely cautious and reserved in his replies. 187. 05. Cutting the Goedian Knot. Peel, as Alexander, cutting the knot which the Whigs had failed to untie. Melbourne, Eussell, and Francis Baring look on with astonishment. Eough pen sketch ; roy., 10| x 15 J in. Political sketches. No. 726. For several years past the Budget had shown a deficiency, which the Whigs had been unable to remove. Peel determined to impose an income tux and thus achieve a surplus. Bev. The Duke op Cambeidgb on Hoeseback. PenciL 188. A BiTTBE Deaught. John Bull in a big chair pulling a wry face at having to drink the bitter medicine (income-tax) prepared for him by Peel and Wellington. Pen and pencil ; roy., 9J X 14| in. Political sketches. No. 727. 189. ExTEAOEDiNAEY Case OF NiGHTMAEB. Fiaucis Baring, the late ChanceUor of the Exchequer, sleeping iu bed ; Peel as a goblin with a great bag of gold sitting on his chest, and a number of asses braying round. Rough pen and black chalk sketch ; roy., 8f x 13^ in. Political sketches. No. 728. The objection to the income-tax, raised by the Opposition, was that foreign countries would suppose the resources of England to be exhausted. 74 Draivings of the British School. 190. 06. A Knook-down Blow. Peel kno'-king Russell over with a volume of Hansard, while Baring comes to Russell's support. Palmerston is added in the lithograph. Pen and pencil ; roy., 8f x 12J in. Political sketche?. No. 729. Russell quoted frora Hansard former speeches of Peel's against the income- tax. Peel vindicated his consistency with vigour and success. Bev. Study por the same Subject. Pencil, 191, Jason sowing the Dragon's Teeth. Peel sowing his new financial proposals and raising the armed Opposition. The figures of the latter do not appear in this study. Pen and pencil ; roy., 9J X 6| in. Political sketches. No. 730. 192. 06. A SUGGESTED TRANSFORMATION, OR, RePORM OP THE REFORMED HoUSE. Mr. Roebuck in the Speaker's chair, with the Speaker below him, and Peel asking questions. A rough study for the subject treated differently in the lithograph. (See below. No. 193.) Also a portrait of a gentleman on horseback. Pen and black chalk ; roy., 14J x 18J in. Political sketches. No 732. VRev. The Frogs and King Stork. Peel as King Stork coming to reign over the frogs (Radicals) in place of Russell (King Log), about to devour Mr. Roebuck, and with an eye on Mr. Wakley. Also a pen and pencil portrait of the Duke of Wellington on horseback. Rough pen sketch. Political sketches. No. 731. 193. A SUGGESTED TRANSFORMATION. As lithographed ; Roebuck as 'Interrogator' walking into the House ; the Speaker (Shaw-Lefevre) holding up his train, and Russell and Peel following. Eough black chalk sketch ; roy., 8| x 14f in. 194. The Political MoAdam. Peel breaking stones (the various political parties) with the hammer of his new tariff; Stanley and Graham stand by, having nothing left to do. Pen and pencil ; roy., 9J X 15 in. Political sketches. No, 738. Peel's financial measure, especially the tariff, was well received by all parties, and made the way tmooth for the Government, 195. A SLIGHT Sketch op a truly Noble Subject. Profile portrait of Lord Ashley (afterwards seventh Earl of Shaftesbury), carrying in his hand his Mines Bill, passed in 1842, which abolished the system of apprenticeship and other abuses in mines. Pencil ; roy., 12| X 7f in. Political sketches, No. 735. 196. 05. Acis AND Galatea. Peel as Acis, singing to Galatea (Wellington), whUe Polyphemus (John Bull) prepares to hurl a huge stone (hatred of the income- tax) on Peel's head. Pen and pencil ; roy., 14J x 8| in. Political sketches, No. 736, Bev. Curious Sign op ' The Times ' ; or, the New Parliamentary Criminal Van, Roebuck driving and Peel guarding a prisoners' van. Pencil. Political sketches, No. 734. At the General Election of 1841 some scandalous cases of bribery occurred, and facts beginning to come out next year, Mr. Roebuck roused an agitation in Parliament, which led to a BiU being passed. John Doyle. 75 197. 05. Mercury havin-g lulled Argus to Sleep, carries off the beautiful Milch Cow Id. Peel lulling John Bull with the music of his new tariff, carries off the income-tax. Pen and pencil ; roy., 13 X SJ in. Political sketches. No. 737. The country was reconoileil in a great measure to the income-tax through the new tariff, by which the duties on 750 out of 1,200 articles were reduced. Bev. Portrait of Sir Robert Peel. Head, in full face, looking a little r. Black chalk. 198, 06. Consolations op Tra-vbl. Lord Morpeth driving the ' New England ' omujbus. Pen and pencil ; roy., 8f X 18g in. Political sketches, Xo. 738. After his defeat at the General Election, Lord Morpeth spent a year in North America and Canada. Bev. The same Subject. Pen and pencil. 199. 06. The same Subject. Pen and pencU ; roy., 8| X 13| in. Bev. Tpm CoNFESsiON.iL. Sir J. 0. Hobhouse and Mr. Duncombe kneeling and confessing to Mr. Roebuck. In the lithograph Mr. Walten is introduced, and Mr. Duncombe is standing up. Pencil, unfinished. Political sketches, Xo. 739. Owing to the disclosures of bribery and corruption at the election, Mr. Eoebuck moved for and obtained a committee of investigation, which conducted its inquiry wilh closed doors. 200. A Scene pbom Second Part of Henry IV. Blomfield, Bishop of London, visiting Howley, the aged Archbishop of Canterbury, who reclines on a couch. In the lithograph Blomfield uses Prince Hal's words to his father, I never thought to hear you speak again, and Howley answers. Thy wish, ' Charles James,' was father to that thought, etc. Pen and pencil ; roy., 8| X 12| in. Political sketches. No. 74'i. See note to X"o. 177 (Bev.) (6). 201. A Pleasant Situation. Peel between the Protectionist lion and the Anti- Corn Law crocodile — the agricultural and the manufacturing interests, neither of which his sliling-scale had satisfied. Pencil and pen ; roy., 8 X 12| in. Political sketches, No. 746. 202. Curious Ixs and Outs; or. The Disputed Thunder. The Government cart driven by Peel, with Graham blowing a trumpet, and Stanley pointing to a placard announcing Peace to China and Ee-conquest of Afghanistan; the Liberals drive up in their donkey cart, and Palmerston claims the Tory thunder. Eough pen sketch ; roy., 10| x 15J in. Political sketches. No. 752. Palmerston and his friends endeavoured to show that the credit of the Chinese and Indian successes were due entirely to Palmerston. vir [1843.] 203. The Modern Samson caeeying off the Gates (op Somnauth !). Lord EUenborough with the Somnauth gates on his back. (Half of the lower part of the design, containing in the lithograph a group of astonished Hindus, has been cut off.) Pen and pencil ; roy., 14| X 8| in. Political sketches. No. 754. In 1889 a British army invaded Afghanistan, and a force was left behind in Cabul, which in 1841 was entirely destroyed while endeavouring to retreat 76 Drawings of the British School. towards India. Lord EUenborough arrived as the new Governor-General of India in February, 1842, and during the year Afghanistan was again con quered; whereupon Lord EUenborough issued a bombastic proclamation, glorying in the recovery of the gates of the Temple of Somnauth from the Afghans — a proclamation which exasperated the Mahommedans. 204, 06. A Touching View of Some op the Ins and Outs of this Woeld. Palmerston, Melbourne, Morpeth, and Russell hungrily standing by an eating- house, inside which Peel is serving out helpings of soup to Aberdeen. With a small sketch for the next subject (No. 205.) Pen and pencil ; roy. (irregularly cut), 12| x 15| in. Political sketches, No. 755. m Bev. The Modebn Samson caeeying off the Gates. Pen and pencil. v2C ;05. Bblleeophon in Dangee. Peel, as Bellerophon on Pegasus, soaring to the sun, when Jupiter (John Bull) sends an insect (opposition to the income-tax) to sting the horse and overthrow the rider. The design is reversed in the lithograph. Black chalk on drab paper ; roy., 10 X 18 in. Political sketches, No. 757. 06. 06, Bblleeophon in Dangee. As lithographed. Black chalk on drab paper ; roy., 9 x 11 in. Bev. Awful Scene feom Tom Thumb. The King of Hanover throwing a pillow at the ghost of the Constitution. Pencil and black chalk. Political sketches. No. 498. The first act of the Duke of Cumberland, on his accession to the throne of Hanover, was to suspend the Constitution granted it in 1883. 207. New Veesion of the Two Kings of Beentfoed smelling at One Rose. Lord Brougham holding up an olive branch, which the Queen and Louis Philippe are smelling. Pen and pencil ; roy., 12| x 8J in. Political sketches, No. 759. Lord Brougham, in the debate on the address, had said, ' I hold up the olive branch to France and England.' 208. The same Subject. Pen and pencil ; roy., 12^ x 9f in, 209, The same Subject ; Study foe the Figuee of Loed Beouqham. Pencil; roy. (torn at 1. side), 10 x 141 in. 210. CuTTBE foe Sale. Stanley pointing out to Peel and Wellington a cutter, with a broom at the masthead aud Brougham's face as figure-head, for sale on easy terms. Pen and pencil ; roy,, 9J x 14| in. Political sketches, No. 767. Brougham was now on the worst of terms with his old friends, and unceasing in his flattery of Wellington and praise of Peel. 211. CuTTEE FOB Sale. Slight sketch, in reverse ; without Stanley's figure. Pencil ; roy., 7| X llf in. 212. A Song of Teiumph. Wellington, Peel, and other ministers leading Lord EUenborough in triumph, Brougham playing a double pipe in front ; a parody of Rubens' Triumph of Silenus, in Sir Robert Peel's Collection, now in the National Gallery. Pencil ; roy., 9f x 15J in. Political sketches, No. 768. EUenborough was successfully vindicated by ministers in Parliament. Wellington defended him with particular ability. John Dmjle. 11 213. A Sweeping Insinuation. Wellington sweeping the road for Palmerston, who passes by with a jaunty air, aud complaining of the dirt which Palmerston has left him to clear away. Black chalk on drab paper ; roy., 10 x 12| iu. Political sketches. No. 769. 214. Cupid blowing Bubbles. Palmerston as Cupid blowing bubbles from the Opposition suds. Black chalk on drab paper, heightened with white ; roy., 10| x 12J in. Political sketches. No. 770. Palmerston vehemently attacked the foreign policy of the Government, especially Lord EUenborough's conduct in India, and the treaty by which Lord Ashburton settled the dispute with America over the boundary of Canada and Maine. \Ai 215. The Fate of AcT.ffi:oN. Palmerston as Actseon, attacked by his own hounds (Hume, Brougham, and Roebuck) ; an unharmed stag (EUenborough) runs off triumpiiantly iu the background. Black chalk on drab paper, heightened with white ; roy., 14| x 10| in. Political sketches. No. 771. Palmerston ha-ving attacked Lord Ashburton and his treaty. Brougham iu the Lords and Hume in the Commons gave notices of motions for votes of thanks to Lord Ashburton. 216. Theee United-States-Men. Brougham, WeUington and Ashburton walking arm-in-arm down Piccadilly. Black chalk on drab paper ; roy., 12f X 9 J in. Political sketches. No. 772. The objection made to the Ashburton treaty was that it conceded too much to the United States. 217. 06. A New Illusteation op Feankenstein. O'Connell defied and threatened by the monster of agitation and anarchy, which he himself created. Black chalk on drab paper ; roy., 9J x 14J in. Political sketches, No. 773. Bev. Whebe theee's Smoke theeb's Fiee. Ministers gathered watching a bomb, which O'Connell has placed by the pUlar of the Union ; he is moving off at the r. Lord Elliot fills a squirt (the Arms BUI) to put it out, and Sugden prepares to stifie it with a sheet of f aper. Slight black chalk sketch. Political sketches, X'o. 776. This year, 1843, was to be, O'Connell said, 'the Repeal year.' Irish affairs monopoUsed attention, and the agitation for Repeal reached its climax. y218. 06. A DuTi-FUL Subject and no Mistake. Wellington writing in his office, surrounded by papers ; a servant brings him in fresh dispatch-boxes. Pen and black chalk on drab paper ; roy., 9| X 12f in. Political sketches, No. 777. Wellington at this time held no ministerial office, but exercised considerable control over several departments, especially foreign affairs; he was also Chancellor of Oxford University and Warden of the Cinque Ports. Bev. A New Illusteation op Feankenstein. Black chalk sketch. 219. 05. A Scene feom 'The Ceitic' Whiskerandos (O'ConneU) attacking and attacked by two nieces (Orangeism and the Law) and by Hatton and Raleigh (Wellington and Eoden) ; the Beefeater with his halberd (Lord Elliot with his Arms Bill) interposes to part them. Black chalk on drab paper ; roy., 10 x 14 in. PoUtical sketches, No. 778. Bev. Supposed Colloquy between a Topsawyee and his Beotheb Laboueee. O'Connell and the DevU sawing with little effect at the Union, and complaining of the tough Saxon timber. Black chalk, slight sketch. Political sketches. No. 775. 78 Draivings of the British School. 220. 06. A Scene feom ' The Critic' Pen and pencil study ; roy., 4J x 6f iu. Eev. Study of Costume, for the figure of Lord Eoden. Pen. 221. 06. Design fok the new Vane oe Weatheeoook lately erected over the Horse Guards. Lord Londonderry (Stewart Vane) on horseback as a weather-cock. (Appointed to the 2nd Life Guards June 21). Pen and pencil; roy,, 12| X 15g in. Political sketches. No. 780. Bev. Characteristic Dialogue between two Irish Chieftains. O'Connell, Give me repale, or else .' Wellington, I won't give you repale, and if Pen and pencil. Political sketches, No. 779. 222. Design for a Cartoon : Poetry doing homage to Temperance, or. The Pleasures of Memory yielding to The Pleasures of Hope. Father Mathew, the apostle of temperance, whose efforts had produced an extraordinary change for the better in the condition of the Irish, and who in 1848 was welcomed in London, giving the pledge to the poet Rogers. Pen and pencil ; roy., lo x 7f in. Political sketches. No. 782. 223. 05. Studies fob the same Subject. Pen and pencil ; roy., 8 X 12 in. Bev. Unpublished Subject. Peel as a sergeant reviewing an awkward squad of recruits (Disraeli and the Young England party); Wellington inspecting them. Pen and pencU. 224. A Visit of Condolence. General Espartero visited by Lord Palmerston and General Sir George De Lacy Evans. Black chalk ; roy., 9 X 13| in. Political sketches, No. 783. The Govei-nment of General Espartero, Regent of Spain, had been overthrown in July by an insurrection which broke out in Catalonia ; Espartero was compelled to fly, and took refuge in a British ship. De Lacy Evans commanded the British Legion in the CarUst War, 1885-37. 225. 06. The Fame of Raleigh eclipsed. The Corporation of Southampton laying their robes on the wet pier for the Queen aud Prince to walk on. Pen and pencil ; roy., 8J x 14J in. Political sketches, No. 784. Bev. Taking the Watee like a Duck. The hen (Peel) seeing the ducklings she has fostered (the Queen and Prince) take to the water of the Channel and swim away to France. Pencil. Political sketches. No. 785. This refers to the Queen's visit to the Chateau d'Eu, where she met Louis Philippe, and an agreement was made between England and France on the subject of the prospective marriage of the Queen of Spain. 226. 05. Swallowing the Leek. Pistol (O'Connell) forced by Fluellen (Peel) to swallow the leek. Pen and pencil; roy., 9J x llJ in. PoUtical sketches. No. 786, On October 7th a proclamation was issued forbidding the great Repeal Meeting organised by O'Connell at Clontarf. O'Connell abandoned the meeting. Bev. A Gentleman on Horseback, Black chalk. 227. The Naughty Boy : peom Edwm Landsbbe's admieed Pictuee. O'Connell sulking in a corner. Black chalk ; roy., 9| X 7i in. Political sketches. No. 787, John Doyle. 79 228. Something^ between John Wilkes and Loed Lovat. O'Connell seated between Wilkes and Lovat, as they are represented in Hogarth's prints. PeucU; 8J x 13J in. Political sketches, Xo. 700, O'Connell was arrested October llth, 229, FiBST catch your Hare. ^\'eUingtnn, Graham, Peel, and Stanley as cooks, making preparations for the cooking of tho hare (O'ConneU) ; Brougham aa a dog looking up at them eagerly. Pencil ; roy., 9 x 18^ in. Political sketches, Xo. 791, This sketch was published Dec, 26, Proceedings against O'Connell were begun Nov. 2, but the trial was by various devices put off till Jan. 15. 230. Angling extraordinary. Peel fishing in a boat, surrounded by the other ministers ; he has hooked O'Connell and is about to pull him iu. Pen and pencil ; rov., 9f X 13| in. PoUtical sketches. No. 792. [1844.] 281. Our Hero caught napping at last. The Duke of Wellington taking a nap at a royal ball, the Queen touching him w.th her bouquet to wake him. Black chalk on drab paper; roy., 7 J X 12 in. Political sketches, No. 793. 232. Late theeatened Upset neae Windsob. The Queen in a post-chaise nearly upset by Peel, who is riding postillion, and rescued by Wellington, dressed as an old lady. Pen and pencU ; roy., Sf x 12J in. Political sketches. No. 794. 233. 05. The Finding of the Infant Moses. Cobden, Bright, Bowring, and Colonel Thompson as Pharaoh's daughter and her women discovering the infant Moses (Lord Morpeth). Pen ; 9 X lOJ in. Political sketches, Xo. 798. Bev. The same Subject. In reverse. Pen and black chalk. 234. 05. A Conteast between the Oabes of Office and the Ease of Opposition. Aberdeen and Palmerston, the ai-tual and former Foreign Ministers, meeting each other ; the one anxious, the other gay. Pen and pencil ; roy., lOJ X 9| in. Political sketches, No. 800. Bev. The same Subject. Pencil. 235. Jack Cade's Insueeeotion. Lord Ashley aa Jack Cade, leading on hia supporters (Sir Robert Inglis, Thomas Duncombe, and others) against Peel and his following. Pen and pencil ; roy., 9 X 18| in. Political sketches. No. 801. Sir James Graham brought in a BUI limiting the hours of labour in factories. Lord Ashley carried amendments against the Government, and Graham taunted him with ' Jack Cade legislation,' a phrase which roused Ashley's supporters to fury. 236. The Happy Family. Lord Ashley aa an owl presiding over a happy family, composed of a cat (Sir R. Inglis), with a magpie (T. Duncombe) on its head, and three rata (Howick, Palmerston, and Russell) at its feet, two doves (Disraeli so Drawings of the British School. and Lord John Manners), a hawk (Lord Sandon), rabbits, guinea-pigs, etc. (Charles BuUer and others). Pencil; roy., 9J X 11 J in. Political sketches. No. 802. The debates on the factory Bill produced an extraordinary intermingling of parties ; men who were at enmity on all other questions united to support Lord Ashley. 237. 06. AiEXANDER AND DioGENES. Peel as Alexander, looking with admiration on Diogenes (Mr. Roebuck) in his tub. Pen and pencil ; roy., llf x 9 in. Political ski tches. No. 803. Mr. Roebuck was nicknamed ' The Diogenes of Bath.' Bev. The Happy Family. Pencil. 238, 06. Hercules, assisted by Iolas, attacking the Indian Hydra. Wellington, assisted by Brougham, attacking the East India Company directors. Pen and pencil ; roy., 9J x 10 in. PoUtical sketches. No. 804. Lord EUenborough was recalled in April by the Court of Directors, whose action was censured by Wellington in the House of Lords. The Duke had consistently defended EUenborough and his conduct, Bev. The same Subject, Pencil. 1/289. A Lesson in Elephant Eiding. Sir Henry Hardinge helped by Peel and Mr. Hogg to his seat on the Indian elephant, which has just thrown EUenborough; Wellington stands near with a watchful eye on the beast, and Brougham consoles the much-bruised EUenborough. Inscribed as in the lithograph. Pen and pencil; roy., lOJ X 12J in. Political sketches. No. 805. Sir Heni-y Hardinge was appointed Governor-General in EUenborough's place. 240. 06. Beae Baiting ; or. Old English Pastimes Eevived. Mr. Ferrand, as a bear, attacked by Mr. Hogg and Mr. Eoebuck, the latter of whora has him by the throat ; Disraeli, as a beefeater, raises his halberd to strike. With two profile studies for Disraeli's head. Pen and pencil ; roy., lOJ x 9 iu. Political sketches, No. 806. Bev. The same Subject. Pencil. v'241. 05. The Emperoe of Russia, as he Appeaeed at Ascot. Whole length, holding his hat in his hand. Pen over pencil ; roy., lOJ X 6J in. Political sketches, No. 807, Bev. The same Subject. Pen and pencil. The Emperor of Russia paid a sudden and brief visit to London in June. -,^42. The Flight of D.a;DALus and Icarus Illusteatbd undee a New Aspect. Peel as Daedalus and Gladstone as Icarus fiying too near the sun of Free Trade. Pen and pencil; roy,, llj X 7J in. PoUtical sketches, No. 809. On June 14, the Government were defeated on the Sugar Duties, but the vote was rescinded three days later on Peel's threatening to resign. 243. The Pas de Fascination, feom the Ballet of Alma. Sir Thomas Acland, Mr. BuUer, and other members of the Opposition, fascinated by the waving of Graham's hands and the music of Peel's timbrel. Sir Robert Inglis looks on in horror. Pen and pencil ; roy., lOJ X 14| in. Political sketches, No. 810. The allusion is apparently to tho rescinding of the vote, mentioned above. John Doyle. 81 244. The Teeaty between the Sheep and the Wolves. Russell, Palmerston, Labouohere, Shiel (the Wolves) making a compact with the Sheep (Lord Sandon, Sir Howard Douglas, and others) against the Dogs (Gladstone and Peel). Pen and pencil ; roy., 9J x 14J in. Political sketches, No. 813. 215. 06. A Scene peom the Beggae's Opeea. Lyndhurst as Macheath in prison. Brougham as Lucy Lockit, Lord Cottenham as Polly Peachum, the latter disowned and weeping. Pen and pencil on drab paper ; roy., 8J x 11 in. Political sketches. No. 815. Bev. The same Subject. Pen and pencil. Cottenhani's bill for dealing with the bankruptcy and insolvency laws was rejected in favour of Brougham's alternative measure. 246. 'Open Locks, Whoevee Knocks' (Witches' Scene feom 'Macbeth'). The Law Lords (Cottenham, Denman, CampbeU) opening O'Connell's prison door. Pen and pencU; roy., 10 x 15J in. Political sketches, No, 817. On August 4, the sentence of the Irish Court on O'Connell was reversed by the House of Lords, only the Law Lords voting. [1845.] v/247. Heeculbs in Modebn Costume. Peel resting on his club (the income tax) and the lion (O'Connell)'s skin. Pen and black chalk ; roy., IOf x 6| in. Political sketches, No. 827. At the opening of the Session, Peel announced the retention of the income- tax, which was estimated to produce a surplus of 3J millions, and certain concessions to Ireland, by which O'Connell was won over. 248. The Substance and the Shadow. Peel, with Disi-aeli as his shadow. Pen and pencil; roy., 10^ x 7 in. PoUtical sketches. No. 831. In this session Disraeli began his fierce and unremitting attacks on Peel. 249. 05. Two Gbeat Pillaes of the Chuech. Mr. Duncombe and Sir Robert Inglis arm-in-arm. Pen and pencil ; roy., 11| X 6f in. Political sketches, No. 832. Bev. The same Subject. Pencil. On AprU 3 Peel brought in a Bill for granting £30,000 a year to the Eoman Catholic CoUege of Maynooth. Mr. Duncombe and Sir R. Inglis were among the strong opponents of the measure, which intensified the great unpopularity of Peel among his followers. 250. 06. Catherine and Petruchio, designed by Mr. D'I , and retouched BY Lord John Russell. Peel as Petruchio rejecting the cap and gown (Income-Tax) bmught by the haberdashers (Berth wick, Eoebuck, and Wakley) for Catherine (Mr. Hume), who sulks in a chair; Eussell as Hortensio looks on with interest. A parody of the picture by C. E. Leslie, now in South Kensington Museum. Pen and pencil ; roy., 8J x 18J in. Political sketches. No. 838. Disraeli had described Peel as having ' tamed the shrew of Liberalism by her own tactics. He is the political Petruchio who has outbid you all.' Bev. The same Subject. Pencil. VOL. II, <^ 82 Drawings of the British School. 251. 06. Valentine and Orson. Peel as Valentine, on horseback, leading Orson (O'Connell) in a rosy chain (the Maynooth grant). Pencil ; roy., 9f X 13 in. Political sketches. No. 834. Rev. Two Penitents kneeling at one Shrine. Peel and O'ConneU kneeling before a statue of Sydney Smith, who holds his book on 'Irish CathoUc Claims ' in his hand. Sydney Smith died Feb. 22 of this year. Pen and pencil. Political sketches, No. 835. 252. 05. The Teoubadour, oe a Flirtation between the Chivalry op Oxford AND the Beauty of Young England. Sir Robert Inglis, member for Oxford University, playing a guitar to Disraeli, who sits at a window. Pen and pencil ; roy., llf X 9 in. Political sketches. No. 836. Rev. The same Subject. Pen sketch. 253. Soirees Mysterieuses : Wonderful Performance at St. Stephen's Theatre. Peel as a conjurer producing a succession of bouquets from his hat, to the surprise, admiration, and distrust of his audience (Disraeli, Inglis, Hume, O'Connell, Palmerston, Russell, and others). Pen and pencil ; roy., 9 x 14J in. Politic.il sketches, No. 837. In spite of the suspicion and hatred borne him by his own party, Peel still contrived to pass his Bills, owing in great measure to the support of the Whigs. 254. 06. Mock Heroics ; or, A Scene prom ' Macbeth ' dreadfully Burlesqued. (Lyndhurst) coming to tell Macduff (Lord CampbeU) of his children's murder, Malcolm (Brougham) stauding by. Pen and pencil ; roy. (irregularly cut), 8J x lOJ in. Political sketches, No. 840. Rev. The same Subject. Pencil. 255. 06. Gbeat Cey and Little Wool. Palmerston letting off a pop-gun (his speech on the recent Treaty with France) at the Treasury benches. Pen and pencil; roy., 8J x 18f in. Political sketches. No. 841. Bev. The same Subject. Pencil. 256. Heb Majesty's late Attoeney-Genebal : A Sketch feom Memoey. Whole length, full face portrait of Sir WUliam FoUett, who died this year in June. He was born 1798, was Solicitor-General 1834-35 and 1841-44, when he became Attorney-General. Pen and pencil ; roy., lOJ X 8J in. Political sketches, No. 842. 257. Two Studies foe the same Subject. In these studies the head is in profile, looking 1. Pen and pencil ; 9| x 6f in. 258. A GEEAT AcTOE BETWEEN Teagedy AND CoMEDY. A parody of Reynolds' famous picture of Garrick, here represented by Peel; O'ConneU is Comedy, Inglis Tragedy. Pen and pencil ; roy., SJ x 12| in. Political sketches. No. 843. The aUusion is to the Maynooth grant, which was supposed to indicate that Peel meant to yield all O'Connell's demands. 259. Not caught yet. A study of O'Connell's face for this parody of Landseer's picture. O'Connell plays the fox, avoiding the trap, which is baited with a dead hare (the Maynooth grant). Pencil ; roy,, 5f X 8 in. Political sketches, No, 845. John Doyle. 83 260. 05. A Scene peom 'Vathek' eealisbd. "The Caliph (Peel), more furious than the rest (Russell, Cobden, etc) .... gave as many kicks as he could. His zeal caused him to receive many kicks intended for the ball (the Corn Laws). Mozamhabad (Wellington) and two or three viziers .... wishing to prevent the Caliph from makmg a show of himself, threw themselves on their knees to stop him, but he jumped over their heads and continued on his course. . . ." Pen and pencil; roy., 8f x 12 in. Political sketches. No. 847. Bev. The same Subject. Pen sketch. ^^^' ??; T™ '^^^ Christmas Pantomime. Peel as Harlequin dancing with Gladstone as Columbine, Graham as the Clown, WeUington as Pantaloon. Pencil ; roy., 9 x 14f in. Political sketches, Xo. 849. Bv December of this year Peel had resolved to repeal the Corn Laws ; but Stanley and others in the Cabinet dissented, and Peel resigned on the 5th. Russell was sent for by the Queen, but proved unable to form a Government, and Peel returned to office, Gladstone taking the place of Stanley. Bev. Sheep at a Gap. John Bull seeing his sheep through the gap in the Protection hedge; Peel, the bell-wether, already through, looks back at his companions, Wellington, Graham, and the rest, who are driven over by the sheep-dog (Cobden). Pen and pencil ; roy., 8J x 14 in. Political sketches. No. 860. [1846.] 262. 06. The Deill : Dismiss 1 As you weee ! Peel drilling his squad ; Stanley disobeys the second order. Pen and pencil ; roy., Sf X 14J in. Political sketches, No. 851. Explained by the note on No. 261 (06.). Bev. The same Subject. PencU. 263. 06. Cheistmas Pantomime, No. 2; Extbaoedinaey Haelequin Leap. Peel as Harlequin, jumping headforemost through the Corn Laws ; Wellington aa Pantaloon, and Graham as Clown, look on in admiration, Russell and Morpeth in envy, the Duke of Norfolk in a fainting fit of horror. Pen and pencil ; roy., 8J x 14J in. Political sketches, No. 852. Rev. The same Subject, PencU sketch. 264. 05. The Trojans petition Dido foe Peotection. The Dukes of Richmond, Norfolk, Buckingham, etc., petitioning the Queen on th^ir knees; Peel, Wellington, and Graham stand round the throne; Bright, Cobden, and Russell frown upon the suppliants. Pencil ; roy,, 8| x 14f in. Political sketches, No. 856. Rev. The same Subject. Pencil. 265. New Veesion op John Gilpin; aftee Stothaed. Peel as Gilpin, riding headlong, with Wellington, Graham, Aberdeen and tho rest after him, past the Protection Inn, from the window of which Inglis and the Duke of Richmond shout to hira to stop, while John Bull, the inn-keeper, calls to him from the door. Pen and pencil; roy., 10 x 17J in. Political sketches. No. 858 and 859, G 2 84 Drawings of the British School. 266. Jason, aided by Medea, cabbies off the Golden Fleece. Cobden, aided by Peel, carrying off Free Trade from the dragon. Protection. Small pencil study ; roy., 2| x 3f iu. Political sketches. No. 861. 267. 05. A Beummagbm Maetyedom. Mr. Smith O'Brien led away in custody by the Serjeant-at-arms, followed by O'Connell, weeping. Pen and pencil ; roy., SJ X 14J in. Political sketches. No. 864. Mr. William Smith O'Brien, now the second man in the Repeal movement, was declared guilty of contempt of the House of Commons, April 28, for refusing to serve on a railway committee, and was kept in custody till May 25. v/2( Rev. The same Subject. Pen and pencil. 268. 06. Peotection; a Hen and Chickens of an Unusually Game Bebed. Stanley as the hen, the Duke of Richmond and other landowners as the chickens. Pen and black chalk; roy., 8J x IOf in. Political sketches, No. 867. Bev. Stag at Bay. After Landseer's picture. Peel as the stag ; Disraeli and Lord George Bentinck as the hounds he has beaten off. Rough pencil sketch. 269. 06. Peotection. Study for the subject described above. Pencil ; roy., 7J x lOJ iu. Bev. A Stag at Bay. Pencil. 270. An Ibish Faction Fight. Russell, O'Connell, Bentinck, Disraeli, and a huge mob advancing with sticks upon the little group of Peel and his friends. Pen and pencil ; roy., 9f x 15J in. Political sketchea, No. 869. On June 25 the Government finally carried the Corn Bill, but were defeated on the second reading of the Coercion BiU. Peel announced, on June 29, that he had resigned, and that RusseU had undertaken to form a Government. 271. Medea, having desteoyed hee Childeen, vanishes in a Chabiot deawn BY Winged Deagons. Peel as Medea, with Bright and Cobden as the dragons. Bough pen and pencil sketch ; roy., SJ x IOf in. Political sketches, No. 870. Peel's last speech as minister contained a celebrated panegyric of Cobden, for whom, rather than for himself, he claimed the merit of the Corn Bill. 272. 06. The Fall of Cjesae. Peel as Caesar falling at the base of Melbourne's statue, struck by Bentinck, Disraeli, Russell, and Cobden, to the last of whom he cries Et tu, Brute. Pen and pencil ; roy,, 10 x 16J in. Political sketches, No. 872. Bev. The same Subject. Pen and pencU. 273. 06. Spabbing : a Set-to without the Gloves. Lord G. Bentinck and Lord Lyndhurst sparring, the former supported by Stanley and Disraeli, the latter by Brougham and Ripon. Pen and pencil ; roy., 8 x 13 j in. Political sketches. No. 874. Lord Lyndhurst was accused by Bentinck, August 18, in a violent speech, of having made an exchange with Lord Ripon of an Indian judgeship for a living on Lord Ripon's estate. Lyndhurst replied next night in the House of Lords in a speech of extreme power and bitterness. Bev. The same Subject. John Doyle. 85 [1847,] 274. 05. Poking the Old Lion. Palmerston as a keeper poking the British Lion, who is absorbed in devouring the Free Trade just given him, and explaining to the Queen that he wants rousing. Pen and pencil ; roy., lOJ X 14J iu. Political sketches. No. 875. Palmerston returned to the Foreign Office with the change of Government, and almost immediately two disturbing incidents occurred. The first was the simultaneous marriage, on Oct. 10, 1846, of the Spanish Queen to the Duke of Cadiz, and the Infanta to the Due de Montpensier, brought about by French intrigues, agaiust the pledges given by Louis Philippe (see n ite on No. 288) ; the second was the handing over of Cracow to Austria by the Northern Powers, in violation of the Treaty of A'ieiina, by which its independence had been secured. These events causid great indignation iu England, and the first estranged us from France. Bev. An Inteeesting Geoup : " Misfoetune makes us acquainted with Ste.^xge Bed-fellows." Lord Lincoln, Peel, Disraeli, Lord George Bentinck, and Smith O'Brieu sitting together on the Opposition benches. Pen and pencil. PoUtical sketches, Xo. 876. 275. A Lessox^ in Elocution : a Peopessoe enpoecing ms Peecepts by Example. Sir. Roebuck giving a lesson to Lord G. Bentinck ; Disraeli looking on. Pen and pencil ; roy., 84 X 13f in. Political sketches, Xo. 877. 276. 05. A Xew Way to delve ovbe an Old Road. John RusseU driving an Irish car, with Bentinck and Inglis seated on it. Pen and pencU ; roy , 9J x 11 J in. Political sketches, Xo. 878. The famine in Ireland now absorbed all the attention of the Government. Lord G. Bentinck proposed as a remedial measure a loan of sixteen millions for construction of Irish railways. Bei-. Rathee Sharp Peactici; in Diplomacy; oe, A Cunious Illustration OP the ' Entente Cordials.' Guizot announcing to Lord Xorinanby, the English Ambassador at Paris, the Spanish marriages ; Louis PhUippe listening behind a screen. Pen and pencU. Political sketches, Xo. 879. Guizot had engaged that the two Spanish marriages should not take place at the same time ; after the event he explained that he meant they should not take place together. 277 05. The Fates. Sir Charles Wood, Chancellor of the Exchequer, with Sir F.T. Baring and Mr. Goulburn, late Chancellors, cutting the thread of Lord G. Bentinck's Irish RaUway Bill. Pen and pencil ; roy., 9J x 12 in. Political sketches. No. 880. The Irish RaUway BUI was thrown out in February. Bev. STUDnss for Three Subjects. ' An Interestmg Group,' ' A LesEon on Elocution,' and ' Poking the Old Lion,' Pencil. 278 06 Pebsbus flying to the Rescue op Andromeda. Lord George Bentinck on a winged horse flying to the rescue of Ireland, threatened by the dragon. Famine. Pen and pen'-U ; roy., 9J X 15J in. Political sketches, No. 881. Bev The Centaue Nessus caeeying off Deianeiea. A parody of Guide's picture; Lord G. Bentinck cairying off Ireland, while John Eussell, as Hercules, draws his bow on the further bank. Pen and pencil, PoUtical sketches, No, 883. 86 Drawings of the British School. 279. Telemachus and Mentob. Lord Lincoln (Telemachus) walking with Peel (Mentor). Pencil ; roy., 9f x 7J in. Political sketches. No. 882. 280. 05. Eathee a dangebous Kind op Hug. Louis PhUippe embracing the Eussian bear, Bunsen and Palmerston looking on. Pencil ; roy., 9 x 12| in. Political sketches, No. 885. In March, the Emperor of Russia placed a sum of two millions in the hands of the Bank of France. Rev. Unpublished Sketch. The Duke of Wellington's horse appearing to Lord Morpeth in a nightmare. Pen sketch. About this time the equestrian statue of the Duke was set up on the archway opposite Apsley House. 281. The Seven Bold Swabians -who sallied poeth with one Spbae. Messrs. Duncombe, Gishourne, Hiudley and Bright, with Sir Charles Napier and Colonel Sibthorp, attacking a hare with a single spear. Pen and pencil ; roy., 7| x 12f in. Political sketches, No. 886. This refers to the attack made on the Education proposals of the Government. 282. Alaeming Case of Indigestion; the Dootoe called in. Sir Charles Wood. the Chancellor ofthe Exchequer, feeling the pulse of John Bull, who complains of ' a tightness all over.' Pen and pencil; roy., lOJ X 9| in. Political sketches. No. 887. During 1847 the money market was for long in a state of panic, and much of the distress was attributed to Peel's Bank Act of 1844, which imposed a limit on the issue of paper by the Bank of England. 283. A Fancy Ball, winding up -with Sie Rogee de Coveeley. Rough sketch of a crowd of figures, among which Peel alone is recognisable. Pencil ; roy., 7f X 13i in. Political sketches, No. 888. 284. The same Subject. Prominent politicians of all parties, headed by the three chiefs Euesell, Peel, and Bentinck, dancing ' Sir Roger.' Pen and pencU ; roy., 7J x 14 in. 285. The State Waggon in Difficulties. John Russell walking by the heavily- loaded waggon, from which Sir Charles Wood proposes to throw off the topmost bale (Peel's Bank Charter Act). Pen and pencil ; roy., lOJ X 17f in. PoliUcal sketches. No. 889. Peel s Bank Act was suspended on Oct. 25. 286. A Study fob a Caius Mabius sitting amidst the Ruins of Caethage. Peel sitting on the fallen column of his Bank Act, amidst the ruins of Protection, Cobden looking on. Pen and pencil ; roy,, 8 X lOJ in. Political sketches, No. 890. 287. Unhappy Ghosts wandbeing on the Banks of Styx. Macaulay, Sir John Hobhouse, Mr. Hawes, Mr. Wyse, and Colonel Fox, walking disconsolately on the banks of Styx, followed by Roebuck, tearing his hair, while Charon (John BuU) shoves off for Elysium with John Russell and his colleagues. Pen and pencil ; roy., 8J X llf in. Political sketches. No. 891. These ' ghosts ' were members rejected at the dissolution of Parliament in 1847. John Doyle. 87 288. 'The Mask op Comus,' as now being Peefoemed at the Theatee Royal, Madeid. Comus (Louis Philippe) pressing a cup of wino on the unwilling Queen of Spain, behind whom cowers her husband in the form of an ass; Narvaez, the Duke and Duchess of Montpensier, and (Jueen Christina are gathered round with heads like those of various beasts; at some distance, Palmer.->ton and Mr. Bulwer, the English Envoy. Pen and pencil; roy., lUJ x 1.5J iu. Political sketches, Xo. Sii2. The Queen of Spain had been forced by France to marry the Duke of Cadiz, in expectation that the marriage would have no issue, and that the succession would devolve on her sister, who had been married to Louis Philippe's sou, the Duo de ilontpensier, thus making Spain an appanage of France. The Queeu was also forced to take Narvaez for her minister ; she was allowed no personal freedom ; and it was suspected that her mother, Queen Christina, was bent on her destruction. 289. A Beummagbm Don Quixote. Mr. Muntz, member for Birmingham, preparing to tilt at the ' Times ' ; Mr. Spooner, as Sancho Panza, aghast at his leader. Pen aud pencil; roy., 9 J X 15| in. Political sketches, Xo. 893. 290. Anothee St. Sebastian, shot at by oeuel Aechehs, John EusseU tied to the Treasury tree and shot at by Mr. Muntz and his followers. Pen and pencil ; roy., 9J x 13 in. Political sketches, No. 894. [1848.] 291. 06. Eo-wiNG IN THE SAME BoAT. Johu EusscU, Wood, Lord Grey, and Sir George Grey rowing in stoimy weather a boat, steered by Peel, while Goulbourn bails out the water. Pencil ; roy., 9 X 18J in. Political sketches, Xo. 895. The Government proposed an addition of 2 per cent, to the Income-tax, which had been instituted by Peel. Rev. Unhappy Ghosts -w^andeeixg on the Banks op Styx. An unpublished second version of the subject described above (No. 287). Charon is here putting back to take in Mr. Hawes, while the others regard him with grief and envy. PencU. 292. 06. An Old Coastguaed, looking out. Wellington on the edge of a si a-cliff, scanning the horizon through a glass, and pointing out a strange sail, at which Lord EUesmere exhibits great alarm. Pen and penoU ; roy., 10 x 12f in. PoUtical sketches. No. 897. The inadequate state of the national defences was a subject to which the Duke of Wellington had recently called public attention. Bev. The Old Donkey tuened eestive at last. John Eussell telling Sir Charles Wood to clap the extra bale on the back of the donkey (John Bull), already restive under his burdens. Pencil.Political sketches, No. 896. Another allusion to the proposed extra income tax. 293. An Old Coastguaed. Small study for the subject described above. Pencil ; roy., 4J x 6 in. 294. 05. Common Sense veesus Peeoedent. Francis Baring attacking John Russell, who takes refuge behind the statue of Pitt. John Bull chi ers on Baring. Pen and pencil ; roy., 10| x 15J in. PoUtical sketches, No. 898. t, • , Russell pleaded Pitt's example for imposing the income tax. Barings speech in the debate was a serious blow to the Government. Drawings of the British School. Bev. Matbeials foe a Steong and Adhesive Goveenment. Groups of members of the Opposition in the lobby, differing and discordant on everything but their antagonism to the Government. Bentinck, Muntz, and Cobden are prominent at the 1., Bright, Disraeli, and Sibthorp at the r. Pen and pencil. Political sketches, No. 899. 295. A Scene peom the Farce op 'The Ceitic' Cobden as Sir Christopher Hatton asking Sir Walter Raleigh (Wellington), ' What mean these mighty armaments?' Lord EUesmere as Puff, Russell as Dangle, and Disraeli as Sneer, looking on; John Bull behind as the eavesdropping Beefeater. Pen and pencil ; roy., 9J X 14f in. Political sketches, No. 900. Early in 1848 Cobden made a speech at Manchester, ridiculing and attacking Wellington's effort to draw attention to the state of the country's defences. 296. The same Subject. Slightly modified. Pen and pencil ; roy., 9f x 12J in. 297, The same Subject. Small study, with Peel substituted for Eussell. Pencil ; roy., 4f x 6J in. '298. The Modern Deluge ; aftee Raphael. The crowned heads of Europe struggling in the rising waters of Revolution, while the Ark of the British Constitution rides safe. Pen and pencil; roy., 9J X 15| in. Political sketches. No. 901. In February Louis Philippe was-suddenly put to flight by a revolution, and a Republic proclaimed. This proved the signal for similar insurrections in Austria, Italy, Germany, Hungary, and other countries ; England, almost alone, being unshaken and undisturbed, except by the Chartist and Irish risings, both abortive. 299. The Rivals: 'Exteemes meet.' Feargus O'Connor sitting in the House of Commons with his hand on the Charter ; Henry Drummond sittiug next him and regarding him with intense suspicion. Pencil ; roy., 8f x IOf in. Political sketches. No. 902. Fiargus O'Connor presided at the great Chartist meeting on Kennington Common, April 10, and presented the Charter to the Commons in the evening. Drummond was an independent Tory of the extreme kind, attacking the Government from precisely the opposite standpoint. 300. The Harpies attacking the Daughters of Panuaeus. (After Flaxman ) Bentinck, Disraeli, and Stanley, as Harpies, attacking John Eussell, Lord Grey, and Mr. Hawes, who stand in a close embrace. Pen and pencil ; roy., 9f x 12f in. Political sketches, No. 908. During the detiate on the Sugar Duties, a ferocious attack was made by Bentinck and Disraeli in the Commons, and by Stanley in the Lords, on Eussell, Grey, and Hawes, who were accused of suppressing documents. 301. A Steong Case poe Shoetening the Houes of Laboue. John Eussell heading a deputation of ministers to Lord Ashley, asking for a fourteen or even fifteen hour.s' Bill for them. Eough pen and pencil sketch ; roy., 9^ X ISJin. Political sketches, No. 904. The session ending September 5 was the longest and most tedious on record, and all night sittings were frequent. 802. The same Subject. Small study. Pencil; roy., 7^ X 8f in. John Doyle. 89 [1849.] 303. A Paeliamentaey Souvenie, No. 2. Whole length profile portrait of Charles BuUer, who died 29 November, 1848, in his forty-first year. Pencil ; roy., llf X 6i in. Political sketches, XoT 906. 304. The same Subject, Two studies. Pen and pencil ; roy., 7 J x 14 J in. 305. 06. The Financial Bobadil. Cobden explaining how easily ten millions could be produced by cutting down the Army and the Navy ; Joseph Hume follows the calculations on his fingers, and Bright and others take notes at a table. Pencil ; roy., lOJ x 14J in. Political sketches, Xo. 907. Cobden had worked up a great agitation iu favour of economy, and the Government in consequence felt obliged to make reductions. Btv. The same Subject. Pen and pencU. 306. 06. The same Subject. Pencil ; roy., 5 J x 8 in. Bev. Studies of Costume. Two figures of nuns, and other studies. PencU. 307. 06. The Fable op the Hoese and the Ass. The horse (Ulster), with a light burden, objecting to taking some of the heavy burden carried by the ass (Connaught) ; the countryman (John Russell) threatens the horse with a stick. (Also a pen sketch of Sir Charles Napier.) Slight pencil sketch ; roy., 9J X 12 in. Political sketches. No. 908. In February the Government decided to revise local taxation in Ireland, and proposed a rate applicable to all Ireland. Bev. An Old So'geb, in Maeohing Oedbb. Sir Charles Napier marching off with his sword over his shoulder and a bundle slung on it. (With a study of the Duke of Wellington.) Pen and pencil. Political sketches. No. 909. The battle of Chillianwallah, in which the British losses were very severe, took place on Jan. 13, and greatly discredited the Commander-in-Chief, Lord Gough. It was therefore decided to send out Sir Charles Napier. 808. 05. CiNCiNNATUS again, oe the Peopheoy fulfilled. Sir Charles Napier as Cincinnatus at the plough, and Wellington, with the East India Company's Directors, as Senators come to ask him to fight again. PencU ; roy., 9J X 15f in. Political sketches, Xo. 911. Napier took a day to consider the offer made him. Bev. The same Subject. Pen. 309, 06. The Sibyl pbesenting the Mysteeious Weitings to Taequin. Disraeli as the Sibyl, presenting his resolutions to Tarquin (John Russell, surrounded by ministers), who rejects them cheerfully. Pen and pencil ; roy., 9J x 135 i°- Political sketches, No. 910. On July 2 Disraeli moved for a Select Committee to inquire into the state of the nation, and augured from present distresses a disastrous future. It was a last effort for the bringing back of Protection, and was negatived by a large majority. 90 Draivings of the British School. Bev. The Irish Problem. Peel and Russell standing on the bank of a stream of misery and turbuhnce which threatens to swamp them. Peel proposes that they should boldly ford it. Pencil.Political sketches, No. 912. In March Peel made a great speech, elaborating his views of Irish relief, and afterwards had a conference with Lord Clarendon, the Lord Lieutenant. 310. 05. CONCEBT MONSTRE, OE MuSICAL CONGEESS EXTEAOEDINAEY. (ApTEE HoGAETH, 100 YEAES.) Johu Bull at his window, trying to play a Free Trade fantasia, but deafened by the uproar and quarrelling in the street, where republicans of France, Italy, and Germany are beating drums, blowing trumpets, and flourishing weapons. Pen and pencil ; roy., IOf x 14| in. Political sketches, No. 913. Bev. A Scene feom Macbeth ; unpublished Sketch. John Russell as Macbeth holding the daggers ; Disraeli as Lady Macbeth. Pen and pencil. 311. 05. Breaking Covee ; a Desperate Steuggle foe the Lead. Lord Grey riding after the hounds ; Stanley's horse goes lame and Grey rides off. (In the lithograph they are jumping a ditch, and Stanley leaps short ; Disraeli appears behind.) Pen and pencil ; roy., 9 x 13 in. Political sketches, No. 914. Bev. A Scene feom Macbeth. The subject described above, No. 810 (Bev.). Pen. 812. 05. The Ass and the Sick Lion. Lord Campbell as the ass flinging up his heels at Lord Lyndhurst. Pen and pencil ; roy., 8 X 12J in. Political sketches, No. 915. Bev. The Man wot whips the House out. Portrait of Lord Marcus Hill. Pen and pencil. Political sketches. No. 916. [1851.] 813. 05. New Illustration of 'Hudibras' (after Hogarth). John Eussell (Hudibras) and Dr. Gumming (Ealpho) setting forth on their campaign against I'opery. John Bull bows to Eus.iell, and in so doing upsets Ireland's apple-stall. Pen and pencil ; roy., 9J X 18f in. Political sketches. No. 917. In 1850 the Pope appointed Roman Catholic bishops in England, and on Nov. 4 Lord John Russell wrote a letter to the Biohop of Durham vehemently condemning the Pope's action. This letter further inflamed the Protestants. Eev. The same Subject. Pen and pencil. 814. The same Subject. Pencil-; roy., 9J x 13J iu. [315-385.] UnpuhUshed subjects. y315. 06. Oh, you Ungrateful Man ! George IV. on a sofa, receiving Wellington in Ul-humour; Lady Conyngham upbraids the King for his ingratitude. Inscribed Oh, you ungrateful man ! Pencil ; roy., 9| X llJ in. Bev. John Bull Sick. John Bull ill, attended on one side by Lord Sidmouth and on the other by Lord Eldon, while another minister kneels beside him ; Wellington and Peel in the background. Pencil. John Doyle. 91 316. 05. Loed Sidmouth kneeling beside Loed Eldon. Pencil ; roy., 6| x 9 J in. Eev. Sie James Scarlett talking with Mr. Brougham. Slight pencil sketch. 317. 06. Soaelett talking with Beougham, Inscribed A Pair of Simpletons. Pencil; roy,, SJ x 5J in. Bev. Sketches op Pieates. Pencil. 318. The Theee-headbd Monstee. Wellington, mounted on the British Lion, charging Cerberus, who wears the heads of the Duke of Cumberland, Lord Eldon, and another. PeucU; ruy., SJ X 13 in. 319. 06. Penelope. The Queen seated pensively at a table, round which sit Melbourne, John Russell, and Murpeth ; other figures roughly indicated. On the mount is written Penelope. Pencil ; roy., lOJ x 14f in. Bev. A Gentleman on Hoeseback. Pen and pencU. 820. An A-wkwaed Squad. Di.-^raeli and the Youns England party aa recruita ; a study for the subject described above, No. 222 (Rev.). Pen and black chalk; roy,, 7^ X llf in. 321. A Weddlsg iNTEEBUPTED. The wedding of Peel and O'ConneU interrupted by the fainting of Sir E. Inglis, who is supported by Colonel Sibthorp and another. Eough pen sketch ; roy , 9 x 13| in. Doubtless an aUusion to the Maynooth grant and the vehement outcry against Peel on that occasion. See above, note on No. 249 (Rev.). 322. Oepheus putting Cbebeeus to Sleep. Lord Derby lulling the three-headed Cerberus (Cobden, Graham, and Eussell). Pen and pencil; roy., 8| X llJ in. ^ , „, , u i On forming his Government in 1852, Lord Derby, who as Lord Stanley had led the Protectionists, conciliated the Free Traders. 323. Venus peotectlng JEneas fbom Diomede. Venus is represented by Brougham, iEneas by Palmerston ; Diomede is possibly Lord Stanley. Bough pen sketch; roy., 9f x 12f in. 824 A Game at Knook-'em Downs. Sir James Graham throwing at the sticks set up by John Eussell, who is looking on with anxiety, attended by W. J. Fox and Sir Johu PaMngton; Disraeli stands r., and Gladstone 1,, behind Graham, Pen and pencil ; roy., IOf x 16 in. 325. 05. The same Subject. Pen ; roy., 9| X 16 in. Eev. The same Subject. Pen. 326. FiGUBE of Sie James Geaham. Study for the same subject. PencU ; roy., 9f X 6f in. 327 Steuck bpeeohless— on the Point of Dissolution. The Commons, headed by Peel and Eussell, following the Speaker out of the House. PencU ; roy., 9 X 16 in. 328. The Theee Geaces. Disraeli, and two others. Pen and pencil ; roy., 9^ X 6| in. 329. Eoebuck and Gbaham bowing to bach othee. Eoebuck in Court dress. PencU sketch; roy., 5 X 6in. 92 Drawings of the British School. /830. 05. The Ddke op Wellington on his Chabger, led by Peace, Pen sketch ; roy., 6| x 9 J in. Bev. The same Subject. Pen. 331. 06. The Duke of Wellington carried in Teiumph by Boy Genii, Pencil ; roy., 9f X 12J in. Bev. Make Way foe the Speakee. Study for the subject described above, No. 85. Eough pencil sketch. 832. A Sketch at Beighton. William IV., Queen Adelaide and suite riding. The sarae subject as that described above, No. 55 (Bev.). Red chalk ; roy., 9 X 19| in. 33. A Mad Cow in a Field. Two other cows rushing aw.iy, and the herdsman standing aghast. PencU ; roy., 9i X 14f in. 334, Two Figuee Studies. A farmer atanding, seen from behind, and a man in a cap sitting on a low seat. Pencil; roy., 4|- X 3 J in. 835. The King's Pipeb, In Highland uniform, playing the bagpipes. Pencil (torn) ; roy., 14 X 8J in. 386. An Offioee op the ' Blues,' standing by his charger, with his hand on the saddle. Pencil sketch (torn) ; roy., 9| x 7J in. [337-404.] Portrait Sketches of known Personages in Alphabetical Order. 837. Loud Abeedeen. On horseback, riding r. Pencil ; roy., 7 X 8| in. 338, Aechbishop Bebesfoed. Lord John George Beresford (b, 1773, d, 1860), Arch bishop of Armagh and Primate of all Ireland, on horseback, riding I. Black chalk sketeh, rubbed ; roy., 8 x IOf in. '^839. The Duke op Beunswiok. On horseback, riding r., a gun in his hand. Sepia and pen; roy., lOJ x 12| in. 840. Sie Feancis Buedett. On horseback, riding r. Black chalk sketch, rubbed ; roy., 9| x 12 in. 341. Sie Feancis Buedett. Riding r. Pencil sketch ; roy., 7 J X 9| in. 342. 06. Geoege Canning. Standing at the Treasury table, speaking. PencU ; roy., 7| X 4 j in. Eev. A Boy on a Pony. Pencil. 848. Admiral Sie Edward Codrington. The victor of Navarino, riding r. Pen and pencil ; roy., 9 x llf in, 844. The same. Riding 1. Black chalk; roy., 85 x 9| in, 345. 05. The Duke op Cumberland and his Son. Tho Duke of Cumberland and his son, Prince George, on horseback. PencU ; roy., 9 x 11| in. Bev. Mlle. Sontaq; and the Duke of Wellington. Whole length of Mile. Sontag, singing; aud two studies of Wellington iu profile. Pencil. John Doyle. 93 8i6. 05. Loed Denman. On horseback, riding r. Thomas, Ist Baron Denman (b. 1779, d. 1851), was Lord Chief Justice 1832-1850. Ho was judge in the Stockdale case (see above, No. 12.^) aud other famous trials. Pen aud pencil; roy., 9J x 12 iu. Bev. George, 6th Earl of Chesterfield. Riding r. Pencil. 817. Count d'Orsay. On horseback, riding I. Pencil ; roy., 9 J X lOJ in. 1/ 848. The S-imb. Riding r. Black chalk on drab paper, touched -with white ; roy., 8J x lOJ in. 349. The same. Riding r. Black chalk on grey paper, touched with white ; roy., 9| x llj in. 350. The Duke of Dorset (?). Eiding I. Black chalk ; roy., 9f x llf in. \/351. 06. Lord Eldon. Eising from his seat to call One cheer more I Black chalk; roy., 65 X SJ in. Bev. A Study. Study of a man looking out of a window, his head resting on his arms. Pencil. 352. Loed Ellenboeough. Eiding I. Black chalk ; roy., 9i X 11 in 353. The same. Eiding 1. PencU; roy., 7i x 9 J in. 854. The same. Riding I. Black chalk on drab paper ; roy., 9| X 12| in. 355. The same. Riding 1. Drawn at a later date than the preceding sketches. Black chalk on drab paper, heightened with white; roy., 85 X IO5 in. 356. Peince Esteehazy. Riding r. Black chalk, rubbed; roy., OJ x 11 in. 357. The same. Eiding r. Pencil ; roy., 7J x 9f in. 358. 06. LoBD EvBESLEY. Charles Shaw-Lefevre, Viscount Eversley, b. 1794, Speaker 1839-1.^57, d. 1888 ; riding r. Pen and pencil; roy., 10 x 13 in. Eev. The same. Pen and pencU. 359. Albany Fonblanque. Eiding 1. Fonblanque (b. 1793, d. 1872) had great influence in his day as editor of the ' Examiner.' Pen and pencil ; roy., 8 J x lOi in. )/S60. Geoege IV. at Ascot. Two studies of head and shoulders in profile, looking 1. Pencil ; roy,, 9| x 6J in. \/&61. 05. Geoege TV. deiving. The king alone in a landaulette, driving a pair of ponies. Pencil ; roy. (irregularly out), 9 x 14f in. Eev. Death op Geoege IV. George IV. dying in a room at the background ; in the anteroom, Wellington and the Duke of Cumberland are trying to prevent Death from passing a screen against the door. PencU. 362. Chaeles, 2nd Eael Geey, the Peime Ministeb. Eiding 1, Black chalk on drab paper, heightened with white ; roy., 95 X Hi in. 94 Drawings of the British School. 363. Alexandee, 10th Duke of Hamilton. Eiding I. Black chalk ; roy., lOJ x 12 in. 364. Sir Henry Hardinge. W.L., walking 1. Pencil ; roy., lOJ X 5f in. 365. Lord Hill. Riding 1. Pencil; roy., 9J X 11} in. 366. Joseph Hume, M.P. Riding r. Black chalk on grey paper ; roy., 95 X 12J in. 367, William Huskisson, M.P. W.L., making a speech in the House of Commons. Pencil; roy., 8 J x 5f in. 368. George Child-Villibrs, 5th Earl of Jersey. Eiding r. With a second study of the head and shoulders in three-quarter face. Pencil and black chalk ; roy., 9J x llf in. 369. 06. Edmund Kean. Kean as Sir Giles Overreach (?), whole length ; a rough sketch ; and head of a gentleman unknown. Pencil; roy., 9f X 11 J in. Eev. LiSTON IN A Play with Chinese Characters. A scene from a play with Liston as a European addressing a Chinese officer ; soldiers behind. Pen and pencil. ^70. Miss Fanny Kemble as Juliet. She is sitting on her balcony. Pencil ; roy., Sf x 6f in. v/371. 06. The same Subject. In the same attitude as in the preceding sketch. Pencil ; roy., 8f x 9f in. Bev. A Little Girl. Pencil. 372. The same Subject. W.L., holding a dagger. Pencil ; roy., Sf x 6 J in. ^73. John Liston. Head and shoulders. PencU ; roy., 45 x 85 in. \/874. Liston, in various Chabactees. Five studies of Liston, in four apparently representing the same character. PencU; roy., 11 x 75 in. 375. Chaeles William Vane, 3ed Maequis of Londondeeey. Eiding r. Black chalk, rubbed ; roy., 9J x llf in. 876. The same. Eiding r. Pencil; roy., 7f x 9 in. 377. The same. Riding r. Black chalk on drab paper, heightened with white ; roy., 9J X 10| in. 378. Loed Lyndhurst. H.L., in Chancellor's robes. Pencil ; roy., 6 X 3| in. (/379. The Geand Duke Michael of Peussia, biding with the Peince Consoet and Othees. The Grand Duke and Prince Albert riding side by side towards the r., Wellington and another nobleman beyond, and two other figures following. Black chalk and pencil; roy., llf x 175 in. JsSO. Oh. The same Subject. Pencil; roy., 9| x 15J in. Bev. Caius Maeiub sitting amidst the Ruins op Caethage. Lord John EusseU sitting amid the ruins of his popularity and of his policy. Published November, 1842. Pencil and charcoal sketch. Political sketches. No. 745, John Doyle. 95 381. Beenaed Edward Howaed, 12th Duke op Noepolk. Eiding r. Pen and black chalk ; roy., 9 x IOf in. \/882. 06. D.ANIEL O'Connell. H.L., in profile, looking 1. Pencil ; roy., 9 x 7 in. Bev. Loed Lyndhuest. W.L., in Chancellor's robes, standing by the Woolsack. Pencil. 383. James Pattisox, M.P. Eiding I, Pencil ; roy., 9 X 7f in. James Pattison (b. 1786) was Liberal Member for London, 1835-40. 884, The same, Eiding 1. Pencil ; roy,, S^ x 9f in. 385. Sib Eobebt Peel. W.L., seated, looking I. An early portrait, about 1830. Pencil ; roy., 7f X 4 in. 386. The s.ame. T.Q.L., speaking in the House of Commons ; probably about 1840. Pen ; roy., lOj x 95 in. 387. The same. On horseback, riding 1. Drawn towards the end of Peel's life. Black chalk ; roy., 8| X IOf in. 388. John Eollb, Babon Eollb. Eiding 1. Black chalk on drab paper, touched with white ; roy., 9^ x 10 J m. 389. The same. Eiding 1. Black chalk on drab paper ; roy., 85 X 91 in. 890. The same. Eiding 1. PencU ; roy., 7J x 9 in. ^891. The same. Eiding r. Black chalk; roy., 9i x 12f in. 892. Loed John Russell. Riding r. Pen and pencU ; roy., 9J x 12? in. 398. 06. The same. Riding I. PencU ; roy., SJ x lOJ in. Bev. The same. Riding r. Pencil. 394. John Heney Mannebs, 5th Duke op Rutland. Riding r. PencU ; roy., 9| x 9 J in. 395. Michael Sadlee, M.P. W.L., making a speech, with r. hand Ufted. PencU ; roy,, 8f x 5f in. 896. John Chaeles Spencee, 3rd Eael Spenobe. Better known as Lord Althorp. Riding 1. Black chalk; roy., 10 X 11 J m. 897. LoBD Tbmpletown. Riding r. Black chaUi; roy., 9i x 11 in. 898. Sib Feedbeiok Teench. Riding r. Pen and red chalk ; roy., 9J X 1 2J in. 899 The Duke op Wellington. W.L., speaking in the House of Lords aa Prime Minister (1829 or 1830). Lyndhurst and other Peers are shghtiy sketched m behind him. Pencil ; roy., 8| X 7 in. 400. 06. Wellington betuening feom a Review. Alone in his landaulette driving a pair of horses. Black chalk sketch ; roy., lOJ X 15 m. Bev. Robebt Heney Heebbet, 12th Eael op Pembeoke. Riding 1. ; livith another equestrian portrait. Pen and pencil. 96 Drawings of the British School. 401. The Duke of Wellington (?), Riding r., bareheaded, a baton in his hand. Black chalk ; roy., 9 X 10| iu. 402. John Fane, 10th Eael of Westmoeeland. Eiding 1. Black chalk, rubbed ; roy., 9 x Hi in. 408. The same. Riding 1. Pencil; roy., 7i x 9 in. 404. 05. The same. W.L., in profile ; unfinished. Pencil ; roy., 7J X 5 in. Eev. Poeteait of a Gentleman. H.L., full face. Pencil. [405-411.] Unidentified portraits, 405. A Gentleman. Eiding r. PencU; roy., 65 X 9 J in. 406. A Gentleman. Riding r. Pencil ; roy., 7J x 9J in. 407. A Gentleman.Black chalk; roy., 9 x llf in. 408. A Gentleman. Eiding 1. Black chalk, rubbed; roy., 9 J x 11 J in. 409. A Gentleman. Biding r. Black chalk; roy., 8| x 11 J in. v/410. A Lady. Eiding r. Black chalk ; roy., Sf x lOJ in. 411. A Lady and Gentleman riding together. Pen and pencil ; roy., lOJ X 14 in. All purchased December, 1882. DOYLE, Eichard (b. 1824, d. 1883). Water-colour painter, caricaturist, and book illustrator ; born in London ; pupil of his father, John Doyle ; remarkable for the precocity of his very original gift ; con tributed 1843-1850 to ' Punch,' for which he designed the cover ; from 1850 occupied with book-illustrations and water colours, chiefly fairy and romantic subjects, in which bis charming fancy and frolicsome invention specially excelled. 1. The Knight and the Spectre. The shores of a lake. A knight in armour, riding from the r., pulls up in terror and averts his face from au apparition in floating robes rising before him in pallid moonshine from the reedy water; a dog hides trembling between the horse's legs, another bounds away ; the horned moon is setting over the mountains I. Water colours ; roy., 55 X 13f in. 2. The Dragon op Wantley. A boulder-strewn hUlside, along which, among ash-trees, the winged monster drags its enormous length, rearing its crest angrily at the r., as a knight appears with sword and shield at the top of the ridge 1. ¦Water colours ; roy., 95 X 175 i°- 3. The stolen Kiss. A lady sleeping on a sofa by a window, through which appear a lawn and lake and trees ; a boy stealing up 1. bends over to kiss the lady's forehead. Water colours; roy., 6f X 95 in. Richard Doyle, 97 4. On the Way to War. A high bridge of a single arch spanning a stream which flows into the foreground; from a castle on the heights r., an army comes down a winding path through a viUage and crossing the bridge enters a wood I. ; the pale flush from the dawn bathes the hill-side, and strikes on the armour and pennoned lances. Water colours ; imp , 13| x 19| in. 5. Four on one mount, imp., viz, : — (a) (6) View at Aediohib, Scotland. Two sheets of a sketch-book, forming a continuous view of purple mountains at evening seen across the waters of a lake. Inscribed Ardichie, after dinner effect. Water colours ; imp., (each) 4J x 9f in. (c) (d) Loch Quoich, Inveenessshiee. A continuous view in two sheets of the Waters of the loch shut in on uU sides by purple hills, backed with white clouds ; in the foreground r., a garden bordering the loch and herons on the beach. Inscribed Loch Quoich, from drawing-room ivindow. Water colours ; imp., (each) 4J x 9f iu. 6. Undee the Dock Leaves ; an autumnal Evening's Deeam. The sloping banks of a small stream, thickly grown with willows ; between tree-stems on the further bank 1., the sunset light comes scatteied through the foliage and plays on a great bed of dock plants in the foreground ; in and out of the tall stalks and under the luminous .or shady haves, a whirling dance of elves and fairies, winged and clothed in radiant colours, with joined hands and laughing faces, comes floating from the blue haze over the stream : a kingfisher flies startled from the bank. Signed with monogram and dated 1878. Water colours ; ant., IOf x 30f in. 7. A Sheet op Sketches ; Faiey Tale Designs. An elf afloat in a water-lily ; a fairy prince making love to a fairy princess, seated on a toadstool, aud the same subject differently treated ; a fairy combing her hair before a mirror ; girl- fairies dressing baby-elves ; elves marching to battle ; fairies riding on birds ; and other slight sketches and fancies. Pen and pencil ; roy., 9f X 13f in. Studies for ' In Fairy Laoid, by E. Doyle, with a poem by W. Alliugham,' London, 1870 : a book in which two of the subjects, the ' Fairy Prince's Court ship,' and ' Dressing the Baby Elves,' are engraved and printed in colours. 8. Nine on one mount, roy., viz. : — (a) The Faiey Mibboe. A tiny elf holding up a mirror, before which a fairy combs her hair. Pen ; If X If in. (6) Teying on a Shoe. A diminutive dame trying on a shoe which pinches, and a maid bringing her another. Pencil ; 1 j X 2^ in. (c) A Lady having heb Haie dressed. SUght pen sketch ; IJ x 2f in. (-e of the Wolf,' a dangerous wooer; and 'Husband Hunting.' Inscribed with titles. PencU; I5 x 11| in. (/) Millineb's Bills. A father sinking back in horror before the ya-d-long biU presented hira by his two daughters ; and ' Marriage Market,' a mother putting up her daughter to auction before a crowd of eligible bachelors. Inscribed with titles. PenoU; If X 12 in. 11. Four on one mount, roy., viz. : — (a) Lion Woeship. In the centre a lion, watched with envy and hatred, com placently receiving the adoration of his hostess ; 1., a dowager curtseying low to an asa ; r., men and women kissing the coat-tails of a rich Jew. Pen and pencil; 2 x 12J in. Richard Doyle. 99 (6) Politicians FiSHmG. Palmerston fishing for supporters, and Disraeli putting salt on feathered voters' tails. Pen and pencil ; 2 x 12J in, (o) Woeshipping the EisnfG Sun. Enlarged and elaborated treatment of the subject described above. No. 10 (5). Pen and pencU ; I5 X 12J in. d) Celebbities pbefoeminq. a gentleman blowing his trumpet, surrounded by a circle of ladies ; another telling a story at which the female circle round him affect to be violently diverted, and a third stauding on his head, and also causing admiration. Pen and pencil ; IJ x 12 in. 12. Four on one mount, roy., viz. : — (a) Geotesqub Subject. A man eating eggs from a plate, while a sort of beeUe rushes to prevent him ; another beetle dancing with a lady. Indistinct and unfinished. Pencil ; If x 5J in. (5) Dbcoeative Feibze. Elfln children blowing soap bubbles, building card- houses, etc. PencU; If x llj in. (c) The Woeship op Money. Old raen and young hastening to kiss the feet of Money Bags. The same subject as No. 10 (a). Unfinished. Pen aud pencil ; If x 12 in. (d) Naecissi. Six dandies reclining in a decorative frieze of foliage, and enamoured of their own reflections. Pen and pencil ; IJ x 12J ia. 13. Five on one mount, roy., viz. : — (a) The Social Net. Eligible partners flying into the net prepared by scheming parents. PeucU; If X 9| m. (5) The same Subject. With modifications. PencU ; If X 10 iu. (c) Dbcoeative Feieze. A little lady playing cards with a little man ; a little bridegroom leading hia bride in a chain of flowera, and a little ahepherd piping to a little shepherdess. PenoU; If x llf in. (dj Peepaeations poe a Paety. Two dames having their cheeks and eyebrows painted; a lady tying on a shoe; another having her crinoline adjusted, etc. PencU and pen; If X llf in. (e) Painting the Lily. Some ladies busily painting lilies with large brushes ; and a parallel scene of ladies being tight-laced and having their hair curled. Pen and pencil ; If X II5 in. 14. Should Ceomwell have a Statue ? A statue of Cromwell with uneasy expres sion, placed between the statues of Charles I. and Charles II,, who look at him, the first ruefully, the second triumphantly. Punch looks up at him from below. Pen and pencU ; roy., 7J x 65 in. Engraved on wood (with the omission of Punch's figure), in 'Punch,' Vol. IX., p. 140 (1845). 15. Union is Strength. John Bull bringing a basket of loaves to a starving Irish famUy. Pen and pencU ; roy., 8J X 65 in. Engraved with modifications in 'Punch,' Vol. xi., p. 161 (1846). An allusion to the subscriptions made in England for the relief of the Irish famine, caused by potato-iot in 1845. H 2 100 Drawings of the British School. 16. 06. Child's Play. Joseph Hume and Lord John Eussell each nursing hia doll ; Hume says that his (new reform bill) is bigger, whereupon Eussell retorts that his (ratepayers' clause) is prettier. Peucil ; roy., SJ X 6| in. Engraved in 'Punch,' Vol. xv, p. 7 (1848). Hev. Punch attended by Dootoe Peel. Punch in a chair, with Brougham and Wellington as nurses attending him, one at his head, another at his feet, and Peel as Doctor feeling his pulse. With studies of WeUington and other heads. Pencil and pen. 1 7. 05. Punch tellino the Membees to go about theie Business. Punch stamp ing on the floor of the House of Commons and angrily bidding the members begone and end their ineffectual session. Eussell aud Palmerston and others on the Government side, and Peel, Disraeli and Bentinck on the Opposition side look on in amusement. PencU; roy., 8j x 11 in. Engraved in 'Punch,' Vol. xv, p. 101 (1848). The Sanitary Act was the sole considerable measure passed during the session. Beo. The Knight and the Dwaep. A knight on horseback carrying away a dwarf who has caught hold of his bridle. Peu and pencil. A GuLLiVEB AND THE Brobdingnag Faemees. Gigautic farmers looking with curiosity at the little Disraeli. Pencil ; roy., 9 x 6J in. Engraved in ' Punch,' Vol. xviii., p. 95 (1850). ^49- Oh. Design foe a Caetoon. Lord John Eussell with a candle in his hand crossing the fragile plank of public confidence, watched with anxiety by the Queeu and John Bull. Pencil ; roy., llj X SJ in. Bev. A Sheet op Sketches. Punch watering a tree; four sketches of an old- clothes man ; a girl in a bower, etc. PencU. [20-43.] Portrait sketches. 20. Three on one mount, roy., viz. : — (a) Daniel O'Connell, M.P. Head in I. profile, wearing a hat. Pen, 2J X IJ in. (6) The same. Head iu full face, Peu ; 2 X 15 iu. (c) The same. Head in 1. profile, wearing hat. Pen ; 2J X 2i in. 21. Two on one mount, roy., viz. : — (a) Lord Deeby confebbing the Degeee of D.C.L. on Diseaeli. The heads only. Pen aud pencil; 2 J x SJ in. (6) Loed John Eussell and Disraeli. Heads, of Eussell in three-quarter face, and of Disraeli in pr. file. Pen ; 4J X 4 in. 22, Five on one mount, roy., viz. : — (a) Loed John Eussell ; a Caeioatuee. Russell as a boy eating a dish of papers 1. Inscribed Lord John Bussell eatynge his own wordes. Pencil ; 4J X 3i in. (5) Sie Robeet Peel, M.P. Caricature. Whole length figure leaning on his stick, with face in profile. Inscribed Oh, Robert, toi oue i'aime Pen ; 4J X 2f in. ^ '' Sir Robert Peel, eldest son of the Prime Minister, h 1822, diplomatist and Membir of Parliament. Vti Richard Doyle. 101 (c) Thomas Milnee Gibson, M.P. Three profile studies. Milner Gibson (b. 1807, d. 1884) was one of the most prominent and aide men of the Anti-Corn Law movement, and President of the Board of Trade 1859-66. Pen; 4| x If iu, (d) Loed Dl'ffeein. As a young man, iu profile, seated. Pen ; 4f X 2J in. (e) Lord John Russell and Lord Glaebndon. Heads, in three-quarter face, li^oking 1. Pen and pencil ; 2 x 8J in. George W. F. Yillieis, 4Ui Earl of Clarendon (b. 1800, d. 1870), was English Miui»ter at Madrid, 1833-39; Lord Privy Seal in the Whig Government, l^ii) 41; Lord Lieutenant of Irelaml, 1847-52; Foreign Secretary in Lord Aberdeen's Coalition Government during the Crimean War; and held this la^t ^ost twice later. 28. Four on one mount, roy., viz. : — (a) Sie William Molesworth and James Wilson, M.P. Caricature whole length of Sir W. Molesworth : and head of James Wilson. Inscribed Js ihat your oicn hair or is if a Whig? Peu ; 3f X oJ in. Sir WiUiam Molesworth (b. 1800, d. 1855), Liberal M.P., was best known through the 'London Review' and 'Westminster Revie\\,' the organs of the phUosophical Radicals, which he conducted. Wilson (h. 1805) was editor of the ' Economist.' (5) Sir William Molesworth. Half-length, in profile, wearing hat. Pen ; 4f X 2J m. (c) Sie John Pakington, afteewaeds Loed Hampton. Whole length, 1. profile, standing. Pen ; 4f X 1 4 in. Sir Johu Pakington (b. 1799, d. 1880), a Conservative M.P., entered the House of Ci.mmons 1837, became Coloniai Seciefary 1852, First Lord of the Admiralty 1858, and again 1866, each time under Lord Derby ; 1867-68 he was Secretary for War, and 1874 created 1st Baron Hampton. (d) A Geoup at the Ceimean Ubgenoy Committee. Sir A. H. Layard seated at the end of a table with Edward Horsman, Sir J. Pakington, and W. E. Gladstone beyond. Pen ; 3J X 3J in. 24. Two on one mount, roy., viz. : — (a) The Eael of Dudley. Head in r. profile. Pencil ; 2f X 2J in. (6) Fo'-NDERS of the COSMOPOLITAN Club. Lord Clyde in the foreground, and behind him M. J. Higgins, E. Monekton Milues, W. V. Harcourt, and Colonel Sterling. Pencil; 4i x 5f in. „.,,,• ^ i, „ Lord Clyde (b. 1792, d. 1863) is better known as Sir Cohn Campbell, distingui=hed in the Peninsular campaign, in China, the Punjab (1848-9), and the Crimean War, and above all as commander-in-chiet during the ludiau Mutiny. 25. Robert Lowe, M P., taking an Oar on Loch Hourne. Mr. Lowe puUing at au oar in a boat, with two boatmen hehhid him and another flgure 1. lightly sketched iu. Inscribed Bertie— Mr. Lowt— Evans— Catchford (1)—Loch Hourne —Sept. 1855. Pencil, the face in colours ; roy., !^i X 7i m. Eobert Lowe, Visrount Snerbiooke (b. 1811, d. 1892) after practising as a barrister m Enj^land and Australia, entered the House of Comnioiis 1852 as a Liberal, was Chancellor of the Exchequer 1868-73, and Home Secretary 1873-74; bu-aiuu Lord Sherbrooke ISbO. 102 Drawings of the British School. 26. 'T.wo on one mount, roy., viz. : — v(a) Marshal Pelissiee. Whole-length caricature iu 1. profile, wearing hat. Pen ; 6J X 35 in. \/(6) M. J. Higgins and Marshal Pelissier. The little Marshal looks up into the genial face of Mr. Higgins, who comes from the train at Paddington, with his coat upon his arm. Pen and sepia ; 8f x 5f in. Matthew James Higgins (b. 1810, d. 1868), journalist, becarae one of the chief writers for the 'Morning Chronicle' in 1848; from 1854 to 1863 he was on the staff of the ' Times,' but wrote also for the ' Cornhill ' and other magazines, chiefly under the name of ' Jacob Omnium.' He was a great friend of Thackeray. 27. 'Ewo on one mount, roy., viz. :— v(a) W. M. Thaokeeay, M. J. Higgins, and H. Eeeve. Eiding in the Park, Higgins between the other two. Pen ; 4J X 6 J in. (5) The same Geoup, Nearer view of the same trio riding. With slight studies for the face. Pen ; 4J X 6| in. Henry Reeve (b. 181.8, d. 1895) was appointed Registrar of the Privy Council in 1837, and from 1855 was editor of the ' Edinburgh Review ' ; published essays on France and some translations from the French, and edited the Greville memoirs. j2S. Three on one mount, roy., viz. : — ¦ (a) W. M. Thackeray. Slight sketch, whole length. Pen and pencil ; 4 x 1 J in. \/(6) The same. Head in full face, laughing. With other studies of heads. Pen ; 2J X 2J in. v(o) The same. Head in 1. profile. Pen ; 2 X 2 in. v.^9. W. M. Thaokeeay. Portrait study, half length iu three-quarter face, looking r. PencU; 9J x 6| in. V 30. Alpeed Tennyson. Head, in three-quarter face, looking I., with moustache, but without beard. Pencil ; highly finished ; 4 J x 4 J in. 31, Two on one mount, roy., viz. :— (a) Alfeed Tennyson. Whole length in 1. profile, wearing hat, one hand holding clay pipe, the other in pocket; the face clean-shaven. Pen and pencil ; 5| x 2f in. (6) The same. Head in three-quarters, turned r., the eyes looking down. Pencil ; 4f X 5f in. 82. Two on one mount, roy., viz. : — (a) John Heney Newman. Head in three-quarter face, turned 1. Pen; 2f x 2f in. (6) Thomas Caelyle. Head in r. profile, the face clean-shaven. Pen ; 2J X 2J in. 33. Two on one mount, roy., viz. : — (a) The Mahaeajah Dhuleep Singh. 'Whole length, fuU face, walkine Pen sketch ; 7J x 4f in. ^ ^(h) Caedinal Manning and Heney Reeve. They stand in conversation, the Cardinal 1. Pen sketch ; 7 X 4f in. Richard Doyle. 103 34. Two on one mount, roy., viz. : — (a) Loed Coleeidgb. Whole length, a back view, walking away. Water-colour sketch ; 6J x 4| in. \(&) Caedinal Manning. Whole length, a back view, the head turned 1. Water colours and pen ; 6J x 4i in. 35. Six on one mount, roy., viz. : — (a) John Foestee. Caricature, three-quarter length, smiling. Pen sketch; 5 x 2| in. (5) Charles Dickens and John Forster. Caricature heads, Dickens in full face, Forster in profile. Pen ; 2f X 2f in. (c) Sie Henby Cole. Caricature head, aiuiliug, nearly full face. Pen ; 2f X 2i in. (d) John Lebch and Tom Taylor. Heads, both in full face. Pen ; 2 X 2 J in. (e) Mark Lemon as Robert Maoaiee. Half length. With studies and sketches of heads. Pen ; 3J x SJ in. vy'(/) Chaeles Dickens, John Foestee, and Douglas Jeeeold. Caricature sketch of John Forster and Charles Dickens leaning against one another ; and profile sketches of Douglas Jerrold's head. Pen ; 4 X 8J iu. 36. Two on one mount, roy., viz. : — (a) The Hon. Caboline Noeton. Head in 1. profile. Pen ; 2 J X 2i in. (6) The Hon. Caroline Noeton and A. W. Kinglakb. Heads in 1. profile. Pen ; 3J X 3 in. 37. Two on one mount, roy., viz. : — (a) CouuT Nesseleodb. Half length in 1. profile, holding a glass of claret. Drawn at Lonjileat on a sheet of notepaper stamped Longleat (the seat of the Marquis of Bath). Inscribed '48 Claret. Pen sketch ; 6J X 4| in. (5) The same. In the same attitude, but with a different expression. Pen sketch ; 6J x 4f in. \/38. Azi Mullah Khan. Half length, full face, in a turban and oiienfal dress. PencU ; roy., 5| x 5J in. 39. Three on one mount, roy., viz. : — (a) Count Stzbblecki. Head in I. profile, a quasi-caricature. Water colours and pen ; 3^ X 4| in. (5) The same. Head and shoulders in I, profile. Pen sketch; 8i X 4| m. (c) The same. A caricature of the Count ; whole length, seated and speaking, the r. hand raised, the face in 1. profile. Pen sketch ; 7 X 4i in. 40. Four on one mount, roy., viz. ; — (a) Heney Deummond, M.P. Whole length, making a speech in the House of Commons. Pen sketch; 4i X 2 J in. 104 Drawings of the British School. Henry Drummond (b. 1786, d. 1860) was meraber for West Surrey from 1847 till his death ; acting generally with the Conservatives, he remained independent of party ; was also well known as a banker and as a writer ou religious subjects. (5) RiCHABD Doyle and a Stbong-minded Novelist. Sketch of the artist with a massive spectacled lady towering above him. Pen sketch ; 3 x 2f in (o) A Caeioatuee. Portrait of a dwarf old gentleman with little nose, huge mouih, and upstanding hair. Pen sketch ; 3i X 2i in. (d) Sheet of Studies. Bust in profile of a French gentleman with moustache and ' imperial ' ; two heads of girls ; a dandy, etc. Pen sketches ; 7 x 4| in. 41. Two on one mount, roy., viz. : — (a) A Window IN Cheltenham. View from the street of a window and two old gentlemen seated withm, on eaoh side of it, with their hats ou. Signed with monogi-am, and inscribed A Window in Cheltenham. Pen sketeh ; 4f X 7 in. (5) A FoBEiGN Diplomatist. Whole length in 1. profile of an elderly gentieman in evening dress with biistling white hair. Water colours and pen .-ketch ; 8| x 3 in. 42. Two on one raount, roy., viz. : — (a) An Old Gentleman. Three-quarter length 1. profile of an old gentleman with a shirt white beard, wearing a hat. Pen sketch ; 5 x 4 J in. (6) The same Person. In the same dress and attitude ; nearly whole length ; a more finished sketch. Pen ; 7 X 4i in. 48. Five on one mount, roy., viz. : — (a) W. G, Boss IN the Chaeactee of Sam Hall. Head and shoulders, nearly full fa -e. Peuc.l sketch ; 2 X 2J in. (6) Study of a Head. Head in 1. profile of an oldish man with a double chin and long hair. Slight pen sketch ; IJ x 2 in. (o) Poeteait Studies op a Lady. Two studies, half length, one in profile, one in full face, of a young lady. Pen sketch ; 6 J x 4| in. (d) Portrait Study. Three-quarter length 1. profile of an old gentleman with bushv eyebrows. Pen sketch ; 7 X 4f in. (e) Comic Portrait. A young man with his hat on the side of his head walkiu" jauntily on his toes ; he has a turned-up nose and a foolish expression ° Pen ; 7 X 4f in. All the above were purchased at the Doyle sale, June, 1886. 44. Dick Doyle's Journal. An MS. journal made in the artist's sixteenth year (1840), containing vignette sketches in pen and ink ou almost every page executed with a power of hand and a brilliancy of fancy, humour and observation which he hardly equaUed iu later years. 156 pp. 7| x 9J in. Page 1 (a) E. D. at his desk beginning his journal ; in an ornamental border. (6) E. D about to be skinned alive by wild cats for not keeping his resolution. Richard Doyle. 10,5 Page 2. (a) R. D. pursued by a demon dwarf. (6) A little fiddler with a big head. p. 3. (a) A stout little knight in armour, with truculent expression. (5) Little men with big heads, one with his wife on his arm, p. 4. (a) A row of faces. (6) A little man asleep, smiling. (c) R. D. reading the newspaper. p. 5. R. D. seeing his ' Eglinton Tournament ' in a priiitseller's window. The ' Eglinton Tournament ' was Doyle's first work, published later in this same year. p. 6. Mr. Harbour teaching the young Doyles to dance. p. 7. (a) Mr. Harbour putting out a candle, placed on a table, with his foot. (5) Head of a man with a red nose and a scarf over his month. (c) E. D. falling on his nose on the ice in Regent's Park. (d) A pile of books and an inkpot. p. 8. (a) A little man with big head, dancing. (6) R. D. in a state of excitement over his 'Tournament.' p. 9. (a) R. D. lying awake in bed. (5) R. D. looking in horror at a blotted drawing. (c) R. D. yawning. p. 10. (a) A coach on a high road. (5) A comic tournament. p. 11. (a) A little man with a huge pear-shaped head. (6) Ornamental letter S. p. 12. (a) A middle-aged man clinging to a lamp-post. (6) The Queen's wedding cake. (c) A crowd at a confi ctioner's pressing to see the wedding cake. p. 13. (a) A policeman guiding the crowd at the confectioner's. (6) Braham singing in ' Masaniella ' at the St. James's Theatre. p. 14. R. D. borrowing an opera-glass without leave. p. 15. (a) A hat and an opera-glass. (6) A crowd at the Clarendon Hotel, waiting to see Prince Albert. p. 16. (a) R. D. at a window on a rainy morning. (6) R. D. setting out with his brother Henry after the rain had ceased. p. 17. The crowd aeeing the Queeen and the Prince Albert's carrhige pass through St. James's Park to their wedding. p. 18. (a) The crowd frightened by the plunging of a Lifeguardsman's horse. (5) Clearing the way for the return procession. p. 19. A cheerful footman in the crowd. p. 20. The royal carriage returning from the wedding. p. 21. The royal carriage driving to Windsor. p. 22. (a) A gentleman's chaise. (6) Illuminations on the night of the wedding. p. 23. The crowd at the illuminations on the Queen's coming of age. p. 24. A little man in a shirt, with a stick. p. 25. The royal carriage driving down Constitution Hill. p. 26. (a) A group of three little men with big heads. (6) A specimen of an illustrated page for a book. 106 Drawings of the British School. Page 27. (a) E. D., with dumb-bells. (5) A grotesque head. (c) Mr. Hume escaping from a Freemasons' hall. (d) A clown. p. 28. (a) Mr. Elwes the miser. (6) Mr. Elwes' uncle threatened by a robber. p. 29. Ornamental letter S. p. 30. (a) Head of E. D., smiling. (5) A pile of copies of the just published ' Tournament.' p. 31. (a) Imitations of historical autographs. (6) E. D. pasting a large sheet of paper on canvas. p. 32. (a) A comic figure : ' Saturday.' (6) E. D. beginning his picture of ' Quentin Durward.' p. 33. (a) A little man in a big "hat. (5) Sentinels at St. James's Palace. (c) E. D. carried off to gaol. . p. 34, (a) Little men getting down a high wall. (6) E. D. paying the printer. (c) A sleeping elf. p. 35. Changing guard at St. James's, p. 36. (a) Bandsmen of the Guards. (6) A little man with a big head. (a) A crowd at the Palace yard. p. 37. (a) A lady at the Drawing Eoom. (6) A man smiling broadly. (c) A group at a party looking at the ' Tournament.' (d) A boy painting up ' Friday.' (e) E. D. with a copy of the ' Tournament ' on his back. p, 38, (a) An elf. (6) Two comic little men. p. 39. (a) E. D. drawing. (5) A little man with a big head. (c) At the opera house. p, 43. (a) Ornamental design : ' Wednesday.' (6) An April fool in Louis XIV.'s time. p, 44. (a) Footmen on tip-toe in the mud on the day of the Drawing Eoom. (6) Louis XI. and Charles the Bold. p, 45. (a) James Doyle fencing with his fencing master. (6) E. D. in the Park with hia dog. p. 46. (o) The sign of The Old Hat at Ealmg. (6) The Battle of Brentford m the CivU War. p. 47. (o) Booksellers' men pouring out of Chapraan and Hall's with bundles of the latest numbers of ' Master Humphrey's Clock.' (6) Buying a ticket at Paddington. p. 48. (a) E. D, and companions in the train, waiting to start. (5) Meeting Mr. Doyle and his friend at Ealing, (c) Peri'ivale Church. Richard Doyle. 107 Page 49. (a) Railway viaduct at Hanwell. (6) The Doyles waiting at Ealing station for the return train. p. 50. (a) Ornamental heading : ' Sunday.' (6) The diving-bell at the Polytechnic, (c) A lecture on the steam-engine. p. 51. (a) R. D. and his brother looking down from the Polytechnic gallery. (5) R. D. and others playing the fiddle at a toy pantomime performed hy Frank Doyle. p, 52. (a) Ornamental letter W. (6) R. D. at a party seeing sculpture at Chantrey's house. p. 53. (a) R. D. showing his ' Quentin Durward ' picture to the assembled family. (6) Ornamental heading : ' Monday.' p. 54. Ornamental letter F. p. 55. (a) TheQueenarrivinginTrafalgarSquare to see the Academy Exhibition. (6) Gentlemen in a box at the opera making a noise. p. 56. (o) A disturbance at the opera ; people crowding on the stage. (6) R. D. reading the notice of the Academy pictures in the ' Observer.' (c) The 'very little picture rather near the ceiling' generally singled out by the ' Observer ' critic aa decidedly the beat. p. 57. (a) Ornamental heading : ' Monday.' (5) Groups waiting outside the Academy doors. (c) The rush to get in at the opening of the doors. p. 58. R. D. and his brother admiring Maclise's ' Macbeth.' p. 59. (a) R. D. looking at Landseer's ' Laying down the Law.' (5) Landseer painting the portrait of a dog, dressed as a man. p. 60. (a) Ornamental heading : ' Monday.' (5) The Queen and Prince Consort in their pony phaeton driving past Kensington Gardens. p. 61. (a) The band in Kensington Gardens. (5) A metope of the Parthenon, copied by R. D. p. 62. A crowd in the Park waiting to see the Queen. p. 63. (a) Ornamental heading : 'Fiiday.' (5) Ornamental heading : ' Saturday.' (c) Soots Fusiliers exercising in the Park. p. 64. (a) Ornamental heading : ' Thursday.' (6) In the pit at the opera. p. 65. (a) Ornamental heading : ' Sunday.' (5) Trooping the Colour on the Queen's Birthday: the Prince Consort riding up between Lord Hill and the Duke of Wellington. p. 66. (a) The Duke alighting from his pony-chaise. (6) The Guards marching past the Prince and staff. p. 67. The crowd cheering the Prince. p. 68. (a) E. D. and his brother looking at the ' Tournament ' in Fores' window. (5) Ornamental letter M. p. 69. (a) Ornamental heading : ' Tuesday.' (6) A concert ; Liszt and Eliason playing a concerto of Beethoven. p. 70. (a) Heads of Jews at the concert. (6) A Cavalier on horseback shooting a Roundhead, 108 Drawings of the British School. Page 71. Life Guards marching to a review on Jackson's Grounds. p. 72. Lancers dismounted and stauding at easo. p. 78. Life Guards charging. p. 74. The Prince and officers going up an embankment to inspect the railway. p. 75. (a) Crowd cheering Prince Albert and staff, (6) Ornamental heading : ' Wednesday,' p, 76, (a) A sportsman ; grotesque figure. (6) A winning horse at the Hippodrome. p. 77. (a) Ornamental heading : 'Friday.' (6) A duet at the Opera House concert. p. 78. (a) An elf asleep on his back. (6) A mediaival battle. p. 79. The Qu'-en driving fo Ascot. p. 80. (a) An offii er of the Guards. (6) A thimble-rig at Ascot. p. 81. (a) A cavalier and lady, in an ornamental border. (5) Two officers of the Blues. p. 82. (a) The band of the Blues playing on horseback. (6) A little man with an enormous forehead. p. 88. (a) View of the Tower. (6) E. D. and his friends entering the Bloody Tower. p. 84. The Horse Armoury at the Tower. p. 85. A fat warder showing the thumbscrews to visitors. p. 86. (a) Visitors reading inscriptions on the prison walls. (6) Entering a dark cell. p. 87. Grenadieis playing on Tower Green. p. 88. (a) A young man sketching a suit of armour. (6) A Grenadier. (c) Warders playing with a cockatoo. p. 89. (a) Ornamental letter F. (6) Fusiliers skirmishing in the Gravel Pits in Hyde Park. p. 90. A crowd cheering the Duke of Wellington, Lord Hill, and staff. p. 91. The Duke reviewing the Guards. p. 92. (a) E. D. meditating the design of an envelope to be lithographed. (5) Lord Hill aud the Duke meeting at a review. p. 98. Groups iu the National Gallery admii-ing Murillo's ' St. John,' Eubens' 'Brazen Serpent,' Tintoret's 'St. George,' etc. p. 94. (a) Guards marching in Hyde Park. (5) A little couple dancing. p. 95. Henry Sl.aw ahowing E. D. and hia brothera the illustrations for his ' Dresses and Decorations of the Middle Ages.' p. 96. (a) E. D. and friends looking at Hilton's picture ' Sir Calepine rescuing Serena,' on its purchase by Academy students for the National Gallery. The picture, like many of Hilton's works, has become a wreck from the use of unstable pigments. (6) E. D. reading the ' History of France.' [pp. 97-100 are blank.] p, 101, E. D. playing the fiddle at a window. Richard Doyle. 109 Page 102. (a) The Doyle children on their balcony waiting for their father's return. (6) The Doyle family at work. p. 108. Henry Doyle gazing at an advertisement of a steeplechase. p. 104. (a) A horse racing against time. (5) Dwarf portrait of Louis Napoleon. p. 105. (a) Louis Napoleon invading the streets of Boulogne, crying 'Vive I'Empereur.' (5) Louis Napoleon in the water hanging to a buoy. p. 106. (rt) E. D. on a sofa reading the history of France, (5) The cobbler mending E. D.'s shoes. p. 107. (a) E. D. and brother arriving ou Primrose Hill at sunset. (5) Hiring a cab at night. p. 108. (a) E. D. drinking tea. (6) E. D. and hia brothers at Clarke's, the bookseller in Finch Lane. p. 109. (a) Colonel Schultz saying good-bye on his departure for Ireland. (5) E. D. and his brothers, Henry and Frank, setting out on a walk to WUlesden with Euff, their dog. p. 110. The three boys trying to catch a rabbit. p. 111. (a) The three on a gate, disputing which is the way to London. (5) The rabbit. p. 112. (a) Ornamental heading : 'Monday.' (5) The three brothers running home in the rain. p. 118. (a) Ornamental letter T. (6) E. D. painting at an easel. (c) Eichard I. pardoning John : a composition by E. D. p. 114. (rt) Dwarf portiait of E. D.'s tutor. (6) Inchlent in Batavia, recounted by Col. Schutz. Natives placing offerings of fruit on the cannons to propitiate them. p. 115. (a) Dutch soldiers fighting for the fruit. (6) A policeman talking to E. D. p. 116, E. D. having his hair cut. p. 117. (a) Encounter between Euff the dog and four swans. (5) E. D. painting : ornamental letter T. p. 118. Prince Albert and friends shooting pheasants near Windsor. p. 119. E. D. and his brother iu Ackerman's shop. p. 120. Murder of Edmund the Pious. p. 121. Feeding the beir at the Zoological Gardens. p. 122. The monkey-house. p. 123. Feeding the lions. p. 124. R. D. and others mounting the elephant. p. 125. E. D. looking at the rhinoceros and gazelles. p. 126. Two human animals in a cage painting the inside of it. p. 127. (a) Dance of elves ; ornamental heading : ' Thursday.' (6) The band at the Promenade Concert, Princess's Theatre, p. 128. Incident in Oxford StreSt ; a man selling ' silver ' rings for a penny. p. 129. R. D. and his brother waiting at table. Very slight pencil sketch, p. 130. (a) The two brothers falling on the dessert. (5) R. D. waiting at a street corner with his dog. 110 Drawings of the British School. Page 181. (a) E. D. in a cab, shouting to the driver to stop. (5) E. D. and his brother Henry washing Euff. p. 132. (a) Guests at the Doyles' singing and playing. (6) Old King Cole and his fiddlers three. p. 133. (a) Grotesque figures and ornamental heading : ' Sunday.' (5) E. D. vainly trying to entice Euff into the Serpentine. p. 184. (a) Ornamental letter N. (5) Head of a lady. (c) R. D. practising the violin. p. 135. (a) Ornamental letter T. (5) (c) R. D. and his brother Henry exhausted after fencing. (d) R. D. seated in a niche, with Ruff. p. 136. (a) Imaginary suicide by drowning of R. D. (5) Lord HiU and staff riding to the Horse Guards inspection at Worm wood Scrubbs. p. 137. (a) Ornamental heading : ' Friday.' (6) Advertisement of a tournament performed by the young Doyles. (c) Frank and Charles Doyle as Tancred and Argaute, mounted on their elder brother's shoulders, proceeding to the tournament. p. 138. Tancred and Argante tilting at each other. p. 139. (a) Procession of grotesque little men. (6) Tancred and Argante furiously attacking each other on foot. p. 140. (a) The procession of little men continued as a border round the page; at the side they are mounting a ladder. (6) The Queen of Beauty crowning the victor in the tournament. p. 144. (a) R. D. sketching on a bank, and ornamental letter S. (6) A street preacher haranguing four small boys in Holborn. p. 145. (a) R. D. falling through the seat of his chair. (6) Boys with a Guy on a donkey. p. 146. (a) E. D. and brother going up the atepa of the British Institution. (5) A gentleman addressing a public meeting. p. 147. The outgoing Lord Mayor leaving the Mansion House to go to the Guild hall for the last time. p. 148. (a) A Grenadier with a big head, on a little horse. .(6) The British troops storming Acre. p. 149. E. D. in bed haunted by troops of little figures for his designed procession. p. 150. (a) E. D. making a figure out of his clothes and a chair in order to be reminded in the morning of the ideas he had had over night. (5) Life Guards changing quarters, with their belongings on a waggon. p. 151, (a) E. D. drawing a portrait of his brother Charles, (5) Scene from ' Bombastes Furioso.' p. 152. A grand concert at the Opera House. p. 153. (a) The Queen talking to Prince Albert, who is about to paint on an enormous canvas. (5) The Doyle famUy hard at work on their Chriatmas pictures ; E. D. painting the strips of his procession, spread upon the floor. p. 154. (a) Lord Cardigan shooting Captain Harvey Tuckett in a duel. (5) The same duel ; the doctor tending the wounded, and a countryman arresting Lord Cardigan. Richard Doyle. — Samuel Drummond. — Simon Du Bois. Ill Page 155. A party of Hussars riding. p. 156. Hussars charging at a review. p. 157. (a) Elves nailing a letter F. to a wall. (6) E. D. letting his brother over the wall of Kensington Gardens. p. 158. (a) E, D. and his two brothers, shut into the Gardens after dusk, running down an avenue by moonlight. (6) R. D. and brother looking at the new prints in Delaporte's window in the Burlington Avenue. p. 159. (o) Ornamental heading : ' Monday.' (5) R. D. and two brothers working hard at a table. p. 160. (a) Elves attacking a plum pudding ; ornamental letter T. (6) Fancy portrait of the Month of December. p. 161. A meeting at Exeter Hall. Pencil sketch, only partly flnished in pen and ink. Purchased November, 1885. DRUMMOND, Samuel, A.R.A. (b. 1765, d. 1844). Painter ; born in London ; went to sea as a boy ; began by drawing portraits in crayons ; from 1790 exhibited portraits in oils and historical subjects, especially naval incidents; also some landscapes; elected A.R.A. 1808. 1. MoTHEE AND CHILD. Half length, fuU face, of a mother holding a child in her arms. Signed S. Drummond. White chalk sketch on brown-gray paper, with black chalk on the faces; roy., lOi X 9f m. v2. Mothee and Child. A mother seated on the ground I., suckling a ohUd on her lap. Signed S. Drummond. Black and white chalk sketch on brown-gray paper ; roy., 12f x Hi in. ~-/^. Study op a Soldiee. Three-quarter length, full face, of an English private foot-soldier in marching uniform. Signed S. Drummond. Black, white aud red chalk on drab paper ; roy., 14f x 9J in. ^4. Study OP a Soldiee. Three-quarter length in r. profile of the same soldier, showing knapsack, etc. With three separate studies of the helmet. Signed S. Drummond. Black and white chalk on drab paper ; roy., 14 x lOJ in. 5. Study of a Soldiee. Whole length sketch in r. profile of the same soldier advancing, musket in hand. Black chalk on drab paper ; roy., 14J x 9J in. All purchased July, 1876. DU BOIS, Simon (d. 1708). Painter; born at Antwerp or Rotterdam (it is not certain which) ; visited Italy with his brother Edward ; painted horses and cattle in the style of Wouverman and other artists of the day; came to England 1685, and worked in London, painting a number of portraits. 1. Two on one mount, roy., viz. : — (a) Study foe a Head op the Viegin. She sinks sideways, with half-closed eyes, and hands raised before her breast. Brush drawing in bistre and white on brown prepared paper ; 5f x 4 J in. 112 Drawings of the British School. (6) Figuee Studies foe a Pictuee. A man, scantily draped, with a long staff in his hand ; a girl with a, pitcher, another with a basket on her back, and a third advancing with a spear ; below, part of a man's flgure. Bistre and white on brown prepared paper ; 4f x 5f in. Purchased August, 1874. DU GUERNIER, Louis (b. 1677, d. 1716). Engraver and designer; born in Paris; pupil of Louis de Chatillon ; came to England 1708, and became one of the directors of the Great Queen Street Academy ; engraved portraits, and designed and etched small historical subjects for books. 1. Portrait op a Gentleman. Head of a gentleman in a flowing wig; nearly full face, turned a little r. In an oval. Signed Lud. du Guernier. Red chalk ; roy., 5 J x 8J in Probably after a picture (by Kneller ?). Purchased June, 1881. DU MAURIER, George Louis Palmella Busson (b. 1834, d. 1896). Caricaturist, book illustrator, and painter ; born in Paris ; studied chemistry in London, but soon abandoned this for art ; pupil of Gleyre in Paris and Van Lerius in Antwerp ; returned to London 1858, and from 1860 to his death worked on the staff of 'Punch,' to which he contributed a numerous series of drawings, illustrating with graceful and vivacious satire the society of the period ; illustrated a number of books, including his own novels, which were the success of his later life ; painted also in water colours. 1. Different Points of View. Two little girls telling their mother, who sits r., where they have been with their uncle, who is in an arm-chair 1. Maud (with much sympathy in her voice) : ' Only fancy, mamma, Uncle Jack took us to a picture gallery in Bond Street, and there we saw a picture of a lot of early Christians, poor dears! wlio'd been thrown to a lot of lions and tigers, who were devouring them.' Ethel (with still more sympathy) : ' Yes ; and mamma dear, there was one poor tiger that hadn't got a Christian! ' Signed Du Maurier. Pen and ink ; roy., 5 J X 8 J in.' Engraved on wood in ' Punch,' Vol. Lxviii., p. 148 (1875). 2. Not such a Fool as he looks. Parson (seated 1.) to boy who stands before him : ' Better fed than taught, I fancy, hoy 1 ' Boy : ' Ees I he, 'cos I feeds myself and you teaches me.' Inscribed on the margin with the above dialogue. Pen and ink ; roy., 4f X 4J in. Engraved on wood in ' Punch,' Vol. Lxxii , p. 205 (1877). 3. In the Metropolitan Railway. Two ladies, seated opposite each other in a first-class carriage. 'I beg your pardon, but I think I had, the pleasure of meeting you in Rome last year?' 'No, I've never been nearer to Rome than St. Alban's.' ' St. Alban's — where is that?' ' Holborn.' Pen and ink ; roy., 4J x 6| in. Engraved on wood in ' Punch,' Vol. Lxxiv,, p. 6 (1878). 4. Not to be beaten. Three little girls with their dolls sitting on a lounge and talking. Inscribed on the margin : ' My papa's house has got a conservatory ! ' ' My papa's house has got a billiard-room 11' ' My papa's house has got a mortgage 111' Signed Du Maurier. Pen and ink ; roy., 4J x 7 in. Engraved on wood in 'Punch,' Vol. lxxiv., p. 186 (1878), with a different title and legend : Dolly taking her degrees (of comparison) : ' My doll's wood.' ' My doll's composition.' ' My doll's wax ! ' ' The measurements of the drawings by Du Maurier exclude the margin. George Du Maurier. 113 5. A Venial Imposture. A number of skaters on a pond in front of a house, with sloping lawns ; iu the foreground a major supported by two fair ladies. Inscribed on the margin : Sketch of a certain bold major just home from India on sick leave, taking (as he declares) his first lesson in tlie art of skating. ( We recollect tlie B. M. in days gone hy. He was the champion of at least three different skating clubs.) Signed Du Maurier. Pen and ink ; roy., 7 x SJ in. Engraved on wood in ' Punch,' Vol. LXxvi., p. 2 (1879). 6. A PowEBPUL Quartet. Two fiahwivea meeting, eaoh crying her wares at the top of her voice, while two great open-mouthed fish in the baskets on their heads repeat the effect. Signed Du Maurier ; inscribed a quartet. Pen and ink; roy., 7J X 4f in. Engraved on wood in ' Punch,' Vol. Lxxxi., p. 134 (1881). 7. Modern Athletics. Two girls on a tandem tricycle, with two young men ou high bicycles riding beside thera. Inscribed on the margin Modern Athletics, a Diplotribicydical Quartet. (How this drawing would have astonished our readers twenty years ago .') Pen and ink ; roy., 6 X 9 in. Engraved on wood La ' Punch,' Vol. lxxxii., p. 270 (1882). 8. Standing on Ceremony. A little girl walking with her aunt, on a country road; a gentleman disappearing round the corner. Inscribed on the margin Standing on Ceremony — ' That was a funny story Mr. Dixon told. Aunt Jessie, — - the one that made you laugh so much, you know.' ' Yes ! Why didn't you laugh, Ida ? ' ' Oh, I don't know him well enough ! ' With a pencil study for Ida at the 1. Pen and ink ; roy., 5| x 6| in. Engraved on wood in ' Punch,' Vol. Lxxxiv., p. 129 (1888). 9. It is always -well to be well infoemed. A ball-room with four couples dancing a quadrille ; the lady in the foreground asks her partner : ' Who's my sister's partner, vis-a-vis, with the star and riband ? ' He : ' Oh, he — aw — he's Sir Somebody Something, who went somewhere or othaw to look after some scientific fellaw who was murdered, or something, by some one ...,!' Inscribed on the margin aa above and signed Du Maurier. Pen and ink ; roy., 6J X 10| in. Engraved on wood in ' Punch,' Vol. Lxxxvn., p. 6 (1884). 10. Bang! — Bang! A sportsman ou a moor, who has just fired, exclaiming, ' Confound the dog, putting up the birds like that ! ' and corrected by an old gamekeeper, who says, ' Ouay, but it was na the dog that missed them, whatayver.' Signed Du Maurier, inscribed as above on the margin and dated Drumnadrochit. Aug. 1885. G. Du Maurier. Pen and ink ; roy., 4J x 7f in. Engraved on wood in ' Punch,' Vol. Lxxxix., p. 126 (1885). 11. Undee Conteol. In Kensington Gardens. A little girl leading a boarhound and a footman holding a Maltese terrier by a string. Signed Du Maurier, and inscribed with title on the margin. Pen and ink ; roy., 4J x 7| in. Engraved on wood in 'Punch,' Vol. xc, p. 30 (1886). 12. Window Studies; a Haemony in London Smut. A coal-cart passing along the street, and a chimney-sweep on the pavement, dimly seen through a grimy fog. Signed Du Maurier, and inscribed on the margin G. du Mauritr, 19 Porchester Terrace, Jan. '89. Pen and ink; roy., 5 x 7f in. Engraved on wood in ' Punch,' Vol. xovi., p. 78 (1889). 13. Happy Thought. An artist sitting gloomily before his fire, caressed by his wife, who bends over him. Inscribed Angelina : ' You seem depressed, darling. Have you had a pleasant dinner ? ' Edwin : ' Oh, pretty well ; Basse was in the chair, of course. He praised everybody's work this year, except mine.' Angelina : ' Oh I 114 Drawings of the British School. I'm so glad. At last he is beginning to look upon you as his rival and his only one ! ' G. du Maurier, 19 Porchester Terrace, Ap. '89. Pen and ink ; roy., 4 J X 6f in. Engraved on wood in ' Punch,' Vol. xovi., p. 222 (1889). 14. Easy fob the Judges. A little boy in a garden talking to his dachshound, which sits up before him. Signed Du Maurier. Inscribed Geoffrey (to rejected candidate for honowrs at the dogshow): 'Never mind, Smut, we'll have a dogshow tliat shall be all cats except you, and then you'll have it all your own way ! ' G. du Maurier, Hampstead, Sep. '90. Pen and ink; roy., 5| X 3| in. Engraved on wood in ' Punch,' Vol. xoix., p. 219 (1890). 15. A Nasty One. A young man in a drawing-room leaning against the mantel piece and talking to a lady and her three daughters seated or standing round. Inscribed Prigson : ' Oh, as for Brown, he's the most dogmatic and conceited little prig in all England — but his sistah's quite the only girl I ever met who's worth looking at and listening to at the same time.' Mrs. Quiverful: 'Dear me! you might have the decency to make the usual exceptions in favour of the present company!' Maud: 'Yes — in both instances, I think ! ' G. Du Maurier, Hamp stead. Nov., '90. Pen and ink; roy., 5 J X SJ in. Engraved on wood in 'Punch,' Vol. c, p. 6 (1891), with title 'Prig-sticking.' 16. Honeymooning in Italy. An American bride and bridegroom standing araong the ruins of the Roman Forum. Inscribed Fair American Bride : ' Oh, John ! To think that perhaps Virginius stabbed his daughter on this very spot, and that just over there Tullia drove over her poor father's dead body ! ' John : ' Ah — very sad ! but say, Matilda ! I guess we'd better let bygones be bygones — and let's go and have a look at the new post-office ! ' G. du Maurier, Hampstead, June, '91. Pen and ink ; roy., 4f x 7J in. Engraved on wood iu ' Punch,' Vol. c, p. 282 (1891). 17. Two ON A TowBE. A lady and gentleman on the top of a tower, in windy weather. Signed Du Maurier and inscribed Jones (a rising young British architect) : ' Yes, it's a charming old castle you've bought, Mrs. Prynne, and I heartily congratulate you on being its possessor.' Fair Californian widow (just settled, in tlie old country) : ' Thanks, and now you must find nue a legend for it, Mr. Jones ! ' Jones : ' I'm afraid 1 can't manage that, but I could add a storey, if that would do as well ! ' G. Du Maurier, Stanhope Terrace. Peu and ink ; roy., lOJ X 7 in. Reproduced iu ' Harper's Magazine,' January, 1894. 18. Res Angusta Domi: in a Childeen's Hospital. A nurse sitting by a sick child. Signed Du Maurier, and inscribed on margin G. Du Maurier, June, '94, Hampstead. Pen and ink ; rny., 5f X 10 in. Reproduceil in 'Punch,' Vol. ovii., p. 102 (1894), with the legend : 'My pore yabliit's dead ! ' ' How sad 1 ' ' Dadda killed my pore yabbit in back kitchen 1 ' ' Oh dear ! ' 'I had taters wiv my pore yabbit ! ' 19. Things One would eathee have expbessed Diffeebntly. Guests going down to dinner, the last couple, in the foreground, talking of the couple in front. Signed Du Maurier and inscribed on the margin G. Du Maurier, Hamvstead March, '95. ^ Pen and ink ; roy., 8| X 15 in. Reproduced in ' Punch,' Vol. cviii., p. 162 (1895), much reduced, with the legend She : I am surprised to see your wife in such a very low gown this cold evening, Baron I I heard she was delicate. He .- Ach, no. She voa. But now, sank Heaven, she is quite indelicate again ! 20. Tout est perdu poes l'honneue. A lady and her husband in a drawing-room, hearing from their housekeeper the description of a fire at their country house. Pen aud ink ; roy., 6| x 1 1 J in. Reproduced in ' Punch,' Vol. ex., p. 30 (1896), with the legend : ' Yes, my lady, every single picture burnt to ashes! But I've one thing to tell you that will please you — I managed to save all last year's jams.' All purchased from the artist's widow, 1898. Edward Duncan. — John Dunstall. — William Dyce. 115 DUNCAN, Edward (b. 1804, d. 1882). Landscape painter, etcher, and lithographer ; born in London ; studied aquatint engraving under R. Ha veil; from 1830 exhibited largely at the Old and New Water Colour Societies, of both of which he was a member, chiefly sea pieces and coast scenes. 1. FisHEBMAN COMING HoME. An old bald fisherman, seen from behind, bare legged and carrying his sea-boots iu his hand, with basket and nets on hia shoulder. Water colours ; roy,, llf x 7 in. 2. FisHEBMAN WITH HIS Net. A fisherman in a red cap and shirt seated holding the net on his knee ; a rope and pulley r. Signed E. Duncan. Water colours ; roy., 9J x 8f in. 3. Three on one mount, roy., viz. : — (a) Study op a Fisheeman. In oilskin hat and sea-boots, standing in r. profile. Water colours and pencil ; 6J x 4 in. (6) Fishee-Boy. Standing with hands in pockets and looking 1. Signed and dated E. Duncan, 1 849. Water colours ; 9J x 4f in. (c) FisHEB-BoY. Standing, full face. Signed E. D. Water colours ; 6J x 4J in. 4. Three on one mount, roy., viz. : — (a) FisHEBMAN -with Oae. In a red cap, standing, leaning on an oar and looking 1. Water colours ; 5 J x 8f in. (6) Fisheeman smoking. In blue jersey, standing, turned to the i., looking full, clay pipe in mouth. Water colours ; 8| x 4| in. (c) Fisherman and Child. Fisherman in oilskins, seen from behind, tossing his child in his arms. Water colours and pencU ; 8J x 4^ in. All purchased March, 1893. DUNSTALL, John (worked about 1644-1676). Engraver; worked in London, at Blackfriars ; taught drawing and published some drawing books ; engraved portraits and views of houses. 1. Front op Bethlehem Hospital. View of the front of the second Bethlehem Hispital in Moorfields ; the central part and the gate, built of stone ; the wings of brick ; probably made on the completion of the building in 1676. Signed John Dunstall delineavit. Water colours and pen on parchment ; 5J X 6J in. Purchased October, 1870. Bethlehem Hospital, founded 1246 as a priory, was originally in Bishopsgate Without, on the site of Liverpool Street. In 1675-76 a new building, here represented, was built in Moorfields. Eobert Hooke was the architect. This in ita tum was pulled down, 1814, and the hospital removed to St, George's Fields, Lambeth. DYCE, William, R.A. (b. 1806, d. 1864). Painter; born at Aberdeen, where he took his degree at the University ; studied in London ; 1825 and 1827 at Rome, where he began painting religious subjects in the style of the German Pre-Raphaelites ; returned to Scotland 1828, 116 Drawings of the British School. studied science and painted a number of portraits, besides subject pictures ; produced 1840 a report on schools of design on the Con tinent ; director of the school of design at Somerset House 1840-43 ; elected A.R.A. 1844, R.A. 1848 ; one of the six artists selected for the frescoes of the new House of Lords ; completed his fresco there 1846 ; was commissioned 1848 to paint decorations for the Queen's robing-room in the House of Lords, but never finished the work. Dyce had a considerable influence on decorative art in England. 1. Studies fob a Pictuee op Gheist's Agony in the Gabden. Christ kneeling and looking up 1. with lifted hands ; below, two studies of Apostles sleeping. Peucil on blue prepared paper, heightened with white ; roy., 11 x 8f in. 2 Two on one mount, roy., viz. : — (a) Study op a Lady. Whole length of a lady seated in r. profile. Silver point on lUac prepared paper ; 5| x 4 j in. (5) Figuee Study. A woman in a long loose robe kneeling on the r. knee and bending low towards the 1. -with face averted. Signed with monogram and dated 1845. SUver point on grey prepared paper ; 4| x 6J in. 3. Study op a Lion's Head. Head of a lion, looking 1. Peucil on grey paper, heightened with white ; roy., 6J x 7| in. All purchased July, 1889. EARLE, Augustus (worked about 1806-1838). Painter; son of an American artist, Ralph Earle, who left his wife and children in London ; studied at the Royal Academy, but soon started a wander ing life, rambling in every continent ; was shipwrecked on Tristan d'Acunha, and after visiting New Zealand settled at Madras for a time ; returned home, and again went in the ' Beagle ' to South America ; painted historical and marine subjects. 1. Slave Market at Eio. A number of buyers examining negro slaves and bargaining with the owners in front of a building with a balcony, on which are two ladies ; within the building are more slaves ; r., two negroes carrying a boy in a hammock, and further oft' two sentries before a building. Water colours over Indian ink ; roy., 7J x lOJ in. Engraved in aquatint by E. Finden, as frontispiece to the ' Journal in Brazil ' by Maria Graham (Lady Callcott), 1824, Bequeathed by Sir A. W. CaUcott, AprU, 1845. EDRIDGE, Henry, A.R.A. (b. 1769, d. 1821). Painter, chiefly of miniatures ; born in London ; apprenticed to W. Pether, the engraver ; studied at the Royal Academy ; drew and painted small portraits with great skill and success ; also water colour landscapes in the style of his friend Hearne ; sketched in France 1817 and 1819 ; elected A,R.A. 1820. [1-32.] PortraUs. 1. William Woollett the Engeavee : aftee Gilbbet Stuabt. Half-length, in sUk cap and loose gown, three-quarter face, turned 1., eyes full. In an oval. Pencil, the head and background in water colours; highly finished; roy., 4J x 8J in. Copied from the portrait by Gilbert Stuart, now in the National Portrait Gallery. For WooUett's biography, see in this catalogue under his name. Henry Edridge. 117 2. Joseph Nolleeens, E.A. Head and shoulders, three-quarter face, looking r. Pencil, the face touched with colour; roy., 9 x 6J in. Joseph NoUekens, b. 1737, son of a portrait painter, studied sculpture under Scheemakers, and became the most popular sculptor of his day ; elected A.R.A. 1771, E.A. 1772; best known by his portrait busts; an eccentric character of miserly habits ; d. 1823. 3. Chaeles Bueney, D.D. Half-length, seated iu an armchair, three-quarter face, turned r., eyes full, 1. hand on book. Inscribed Bev. Dr. Burney. Pencil, the face coloured ; roy., 12f x 10 in. Charles Burney, son of the musician, b. 1757 at Lynn, was educated at the Charterhouse and Caius College, Cambridge ; became a schoolmaster, and late in life took orders ; famous in his day as a classical scholar ; forraed a fine Ubrary, which was bought by the nation at his death in 1817. 4. Two on one mount, roy., viz. : — (a) Thomas Gibtin. Seated towards the r., sketching in a field. Inscribed below, Girtin. and (in another hand) Hearne. Pencil, slightly touched with Indian ink ; 4f x 2J in. See under Girtin for his biography. (6) Thomas Heaene. Seated, sketching in a field, three-quarter face, turned 1. Inscribed From Mr. Hearne. Done at Bushey Mill, June 2'drd, 1801 (?). Pencil, slightly touched with Indian ink ; 4| X 4f in. Nos. 1-4 were purchased August, 1845. 5. Thomas Heaene. Three-quarter length, seated towards the 1. in a chair beside a table, the face nearly full, the eyes full ; looking up from a book ou landscape, which is in his hands. Indian ink aud pencil ; roy., 7 x 5f in. For Hearne's biography see under his name. Purchased AprU, 1867. 6. Peanoesco Baetolozzi, R.A. Three-quarter length, seated towards the I., three-quarter face, looking 1., snuff-box in hands. Inscribed Bartolozzi. PencU ; the face touched with colour ; roy., 9f x 7f in. Purchased AprU, 1867. 7. The same. Head, in three-quarter face, turned r., eyes full. The engraver appears older than in the preceding portiait. PencU, touched with sepia ; roy., 9J x 7f in. Purchased August, 1845. See in this catalogue under Bartolozzi. 8. A Gentleman, unkno-wn. Whole length of a young man standing in a landscape, bareheaded, r. hand on cane ; three-quarter-face, turned r., eyes full ; a tree- trunk 1., fields and hills in the background. Signed and dated Edridge, 1797. Pencil and Indian ink, slight colour on the face ; roy., IOf x 7 in. Purchased July, 1850. 9. A Gentleman, unknown. Half-length, standing before a table, almost full face, looking slightly r., a book held in r. hand. Pencil, the face stippled in colour ; roy., 9 J x 7| in. Purchased July, 1859. 10. William Smith. Three-quarter length, seated towards the 1. on a grassy bank, sketch-book on knee, three-quarter face, eyes full. Pencil, with sepia stipple on face and hair ; roy., 6f X 5J in. Possibly William Smith, a mezzotint-engraver, who produced work between 1770 and 1776, but more probably a later artist. 11. Thomas Cheesman. Three-quarter length, sitting by a table, chalk in hand, the face in three-quarters, turned 1., eyes fuU. Pencil, with sepia stipple on the face ; roy., 6 J x 5| in. See in this catalogue under Cheesman. 118 Drawings of the British School. 12, Thomas Stothaed, R.A. Three-quarter length, seated towards the 1. before his easel, palette and brushes in hand ; three-quarter face, eyes full. Pencil, with Indian ink on face and hair ; roy., 6f x 5J in. Engraved in stipple by R. T. Stothard. See in this catalogue under Stothard. 13. James Heath, A.B. Three-quarter length, seated on a chair, body directed 1., face full. PencU, with slight tint on face and hands ; roy., 6f x 5| in. James Heath, b. 1757, was trained as an engraver frora boyhood, and won great reputation by his book illustrations, especially those after Stothard ; engraved also some large historical pictures ; died 1834. 14. William Byene. Three-quarter length, seated at a table, tui-ning over a pUe of prints ; face nearly full. Pencil, the head touched with Indian ink ; roy., 6f x 5J in. William Byrne, landscape engraver, born in London, 1748, studied his art in London and in Paris ; became distinguished for his excellent plates after Hearne, Farington, and others ; he was latterly helped by his children (see under Letitia Byrne) ; died 1805. 15. Edwabd Feancis Bueney, Three-quarter length, seated towards the r,, portfolio on knee ; three-quarter face, eyes full. Pencil, touched with Indian ink in parts; roy., 6f x 5J in. See in this catalogue under E. F. Burney. 16. OziAS Humphry, R.A. Head and shoulders, three-quarter face, looking 1. Inscribed a sketch of Ozias Humphry, E.A., made about the year 1802, when at the age of 61 — very Uke the original. Pencil, touched with sepia on the face ; roy., SJ x 6J in. See under Humphry in this catalogue. 17. Benjamin T. Bouncy. Three-quarter length, seated towards the front, by a table r., holding a print ; three-quarter face, looking 1. Pencil and Indian ink ; roy., 5f X 5J in. Benjamin Thomas Bouncy, engraver, was pupil of W. Woollett, and worked for many years at Lambeth Palace as assistant of Dr. Ducarel, the librarian; besides antiquarian facsimiles he produced later some fine plates after Wilson and Hearne ; died 1799. 18. Riohaed Corbould. Three-quarter length, seated at a table 1., on which are painting materials and a drawing ; three-quarter face, looking I. Pencil, touched with sep'a and Indian ink ; roy., 6f x 4J in. See under R. Corbould in tliis catalogue. Nos. 10-18 were purchased April, 1867. 19. James Teaill. Three-quarter length, seated towards the 1., paper in hand, face in three-quarters, turned 1., eyes full. Signed and dated Edridge, 1794. PencU, touched with Indian ink; roy., 6| x 4f in. Engraved in stipple (a private plate) by an anonymous engraver. 20. Alexandee Weddeebden, Baeon Loughboeough. Three-quarter length, seated towards the 1., in Lord Chancellor's robes and wig, three-quarter face, eyes full. Signed and dated Edridge, 1795. Pencil, touched with Indian ink ; roy., 6| X 4J in. Alexander Wedderburn, b. 1733, was educated at Edinburgh, and became an Advocate there ; entered the Inner Temple 1757 ; entered Parliament 1761 ; was successively Solicitor-General, Attorney-General, and Lord Chancellor; created Baron Loughborough 17S0, 1st Earl of Rosslyn 1801 ; died 1805. 21. A Gentleman, unknown. Three-quarter length, seated towards the 1., with 1. arm resting on table r, ; face in three-quarters looking 1. Signed and dated Edridge, 1795. Pencil, touched with Indian ink ; roy,, 6| X 4| in. 22. Caeolinb, Lady Cawdoe. Whole length, standing in fur-trimmed bonnet and coat, directed 1., r. band resting on the low wall of a garden terrace ; the face in three-quarters, eyes full. Black clialk ; roy., 13 X 9i in. Drawn 1804, and engraved in stipple by L. Schiavonetti, 1806. Caroline Howard, wife of John CampbeU, 1st Baron Cawdor, was born 1777, died 1848. Nos. 19-22 were purchased November, 1870. Henry Edridge. 119 23. De. Maltby, afteewaeds Bishop op Dueham. Half-length, seated, in three- quarter face, turned 1., eyes nearly full. Water-colours, stipple, and Indian ink over pencil ; roy., 9J X 7J in. Engraved in stipple by R. Cooper. Edward Maltby, born at Norwich, 1770, and educated tliere and at Winchester, gained great distinction aa a classical scholar at Gainbriilge ; became Bishop of Chichester 1831, and Bishop of Durham 1838; published several classics, and religious works; resigned 1856, aud died 1859. Purchased July, 1885. From the W. Russell Collection. 24. Joseph Faeington, R.A. Head and shoulders, three-quarter face, turned 1., V eyes full. Pencil and water-colour stipple ; roy., 7J x 6 in. Joseph Farington, born in Lancashire, 1747, was a pupil of Richard Wil-ioii ; painted landscape, mainly topographical, of Thames and Euglish lake scenery ; elected A.R.A. 1783, E.A. 1785 ; died 1821. 25. Two ou one mount, roy., viz. : — (a) Eobeet Southey. Head and shoulders, nearly iu profile, looking r. Pencil and water-colour stipple ; 5J x 4 in. (6) Eobeet Southey (?). Head and shoulders, nearly full face. Pencil aud Indian ink stipple ; 7 x 5f in. The identity of the sitter iu the latter of these two portraits is not quite certain ; but it is probably a portrait drawn at a later period ihan (n) of Southey (born 1774, appointed Poet Laureate 1813, died 1843). A portrait of Soul hey by Edridge was engraved by Blood for the ' European Magazine,' but differs from both of those described. 26. Eael Spencee. Whole length, standing by a table, r. hand resting on a book; three-quarter face, turned 1., eyes full. The head only finished, the figure outUned in pencil. PeucU and sepia stipple ; roy., 12f x Sf in. George John, second Earl Spencer, born 1758, succeeded to the earldora 1783; was ambassador to Vienna 1794, and First Lord of the Admiralty 1794-1801 ; Home Secretary 1806-7 ; died 1834. Best known as a bojk-coUeotor, aud owner of the famous Althorp Library. 27. Two on one mount, roy., viz. : — (a) William Windham, M.P. SUght sketch of head only, in three-quarter face, looking r. PencU; 4 x 2f. (5) William Windham, M.P. Three-quarter length, seated towards the r., in an armehair ; three-quarter face, looking r. Pencil, with sepia stipple on face ; 7J X 5J in. WUliam Windham, born 1750, M.P. for Norwich 1788; Secretary of State for War 1797-1801, and again 1806-7; died 1810. 28. Chaeles James Fox, M P. Half-length, seated towards the 1., turning over the pages of a folio ; three-quarter face, wearing spectacles. Inscribed Chas. James Fox — St. Ann's Hill. Pencil sketch ; roy., 8J x 6f in. Drawn during the last years of the statesman's life, when he rarely appeared in Parliament, and spent most of his time iu gardening or reading his favourite poeta at St. Ann's Hill in Surrey. 29. Wllliam Pitt, M.P. Whole length, aeated in an armchair, directed 1., the face in three-quarters, eyes full. Pencil ; roy., 12f x 9 in. 30. Lady Campbell and Miss MoLeod., Lady Campbell seated I., directed r., the face nearly full ; Miss McLeod standing, with her arm on Lady Campbell's chair, the face in three-quarters, looking down 1. The heads only fini-hed, the rest very slightly indicated in pencil. Inscribed Lady Campbell and Miss McLeod. Pencil and water colours ; roy., 18| x IOf in. 120 Drawings of the British School. 81. Family Group, Persons unknown. A gentleman seated, looking 1., with a young child on his lap and another standing before his knee ; at the 1. his wife stands hushing a baby in her arms. Unfinished ; the standing child indicated only. PencU, with Indian-ink stipple on two of the heads ; roy., 12f x 9f iu. 32. Frank Barber, Dr. Johnson's Black Servant ; after Sir Joshua Eeynolds. Head and shoulders of a negro, three-quarter face, looking 1. Water colours ; highly finished ; roy., 7f x 5| in. A memorandum, pasted on the back of the mount, runs : From the original picture of a Black's head, hy Sir Joshua Eeynolds, in the possession of Sir George Beaumont, by Henry Edridge, April, 1808. The picture is still in the Beaumont Collection, and was engraved by Alexander Scott, 1878. Nos. 24-32 were purchased May, 1891, from the Maude Collection. 33. Poeteait op G. A. P. Beidgetowee. Half length, in an oval, three-quarter face, looking r., violin in 1. hand. Inscribed on border outside oval, G. Fossey, 1837, probably an owner'a name. Pencil, the face in water colours; roy., 8| X 7| in. George Augustus Polgreen Bridgetower, mulatto violinist, was born iu Poland, 1779 ; was in London with his father before 1790, when he made tis first appearance at a concert, and soou became celebrated ; went, 1802, to Dresden and to Vienna, where Beethoven wrote for him the Kreutzer Sonata ; returned to England, and took a musical degree at Cambridge, 1811, after which he disappeared. He is supposed to have died about 1840. Purchased July, 1876. [34-50.] Landscapes. 34. Singees' Faem, neae Bushey, Heets. A farmhouse of timber and plaster, -with tiled roof ; a woman going up to the door with a bundle of faggots, aud a man sittiug near playing with a dog, and two children beside him ; sheds and out houses 1. among trees, rough grass iu the foreground, and a path coming from the house to the edge of a pond r. Drawn October 17th, 1811, according to an inscription on the mount. Water colours; roy., 12f x ISf in. Purchased August, 1845. 35. La Toue de la Geosse Hoeloge, Evebux. View from the square looking down a street, on the r. side of which, at a corner, rises the clock tower ; groups of peasants marketing in the street aud in the foreground. Inscribed La Tour de la Grosse Horloge, Evreux. Aug. 4, 1819. Pencil ; roy., 16 J x llf iu. 36. L'Abbaye des Dames de la Teinite, Caen. View in the enclosure of the Abbey, the south side and transept of which are seen 1. ; part of another building r., and a man and woman talking under it; other figures in the enclosure, which is bounded at the back by a row of houses. Inscribed L'Abbaye des Dames de la Trinity, Caen. July 23, 1819. Pencil ; roy., 15J X lOJ in. 37. Castle of Falaise. The ruins of the castle crown a rocky wooded height at the r. ; at the end of the valley 1. appears the town among trees ; in the fore ground a stream. Inscribed Falaise— Chateau de GuiUaume from the route de Bretagne. July- July [sic]. PenoU ; 17f X 18| in. 88. Bayeux. View of the cathedral from the north, over the houses of the town ; in the foreground part of a garden with wall and gateway 1., and trees behind. Inscribed Bayeux, from the garden of I'Abbe' Delaunay Dufondrau, rue St Florelle. July 25, 1819. » / ». Pencil ; roy., 1 Of x 17 in. 39. Samee, Pas db Calais, The remains of the abbey surrounded by houses; 1. a street, seen in perspective, coming into the foreground; a horse atanding before one of the houses. Inscribed Samer, Oct. 27, 1817. Pencil ; roy., 7} x IOf in. Nob. 35-89 were purchased at the Charles EusseU sale, July, 1856. Henry Edridge. 121 40. Convent op St. Baebe, Dieppedallb, neab Eouen. View looking down the Seine, with houses and the convent (now a boarding house) on the bauk r., which slopes up in a steep hill. Boats on the river and figures on tho shore iu the foreground. Inscribed Convent of St. Barhe, Dieppedalle, July 13, 1819. Pencil ; roy., 9i x 14J in. Purchased October, 1870. 41. Two on one mount, roy., -viz. : — (a) A Boat lying on a Beach. Water colours ; 2f x 5f in. (5) Sea Shoee Studies. A block and tackle -with a pail ; and a winch for hauling boats up a beach. Pencil and water colours on drab paper ; 9f x 7 in. 42. Two on one mount, roy., viz. : — (a) A Smack. The hull of a fishing smack, with a dinghy near ; and a study of a moveable landing stage. PencU and water colours ; 3J x 8 in. (6) A Boat. A boat seen from the bows, lying in the sand. Water colours and pencil on grey paper ; 6f x 9| in. 43. View feom Eiohmond Hill. View from the hill, with the Thames flowing frora the distance, and the bridge towards the r. PeucU and Indian-ink sketch ; roy., 3j x 8 in. Nos. 41-43 were presented by John Henderson, Esq., January, 1863. 44. Steeet in Wae-wick. A street going down from the foreground to au archway, above which appears a church tower ; 1., an ivy-grown wall ; r., houses on a raised pavement, and a row of out trees in front of them ; figures on the road and before the houses. Black chalk and slight wash on grey paper ; roy., IOf x 14f in. 45. Euins of Geace-Dieu Peioey, Leicestbeshibb. A ruined tower and walls in the comer of a field, in which are cattle ; at the I, a barn. Inscribed Grace-Dieu near Coleorton, Sep., 1814. Black chalk on grey paper, heightened with white ; roy., 10| x 14J in. 46. View on the Exe. View from a sandy beach, with a ruined windmill 1. aud fishing-boats at the water's edge, looking across the estuary to the low hills on the other side. Inscribed from Exmouth looking up the Exe, Aug. 13, 1818. Powderham Castle. Pencil ; roy., SJ x 17i in. Nos. 44-46 were purchased October, 1870. 47. The Old Queen's Head, Lowee Steeet, Islington. The old inn with its projecting windows, seen from across the street, trees I., and an outhouse in a garden behind the waU r. Indian ink and pencil on buff paper ; roy., 11 J X 15f in. Purchased July, 1874. 48. A Baen on the Coast. An old barn 1., with a path leading through a gate across the foreground, near the edge of a cliff, beyond which appears the sea, and distant headlands r. and 1. Pencil on buff paper; roy., 5| X 11 J in. Purchased December, 1874. 49. Floods at Eton, peom Windsob Castle. A wide view of flooded country, the trees rising in the midst of water; in the foreground 1. a bastion, part of the outer wall of Windsor Castle ; and a flight of steps leading down fhe hill, beyond the trees of which appear the roofs of Eton. Pencil and Indian ink on grey paper, heightened with white ; imp., 13J X 21J in. Purchased August, 1845. 122 Drawings of the British School. 50. Great Bookham Church, Surrey. View from the W. of the wonden-apind ivy-grown church, standing araong trees, with the churchyard in front of it ; a cottage 1. ; in the foreground a road, along which a man drives two cows fi om the r., and a wall bounding the churchyard ; two women's figures near the church. Water colours ; imp., 13 X 19J in. 51. Aldenham Church, Hektpordshire. View from the S.E. of the church, with the tower at the further end ; in the foreground the churchi ard, bounded at the 1, by a wall and trees ; a woman and child bringing flowers to one of the graves. "Water coloura ; imp., 12J X 18| in. Nos. 50-51 were purchased February, 1872. 52. Miniature Portrait of Sir Samuel Bentham. Head and shoulders, nearly full face, looking a little r. Water colours on ivory, highly finished ; 2f x 1 J in. Sir Samuel Bentham, naval architect, b. 1757, was trained at Woolwich and Chatham ; in Eussia 1780-1791 ; began shipbuilding at Kritchev 1784, and was given a military command ; defeated the Turks in the Liman 1788 through skilful innovations in gunnery; returned to England 1791 and helped his brother Jeremy with the Panopticon prison scheme ; from 1795-1814 worked for the Admiralty and brought about most of the reforms and improvements in the navy then achieved ; in France 1815-1827 ; died in England, 1881. Purchased 1897. 53. Sketch-book, containing 47 pencil sketches (one in pen and Indian-ink wash); including five from pictures in the Louvre (Eubens, Eembrandt, Vandyck, Titian), one frora Houdon's statue of Voltaire, one of the Bishop of Montpellier preaching, and studies of landscape, streets, costumes, carts, boats, &o., made iu France (Paris, Eouen, Boulogne) and in Devonshire (Sidmouth, Dawlish). Dated li-om 12 July to 28 October, 1817 ; ff. 44 ; 4} x 7f in. 54. Sketch-book, containing 48 pencil studies of landscape and figures, made iu France (Paris, Eouen, Canteleu, Dieppedalle, the Seine), and a sketch of knights in armour in a landscape. Dated from 11 June to 16 July, 1819; ff. 42 ; 5J X SJ in. 55. Sketoh-book, containing 51 pencil sketches of landscape and figures, made in France (Calais, Marquise, Boulogne, Samer, Montreuil, Nampont, Abbeville, Blangy, Neufchatel, St. Ouen, Mantes, Meulan, St. Germain, Beauvais, Clermont, Poix, Lachot, Airaine, Vincennes). Dated 24 September to 26 October, 1819 ; ff. 44 ; 5| x 9f in. Nos. 53-55 were purchased January, 1872. EDWARDS, Edward, A.R.A. (b. 1738, d. 1806). Painter and etcher; born in London ; studied at St. Martin's Lane Academy ; exhibited historical pictures, portraits and landscapes from 1771 at the Royal Academy, where he was made Professor of Perspective, 1788, and elected A.R.A. 1773; published 1808 'Anecdotes of Painters,' in continuation of Walpole. 1. Poeteait op the Aetist. Head in three-quarter face, looking over the r. shoulder ; eyes full. Black and red chalk, touched with Indian ink ; roy., 7^ x 5| in. A portrait of Edwards by himself was engraved by A. Garden, and published 1808 ; the pose of the head is the same as in this drawing, but the face is older, and the wig different. Purchased April, 1867. 2. Neae Noeth Dean, Castle Eden, Dueham. A steep sandy bank with trees above, descending to a shallow stream or pool I. ; in the foreground a man is binding faggots and another standing by hira, and near them a birch tree ; bushes and trees above the water r. Signed and dated E. E. 1788. Pen, lightly tinted in water colours ; roy., SJ x 12| in. Purchaaod July, 1878. Edward Edwards.— George Edwards. — Sydenham T. Edwards. 123 3. CowBS Chuech, Isle op Wight. View of the S, side of the wooden-towered church, with trees about the western end of it ; in the foreground a field and a hedge, over which r. appears the Solent and shore beyond. Pen, tinted with water colours ; roy., 7 x 9 in. Purchased September, 1886. EDWARDS, George (b. 1694, d. 1773). Naturalist and draughtsman; born at Stratford, Essex ; travelled 1718-20 in Holland, Norway, and Prance ; on his return made coloured drawings of animals ; appointed Librarian of the Royal College of Physicians 1733 ; elected F.R.S. 1750 and F.S.A. 1752; best known by his 'History of Uncommon Birds,' published between 1743 and 1764. The original drawings for this and for ' Gleanings of Natural History ' are inserted in copies of the works, now in the library of the Museum. 1. Bullfinches. A cock bullfinch on a branch growing from a tree-stump ; his mate and a golden-crested wren on other sprays of the same tree. Water colours and body coloura, highly flnished, on vellum; roy., llf x9| in. Purchased November, 1881, EDWARDS, Sydenham Teak (b, 1768, d. 1819). Draughtsman of natural history subjects ; born at Abergavenny ; found an early patron in William Curtis, founder of the ' Botanical Magazine,' for which, from 1798 to 1814, he made nearly all the drawings ; pub lished ' Cynographia Britannica,' coloured engravings of dogs, 1800-5, and contributed drawings to various botanical publications. 1. Decoy foe Watee-fowl. A pond with arched nets at the four corners ; a man and dog in the foreground. Signed and dated Syd. Edwards 1796. Body colours on vellum ; roy., 7 X 10| in. 2. Two on one mount, roy., viz. : — (a) Whitb-peonted oe Laughing Goose. Two geese by the eea-shore, one flapping its wings. Signed Syd. Edwards. Water colours on vellum ; 3f x 5| in. (5) Tame Goose. Two geese by the sea-shore ; one standing in the water about to pick up something in its beak. Signed Syd. Edwards. "Water colours on vellum ; 3f x 5J in. 3. Two on one mount, roy., -viz. : — (a) Beent Goose. A pair by the side of a stream. Signed Syd. Edwards. Water colours on veUum ; 3J x 6 in. (6) Common Wild Duck. A duck and drake on a little grassy island. Signed Syd. Edwards. Water colours on veUum ; 3f X 5f in. 4. Two on one mount, roy., viz. : — (a) Duck. A drake and two ducks, one white. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3| x 5^ in. (6) Duck. Drake and duck. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3| X 5J in. 5. Two on one mount, roy,, viz. : — (a) Dun Bied. A pair, near water ; bulrushes r. Signed Syd. Edwards. Water colours on vellum ; 8| x 5J in. (6) SooTBB oe Black Divee. A pair by a stream, one in the water. Signed Syd. Edwards. Water colours on veUum ; 3| X 5J in. 124 Drawings of the British School. 6. Two on one mount, roy., viz. : — (a) Eider Duck. A pair. Sis;ned and dated Syd. Edwards, 1795. Water colours on vellum ; 8f x 5 J in. (5) Pin-tailed Duck. The duck in the water, the drake on land. Water colours on vellum ; 3f x 5J in. 7. Two on one mount, roy., viz. : — ¦ (a) GoDWALL. A pair on a little island. Signed Syd. Edwards. Water colours on vellum ; 3f X 5| in. (6) Geese. Goose and gander. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 8| X 5f in. 8. Two on one mount, roy., viz. : — (a) Swans. A pair swimming side by side. Signed Syd. Edwards. Water colours ou vellum ; 3 J X 5| in. (5) Velvet Duck. A pair on a bank by the water. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3| x 5| in. 9. Two on one mount, roy., viz. : — (a) Long-tailed Duck. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3f X 4^ in. (5) Blue-winged Shoveller Duck. A pair. Signed and dated Syd. Edwards, 1793. Water colours on vellum ; 3 J x 5 J in. 10. Two on one mount, roy., viz. : — (a) Scaup Duck. A pair. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3| X 6 in. (5) Geey-leg Goose (the Fen Goosb op Listbe). A pair. Signed and dated Syd. Edwards, 1795. Water colours on vellum; 3| X 5J in. 11. Two on one mount, roy., viz. : — (a) Gaeganey. a pair. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 3J x 6 iu. (6) Sheldeake. a pair on the shores of a rocky cove. Signed Syd. Edwards. Water colours on vellum ; 8| x 5f in. 12. Two on one mount, roy., viz. : — (a) Widgeon. The male on shore, the female in the water ; rushes r. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 8J x 5f in. (6) Tame Swan. One on shore, one on the water. Signed Syd. Edwards. Water colours on vellum ; 8| x 5J in. 13. Two on one mount, viz. : — (a) Teal. A pair. Signed and dated Syd. Edwards, 1795. Water colours on vellum ; 8J X 5f in. (6) Golden-eye. A pair. Signed and dated S. Edwards, 1793. Water coloura on vellum ; 3| x 5J in. All purchased at the Benoni White sale, August, 1879. ELFORD, Sir William (b. 1749, d. 1837). Banker, politician, and amateur artist ; born in Devonshire ; partner in a banking firm at Plymouth, and M.P. for that to-wn 1796-1806 ; exhibited pictures at the Royal Academy 1774-1837 ; elected F.RvS. and F.L.S. 1790, and created a baronet 1800. 1. Euins op a Chuech. Part of the interior of a ruined Gothic church, the floor heaped up -with sloping masses of earth, and overgrown with bushes ; a woman and child near the foreground ; trees appear through the windows. Sepia and Indian ink, slighty tinted ; roy., 14| x IOf ins. Sir W. Elf ord.— Princess Elizabeth.— W. Ellis.— J. Elwood. 125 2. Ruins in a Landscape. An ecclesiastical ruin covered with foliage at the r., with a small building adjoining it 1. ; mountains behind. (Unfinished.) Sepia and Indian ink ; roy., 12J x 17| ins. Both bequeathed by Eichard Payne-Knight, Esq., 1824. ELIZABETH, Princess of England and Landgravine of Hesse- Homburg (b. 1770, d. 1840). Painter ; daughter of George III, ; designed the ' Birth and Triumph of Cupid,' a series of pictures engraved by P. W. Tomkins, and other slight works of the same nature; married 1818 the Landgrave of Hesse-Homburg, after whose death, 1829, she hved at Hanover. 1. The Wood-Giel. A girl carrying a bundle of faggots on her head through a wood iu winter. Water-cole lur sketch ; roy., 4| x 2 J in. Engraved iu stipple by P. W. Tomkins. The engraving is mounted with the drawing. Purchased at the Percy sale, May, 1890. ELLIS, William (b. 1747, d. 1810). Engraver and draughtsman; born in London ; pupil of Woollett, whose style he followed, and on some of whose plates he worked ; engraved also topographical views, which he drew himself. 1. Two on one mount, roy., viz. : — (a) Clapham. View looking across a pond to the village and church, which rises above an avenue ; trees in the foreground and two boys fishing on the shore accompanied by their parents. Indian-ink wash and peu, partially tinted ; 5 x 7f in. Engraved by the artist. (6) Enfield Chuech. View from the S.E., in the churchyard ; a house 1. and a farm in the distance r. Indian-ink wash and pen, sUghtly tinted ; 5J x 7| in. Engraved by the artist. Purchased May, 1890, at the Percy sale. ELWOOD, J. (worked about 1790-1800). Caricaturist; biography un known. 1. A Ceowd outside a Peint-shop. a print-shop at the comer of a street which curves away at the r. ; at the window, which is full of prints, a staring and jostling crowd of ladies and gentlemen mingled with tradesmen and errand boys ; a woman with a wheelbarrow advances into the throng from the 1., and a sedan chair approaches down the street r. Signed and dated J. Elwood, invt. opus (?) 1798 (?). Water colours and Indian ink, with pen outUnes ; imp., 14| x 20f in. 2. A Windy Day. At the juncture of a street which runs from the 1., with one which curves away to the r., a number of people variously embarrassed by a strong wind blowing from the 1, In the r. foreground a butcher-boy has fallen on the pavement, and a woman clings to the railings, by which is a gentleman with a lady on his arm ; behind, a coach just emerging from a side street ; ladies and gentlemen cross the street, getting in one another's way ; a horseman arrives from the I. Water colours and Indian ink, -with pen outlines ; imp., 14f x 21 in. Both purchased May, 1878. 126 Drawings of the British School. EMES, John (worked about 1785-1805). Engraver and water-colour painter ; best known by his engraving of Jeffery's picture of ' The Destruction of the Spanish Batteries before Gibraltar (1789),' and by his water-colour views of the Lake District ; exhibited at the Royal Academy 1790-1791. 1. View op Windebmeeb (?). View over bushes of part of the lake, surrounded by trees, among which on the opposite shore a tower appears. Water colours and Indian ink, with pen outlines ; roy., 12 J x S J in. Purchased October, 1867. 2. Stock Ghyll Foeoe, Ambleside. View from below of the waterfall pouring down the wooded rocks in two streams. Water colours and Indian ink, with pen outlines ; imp., 18J x 14f in. 3. Skelwith Force. View below the falls from the opposite side of the atream into which the river Brathay pours itself in a succession of cascades ; woods r. and 1., and an old building at the top of the falls r. Water colours and Indian ink, with pen outlines; imp., 18 J x 145 in. Nos. 2 and 3 were purchased April, 1867. 4. Meeting of the Society of Eoyal Beitish Aechees in Gwersyllt Park, Denbighshire (with figures by Eobeet Smieke). A park with clumps of trees scattered over broad lawns, and groups of archers shooting at four targets, two r. and two 1. In the foreground r an old oak on a knoll, on which groups of men, women, and children stand or sit watching the sport ; others ou chairs aud benches. At the 1. a lady is about to shoot, a clergyman scoring, paper in hand ; other competitors trying their bows. Water ddours and Indian ink, with pen outlines ; imp., 16| X 23f in. Engraved iu aquatint by C. Apostool. Purchased March, 1867. ETTY, William, R.A. (b. 1787, d. 1849). Painter; born at York; apprenticed to a printer at Hull; went to London 1805, and studied at the Royal Academy, attending the life school there during the whole of his career ; visited Italy 1816 and 1822-24 ; elected A.R.A. 1824 ; R.A. 1828 ; painted historical and allegorical pictures, rich in colour, and devoted himself especially to rendering the beauty of the female form ; an artist of great powers, marred by faulty taste. Attributed io William Etty. 1. Ni db Study. A nude woman reclining on drapery, her head towards the 1. ; she lifts a veil with her 1. hand, and looks downward towards the 1. ; r., trees and sky seen between pillars, 1., a curtain. Chalks and stump; roy., llf x 18f in. Acquired by exchange from Messrs. Colnaghi and Co., December, 1895. EVANS, Richard (b. 1784, d. 1871). Portrait-painter and copyist; pupil and assistant of Sir Thomas Lawrence, of whose works he made replicas ; worked many years in Rome ; exhibited at the Royal Academy 1816-1859. 1. Poeteait op Joseph Faeington, E.A., aftee Laweenob. Half length, seated towards the l, the face in three-quarters looking 1. Signed aud dated B. Evans, 1809. Indian ink, highly finished ; roy., IOf x Sf in. The stipple engraving by H. Meyer after this portrait is mounted opposite the drawing. Purchased October, 1895. WiJliam Evans. — John Faber the Elder. 127 EVANS, William, known as Evans of Bristol (b. 1809, d. 1858). Painter ; born probably at Bristol ; worked in North Wales, near Bettws-y-Coed, till 1850, painting mountain scenery and snow effects ; visited Italy 1852, and from that date exhibited Italian subjects ; elected Associate of the Old Water Colour Society 1845 ; called " of Bristol" to distinguish him from his namesake " of Eton." 1. On the Coast ; Evening. Dark water in the foreground, from which the ground slopes to a sort of jetty r., with a group of buildings on it and a few masts behind it rising against the twiliglit sky ; at the 1. a stretch of sand and the sails of two fishing boats in the distance, by the hidden sea, with figures moving about them ; other figures near the buildings. Water colours ; roy., 7f x IOf in. Purchased January, 1872. 2. jiuTUMN Landscape, Noeth Wales. View looking up a desolate valley, down which comes a dark, shallow stream, to a snow-covered mountain and heavy rain-clouds driving over it ; at the r. a woman riding a packhorse and another woman walking beshle her. Water coloura ; ruy., 8f X 13J in. Purchased May, 1890, at the Percy aale. FABER, John, the Elder (b. about 1C60, d. 1721). Draughtsman and mezzotint engraver ; born at the Hague, settled in England about 1698, or (according to the ordinary account) 1687 ; noted for his small portraits drawn with a pen on vellum ; practised also mezzotint engraving, but in this was eclipsed by his son. 1. Poeteait op .ail.Miirus van Cuillemboegh. Half-length, in min-ster's gown and bands, nearly full-face, turned a little r., eyes full. In an oval, with border, inscribed .^milius van Cuillemborgh Gebrus olim Batohurgi per 4, Herisdse per 14, et nunc per 9 Annas Londini in Anglia Belgicus Sancti Evangel: Minis'". Sigui d and dated /. Faber delineavit 1703. Pen and ink on vellum ; oval ; roy., 5J X 4| in. Bequeathed by the Eev. C. M. Cracherode, 1799. 2. Poeteait op Simon Episoopius. Half-length, in three-quarter face, directed 1., eyes fuU. Encloaed in a round border, inscribed Mr. Simon Episcopius, Theologise Professor, Mtatis suae LX., A" D' 1643. Signed and dated /. Faber Londini fecit 1698. Below the border, verses in Dutch : — Hier Siefge afgebeeld de Tolck van Goodes woort Die 't Hemels Vaderlant aanwees, door Leer, en leven Wiens Wijse pen getuyght (al hebt g' Hem noit geehoort Wat Goddeli/k verstant, Hem was van Godt gegeven Dus heeft hy d' aard betreen : tot eer van Syne Stam : Tot Eeiijl van Goods gemeent ; tot Boem van Amsterdam. J. Faber scripsit : 0. P. Wittenoom Comp. Pen and ink on vellum ; roy., 7 x 4J in. Engraved. Purchased October, 1872. 3. Poeteait op Queen Anne. Head and shoulders, nearly full face, turned a little 1., eyes full ; wearing crown, and with necklace of pearls. Pen and ink on veUum ; oval ; roy., 4f X 3| in. Purchased May, 1S90, at tho Percy sale. 128 Draivings of the British School. FAHEY, James (b. 1804, d. 1885). Water-colour painter ; born at Paddington ; pupil of Swaine ; worked in Munich and Paris, after wards in London ; secretary of the Institute of Painters in Water- Colours ; drawing-master at Merchant Taylors' School, 1856-1883. 1. Noeth Feont of old Hungerfoed Maeket. With groups of figures in the street at the r. and in the foreground. Water colours ; 12J X 17J iu. In portfolio xvn. (No. 39) of the Grace Collection of London Views, purchased November, 1880. FAITHORNE, William, the Elder (b. 1616, d. 1691). Engraver and portrait painter ; born in London ; pupil of William Peake, John Payne, and Sir Robert Peake ; fought with the Royalists, and was taken prisoner ; exiled on his release, and worked in Paris under Nanteuil ; settled in England 1650, selling and engra-ving prints and drawing portraits in crayons. The earliest highly skilled English master of engraving. 1. Poeteait of Sie Edmund King, Suegbon. Bust on a pedestal, three-quarter face, directed 1., the eyes looking a little r. Crayons and water colours ; roy., 7J X 5f in. Sir Edmund King, b, 1629, practised as a surgeon in London ; he was a skilful dissector, kept a museum, and published several papers on his experiments and observations ; was physician to Charles II, and a friend of Sir Hans Sloane, who possessed this portrait. Died 1709. 2. John Bay, F.E.S. Half-length, in an oval, three-quarter face, turned 1., eyes full ; with long, grey hair. Crayons ; roy., 9J X 7f in. Engraved by W. Elder and by G. Vertue. John Bay, one of the greatest of English naturalists,. b. 1627, at Black Notley, E-ises, was educated at Cambridge; published his first work on the plants of the Cambridge district, 1660; made a succession of tours with Francis Willoughby, collecting observations on natural history ; on the Continent 1663- 1666; published 'Methodus Pl.intarum Nova' 1682, 'Historia Plantarum ' 1686-1704, and other works on botany, very important for their improvements in cLissifioation ; and left at his death, 1705, a work on insects, of equal or greater value. Nos. 1 and 2 were bequeathed by Sir Hans Sloane, Bart., 1753. 3. Sie Orlando Bridgeman, Babt. Half-length, the face iu three-quarters look ing 1 , in robes of Lord Keeper, skull-cap on head, great seal r. Indian ink, highly finished, on vellum; roy., 6 x 4| in. Engr.ived by Faithorne. Sir Orlando Bridgeman, b. about 1606, educated at Cambridge, was called to the bar 1632, and got great reputation as a lawyer; M,P. for Wigan 1610; a prominent E->yalist, but submitted to Cromwell; was made a baronet at the E.storation; L^rd Chief Justice 1660-1667, Lord Keeper of the Great Seal 1667-1672. Died 1674. Conspicuous for moderation of temper, declining in old age into impotence of judgment. Attributed to Faithorne. Two on one mount, roy., viz. : — (a) The Execution of Chaeles L View from below the scaffold before White hall, the king stamling between two groups of raen and speaking to the people below, while a cherub bears him a crown and palm from heaven Pen and hik and indigo wash ; 3 X If in. (6) Entey op Charles IL into London ('?). Charles II. riding at the head of a troop with banners. Pen and ink and indigo wash ; 3 x If in. Purchased October, 1887. p. E. Falconet. — C. M. Fanshawe.—J. Farington. 129 FALCONET, Pierre Etienne (b. 1741, d. 1791). Portrait painter; son of a sculptor; came to London about 1766 to study under Reynolds ; exhibited chiefly portraits ; best known by his pencil por traits of artists, engraved by Pariset ; returned to France after 1773. I. Poeteait op Paul Sandby. Head in I. profile on a circular medallion suspended by a ribbon with a tablet inscribed P. Sanby [sic] below. Signed and dated P. F. del. 1768. Pencil, with slight tint on cheek and ooat-coUar ; roy., 7 X 4J in. Engraved by B. Eeading. For Sandby see under his name. Purchased August, 1868. 2. Sie William Chambees. Head in I. profile on a circular medallion, with ribbon and tablet, like the preceding drawing ; on the tablet Sir W. Clmmbers. Signed aud dated P. F. del. 1768. Pencil, with very slight tint on cheek ; roy., 6J x 5 in. Engraved by D.P. Pariset. For Chambers see under his name. Purchased June, 1881. 8. Peteb the Wild Man. Sitting on a bank with twigs in his hand. Black and white chalk on drab paper ; imp., 20f x 16 in. Engraved in mezzotint by Valentine Green. Peter was discovered in a hollow tree by George I. when hunting near Herrenhausen and brought to England 1725 ; he could never be taught to speak, but lived till 1785. Purchased March, 1851. FANSHAWE, Catherine Maria (b. 1765, d. 1834). Amateur etcher and poetess ; made a few etchings, which are in the Museum ; best known as the writer of ' Lines on the letter H,' once ascribed to Byron. 1. Maey Queen of Scots ; feom a Medallion. Head iu 1. profile, in an oval. Indian ink and indigo ; 4| x 4 in. (with margin). 2. Maey Queen op Scots ; peom a Pictube. Half length, three-quarter face, turned r., eyes full. PencU and indian-ink sketch ; 8J x 2| in. 3. Maey Queen op Scots ; peom a Poeteait at Dalmahoy. Half-length, three- quarter face turned 1., eyes full. The features of the face and dress distinguished by letters corresponding to a description written below. SUght pen sketch ; 3 x 2J in. All inserted in an album of Miss Fanshawe's etchings purchased at the Dawson Turner sale, March, 1853. FARINGTON, Joseph, R.A. (b. 1747, d. 1821). Landscape painter; born at Leigh, Lancashire ; pupil of Richard Wilson ; elected A.R.A. 1783, R.A. 1785; painted landscape, mainly of a topographical character ; two sets of his views in the Lake District were engraved, and he published also a number of other views in England. 1. Town Hall at King's Lynn. View down a street which winds away from the fore^'round to the r. ; ou the r. side, the end of a church, aud next to that the front of the Town Hall ; figures si ated or standing along the pavement r., and a man with a horse 1. Inscribed Toum Hall at King's Lynn, Jos. Farington, 1787. Pen and sepia with Indian ink wash ; roy., 11| x 12J in. Purchased October, 1881. 2. Landscape with Hoeseman. A horseman stopping at the top of a slope in a road on the 1. bank of which grows an isolated beech-tree ; beyond are fields and woods with a house appearing among thera. Signed Jos. Farington. Pen and sepia, washed with sepia and Indian ink ; imp., 18 x 16J in. VOL. II. ^ 130 Drawings of the British School. FARNBOROUGH, Amelia (Long) Lady (b. 1762, d 1837). Amateur artist; daughter of Sir Abraham Hume ; married 1793 to Charles Lon<- afterwards 1st Baron Farnborough ; well known in her day as a skilful horticulturist; died at Bromley Hill, Kent, the grounds of which she had chief share in laying out. 1 In the Geounds at Bbomlby Hill. Trees, with broom and fern and bluebells on a grassy bank. Signed and dated Bromley Hill. Amelia Long, 1805. Pencil ; roy., 9f X 15| in. Bequeathed by Eichard Payne-Knight, Esq., 1824. FERG Franz de Paula (b. 1689, d. 1740). Painter and etcher; born in Vienna, pupil of his father, Pancraz Perg, Joseph Orient and others ; worked at Bamberg and Dresden, winning wide reputation for small landscapes with figures, and peasant scenes ; settled finally in London, where he was employed as painter in the Chelsea China manufactory ; died in poverty. 1. The Well, A well in the 1. foreground under a tree ; at a little distance a low, half-ruined house. Indian-ink wash and peucil ; 4J X 8 in. Bequeathed by Eichard Payne-Knight, Esq., 1824. 2. A Village Faie. A company of various sorts and conditions picnicking, trafficking, and looking on in an open space before a village : tents and tumbrels in the background. Pen, water colour, and chalk on greenish paper ; antiq., 14J x 30J in. Purchased June, 1897. FIELD J. (worked about 1806-1846). Profilist; worked in London. 1. Two on one mount, roy., viz. : — (a) Peofile of William Pitt ; apteb the Bust of Nollbkens. SUhouette in 1. profile ; the throat bare. Signed Field. Sepia, with pen shading ; oval ; 3J x 2| in. (b) Peopile of William Pitt, alteeed by Lady Hestee Stanhope. Profile bust, with coat and stock, scratched and altered with a penknife. Sepia, with pen shading ; oval; SJ x 2 J in. Presented by the artist, April, 1846, with the following explanatory note : — In the year 1806 I was acquainted and always well received by that eminent sculptor Jos'". NoUekens, who gave me free liberty to take the profile outlines from any of his busts of celebrated characters. He took the Cust from the Face of the late William Pitt and also of Charles James Fox ; that of Mr. P. required his utmost study and attenlion before it was permitted (by a Committee of Taste) to corae before the World, tlie agonies of Death were so strongly developed in the expression. Two busts were made, the first broken up and the second approved of He told me at that time he had an order in the House to i xecute 80 in Miirhle at 100 guineas apiece. I took a Protile and reduced it from life-size and submitted it to Lady Hester Stanhope, then living at 2, Montague Square, Cumberland Place. I was kindly received by her, aud upcm stating the purport of my Visit to her she said how sorry she was that I had not applied to her that I should have taken Mr. Pitt's profile. She further said she did not approve of any of the likenesses done of him, the one enclosed from Mr. NoUekens' bust she received from me, and placing it on the Table before her, took up her penknife and in a few seconds returned it to me in its present scratched state, saying at the same time, 'There, that is more like what he was, but don't show it to anyone.' Just at that time Mr. Canning came in on a visit to her, and seated himself on a square Ottoman . I made my obedience and retired. The Pioflle is precisely in the same state I received it from her hand, which I have ever since preserved. J. Field, Profilist, 2, Strand. A. V. G. Fielding.— N. S. Fielding. 131 FIELDING, Anthony Vandyke Copley (b, 1787, d. 1855). Painter; second son and pupil of Nathan Theodore Fielding ; assisted also by John Varley ; painted a few oil pictures, but is best known by his very numerous water colours of British mountain scenery, stormy seas and, in especial, effects of light and mist on the Sussex Downs, in the neighbourhood of which he passed much of the last few years of his life ; elected Associate of the Old Water Colour Society, 1810, Member 1812, and was President from 1831 till his death. Admirable at his best. Fielding weakened his style by facile repetition, the result of his extreme popularity as a drawing master. 1. Buckingham House ; peom a Sketch by J. Subnet. A view of the house from St. James's Park, with the pond in the foreground frozen over, and men and boys skating aud sliding ; at the 1., under some trees, a tent and a fire on the ice in front of it ; further away, Queen Charlotte's carriage, escorted by horse-guards, approaches the house from the r. Water colours, with pen outlines; roy., 7J x llj in. Burnet's sketch, from whieh this was done, was engraved by himself for Tho Beauties of England and Wales, 1810, and the print is mounted with the drawing; the royal carriage and many of the figures have been added by Fielding. Buckingham House was built in 1705 for the Duke of Buckingham ; purchased by George III. 1762 ; settled on Queen Charlotte 1775, and pulled down 1825, when Buckingham Palace was built for George IV. on its site. Purchased at the Dawson Turner sale, May, 1859. 2. Two on one mount, roy., viz. : — (a) DuNGLAs Castle, on the Clyde, View looking up the river; the Castle ruins on the shore r. at a little distance ; low hills on the other side ; boats on the water. Inscribed Dunglass Castle, on the Clyde. Pencil; 8 J x 5| in. (6) Ben Lui, pbom neae Cladioh, Loch Awe. Ben Lui and neighbouring peaks seen in the distance over bare hills with a wooded glen winding through them at the 1. and a stream pouring down it; in the foreground a hill-side and trees, Inscribed View from near Clady on Loch Awe. Ben Lay in the distance. Aug. 22-28. PeucU ; 4f X 8| in. Purchased May, 1885. 3. Wbstminstee Beidge and the Abbey, peom the Eiveb. A view looking westward up the Thames ou a hazy day ; boats iu the foreground. Signed and dated C. V. Fielding, 1811. Water colours ; 7 x 9f in. In portfolio VI. of the Grace Collection of London Views, purchased November, 1880. FIELDING, Newton Smith (b. 1799, d, 1856). Painter and litho grapher ; youngest brother of Copley Fielding ; born at Huntingdon ; exhibited at the Water Colour Society ; worked in Paris during the latter part of his life, and died there. Best known for his paintings and lithographs of animals ; published several books on art. 1. Spaniel deinking. A spaniel lapping at a pool under high reeds and grasses. Signed and dated Newton Fielding, 1 834. Water colours ; roy., 5 x 7| in. Purchased May, 1876. K / 132 Drawings of the British School. 2. Dog and Game. A dog guarding some dead birds and a game bag, near a high bank with foxgloves at the bottom ; at the r. a path receding under thick trees. Signed and d.ited Newton Fielding, 1831. Water colours ; roy., 5 x 7f in. Purchased October, 1877. 3. Ducks in a Landscape. Ducks by the shore of a stream above a weir ; woods behind and a cottage at the top of a field r., against yellow evening light. Water colours ; roy., 5J x 8| in. Purchased AprU, 1888. FIELDING, Thales (b. 1793, d. 1837). Painter; third son of Nathan Theodore Fielding, and brother of the two artists preceding ; best known by his water colour landscapes and cattle pieces ; elected Associate of the Water Colour Society 1829 ; worked chiefly in London. 1. Old Beeakwatee, Plymouth. The sea-shore, with two men busy about a boat drawn up near a breakwater, araong the shattered piles of which the waves are breaking ; a few sails ou the sea, distant coast 1., and a storm blowing up from the r. At the I. lower comer is the number 26. Water colours; roy., 7 x 11 in. Purchased May, 1890, at the Percy sale. FIELDING, Theodore Henry Adolphus (b. 1781, d. 1851). Painter and engraver ; eldest brother of the three preceding artists ; painted in water colours, but was more active as an engraver in stipple and aquatint, and published a number of sets of aquatint plates, and also several books on the practice of art ; lived at Croydon. 1 Windsoe Castle, pbom the Thames. The river, with a clump of trees on a jutting part of the near bank 1. ; beyond, the woods of the further shore and the castle buildings above against a pale evening sky ; a brown-saUed boat on the river r. Signed T. H. F. Water colours ; roy., 4^ x 6J in. Purchased May, 1890, at the Percy sale. FINCH, Francis Oliver (b. 1802, d. 1862). Painter, chiefly in water colours ; born in London ; pupil of John Varley ; after a tour in Scotland, settled in London ; elected Associate of the Water Colour Society 1822, Member 1827 ; formed one of the group of painters influenced by Blake, with Calvert and S. Pahner, painting chiefly pastoral compositions akin to George Barrett in style, but less con ventionally classical. 1. Landscape with Eivee and Windmill. A river flowing through meadows into the foreground and reflecting a calm evening sky, agaiust which rises a wind mill in tne near distance ; at the 1. a boat moored by the bank; at the r. a row of pollard willows and two girls under them talking to a man who sits ou a felled tree. Water colours ; roy , 10| x 14| in. 2. St. (3atheeine's Hill and Chapel, Guildfoed. View from below of the rounded hill crowned by the Chapel, with the river fl..wing under U and out into the r. foreground ; two figures on the river bank, and others in a hayfield 1., beyond which are a group of shady elms ; a boat upon the stream Water colours; roy., 8J x 12J in. Nos. 1 and 2 were purchased from the aitist's widow, June, 1865. Francis Oliver Finch. — J. Findlay. 133 3, Landscape with Wateepall. A rocky stream between two groups of beech- trees, framing a view of mountains seen over a wooded valley ; at the r. a waterfall feeding the stream, in the foreground two female figures seatid among the rocks. Water colours ; roy., lOJ x 13J in. Presented by the artist's widow, June, 1865. 4. A Woodland Steeam. The rocky banks of a stream which flows into the 1. foreground from under a one-arched bridge; trees on either side overhanging the water, and woods and distant mountains beyond ; a figure in white crossing the bridge, and another figure seated in shadow in the foreground r. Signed F. 0. Finch. Water colours ; roy. (rounded at the corners), 7f x IOf in. Presented by the artist's widow, February, 1866. 5. EoMANTic Landscafe. a ruined tower on a rocky height standing against a sky of storm and lightning ; at the 1., valley and mountain ; blasted trees in the foreground. Indian-ink and black chalk sketch, heightened with white ; roy., 8f X Hj in. 6. A EocKY Glen. Masses of rock in the foreground, with a moor beyond, and the sun breaking through clouds over a distant mountain peak. Sepia ; roy., 5 J X SJ in. Nos. 5 and 6 were purchased May, 1890, at the Percy sale. 7. The Tbeeace by the Lake. A garden terrace, with high beeches r. and 1., looking on a lake bordered by distant mountains ; two ladies reading on a seat in the foreground 1., and two others advancing at a little diatance along a raised path r. Water colours ; roy , 9J x 12f in. Purchased April, 1894. FINDLAY, J. (worked about 1826-1856). Topographical draughtsman ; worked in London. Drawings iu the Grace Collection of London Views, purchased November, 1880. 1. View op Old Houses being pulled down to poem Victoeia Steeet, looking towaeds Pimlico. Inscribed Victoria Street, Westminster, March, 1851. Water colours ; Sf x 8| in. 2. View of the same Steeet, looking towabds the Abbey, 1851. Inscribed Victoria Street, Westminster. Water coloura ; 8| x 9| in. Nos. 1 and 2 in Portfolio xiv., Nos. 53 and 54. 3. Old Entbancb to the Ceown and Anchoe Tavbbn, on the South Side op THE Steand. Signed and dated /. Findlay, May, 1851. Water colours ; 7f X 5J in. 4. The Cock and Magpie, Deuey Lane, 1850. For another drawing of this inn see drawings by Archer, Portfolio x.. No. (23). Water colours ; lOJ x 7| in. 5. Old Houses in Milpoed Lane, Steand, 1827. Now puUed down. Water colours ; 8 X 6 in. Nos. 3, 4 and 5 are m Portfolio xvii., Nos. 148, 157 and 188. 6. Child's Banking House, Fleet Steeet, next Temple Bae, 1855. Water colours ; 9i X 7f in. 7. The South Feont of Temple Chubch and the Entrance to No. 4. 1855. Water colours ; 7i x 4i in. 184 Draivings of the British School. 8. Middle Temple Hall, Noeth Feont, 1846. As altered by Hakewell and Savage in 1831. Water colours ; 9J x 5J in. 9. Middle Temple Lane feom Fleet Steeet, 1855. Water colours ; SJ X 4 J in. 10. The Enteanob to the Temple fbom Temple Lane, Whitepbiabs, 1855. Water colours ; 9 X 5J iu. 11. The Enteance to De. Johnson's House in Innee Temple Lane, 1855. Water colours ; 8 j x 5i in. 12. The Aech Couet Enteance to Temple Gaedens, 1855. Water colours ; 7| x 3f in. Nos. 6-12 are m Portfolio xix., Nos. 27, 70, 88, 85, 86, 90 and 98. 18. St. Michael's Pateenostee Eoyal, 1856. Water colours ; 8f x 6| in. 1 4. An Old House, No. 35, Maek Lane. Water colours ; 6| X 4^ iu. Nos. 13 and 14 are in Portfolio xx., Nos. 41* and 110. 15. An Old House at the Coenee of Feiday Steeet, Chbapside, with the Sign op the Swan, 1855. Water colours ; 9^ X 5J in. In PortfoUo xxi., No. 40. 16. An Old Inn, the Coenee op Fenohuboh Steeet. Water colours ; SJ x 4J in. 17, An Old House, No. 91, Lbadenhall Steeet, 1855. Water colours ; 9 x 5 in. 18. The Feont of an Old House, No. 35, Maek Lane. Water colours ; 7| X 5| in. 19. Aldgate Watch House, adjoining St. Kathebinb Ceee, on the Noeth Side of Leadenhall Steeet, 1855. Water colours ; 9i x 6J in. 20. Old House on the West Side of St. Maey Axe and Leadenhall Street. Supposed to be Stowe's house. Water colours ; 9 X 5J in. Nos. 16-20 are in Portfolio xxni., Nos. 32, 65, 68**, 75 and 84. 21. The old Enteance to Ceipplegate Chuech and the old Houses in Foee Steeet, 1855. Signed /. Findlay. Water colours ; 12 x 7J in. In Portlolio xxv., No. 121. 22. Old House in which Milton once lived on the Nobth Side op St Baetholomew's Chuechyaed. Water colours ; OJ x 6|in. 28. Enteance to Smithpield feom Cloth Faie, 1852. Water colours ; 8 j x 5J iu. 24. Enteance to Baetholomew Close peom Cloth Faie 1852 Water colours ; 8| x 5|in. ' 25. The Old Feenoh Hoen Public House in Duke Steeet. Built 1599 Water colours ; 7| x 4| in. " 26. Old House adjoining the Noeth Side op the Feench Hoen Water colours ; 7| x 4f in. Nos. 21-26 are in Portfolio xxvi., Nos. 60, 103, 106, 113, 114. /. Findlay. — John George Paul Fischer. 135 27, Old Houses in Fetteb Lane, Nos. 98 and 99 ; 1857. Water colours ; 9f x 6J in. In Portfolio xxvii., No. 113. 28. Last View op the Front Sceeen op the Old Beitish Museum, 1850. Water culours; 4J x 7 in. In Portfolio xxvui., No. 88. 29. The Queen's Head and Aetichokb Inn, Mabylebone Paek. Now pulled down. Drawn apparently after an earlier priut or sketch. Water colours ; 5J X 6J in. In Portfolio xxx., No. 104. 30. The Old Inn called John O'Grote, in the Borough Eoad, 1810. Water colours ; 3 x 4 in. 81. Old Houses in Queen Anne Couet, 1839. Water colours ; 5 x 7J in. Nos. 30 and 31 are iu Portfolio xxxiv., Nos. 161 and 184. 32. A Tablet, inseeted in the Wall of New Bethlehem, With arms of Soutliwaik, 1716, 1,, and a Dog with Artichoke, r. Water colours ; 3J x 3J in. 83. The Old Halfway House Inn, Corner op Webbeb Steeet. Pulled down 1824. Water colours ; 4J x 7J in. 34. Old Houses at Kennington Geeen, next the New Vestey Hall, 1-55. Water colours ; 5| x 7J in. 35. End View op the same Houses, 1855. Water colours ; 5| X 7J in. 36. St. Geobge's Eoman Catholic Chuech, Newlngton, 1851. Water colours ; 6J X 8 J in. 37. Geeen Gate Public House m Geay's Walk, Lambeth, 1848. Sepia ; 4f X 5J in. 38. View op the Bishop op Heeepoed's House in High Steeet, Lamueth, 1851. Now a drain pipe manufactory. Water colours ; 6| X Sf in. 39. Old House in High Steeet, Lambeth, 1852. Water colours ; 6 J X 7 J in. 40. The Nag's Head Public House, Foee Stbeet, Lambeth, by the Thames, 1851. Showing the Penitentiary opposite. Water colours ; 6| x 8| in. 41. Enteance to Vauxhall Gaedens, peom the Newinqton Eoad. Water colour monochrome ; 4} X 6§ in. Nos. 82-41 are in PortfoUo xxxv., Nos. 82, 33, 59, 61, 81, 123, 125 and 128. FISCHER, John George Paul (b. 1786, d. 1875). Painter; born at Hanover ; pupil of J. H. Ramberg ; settled in England 1810, and was patronised by royalty ; exhibited at the Royal Academy 1817- 1852, chiefly miniature portraits and landscapes in water colours ; worked in London and at Cheltenham. 1. Queen Chablotte's Gabden, Buckingham House, 1810. A garden laid out in brilliant beds of flowers round a fountain 1., with a wall along the r., shaded by trees extending to a low building, over which appears part of the house and clock tower ; an iron gate in the wall near the foreground. Water colours, highly finished ; roy., 7 X 9 in. Purchased January, 1877. 136 Drawings of the British School. 2. A Lady feeding a Bied. A lady seated towards the 1. feeding a bird in a cage which stands on a table, from a plate in her other hand. Pen, partly tinted and stippled with water colours ; roy., 8J x 7| in. 3. Heemitage Cottage, Bath Eoad, Cheltenham. View looking up the road ; the thatched cottage, half hidden by trees and shrubs, behind palings 1. ; a boy and two small children standing by a horse near the palings, and a man mend ing the road with a horse and cart behind him a little further off. Inscribed in pencil Cottage of Ferryman, and in ink Hermitage Cottage, Bath Eoad, Chelten ham, Sept. 16, 1885, Paul Fischer. Pen and water colour tint ; roy., 7J X 8f in. 4. Scene at a Chuech Poech. Groups of women and children waiting in the Gothic porch of a church, the interior of which, crowded with people, ia partly seen through the open door : outside the porch 1. a boy with a dog, and r. a woman and child and a man with a long staff. Pen, partly shaded with Indian ink ; roy., 7f x SJ in. 5. 'The Seven Ages.' The outside of a cottage, with a family group in front of it ; a young man looking on at his wife and young child feeding pigeons ; next to them r. a girl mending the dress of a child standing by her ; the grandmother teaching a boy his letters ; and raore to the r , under a tree, an elder boy with a rake, standing on a tub ; inshle the door of the cottage the grandfather nursing a baby ; and a girl looking out of a window. Inscribed Cheltenham, Sept. the 5th, 1837. Paul Fischer. The seven ages : Shakespeare ? No! Pen and Indian-ink wash ; roy., 7i x SJ in. 6. The Field Pebachee. A preacher kneeling with one knee on a chair and preaching, book in hand, surrounded by a little crowd ; women seated on chairs with children I round them, men sitting on the grass, one with a dog ; and two workmen standing 1. Dated and signed Sept. the 1th, 1837. Paul Fischer, Cheltenham, and inscribed I say, says I, ivith Jobe ! I knows that my . . . (the rest obUtcrated), and with another inscription in Hebrew. Pen and ink ; roy., 7J x 9 iu. 7. ' BoNA-piDE maeeied 1 ' A mother aeated in a chair exclaiming joyfully as her daughter shows her wedding ring on her finger. Inscribed Bona-fida [sic] married !!! Dated and signed Cheltenham, Sept. the Sth, 35. Paul Fischer. Pen and ink ; roy., 7| X 9 in. 8. The Eeband Boy. An errand boy sitting on a paling under a tree at the corner of a road ; a dog guarding his basket on the pavement below ; at the r. a little girl carrying a jug. Dated and signed Cheltenham, August 19th, 27. Paul Fischer. Peu and ink ; roy., 9 x7i in. 9. ' A DEVILISH Subject fob a devilish Pictuee.' Demons tormenting human beings ; at ihe top a woman writhing in the clutches of horned imps ; at the 1. a miser hurried along by a demon ; below a man stretched out on his face and about to be beheaded ; at the r. a devil with two fat monks in a bag, and beneath, a judge imploring mercy of a hog-faced monster. Inscribed A divlish subject for a divlish picture ; if designed by M'Clise and coloured up by Turner, would be much admired in the Academy Exhibition— but would he kikd out if sent hy its humble maker. Paul Fischer (the nume afterwards crossed out). N.B. The Divels collected from the panels in a church — of cours not in England ! Peu and madder brown; roy., 12J x 9i in. 10. Two on one mount ; roy,, viz. : — (a) Poeteait of Mes. W. H. Hunt. Half length, in three-quarter face looking I., the hair falling in ringlets. PencU ; 3| X 2J m. (h) William Heney Hu^T. Head and shoulders, the face in three-quarters turned r., eyes full ; with slight smUe. Pencil ; .S| x 2J in. For biography of W. H. Hunt, see in this catalogue under his name Nos. 2-10 were purchased May, 1886. Jonathan Fisher. — Thomas Fisher. — John Flaxman. 137 FISHER, Jonathan (d. 1812). Landscape painter; born in Dublin published 1792 'A Picturesque Tour of Killarney,' with aquatint engra-vings after his drawings, and other works on Irish scenery. 1. EusTic Buildings in a Landscape. A man with cattle on a road coming into the 1. foreground past some thatched buildings among trees. Water colour tint and pen ; roy., 8J x 5| in. Purchased May, 1890, at the Percy sale. FISHER, Thomas (b. 1782, d. 1836). Amateur draughtsman and etcher ; made numerous drawings, chiefly antiquarian. 1. Finsbury Squaee, London. View down one side of the square, with » girl milking a cow in the 1. foreground. Water colours and Indian ink ; 2f X 4| in. Inserted in Vol. VIII. of the interleaved copy of Pennant's ' London,' be queathed by J. C. Crowle, Esq., 1811. FLAXMAN, John, R.A. (b. 1755, d. 1826). Sculptor and draughtsman ; born at York, but bred in London ; gained the Society of Arts prize at twelve, and again at fifteen ; began to study and to exhibit at the Eoyal Academy in 1770; designed for the Wedgwoods from 1775; occupied in this work and in designing monuments till 1787 ; 1787- 1794 in Rome, where he made the famous drawings to Homer, Dante, and jEschylus ; from 1794 till death worked in London, pro ducing a great number of monuments ; published designs, the best that he did in this class, for Hesiod (1817), engraved by his friend Blake ; and in 1818 designed the ' Shield of Achilles.' The following drawings are arranged in groups, according to subject, beginning with those for the great series of deaigns for classics. [1-12.] The Hiad. 1798. v/1. Two Subjects : (a) Beisbis taken peom Achilles (' Iliad,' I., 345). Patroclus handing Briseis to the charge of Eurybates, who leads her away to the r., Achilles standing with head averted 1. /h) Thbtis calling Bbiaeeus ('Iliad,' I., 401). Thetis, I., invokes Briareus, whose head and hands alone appear, while Zeus sits above and the other gods fly. Inscribed Thetis calling Briareus. Pen and pencU; roy., 10 x 7| in. Both engraved by Piroli, with modifications. Purchased May, 1888. \/Z. Hebe poueing Nbctab poe the Gods (' Biad,' IV., 3). Zeus in the centre, holding out his cup for Hebe to fill ; the other gods and goddesses sitting on either side; the Genius of Olympus beneath. Slight study (with a faint sketch for the Judgment of Paris, above). Pen and pencil ; roy., IOf x 7| in. Engraved by Piroli, with additions and modifications. ys. The same Subject. Slight study. With a sketch below of Zeus chasing the other gods, and seeking Sleep to punish him ('Iliad,' XIV., 256). See below, No. 11 (a). Pen and pencil; roy., 12 x 7f in. Nos. 2 and 3 were purchased March, 1862, at the Flaxman sale. 138 Drawings of the British School. 4. /Two on one mount, roy., viz. : — w (a) Theee Subjects. Ulysses and Diomede returning with the horses of Ehesus and the spoils of Dolon and greeted by Nestor (' Iliad," X., 540) ; Iris leading the Winds to the tomb of Patroclus (' Iliad,' XXIIL, 212) ; AchUles seeking to embrace the ghost of Patroclus (' Iliad,' XXIII., 99). Pen over pencil; 10 J X 7| in. The first of these subjects engraved by Piroli. \/(b) Three Subjects. Two versions of the return of Ulysses and Diomede ; two slight sketches for Andromache fainting on the wail (' Iliad,' XXIL, 474) ; and a slight sketch of Achilles and the ghost of Patroclus. Pen over pencil, or pencil ; lOJ X 7f in. The second subject engraved by Piroli. 5. Two on one mount, roy., viz. : — (a) Thetis bidding the Neeeids seek theie Fathee undee the Sta (' Iliad,' XVIH., 140). They fly downwards towards the I, Thetis floating above them r. With a study above for the same subject. Pen and pencil ; 10| x 7J in. Engraved by Piroli. J(h) Three Subjects. Hera sending the Sun under the Ocean (' Iliad,' XVIII., 239). Thetis rising with the Nereids from her father's home at the cry of AchUles (' Iliad,' XVIII., 35) ; Apollo, Ares, Xanthus, Aphrodite and Leto coming down to aid the Trojans (' Iliad,' XX,, 37) ; with a sUglit pencil sketch for the last subject. Pen over pencil ; lOJ x 7f in. The first and third subjects engraved by Piroli. Nos. 4 and 5 were purchased May, 1888. Eurynome AND Thetis eboeiving the Infant Heph«stus(' Iliad,' XVIH,, 898). The two kneeling to cherish the child, while Oceanus looks on. Finished design, signed in the margin /. Flaxman, fe., and inscribed Eurynome, Vulcan, Thetis, Ocean. She and Eurynome my griefs redrest. And soft receiv'd me on their silver breast. Pope's H: B: 18: l: 465. Pen over pencil ; roy., 8 x 1 Of in. Engraved by Piroli. Purchased July, 1846. 7. Two on one mount, roy., viz. : — y(a) Two Subjects. Aphrodite aud ApoUo keeping fresh the body of Hector ('Iliad,' XXIIL, 185); in two versions, the first without Apollo, who in the second is seen with his chariot in the sun's circle. The Winds blowing ou the pyre of Patroclus ('Iliad,' XXIIL, 216). Inscribed Homer's Iliad, First Tlioughls. Pen sketches ; IOf x 7f in. The latter subject engraved by Piroli. \/(b) Two Subjects. Hector and the Trojans disputing with Ajax and Menelaus for the body of Patroclus ('Iliad,' XVII., 276); Aphrodite and Apollo keeping fresh Hector's body, both fioating over him (a different treatment from the two sketches just described): with faint and very slight pencil sketches for other subjects, AchUles and Scamander (?), Achilles dragging Hector behind his chariot, etc. Pen over pencil sketches ; 10 J x 7f in. The first subject engraved by Piroli. 8. Two on one mount, roy., viz. : — (a) Two Subjects. Iris bidding the Winds go down fo the pyre of Patroclus (' Iliad,' XXIIL, 201) ; the Trojans lamenting over Hector's body (' Iliad ' XXIV., 822) ; Andromache clasps his head, and Helen and Hecuba stand by With a slight pencil sketch of Iris dismissing the Winds. Pen over pencil sketches ; 10| x 7J in. V^. John Flaxman. 189 -^ (&) Two Subjects. Trojans lamenting over Hector, a different design from Ihat just described ; women kneeling by the bier, and others standing r. at tho foot. The Houra unlooaing the horses of Hera and Athene (' Iliad,' VIII., 483). Peu over pencil sketches; 10| x 7J in. The second subject engraved by Piroli. 9. Two on one mount, roy., viz. : — ^, (a) The Winds kindling the Pybe of Pateoolus ('Iliad,' XXIIL, 216). They blow from above on the pyre. With a study above for the return of Ulysses and Diomede, described above. No. 4 (a). Pen over peucil sketch ; IOf x 7g in. Engraved by Piroli. ''(6) Ieis coming to bid Peiam eansom Heotoe. Iris coraing frora the r. and standing above Priam, who sits with bowed head surrounded by his sons (' Biad.' XXrS' , 1C9). Above, a study for the same subject with slight modifications ; below, a very slight pencil sketch for Achilles embracing the ghost of Patroclus. Pen over pencil sketch ; 10| x 7| in. Engraved by Piroli. 10. Two on one mount, roy., viz. : — Xa) Two Subjects. Andromache fainting on the wall in the arms of her women at beholding the body of Hector dragged by the chariot of Achilles (' Iliad,' XXIL, 466), and Scamander, choked with dead, attacking Achilles (' Hiad,' XXL, 825) ; with slight pencil studies for the former subject, and for the fight over Patroclus' body, described No. 7 (6). Pen over pencil sketches; 10| x 7 J in. Both engraved by Piroli. ^(6) Andeomache fainting on the Wall. With rough pencil and pen sketch for Zeus scattering the gods (' Iliad,' XIV., 256). Pen over pencU sketch ; IOf x 7f in. 11. Two on one mount, roy., viz. : — \^'(a) Two Subjects. Strife, with Terror and Fear on eaoh side of her, urging on the Greeks ; Zeus scattering the gods and pursuing Sleep, who takes refuge with Night ('lUad,' XIV., 256). Pen over pencU sketches ; 10| x 7J in. The latter subject engraved by Piroli from a greatly altered design. ^ (h) Two Subjects. Achillea dragging Hector behind his chariot (' Iliad,' XXIV., 15), Apollo fioating behind to protect the body from harm. Hector's brothers kneeling round his ashes and gathering his bones ('Iliad,' XXIV., 798). With a slight pencil sketch for Scamander and AchUles. Pen over pencil sketch ; IOf x 7f in. ^ The first subject engraved by Piroli. -^2. The Judgment op Pabis ('Iliad,' XXIV., 30). Paris stands I., the three goddesses r., Discord floating over their heads. Above, a sketch of the same subject without the figure of Discord (this figure is absent in the engraving, and Hermes is introduced behind Paris). Below, sketch of Hector placed on his funeral pUe by Priam and his sons (' Iliad,' XXIV., 787). Pen over pencU sketch ; rpy., IOf x 7| in. Both subjects engraved by Piroli. [13-14.] The Odyssey. \/ld. Heembs visiting Calypso (' Odyssey,' V., 85), Calypso, rising from her seat r., questions the god, who arrives from the 1. With small slight studies for the figure of Calypso. Pencil, partly gone over with a pen ; roy., 8J X lOJ in. Engraved by Neagle. 140 Drawings of the British School. V 14. The Cyclops drinking Wine. He is seen sitting in his cave facing to the front and holding the bowl to his lips. Ulysses pours the wine r., his comrades stand behind the sheep 1. Pen over pencil ; roy. (with margin), 9f x 12J in. A different design from that of the same subject, engraved by Parker. Nos. 7-14 were purchased May, 1888. 15. Two on one mount, roy., viz. : — / (a) Illusteation to Dante, Paeadisb, Canto III. Dante and Beatrice standing amid a world of stars and looking on that of the Empress Cootanza, who appears in the midot of its light, kneeling. Pen ; 5J X 7| in. The figures of Dante and Beatrice were used by Flaxman for an illustra tion to Canto v., engraved by Piroli. i/ (6) Illusteation to Dante, Paeadisb, Canto XXXI, Mary the Quren of Heaven enthroned, and encircled by adoring forms moving among the rays proceeding from her glory. Pen ; 5J X 7J in. Engraved by Piroli for Compositions from Dante, 1793. Purchased May, 18S5, at the Ciieney sale. [16.-i23.] Compositions from .^Uschylus. Vl6. The Peaybe of the Daughtees of Danaus (Suppliants, 1). The daughters of Danaus gathering prostrate round the fronting statue of Zeus ; the statues of Hera and Athene on either side of it. Inscribed Supplicants. Pen over pencil ; roy., 8§ x 12J in. This design was discarded for one engraved by Piroli, in which the statues are seen nearly in profile. ^ 17. Abtemis (Suppliants, 144). The goddess stepping from her radiant crescent, holding a scarf above her head. Pen over pencil ; roy., 9| x 12| in. i/lS. Cassandea (Agamemnon, 1269). Cassandra casting down her wreath and staff, the insignia of a prophet, while the chorus 1. look on in terror. ' Lo, AppoUo himself disrobes me of my prophetess' attire.' SUght pencil studies at the r. , Pen over pencil ; roy., 8J x 12J in. vlg. Cassandea peophesying the Death op Agamemnon and Heeselp (Agamem non, 1072, etc.). She stands with a gesture of horror looking to the r. ; in the background r. two of the chorus slightly indicated. Peu over pencil ; roy., 8^ x 12| in. 20. Two on one mount, roy., -viz. : — (a) Sheet op Studies chiefly poe Peomethus. Promethus chained to the rock with the daughters of Oceanus at his feet (Promethus, 1080: three studies, two of them slight) ; the Titan Atlas groaning under earth (Promethus, 425) ; Clytemnestra standing over the corpse of Agamemnon and the chorus bewailing him (Agamemnon, 1518). Pencil, or pen over pencil ; IOf X 7f in. / The first and last subjects engraved by Piroli. ^(h) The Dawn (Persians, 386). The Dawn in her chariot with white horses advancing over the earth. And another subject ; a fallen Titan (?). Pen over pencil ; IOf X 7§ in The first subject engraved by PiroU. 21. .Two ou one mount, roy., viz. : — J (a) Two Subjects feom the PpESiE. Xerxes falling from his chariot (Persians, 197), while Darius benda over hira in pity. The Persians slain by the Greeks, who hurl rocks and darts from above r. (Persians, 460). Pen over pencil sketches ; lOJ x 7J in. Both subjects engraved by Puoli. John Flaxman. 141 (h) Peesians slain by the Geeeks (Persians, 460). A different design from that engraved and just deseribed ; the Greeks are nearer, and hurl stnnes from the 1. With several louiih studies of Ca»sandra prophesying. Pen and pencil ; 10| x 7J in, 22, Two on one mount, roy., viz. : — \/(a) Two Subjects. Orestes about to kUl Clytajmnestra, who pleads for her life; Pyladesl., and the body of .^E-jisthus r. . Cl.oephoras, 896). With a sl-ght pencil study for the same subject. Below, Clytsemnestra slaying Agamemnon. Pen over penoU sketches ; ICJ x 7J in. (b) The Shade op Clyt^mnestea awaking the Fueies (Eumenides, 99). She stands surrounded by their sleeping forms. Aliove, n, slight peucil sketch of the same subject ; below, rough peucil studies for another subject. Pen over pencil sketch ; IOf x 7J in. ^ 23. Theee Subjects. Agamemnon arriving home in his chariot, greeted by the elders who stand I. (Agamemnon, 782 ; a different design from that engraved). The poet playing on the Ijre and singing to Victory, who approaches in her chariot (Agamemnon, 121 ; a different design frora that engraved). Sleep bearing away ou his wings the phantasm of Helen from Menelaus (Agamemuou, 420). Pen over pencil sketches ; 1' J x 7f in. The last subject engraved by Piroli. [24-26.] Illustrations to Sophocles. Not engraved. 24. Three on one mount, roy., -viz. : — \^(a) OEdipus the King. The plague-stricken Thebans lying about an altar. Below, CEdipus in anger sending away Tiresias, who leans upon a boy's shoulder (CEdipus Bex, 445). Pen over pencil ; SJ x 6f in. v\b) (Edipus the King. The plague-stricken Thebans. Below, Qildipus striking Laius from his chariot with a staff (Qidipus Bex, 810). Pen over pencil ; 7J x 6| in. 25. Two on one raount, roy., viz : — (a) Heeacles. Hiracles killing a man, to whom a woman clings. Pen ; 3 x 5^ iu. (6) Two Subjects. Oedipus embracing his children, led away by Creon (CEdipus Bex, 1521) ; and Orestes and Electra. Pen over pencil ; 8J x 5f in. Nos. 24 and 25 were purchased March, 1862. 26.yThree on one mount, roy., viz. : — v (a) CEdipus and his Daughtees. CEdipus embracing Antigone and Isomene (CEdipus Coloneus, 1110). Pen and Indian-ink wash ; 5| x 4f in. ^(b) Antigone oaeeied off by Ceeon. Creon and one of his guards tearing Antigone from the embrace of her father (CEdipus Coloneus, 844). Pen and Indian ink wash ; 8f X 6^ in. Lithographed by Maria Denman. (c) The Madness of Ajax. Ajax falling with his sword on the sheep ; Athene urging him on I. (Aj 'X, 55). Pen and Indian-ink wash. Purchased May, 1888. [27-47.] Compositions from the Works and Days and Theogony of Hesiod. Engraved by WiUiam Blake, 1817. ^/( 142 Drawings of the British School. ^27. Hesiod admonishing Peeses (_ Works and Days, 250). Hesiod sits 1., his brother r., an oak bough between them ; on a tablet above them, the title Hesiod's Works and Days. Below, a revised sketch for the same subject, with a wreath and scales suspended between the two figures. Pen sketches; roy., 8J x7| iu. Engraved from a more complete detign, Plate 2. Purchased March, 1862. ^28. Pandoea shown to the God5 (Theogony, 588). Hephsestus r., bringing Pandora to the gods, who sit eiithroned above, Poseidon below reclining by the chariot of the Dawn. Pen over pencil ; 7f X IOf in. Engraved, pi. 5. / Purchased May, 1888. ^29. Good Demons (Works and Days, 108). 'Earth-wandering spirits' protecting raankind ; one at the 1. keeps a wolf from a sleeping man, another r. caresses the cheek of his sleeping wife ; three others float past behind. Pen over pencil sketch ; roy., 8f X 7 J in. Engraved, pi. 10. 80. Two on one raount, roy., viz. : — • y(a) Oh. The Brazen Age (Works and Days, 136). A combat between warriors p'unging spears into each other; wild beasts r. With peucil studies for the same subject in the margin. Pen over pencil ; 7^ X 9 iu. Engraved, pi. 12. Eev. The Golden Age (Works and Days, 99). Slight study for the composi tion of a man and wife with their child ; and small rough sketch of another subject. Pencil. / Engraved, pi. 9 ^(h) The Ieon Age (Works and Days, 178). The sacking of a city ; at the 1. a man slaying another, already fallen ; at the r., a man carrying off two children; Furies goading them on with torches and serpents. Inscribed Iron Age. Pen over pencil ; 4J X 9J in. Engraved, pi. 14. 81. Two on one mount, roy., viz. : — \y(a) The Good Eace (Works and Days, 210). Men and women sitting with young children under a vine, one of the men playing on the pipes r. ; benigUHut spirits passing above. Pen ; 41 X 7| in. ^ Engraved, pi. 17. \/(h) The Evil Eace (Works and Days, 203). Mortals thrusling Justice from their doors ; she ascends floating through the air, r. Below, Pestilsnce (Works, 226) ; a family dying together, the furies of disease flying over them. Pen over pencil ; 8 X 7^ in. Engraved, pi. 13 and 16. 32. Two ou one mount, roy., -viz. : — *. (a) Setting of the Pleiades (Works aud Days, 884). The Pleiades sinking below the west, and the ploughman beginning to plough. Pen over pencil sketch ; 6 X 6 in. Engraved, pi. 19. (b) Eising of the Pleiades (Works and Days, 853). The Pleiades arising, and the reapers reaping iu the field. With a rough sketch of the preceding subject. Pen over pencil sketches; 9J X 6| in. Engraved, pi. 18. John Flaxman. 143 33. Ob. The Happy Man (Works and Days, 772). He leans upon his plough before the altar, his team of heifers beside him ; tho gods above showing forth happy auguries. With two slight pencil studies for the same subject. Pen sketch ; 9J x 7^ in. Engraved, pi. 20. Eev. The Brazen Age. The subject already described. No. 31 («) Ob. With two pencil studies for the same subject. Pen. 34. Two on one mount, roy., viz. : — V (a) Title to the Theogony : Hesiod on Helicon (Theogony, 22). Hesiod reclining 1. beside his sheep, a Muse seated above him. Peu sketch. Engraved, pi. 21. ^(6) Hesiod and the Muses. Hesiod sits r., presented with a laurel bough by one of the Muses ; the eight others standing- by. Pen over pencil sketch ; 6J X SJ in. Engraved, pi. 22. Nos. 29-34 were purchased March, 1862, at the Flaxman sale. 35. Two on one mount, roy., -\-iz. : — y (a) Pandoea attired (Works and Days, 68). She st.ands half draped ; a goddess r. putting a veil over her head ; the three Graces 1., one of them kneeling. Pen and pencil ; 6 x 6J in. Different from the design engraved, pi. 4. V(6) Hesiod and the Muses (Theogony, 30). Hesiod presented with a laurel by one of the Muses ; three others standing by. (Different from the design engraved ) Pen over pencil ; 6f x 10| in. Purchased May, 1888. 36. Zeus and the Muses (Theogony, 36). The Muses seated on the ground with their instruments ; Zeus enthroned r. With a rough sketch below of a different coraposition for the same subject. Pen over pencil sketch ; 7 X SJ in. Engraved, pi. 23. 37. Two subjects on one mount, roy., vU. : — (a) Apheodite eising from the Foam. Study for the subject described below. No. 38. With slight studies for the same subject. Pencil sketch ; 8| x 7 J in. Engraved, pi. 26. (h) Ob. The Bieth op Love ('Theogony,' 116), Love rising above the prone forms of Erebus, Night, and Chaos. With a number of small rough studies for ' The Brazen Age.' and other subjects. Pen sketch: 7 J x 9 in. Engraved, pi. 24. Eev. Unkno-wn Subject. Three naked figures of men kneeling or sitting and holding short swords. Pencil sketch. \/3?. Apheodite boene to Cytiiera. She reclines on the wave, attended by two dolphins, and two Loves holding a scarf above her ; below, Aphrodite rising frora the foam. She rioes on one knee from the waves, two Tritons and two Loves attending her. Pen over pencil ; 9 X 7i in. Engraved, pi. 25. 141 Drawings of the British School. J 39. Ob. Apheodite eeceivbd among the Gods (' Theogony,' 208). Zeus and Hera 1., giving the infant Love into ihe hands of Aphrodite; the three Graces standing r. With rough pencil studies for the battle of Gods and Titans below. Pen over pencil sketch ; roy., 9 x 7J in. Engraved, pi. 7. Bev. Unknown Subject. Zeus enthroned, and two figures protesting before him. Perhaps Justice and Modesty returning to Heaven (' Works and Days, 182). Slight pencil sketch. 40. Two on one mount, roy., viz. : — (a) Oh. Apheodite beceived among the Gods. With slight pencil study for the same subject above. Pen over pencil sketch ; 7J x 9 in. Bev. Zeus hueling Thundeebolts. Slight pencil sketch. (h) Ibis beinging the Oath op Styx (' Theogony,' 784). Iris filling a cruse with the water frora the stream of Styx, beside which is a seated group of gazing deities. With slight sketches for the Pleiades. Pen and pencil sketches ; 9 x 6J in. 41. Sea Divinities ('Theogony,' 240). Nereus and Doris surrounded by their children, the Nereids, moving over the waves, towards the 1. Below, the Gods and Titans (' Theogony,' 386). Pen over pencil ; roy., 9 x 7| in. 42. Two on one mount, roy., viz. : — (a) 06. Sea Divinities. A different design from that just described. The divinities are seen as if advancing, as in the engraving. Pen and pencil ; 9f x 7J in. Engraved, pi. 28. Bev. Gods and Titans. Slight pencil studies. (b) Ob. Sea Divinities. Eough sketch. Pen and pencil ; 7J x 9i in. Eev. Cheonos devouring his Children (' Theogony,' 459). He holds one iu tbe 1. hand and seizes with the r. hand another from Ehea's arms. With several pencil studies for the same subject. Pen over pencil sketch. / Engravi d, pi. 31. V43. AsTEzEUS AND Eos (' Theogouy,' 876). They stand embraced, attended by their children, the Winds, With a slight pencil study for the same subject "above, in which they are seated instead of atanding. Pen over pencil sketch; roy., 8| X 7 in. Engraved, pi. 30. v44. Two Subjects. Ehea delivering the infant Zeus to Earth and Heaven (' Thengony,' 477) ; and Zeus delivering the brethren of his father (' Theo gony,' 501). With pencil studies of heads. Pen over pencil sketches ; roy., 8| X 7 in. The latter subject engraved, pi. 33. 45. Two on one mount, roy., viz. : — [/(a) Gods and Titans (' Theogony,' 850). Zeus hurling thunderbolts, and the other gods with spears and arr-.ws overthrowing the Titans. Pen over pencil ; 5 J x 5| in. Engraved, pi. 34. (h) Giants and Titans ('Theogony,' 713). The giants crushing the Titans with stones ; and a study for the gods and Titans. Pen over pencil ; 5J x 9 in. Engraved, pi. 85. John Flaxman. 145 46. ^wo on one mount, roy., viz. : — '(a) Giants and Titans. Eough sketch of the subject just described. (The paper half covered with brush marks in sepia.) Pen over pencil ; 9 J x ¦/ i in. On the reverse, a list in Flaxman's handwriting of subjects for illustra tions to Hesiod. v/f b) Giants and Titans. A sheet of studies for this subject ; all but the central one, small and rough. Pen and pencil ; SJ x 7J in. 47. The Gods op the Lowee Woeld ('Theogony,' 768). Pluto and Persephone enthroned; Cerberus aud the Furies 1., Death aud the Harpies r. With sketches below of the Brazen Age. Pen over pencU ; roy., 8 x 7^ iu. [48-57.] ' The Pilgrim's Progress.' Not engraved. Other drawings for this set are at University College, London. 48. Two on one mount, roy., viz. : — (a) Cheistian at the House Beautiful (Part I.). Christian received at the door by Discretion and her sisters. (I'he figure of Christian finished, the rest only indicated.) Pencil, partly finished with pen ; 4f x 6f in. -Afi) Cheistian at the Cboss (Part I.). Christian, eased of hia burden at sight of the cross, met by the three Shining Ones who stand before it. Pen and ink ; 6f x 7 J in. 49. Two on one mount, roy., viz. : — \/(a) Christian teying to wake the Sleepbes (Part I.). Christian stooping down 1. to wake Siraple, Sloth, and Presuraptioh, who are fast asleep. Pen and ink ; 4 x 7J in. A Pilgeim woebied by the Dog (Part IL). The Dog seizing a pilgrim, who is rescued by an angel. ' He liaa broken out and worried some that I loved.' Below, the Death of Giant Deapair. The Giant falls over, pierced bythe spears of Christiana's sons 1., while Great-Heart r. prepares to atrike off his head. Inscribed Despair's Death. Pen over pencU ; 8| x 6J in. Nos. 36-49 purchased March, 1862, at the Flaxman sale. «/(6) VK). 10. Cheistian and Hopeful ln Giaut Despaie's Dungeon (Part I.). Christian and Hopeful sitting 1. against the waU ; the Giant departing by the door. Inscribed on the lower margin At this they trembled greatly and I think that Christian fell into a swoon. Pilgrim's Progress. Signed and dated J. Flaxman f. June, 1792. Pen and ink ; roy., 7J x 9J in. Purchased May, 1885. 51. Two on one mount, roy., viz. : — y(a) Cheistiana and heb Children going to wash at the Inteepeetbe's House (Part IL). They step from the threshold r. into the water. With a sketch of the party moving along the road, and slight pencU sketches of Mercy fainting at the Gate, etc. Inscribed Then they went in and washed. Yea and the boys and all. , Pen over penoU ; 8| X 6| in. sJlb) The Nbighboues expostulating with Cheistiana (Part II.). They stand in a group about her. (With pencil study for one of the figures.) Pen over pencU ; 6 x 6J in. Purchased March, 1862, at the Flaxman sale. 52. Three on one mount, roy., viz. : — (a) The Pilgeims putting on new Eaimbnt at the Intebpeetee's House (Part II.). They stand together in a group, arraying themselves. Pen and ink ; 4i x 2J in. vol n. I- 146 Drawings of the British School. (t) The same Subject. Inscribed So he commanded them to put it on ; it was fine Linnen, white and clean. Pen and ink; 4 J x 2J in. (c) The Pilgeims going to -h'ash. The same composition as that described, No. 52 (a). With two slight sketches of a different treatment ; two figures kneeling by the water. Pencil, partly gone over with pen ; 4j x 6J in. Purchased May, 1888. 53. Two on one mount, roy., viz. : — •'(a) Giant Geim (Part IL). Giant Grim coming out of a cave; Great-Heart and the pilgrims r. Inscribed Grim the Giant. Below, Old Honest blessing the boys. Inscribed Old Honest's Blessing. Pen and ink ; 7i X 5f in. /. s/s' (h) The Pilgeims at the Slough of Despond (Part'IL). Christiana and the children shrinking from the Slough, Mercy going forward. Inscribed But, said Mercy, come let us venture, only let us be wary. Below, the Keeper of the Wicket Gate calling a trumpeter to blow for joy at the coraing of the pUgrims ; the trumpeter appears above the wall. Inscribed lie called to a Trumpeter. Pen aud ink ; 8| x 5f in. Purchased March, 1862, at the Flaxman sale. 54. Mebcy painting at the Wicket Gate (Part IL). Goodwill opening the Gate and seeing Mercy lying in a swoon outside. Inscribed So lie opened tlie Gate and looked out, but Mercy was fallen down without in a swoon — Pilgrim's Progress. Signed and dated /. Flaxman f. June 1792. Pen and ink ; roy., 8 x 9 J in. Purchased July, 1S46, 55. Three on one mount, roy,, viz. : — /(a) Me. Gebat-Heaet felled by Giant Maul (Part II.). Great-Heart fallen on one knee. Pen and ink aketch ; 2f x 4 in. A similar design is at University College, together with another of a knight opening a tomb or secret chamber, from which it appears more probable that this drawing illustrates not 'The Pilgrim's Progress,' but sorae play or novel, perhaps Jephson's ' Count of Narbonne.' ^(6) Study of the Dog. For the next subject. Pencil sketch ; 2J x 5f in. V(c) A Pilgeim woeeied by the Dog (Part IL). Sketch for the subject already described. No. 50 (6). Inscribed He has broken out and worried some that I loved ; but I take all at present patiently. I also give my Pilgrim timely help. Pen and ink sketch ; 4 x 6 in. Purchased May, 1888. 66. 'Two on one mount, roy., viz. : — l^a) The Eelibvee pursuing the Ill-pavoueed Ones (Part II.). He vainly grasps at them, as tliey leap over the wall 1. Pencil sketch ; 4 x 4| in. /,. (b) Ob The same Subject. Inscribed He also attempted to take them, but they did make their escape over the wall. Pen and ink sketch ; 4J x 5| in. Bev. The Death of Giant Dbbpaie, Eough pencU sketch for the subiect described above, No. 50 (b). ^ John Flaxman. 147 57. Three on one mount, roy., viz. : — (a) Unknown Subject. An old man in grief embraced by hia children. Slight pencil sketch ; 3| x 5J in. v<6) Meecy and THB Lion (Part IL). Great-Heart preceding the pilgrims; Mercy turning back is dismayed at the sight of a lion. Pen and ink sketch ; 4J x 5 J in. V(c) The Death of Giant Maul. Great-Heart lifting his sword to cut off the giant's head ; the women and children trembling I. Peu and pencil sketch ; 3J x 5J in. Nos. 56 and 57 were purchased March, 1862, at the Flaxman sale. [58-65.] Drawings made in 1818 for the Shield of Achilles, executed by the goldsmiths Eundell aud Bridge. The complete design is in the possession of Lord Northwick. A set of engravinga by Freebairn, from sections of the shield, was published 1846. 58. Sketch Design foe the Shield. The shield, with palm branch and banner crossed behind it and laurel wreath above ; the centre only filled in with a aketch of the chariot of the sun. Pen and sepia wash ; roy., 6 J x 7^ in. 59. Achilles seated. AchUles seated in a chair, grasping his spear in 1. hand. Probably a rejected design for the centre of the shield. Pen and sepia ; roy., '7| x 7 in. Nos. 58 and 59 were presented by Henry Vaughan, Esq., April, 1894. ^0. The Maebiage Pbocession (' Biad,' XVIII., 491-496). The procession issues from a door at the 1., where women stand gazing; preceding the bride and bridegroom are musicians and boys bearing torches, and in front, a circle of young men dancing. Above, on a high bank, young women and men drinking wine. Pen, with slight sepia wash ; roy., 7J x 14 in. 61. The Battle (' Iliad,' XVIII., 516). The raen of the city, led by PaUaa and Ares, attacking from the r. the beaiegera, whose slaughtered cattle and herdsmen are seen r. in the background ; beneath the floating forras of Pallas and Ares are Strife and Havoc, and Fate dragging a dead man by the hair.- Above, 1., rise the city walla, and women watching the battle. Pen, with alight aepia waah ; roy., 6J X 15f in. Nos. 60 and 61 were purchased March, 1862, at the Flaxman sale. 62. The same Subject. Sketch of the same composition in pencil; the central group, -with the fighting deities, alone finished with the pen. Pen and pencil ; roy., 8J x llf in, 63. Two on one mount, roy., viz. : — (a) The same Subject. Sketch for the left-hand part of the composition. Pen over pencil ; 5 J x 9f in. (b) The same Subject. Sketch for the whole composition. Pen over pencil, with slight sepia wash ; 6J x 9f in. v^4. The Vintagees. Young men and maidens approaching with baskets of grapes on their heads, preceded by a boy playing a lyre under a vine which grows r. At the 1., two heralds dressing a slain ox. Pen over pencil with slight sepia wash ; roy., 7J x llJ in. 65. Two on one mount, roy., viz. : — \/(a) Dancebs and Tumblees ('lUad,' XVIII., 605). Young men and women holding hands and dancing ; two men tumbling before them. Pen sketch ; 4f x 6f in. L 2 148 Drawings of the British School. Hi b) Ploughman and Eeapees. At the 1., two men ploughing with oxen, and a man with a cup of wine waiting at the end of the furrow ; at the r., a man reaping corn, boys binding the sheaves, and the King standing and looking on. Pen sketch ; 8| x 9 in. Nos. 62-65 were presented by Henry Vaughan, Esq., AprU, 1894. [66-93.] Designs for Wedgwood ware, monuments, etc. 66. Two on one mount, roy., viz. : — \J(a) Design foe Wedgwood Waee; Medallions of Cupid and Psyche. A group of four medallions, iu three of which Cupid is playing with the butterfly, while on the uppermost Psyche, in human shape, is embraced by him ; all attached to a tablet, ornamented with roses, Cupid's bow and Psyche's lamp. Pen aud ink, with slight Indian-ink shading ; 7| x 5f in. j(b) Design foe Wedgwood Waee ; Medallions op Jupitee and Atteibutes. Four medallions ; a head of Jupiter with a garland of oak leaves about the medallion ; profile of Jupiter, with eagle's head and thunderbolts on separate medallions at either side ; and below, » bust of Jupiter grasping the lightuing. Pen and Indian -ink wash ; 7J x 5f in. These designs belong to the earliest period of Flaxman's activity (1775-1785). Pm-chased July, 1886. 76 67. Design foe the Monument to William Collins in Chichestbe Cathedbal. The poet in profile seated and reading in the Bible, on a medallion let into a tablet; with a frieze below supported ou corbels, representing the Passions, in illustration of Collins' Ode; Eevenge blowing the war-denouncing trumpet at the 1., surrounded by Fear, Anger and Despair ; Music in the centre ; Joy, Hope, Pity, and their companions at the r. Marked above A and priced £225. Beneath, two alternative designs on a much smaller scale ; at the 1., one similar to the central design, but with the frieze reduced in size, marked B and priced £190. At the r., one with the medallion alone and no frieze, marked C and priced £90. At the 1. side of the drawing a section of the monument marked D, and along the r. side of the drawing, a scale in feet. Pen and Indian-ink wash ; 14J x 9 J in. '68. Design poe the same Monument. Design for the frieze just described ; the same composition more elaborately finished on a much larger scale. Marked E. Above, a small sketch design for the monument, in which the frieze is the principal feature, marked F and priced £225. Pen and Indian-ink wash, very slightly tinted ; 9i x 14i in. 69. Oh. Design foe the same Monument. A frieze representing the Passions, but illustrating an earlier passage of Collins' Ode, ' But thou, O Hope, with eyes so fair,' etc. Hope, Joy, and Love at the r.. Despair, etc , flying 1. Marked No. 1. Below, a sketch design for the whole monument with the other frieze, described No. 67, surmoundng an inscription. Marked No. 2. Inscribed And Hope, enchanted, smil'd and wav'd her golden hair, Eevenge, Anger, Fear, Despair, etc., retiring on one side ; on the other Joy and Mirth led on hy Love, heads of Exercise, Sport, etc., amongst the trees. No. 2 would he the design for the Monument in which the has releifs [sic] No. 1 or No. 4 might be introduced. No. 2 'with the has-relief No. 1 might be executed with the figures about 2 feet high, loiv relief, the length of the wliole about 5 feet and the whole heigth [.-ic] about i feet 6 inches, for about £70—but the bas-reUif being the principal object of the Monument would not be sufficiently large and distinct to produce a good effect; on the contrary the figures in No. 6 forming wily a kind of framework to tlie inscription could not fail I think of exciting the spectator's attention to observe and decypher the former whilst he read the latter. John Flaxman. 149 This drawing and note are on half of the outside sheet of a letter to William Hayley, whose son was a pupil of Flaxman. The other half contains the latter part of the letter, transcribed below. Pen and Indian-ink wash ; roy., 15J X IOf iu Bev. Design foe the same Monument. A relief with Music and Painting placing a garland on the altar of Pity. Marked No. 3 and inscribed at the side Music and Painting decorating the altar of pity — in high relief— extreme dimensions of the square ifeet. Price from £60-65. Below begins the letter to Hayley, continued on the other side. It runs aa foUows : Borne, July 4, 1792. Dear Sir, I thus trouble you with your own thoughts for the Honored Bard. I am solicitous that my work may not degrade his memory and I disclairn profit on the present occasion, my first desire is to act with sueh caution respecting you, that you may not incur any additional expence in carrliage'] or custom house-duty, for which reason I have confined the price of those designs which I think likely that Hie subscribers will choose between £60 and £70, the overplus I leave for the extra expences, among which I reckon the cutting the inscription, which it would he impossible for me to have done here by an Italian, without the hazard of some enormous blunder which might ruin the work. To get the inscription cut, I advise the following method: let some friend of yours in London enquire of M''. Bacon or M''. Banks where Jlf. Chappie lives who cuts inscriptions for all the best Sculptors in and about London. He or his son will come down to Chichester, do that business and set up the Monument at a reasonable expence ; they are men of the worthiest character and of great ability in their way : in the designs I have sent I have done my best and I may say I have givtn them thrice the consideration which I ever gave to a similar work; it will oaur to you and other Gentlemen of the Committee, that any of these designs would derive great advantage from being executed on a more extensive scale, but you may rest assured of my utmost endeavours for the price fixed . [The rest of the letter ia concerned with the commission given Flaxman by Eomney to form a collection of casta from the antique.] The designs sent with this letter were rejected in fa » our of the medallion containing the figure of Collins, described No. 67, with two figures embracing on a pediment above, but without the frieze of the Passions. The monument was engraved on wood in the ' Art Journal,' 1868, p. 146. Nos. 67-69 were purchased May, 1885. 70. Clothe the Naked; one of the Acts of Mbecy. A figure distributing clothing to naked people ; a man crouching 1., and a woman with two children and an old man r. Pen with Indian-ink and sepia wash; roy., IOf X llf in. Engraved in facsimUe by F. C, Lewis. A quite different design for the same subject is at University CoUege. Purchased at the Eussell sale, May, 1885. /71. Deluveb the Captives; one of the Acts of Meeoy. A group of capti-ves in chains ; a young man crouching r., an old man in the centre, a woman lying 1., with her head on the old man's lap, and a child embracing her knee. Signed /. Flaxman d., and inscribed Deliver the captives. Pen -with Indian-ink and sepia wash ; roy., 5f x 18 in. Engraved in facsimile by F. C. Lewis. /72. INSTEUCT the Ignoeant ; ONE OF the Acts of Meeoy. An old man seated with a book on his knee, expounding it to a young man and woman seated on each side of him. Pen and indigo ; roy,, SJ x 12| in. ,. ¦,-, n t • Engraved from a sepia version of the same design by 1 . C. Lewis. The last three drawmgs form part of the series of Acts of Mercy, sculptured in relief for a memorial to E. Bal me. Nost 70-72 were purchased May, 1888. 150 Drawings of the British School. A 73. Design foe Monument to a Sohoolmastee. A mural monument with a bas- relief, representing a teacher sitting by a bust of Aristotle and expounding a book to his boys ; the relief resting on a pedestal -with a tripod on each side, and surmounted by a pediment having a lyre in the centre, and maaka of Antigone aud Electra at the cornera. On the wall I, a medallion portrait, at the r., a medallion with the heads of a youth and a philosopher. Pen and Indian-ink wash ; roy., 11 J x Sf in. 74. Two on one mount, roy., viz. : — J (a) Design fob a Monument. A mural tablet, left vacant for an inscription, with Science, a female figure, at the I. side, and Genius, a male figure, at the r., both in profile. Peu, with slight Indian-ink wash ; Sf x 6f in. ^(6) Design foe a Monument. Mural monument ; Charity, holding two children in her arms and with another beside her, atanding in the centre ; Faith seated 1., and Hope r. ; all supported by a cornice above a tablet. Pen, with slight Indian-ink wash ; 9f x 6f in. 75. Two on one mount, roy., -viz. : — (a) Design foe a Monument. A pediment, with a mourning woman, her head bowed on her knees, in the centre ; a tablet below. Pen and slight sepia wash ; 9J x 6J in. (6) ' Thy Will be done.' Design for the central part of the Baring monument at Micheldever, Hants. A woman seated to the 1. and looking up, clothed in a long robe, her hands clasped on her lap. Pen and sepia wash ; 9\ x 6f in. Engraved in stipple by W. Bond. The central part of the monument engraved on wood in the ' Art Journal,' 1868, p. 243. 76/ Two on one mount, roy., -viz. : — (a) Design foe Monument to Sie Isaac Pocock at Cookham. Sir Isaac Pocock dying in the arras of his niece in a punt on the Thames at Maidenhead. Pencil with slight sepia wash ; 8f x 5f in. J}> b) Beitannia pointing out the Gloeies op the Navy; Design foe Paet of a Monument to Nelson. Britannia, wearing a mural crown, pointing with her hand 1, ; two boys standing beside her, one of them leaning on a shield. In relief, with helmet and banners above. Pen with slight Indian-ink wash ; 9f x 7i iu. 77. Two ou one mount, roy., viz. : — /(a) Mourning Figuee, foe a Monument. A woman standing in an attitude of grief, her head bowed on her clasped hands : a relief. Pen and sepia wash ; i\ x If iu. / (6) Faith ; fob a Monument. A woman seated to the r., looking up from a book ; relief in a niche, enclosed by a Gothic arch. Pen and sepia wash ; 10| x 7 in. Nos. 78-77 were purchased July, 1860. 78. Faith ; foe a Monument. A figure almost identical with the last described under a Gothic canopy. ' Pen and sepia wash ; roy., IOf x 7 in. Probably for the same monument as No. 78 (6) ; but Flaxman often very nearly repeated his designs in separate monuments. The figure on this drawing is almost precisely similar to that of Eesignation, described above. No. 76 (6). Purchased July, 1860. John Flaxman. 151 79.^wo on one mount, roy., viz. : — N' (a) Design foe a Monument. A woman seated to the 1., on the step of a high door surmounted by a pediment and an urn. Pencil, the figure in pen and sepia ; IOf x 7J in. y(6) Design foe a Monument at Maidenhead, Beeks. Three reliefs : Hope, a woman holding a cross, in the centre; Charity 1., with children ; Faith r., two angels holding the IJible between them. Pen and slight sepia wash ; 5f x 8 J in. 80, Two on one movmt, roy., -viz. : — v(a) Design poe Monument to Sie William Jones (?) He lies dying in bed, clasping the hand of an Indian Eajah, who is attended by two servants ; four boys in a group at the foot of the bed, a chaplain at the head. A relief. Pen with slight Indian-ink wash ; 4 J x 5 iu. v/(6) Chaeity ; Design poe Paet of the Yaeboeough Monument in Campsall Chuech, Yoekshiee. A relief : two women 1., giving alms to a group of poor persons, an old man, a mother and child, a lame youth, a boy and an other woraan. Pen with slight Indian-ink wash ; Sf x 7 in. This design differs from the actual monument (engraved in the ' Art Journal,' 1868, p. 8), the composition being reversed and the figures modified. 81. Two on one mount, roy., viz. : — ¦/(o; /(ft) -v<6 ;) Design fob Monument. A father I., placing his dead child at the feet of a statue of Eeligion, who holds the Bible in the 1. hand, a cross and lily in the other. PencU and slight sepia wash ; 10 J x 1\ in. Libeety peeeing a Slave ; Design foe Monument. Liberty, seated on a bank, placing the cap of freedom on the head of a slave who kneels 1., with hands clasped in gratitude, the broken manacles at his feet. Belief in a pediment. Pen and Indian-ink wash ; 6 J x 9| in. 82. Two on one mount, roy., viz. : — j{a) Details of Gothic Canopies. Two studies for a Gothic canopy, with an angel at each comer. Pen sketches ; 7i X 4 in. %) Design foe a Gothic Monument. Group of a young man dead bewailed by his family; two girls embracing the body, the pnrents kneeling r., a boy standing 1., under one of two Gothic canopies at each end of the recess containing the monuments, over which is inscribed. The Lord giveth and the Lord taketh away, and blessed be the name of the Lord. Pen and sepia wash ; 7f X lOJ in. 88. Two on one mount, roy., viz. : — v/(a) Design foe the Lowee Past op a Monument. The lower part of a bas- relief; Hope with her anchor seated r., Faith with the Bible 1. Pen and ink ; 2} x 3J in. yOo) Design fob Monument to Sie William Jones. Sir William Jones seated 1., and making notes for his digest of Hindu and Mohammedan law from the dictation of a native doctor seated reading opposite, with four colleagues behind him. A sketch for the monument to Sir William Jones in University College, Oxford. In the sculptured design three natives only appear, and a palm-tree is introduced at the 1. Pen and ink ; 2J x 4f in. The monument engraved on wood in the ' Art Journal,' 1868, p. 2. 152 Drawings of the British School. •J (c) Design foe a Monument. A widow leaning in grief on the tomb of her husband, four children at her knee. With slight pencil studies for the same subject. Pen and ink ; 9J X 5| in. _ Nos. 79-83 were purchased May, 1888. 84. 'Two on one mount, roy., viz. : — \X.a) A Death-bed ; Design foe a Monument. A death-bed, with three women standing at the head, one of them supporting the dying figure, and a group of women and children kneeling and weeping at the foot. Pen and ink ; 2f X 5 in. A cast of the monument is at University College, London. Purchased March, 1862, at the Flaxman sale. (h) Sketch fob the Monument to Howe rs St. Paul's Cathedbal The Admiral, attended by Britannia, standing and looking to the front beside a memorial stone on which a female figure, guided by Fame, who stands over her, inscribes the 1st of June, the day of Howe's famous victory off Ushant, 1794. Pen over pencil ; 4J x 6f in. 85. Two on one mount, roy., viz. : — is/(a) 'Fight the Good Fight.' The Christian raising his sword fo strike the Powers of Evil, who struggle to drag him downward ; a Genius frora above rushes down to defend hira from their attacks. Two studies (with slight pencil sketchea for the aame subject, and for another subject). Inscribed Fight the good fight. Pen over pencU ; SJ x lOJ in. (h) The same Subject. Three studies ; apparently three different treatments of the same subject. In the principal one, the hero tramples two forms and raises his hand to slay them ; in another, he grasps them, one with each arm ; the third represents a form floating from above and binding a demon's hands behind his back. Pen over pencil ; 9 x llf in. 86. Two on one mount, roy., viz. : — v/(a) 'To EAisE UP them that fall.' Two angels raising a man who has fallen ou his back. Inscribed To raise up them that fall, and signed and dated /. F. 1806. J ' s Pen over pencil and aepia wash ; 5f x 5J in. (b) Angels palling feom PIeaven. A group of rebel angels falling headlong : two studies : and a study for another subject. With several slight pencil sketches, nearly obliterated. Pen over pencil, one study with sepia wash ; llf x 9J in. 87. Two on one mount, roy., viz. : — \/(a) Two Women clasping each othee ovbe a Sepulcheal Uen. Pen and Indian-ink wash ; 3 x 2 in. ^ (b) Design foe a Monument. Two women seated, keeping watch 1., at the head of a dead flgure lying in bed. Inscribed A. C. , Pen and Indian-ink wash ; 4 X 7f in. ^(c) Spirits eeceivbd IN Heaven ; Design poe a Belief. Two forms floatino- upwards towards a double circle of angels. ° Pen and Indian-ink wash ; 5 x 7i in. 88. Two on one mount, roy., viz. : — («: A Figuee cAEEreo upwaed by Angels. Two rough studies for the next subject. Pencil, and pen over pencil ; Of x 6 in. John Flaxman. 153 J(h (h) Angels kecbiving a Soul. A flgure r., with arms extended, welcomed from above ; at the I., a seated figure with hands raised towards an angel looking down from above. The whole design forms a kind of frame, pro bably intended for a relief enclosing an inscription. Peu and ink ; 6J x 7| in Nos. 84 (?))-8S were purchased May, 1888. 89. Two on one mount, roy., viz. : — ^ (a) Design foe a Monument. A relief, with a figure reclining and looking up towards a ray of light. Inscribed iu pencil Something like this. Pen and ink ; 2J x 8J in. ]/ (h) The Adoeation- op the Magi ; and anothee Subject. The three Magi bowing down before the child, seated 1. on his mother's lap. Above, an angel appearing to a man sleeping on the ground. Pen aud Indian-ink wash ; 7j X 6f in. Casts from leliefs of both these subjects are at University College, London, 90. Two on one mount, roy., viz. : — ^/(a) Design foe Monument. An angel carrying a mother and her child up to heaven ; for a bas-relief. Sepia wash and pen ; 5j x 4f in. This motive was a favourite one of Flaxman's ; he made it the subject of several memorial reliefs, the best known being that erected to Mrs. Knight at MUton Church, near Cambridge. (b) Mothee and Childeen. A mother seated and bending r., to kiss her baby held in the arms of one of its sisters ; au elder sister sits 1., close by her mother, over whose shoulders looks another child, while a fifth kneels at her feet. Sepia wash and pen ; 6f x 4f in. One of many studies made from Mrs. Tuke and her children. Nos. 89 and 90 were purchased March, 1862, at the Flaxman sale. 91. Two on one mount, roy., viz. :— y(a) Design foe Pilastee of a Chimnby-piece. A pilaster for a chimney-piece, -with a canephora standing on a candelabrum. Pen and ink ; 5f x 1 f in. \/(l') Design fob a Candlestick. A candlestick with a Cupid embracing the stem, an arrow in his hand. Inscribed, Cupid pointing his dart at Psyche, and below, Psyche companion. Drawn to scale. Pen and Indian-ink wash ; 7f x 5f in. 92. Two on one mount, roy., viz. : — \/(a) MiNEEVA AND CupiD. Miuerva armed, leaning on her spear and looking down r., on Cupid. Pen over pencil ; 4 x 2f In. (b) A Teophy. a shield (probably ' the shield of Achilles '), helmet, spears, and standards hung above an altar of Victory. Pen and ink with sepia wash ; 6 X 5 in. Nos. 91-92 were purchased May, 1888. 93. Design foe a cieculae Plateau, in the Possession of H.M. the Queen. In the centre, a circle enclosing a design of Venus enthroned on a shell supported by two Tritons, while two Cupids float above, one offering her a mirror ; between this and a border of scallop-shell and other ornament, Nereus and Doris in their chariot, followed and preceded by Tritons and Nereids riding on sea monsters. Sepia wash with pen outlines, highly flnished; atl., circle, 19 in. diam. Presented by Henry Vaughan, Esq., April, 1894. 154 Drawings of the British School. )4yl02.] Miscellaneous Compositions. '^4, Enoch eaised to Heaven. Enoch looking up with hands clasped, uplifted by three naked angelic forms. Inscribed, Arid Enoch walked with God and he was not for God took him. Gen. ch. 5, ver. 24. Signed and dated /. Flaxman, May, 1792. Pen and Indian-ink wash ; roy., 10 X 9 in. Purchased July, 1846. 95. Two on one mount, roy., viz. : — (a) Unknown Subject. A group of naked forms apparently supporting some weight. Inscribed 1265 A. C. Pen and Indian-ink wash ; 5J x 6§ in. (b) Michael seizing the Eebel Angels. Michael in mid-heaven bearing down two rebel angels, one of whom he seizes by the hand and hair. Inscribed Michael seizing the Eebel Amjels. Pen and sepia wash ; 6J X 9f in. 96. Two on one mount, roy., viz. : — J(a) Unknown Subject, peehaps an Illusteation to Dante. Three female flgures floating above a group of naked forms iu torment. Pen over pencil on blue prepared paper ; 5 J x li in. (6) Unknown Subject. An angel standing with hands clasped ih a circle of other angela. Slight aketch. Above, a woman seated and embracing her son ; an armed man beside her. Also a slight sketch. Pencil on blue prepared paper ; 7J x 7f in. 97. Four on one mount, roy., viz. : — \/(a) Illusteation to ' The Happy Shipwreck.' Two women mourning over a dead body. Pen over pencil ; 2f x 6§ in. V (b) Illusteation to ' The Happy Shipweeok.' Two women kneeling, one with head bowed, the other in an attitude of horror, looking 1. Two studies of the same group. Inscribed Happy Shipwreck. Pen and Indian-ink wash ; 8J x 6J in. Jfi) Illusteation to ' The Happy Shipwreck.' Four figures in attitudes of despair : a man and woman raising their clasped hands, and two women crouching with heads bowed. / Pen and Indian-ink wash ; 2J x 5f in. '^(d) Illusteation to ' The Happy Shipweeok.' Two shrouded ghostly figures above a dead man 1., and two women in the same attitude pointing with one hand to the shrouded figures and with the other to a group at the 1., already described (h). Pen and Indian-ink wash ; 3f x 7i in. 98. Five on one mount, roy., -viz. : — (a) Illusteation to 'The Happy Shipweeok.' A man raising np a woman from her knees. Pen and Indian-ink wash ; 3J x 6 in. (b) Illusteation to ' The Happy Shipweeok.' A man embraced by a woman and by a child. Pen and Indian-ink wash ; 2J x 5J in. (e) Illusteation to 'The Happy Shipweeok.' A man and woman lifting a dead body. Pen and Indian ink. (d) Illusteation to ' The Happy Shipwreck.' Three women, two of them embracing and looking away : at the r., an unfinished group of a man kissing and supporting a woman, whose hand is held by another man. Pen and Indian-ink wash ; 3f x 5J in. John Flaxman. 155 (e) Illusteation to ' The Happy Shipweeok.' A man rejecting the embraces of his wife and child; and three women bending over a fainting woraau Pen and Indian-ink wash ; 3J x 6 J in. J9. Tl J(a a) Two Men weestling. PenoU aketch ; 2| x 2J in. Vih) Lapith.^) fighting with a Centaue. Eough pencU sketch ; 4 x 7J in. (c) A Eebel Angel eepulsed by Michael's Hosts, PencU; 4i x 9^ in, Nos. 95-99 were purchased May, 1S88. 100. Two ou one mount, roy., viz. : — (a) Unknown Subject. A man in a cloak with arms folded, stauding near a group of a man and wife surrounded by their children. Pen and ink ; 3f x 4f in. 'v(b) Unknown Subject. Six figures standing together, all with averted faces except one in a nun's dress, who looks back and lifts her hand. Pen over pencil ; 5 x 4f in. Purchased March, 1862, at the Flaxman sale. 101. Admetus bescuing Alcestis peom the Geave. Admetus at the 1. supports the form of Alcestis with his arm, while Death, a shrouded figure, seeks to drag her hack into the tomb r. Indian-ink wash and pen ; atl., 18| x 25J in. 102. Obbeon and Titanla. Oberon and Titania accompanied by flve of their train, hastening through the air from the r., preceded by Puck, who leaps over a toad stool, and by an elf who wears a huntsman's horn. Indian-ink wash and pen ; atl., 12J x 2SJ ins. Nos. 101 and 102 were purchased May, 1888. [103^115.] Miscellaneous studies, chiefly of figures from life. ^03. Sheet op Studies op Typical Attitudes. Two girls dancing together; in scribed Youthful Gaiety. A woman embraced by another, but looking away ; inscribed Divided Attention. A mother holding a child, and three boys, looking over a wall ; inscribed Attention. A woman with two babes in her arms, and another leading a child ; inscribed Maternal Care. A woman leaning with bowed head on a tomb, against which another woman stands ; inscribed Concern. With other slight pencil sketches of similar subjects. Pen over pencU ; roy., 9J x 15 in. 104. Five on one mount, roy., viz. : — yia) A Dance op Theee Gibls. Three girls embraced, moving away, the one in the centre looking over her shoulder. Pen and Indian-ink wash ; 4f x 4f in. \/(lb) A Man on Hoeseback. A man in an Italian cloak riding to the r. Pen and Indian-ink wash ; 3^ x 4 in. vto) Cupid Asleep. A figure of Cupid sitting asleep on a pedestal, with his head on his knees. Pen and Indian-ink wash ; 2 J X 3 in. ^(d) MOTHEES AND Childeen. A mother carrying two babies in her arms, and another looking out of her window, by which her two young girls are playing, one holding the other by the arms. Pen and Indian-ink wash ; 8| x 4J in. (e) Angels sucooueing a Woman. A poor woman sinking on the ground succoured by angels, who descend with outstretched arms. Pen and Indian-ink wash; 6^ X 7J in. 4. 156 Drawings of the British School. 105. Two on one mount, roy., viz. : — \/(a) Mother and Childeen. A mother seated holding a young child on her lap, while an elder child, standing 1., beside her, embraces it Pen and ink ; 5J x 4 in. 6) Mothee and CmLDREN. A mother seated in r. profile; a young girl standing at her knee holds her hands, and an elder daughter sits beside her on the ground. Pen and ink ; 5J x 4i in. 106. ip'our on one mount, roy., viz. : — \A.a) Mothee and Son. A boy sitting on a step and leaning against the knee of his mother, seated above him. Pen and ink ; 3f x 3| iu. v(b) A Geoup, walking. A girl between two youths, holding their arms and walking r. Pen and ink ; 3| x 3f in. J(c) A Geoup, standing. A girl standing with one hand against a pillar, two young men standing opposite each other before her. Pen and ink ; 3| x 8J in. ^d) Geoup at a Dooeway. Two girls sitting on a doorstep, and a man stepping past them to go in. Peu over pencil, and Indian-ink wash; 5i x 4J in. 107. Three on one mount, roy., viz. : — y(a) A Young Man in a Tunic. Stauding with hands behind him, and looking up to the 1. Pen and Indian-ink wash ; 4| x 2J in. V(6) A Girl at a Doorway. A girl standing in a doorway, leaning with her elbow against the doorpost and with hand at her chin. Pen and Indian-ink wash ; 6 x 3J in. V (c) Putting on the Veil. A mother holding up a veil for her young daughter, who stands before her, to put on. At the r., u. female figure, half seen. Pen and Indian-ink wash ; 5J x 4J in. 108. Two on one mount, roy., viz. : — Y(a) A Woman lifting hee Aems above hee He.^d. Pen over pencil ; 6| X 3J in. '(6) Sheet op Studies. A nude woman standing and combing her hair. With pencil study of the same figure ; two pencil studies of Cupids embracing ; and three pencil studies of a group of women standing together ; all slight. Pen and ink; 7f X llf in. 109. Three on one mount, roy., viz. : — V(a) Apollo. Apollo standing with one hand on hia breast; a glory round his head. PencU; 6J x 3 in. -1/(6) A Young Man caeeying Anothee. A young man with another on his shoulders ; seen in front. Pen and sUght Indian-ink wash ; 7 x 2J in. ^(c) A Giel at hee Mieeoe. A girl standing before a mirror at the 1. and helped to attire herself by her sister, who stands behind her. Pen over pencil and slight Indian-ink wash ; 6J x 4i in. ' 110. Two on one mount, roy., viz. : — (a) Sheet op Studies. A mother sitting with one child on her lap and another by her knee ; a woman embracing a girl who kneels before her. Pen over pencil sketches ; 6J x 7J in. John Fla'X)nn.n. 157 "^ (6) Sheet op Studies. Five studies nf a raother holding her child to be kissed by its elder brother ; two studies of two girls sitting on a bank with a child between them ; and three studies of a man grasping another by the hands. Pencil, or pen over pencil ; 7J x 7J in. 111. Six on one mount, roy., viz. : — ^a) Study op a Gibl. Standing and looking r. Pen and ink ; 5J x 2J in. -^(6) Family Geoup. A mother and child, and two girls, seated in a group. Pen and ink ; 2 x 2^ in. ^c c) Study of a Man's Head. A man's head in 1. profile. Pen and ink ; 2J x 2 J in. ,/(d) Study op Figuebs. A recumbent figure on a high bench, and a figure sittiug below it at the further end. Pen and ink ; 2| X 4| in. \/(e) Angel and Dead Waeeioes. An angel floating, spreading his hands over two dead warriors. Pen and ink ; 2| x 4J in. J. (f) Scene in a Stbeet. A man taking a bundle on to his shoulders, helped from above by another man ; at the r., two girls standing, and two children sitting on the ground frightened by the barking of a dog. Pen and ink ; SJ X 4| in. 112. Three on one mount, roy., viz. : — \/(a) Mothee and Child. A mother with one hand at her face, and the other embracing her boy, who stands on a sort of pedestal beside her. Pen and sUght Indian-ink wash ; ^f x IJ in. \/(b) Head op an old Man. A man with long hair and beard, in r. profile. ' Pen and Indian-ink wash ; 2| x 2J in. (o) Mothee and Child ; two Studies. A mother kissing the naked child on her lap ; in one study, she faces to the front, and the child clasps her neck ; in the other she bends over hira, seated to the 1. Pen and shght Indian ink wash ; 6 x 8 J in. 118. Five on one mount, roy., viz. : — (a) Figuee Study. Slight sketch of a man seated to the I. Pencil ; 2i X If in. (6) FiGUBE Studies. Very slight sketches of a man standing, and of a girl with a child by her side.- PencU ; 8| X 8 in. (c) Slight Study. A group very indistinctly outlined. PencU ; 3i X 2 in. (d) Sketch fob a Design. A winged figure at the 1., a figure ascending, and two others above. Slight sketch. Pencil ; 3J X 2J in. \/(e) Miss Lavinia Banks playing the Haep. Seen from behind, seated, her head turned 1. Inscribed Lavinia Banks. Pencil ; 4f X 2i in. Probably a daughter of Flaxman's friend, Thomas Banks, the sculptor. 114. Eight on one mount, roy., viz. : — (a) A Giel seated on the Geound. Facing the front, her knees against her breast. Pen and Indian ink ; If X IJ in. 158 Drawings of the British School. (b) Family Geoup. A mother embraced by her children. Slight pencil sketch ; 2 X 2 in. (c) Woman seated. A woman seated to the r., bending over some work. SUght pencil sketch ; 2J x If in. (d) A Girl beading. Head of a gUl looking into a large book or album. Inscribed /rom Nature. Slight pencil sketch ; 2 x 2 in. (e) In Chichestbe Cathedbal. A lady aeated sketching on the end of the tomb of a knight. Inscribed Chichester, M. Grey (?). Pen and Indian-ink waah ; 2f X 3 in. (/) A Gibl standing. Leaning against a table and looking r. Slight pencil sketch ; 3f x IJ in. (g) A Geoup. A man reclining with his head on the knee of a man sitting r., and his foot on the thigh of another sitting I. Pen over pencil sketch ; 2 x 2f in. (h) FouE Heads of Women pea-ying. Pen and Indian-ink wash ; If x 2| in. Nos. 104-115 were purchased May, 1888. 115., Two on one mount, roy., viz. : — y(o) Sheet of Studies peom Life. Two young women at a window, one of them holding down a baby to be kissed by a boy who stands in front ; a girl taking one of two babies from the arms of their young mother; a girl holding a child on a sort of pedestal, with another girl beside her ; a cooper's boy working at the hoop of a barrel, sitting inside it, while another boy leans on the barrel, and two children sit on the ground in front. Pen and ink ; 6J x 5 in. Purchased March, 1862, at the Flaxman sale. \/(b) Study of two Boys. Two naked boys, oue behind the other, the one in front seated ; both with r. hand extended. Pen and ink ; 6 x 5| in. [116-118.] PortraU studies. ^y 116. Mes. Mathbw. Half length, seated, in r. profile, the face resting on 1. hand, the r. hand holding a book on her lap. Pencil ; roy., 9f x SJ in. Mrs. Mathew, wife of the Eev. Henry Mathew, incumbent of Percy Chapel, Charlotte Street, was an early friend and patroness of Flaxman, and the centre of a social circle which included Blake and other artists; au accom plished woman, and a pleasant hostess at her house in Eathbone Place. This portrait dates probably from 1773-75, when Flaxman was 18 or 20. Nos. 115 (6) and 116 were purchased May, 1888. ¦-^ 117. Thomas Stothaed, E.A. Head in 1. profile. Inscribed Thomas Stothard, B.A. Black chalk ; roy., 6| X 5f in. For StAthard's biography see below in this catalogue, under his name. Purchased July, 1878. v/llS. Poeteait of a Boy. Head in ful] face, with long hair, of a boy much re sembling the artist himself in youth. Pen and ink ; roy, 4J X 4 in. 9-122 (a).] Studies after Sculpture and Painting. 119. Bas-relief on the Fa9ADe of the Cathbdea.l of Oevieto. A crowd of sinners tormented by demons, who ti ar their limbs and faces. At the 1., a wino-ed angel driving a man to punishment. Against the angel Flaxman has written this figure 22 in. high—greatest relief 3 in. — 6 ft. long. Pencil; roy., 9J X 19f in. 71 Flaxman. — Flcyt. — Forbes. 159 —7^- V 120. Bas-eelibf on the FAgADE of the Cathedbal op Oevieto. The resurrection of the dead, who are pushing open the lids of their tombs. At the I., two men rising from the sea. PencU ; SJ x 14J in. , Nos. 119-120 were presented by Sidney Colvin, Esq., February, 1884. yi21. Cupids; after Paemigia;cino. Two Cupids carrying another on their crossed hands ; another sitting 1. on the ground. Pen and Indian-ink wash ; 8f x 6J in. Bequeathed by the Eev. C. M. Craoherode, 1799. 122. Two ou one mount, roy,, viz. : — y(a) Studies feom Medieval Soulptuee. Five studies of apostles and one of angels. Pen and ink ; 8J x 4J in. ^6) Italian Peasant Women. A woman carrying a pitcher, and three others, faintly outlined, moving away. PencU ; SJ X 9f in. The last drawing has been attributed to Flaxman, but is more probably by Maria Denman. Purchased May, 1888. 128. Study foe a Statue op Pitt. Pitt standing on a pedestal, as if speaking, beside a sort of altar inscribed King, Lords, Commons. Pen over pencil, -with slight sepia wash ; 9| x 6 in. Inserted in Vol. I. of the interleaved Academy Catalogues, presented by J. H. Anderdon, Esq., November, 1867; bought by him at the Flaxman sale. FLEYT, (worked about 1706). Draughtsman ; biography unknown, but presumably a Dutch artist working in England. 1. A Geoup of Sailobs. A bargeman, a pilot, and two sailors carrying kegs. Inscribed teykening van Mester n. n. Fleyt. eygenhandig tot London 170B (N.B. van Weder Zyde) geteekent [i.e. Original drawing by master Fleyt, drawn at London, 1706]. Pen and Indian-ink wash ; roy., 6| X 8 in. Purchased August, 1886, with the Sheepshanks Collection. FORBES, Alexander (worked about 1690). Topographical draughtsman; biography unkno-wn. 1. Plan of Chestbe, 1691. Signed Forbes. Pen and ink, tinted in water colours ; 9 x 8| in. 2. Plan op Nantwioh, 1691. Pen and ink, tinted with water colours ; 6J x 8J in. 3. Plan of Newoastlb-undee-Lyme, 1691. Signed and dated A. F. 1691. Pen and ink, tinted in water colours ; 7f X 6J in. 4. Plan of Coventey, 1691, unfinished. Inscribed An Imperfect Ground Plott ofthe City of Coventre, began hy ilf. Alexander Forbes. A.D. 1691. Pen and ink ; 9J x 13f in. 5. A Peospect op Saint Michael's Chuech in Coventey, feom the Noeth. Signed and dated Done by Alexander Forbes Anno Dom: 1691 ; below, a scale of yards and statement of measurements. A verse of eulogy inscribed on a second tablet. Pen and ink; 16J x 16| in. 160 Drawings of the British School. 6. Plan of Gallo-way, Ieeland, 1690. Inscribed A Ground Plot of Galloway in Ireland taken by M''. Alexander Forbes A.D. 1690. Pen and ink ; 7f X 7f in. All iu a collection of British Topography. FORD, W. (worked about 1850). Draughtsman; biography unknown. 1. A Wayside Halt. A saddled donkey feeding by the roadside, and a boy lying on the grass beside him ; 1. a group of horses, and r. a single horse ; trees and hill beyond. Signed W. Ford. Black chalk on grey paper ; 5 J x 8 J in. Purchased June, 1869. FORRESTER, Alfred Henry ('Alfred Crowquill') (b. 1804, d. 1872). Book-illustrator and caricaturist ; born in London, and self-trained ; drew illustrations for books by his brother, ' Alfred Crowquill ' being first used by both as a joint pseudonym ; contributed to Punch and TAe Illustrated London News; illustrated a number of his own writings, chiefly children's books. Other sketches by Forrester are catalogued under Cruikshank. 1. Five on one mount, roy., viz. : — (a) The Bill at Sight. A waiter presenting a bill to an old gentleman. Inscribed The Bill at sight. Pencil ; 3J X 3J in. (b) Tim Teott and Biddy Lowb. A little old man proposing to a tall lady. Pencil ; 3J X 8 in. Etched by the artist for ' Absurdities in Prose a'nd Verse ' (by himself), 1827, p. 1. w ^, (c) Anne Page and Slbndee. Slender declaring his love to Miss Page in Windsor Forest. Indian ink ; 5J x 4J in. (d) Studying prom Natuee. An artist at an easel painting a woman who stands before him. PencU; 2f x 8J in. Etched by the artists for ' Absurdities,' p. 66. (e) Apeious von Eippel and the Dwaep. A tall and lean youth starting to race with a dwarf. Pencil ; 2f X 3| in. 2. Four ou one mount, roy., viz. : — (a) KHiJMMEL's Deeam. A half human monster carrying off a man from a wounded dragon, in a aea-cave. Inscribed Kriimmei's dream. Pen and ink ; 4J x 4| in. (b) Keijmmel's Deeam. The same scene, with the dragon rising up on its tail to attack the two. Pen and ink ; 4 J x 4g in. (c) Illusteation to a Eomance. A young man in a cloak meeting a foot officer m the field. Pen and ink ; 5J x 4f in. (d) Illu6tb;ation to a Eomancb. a lanky youth in a wood reading a letter given him by a dwarf, who stands by. Pen and ink ; 5J x 4f in. Alfred Henry Forrester. 161 3. Five on one mount, roy., viz. ; — (a) Illusteation to a Eomance. A man rising from his chair in his study to expostulate with the same youth as that in the drawing last described. Pen and ink; 2f x 4| in. (6) Meeey Thoughts. A man and woman pulUng an immense 'merry thought ' ; an old gentleman behind pulling one by himself. Pencil ; 8| X 3f in. (c) A Dwaep hung in a Cage. Pen and ink ; 3| x 4 in. (d) Illusteation to a Book. A man standing up to his waist in water addressing a fat man in a boat. PencU ; 3f X 8f in. («) Oh. Illusteation to a Book. A man smoking a pipe and leaning against a tree, while the devil raises his head from the blossom of a huge flower to tiddresa him. Pen and ink ; 7J x 5J ia. Bev. A Poeteait. T.Q.L,, in proflle, of a man with a broad face and spectacles, wearing a hat. 4. Three on one mount, roy^ viz, : — (a) Illusteation to a Stoey. A little man peeping into a cave and startled at seeing a giant negro leading a strange beast by a cord. Pen and ink ; 4| x 4J in. (Jb) Illusteation to a Stoey. A man dancing in triumph and jeering at some elves who play on the grasa and on a tree trunk. Pen and ink, tinted with water coloura ; 4f x 4J in. (c) Illusteation to a Stoey. The sarae subject as No. 3 (e) (06.), differently treated : the man smoking and advancing 1., the devil r. Pen and ink, tinted ; 4| x 4^ in. 5. Four on one mount, roy., viz. : — (a) Illusteation to Faust. Mephistopheles appearing in a cloud of vapour ; Faust standing 1. in astonishment. Indian ink ; 2J x 2| in. (b) Illustration to a Stoey. A man in seventeenth century dress being presented to a lady by a man in the costume of a fool. Sepia ; 4J X 8f in. (c) Illusteation to the same Stoey. A cavalier talking to a lady who is seated by a window. Sepia ; 4 X 2 J in, (d) Multiplication. A gentleman at midnight struggling with a party of watchmen. Inscribed Multiplication. Indian-ink wash and pen, slightly tinted ; 5J X 4f in. 6. Six on one mount, roy., -viz. : — (a) A Giel -with a Basket of Flowees. Slight pencil sketch ; 4 x 3J in. (6) ' Comic Opfebing.' A rustic with his hat on a hayfork declaring his love to a milkmaid sitting on a stool. Inscribed Comic Offering. Pen and ink ; 4 x 3^ in. (c) The Sbeenadee suepbised. A serenader, who has dropped his lute, threatened by a man who appears at the r. Sepia wash and pencil ; 4| x 3f in. vol. 11. ^ 162 Drawings of the British School. (d) 'My Fathbe's Spirit.' A small boy sipping his father's grog; the father asleep in his chair. Inscribed My Father's Spirit — Hamlet. PencU ; 4f X 3f in. (e) A Beggae holding a Papee Lamp. Indian ink ; 4J x 3J in. (J) Illusteation to a Stoey. A sailor with a woman on each knee ; at the r. a girl going away crying. Sepia wash and pen ; 4 x 5J in. 7. Three on one mount, roy., viz. : — (a) I point the Eoad, but go not Myself. A countryman and his little girl staring at a sign-post, pointing one way to Workhouse, and the other to Church, hung with a surpUce and crowned by a mitre. Inscribed I point the Eoad but go not Myself. Pencil ; 6 X 3J in. (6) Illusteation to a Stoey. A king seated at table with his queen, pointing out a dish to a guest seated opposite ; a fat beefeater stands before him. PencU and indigo wash ; 2| x 3f in. (c) The Son's Eetuen. A woman greeting her son and feeling the beard on his chin. Sepia wash and pen ; 6 X 4f in. 8. Five on one mount, roy., viz. : — (a) Study op a Man. A little man in a hat standing, turned 1. Signed A. C. Pencil ; 4f X 3 in. (6) Two little Blackguaeds. A little Sultan on his throne, talking to his black lieutenant. Inscribed Two little Blackguards. Pen and ink ; 4 J x 2J in, (c) Two Heads. A man with bristling hair and beard, and an old beggar in profile. Signed A. 0. PencU ; 35 X 5 J in. (d) ' You little Eogue, I see You.' A man in top boots and long overcoat looking up and smiling. Inscribed You little Eogue, I see You. Peucil ; 5J X 3J in. (e) Study op a Man, A man, fashionably dressed, standing hat in hand and smiling. PencU ; 5f X 3f in. 9. Four on one mount, roy., viz. : — (a) Poeteait Sketch. A stout man in a broad-brimmed hat and spectacles standing and smoking a long pipe. Pen and sepia wash ; 5f x 4J in. (6) Caeioatuee. Two couples passing each other on a road ; the man at the r. jeering at the other man, who threatens him, but is held back by the woman on his arm. PencU ; 5J X 7f in. (c) A Spoetsman. A man in sporting costume standmg in profile turned 1., with one hand under his coat-tail. Pen over pencil ; 5| x 8J in. (d) A Man with a Poetpolio undee his Aem. Standing in profile, looHne 1. Pen over pencil ; 5| x 3i in. 10. Three on one mount, roy., viz LLUSTBATION TO A StOE raws his sword. Pen and ink ; 4| x 2J in, (a) Illusteation to a Stoey. A taU man speaking to a short, fat one, who draws his sword. Alfred Henry Forrester. 163 (5) Illusteation to a Stoey. A grotesque stout lady addressing a grotesque cavalier. Signed Alfred Crowquill fct. Pen and ink ; 5J x 4| in. (c) Eival Costumes. A lady and gentleman in eighteenth century dress meeting a lady and gentleman in early nineteenth century dress; each couple smiles with amusement at the other. Pen and ink ; 6J x 8f iu, 11. Two on one mount, roy., viz. : — (a) A TuEKisH Peasant. Standing in 1. profile, with folded arms. Water-colour sketch ; 5f x 8 J in. (6) A TuEKisH Ofpicbe standing on a bastion, in turban and gorgeous costume, holding a banner ; dome and minarets behind. Water coloura ; 5f x 8J in. 12. Two on one mount, roy., viz. : — (a) An Aegument. Two villagera, one sitting on a trough, the other standing by it r., holding an argument. Sepia and pencil ; 5f x 4J in. (6) A Disagreement. A lady and gentleman walking on the sands; the fady expostulating and the gentleman protesting. Water-colour sketch ; 7f x 9J in. 13. Two on one moimt, roy., viz. : — (a) Making Love. An old gentleman holding the hand of a young woman and dropping a purse into it. Water colours and pencil ; 6f x 7| in. (6) Ob. A Eencountee. A little man in great agitation at meeting an enormous woman, whose back only is visible. Sepia ; 7 X SJ in. Bev. A Quabeel. A stout lady looking after a gentleman who goes off with his hands thrust in his pockets. Sepia. 14, Four on one mount, roy,, viz. : — (a) Ceossing the Line. Ceremonies ou board ship at crossing the line ; sailors putting a greenhorn in a tub of lather. Above, two sailors seizing a man. Pen and aepia waah ; 6J x 5 in. (5) July, St. S-wiTHiN'a Month. A cook at a table pouring out tea with one hand and taking augar with the other. Inscribed July, St. Swithin's Month. It never rains but it pours. Pen aketch ; 4f x 4J in. (c) Januaey, T-wblfth Night. An old lady in a turban introducing a young lady to a gentleman ; half-length figures. Inscribed January, twelfth night. Introducing the Cake. Pen sketch ; 4f X 4J in. (d) A WOUNDED Waeeioe. A soldier in sixteenth century dress sitting on a bank, leaning on his spear, shield and morion beside him. Probably from a print. Pen and ink ; 6§ x 4f in. 15. Fashions in Tobacco. Four men standing in a row: a Frenchman taking snuff; a sailor tapping his box of 'pigtaU'; a drover in caped overcoat smoking a long clay pipe ; and a dandy with a cigar. Inscribed on the margin below Tahac Exquis ; vide Palais Boyal — Pigtail; vide Wapping—Beturns ; vide Smithfield^-Beal Havannah; vide St. James's. Signed Crowquill Esq": del. Pen and ink ; roy., 9J x 12f in. M 2 164 Drawings of the British School. 16. Two on one mount, roy., viz. : — (a) 'My Sweetheaet.' A boy and girl embracing; three-quarter length. Inscribed in margin below My Sweetheart. Sepia ; 5J X 4J in. (6) A Connoisseur. A connoisseur examining a portfolio with delight. Sepia ; 7J X 6 in. 17. Two on one mount, roy., viz. : — (a) A Peasant peaying befoee a Ceucifix;. Half-length flgure. Probably after an etching. Pen and Indian-ink wash ; 4 J x 8 J in. (6) The Sailoe's Eetuen. An old sailor sitting on a bank, hat in hand, meditating. Indian ink, sepia and white ; 6f X 4J in. 18. Eight on one mount, roy., viz. :— (a) An old Man's Head. Bald and bearded, in I. profile. Pen sketch ; 2f x If in. (6) A Peiest's Head. In 1. proflle, wearing hat. Pen sketch; 2J x 2f in. (c) A Situation as Plain Cook. A butler with an exceedingly plain cook on his arm. Inscribed [Situ]aKo» as plain cook. Pen sketch ; 8J x 2J in. (d) Study of a Head. In three-quarter face, looking I., wearing hat. Pencil sketch ; 2f x If in. (e) Study of a Head. Head and shoulders of a bald man wearing a cap on the side of his head ; three-quarter face, turned 1. PencU; 4J x 3f in. (f) Study op a Head. In profile, turned 1. PencU sketch ; 2f x 1 J in. (g) Scene feom Paul Pry. Paul Pry showing a judge's wig of enormous size to a countryman, who stares with astonishment. Signed A. Crowquill. Pencil ; 3 X 4J in. (7() Illusteation to a Play ob Stoey. A lady and gentleman stopped by a watchman with a lantern. Pen and ink ; 3 x 4 in. 19. Seven on one mount, roy., viz. : — (a) Back View of a Figuee in an Easy Chaie. Slight pencil sketch ; 3J x 2J in. (6) Vaeyinq Types op Peopiles. Pen sketch ; 2f x 4 J in. (c) Poeteait Sketch. A man's head nearly in profile, turned 1. Pen sketch ; 8J X 2J iu. (d) Ob. Two Heads. An old woman wearing spectacles in I. profile; and a man with his mouth open. Pen and Indian-ink wash ; 5| x 6J in. Bev. A Head. A man in r. profile, wearing a large hat. (e) Poeteait Sketch. Head of a man in full face. Pen sketch ; 4| x 2f in. (f) Ob. Two Studies. A man's head, with thick lips, in 1. profile ; and a shed with trees. Pen and ink ; 4 x 2J in. A. H. Forrester. — T. Forster. — J. Foster. 165 Bev. A Man seated at a Table. SUght pen sketch. (g) A Young Man in Fancy Debss. In 1. profile. Peu and ink ; 4 J x 2| in. 20. Three on one mount, roy., viz. : — (a) 06. Lake and Beidge. View across a lake of hills rising above a bridge. Indian ink ; 5| x 5J in. Eev. A Glass op Wine. A man by a table, on which he has placed his bundle, drinliing a glass of wine. PencU. (6) Landscape Study. The wooded banks of a river ; a half-withered tree in the foreground. Sepia ; 6 J x 7| in. (c) 06. A Castle. Towers of a ruined castle, with sheds built against them, and a flagstaff behind. Indian ink ; 4f X 6f in. Bev. Modest Meeit. A needy person standing hat in hand. Signed A. C, and inscribed Modest Merit. AU purchased October, 1879. FORSTER, Thomas (worked about 1695-1712). Miniature draughts man ; well-known in his time for his beautiful miniature portraits in pencil on vellum, some of which were engraved as frontispieces for books by Van der Gucht and others. The circumstances of his life are not known. 1. Poeteait op Mabgaeet Haecouet. Half-length of a young lady in three- quarter face turned 1., the eyes fuU. Signed and dated Tho.fforster delin. 1702, and inscribed Marg. Harcourt. PencU on vellum, highly finished ; oval ; roy., 4§ x 3| in. Purchased August, 1861. 2. Poeteait op Geoege St. Lo. Head and bust of a gentleman nearly in full face, turned a little 1., eyes full ; wearing a morning gown. Signed and dated T. Forster deline. 1701, and inscribed Geo. St. Lo, Esq., Commissioner at Her Majesty's Navy ; with the arms of the sitter above. PencU on vellum, highly flnished; oval; roy., 7 x 5J in. George St. Lo, the d,ite of whose birth is not known, was appointed lieutenant ofthe Phainix, 1677-8; captain of the Dartmouth, 1682; wounded and captured by the French at Brest; commissioner of the Navy, 1693-1712; died 1718. He published in 1698 a pamphlet, ' England's Safety.' Purchased May, ISeO, at the Percy sale. FOSTER, John (b. about 1787, d. 1846). Architect ; born at Liverpool; pupil of Wyatt ; accompanied C. R. Cockerell to Greece, and with him discovered the Phigaleian marbles ; was architect to the Corpora tion of Liverpool, and designed many public buildings in that city. 1. View op the Temple of Apollo at Phigalbia, feom the N.W. View from a hillside, dotted with trees, towarda mountains and the distant sea ; the temple at a little distance in a hollow 1, ; a shepherd in the foreground. Water colours ; 8 x 10 in. 166 Drawings of the British School. 2. View op the same Temple, peom the N.E. A near -view of the temple, with scattered blocks of masonry lying about it, and a few peasants seated among them and in the foreground. A view taken after the excavations had been made. Water colours ; 8 X 1 0 in. Both engraved by W. H. Bennett for ' Ancient Marbles in the British Museum,' Part IV. Inserted in an album with the drawings from the temple by Henry Corbould, described under his name. FOSTER, William ( d. 1812). Painter; worked in London; exhibited, chiefly portraits, at the Royal Academy and elsewhere, 1772-1812. 1. A Best on the Eoad. An old woman seated on a bank in the 1. foreground, by a tree trunk, a little girl leaning and looking over her shoulder, a boy standing with one knee on the bank, his back turned ; at the r,, a road winding away into deep woods, with a cottage r. Signed W. Foster. Water colours; roy., 18 x 17 in. Purchased May, 1881. 2. Poeteait op John Peootoe Andbedon, Esq. Half-length in full face. Signed and dated W. Foster, 1811. Inscribed on the back by J. H. Anderdon, Portrait of John Proctor Anderdon done by a young artist of much promise, who died in the following year, 1812. Water colours over pencil ; 8J X 5 J in. John Proctor Anderdon, b. 1760, collector of works of art, had a small but choice gallery of pictures at Farley Hall, Berkshire ; Fellow of the Eoyal Society ; died at Eamsgate, 1846. Inserted in Vol. ii. of 'Collectanea Biographica,' bequeathed by J. H. Anderdon, Esq. FOX, Charles (b. 1749, d. 1809). Landscape and portrait painter ; born at Falmouth ; started as a bookseller ; travelled on foot in Norway, Sweden, and Russia, making sketches from which he painted pictures; studied also Oriental languages and published a volume from the Persian ; his later life was entirely given to poetry. 1. Paek Scene. A pool in the foreground crossed by a fence, with a gate 1., and path leading among groups of trees; beyond, glades and wood. Peucil on drab paper, heightened with white ; IOf x 14J in. Purchased June, 1871. FRADELLE, Henry Joseph (b. 1778, d. 1865). Painter; born at Lille; studied in Pans; settled 1816 in London; exhibited at the Royal Academy and British Institution, 1817-1854, chiefly historical pictures. 1. Leicestee's Visit to Amy Eobsaet at Cumnoe Place. Leicester sits facing towards the front; Amy Eobsart kneels beside him, asking him the meanine of the orders he wears; in an nntechamber r., a lady and gentleman talking. Signed and dated /. ff. Jfraf^eZ^e, 1826. J & 6- Black chalk, on drab paper, heightened with white; 94 x 144 in Engraved by Charies Turner. Purchased October, 1877. Frangois Lowis Thomas Francia. 167 FRANCIA, Fran9ois Louis Thomas (b. 1772, d. 1839). Water-colour painter ; born in Calais, but came early in life to London ; belonged to Girtin's Sketching Society ; exhibited at the Royal Academy, 1795-1821; member and secretary of the Water-Colour Society; worked in Calais from 1817 till his death ; there taught Bonington, with whom his later style has much in common ; his earlier manner was nearer Girtin's. 1. On the Bay of Naples. Buildings on a rocky shore 1., a boat by the shore and a few figures on the beach ; r , Vesuvius rising across the bay. Indian ink on grey paper, heightened with white ; roy., 6J x 9f in. 2. Boats on the Thames. Two fishing boats passing down stream ; a church and a windmUl on the shore beyond. Indian ink on grey paper, heightened with white ; roy., 7f X 11 in. Nos. 1-2 were presented by John Henderson, Esq., Jan., 1863. 3. FoET EouGE, Calais. A strip of sand r., and the sea rolling iu from the 1. between long breakwaters, near one of which is an anchored sloop aground; the little fort rising from the water 1., and a number of vessels in the offing. Signed L. Francia. Water colours ; roy., 7f X IOf in. Purchased June, 1S71. 4. Five on one mount, roy., viz : — (a) Boats and Shipping. A flat shore with boats drawn up, and a group of ships behind at the r. PeucU and light sepia wash ; 4 x 6f in. (b) At Calais. View of Fort Eouge 1., seen from the shore ; a breakwater i. Dated 16 Jan., 1821. PencU; 2J x 8f m. (c) 06. Fishing Boats at Sea. PencU ; 24 X 3J in. Bev. Boats at Calais Biee. PeneU . (d) Ob. Beig and Luggee. Pencil and light sepia wash ; 2| x 85 in. Eev. Fishing Boats at Sea. PencU and light sepia wash. (e) Boats at Anchoe. Inscribed at Calais. PencU and light Indian-ink wash ; 4 J x 6f in. 5. Three on one mount, viz. : — (a) Calais Sands. Wide sands with a stranded boat on the horizon, and a cart crossing them. Inscribed Calais. Penciland light Indian -ink waah ; 2 J x 7J in. (6) On the Banks of the Scheldt. Wide flat ahores with two atranded veasels, and two figures near the foreground. Inscribed Escaut. PencU and light Indian-ink wash ; 2f x 7J in. (c) The Thames at Tilbuey. The river on a rough day, with a man-of-war and other vessels, and Tilbury Fort r. Inscribed Tamite. Pencil ; 3 x 8 in. 168 Drawings of the British School. 6. Two on one mount, roy., viz. : — (a) At Calais. The beach with boats 1. and pier r. Inscribed Calais. Pencil and Ught Indian-ink wash ; If x 7J in. (6) View on a Eivee, peobably the Scheldt. Boats on a broad river, a flat bank and windmills r. Indian ink on drab paper heightened with white ; 2| x 8 in. Nos. 4-6 were purchased October, 1877. 7. Teanspoets eetuening peom Spain, Febeuaey, 1809, beating into St. Helens EoADS. A ruffled sea with a dark rain cloud coming up from the 1., and the transports tacking to the r. ; nearer, a fishing smack sailing ]., and iu the fore ground a boat lying to and lifted on a great wave. Signed on the stern of this boat L. Francia. Water colours ; roy., llj x 15f in. Purchased, May, 1890, at the Percy sale. Formerly in Samuel Eedgrave's collection, and described by Eichard Eedgrave in a letter to Dr. Percy as one of Franoia's finest works. FRANKLIN, J. (worked about 1830-1868). Painter ; worked in London ; painted historical subjects and landscapes ; exhibited at the Royal Academy and elsewhere between 1830 and 1868. 1. Maeket-place, Douai. A market-place surrounded by high gabled houses, the foreground filled with peasants buying and selling at booths, and a man with a team of horses in the centre ; beyond, in the middle of the place, a fountain under a lofty monument in the form of an arch. Signed and dated Franklin, 1834. Pencil, with water colours on green-grey paper, heightened with white ; roy., 10 X 14 in. Purchased at the Percy sale, May, 1890. FRANKS, Captain Frederick, R.N. (d. 1844). Amateur painter; father of Sir Augustus Wollaston Pranks. 1. The Temple of Vesta, Bomb. Water colours ; lOJ x 14 in. 2. View in the Campagna, Eome. Water colours ; 7J x lOJ in. 3. S. TeinitI db' Monti, Eome. Sepia and water colours ; lOJ x 14 J in. 4. Poeta San Paolo, Eome, peom outside, -with the Pyeamid of Cestitjs Water colours; lOJ x 14 in. 5. San Giovanni dbi Fioeentlni, Eomb, peom the Peeey. Dated 1842. Water colours ; lOJ x 14J iu. 6. St. Petee's and Castle op St. Angelo, peom the Tibbe. Water colour ; lOJ x 14 in. 7. PoNTE San Baetolombo, Eome, peom Pontb Sisto. Dated 1843. Water colours ; lOJ x 14J in. 8, Cloaca Maxima, Eome. Water colours; 6 J x 9\ in. Frederick Franks. — Samuel Freeman. 169 9. View of St. Pbtbe's and Eome, feom without the Walls. Water colours ; lOJ x 14| in. 10. Villa and Pine Teees near Eome. Sepia and pencil on grey paper, heightened with white ; lOi X 14J in. 11. Castel Uovo, Naples, and Vesuvius feom the Sea. Water colours ; lOJ x 14 in. 12. The Bay of Naples, with the Island op Nisida. Water coloura ; 7f x IOf in. 13. L' Immacolatella, Naples, and Vesuvius in the Distance. Sepia and water colours ; 7f x IOf in. 14. Boats at Naples. Water colours and body colours ; 7 X lOJ in. 15. Lago d' Agnano and Solpataea. Sepia and water colours ; 7J X IOf in. 16. Chiaga and Bay op Naples. Water colours ; lOJ x 14 in. 17. Castel Uovo, Naples. Water colours ; 7 x lOJ in, 18. Entrance to the Blue Cave, Capei. Water colours ; 7f x IOf in. 19. The Temples at P.S)Stum. Signed F. F. Water colours ; lOJ x 14J in. 20. Naples feom the Vomeeo. Water colours ; lOJ x 14J in. 21. Boats neae Naples. Water colours on grey paper heightened with white ; 7 x IOf in. 22. Steeet in Naples looking towaeds the Sea. Water colours and body colours ; 10 x 7J in. These sketches, placed in a portfolio of Italian topography, were presented to the Museum February, 1877, and transferred from the Map Eoom Sep tember, 1880. FREEMAN, Samuel (b. 1773, d. 1857). Engraver and draughtsman ; worked chiefly in stipple ; best known by his portraits ; engraved a number of illustrations to Fisher's ' National Portrait Gallery,' Jones's ' National Gallery,' and other works. 1. Letitia Elizabeth Landon: aftee J. Weight. Half length in full face, smiUng, in low gr- en velvet dress. A vignette. Water colour stipple ; roy., 7f X 6 J in. Engraved in stipple by the artist. Letitia Elizabeth Landon, famous in her day as " L. E. L.," was born in Chelsea, 1802 ; began early to write verse and reviews for the Literary Gazette; published several very popular volumes of poems from 1821 onwards ; married, 1838, George Maclean, governor of Cape Coast Castle, where she died the same year, from taking poison. Presented by J. Deffett Francis, Esq., October, 1866. 170 Draivings of the British School. FROST, George (b. 1754, d, 1821), Landscape painter; born in Suffolk ; worked at Ipswich and in the neighbourhood; an admirer and imitator of Gainsborough. 1. Crossing a Stream. Two men on horses, and a cow, crossing a stream which comes into the foreground; beyond, a road passing by trees 1. and over a wooden bridge ; a birch-tree in the r. foreground, and a spire in the distance. After, or in the manner of, Gainsborough's earlier pencil drawings. PencU ; roy., 7J X 5 J in. 2. A Suffolk Landscape. View from a hill over undulating country, the hollow filled with woods ; a tower on a round hill 1., another rising among distant trees to the r. ; a clump of trees in the r. foreground, and sheep on the slopes below. Pencil ; roy., 6J x 7J in. Both purchased July, 1878. FROST, William Edward, R.A. (b. 1810, d. 1877). Painter, etcher and lithographer ; born at Wandsworth ; studied at the Royal Academy ; produced a great number of portraits, 1829-1843 ; obtained a prize in 1843 at the Westminster Hall competition for his " Una," and thenceforth devoted himself to subject-pictures, chiefly sylvan, idyllic, or bacchanalian ; elected A.R.A. 1846; R.A. 1870. 1. Two on one mount, roy., viz. : — (a) PBoserpine : Study foe a Pictuee. Proserpine naked, kneeling with one knee on the grass, gathering a tall fiower with one hand and putting a blossom in her hair with the other. A dark wood near behind her. Water colours, with pen outlines : 4J X 2f in. (6) A Paintee at Woek. A young man in mediaeval costume seated painting at a great canvas ; an older man and a girl leaning on his chair behind him r. Signed W. E F., and with B.A. in the opposite comer. Water colours, with pen outlines ; 4J x 4J in. Purchased October, 1879. 2. Una. Una sitting ou a bank under trees surrounded by nymphs, who gaze upon her in wonder. An illustration to Spenser's 'Faerie Queene,' Book I., Canto VL, 18. ' The wooddy nymphes, faire Hamadryades, Her to behold do thether run apace; And all the troupe of light-foot Naides Flock all about to see her lovely face : But when they vewed have her heavenly grace. They envy her in their malitious mind, And fiy away, for feare of fowle disgrace : But all the Satyres scorne their woody kind, And henceforth nothing faire, but her, on earth they find.' Water colours and pen ; roy., 7| x 10 in. Study for the oil picture, exhibited at the Eoyal Academy 1847, and purchased by H.M. the Queen. Purchased October, 1881. 3. Study of a Giel. A girl in a low bodice and skirt, seen almoat to the feet, aeated looking r. over her 1. shoulder ; one arm raised over her head, the other by her side. Water colours and pen, on buff paper heightened with white; roy., 13J X 9f in. W. E. Frost— L Fuller.— H. Fuseli. 171 4. A Nymph. A naked nymph, aeated on drapery which falla over one knee, on a grassy bauk, looking down to the 1., with r. arm raised. Water colours and body colours ; arched at the top ; roy., 6J x 4| in. 5. 06. Italian Peasant and Caet. An Italian peasant in green waistcoat and crimson trousers, seated on a cart drawn by a white horse ; house and trees behind. Water colours on grey paper heightened with white ; roy., lOJ x 14f in. Bev. Study foe a Pictube, etc. Study for a composition of an Italian peasant family : a young raother reclining under a tree 1. and caressing with one hand her child who sits ou the knee of its grandmother. With five studies of heads, male and female, and a study of a girl in page's dress. Body colours and pen, on grey paper, heightened with white. 6. Mothee and Child ; unfinished Study. A nude woman seated towards the r., her child standing r. with hands crossed on her shoulder. The upper part of the figure only finished. Water colours and pen, over pencil ; roy., 5 X 2| in. 7. Poeteait of a Giel. A young girl, with face framed in thick hair ; half-length, in full face, the eyes looking r. Water colours ; roy., 6J x 4f in. 8. On the Good-win Sands. A strip of sand, with a few figures on it, and a boat by the sea r., looking towards Deal and the South Foreland 1. Signed W. E. Frost, A.E.A. Water colours on grey paper, heightened with white ; roy., 8i X 6f in. Nos. 3-8 were purchased, December, 1889. FULLER, Isaac (b. 1606, d. 1672). Painter and etcher; studied in France under Fran9ois Perrier ; worked at Oxford, painting altar- pieces for Magdalen and Wadham Colleges, and in London, painting decorations for houses and inns ; had considerable vogue as a portrait painter, and etched a number of plates. His own portrait, drawn by Vertue, is in the department. 1. Mythological Subject ; peobably a Design poe a Ceiling. A nude male figure, seen from behind, attempting with one arm to drag a woraan from where she is seated above him, aud with the other warding off a blow with which she threatens him. Peu and ink ; roy., 9i x 4J in. 2. Heeculbs the Aecheb. Hercules, clothed only in hia lion skin, standing near a tree stump, and drawing his bow towards the r. There appears to be a half obliterated date 16. . . . at the bottom of the drawing. Pen and ink ; 4f x 3f in. Both purchased, August, 1874. FUSELI, Henry, R.A. (b. 1741, d. 1825). Painter and author; son of J. C. PuessH ; born and educated at Zurich ; came to England 1763, and Hved by literary work till 1767, when on Reynolds' advice he began to paint ; spent eight years studying at Rome ; contributed pictures to Boydell's Shakespeare Gallery; elected A.R.A. 1788, R.A. 1790, and Professor of Painting 1799 ; painted a series of pictures for a Milton Gallery, less successful than the violent and fantastic subjects of his own invention. 1. Illusteation to 'Timon at Athens,' Act iv., Scene hi. Aloibiades 1., with Phrynia and Timandra clinging to him, addressing Timon who sits within his cave in the background. Pen and liidi,in-ink wash ; roy., 8§ X 12f in. 172 Drawings of the British School. 2. Illustration to ' Macbeth,' Act iv.. Scene i. The three witches r., surround ing Macbeth, who looks down on the apparition of an armed head rising 1. Pen and Indian-ink wash ; roy., 9f x 15^ in. A picture of this subject was painted by FuseU for the Shakespeare Gallery. 3. FoETUNB. A female figure floating with globe between her feet, a wand in one hand, and a cup and balls in the other. Pen and ink sketch ; roy., 9^ x 7f in. 4. Sin and Death. Death, a skeleton, seizing Sin in his embrace and preaaing her mouth with a lipless kiss ; au illustration to the lines in ' Paradise Lost,' book II. ' Me overtook, his mother, all dismayed And in embraces forcible and foul,' etc, PencU ; roy., 5J x SJ in. 5. Study of a Youth, perhaps after Vandyck. A youth in Vandyck costume, standing with one foot on a step, looking over his shoulder. Pen and ink sketch ; roy,, Sj x 3 in. Nos 1-5 were purchased November, 1862. 6. EzzELiN Beaociafeeeo musing ovee Meduna, Slain by him fob Disloyalty DUEiNG HIS Absence in the Holy Land. The warrior sits with head on hand at a table contemplating the body of his wife lying before him ; on the table, 1., a crucifix imd hour-glass ; a mirror behind. Dated Zurich, Feb., '79. Eed chalk and pen with sepia waah ; roy., 13J x 15^ in. Study for a picture exhibited at the Eoyal Academy in 1780, engraved in mezzotint by J. E. Smith and in line by Holloway. The subject is of Fuseli's own invention. Purchased March, 1892. 7. The Night Maee. A woman lying asleep on a bed with her head hanging down, and one hand clutching her dishevelled hair, while a goblin squats and grins upon her breast. Black chalk on brown paper heightened with white ; atl., 19 x 25f in. A favourite subject with Fuseli, who made several pictures of it, engraved in line by W. Baddon, and in stipple by T. Burne, and frequently caricatured. Presented by Miss Julia Carrick-Moore, March, 1885. 8. The Death of Beutus; Illustration to Julius Cabsae, Act v., Scene v. Brutus runs upon the sword which Sti-ato, averting his head, holds before hira. Clitus and Dardanius stand behind, oue looking ou in horror, the other averting his face. Black chalk ; ant., 22 x 26J in. 9. The Captive. A naked man seated leaning backwards and chained by the foot; at the 1. an old woman crouching. Between the less of the man is a study on a much smaller scale of a nude male figure in proflle. Black chalk ; ant., 21 x 25| in. Nos. 8 and 9 were purchased May, 1856. 10. The Night Hag. She flies with level wings across a night sky from r. to 1., grasping her hair with both hands and crying out. An illustration to ' Paradise Lost,' book II. ' The night hag, when called Iu secret, riding through the air she comes Lured by the smell of infant blood.' Water colours with pen outlines ; ant., 20 x 30| in. Fuseli painted a picture of this subject for the Milton GaUery. 11. Peometheus eescued by Heracles. Prometheus prostrate, r., upon a rock with the eagle above hira interrupted in his meal by the appearance of Heracles on the oppoaite crag, aoroas a chasm. Inscribed 'Opyis Aior Kucoy. Indian ink and aepia waah with pen outUnes ; ant., 22| x 26i in. Henry Fuseli. —Thomas Gainsborough. 173 12. Album containing 96 compositions and studies made by Fuseli in Eome. Inscribed on first page, Daniel J. Moore, Purchased at Mr. Windus' sale. The subjects include 14 compositions from Shakespeare (' Hamlet,' ' Macbeth,' 'Merry Wives of Windsor,' 'Lear,' ' Henry VI ,' ' King John,' ' Eichard III.,' ' Coriolanus '), and a set of decorative designs for four plays ('The Tempest,' 'Macbeth,' 'Lear,' 'Twelfth Night'), containing several subjects from the respective plays ; 2 from Milton (' Paradise Lost ') ; 4 from Dante (' Inferno ') ; 2 from Sophocles ('CEdipus Tyrannus,' 'CEdipus Coloneus'); 2 from Homer ('Iliad,' and 'Odyssey'); 8 from classical mythology ('Perseus and Andromeda,' 'Bellerophon,' 'Dsedalus and Icarus'); 2 from the Bible (' Stoning of Stephen,' and ' Conversion of Saul ') ; 25 from sources not traced : 8 copies from figures by Michael Angelo on the ceiling of the Sistiiie Chapel ; 1 from Edelinok's print after Leonardo's Battle of the Standard ; 6 from the Antique ; a caricature (smoking a modern picture into an ' Old Master'); two slight sketches for portraits, and a number of figure studies. Three of the drawings are dated, 1777 da Fuzely, Eoma ; One has the date Eoma, Jul, '74. 75 ff. Pen and ink ; pen and monochrome wash ; or pencil. Nos. 10-12 were presented by Miss Julia Cairick Moore, March, 1885. Attrib'uted to Fuseli. Studies foe a Pictuee. The figure of a woman crouching towards the 1., and looking over her shoulder ; at the r. two figures embracing, perhaps Paolo and Francesca. Pencil and black chalk ; roy., 8| X 8 J in. This drawing has been attributed to Fuseli and to Cosway; probably it belongs to neither, but to some artist whom it would be difficult to name with certainty. Acquired July, 1885. GAINSBOROUGH, Thomas, R.A. (b. 1727, d. 1788). Painter ; born at Sudbury, Suffolk ; began very early to sketch and paint ; at fourteen went to London, where he studied under Gravelot [q.v.'\, with Charles Grignion, who taught him etching, for fellow-pupil, and afterwards for three years under Hayman; worked at Ipswich, 1745-60, to which period belong his careful earlier landscapes ; at Bath, 1760-74, sending portraits and landscapes to the Society of Artists and to the Royal Acadeiny, of which he was a member from its foundation in 1768 ; in London, from 1774 till his death ; the rival of Reynolds in portraiture, and the founder of the English School of Landscape. [1-11.] Portrait and figure studies. 1. The Music Paety. Two ladies and two gentlemen grouped 1. at a harpsichord by candle-light ; one of the ladies plays the harpsichord, the other stands behind singing; on the near side, one of the men, noticeably shorter than the standing lady, plays the violin ; on the further side, the other leans with one hand on the harpsichord, and turns over for the lady. Eed chalk sketch, cut at the corners; roy., 9J x 12f in. Possibly Gainsborough and his two daughters with a musical friend, who has been identified as George Frederick Abel ; but Abel was a tall, portly person, and his instrument was the viol di gamba. This is probably Felice Griardini, the violinist, b. 1716, who played with immense success in England from 1744, till he took over the management of the opera, which ruined hira. He afterwards went to Moscow, and died there 1796. In 1774 he bought a piano for Gainsborough, then at Bath, who painted a half-length portrait of him engraved by C. Tomkins. This drawing belongs doubtless to the Bath period of the painter's career. Purchased July, 1889. 174 Drawings of the British School. 2. Study fob Poeteait op a Lady playing the Haep. Whole-length flgure of a lady seated towards the 1., playing the harp. Black chalk sketch on rough drab paper, heightened with white ; roy., ]4f X IOf in. Eeproduoed in W. Armstrong's ' Gainsborough,' 1898, p. 180, and there con jectured to be a first idea for the portrait of Lady Clarges. See below, No. 7. Purchased October, 1890. 3. Study poe Poeteait op a Lady -with a Guitar. Whole length flgure of a lady seated on a sofa, turned somewhat r., the head resting on the 1. hand and looking 1., the face in three-quarters ; a guitar on the lap held by the r. hand ; in the foreground 1., a dog ; behind, a curtain, and I. a window looking on a park. Pencil sketch, slightly washed in parts with water colours ; cut at the corners ; roy., 13J X 10 J in. Probably a study for the portrait of the artist's daughter, Mrs. Fischer. Purchased June, 1894. 4. Study for Poeteait of a Lady. Whole length figure of a lady standing towards the r., her face looking full, and her hands clasped before her holding a fan. Part of a stone balustrade and trees behind. Pencil sketch ; cut at the corners ; roy., 14 J x 8f in. 5. Study foe Poeteait op a Lady. Whole length figure of a lady seated, partly towards the 1., the face nearly full ; hands clasped on lap. Pencil sketch ; cut at the corners ; roy., 14 x 8J in, 6. Study foe Poeteait op a Lady. Half length figure of a lady -with high coiffure and cap seated towards the r., her arms crossed and leaning ou a table before her ; the face in three-quarters, eyes full. Black chalk on stone-grey paper, heightened with white ; cut at the coi-ners ; roy., 12i X 9i in. 7. Study foe the Poeteait op Lady Claeges. Three-quarter length, seated to the 1., playing the harp, the face in three-quarters, looking 1., with high coiffure. Behind the harp is seen a dog, which does not appear in the picture. The 1. arm has been first drawn with the hand lower down, and then altered to its final position. Black chalk on stone-grey paper, heightened with white; roy., 12f x lOJ in. Eeproduced in W. Armstrong's ' Gainsborough,' p. 176. The picture, from which the dog was omitted, was sold at the Price sale, 1895, and at the Euston sale, 1898, and belongs to Sir Charles Tennant, Bart. It is reproduced in the Price collection catalogue, and in Mrs. Bell's ' Gains borough ' (1897), p. 108. Miss Shrine married Sir Thomas Clarges, Bart., who died 1783. Gauasborough also painted their daughter. Nos. 4-7 were purchased July, 1895. 8. Study foe Pobteait of a Lady. Whole length, standing towards the 1, the face in profile looking 1. ; broad sun-hat on head, a rose in r. hand, 1. hand on hip ; a garden walk suggested in the foregrouud. Black chalk and stump on grey paper, heightened with white; im-p., 18f X 13 iu. ^ ' Eeproduced in the ' PortfoUo,' September, 1894, p. 42, and in Armstrong's ' Gainsborough,' p. 184. Purchased July, 1855. 9. Study foe Poeteait op the Duchess of Dbvonshiee. Whole length, standing towards the 1. in a landscape, with background of trees ; in large hat over long curia, the face turned nearly full, arms folded. Black chalk and atump on grey paper, heightened with white; imp., 19J X 12J in. ' r> Y^^oS'B.phed by E. J. Lane, and reproduced in Armstrong's ' Gamsborough,' Thomas Gainsborough. 175 Georgiana, daughter of Earl Spencer, born 1757, married the fifth Duke of Devonshire at seventeen, nnd became the acknowledged queen of society ; she brought in a simple style of dress ; was an eager partisan of Fox and the Whigs ; wrote poems, one of which inspired Coleridge with an ode; delighted in wit and talent, and revered Dr. Johnson. She ' effaced all without being a beauty.' Died 1806. Gainsborough painted more than one portrait of the Duchess. The present study was made for a now lost picture. Another study, with the flgure facing the other way, is in Mr. Salting's collection. Purchased April, 1897. Formerly in the collection of the Earl of Warwick. 10. The Sketchee. A young man seated on a bank beneath a tree, facing r., a sketch-book on his knees, holding a round mirror in 1, hand. Pencil sketch ; roy., 7f x 5J in. Eeproduced in the ' Portfolio,' September, 1894, p, 49. Bequeathed by Eichard Payne-Knight, Esq., 1824. 11. The Boy in the Caet. A boy lying in a cart which is moving away, his back against the side and one foot hanging out behind ; a clump of trees overhanging the road 1. ; in the distance r., a church spire. Pen and sepia and Indian-ink wash ; roy., 7 X 8f in. Purchased May, 1896. [12-30.] Landscapes. 12. Coast Scene with Cattle. Two oxen, one lying down, one standing, on a flat meadow, with a tree r. ; at a little distance the sea with fishing boats in a bay, beyond which cliffs are visible to the r., under a bank of cloud, OU colours varnished, on paper ; roy., Sf x 12 J in. 13. Laudsoape with Teavellees. a road from I. to r., with two figures on donkeys or mules coming towards the r., past' a cottage among bushes 1. ; at the r., a woman sitting under a withered tree. Monochrome sketch in oUs on paper, varnished ; roy., 8f x 12f in. 14. Cattle at a Pool. Three cattle on the margin of a rushy pool, two standing, the third lying on a sloping bank, crowned by a willow stump, at the r., in the distance 1., a plain, and remote hills. OU sketch on paper, varnished ; roy., 7J X 9J in. 15. Eoad neae Bath. A road curving 1. down a slope into the foreground, where a pond at the r. lies beneath a grass bank and a willow ; further up the road at the 1., trees and cottage. Monochrome sketch slightly tinted with water colours ; roy., 2J x 3J in. This little drawing is inscribed on the back Mr. Gainsborough ; and Mr. Cracherode has added underneath. Given me by Mr. Saml. Collins, miniature painter, who had it of Mr. Gainsborough. Samuel Collins was working in Bath during the first year of Gainsborough's residence there, but removed to DubUn, 1768. Nos. 12-15 were bequeathed by the Eev. C. M. Cracherode, 1799. 16. Books and Tebes. A high mound with a rocky face on the further side of the road, with trees on either side of it. Inscribed Gainsborough. Pen and sepia, Indian ink and indigo wash ; roy., SJ x 13 in. Bequeathed by E. Payne-Knight, Esq., 1824. 17. A Woodland Valley. Two men on horseback, with a led horse behind and a dog, coming along a hollow to the 1., between a high bank 1. and a slope r., with feeding sheep under groups of trees. Signed T. G. on the margin, outside a border stamped in gold. Charcoal and bistre wash ; roy., 9| X 12J in. 176 Drawings of the British School. 18. A Pool among the Hills. A pool in the foreground lying among grassy slopes, crowned 1. by a clump of trees, and with cattle by a willow stump r. ; in the distance a high hill rising beyond thick woods. Signed T. O. on the margin, outside a border stamped in gold. Charcoal and bistre wash ; roy., 9J x 12J in. The black outlines in these two drawings, as also in No. 19, were certainly produced by transference and not by direct touches. Probably, therefore, more than one copy of the design was produced at a time. The gilt border and signature on these two examples suggest that Gainsborough prepared them as presents for friends. Nos. 17 and 18 were purchased August, 1859. 19. Teavellees on the Road. Three women on horses, and a pack-horse, followed by a dog, coming into the foreground along a road past a bank and trees r. Charcoal and bistre wash ; roy., 7f x IOf in. Purchased March, 1868. 20. The Woodcuttbe. A woodcutter leaning on a staff and talking to a woman who is seated on a heap of faggots towards the r., in a lane which comes -winding past a cottage I. ; trees and bushes on a bank behind the figures, aud at the r. and 1. PencU and Indian ink, and slight water-colour wash ; roy., 8 X 9| iu. Purchased May, 1885, at the Cheney sale. 21. The Sketch. A lady seated sketching 1. on the bank of a stream which flows into the r. foreground; beyond her, at the foot of a tree, a man seated and pointing out something in the meadows beyond the stream ; at the r., on the other side of the stream, a birch tree. PenoU ; roy., 7J X 6 in. 22. Peasants in a Wood. Two peasants leaning on a stack of logs r., and a girl sitting on the ground in front of them, by a young tree ; a thicket and trees enclosing the glade, and a second stock of logs at the 1. Pencil ; roy., 7i x 6f in. Nos. 21-22 are examples of Gainsborough's early and somewhat formal land scapes with figures. Both purchased March, 1868. 23. Two on one mount, roy., viz. : — (a) Willows. A row of willows in full leaf near a gate ; a withered stump at the r. PencU; 6 x 7J in. (6) Pool and Tbbes. A pool enclosed by palings, beyond which are trees upon a bank. Pencil ; 5 J x 7f in. 24. Two on one mount, roy., viz. : — (a) A Lane. A man moving away down a lane bordered by poUard trees at the 1. PencU; 6 x 7J in. (6) A Pond. A pond bordered by thick woods, with a fence in the 1 fore ground. PencU ; 5J X 7f in. 25. Two on one mount, roy., viz. : — («) A Bend in a Eoad A road coming past a single elm into the foreground, with feUed trees by the bank 1. ; woods in the distance r. Pencil ; cut at the corners ; 6 x 7f in. Thomas Gainsborough. Ill (b) A Wayside Cottage. A cottage at a little distance, wilh a road coming beside it into the foreground, under an oak tree 1, on a bank, beyond which are woods. Pencil ; 5| X 7f in. 26. Two on one mount, roy., viz. : — ¦ (a) Study of a Beech Teee. The branching stem of a beech, with the light glancing on its foliage and smooth bark. Pencil ; 6J x 5J in. (6) A Lane in a Wood. A lane through a wood, with a figure moving away 1., and another driving two cows to the r. Pencil, heightened with white (now gone black) ; 7J x 6J in. 27. Seven on one mount, roy., viz : — (a) T-wilight Landscape. Two figures on horseback coming along a road ; a tree r. Black chalk on grey paper, heightened with white (now gone black) ; 2 X 2f in. (6) Shepheed and Flock. A shepherd with his flock on a moonlit plain. Black chalk on blueish paper, heightened with white; 2f x 3 in. (c) A Pool. A figure standing by the side of a pool. Black chalk on blueish paper, heightened with white; 2 J x 3 J in. (d) A Watbeing-place. Cattle descending a woody slope from the 1. toward a river or pond. Black chalk on blueish paper, heightened with white ; 2J x 3J in. (e) A Bank and Trees. A high bank of broken ground, with trees and bushes. Black chalk on blueish paper, heightened with white ; 2f X 3^ in. (/) The Maeket Waggon. A cart with several figures in it, moving away towards a house r. ; a tree 1. Black chalk on blueish paper, heightened with white ; 2f X 3J m. (g) Teavellees. Two figures on horseback, followed by one on foot, moving r., along a moonlit road. These small sketches are probably some of those raade for the series of small landscapes on glass, painted in imitation of De Loutherbourg's ' Eidophusikon.' Nos. 23-27 were bequeathed by E. Payne Knight, Esq., 1824. 28. Tebes and Epvee. A river flowing into the foreground, with trees on either side ; a church tower in fhe distance. Pencil sketch ; roy., 7 x Sf in. Presented by J. Deffett Francis, Esq., AprU, 1878. 29 A EOADSIDE Inn. A half-ruinoua looking old inn at a little distance 1. ; two aaddled horses standing on a road r., and a man talking to a woman and child between them and the inn. Oil colours on paper, varnished ; 8 J X llf in. 80. Landscape Study. A very sUght sketch of a distant tower seen between trees r. and a hill I. PencU ; 2f X 4J in. Nos. 29 and 30 inserted in the interleaved copy of Edwards' ' Anecdotes of Pamters,' presented by J. H. Anderdon, Esq., November, 1867. 31. Album containing landscape sketches, all, except the last, in pencil. (1) (a) A Eoad, with a cottage hidden in frees. (6) A Hedgeeow. 178 Drawings of the British School. (2) (a) A Cottage and Fir Trees. (6) A Village Street undee a Hill. (8) (a) A Foot-bridge crossing a stream in a wooded meadow ; with a figure in the foreground. (6) A EivER-siDE, with a leaning tree. (4) (a) A Clump of Trees on a park slope. (6) EuiNS AMONG Teees on a gentle hill. (5) (a) Study of a Teeb. (6) A LEAFY Hedgeeow. (6) (a) A Eoad winding among trees. (5) A MOSSY Bank with a tree above. (7) (a) Teees in a Dingle. (5) A Copse and Stile with hill slopes beyond. (8) (a) A Lady's Head in r. proflle. (6) A YOUNG Country Girl seated with a basket on her arm. (9) (a) Trees on a Bank, round which comes a road. (6) An upland Eoad and scattered trees. (10) (a) A HIGH, WOODED HiLL with a town on a nearer height and a waggon descending a valley 1. (6) A QuAEEY overhung with bushes, aud a path climbing the hill 1. (11) (a) A BOUGH Slope crowned with thicket. (6) A MOSSY Bank with bushes above. (12) (a) A Faemyaed and Pond. (6) Faem Buildings with a Man eiding. (13) (a) A Beidge over a river among meadows. (6) A Bridge over a Steeam. (14) (a) Euins on a Hill seen from a valley with trees r. (6) Beoken Geound and Busbes. (15) (a) Study poe a Foeeqeolnd ; a bank with weeda and thiatle. (6) A WOODY Landscape. (16) (a) TowEES OF A Chuech and Castle rising beyond woods. (6) Study of an Elm and othee Teees. (17) (a) A Steeam in a Valley, with a house among trees. (6) An old Teee by the Wayside, with a figure resting by it. (18) (a) Broken Geound and a cottage with trees. (6) A Gate aoeoss a road and a church tower in a woody hollow, (19) (a) Cattle Wateeing at a pool among trees. (6) A THATCHED Baen with trees. (20) (a) Study of an Eveegeebn Tree. (h) Study of an Ash. T. Gainsborough. — /. Gandon. — /. P. Gandy. 179 (21) (a) A WiLLO-w-BOEDEEBD Steeam with two foot-bridges, (6) Sloping Fields, with-a hedgerow in a hollow. (22) (a) A Maid milking Cows by a Hedge. (6) A Willow and Befch above a Stile. (28) (a) A Study op a Bam. (6) Study of a Cow. (24) (a) A Donkey's Head. (6) A Sepulcheal Uen. (c) A JIan on a Pony with a basket. Nos. (l)-(24) (6) were bequeathed by Eichard Payne-Knight, Esq., 1824. (25) Landscape with Figuebs. A meadow, with a group towards the 1. sitting under an old tree at the edge of a copse; cattle r. Indian ink and charcoal on grey paper heightened with white. (Much spotted). Nos. (24) (c) and (25) were bequeathed by the Eev. C. M. Cracherode, 1799. Dra-wings in imitation of Gainsborough. BoBTEAiT OP A BoY. Whole length figure of a boy standing, full face, r. hand on a sword, 1. hand holding hat. Pen sketch, washed with water colours; roy., 55 X SJ in. A reminiscence of Gainsborough's 'Blue Boy,' drawn in a manner closely resembling that of Sir WilUam Beechey, and very possibly by him. Presented by J. Deffett Francis, Esq., March, 1879. Landscape with a Church. A hollow road winding from the foreground to the X., with high tree-crowned banks r. and 1., between which is a, view of a church with square tower and hills in the distance ; at the bend of tbe road, two figures and a cow. Black chalk on grey p.iper, heightened with white ; roy., IOf x 144 in- Au imitation of Gainsborough's landscapes, perhaps by Sir George Beaumont. Presented by J. Deffett Francis, Esq., December, 1874. GANDON, James, the younger (b. about 1773). Draughtsman; born in London ; son of James Gandon, the architect, who worked chiefly in Ireland. 1. Kiekstall Abbey. View of the ruined abbey from a short distance outside the West front ; the fa5ade rising in sunshine against a sky of thunder-clouds and rain ; in the foreground a peasant standing, near two oxen, directing a lady and gentleman who are moving towards the ruin. Indian ink and water-colour tint ; roy., 14^ x 18 in. Purchased November, 1885. GANDY, John Peter, afterwards DEERING, R.A. (b. 1787, d. 1850). Architect ; brother of Joseph and Michael Gandy ; studied at the Royal Academy; worked for the Dilettanti Society in Greece, 1811-13; published with Sir W. Gell ' Pompeiana,' a standard work on Pompeii ; designed Exeter Hall and other buildings ; N 2 180 Drawings of the British School. elected A.R.A. 1826 ; R.A. 1838 ; took the name of Deering 1827, owing to the bequest of an estate, to which he devoted most of his later life. [1-13.] Drawings from the reliefs of the temple of Apollo at Phigaleia, now in the British Museum. The drawings were made at Zante, where the marbles were sold ; and as all the fragments had not been finally put together, the reliefs as here given are sometimes less coraplete than in the drawings by Henry Corbould from the same reliefs, which are described in this catalogue under H. Corbould, No. 5, and were engraved in ' Ancient Marbles in the British Museum,' Part IV. The Museum catalogue numbers of the reliefs are added to identify each subject. 1. Two on one mount, roy., viz. : — (a) Ob. Combat between Lapiths and Centaues. Catalogue No. 521. Signed P. Gandy. Pencil; 5J x 9| in. Eev. Greek Anthbmion Oenament. Pencil. (b) Combat op Geeeks and Amazons. Catalogue No. 520. Signed P. Gandy. PencU ; 5J X 9f in. 2. A Centaue attacking a Woman and Child, and a Centaue oveepoweeing a Lapith. At the 1. a f.-male figure, really belonging to the r. portion of the relief described below No. 5 (a) (Ob.). Catalogue No. 522. Signed P. Gandy. Pencil ; roy., 5J X 13f iu. 3. Two on one mount, roy., viz. : — (a) Apollo and Aetemis in a Chaeiot deawn by Stags. Catalogue No. 523. Signed P. Gandy. Pencil ; 5J X 9 in. (6) Combat between Centaues and Lapiths. Catalogue No. 526. Signed P. Gandy. PencU ; 5J X 9i in. 4. Two on one mount, roy., viz. : — (a) A combat between Centaurs and Lapiths. Catalogue No. 529. Signed P. Gandy, and inscribed under the chief figure Theseus. PencU ; 5i X 9f in. (6) Theseus bescuing two Women peom a Centaue. Catalogue No. 524. Signed P. Gandy. Pencil ; 5 J x 9f in. 5. Two on one mount, roy., viz. : — (a) Oh. Combat between Centaues and Lapiths. Catalogue No 530 Signed P. Gandy. Pencil ; 5 x 9f in. Bev. View of Coeinth. The remains of a temple, surrounded by modern houses, and the heights of Acro-Corinth behind. Pencil. (6) 06. Combat between Centaues and Lapiths. Catalogue No 525 Signed P. Gandy. ' ° Pencil ; 5 X 9f in. Eev. View OF Eleusis, Houses and tower 1., hill r., continued above in the range of Mt. Kei-ata ; Cf a similar view in ' Gell's Antiquities of Attica,' Plate V. Gell was Candy's companion. 6. Two on one mount, roy., viz. . — (a) Combat BETWEEN Cbntaubs and Lapiths. Catalogue No. 527. Signed P. Gandy. ° Pencil ; 5J x 9 J in. John Peter Gandy. 181 (6) Combat between Centaues and Lapiths, Catalogue No. 528. Signed P. Gandy. Pencil ; 5 J X 9J in. 7. Two on one mount, roy., viz. : — (a) Oh. Combat between Geeeks and Amazons. Catalogue No. 532, Signed P. Gandy. Pencil ; 5 J X 9f in. Bev. View op Coeinth. Almost the same view as No. 5 (a) (Bev.). Pencil. (6) Various Fragments from the Eelieps, A torso, a head and body of a Greek, a leg, a foot, etc. Catalogue Nos. 510, 512, 513, 519, 543, 544. Wilh a plan inscribed Plan of Eoom in which the Marbles are arranged at Zante. PencU ; 5J X 9f in. 8, Two on one mount, roy., viz. : — (a) Combat bet-ween Greeks and Amazons. Catalogue No. 539. Signed P. Gandy. Peucil ; 5J X 9f in. (6) Combat between Gebeks and Amazons. Catalogue No. 533. Signed P. Gandy. PencU; 5 J x 9f in. 9. Two on one mount, roy., viz. : — (a) Combat between Geeeks and Amazons. Catalogue No. 536. Signed P. Ga'ody. PencU; 5J x 9f in. (6) Combat between Geeeks and Amazons. Catalogue No. 540. Signed P. Gandy. PencU ; 5J x 9f in. 10. Two on one mount, roy., viz. : — (a) 06. Combat bet-ween Geeeks and Amazons. Catalogue No, 538. Signed P. Gandy. Pencil ; 5J X 9f in. Bev. View op Coeinth. View from a point raore distant than that from which No. 7 (a) (Eev.) is taken, and more to the r. Pencil. (6) Combat between Geeeks and Amazons. Catalogue No. 534. Signed P. Gandy. PencU ; SJ X 9§ in. 11. Two on one mount, roy., viz: — (a) Combat between Geeeks and Amazons. Catalogue No. 537. Signed John P. Gandy. PencU, 5J x 9| in. (6) Combat between Gebeks aud Amazons. Catalogue No. 531. Signed P. Gandy. Pencil, 5J x 9J in. 12. Combat between Gebeks and Amazons. Catalogue No. 541. Signed P. Gandy. Pencil ; roy., 5J X 14 in. 13. Two on one mount, roy., viz : — (a) Combat between Geeeks and Amazon.s. Catalogue No. 542. Signed P. Gandy. Pencil, 5J X 9J in. 182 Drawings of the British School. (6) Combat between Geeeks and Amazons. Catalogue No. 535. Signed P. Gandy. Pencil, 5J x 9f in. All presented by the Dilettanti Society, March, 1885. GANTZ, John (worked about 1810-1820). Water-colour painter; known by his views in India, though it is doubtful if he ever worked there, and may only have made the views from sketches by other hands. 1. Hill poet op Gutti, Madbas Pebsidency; Thomas Mcneo eeceivino Inhabitants. Under a tent in the foreground Munro stands, with two English officers, surrounded by Indian chiefs, and receives one of the natives who prostrates himself outside the tent; at the 1., servants holding horses near a banyan tree ; at the r,, an elephant near a cluster of palms, with fortified hills closing the view. Signed John Gantz, delt. Pen, with Indian ink aud sepia wash ; roy., 7f x lOJ in. Sir Thomas Munro, b. 1761, went to India as a servant of the East India Company, worked chiefiy in Madras ; was in England 1807-1814, when he returned to Madras on a special commission for revising the judicial system and police department. Probably the scene here represented occurred during the carrying out of the reforms by which the powers of native local officials were much extended, and the drawing may be dated about 1815. Munro was afterwards governor of Madras. Purchased October, 1872. 2, Temple neae Mahabalipooeam, India. A temple, through the roof and wall of which a tree has grown, rising near the foreground, beyond a bank that slopes from the r. ; around and beyond the temple a plain, covered with bushes and palms, stretching under a cloudy sky to distant hills. Water coloura and Indian ink ; imp., 18J x 17^ in. 3. The Muntapom, neae Mahabalipooeam. A half-ruined building with bushes growing on its walls, partly seen in shadow at the 1. ; a little further off, and more to the r., a pagoda supported on four tall pillars ; two native women, with pitchers, approaching from a gate iu the wall beyond, over which appears thick jungle. Water colours and Indian ink; imp., 13J x 17J in, Nos. 2 and 3 were purchased July, 1878. 4. Temple at Mahabalipooeam. A rocky valley, filled with thick woods; at the^ r. a, sheer face of rock casting a shadow over the foreground, where two natives stand talking among scattered boulders and bushes ; beyond the dense woods in the hollow rise sheer cliffs in sunshine with a ruined temple at the edge of them. Water colours and Indian ink ; imp., 13i x 17J in. Purchased June, 1879. GARDINER, William Nelson (b. 1766, d. 1814). Engraver, painter and bookseller; born at Dublin, worked in London as portrait painter, scene painter, and with more success as an engraver in Bartolozzi's manner; afterwards became a bookseller; committed suicide. 1. Pobteait of Eobeet Shirley; after Vandyck. Whole length in Persian dress, standing before a curtain ; the face full. Water colours and body colours, highly finished ; roy., 13J x 9f in. 2. Poeteait of Teeesia Shieley; aftee Vandyck. Whole length, seated towarda the 1. on cushions in Persian dress ; the face iu three-quarters, eyes fuU ; a landscape with buildings behind r., curtain 1. Water colours and body colours, highly finished ; roy., 12 x 9J in W. N. Gardiner. — H. Gascar.—R. Gaywood. — A. Geddes. 183 Eobert ShMey, called Sir Eobert Shirley, b. about 1581, entered the service of the Shah of Persia 1599 ; married Tcresia, a Circassian of noble birth, with whom he twice visited Italy, Spain, and England as Persian envoy ; died 1628 in Persia. Vandyck painted him and his wife at Eome, 1622. The pictures are at Petworth. Nos. 1 and 2 were purchased April, 1860. 3. View op St. Paul's from Southwakk. View of St. Paul's across the river from a road leading to the river bank ; at the 1. a coach stopping under a row of wUlowa by some sheds ; at the r. a row of houses, with a man and woman w-alking past them ; in the centre, at the end of the road, a toll house and gate, and a chaise going down to the river. Body colours ; oval ; roy., 6f x 7f iu. Purchased May, 1890, at the Percy SLile. GASCAR, Henri (b. 1635, d. 1701). Portrait painter ; born at Paris, came to England about 1674, was patronized by the Duchess of Portsmouth and for a few years enjoyed immense vogue ; returned to Paris 1680, and died at Rome. Some of the earliest mezzotints are after his portraits. 1. Cupid holding a Dove. Half length figure of Cupid holding in his hands a dove which tries to escape. A dark background of trees. Oils on paper ; roy., 4f x 8§ in. Purchased June, 1881. GAYWOOD, Richard (worked about 1650-1680). Etcher, engraver and draughtsman ; pupil of Hollar, in whose style he worked ; produced many portraits and frontispieces to books ; engraved a number of plates of birds and animals after his friend Erancis Barlow. 1. Poeteait of John Beo-wne, Maker of Mathematical Insteuments. Whole length figure of Browne, standing wilh his hat on in an archway, ornamented above by garlands; he holds a compass in one hand and square in the other; prisms on the ground and ou a table by him. Indian ink ; roy., 4 J X 2f in. Etched by the artist. The etching is mounted with the drawing. 2. Design fob the Fbontispieoe op a Book. A panel, left blank for the title, suriouTided by compartments, two on each side, and one below ; at the top a globe in a niche ornamented with garlands; at the 1., Asia and America, at the r., Europe and Africa, each in a comparlment, and represented by female figures, attended by animals, typical of the four continents, the elephant, camel, horse, and lion ; below, a rhinoceros and elephant in a landscape with a palm tree. Indian ink; roy., 9f x 5^ in. Purchased May, 1890, at the Percy sale. GEDDES, Andrew, A.R.A. (b. 1783, d. 1844). Painter and etcher; born and educated in Edinburgh, came to London 1806, and studied at the Royal Academy ; worked at Edinburgh for a few years from 1810, but finally settled in London; elected A.R.A. 1832; painted subject pictures and excellent portraits, but is better known by his fine etchings and dry points. 1. Pobteait op Pietee de Laee : aftee that Aetist. Head and shoulders, in full face Inscribed P. de Laer. From the picture in the Florentine Gallery, and sijjned with monogram. Black and red chalks, and stump, on drab paper, heightened with white ; roy., IOf X 7f in. Purchased August, 1836, with the Sheepshanks Collection. 184 Drawings of the British School. 2. Mountain Landscape. View from a hill, sloping from the r. to a copse I., of a group of mountains, with lakes at their feet, the nearest and lowest crowned by a castle tower. Water colours over Indian ink ; roy., 5f x 9 in. Purchased June, 1869. GEIKIE, Walter (b. 1795, d. 1837). Painter, draughtsman and etcher; born in Edinburgh ; deaf and dumb almost from his birth ; pupil of Patrick Gibson, exhibited at the Royal Scottish Academy from 1827, chiefly landscape with figures, but is best known by his spirited and humorous sketches and etchings of daily life in the Lowlands ; elected A.R.S.A. 1831, R.S.A. 1834. 1. Two on one mount, roy., viz. : — (a) A Village Fight. A free fight ou a village green, one party falling with sticks and brooms on the other party, most of whom are fieeing r. ; behind 1. a row of cottages from which children are issuing excitedly ; r. the village church. Signed Wr. Geikie, and inscribed on lower margin Fight i' 'pebles to the play.' Pen and Indian-ink wash ; 4J x 7J in. (6) Faie-day Moening. A road crowded with travellers moving away, some in carriages, some on horseback, others on foot ; in the foreground a man riding past a pond r., behind which is a cottage; at the 1. a couple in a chaise, followed by a cripple and his wife ; trees and hills beyond. Signed Wr. Geikie, and inscribed Fair-day 3Iorning. Indian-ink wash and pen ; 5 J x 7f in. 2. Two on one mount, roy., viz. : — (a) A Visit. A stout little man standing 1. at the door of his thatched cottage and talking to two men, one with a plaid over his shoulder. Signed W. Geikie. Indian-ink wash and pen ; 4 x 3J in. (5) Eival Aetists. Three artists in a fit of laughter at a window, one of them holding palette and brushes, and pointing out to the other two a poor painter oppoaite working at a picture, aurrounded by his wife and children. Signed W. Geikie. Indian-ink waah and pen ; 6J x 5f in. 3. Three on one mount, roy., viz. : — (a) Mending a Shoe. An old man sitting on a bench outside a house, mending one of his shoes with a hammer. Indian-ink wash and pen ; 8f X 2J In. (6) Beading the Papee. An old man with spectacles in an armchair reading the paper by a small window. Signed W. Geikie. Indian-ink wash and pen ; SJ x 2J in. (c) The Fiddlee, Two boys with hoops, listening to a fiddler, behind whom I. a woman lifts her stick to beat a dog for howling at the fiddle. Signed W. Geikie. Indian-ink wash and pen ; 4^ x 6 in. 4. Two on one mount, roy., viz. : — (a) Scene in Bdinbuegh. View down a street with a fountain round which groups are gathered toward the r. ; a squad of mUitia coming down the street, and a group of old gentlemen talking on the pavement 1. Signed W. Geikie. Indian-ink wash and pen ; 5f x 6J in. Walter Geikie. — Sir William Gell. 185 (6) The Wife op Auchteemuohty. Interior of a one-roomed cottage, with cow, calf, and pig in the background, and chickens about the floor ; on the r. a bed with two naked children loolcmg at a pot on the fire which has boiled over and scalded a third child and a dog ; at the 1. the husband cries out through the door to his wife, who is driving a plough in the field. Signed W. Geikie. Indian-ink wash and pen ; 5f x 7f in. 5. Three on one mount, roy., viz. : — (o) The TWA Cummbes. Two old women gossiping together at the fireside. Inscribed Tlie tica Cummers, and signed W. Geikie. Indian-ink wash and pen ; 3J X 3J in. (6) St. Feancis and Dunbae. St. Francis appearing to Dunbar, the Scottish poet, as he lies in bed, and offering him the friar's habit, which he refuses. An illustration to Dunbar's ' Visitation of St. Francis.' The poet belonged in his youth to the friars, but left them. Indian-ink wash and pen ; 3f X 4 in. (c) The Supper. A father and mother and five children in a garret gathered round a small basin of porridge on a stool. Signed W. Geikie. Indian-ink wash and pen ; 8J x 3J in. All purchased June, 1857. GELL, Sir William (b. 1777, d. 1836). Classical archseologist ; born in Derbyshire and educated at Cambridge; studied at the Royal Academy ; visited the Troad 1801, and published, 1804, ' The Topography of Troy,' a volume followed by others on Ithaca, Greece, and the Morea; sent out to Greece and the Levant, 1811, by the Dilettanti Society; in Italy from 1820 till his death, publishing works on Pompeii and on the topography of Rome during this period. The foUovring large collection of topographical drawings was left by Gell to his friend the Hon. Keppel Craven, who bequeathed tliem to the Museum. The views are inscribed in nearly all cases with memoranda indicating landmarks and ancient sites. Gell's spelling of modern names, though intentionaUy not always consistent, has been retained. 1. Sketch-book, containing views in Peloponnesus. 9J X 18J in. (1) Navarino: modeen Entey of the Poet. Indian ink and water colours. (2) (a) Entey op the Poet of Navaeino. Water -colours. (6) Fibst Sight of Aeoadia feom the South. Pen and ink. (3) (a) Navaeino Vecobio and Sphacteeia. Pencil and pen. (6) Site op Phigalbia. PencU. (4) Neokasteo, peom the Sba. Water colours. (5) («) Of) Sphacteeia and the Coast peom old Navaeino to the Sapienza Isles. Panoramic view, in two sections. Pencil. (6) Glen op the Neda, Pautitza (neae the ancient Phigalbia), Aecadia. Pen and ink. (7) FiEST View of the Temple op Apollo at Phigaleia. Pen and monochrome wash. (8) Gate of Phigaleia. Pen and pencil. 186 Drawings of the British School. (9) (a) Stymphalus. Pen and ink. (5) Euins op Mantinbia. Pen and water colours. (10) Plain op Oeohomenos. From Lebidi. Pencil. (11) Plain op Pheneos. Pencil. (12) Plain op Oeohomenos. From the north. Pen and pencil. (13) Stymphalus. Pencil. (14) Stymphalus ; another view. Pen and pencil. (15) Lake op Stymphalus or Zaracca. Pen and pencil. [(16)-(19).] Drawings for plates to Gell's 'Itinerary of Greece.' (16) Section and Plan op the Teeasuey of Atreus at Mycen.^. For plate iv. Pen and Indian-ink wash. (17) Drawings of Eemains at Laeissa and MvoENiE. For plate vn. Pen and ink ; or pen and Indian-ink wash. (18) Gate of the Lions, MYCEN.ai. For plate x. Pen and Indian-ink wash. (19) Plan op Tieyns. For plate xv. Pen and Indian-ink wash. (20) The Plain of Teoy. For the ' Devonshire Virgil.' Pen and pencil. 2. Skbtch-book, containing views in Peloponnesus, Attica, Boeotia, Thessaly. 9J x 14f in. (1) Theatee, Megalopolis. Pen and ink. (2) Theatee, Megalopolis. Pen and ink. (3) Mountains neae Megalopolis, with the junction of the Alpheus and Helliason. Pen and ink. (4) Plain op Messenia feom a Hill near Scala. Pen and sepia wash. (5) Plain noeth of Scala, from a Hill 700 yaeds distant peom the Town. Pen and ink. (6) Gulf of Coeone from Calamata. Pen and sepia wash. (7) Kiosk at Echinos. Pen and water-colour wash. (8) (a) View prom the Gallery of the Bey's Castle at Kiteies. Pen and ink. (6) View of Kitries, Pen and water-colour wash. (9) Kitries ; another view. Pen and ink. (10) Ithome from Scala. Pen and ink. (11) View peom Lontaei of the Plain of Megalopolis. Pen and Indian-ink wash. (12) MiSTEA. Pen and ink. Sir William Gell. 187 (18) Maceinitza, Poetabia and Mt. Pelion. Pen and some sepia wash. (14) View peom Spaeta, with Mistba and the Tayqetus Eangb. Pen and some sepia wash. (15) A Euin at Spaeta. Pen and Indian-ink wash. (16) View feom Agia Kueiaki, between AMYOLa; and Spabta, showing the COUESE OP THE EuEOTAS. Pen and Indian-ink wash. (17) Temple in Spabta, peom the west. Peu and Indian-ink wash. (18) Theatre op Spaeta, from the west. Pen and ink, partly tinted. (19) Spaeta and Taygetus. Peu with some water-colour wash. (20) The Eueotas Valley with the Site of Spabta. Pen and Indian-ink wash. (21) Phyl^i, Attica. Pen and some sepia wash. (22) PuYLiB as seen on the Eoad feom Thebes. Water colours. (23) Phyl^: -with the Sea in the distance. Peu and Indian-ink wash. (24) Pass op Kako Shalesi, with Parnassus in the distance. Pen and Indian-ink wash. (25) Panoeama of Thebes and Neighbouehood, with Cithseron at the 1. Pen and ink. (26) Thebes. Pen and Indian-ink wash. (27) CADMiEA. Pen and Indian-ink wash. (28) Lake Lichaeis. Peu and Indian-ink wash. (29) Lake Copais peom Kardizza. Pen and some Indian-ink wash. (30) Lake Copais, from a point higher than that of the preceding view. Pen partly washed with Indian Ink. (31) Plain of Talanta, with Euboea seen across the channel at the 1. Pen and ink. (82) From Molo. Pen and ink. (83) THEEMOPYLiE from the fort. Pen partly washed with Indian ink (34) THBEMOPYL.ffi from a hill near Molo. Pen and ink. (35) Theemopyl« from a hUl above the Khan. Pen and ink. (36) The Pass of THEEM0PYL.ai, looking north. Pen partly washed with Indian ink. (87) Phbesala (Phaesalia). Pen and ink. (38) View feom Zeitcn, with Mt. Katavothra. Pen and ink. 188 Drawings of the British School. (39) View near Echinos, looking south-west across the Gulf of Lamia. Pen and ink. (40) (a) View from Baches. Pen and ink. (6) Lake Taukll Pen and ink. (41) View fbom Laeissa, looking south. Pen and Indian-ink wash. (42) The Gulf op Volo. Pen and Indian-ink wash. (43) Volo, looking towards Mt. Pelion. Pen and ink. (44) Gulf of Volo, from lolcos. Pen, partly washed with Indian ink. (45) Velestino. Pen, partly washed with Indian ink. (46) Olympus and the entrance of the Vale of Tempe. Pen and ink. (47) Plain between Tempe and the Sea. Pen, partly washed with Indian ink. (48) Enteance into the Defilb of Tbmpe, from the banks of the Peneus. Pencil. (49) Tempe. Pen and ink. (50) Tempe ; another view. Pen and ink. (51) View in Ossa, neab Tempe. Pen and ink. (52) Tempe ; another view. Peu and ink. (53) CH.SE0NEA. Pen and ink. (54) Tempe. Pen and Indian-ink wash. (55) Elatea and Daulis, from ruined temple at Kranea. Pen and water-colour wash. (56) Baba and the Valley op the Peneus. Pen and ink. (57) CniEEONBA. Pen and ink. (58) Thaumaco in Thessaly. Pen partly washed with Indian ink. (59) Velizza. Pen partly washed with Indian ink. (60) Plain op Deyopia, looking towards the Parnasaus range. Pen and ink. (61) Pass TO Salona (Amphissa) between Parnasaus and Pindus. Peu and ink. (62) To-WEB AT Velizza. Indian ink and pencil. (68) Maeiolatbs. Pen and ink. (64) Velizza. Pen and ink. Sir William Gell. 189 (65) Ledon. Pen and ink. 3. Sketch-book containing views in Arcadia, Elis, Delphi, etc. 9 x 18 in. (1) View peom Goetys, ofthe ravines of the river Gortys. Pen and ink. (2) ScmsTE. A long view of Mt. Parnassus and Mt. Cirphis, with a glimpse of Lake Copais through the defile between them. Pen and ink. (3) The Coeycian Cave. Indian ink, sepia and pen. (4) Neae Kaeitena, with a -view of Gortys. Sepia wash and pen. (5) Ceissa ; view near Delphi. Pen and ink. (6) Bass^ ; and the temple of Phigaleia. Pen and ink. (7) View neae Delphi: mountains seen from a valley. Pen and ink. (8) Gate op Gortys. Pen and ink. (9) Delphi peom the Gap. Pen and pencil. (10) 'Outline op Kaeitena in Dodwell's Cameea Obscuea.' Pen and pencil. Edward Dodwell was Gell's companion. (11) View op the Gulp of Patras from Palaio Aohaia, with the site of an ancient city at the r. Pen and ink. (12) Teichos ; view looking W. towards the sea and Cephalonia. Pen and ink partly washed with indigo. (13) (a) View feom neae the Site of Elis, looking W. towards Gastouni aud the sea. Pen and water colours. (6) Pyego, with the coast of Elis and Zante seen across the sea at. the r. Pen and water colours. (14) Valley op the Alpheus feom Phloka. Pen and ink. (15) Kaeitena, with leaning Minaret. Pen and ink and sepia wash. (16) Olympia, looking N. Pen and ink. (17) Olympia, with the Alpheus in the distance. Pen and ink. (18) The Banks op the Alpheus, which curves away r. This view continues the last but one, No. (16), at the r. Pen and water-colour wash. (19) View of the Gulp of Aecadia, looking N. to Mt. Olonos with Arcadia, the modern Kypariasia, at the r. Pen, pencU and sepia wash. (20) Panoeama of Olympia. Pen and ink, partly washed with sepia. (21) CouESE op the Alpheus, from Palaio Phanaro, looking W. Pen and ink. (22) Vale of Alpheus, from Palaio Phanaro, looking E. Pen and ink. 190 Drawings of the British School. (23) Panoeama of the Euins of Lepbeum, Strobitzi, looking S.W. Sepia and indigo wash, pen and pencil. (24) Feom Konstantino (Stenyclarus), with Mount Ithome towards the r. Sepia and pencil. (25) Panoeamio View peom the southern Top op Ithome, continued at r. in No. (27). Pen and ink, sepia and pencil. (26) View from Ithome, looking S.E. over the Pamisus valley to the Taygetus ; the southern top of Ithome at the r. Pen and ink and sepia wash. (27) View peom Ithome southward, with the Gulf of Messenia in the distance. Completion of the panorama No. (25). Sepia and Indian-ink wash and pen. (28) Kaeitena and the junction of the Gortys and Alpheus. Pen and pencil partly washed with sepia. (29) Gate of Ithome. Pen and ink. (30) Gate of Ithome ; another view. Pen and ink, partly washed with sepia. (31) View feom Megalopolis, looking S. Pen and ink. (32) Beidge ovee the Alpheus at Kaeitena. Pen and ink, partly washed with sepia. (38) Panoeamio View of the Plain op Megalopolis, frora a hill above Shalesi. Completed at r. in No. (35). Pen and ink, partly washed with sepia. (34) Galata. Pen and ink, partly washed with sepia. (35) The Plain op Megalopolis. Completion of the view No. (33). Pen and ink, partly washed with sepia. (36) Panoeamio View peom the Castle of Kaeitena, looking S. Completed No. (38). ° '¦ Sepia. (37) Branch of the Alpheus, flowing down a woody valley. Pen and ink. (38) Feom above Kaeitena. Completion of No. (36). (39) Feom the Peak of Maubeas, wide view, with KarUena to the r. and the Plain of Megalopolis 1. Pen and ink, partly washed with sepia. (40) Panoeamio View op the Nomian Mountains, looking W. to the distant sea r. Pen and ink. ' (41) Panoeamio View of the Plain of Megalopolis, looking E. from the ton of Mt. Lycseus. Pen and ink, partly washed with sepia and Indian ink. (42) Panoramic View of the Nomian Mountains, near Dragomano with the plain of Megalopolis at the r. Pen and ink, partly washed with sepia. (43) The Vale op HEE.iEA, from Elenico, near Kakoreos. Sepia and pen. (44) Kalybia, from Agiani. Pen and ink, washed with sepia. (45) View fbom HEEiEA. Pen, pencil and sepia wash. (46) Junction op the Laion and Alpheus, from near Peri. Pen and ink, partly washed with sepia. Sir William Gell. 191 (47) View prom Zulatico, looking W. Pen and ink and sepia wash. (48) Bridge of Spathaei. Pen and ink. (49) View neae Tsuka. Pen and ink and water colours. (50) Panoramic View op Vanina. Pen, ink and sepia wash. (51) Junction of the Ladon and Aese. Sepia. (52) Psophis and the valley of the Erymanthus. Pen, ink and aepia waah. (53) Valley of Psophis. Pen and ink, partly washed with sepia. (54) Vale op the Ladon, from Stretzova. Indian ink and pen. (55) View neae Glanizza. Pen and ink and sepia wash. (56) Pauoeamio View op Vitina, looking N. Pen and ink and sepia wash. 4. Sketch-Book, containing views in Eleusis, Athens, Corinth, and Bceotia. 9 x 18J in. (1) Bock op Venus at Daphne. Pen aud ink. (2) Coeinth, feom the W., with Lechaeum and the Gulf of Coeinth l. Pen and sepia. (3) View neae Kaki Scala, looking across the sea to Salamis and Megara. Pen and ink. (4) Eemains of the Peopyl^um and Temple op Teiptolemus at Eleusis. Pen and ink with a little water colour. (5) (a) From Bridge of Cephisus, (6) peom the Coeycian Cave. Eough peucU sketches. (6) Panoramic View of Eleusis, from the E., with Cithseron towards the r., and Salamis across the water 1. Pen and ink. (7) EooK AT Eleusis, with the Temple of Triptoleraua and Cave of the Myateriea. Pen and ink. (8) Eleusis peom the Eoad to Athens. Pen and ink. (9) View pbom the Top of a Hill, to the right of the Temple of Venus at Daphne ; Eleusis in the distance at the 1. Pen and ink. (10) Panoeamio View peom above Eleusis, looking S. to Salamis, with the Thrian Plain to the 1. Pen and ink. (11) View op the Coast feom neae ELEUSia, looking W. towards Nissea and Corinth. Pen and ink. (12) Megaea feom the Pass to Kondura, looking towards Nissea and the sea. Pen and ink. (18) Megaea. Pencil and water colours. (14) The Gulf op Mqina, from Geranion. Pen and ink and indigo wash. (15) View feom Dbeveni, with the Gulf of ^gina r. and the Gulf of Corinth 1. Pen and ink. 192 Drawings of the British School. (16) Temple at Corinth. Sepia and pencil. (17) Isthmus of Coeinth feom the E. Pen and ink and water colours. (18) ISTBM^A peom the W. Water colours and pen. (19) View of the Kaki Soala peom Kineta, The Soironian rocks 1., Salamis across the sea r. Pen and ink. (20) Salamis peom Megaea. Ptn and ink. (21) Panoeama of Corinth from the S.W., with the gulf 1. and the Acropolis r. Pen and ink, sepia, aud indigo wash. (22) (a) View neae Nemea, looking towaeds Sicyon. Pen and ink. (6) Head of the Gulf op Corinth. Pen and slight indigo wash. (28) View of Thebes and the Plain to the Noeth op the Town. Pen and ink. (21) Agios Blasios (PANOPiEA) and Paenassus. Pen and ink. (25) Thebes from the N. Pen and ink. (26) Thebes : View from a Window. Pen and ink. (27) (a) From Platj5a, looking N.W. Pen and ink. (6) View toward Paenes from Plat^ia. Pen and ink. (28) Helicon proji the Plain of Caoosia (Thisbe). Pen and ink. (29) Thisbe, looking S.W. Water colours and pen. (30) THESPTiE, LOOKING S. Pen and ink. (31) Continuation of the last View at the e. Pen and ink. (32) Panop^a, looking N.E., with the Cepissus in the distance flowing into T ake Copais at the r. Pen and pencil. (83) (a) Portion of the View of Helicon (No. 87); (6) View from Thurium, with Helicon at the k. Peu and pencil. (34) View on the Eoad from Livadia to Delphi, with Helicon at the 1., Parnassus in the central distance and CEta at the r. Pen and ink. (35) From Hyampolis, looking E. Helicon in the r. distjuce. Pen and ink. (36) Daulis, looking down the Cephissus Valley to Lake Copais. Pen and ink. (37) Helicon prom the Trioda. Completed at the 1. by No. (33) (a). Pen and ink. (38) Agio Louka. Pen and ink. Sir William Gell. (39) View feom Pbtea, of Lake Copais. Pen and ink. (40) Continuation at the e. of the last View. Pen and ink. 5. Sketch-book, containing views in ^Egina, Salamis, and Attica. 9J x 22J in. (1) Temple op Zeus at jEgina. Pen and ink. (2) The Coast of Attica, peom .^gina. Pen and ink. (3) Neae View of the Temple of Zeus at .SIgina. Pen and ink. (4) View on the Noeth Coast of iEciNA. Pen and ink and Indian-ink wash. (5) Temple of Zeus at .^gina. A near view. Pen and ink. (6) Temple of Apheodite in .^gina. View looking over the sea to Angistri, I Methana and Epidaurus. / Pen and ink. (7) Mgisa ; View op the Citadel and Poet, with the Temple of Aphrodite r. Pen and ink and Indian- ink wash. (8) The Old Poet of .^qlna. Pen and ink. (9) (a) The Ilissus, neae Asomatos ; (6) View on the Ilissus, neae Asomatos. Pen and ink. (10) View fbom the Coast op Salamis, looking towards Megara and Corinth. Pen and ink. (11) View feom the Sea neae Salamis. Pen and ink. (12) Temple op Apheodite nbae Daphne. Pen and ink. (13) View feom Tumulus on Cape Anchiale. Pen and ink. (14) Colonus. Pen and ink. (15) ViE-w OP the Aoeopolis of Athens, from the tumulus of Antiope. Pen and ink and Indian-ink wash. (16) View peom a Monument neae Athens, looking towards the city. Pen and ink. (17) View peom the Noeth Book of the Aoeopolis. Pen and ink. (18) View prom the Mystic Gap, with the sea r. Pen and ink. (19) Daphne, feom a Hill called Poikilb. Pen and Indian-ink wash. (20) View neae Daphne, looking W. Water colours and pen. (21) The Poet op Phaleeum. Pen aud ink. (22) Athens fbom Colonus. Pen and ink and Indian-ink wash. (23) Athens feom the lowee paet of the Town. Pen and ink. (24) Athens feom the Monujient op Piiilopappus. Water colours. VOL. II. '^ ¦-*- u^i 194 Drawings of the British School. (25) (a) View neae CBPmsiA, feom the Foot op Pbntbliccs. (6) SOUECE OF THE CBPmSUS, AND PeNTELICUS. Pen and ink. (26) Geotto OF Pan at Vaei. Pen and ink. (27) View above Poet Eaphti, looking seaward. Pen and ink. (28) Thoeicium. Pen and ink. (29) Plain of Thoeicium. Pen and ink. (30) Theatee, Thoeicium. Pen and ink and Indian-ink wash. (31) Sunicm, looking W. Pen and ink. (32) SuNiUM, looking S. Pen and ink. (38) SUNIUM. Pen and ink. (34) SuNiUM, from the sea. Pen and ink. (35) Temple op Athene at Sunium. Pen and ink and Indian-ink wash. (36) The same Temple, a nearer view. Indian-ink wash and pen. (37) Cave of Arohidamus at Vaei. Sepia and Indian ink. (38) Plan and Section op Cave of AEomDAMUs. Pen and ink, (39) LiMNE. Pencil. (40) (a) A Castle and Mountain behind. Inscribed Gropius' idea. See below No. 8 (44). (6) At Menidi. Dated 81 x. 1810. Slight pencil sketches. (41) Paet op Athens and hills around. Pencil. (42) LiMNE, Negeopont. PencU aketch. (43) (a) (5) Feom Zba (Ceos), a panoramic view iu two sections. Pen and ink. 6. Sbetoh-book, containing views in Peloponnesus and the Ionian Islands. (1) Lyooueia in Aecadia, Pen and ink. (2) The Fount of Ladon. Pen and ink, (3) CiSTEENS ABOVE MeSALONGHI. Pen and ink and Indian-ink wash. (4) Klitoe. Sepia. (5) Kalabeita. Pen and ink. Sir WiUiam GcU. 195 (6) Megaspelia, with the monastery built under a high precipice, I. Pen and ink and sepia wash. (7) From Zougaeaki, neae Mesalonghi, with Roman ruins in the foreground, and the coast of i;he Morea seen across the Gulf of Patras. Pen and ink. (8) MoNASTEEY OP Megaspelia, a nearer view than No. (6) and from the opposite side. Pen and ink and sepia wash. (9) Oxoa;, Ithaca, and Affalis Bay. Monochrome wash and pencil. (10) Phocis feom Bcea in the BIoeea. Monochrome wash and pen. (11) Buba. Sepia wash and pen. (12) Cave of Heeacles, Bura. Water colours. (13) Basiladi Island, neae Mesalonghi. Slight pen and peucil sketch. (14) View feom Buea, across the Gulf of Corinth. Pen and ink and indigo wash. (15) Khan of Aoeata. A view across the Gulf of Corinth. Peu and ink and indigo wash. (16) (a) (6) (c) PAiiOEAMic View from Basiladi Isle, in three sections. Pencil. (17) (a) Mesalonghi, looking S.W. to Zante and Cephallonia. Pen and pencil. (6) Parnassus and Helicon, seen across the sea. Pen and ink. (18) Head of the Gulf op Corinth, from near Sicyon. Pen and pencU and indigo wash. (19) TiTANOS, LOOKING TOWARDS COEINTH, Alopcki at the 1. Indian ink and indigo wash. (20) View feom abo-ve Alopeki towards Corinth. Indian ink and indigo wash. (21) Zakoula, and -view across the Gulf to Parnassus. Pen and ink and indigo wash. (22) View of the Isthmus peom the Aoeoooeinth. Water colours and pen. (23) Wide View of Sicyon, looking towards the Isthmus. Pen and ink and Indian-ink wash. (24) COEDJTH AND THE ISTHMUS. PencU sketch. (25) NouEi Bey's Palace, Coeinth. PencU and sepia wash. (26) Khan op Lampiei on the Gulf of Corinth. Pen and ink and indigo wash. (27) Village neae Pateas. Pencil sketch. (28) View feom Pateas, looking W. Pen and ink. (29) The Bay op Calydon. Pen and indigo. (30) aSNiAD.ffi;, looking seaward to tho Islands. Pen and ink and indigo wash. o 2 196 Drawings of the British School. (81) Completion op the preceding View at the e. Pen and iuk and indigo wash. (82) Harbour and To-wn op Vathy, Ithaca. Pencil and indigo wash. Engraved in aquatint by P. W. Tomkins and J. H. Wright for Gell's ' Ithaca,' 1807. (88) EooK CALLED Homee's School, Ithaca. Pencil and sepia wash. Engraved in aquatint by Tomkins and Wright for Gell's ' Ithaca.' (84) Completion op the View No. (32) at the e. Pencil and indigo wash. (85) Gbnbeal Vib-r' feom the Summit of Aito, Ithaca. Pen and ink. (86) Completion of the pebceding View at the e. PencU.The whole view, with foreground added, etched by Tomkins and Wright for Gell's ' Ithaca.' (37) View peom the Monasteey of Kathaea, Ithaca. Indian ink and indigo wash and pen. Etched by Tomkins and Wright for Gell's ' Ithaca.' (38) Poet Feiohies, Ithaca. Pencil. Engraved in aquatint by Tomkins and Wright for Gell's ' Ithaca.' (89) View peom the Mill of Maueona. Pencil, Indian ink and indigo wash. Etched, with foreground added, by Tomkins and Wright for Gell's ' Ithaca.' (40) View of a Town on a Hill. Peucil. (41) Coast View peom Inland. Pencil. (42) (a) (6) (e) View of the North Coast of the Gulf op Coeinth. Peu and pencil sketch. (43) View feom the Castle of Naupactos (Epacto oe Lepanto). Water colours and pen. (44) View of Lepanto, from a height to the E. Pen and ink and indigo wash. (45) View of Zante and the Coast of Moeba, from the sea. Pen and ink. (46) (a) Sketch on a Coast. (6) A Village. Pencil. (47) View feom the Galleey of a House at Lepanto. Pen and ink and brush. (48) House at Lepanto. Water colours, pen and pencil. (49) Lepanto, feom the Sea. Pen and ink. (50) Lepanto and the Entey into the Gulp, from the opposite coast. Pen and peucil and indigo waah. (51) View feom between Patras and Clonus, looking W. Indian ink and water colours. (52) The Coast of Elis peom the Sea. Water colours. (58) The Steaits of Gibealtae feom the Atlantic. Pen and ink. Sir William Gell. 197 (54) The Straits of Gibealtae. Pen and Indian-ink wash. (55) Between Korax and Vathy, Ithaca. Indian iuk and indigo. Engraved in aquatint, Tomkins, Wright and Black, for Gell's ' Ithaca.' 7. Skbtch-book, containing views in Attica, Boeotia, and the Peloponnesus. The drawings in this book are nearly all pasted into it on guards; many are on two, three or more sheets joined together and afterwards folded. 9i X 18J in. (1) Baeipompi, looking towards Athens. Pen and ink. (2) Athens, feom Patissa. Pen and ink. (8) Athens, peom nbae the Tumulus of Antiope. Sepia and pen. (4) Gbnbeal View of Athens and Neighbouehood. Pen and ink. (5) Athens, feom the Gate Bobonistea. Pen and pencU. (6) Panoeama of Athens and Neighbouehood, feom the Top op Anohesmvs, Pen and ink. (7) The Aoeopolis op Athens, feom the Pnyx. Pen and ink. (8) Panoeama feom Mount Hymettus, with Athens at the r. Pen and ink and water-colour wash. (9) Athens, feom as Olive Gbove to the W. of the Town. Sepia and pencU. (10) Athens and Sueeoundings peom the Oeos Mnematos. Pen and ink. (11) Continuation op the same View at the e. Pen and ink sketch. (12) Panoeama feom the Citadel op Phaleeum. Water colours aud pen. (13) Panoeama op Athens and sueeounding Countey peom the Pnyx. In six joined sheeta, the -view embracing the whole horizon. Water colours and pen. (14) Salamis peom the Top of Coeydallus, Pen and ink and indigo wash. (15) OlTH.aEEON AND PLAT.a:A. Pen and ink. (16) PAlfOEAMA OF PLATiEA, LOOKING N. Pen and ink. (17) View nbae Paeapungia (Lbuotea), with Helicon at the 1. Pen and ink. (18) Poet op Cacosia (Thisbb). Pen and ink. (19) View feom Dbeveni on the Isthmus op Coeinth, looking N. Pen and ink. (20) View feom behind Livadia near Helicon, looking N. Pen and ink. (21) (a) (6) (c) Panoeama of Kondouea, continuous view in three sections. Pen and ink. (22) View neae CniEEONEA from Agiani. Pen and ink and Indian-ink wash. 198 Drawings of the British School. (23) Hyampolis. Pen and ink. (24) Aeaooba, near Parnassus. Pen and Indian-ink wash. (25) SOHISTE. Pen and ink. (26) View feom the To-^'ee neae Megalo Mulohb. Indian ink and water colours. (27) View peom Oeohomenus, looking S.E. Pen and ink. (28) Feom Oeohomenus, another view. Pen and Indian-ink wash. (29) Panoeama of Mammoueea. Pen aud pencil. (30) Vale Noeth of Helicon. Pen and ink. (31) Lake Copais and Pass op Sphinx. Indian ink and pen. (32) View feom Philopappus. Evenmg effect ; a shepherd in the foregrouud r., and a group of women 1. Water colours. (33) Scala di Salona. Pencil and indigo wash. (34) Panoeama op Megalopolis. (35) The Same continued at the b. (36) The Same completed at the e. Pen and pencil, partially tinted. Sketch-book, containing views in Athens and Attica. 15J x 9 m. (1) The Aoeopolis. Water colours. (2) Two Hoesemen, peom the Feieze op the Paethenon. Sepia wash and pen. (3) Young Men eiding, feom the Feieze op the Paethenon. Sepia wash and pen. (4) The Paethenon, from a model. Pencil. (5) The Paethenon. Inscribed, Talten with a telescope and a Camera Lucida jrom thilopappus. Pencil. (6) The Paethenon, from a model, showmg construction PeucU. (7) The Paethenon, from Fauvel's model. PencU. ^^^ ^d?JZ<.fnTheK^n °\^r ^^''^^r''' '^'°^ ^^'^ Marquis de Nointel's OJ awing in ttie King's Library, Paris. Pen and bistre. (9) The Paethenon, from Fauvel's model. PencU. (10) Gypto Kasteo on the road from Thebes to Eleusis Pen aud mk. (11) Cathedbal, Athens. Pencil. (12) Gypto Kasteo and Citha;rou. Pen and ink. Sir William Gell. 199 (13) Vaivodes House, Athens. Pencil. (14) View op Athens. Slight penoU sketch. (15) Pentelicus and Monasteey at its Foot. Indian ink. (16) EuEiPOS (Chalois) from across the sti-ait. Indian-ink wash aud pen. (17) Image op Athene at the church of Angelokipos, near Athens. Pen and ink. (18) Statue of Athene Polias in the wall of the Acropolis. Pen and ink. (19) EuBipos (Chalcis) from Attica. Monochrome wash and pen. (20) Westben Pediment of the Paethenon. Pen and bistre. (21) Cave op Teophonius. Sepia wash and pen. (22) Plan of the Cave. Pen and ink. (23) Euins of an Agoea nbae Phaleeum, Pen and ink. (24) Quaeeies of Pentelicus. Indian-ink wash and pen. (25) Falls op the Ilissus at Enneaoeunus. Sketch by Baron Haller. Pen and ink. (26) View feom Pentelicus, looking towards Athens. Monochrome wash and pen. (27) Athens feom Agba. Pen and pencU. (28) Tumulus op Maeathon. Indian-ink wash and pen. (29) Theee Sketches of Buildings in Athens, and a pencil sketch of Lycabettus. Pen and ink. (30) The Plain op Maeathon. Indian-ink wash and pen. (31) Temple of Zeus, Athens. SUght pencU sketch. (32) LiVADii. Sepia wash and pen. (83) Aoeopolis op Athens. Pencil and Indian-ink wash. (34) Cave of Teophonius from inside. Water colours and pen. (35) House of Madame Masson's Eoom at Athens. Inscribed La Chamhre de Mad. Masson Athenes le 27 Mai, 1811. PencU, partly tinted with water colours. (36) Back of Livadia. Indian ink. (37) Aoeopolis of Athens. PencU. (38) Slab feom the Feibze of the Parthenon, flgure on the pediment, etc. Pen and ink. 200 Drawings of the British School. (39) 06. View feom the Aeeopagus. Bistre and indigo wash and pen. Bev. Geound Plan op the Paethenon. Pencil. (40) Slight Sketch of the Aoeopolis. Pencil. (41) Enneaceunus. Inscribed This is the real colour of the rocks. Water colours. (42) Geoup of Eleusinians at a Well. Four women, one bringing a mule to drink. Inscribed fille Alhanoise et Eleusine. Water colours. (43) Stadium at Athens. Pen and slight Indian-ink wash. (44) Couet op Madame Masson's House. Sketch by Gropius, au Austrian archajologist and English Consul at Athens, aud probably author of several of the drawings in the Gell collection. Pencil, (45) The Theseum. Pencil sketch. (46) Cbnteb of Pediment, PB0PYL.a;uM, Eleusis. Pencil. (47) Adeian's Gate. Pencil, partly tinted with sepia. (48) 06. Agios Zacchaeias, Eleusis. Pencil. Bev. Plan op Gypto Kasteo, after Haller. Pen and pencil. (49) Fountain, with peasants drawing water. Pencil. (50) Feagment op the Feieze op the Paethenon ; procession of women. Pen and burnt sienna. (51) Eleusis from the sea. Slight pencil sketch. (52) Back of the Monument op Philopappus. Pencil and slight sepia wash. (58)'SouLPTUEB ON THE MONUMENT OP PHttoPAppus. Inscribed Camera Obscura. PencU and sepia. (54) Monument of Philopappus. Water colours and pen. (55) The Theseum. Pencil sketch. (56) East Vmw op the Acropolis, from the convent. Inscribed Coloured on the Water coloura. (57) Adeian's Gate feom the Capuchins' Convent. Inscribed Taken with a Camera Obscura. Slight pencil sketch. (58) Theatee Heeodes. PencU, Indian iuk, and sepia wash. (59) Aoeopolis: East End. Pencil and sepia. (60) "^^^^oJ'^^thens feom the Temple of Victoey, above the Stadium. (61) The AoEOioLTS feom the Peisons oe Sbpulohebs Indian ink and pencU. Sir William Gell. 201 (62) The Aoeopolis feom the Pnyx. Greeks in the foreground. Water colours. (63) The Aoeopolis feom the Theatbe. Pen and ink. (64) Temple op Zeus. Water colours. (65) The Theseum. Indian ink and burnt sienna. (66) The Theseum, from the opposite end. Pencil and Indian-ink wash. (67) 06. Statue at Angelokipos. Peu and ink. Eev. Theseum, taken with camera lucida and telescope. Slight pencil sketch. (68) View inside the Paethenon. Sepia. (69) 06. View of Mount St. Elias, perhaps the mountain of that name at Daphne, near Eleusis. Pencil. Eev. The Coast of Attica from the sea. Pencil. (70) Colossal fallen Statue of Apollo, on a mount in Naxos. Pen and ink. (71) Fbont of the Paethenon. Indian-ink wash and pen. (72) An old View of the Aoeopolis. Inscribed From an old drawing at Mr. Fauvel's taken in the time of Nointel. Fauvel was a French archseologist and draughtsman. Pen and ink. (73) PoETico OF Theseum. Indian iuk. (74) Intbeioe of Theseum. Indian ink and water colours. (75) Stadium at Athens. PencU. (76) Falls op tee Ilissus. Sketch by Gropius. PencU. (77) Ca-ve of Pbooeustes, Eleusis. Indian iuk and pencil. (78) Bboken Column at the Entey op the Pie^us. Pencil. (79) Map op Livadla. Indian ink and pen. Sketch-book, containing views in Peloponnesus, Phocis, and Bceotia. 17| x lOJ in. (1) View from Mistba. Inscribed on the back Vue Sur V emplacement de Sparte aveo les montagnes de la Laconic, prise a Mistra en Automne 1803. Pen and ink. (2) Pateas and the Enteanob op the Gulf op Coeinth, looking W. Panorama in four joined sheets. Pen, pencU, and slight Indian-ink wash. (3) Coeinth. PenoU. (4) Temple at Coeinth. Sepia and pencil. 202 Drawings of the British School. (5) Coeinth. A wide view on three joined sheets. Pen and pencil. (6) Thebes. A wide view on three joined sheeta. Pen and ink. (7) Thebes. A wide view from a nearer point, ou three joiued sheets. Pen and ink. (8) Oeohomenus. Indian ink and pencil sketch. (9) Livadia. A near view. Pen and ink. (10) Livadia. Panorama on three joined sheets. Pen and ink. (11) Geanitza. Panorama on three joined sheets. Pen and ink, (12) Citadel op Livadia. Pen and ink. (13) Panopea. A wide view. Pen and ink. (14) Panopea. Pen over pencil. (15) CuiEEONEA AND Panopea from the banks of the Cephissus. Panorama on three joined sheets. Pen over pencil. (16) Delphi. Panorama on five joined sheets. Pen and ink. (17) View prom the Coeycian Cave, Paenassus, looking over the Gulf of Crissa. Panorama on three joined sheets. Indian ink and indigo wash aud pen. (18) View of the Plain op Ceissa. Indiiu ink and pen. (19) View between Ceissa and Salona. Pen over pencil, the sea washed with indigo. (20) Salona and sueeounding Countey. Panorama on four joined sheets. ludian-ink wash and pencil, partly outlined with pen. 10. Skbtoh-book, containing views in Spain, Sicily, the Adriatic, Ionian Islands, and Cyclades. lOJ x 18f in. (1) Gibealtae from the sea. Pen and ink, partly washed with Indian ink and yellow ochre. (2) Panorama of Gibealtae Bay. Pen and iuk, partly washed with Indian ink. (3) Gibealtae from the sea. Pen and ink. (4) Mt. Copano feom the Top of Mt. Eeyx, Sicily. Pen and ink. (5) Teapani and the Sea from the top of Mt. Eryx. Pen and ink and indigo wash. (6) Cattaeo, DALMATii, with the ' Ladder ' or path to Montenegro at tho 1. Pen and ink. (7) The Town of Coefu. Peu and ink. (8) The Town of Coefu feom a Bock in the Haeboue. Water colours, (9) View above the Town of Coefu, looking towards the coast of the mainland. Pen and ink. Sir WiUiam Gell. 203 (10) Bay in the Island of Coepu. Pen and ink. (11) View in Zante, looking N.W. ; the town on a bay r. Pen and ink. (12) Zante, -with a View of the Town. Peu aud ink over pencil. (18) Zante : the Town and Coast, looking S. Pen and ink. (14) Zante : the Town feom above. Pen and pencil. (15) Zante : the Town feom the Sea. PencU, partly washed with water colours. (16) Zante : View neae the Coast. Pen, pencU aud bistre. (17) Zante : the Town seen aoeoss a Bay feom the S. Sepia and pen. (18) View in Zba (Ceos). PenoU. (19) View in Siphajito (Siphnos). Sepia and pen. (20) Seepho (Seriphos), looking towards Siphnos. Sepia and pen. (21) (a) Coast View of Andeos, Tinos, Delos, and Myconi. Pen sketch. (6) East Coast of Laconia, with Cape Malea and Oerigo (Cythera). SUght pencU and Indian-ink sketch. (c) Coast of the Moeba, with Belo Poulo and the Karavi Islands. Pen sketch. (22) (a) Enteance of the Hellespont. Pen and ink. (6) SouTHBEN Extremity of Eubcea from the sea to the E, Pen and ink. (23) Panoeama of Delos peom the Top op Mt. Cynthus. Pen and ink. (24) Euins on Mt. Cynthus. Dated Oc.'revo (d. 1814) was lientenant-genrral, colonel commandant of the Eoyal ArtUlery, comptroUer of the Eoyal Laboratory at Wonlwich and anperintendent of miUtary machines. He waa made a b.ironet 1812. His eldest aon was well known as the inventor of the Congreve rocket. 3. Six on one mount, roy., viz. :— (a) Portrait Sketch of James Paull. Head in profile looldng r., wearing hat. Inscribed J. Paull, esq. aud with memoranda of feature and costume. PencU ; 3 J X 2| in. James Paull, b. 1770, d. 1808, made a foitune as a trader in India; returned to England 1804; was eleeted M.P. in the Wnig interest for Newtown, Isle of Wight, 1805, and contested Westminster 1806, when he was defeated by Sheridan and Hood, and 1807, when he had still less sncceas; wounded in a duel with Burdett 1807: died 1808 by auii-hle. GUlray intro.luced him in prints of the Westminster election, and made a caricature of the duel, (6) Portrait Sketch of a Man unknown. Head in three-quarter face looking 1., wearing hat. PencU ; 3f X 2J in. (e) Poeteait Sketches of Me. Dolby (?) and of Gbnbeal Lake. Head of a man iu profile looking r., with hat on back of his head. Inscribed Dulby [?] Black eyes and hair. And very slight sketch of a man in 1. profile. In.-cribed Luke. Pencil ; SJ X 2J in. Gerard 1st Vi»eount Lake, b. 1744, d. 1808, was member for Aylesbury 1790-1802; won disiinction as » soldier in Flanders; put down the Irish rebellion of 1798 and, aa commander-in-chief in India, broke the power of the French and of the Mahrattas by a series of brilliant campaigns. (d) PoETRAiT Sketch of a Gentleman. Head in proflle looking r., wearing hat, of a man with a snub nose. Pencil ; 3| X 2 J in. (e) Poeteait Sketch or Loed Essex. Head, nearly full face, looking a little towards the r. Pencil ; 3f X 2J in. George Capel-Coningaby, 5th Earl of Essex, b. 1757, was M.P. successively for Westminster, Lostwithiel, Oakhampton and Eadnor; succeeded to the earldom 1799; died 1839. (f) PoETBAiT Sketch of a Gentleman. T.Q.L. of a young man standing, in profile looking L, wearing hat. Pen and ink ; 3| x 2 J in. 4. Six on one mount, roy., viz. : — (a) Poeteait Sketch op Gbnbeal Lake. Caricature of the head in profile looking 1. Inscribed Genl. Lake. PencU ; 3 X 2| in. See above. No. 3 (c). (6) Pobteait Sketches of the Speakee and Chaplain of the House op Commons. Head of the Speaker in his wig, three-quarter face looking 1. Inscribed Speaker. And small head of the Chaplain in three-quarter face, looking 1. Inscribed Chaplain of ye House, very tall and stout. PencU 3J x 2f in. Charles Abbot, b. 1757 ; was called to the bar 1788 ; became M.P. for Helston 179-'^; elected Speaker 1802, aud occupied the chair with great distinction; retired as 1st Baron Colchester 1816 and died 1829. (c) Head op an Oppicee. Head of a man in r. proflle, wearing a cocked hat. Inscribed above (?. B. PencU 3| x 2J in. 220 Drawings of the British School. (d) Head op a Gentleman. Outline sketch of a head of a John Bull type in profile looking r. PencU ; 8J X 2J in. (e) Head of an Old Man. Head in profile looking r., wearing hat. Inscribed White hair. Pencil ; 3J X 2| in. (f) Poeteait Sketch of Loed Temple. Head in profile looking 1., wearing hat. Inscribed Ld. Temple. Pencil ; 8J X 2| in. Eichard 'Temple Nugent Brydges Chandos, b. 1776, known as Earl Temple 1784-1813, was an active Member of Parliament and Paymaster- general of the Forces in Lord Grenville'a ministry, 1866-7; created 2nd Marquis of Buckingham 1813 and 1st Duke 1822 ; well known as a collector of prints. Died 1839. 5. Nine on one mount, roy , viz. : — (a) Poeteait Sketch op a Man unkno-wtt. Head in proflle looking 1., wearing a low-crowned hat. Inscribed above with a name, not legible, and below gout in left leg. Slight pen sketch ; 3J x If in. (6) Poeteait Sketch op Loed Moira. Head and shoulders in profile looking 1, in uniform. Inscribed Ld. Ma., and with memoranda of costume. Slight pen sketch ; 3| x If in. Francia Eawdon Hastings, 1st Marquis of Hastings, and 2nd Earl of Moira, b. 1754, served with distinction in the American war; was created Baron Eawdon 1783, and became Earl of Moira 1793 ; was prominent in politics as a friend and supporter of the Prince of Wales ; Governor-general of Bengal 1812-1821. Died 1826. He figurea frequently in GiUray'a works. (c) Sketch op a Soldiee. Eough sketch of a aoldier, nearly whole length, looking 1., a musket slung on his back. Inscribed Smiths (_?). Pen and ink ; 3^ x 2| in. (d) Head of an Old Man. An old man'a head in proflle looking r., wearing broad-brimmed hat. Slight pen sketch ; SJ X 2 J in. (e) Two Officers' Heads. Two heads in cocked hats. Slight pen aketch ; 3J x 2J in. (/) Portrait Sketch of a Gentleman unknown. Head of a man in profile looking r., wearing hat. Pencil ; If x 3J in. (g) A Ijght Dragoon. Study of the head and helmet, and part of the uniform of a light dragoon. Inscribed yellow collar. Pen sketch ; 8 J x 2| in. (h) A Negress. W.L. figure of a negress in full face. Peu and ink ; 3f x 2J in. (i) Head op a Gentleman. A head, nearly full face, looking a Httle 1., in a hat. Pencil ; 8| X 2J in. Nos. 2-5 were presented by WUliam Smith, Esq., September, 1851. 6. Me. G. Bakee, the Collectoe. W.L. figure of Mr. Baker standing with one hand in his breeches pocket, and holding a print of MorLind's in the other. Squared out for transfer, inscribed A collector of Etching just returned from making a Purchase, and with other variant titles, etc. Pen and burnt sienna ; roy,, 9J X H in. This figure was inserted in the etching ' Connoisseurs Examining a Collec tion of George Moriand's ' (Wright & Evans, No. 551). The other connolsseuia are Captain BaiUie, Mitchell, Cabel Whitefont, and Mortimer. Baker was a weU-known print collector, of St. Paul's Churchyard. Purchased January, 1863. James Gillray. 221 7. The Faeo Table. A crowd of men and women sitting and standing round an oval table by lamplight, staking money on cards ; two croupiers r. and 1., one dealing the cards, the other gathering in the stakes. Pen and sepia sketch, partly shaded with Indian ink ; roy., 9 x 13| in. A similar scene occurs in the etching, ' The Knave wins all : Modern Hospitality ' (Wright and Evans, No. 65). 8. 06. The Fall of Icaeus. Earl Temple as Icarus, with wings melting under the warmth of the King's displeasure, falling backwards ou the sharp pointed stake of public opinion ; his father, Buckingham, as Dsedalus, is flying away ; the scene is Whitehall, with the houae of the Paymaater of the Foroca (Temple) at the 1., and hia aervant handing stationery to a carter at the door. Inscribed The Fall of Icarus. Scene near Whitehall. Pen and ink and burnt sienna sketch ; roy , 14 x 8J in. Etched by Gillray (Wright and Evans, No. 334). The subject was supplied by an amateur. For Temple see above. No. 4 (/). He was joint Paymaster of the Forces iu the Grenville Ministry, on the dissolution of which he waa accused of appropriating a great quantity of stationery. Bev. Sketch foe a Political Satire. Eough aud slight sketch of an unknown subject. PencU and red chalk. 9. An Amateue going a Piotuee-hunting on a peosty Moening. The Marquis of Stafford passing down the street to the 1., where a catalogue hangs on the port ico of Christie's. Inscribed with above title, repeated with variations. Pen and ink ; roy., 9 x Sf in. Erehed by GUlray, with the title ' Maecenas in pursuit of the Fine Arts ' (Wright and Evans, No. 560). The Marquis of Stafford (b. 1758, d. 1833) was best known for his patronage of Art and for the great improvements he made in Sutherland, from which county he received his ducal tit.e 1883. 10. Ob. Colonel Geoege Hangee on Horseback. Colonel Hanger gaUoping on a pony, towards the I. Pen and ink ; roy., 6J x 7| in. George Hanger, born about 1751, served with the array in America, and afterwards became weU known as a boon companion of fhe Prince of Wales : noted for his eccentric manners and riotous conduct. He was 4th Baron Coleraine, but never assumed the title. Bev. Sketch poe a Caeioatuee. A fat man on a horse riding r., meeting another (perhaps the Prince of Wales ?) driving in a phaeton. Pen and ink. Nos. 7-10 were purchased October, 1867. 11. Head op a Gentleman unknown. Head of an elderly gentleman in profile looking r. PencU ; roy., 4| x 3J in. Purchased August, 1868, with the Hawkins Collection. In addition to these mounted drawings, there are in an album of sketches by caricaturists and by amateurs, twenty sketches supplied by various amateurs to Gillray for the following subjects, the numbers referring to the pages in the album : — (5) The Fall of Icaeus. See No. 8 above. (7) The Fall of Icabcs ; another sketch. (15) The High Geeman Method of desteoying Veemin at Eadstadt (Wright and Evans, No. 242). (24) Palbmon and Lavinia. (28) Loed Longbow (Moiea) discovbbing the Miseeies op Ieeland (Wrieht and Evans, 182). (29) Gentle Manners with Affections Mild (Wright and Evans, 465). (30) How to Eide with Elegance theouqh the Stbbets (Wright and Evans, 379*). 222 Drawings of the British School. (33) A MiLiTAEY Sketch of a Gilt Stick (Wright and Evans, 460). (34) A Masteb of Ceeemonies. (35) A Lyoness (Wright and Evans, 507). (36) ' Only Look at the Gbnbeal I ' (37) Diana ebtueked feom the Chase (Wright and Evans, 515). (77) aud (81) Teub Eepoem op Paeliament (Wright and Evans, 357) ; two sketches. (86)-(91) Pulpit Eloquence, Militaey Eloquence, etc. ; six sketches. Purchased May, 1854. GILPIN, Sawrey, R.A. (b. 1733, d. 1807). Animal painter and etcher ; born at Carlisle ; pupil of Samuel Scott in London ; worked for the Duke of Cumberland; elected A.R.A. 1795, R.A. 1797; excelled in painting of horses ; painted animals for landscapes by George Barrett and figure subjects by Zofi'any, and had complementary help from them. 1. 06. Horses in a Field. Sis horses and a colt grouped near the foreground, one lying down, the rest atanding; treea r., and undulating downs in the distance. Signed S. Gilpin. Water colours and pen ; roy., 8 J x 12f in. Eev. Study fob the same Subject, somewhat differently treated. Pencil. 2. Cattle in a Steeam. Two cows standing in a shallow stream facing r. ; cottages and treea on the high farther bank. Water colours over pencil ; roy., 7J X lOJ in. 3. Study of a Bear. A bear on a mountain aide advancing 1. Water coloura over peucil ; roy., 7 X 9 J in. Noa. 1-3 were purchaaed March, 1850. 4. Study op Cattle. A bull and a cow standing in a fleld ; treea behind. Signed S. Gilpin. Water colours and pen ; roy., 6 X SJ in. 5. One of the Duke op Combeeland's Eoad Horses. A horse standing, facing 1., tied up to a ring iu the wall. Signed S. Gilpin, and inscribed one of the Duke's Boad Horses, Indian ink and pen over pencil ; roy., 9f X 12^ in. 6. A Cow GRAZING. A cow in a meadow faring 1., grazing. Signed S. Gilpin. ' Water coloura and pen ; roy., 5| x 7§ in. 7. Two Horses in a Field. Two horses, oue moving away at the 1., the other at the r. pawing the ground and about to attack with his teeth. Signed S. Gilpin. Pencil and black chalk ; roy., 10| X 14J in. 8. The Shepherd. A shepherd seated (., his dog beside him, on a bank under a tree, with his flock all about him in a field. Signed 8. Oi\lpin']. Pencil ; roy., 9J x 12f in. 9. The sleeping Hounds. Pencil ; roy., 7| X 11 J in. 10. An Inlian Cow. A cow with a hump on its shoulder, facing r. Signed S. Gilpin. Pencil ; roy., 8 X 12J in. 11. Donkeys. Two donkeys standing together, one grazing. Pencil ; roy., 5| x 7J in. 12. Sheep. A group of sheep, one standing, the rest lying down. Signed S Oilvin PencU; roy., 7i X ?| in. a o f 13. Horses. A group of six horses standing in a fleld. Indian-ink wash and pen ; roy., 9J x 13J in, Nos. 4-13 were purchased March, 1868. Sawrey Gilpin, R.A. — Rev. WiUiam Gilpin. 223 14. A Meet of Huntsmen. Three huntsmen aud hounds. Pen over pencil ; roy., 6J x 7f in. 15. Two Stags fighting. Indian-ink wash and pen over pencil ; roy., 5J x SJ in. Nos. 14 and 15 were purchased August, 1871. 16. Deee in a Paek. A stag and doe standing together I. under a tree ; other deer beyond under trees. Pencil ; 5J X 7J in. 17. A Camel. A camel facing 1., Arabs and another camel near a pyramid 1. Signed 5. Gilpin. Pencil; roy., 7 X SJ in. 18. Deee. A stag standing beside a doe lying down 1., another stag lying at a little distance r. Pencil ; roy., 6J x 9J in. 19. Andeomache Feeding Hectoe's Horses. Andromache followed by a maid, standing at tbe 1., and feeding three horses from a platter. Indian iuk and pencil, unfinished; roy , 7| X 11 J in. Nos. 16-19 were purchased October, 1872. 20. GuLLivBE addeessing the Houyhnhnms, supposing them to be Conjueoes : Study poe a Picture. The two horses standing together on a sea beach, discussing the appearance of Gulliver, who has just landed 1. and addresses them with one hand on his breast. M onoehrorae, lightly tinted ii. parts; rov., 12§ X 16J in. The picture was engraved in mezzotint by Valentine Green. Purchased May, 1885, at the Cheney sale. 21. Stags fighting. A park with two stags flghting in the foreground, in front of a tree ; a number of deer looking on behind. Pencil; imp., 13 X 19 J in. Purchased January, 1865. 22. Portrait of a Maee. A mare facing 1. Inscribed This mare (88 years of age) belonged to Mr. Hedges, of Windsor. She was daughter to the Godolphin Arabian. Drawn hy S. Gdpin, 1765. Pencil and pen and ink ; 6 X 8 J in. Inserted in Vol. vi. of the interleaved Society of Artists Catalogues, presented by J. H. Anderdon, Esq., November, 1867. GILPIN, Rev. William (b. 1724, d. 1804). Writer and amateur painter ; brother of Sawrey (jilpin ; B.A. of Queen's College, Oxford ; kept a weU-known school at Cheam ; from 1777 Vicar of Boldre, in the New Forest ; held a prebend in Salisbury Cathedral ; published a number of works on scenery and travel, illustrated by his own drawings. 1. A Countey Lane. A lane winding from the foreground into a wood psat a high bank at the I. Indian ink and water-colour tint ; roy., 5| X Sf in. 2. Landscape Composition. A road over the top of a woody hill looking out on a great tract bounded with mountains, and with a castle on a knoll in the middle distance ; two travellers on a road about to descend ou the further side. Indian-ink wash and pen ; roy., 6 x 9| in. 3. Landscape Composition. Thick woods on hilly ground, with a ruin rising among thera at some distance ; in the foregrouud a man and boy under a tree. Indian-ink wash and pen ; roy., 6| x 9| in. 4. A Lake Scene. A rocky foreground with two trees r., and three flgures by the edge of the lake, beyond a bay of which at the 1. mountains come down steeply to the water. Perhaps an adaptation of the view from Friar's Crag Derwentwater. Indian-ink wash and pen on yeUow paper ; oval ; roy., 9| X 13 in. Nos. 1-4 were purchased August, 1871. 224 Drawings of the British School. 5. Sunset View on a Eivee. View from a high bank, overlooking a river which curves away abruptly to the 1. past a knoll with trees ; at the r., hilly country bathed in sunset light, with a tower on a wooded height above the stream. Indian ink on yellow paper ; roy., lOJ in. x 13J in. Purchased October, 1877. GINGAL, (worked about 1794). Topographical draughtsman; biography unknown. 1. View of the Noeth Side of Poetman Squaeb. Water colours, with pen outlines ; 5i x 8J in. Lithographed. In Portfolio xxix. (No. 97) of the Grace Collection of London Views, purchased November, 1880. GIRTIN, Thomas (b. 1775, d. 1802). Water-colour painter ; born in London ; pupU of E. Dayes ; companion in boyhood of J. M. W. Turner ; worked in London and in various parts of England, Scotland, and Wales, painting with especial sympathy and power the moors and mountains of the north ; exhibited at the Royal Academy 1794— 1801 ; visited Paris 1802, just before his death ; he enlarged the whole scope of water-colour art, lifting it out of the sphere of topography, and influenced subsequent practice more than any other artist of his time. 1. Poeteait of the Aetist. Nearly whole length, seated, facing r., and painting at an easel or raised board before him ; the face in proflle. Signed !Z7iO. Girtin. Pencil ; roy., 10 J x SJ in. Purchased June, 1889. [2-55.] Water-colour drawings. 2. Denbigh. View from a rocky height, with the remains of a castle 1., looking over a broad level tract to a range of hills, beyond which, through a gap, appear far-distant mountains under a cloudy sky. Water colours ; roy., 6J x lOJ in. 3. The Caetee. A white horse in a cart eating fodder from the ground, with a dark horse unharnessed in front of it r., and the carter holding up a long whip, standing by the dark horse's head ; from the bare fleld of the foreground the country spreads away, with woods and with a farm 1., to a wide blue distance. Signed Girtin. Water colours ; roy., 6| x 12 J in. 4. Hills and Steeam. View across a river, which runs iu a straight line across the foreground, of a range of bare hills, the nearest standing out pale in a passing gleam, the others, towards the 1., iu deep blue shadow from the rolling rain clouds above. Water colours ; roy., 6 x lOJ in. 5. Oaenaevon Castle. View of the castle from across the sunny water of the harbour ; the beach curving r., with two sloops at anchor near the castle, and a few figures busy near ; at the 1., the harbour raouth and the sea. Water colours ; roy., 7i x 11§ in. Engraved in mezzotint by S. W. Eeynolds. 6. Baenaed Castlb, Dueham. The ruined castle stands on a height 1. above the river, which flows into the foreground from under a bridge in the near distance, a wide shallow atream with acattered rocks. Water colours ; roy., SJ x 13| in. Engraved in aquatint by J. Hill, Thomas Girtin. 225 7. Landscape with Hill and Cloud. A meadow bordered by a stream flowing under a dark wooded hill, behind which a scarped ridge rises against wild clouds ; at the r. a bridge. Water colours ; roy., 6 x OJ in. Engraved in mezzotint by S. W. Eeynolds. 8. Stae Ceoss, Dbvonshiee. View of tlie little village ou the shores of the Exe at low tide ; in the sandy foreground a man following two horses ; two boats, and at the r. a beached schooner by the water's edge. Signed Girtin. Water colours ; roy., 6J x 9^ iu. 9. Stone Church, near Geavesend. The smooth top of a hill, with pathway leading up to the church among trei s at the 1. ; a woman going up the path, sheep and cattle beyond her ; at the r., level fields beneath the hill, and the Thames flowing through them. Water colours ; roy , lOj x 14 J in. 10. York Minstee. S.E. view of the minster, clustered about by houses, from a meadow across a river ; a bridge at some distance r., and a few cattle in tho marshy foreground and in the fields on the further side of the stream. Water colours ; roy., SJ x 11 J in. Engraved in aquatint by J. HUl. 11. Neae Beddgelbet. A rooky stream flowing under a rude bridge into the fore ground among mountains dim with rain. Water coloura ; roy., 6f X Sf in. Two views of ' Bethkellert ' wore exhibited by Girtin at the Eoyal Academy in 1 799. This drawing is doubtless of the same date. 12. MoEPETH Beidge, Noethum beel and. View on the banks of the Wansbeck a little below the bridge, partly hidden at the 1. by intervening cottages, in front of which rises a birch tee; a few figures on the river bank 1.; beyond the bridge are woods which come down to the river at the r., and in the distance a bare hill. Signed and dated Girtin, 1800. Water colours ; roy., 9 x 12J in. 13. Etall Castlb, Noethumbeeland. A great prospect of undulating moorland, with a, two-peaked hUl iu the distance 1. ; in the foreground a stream which curves into the r. foreground from the I. past a slope, on the top of which stands the castle tower, with a farm at the foot by the water. Signed Girtin. Water colours ; roy., 9i x lljin. Engraved in aquatint by J. Hill. 14. A Farmhouse, unfinished. A farmhouse and outbuildings backed by trees, unfinished and showing Girtin's direct method of colouring. Water colours ; roy., 11 J x 16 J in. 15. Two on one mount, roy., viz. : — (a) At Gordale Scab. A waterfall coraing in a thin stream down a rock into the foreground. Inscribed Gordale Scar. Water coloura ; 5| x 7f in. (6) Above Bolton. View from a height looking down on the Wharfe, with a steep acaur r. and dark hills rising in the distance beyond wooded fields. Inaoribed above Bolton. Sketch for a large drawing in the collection of Mr. G. W. H. GUtin, the artiat's grandaon. Water colours ; 5§ x 8 in. 16. Three on one mount, roy., viz. : — (a) A ErvBE-siDE Faem. Farm buildings and an old tree, mirrored in a stream in the foreground ; evening light. Water colours over peucil ; 4 x 6| in. Neae Knabbsbobough. A broad shallow stream and high bank, with a wall built on the slope, and bushes above, beyond. Water colours over pencil ; 4J x 6| in. sX(b) VOL. II. (e) ToTNES, Dbvonshiee. View looking up the Dart to the town, with the church tower rising above trees against a white cloud ; two boats on the river. Water colours ; 4J x 6 J in. En"-raved by J. Walker, and published In Walker's Itinerant, 1799, 226 Drawings of the British School. 17. Two on one mount, roy., viz. : — v^ (a) In a Village. A thatched barn r. with a horse and cart in front of it ; at a short distance 1. a church with slender spire. Water colours over pencil ; 3J x 4f in. (6) A Faemhouse. a farmhouse 1. with trees on either side of it and a path in front, up which comes a woman. Water colours over peucil ; 8J x 4J in. 18. Two on one mount, roy., viz. : — (a) A Cottage. A cottage with a sloping field before it and trees behind, among which in the distance rises a church tower. Water colours over pencil ; 3J x 4| in. (6) Faem Buildings. Thatched old buUdings with a fence in front and two men at the 1. Water colours over pencil ; 3 J x 4 J in . 19. Two on one mount, roy., viz. : — (a) Copenhagen House. Au evening view of the eloping fields of Islington and groups of holiday makers going up a path to the white house and tea gardens. Water colours; 3| x 4 J in. (6) Landscape with Pond. A pond among level fields, with a row of stakes across it, aud a few trees bent by the wind around ; an evening light in the sky. Water colours ; 3J x 4J in. 20. Two on one mount, roy., viz. : — (a) Cottages on a Hill. Cottages 1. on a high bank, beneath which a path comes down into the foreground. Sepia and wafer colours over pencil ; 3 J x 4J in. (6) A Shed. A thatched low shed v. with pigs in front of it and a waggon 1. ; a pond and stream in the foregrouud. Water colours over pencil ; 8| x 4| in. / 21. Watee-mill at Chaeenton. View from the bank of the Marne, with the river 1., and the mill built out from the bank into the stream, vihich turns the undershot wheel; at the r. a cart approaching the miller's house which adjoins the mill; a barge mooied by the river bank. Signed and dated Girtin, 1802. Water colours ; roy., 7f x 12f in. A pencil drawing of this subject is described below, No. 80. It was etched on soft ground by the arlist aud afterwards aquatinted by F. C. Lewis for the ' Views oi Paris.' 22. View of a Cathedral. View of the west front of a cathedra], with cloister Tsall r. Water colours ; roy., 9J x 12J in. 23. Two on one mount, roy., viz. :^ , (a) A Farm. A road leading across a field to a solitary farm, under a erev skv. Water colours ; 4f x 6j in. 6 J / (6) A Farm and Pond. Farm buildings, with a pond in the foregrouud. Water colours (unfinished) ; 6J X 9^ in. 1.24 and 25.] Sketches at sea and ou tbe coast, probably on a voyage to Scotland in a collier which Girtin made in the company of George Morland. 24. Two on one mount, roy., -viz. : — / (a) Sketch at Sea. Three vesaela, brigs or schooners, two approaching, the third tacking away towards the white-cUffed coast, seen in the distance r., 01 er which a storm blows up. Water colours over pencil : 4J x 7 in. Thomas Girtin. 227 (6) Sketch on a Eoadstbad. Two brigs, a schooner and other smaller craft on a calm sea, with fhe coast behind jutting out from the 1. in a promontory, and a smaller point nearer in. Water colours over pencil ; 4J x 7J in. 25. Two on one mount, roy., viz. : — / (a) Coast Scene. A tongue of land projecting from the 1. and a little island behind it ; a ship and several fishing smacks on the calm sea. Slight water-colour wash over pencil ; 4J x 7 in. (6) Sketch on an Estcaey. The shores of an estuary, with a stranded sloop I. and stakes r. SUght water-colour wash over pencil ; 4J x 7 in. Nos. 2-25 were presented by Chambers Hall, Eaq., February, 1855. 26. The Arsenal, Pabis. The colonnaded front of the Arsenal, and other buildings adjoining at the 1. ; flgures and a carriage in the foreground. Water colours and ptn ; roy,, 4 X 9J in. 27. Two on one mount, roy., viz. : — /' (a) Flint Castle. Tbe coast of the Dee estuary stretching 1. to the distant castle on its low headland; some fishermen, with a horse, on the beach; beyond, a group of fishing-boats. Water colours ; 3J x bJ in. (6) A Village Street. View down a village street, which curves away to the r., fhe church tower showing beyond the houses. Water colours ; 6J- x 10 J in. Nos. 26 and 27 were presented by John Henderson, Esq., January, 1863. . 28. Knaeesboeough Castle, Yoekshiee. A near view of the ruined keep ou ita rocky height, rising against a dappled sky. Water colours ; roy., 12j x 10| in. No. 28 bequeathed by John Henderson, Esq., December, 1878. 29. Db. Moneo's House at Fetcham. View of the stone, two-gabled house-front from the garden lawn, on which a man is rolling the grass ; trees at the sides of the house and behind it. Signed Girtin. Water cohmrs; roy., lOJ X 14J in. Dr. Monro, whose portrait by John Henderson is described below, had a country house at Bushey as well as at Fetcham, and a town house in Adelphi Terrace, where the young water-colour painters, Girtin, Turner, De Wint, Cotraan, and others, were welcomed and encouraged. There is a duplicate or copy of this drawing in South Kensington Mhseum, formerly in Dr. Percy's collection. Purchased August, 1890. 30. PoETBAiT Study of a Giel. Whole length portrait sketch of a young woman seated, -with her hands in her lap, the face fuU, looking a little r. Signed on the old paper mount T. Girtin. Pencil, partly washed with water colour ; roy., 6} X 8| in. Purchased December, 1859. [31-36.] Studies for Girtin's panoiama of London. The panorama is said to have been painted in 1797-8. It was taken, according to aome accounts, from the top of the Albion Mills, part of which was represented in it ; according to others, from the top of Sir Ashton Lever's Museum, which had been sold by lottery, and removed from Leicester House to the Eotunda, on the south side of Blackfriars Bridge. In any case the locality is the same. The horizon was semicircular. The panorama was exhibited at Spring Gardens, and after Girtin's death was taken to Eussia. The following six studies, which embrace the whole horizon of the work, are arranged according to Francia'a rough print of the panorama, beginning at the 1 or west. The print is mounted with the drawings. Q 2 228 Drawings of the British School. 31. Westminster and Lambbth. Viewover the roofs of Lambeth to Westminster Abbey, Hall, and bridge ; Lambeth Palace and windmills further 1 , and the four pinnacles of St. John's Church between. Water Colours ; imp., llf X 20f in. 82. The Thames peom Westminster to Someeset House. View up the Thames to Charing Cross; Somerset House and St. Mary-le-Straud r., the Shot Tower and wharves on the Surrey side in the foreground 1. Water colours; imp., 9| x 21J in. 83. The Thames prom the Temple to Blackpriaes. View across the river to Temple Gardens, with wharves and warehouses on either side. Water colours ; imp., S| x 19 in. 84. Blackpriaes Bridge and St. Paul's. View of St. Paul's acroas Blackfriars bridge and the river. Pen, pencil, and monochrome wash ; imp., 14 X 20J in. This drawing is squaied out for enlargement, and there ia other evidence of its having been used in painting the panorama, in spots of distemper dropped on the paper. 35. The Thames peom Blackfeiaes to London Bridge. The city -with its rows of wharves, and ita steeples showing white against the smoke and turbid sky ; London Bridge at the r. Water colours ; imp., 8 J x 17J in. 36. The Albion Mills after the Fiee. The gutted shell of the Albion Mills, with a street in the foreground, aud a view over houses r. to the green distant hills. Water colours ; imp , 14J x 1 1 J in. The Albion Flour Mills were destroyed by fire, 1791. Pen drawings of this view and of No. 31 are iu Mr. George Girtin's collection. 37. Geeat Hall, Conway Castle. Interior of the moss-grown ruin, with roofless arch* s over head and a round turret seen above and beyond. Water colours; imp., 14^ X llj in. 88. Kiekstall Abbey. Yoeks iee. View looking down on the Aire winding through' its moorland valley ; the ruins of the abbey at the r. a Utile above the river's bank, the roofs and smoke of Kirkstall village at its farthest bend ; in the foreground a woman on a horse talking to another woman, other figures near a farm r., and two on horseback going down from the farm to a barn bythe water's edge ; heavy clouds moving away over the distant hUls. Signed Girtin. Water colours ; imp., 12f x 20| in. 39. Neae Beddgbleet. A valley and stream winding away from the level fore ground into the heart of the mountains; Snowdon rising 1. from lower spurs, some in light, some in shadow, under heavy rolling clouds. Wati r coloura ; imp., 1! J X 17 in. 40. Eiohmond Beidge, Yoekshiee. A near view of the bridge ; two broad arches Cl casing the rocky stream of the Swale, which flows into the foreground, and framhig a group of cottages and a water mill beyond; on the bank r., under the bridge, two women washing clothes; other figures further off, near the cottages. Water colours ; imp., 12§ x 20J iu. 41 Abbey of Lindispaene. Interior of the sunlit ruin, lookin::; W. from the choir, the arch connecting the central tower and the nave alone standing, a fragile reujuant against the sky ; the floor mounded up with earth, on the slope of which are two donkeys ; nearer, a peasant going to drive the donkeys with a stick, and a cow coraing down into the foreground. Water coloui 8 ; irap., 20J X 15J in. / 42. EGGLESTON Abbey, Dueh*m. The ruined abbey 1,, standing in a golden ray of sunset, on the top of gi-aasy, partly wooded heights, seen from the opposite bank of the river, which flows among rocks into the foreground ; both shores thickly grown with trees, and two figures on a spit running into the stieam from the 1. Signed Girtin. Water colours ; imp., Hi x 16f in. Engraved by S. Middiinan. Thomas Girtin. 229 43. Old Ouse Bridge, York. View of the bridge from the river, with chapel and houses built over its further arches r. ; in the foreground a barge, lowering its mast to pass beneath the bridge. Water colours ; imp., lOJ x 15J in. - — ^-^44. Ouse Beii ge, York. View looking across the river from one bank to the other, with the bridge I., and an open beaclj between the buildings at ita further end and the houses at the r. ; two washerwomen by the water in the foreground, nnd figures on the oppoaite bank, near which two boats are moored, and on the bridge. Water colours ; imp., 8 X 18 J in. A much earlier drawing than the preceding, in a lighter and colder key of colour, more akin to Turner's early works. , No. 44 was bequeathed by John Henderson, Esq., December, 1878. \/ 45. KiEKBY Peio'iY, neab Malham, Yoekshiee, Two buildings, the remains of the priory, forming an angle, with a broad farmyard in front and a cottage adjoin ing 1, ; a cow and two calves at the angle of the buildings, and two boys and a woman carrying pitchers in the foreground; at the 1. » path going up behind the cottage, past some trees, to a bare hill. Water coloui-s ; imp., 12J x 20| in. 46. Saint Anne's Gate, Salisbuey. The gate and building*i adjoining seen r. from the street, which curves away past the gate to the r., bordered 1. by old houses ; two carta in the road, and nearer, in the foreground, groups of country people and three pack horses. Water colours, unfinished (the figures partly coloured); imp., 13 x 20f in. Said to be the last drawing made by Girtin, Ist November, 1802 ; he died on the 9th. -47. View pbom the Window op the old Toy Inn, Hampton Couet. View across the liver to a row of old houses, lining the r. bank, with trees among them ; at the 1. a wooded islet. Water colours ; imp., 10^ X 16| in. i/ 48, Tuenee's Faem, neae Sapfbon Walden, Essex. A thatched, irregular, two- gabled house at the 1., -with trees on either side of it, facing a road, which cornea into the foreground past a tree r. ; a raan seated r. by the roadside ; two girls by the houae, and a cow further off. Water colours ; imp., 12J x 1 6J in. This farm belonged to the Girtin family. Mr. G. Girtin has a similar drawing. 49. Manoe House, Richmond, Yoekshiee. A Tudor houae with two wiuga, con nected by a gallery and arcade ; in the foreground two cowa and a man with a milk pail, a woman feeding chickens, and two pigs. Water colours ; imp., 12J x 18 in. 50. Conway Castlb. The castle seen from the sea, backed by dark hills and distant mountains under a showery sky. Signed Girtin. Water-colour sketch, unfinished; imp., llf x 17J in. 51. Durham Cathedral. The cathedral on ita height nt the r. above trees, seen from the river below ; beyond the cathedral 1., part of the castle, and lower down a glimpse of the bridge ; two men in a punt in the foreground. Water colours; imp., 18J x 16^ in. Eeproduced by Ihe Art for Schools Association, 1894. '^ 52. Jbdbubgh Abbey. A near view of the west front of the ruined abbey, with a thatched building abutting on it 1., over which appears the central tower and the perspective of the nave ; a man with a dog talking to a woman in the fore ground r., t-wo women and a child further off; a man chopping wood and a woman and a boy by the cottage I. Signed Girtin. Water colours; imp., 18f x 15i in. Nos. 31-52, with the exception of No. 44, were presented by Chambers Hall, Esq., February, 1855. 230 Drawings of the British School. 53. Eye, Sussex. The town on its hill, dominated by the church, rising dark against a fading sunset, seen from the flat meadows across the river. Water colours ; imp., 8J x 18f in. 54. Intbeioe op Canteebuey Cathedbal. View looting up one of the aialee, with the nave r. ; a few flgures iu the foregrouud. Water colours; imp., 16 x 12| in. Nos. 53 and 54 were bequeathed by John Henderson, Esq., December, 1878. 55. Cayke Wateepall, Noeth Wales. A cascade pouring down a broken slope of rock into a pool at the r., whence the water comes foaming among great stones into the foregrouud ; trees and busbes, lightly sketched with the pen, scattered about the slopes. Water colours and reed pen, only partly coloured ; atl., 19f x 23 J in. What seems to be an elaborated copy of this drawing, by James Ward, E.A., is in the department. See under Ward. 56. Beidgbhoeth, Shbopshieb. A near view of the frix-arched bridge with ils toll house built over one of the buttresses towards the r., and the town beyond rising 1. ou a hill, the church tower prominent against the growing dawn; the houaes are bathed in the blue shadows of twilight and the smoke floats above the roofs ; a one-masted boat liea 1. below the bridge, moored to a ring in a buttress, and a small boat close to the nearer bank, from -which in the immediate foreground a man bringa bocketa of water, followed by a dog ; on the bridge are two figures, and a woman ascends to it r. by steps from the shore. Signed aud dated Girtin, 1802. Water colours ; ant., 24J x 37| in. Etched by F. Short in the ' Portfolio,' 1888, vol. 19. One of the moat important and magnificent of Girtin'a worka. A pencil study JH catalogued below. No. 65. Presented by Chambers Hall, Esq., June, 1849, [57-83.] Monochrome and pencU studies. 57, St. George's Eow, Tybuek. A row of houses, with a fence in front of it, seen from the road, along which a waggon goes 1. ; two figures on the steps r. leading to the Eow. Pen and bistre wash ; roy., 4J x 7| in. Girtin took a house in St, George's Eow on his marriage in October, 1800. The second house from the right was Paul Sandby's, from 1777 tUl his death in 1809, and was much resorted to by artists. Purchaaed May, 1890, at the Percy sale. 68. Two on one mount, roy., viz. : — (o) A Shady Eoad. A road shaded by trees, leading up to a village ; a man going up the road and two children near the cottages. Sepia over pencil ; 4f x 8J in. (6) Outhouses. A wooden shed r.. another building further off, and a cart upturned 1. Sepia over pencil ; 4| x 3| in. 69. Three on one mount, roy., viz. : — (a) Paek Scene. Trees in a park. Sepia over pencil ; 3J x 4f in. (6) 'The Willow. A pollard willow, with a gable end behind, and a man in the foreground walking ]. Sepia over pencil ; 3i x 4J in. / (o) The -Windmill. A road at the top of a hill, with a windmUl and bam at I. Sepia; 3i x 4J in. Thomas Girtin. 231 60. Two on one mount, roy., viz, : — (a) The Steeam. A stream with a email cottage near the further bank, woods and hilla behind, and two figures by the water. Indian ink over pencil; 3^ x 4J iu. (6) A Watee Mill. A water mill seen at a little distance aoroas the mill pond. Indian ink over pencil ; 3J x 4J in. 61, Two on one mount, roy., viz. : — •\/ (a) A FOLDING Bed. A bed in which Girtin slept when in Devonshire, turned up on its hinges. y Pencil ; 5J X 4 in. ^-^ (6) Beough, Westmoeeland. View over a vaUey filled with woods to a house on a hill sloping to a plain r. ; a round castle rising on a wooded height in a vulh-y. Inscribed I'he house and castle very in [word cut off], Brough [the rest illegible]. Pencil ; roy., 5| X 8 in. Nos. 58-61 were presented by Chambers Hall, Esq., February, 1855. 62. Inn Yaed, Edgware Eoad, Paddington, The yard of an old inn, with palings and buahea r., and a man with a pitchfork working I. Signed and dated T. Girtin, 1801. Pencil ; roy., 5J x 9 in. 63. Jedbubgh. View from a height looking down a main street to the hill oonntiy bevond ; the abbey in a hollow r. Signed and dated Jedborough, Scof., T. Girtin 1796 X 11. PencU ; roy., 4J x 12| in. Nos. 61 aud 62 were purchased June, 1889. >-/64. Hatfield House. View of the house at some distance over undulating sweeps of park. Pencil ; imp., 12| x 21| in. Presented by Chambers Hall, Esq., February, 1855. ^-^ 65. Beidgenorth ; Sketch foe No. 56. The same composition as No. 56, but with a few slight differences ; the man is in the nearer boat instead of on the shore, and the woman at the r. ia on the top of the steps. Inscribed by Girtin Bridge- twrtli, and hy Chambers Hall Truce from Bridgenorth in Shropsh., by Girtin, for the finished drawing in the British Museum. Presented to the Museum April, 1850, by 0. H. PencU; imp., 9i x 21| in. [66-83,] Views in Paris. These, with others, were etched in outline on soft ground by Girtin, who coloured a set of impressions (presumably the set which, having been acquired by the Earl of Essex, and by hiiu presented to the Duke of Bedford, is now in the library at Wcjburn Abbey); and fiora thera aquatint plates were prepared and published, 1803, by Girtin's brother John. Both the outline etchings and the aquatints are in the department. Two of the subjects were painted by Girtin on a large scale aa scenes for the Covent Garden Theatre ; these were the Conciergerie and the Eue Saint Denis. " 66. View of the City with the Louvke, feom the Pont Maeib. View of the Seine from the Pont Marie, with the Louvre in the distance and the towers of Notre Dame above the Louses 1. Pencil ; imp., 6i x ISf in. Etched by Girtin ; aquatinted by F. C. Lewis. ^ 67. Pont St. Michel, peom thb Pont Neuf. Pencil; imp., 6| x 15 J in. Etched by Girtin ; aquatinted by J. B. Harraden. ' 68. The same Subject. A more elaborate drawing. Pen and monochrome wash ; imp., 7 X 17| in. No. 68 was bequeathed hy John Henderson, Esq., December, 1878. 232 Drawings of ihe British School. 69, Geneeal View of Paeis, peom Chaili.ot. Looking up the Seine, with the dome of the Invalides r. Pencil ; imp., 6| x 27} in. Etched by Girtin ; aquatinted by W. Pickett. ^ 70. View op the Pont Nbup attd Notee Dame. View from the Seine bank, of the Pont Neuf and Notre Dame beyond. Pencil ; imp., 6| X 23J in. Etched by Girtin ; aquatinted by F. C. Lewis. ^-' 71. View of the Pont Neup and the Mint. From the Seine bank, looking up the river, without the cuirassiers and other figures introduced iu the etching. Pencil ; irap., 9 X 23J in. Etched by Girtin ; aquatinted by F, C. Lewis. ^ 72. The Pont au Change, TheAtbe de la Cite, and Concieegeeie Peisok. View looking down the Seine, with the Pout Neuf beyond the Pont an Change. PencU; hup., 9 X ISf in. Etched by Girtin ; aquatinted by F. C. Lewis. 73. The Pont de la Touenelle and Notre Dame, from the Aesenal. Inscribed with notes of colour. The etching includes more at the r. and less at the 1. than this view. PencU; imp., 6| X 18f in. Etched by Girtin ; aquatinted by F. C. Lewis. 74. The Pantheon, from the Arsenal, looking across the Seine. The etching in cludes considerably more at the r. Pen and pencil ; imp., 6^ x 11 J in. Etched by Girtin ; aquatinted by F. C. Lewis. 75. The Louvee and Beidge op the Tuilbeies, peom the Pont Neup. The Pont des Arts and Pont du Carrousel now intervene between these two bridges. Pencil; imp., 6 J x 17 J in. ^ 76. The Tuilbeies and Beidge, pbom the Quai d'Oebay. Pencil ; imp., ej x 17f in. The last two views do not appear among the etchings. 77. The Palace and Village op Choisy. From the opposite bank of the Seine. Inscribed below View of fhe pallace and village of Choisy from the banks of the Seine, and above The pallace now belongs to Mr. Didier, by whom it has heen in part demolished, timber cut, etc. The palace has since entirely disappeared. Pencil ; imp., 5| x 18 in. Etched by Ghtm ; aquatinted by F. C. Lewis. 78. The Watee Woeks at Maely. View looking down on the Seine, with St. Germain en Laye in the distance. Pencil ; imp., 5f x 18J in. Etched by Girtin ; aquatinted by J. B. Harraden. ^79. View prom the Palace Terbaoe at St. Germain en Laye, with the Aqueduct of Marly in the distance. Inscribed View taken from pallace terrace at St. Germain en Laye. Pencil ; imp., 5| x 17J in. Etched by Girtin ; aquatinted by J. C. Stadler. ^80. St. Cloud and Mont Calvaiee, peom the Pont de Sbve. Inscribed View of St. Cloud and Mont Calvaire, taken from le pont de Seve. PencU ; imp., 5f x 18J in. Etched by Girtin ; aquatinted by F. C. Lewis. 81. Watee Mill above the Beidge at Chaeenton. Inscribed View of ihe water mill above the bridge at Charenton. Pencil; imp., 5| x IOf in. Etched by Girtin ; aquatinted by F. C. Lewis. A larger drawing of this subject, in water colours, has been described above. Thomas Girtin. r 7" '' ¦ 233 -^ 82. On the Banks op the Mabne, below the Beidge of Chaeenton. Inscribed View on the banlcs of the Marne, below the bridge of Cliarenton, near Paris. Pencil; imp., 5J x 9 J in. Etched by Girtin ; aquatinted by F. 0. Lewis. "^ 83. Belle Vub and Pont de SJive, fbom St. Cloud. Inscribed View of Bellevue and le pont de Seve, from the terrace near le pont de St. Cloud. Pencil; imp., 5| x 18 J in. Nos. 66-83, with the exception of No. 68, were presented by Chambers Hall, Esq., March, 1868. [84-105.] Drawings after Hearne, Malton, Canaletto, Piranesi, and other masters. These were made about 1793 or earlier, for Mr. Henderson the elder, who lived near Dr. Monro in Adelphi Terrace, aud like him encouraged young artists to copy from his collection. Both Girtin and Turner worked in his house, and each copied there the drawings of the other's teacher, Girtin copying Malton, and Turner Dayea. Girtin's earlier preference was for Canaletto and Piranesi ; Turner was attracted more by Hearne. 'I he copies made by Turner are very close ; Girtin, on the contrary, could not conceal his own individual style. After George Morland, 84. ' Dogs hesitating about the Pluck.' Two dogs, one covering the pluck of a hare with his forefeet, the other standing over him. Water colours ; roy., 9| x 12f in. After Eichard Wilson, B.A. 85. In the Villa Adrian a. A house 1. built on the top of old brick arches; two figures r. by a stream, and trees beyond. Water colours; roy., 8 x 6| in. After Thomas Hearne. ¦^ 86. Gate of St. Edmund's Busy Abbey, Suffolk, with trees 1. and a man leading a horse in the foreground. Water colours ; roy., 7f x 10 in. ^^ 87. Mbleose Abbey, Eoxbuegh8hiee. The interior of the ruin. Water colours ; roy., 18J X 7| in. 88. Lanbbcost Peioey, Cumbeeland. Interior of the ruin, under the central tower. Water colours ; roy., lOJ X 7J in. 89 EiPON, Yoekshiee. The Minster seen from acroea the river. Water colours ; roy., 7| X 10 in. After Canaletto. 90. View on the Geand Canal, Venice. Water colours; roy., 8 X 13f in. \/ 91. The Geand Canal, Venice, looking seawaed. View looking towards the mouth of the canal and the Church of the Salute. Water colours ; imp., 8} X 19} in. 92. ViBW ON the Geand Canal, Venice. Water colours ; imp., 9| x 15| in. 93. The Eialto, Venice. Pen and bistre outline ; imp., 14 J x 20} in. Nob, 84-93 were presented by JohnHendersoD, Esq., December, 1878. 234 Drawings of the British School. / After Piranesi. 94. Carceei No. 2. Oue of the faraous architectural dreams of Piranesi. Indian ink and sepia ; roy., 17J x 12J in. Mo. 94 waa presented by John Henderaon, Esq., January, 1863. y 95. A Bridge in Italy. A atone bridge of many arches crossing a river which flows through a town ; boats and figures in the foreground. Water colours, partly outlined with pen ; imp., 6 x 19J in. / After Tliomas Malton. ^ 96. Cornhill and the Bank in 1795, with a group of flgures and a few carts and carriages. Indian ink and water colours, unfinished ; imp., 12^ x 18| in. \/ 97. St. George's, Hano-ver Square, from the S.W., with the square beyond. Indian ink and water colours; imp , 14} x 18J in. 98. The Mansion House, with the Lord Mayor's coach iu the foreground. Water colours and Indian ink; imp., 14| X 13J in. Two aquatints of these subjects by Malton were publiahed, that of the Mansion House in 1783, that of St. George's in 1787. The prints are from the same poiut of view as these drawings, but include more, and the figures are different. y 99. The Old Eoyal Exchange, with St. Paul's in the distance 1, Water colours and Indian ink ; imp., 18| x 19} in. After J. M. W. Turner, B.A. 100. York Cathedral. S.W. view of the Minster from a graaay alope slanting down to the river 1. ; beyond the slope are trees, above which are the roofs of the town ; a man resting near the foreground r,, and a woraan going down to the river ; two men by a cottage on the bank, and a boat with two figures on the water. Water coloura; atl., ISJ x ICf in. , After John Henderson, Senior. -^ 101. Dartpoed, Kent. View looking down the main street towards the church, with many figures. Pen and ink outline ; imp., 16f x 21| in. Both Girtin and Turner made drawings after sketches by Mr. Henderson. Some by Turner will be described under his name. After other Artists. 102. View in Eome. Part of a Eoman arch or portico r. ; stairs going up between two groups of buildings in the background. Indian ink and indigo with pen outlines ; roy., lOJ x 7| in. 103. Eemains op the Temple op Concord, Eome. Pen aud ink outline ; imp., ISf x 21 J in. Different from Piraneai's view of the aame building. 104. A EuiNED Temple. Probably after the same artist as the preceding drawing. Pen and ink outline ; imp., 16 X 21f in. 105. The same Temple, from the other side. Sepia wash over pencil, unfinished; imp., 11 J x 19J in. Nos. 95-105 -were presented by John Henderson, Esq., December, 1878. iThomas Girtin. — John Glover. 235 106. View in Paris. View of a bridge, with Notre Dame seen in the distance through one of the arches. Pen and monochrome wash, tinted in foreground ; imp., 14| X 20J in. Presented by John Henderaon, Esq., January, 1868. [107-108.] Drawings inserted in the interleaved copy of Pennant's ' London,' bequeathed by J. C. Crowle, Esq., 1811. 107. Lbathee Sellebs' Hall, ovee the Crypt op St. Helen's Monastery. Interior of the ruined hall, with the floor broken and ahowing the crypt below ; au artist sketching in the crypt, and other figures above. Water colours ; 12f x 9} in. In vol. vii., no. 212. 108. Leather Sellebs' Hall, estbeior. > Pencil and sepia wash, partly outlined with pen ; 17| X 24 in. In vol. xii., no. 183. The old hall was one of the few Companies' halls that escaped the Great Fire. It was taken down in 1799. GLOVER, John (b. 1767, d. 1849). Landscape painter ; born in Leicestershire; self taught; worked in London from 1814, being elected that year an original member of the Water Colour Society ; president of the society for 1815; painted in oils also; one of the founders of the Society of British Ajtists, 1824; emigrated 1831 to Australia and died in Tasmania. 1. A EUINED Castle. The towers of a ruined castle rising at a little distance on a woody hUl, towards which a road leads from the foreground past a cottage r. ; a man and cart on the road, and high tree 1. Water colours ; roy., 11} x 9| in. Purchaaed May, 1885. 2. Beacklin Fall, near Callander. The torrent foaming down a precipice, seen from the opposite crag, with hills beyond, under a sky of clouds and pale passing gleams. Water colours ; roy., 5J x 4f in. Purchased May, 1885, at the Cheney aale. 8, Evening on the Eiver. A broad, smooth stream, with clumps of trees upon the bank beyond, past which the evening light comes from the r., glancing on their foliage and faUing on a willow by the water in front of them, on a man punting across to the foreground, and on two swans by the bank at the r. ; a boat with a saU at the 1., and beyond it, fields and a distant house bathed in light. Water colours ; roy., 8f X 15f in. Purchased December, 1892. 4. Three on one mount, roy., -viz. : — (a) Landscape with Cattle. Two shepherds by a bank and a tree-shaded pool 1., sheep and cattle r., wooded country beyond. Sepia ; 3 J X 5| in. (6) The Eainbow. A rainbow arching a wooded landscape, with distant hiUs ; two figures on a road r. Sepia ; 8J X 5f in. (c) On a Eivee. View looking up a river, which flows out r. between woody cliffs r., and bank with a group of treea 1. Sepia; 3J x 5| in. 236 Drawings of the British School. 5. Three on one mount, roy., viz. : — (a) A Woodland Peospect. View over a wide, woody country ; a man with a dog in the foreground. Indian ink ; 3J x 5f in. (6) SuNEisE OVEE HiLLS. Trees on » high mcrand 1., and other treea r., framing a view of the sun breaking over distant hills; two men and some cattle in the foreground. Indian ink ; 3 j x 5f in. (o) Waewick Castle. The castle, aeen at sorae distance from the river; a group of tall willows 1, ; a boat in the foreground r. Indian ink ; 35 x 6J iu. Nos. 4 and 5 were purchased March, 1894. 6. The Fisheeman. A stream coming into the foreground under liigh sandstone banks, with a row of trees behind a cottage 1. on the further bank ; in the fore ground, by the water, a fisherman with a net on his shoulder. Water colours ; imp., 18J x 18J in. 7. View or a Town. The bank of a river, with trees r. and 1. ench sing the view of a town beyond the river, dominated by the square tower of a great church. Water colours; imp., 14J x 19J in. Nos. 6 and 7 were purchased June, 1885. GOODALL, Frederick, R.A. (b. 1822, ). 1. The Lady and the Swan. A lady walking by the side of a reedy pond and a swan coming towards her on the water. Signed and dated F. G. 1S54. Pencil ; roy., 4} x 6J in. Purchased January, 1872. GORE, Charles (b. 1729, d. 1807). Draughtsman and antiquary; a ship-builder, according to Goethe; made a tour in Sicily 1777, with Payne Knight, whose diary of the tour was translated by Goethe ; member of the Dilettanti Society 1781 ; from a few years after that date resided in Florence. 1. Temple of Ceres, Segesta. A near view of the temple from one end of it. Water colours; roy., 6J X 10| in. 2, The Lipabi Islands, from the North. The Lipari Isles; Strnmboli overhung with smoke 1 , Panaria and Salina r., and Lipari in the distance between ; a vessel r. and two other craft in the distance. Inscribed L'Isles de Stro'mJmli Panaria & Saline, prise du C6i€ du Nord, douze miles de distance en voyant la Stromboletta. 1777. Water colours; roy., 6| X 17J in. 3. Steomboli, from the North. The volcano rises from the sea 1., a faint cloud floating above the crater; Panaria and Salina at the r. Inscribed Stromboli du C6I^ du Nord, quatre miles eloign^. 1777 le 23 Avril. Water colours ; roy., 6f x 17J in. 4. Mount Etna, peom the Convent op Nicolosi : joint work with Thomas Hearne. Bare rock-strewn alopea, up which two travellera ou horseback and three guides on foot make their way from the r. ; towarda the 1., beyond a Bucceaaion of woody ridgea, the topmoat peak of Etna sends its wreath of smoke into the ch ar aky. Water coloura; roy., 11 x 17| in. 5. Syracuse, feom Epipol.^: joint work with Thomas Hearne. View from near the edge of a rocky plateau to the level coast beyond, and Syracuse on its projecting isthmus towards the 1. ; a woman guiding two travellera on a road which leads from the I. foreground to a chapel on the brink of the heights. Water colours ; roy., 10| x 17| in. Charles Gore. 237 6. Syracuse prom the Euins of Olympieum, with the Eemains op the Temple op Jupitee. Two broken columns standing at the r. near the reedy shore, and Syracuse seen across the bay towards the r. Inscribed Syracuse. Water colours ; unfinished ; roy., 9 x 14J in. 7. Temple op Juno Lucina, Ageigentum. A near view of the temple ruins, with a row of olives r. Water coloura ; unfinished; roy , 9 x 16| in. S. The T-wo Temples at Agrigentum. The Temple of Juno Lucina, near the cactus-dotted foreground; beyond, 1., the Temple of Concord, and r. the town of Girgenti. Inscribed Temple of Juno Lucina. Water colours ; roy., 7| x 16J in. 9. Temi le op Concord at Aqeigentdm. View from below of the temple on its bare h 11 shelving downward r. ; three Sicilians and their goats on the grass before the temple above the foreground rocks. Inscribed Temple of Concord, Girgenti. Water colours; roy., 9J x 17J in. 10. Euins op the Temple of Jupitee at Ageigbntum. Fragments of huge columns with bushes growing about them; a young man seated on a stoue near the foreground. Monochrome sketch; roy , 9^ x 17 J in. 11. Euins op the Temple of .Iupitee at Aqrigentum. Scattered and overthrown blocks of nia.-oury, with trees 1., and a young man si-ated in the shadjw of the ruins. Indian-ink wash and pen ; roy., lOJ x 17 in. 12. Euins of Selinus. A grassy upland with a flock of goats, and at some distance the seatter.-d ruins of Selinus; at the 1. the sea. Inscribed Les Buines de Selinus, 1777. Water colours ; r ly., 8| X 13| in. 13. Euins op Selinus. A nearer view of the ruins ; two long-horned oxen lying in the foreground, a boy near them, and two flgures at the 1. Inscribed Les Buines de Selinus, 1777. Water colours ; roy., 8| x 1 4f in. 14. Capital of a Pillar of the great Temple at Selinus. A capital broken off ¦ and half embedded iu the ground. Inaoribed A Selinounte, 1777. Water colours ; roy., 8} x 18 J in. 15. Euins op Selinus peom the South. View of the wide grassy plain, with exten sive groups of fallen ruins scattered about it ; two goatherds 1. on one of the vast fragments in the foreground. Water cohmrs; ant., 18J x 30 J in. 16. Euins op Selinus prom the West. A mass of fallen and broken columns strewn along the foreground, with a distant view of the modern town 1. ; r. the sea and coast stretching away to Cape San Marco and distant mountains. Water colours; ant, llf x 29J in. 17. Poeto Vbnbee, Italy. View of the coast and the island of Palmaria, looking S., with Porto Venere and the entrance to the Gulf of Spezzia at. the 1. ; near the foreground a flshing boat sailing towards the r. Inscribed Porto Venere, coming out of the Gulf of Spezzia, State di Genoa, 1775. Monochrome with slight tint in parts ; roy., 9J X 17} in. 18. A Man-of-Wae ts the Downs. A frigate in a rough sea coming towards the 1. ; chalk cliffs and lighthouse r. ; other craft in the ufling ; storm clouds blowing up from the 1. Indian ink partly tinted, with pen outlines ; roy., 10} x 16J in. 19. A Naval Eeview. A roadstead, probably Spithead, with a long line of distant battleships at anchor firing a salute, while nearer a number of yachts and small craft pasa up and down the line. ludiau ink, tinted; roy., 6 x 16i in. 238 Drawings of the British School. 20. Aemed Boats off the English Coast, 1794. A cutter and a lugger, both armed with guns, making to sea towarda the 1. ; cliffs in the background, with another cutter near them; and a rowing boat r. audi. Signed aud dated C. Gore, 1794. Water colours; roy., 11 J X 17f in, 21. A Fishing Smack. A brown-sailed smack sailing r., and another in the distance. Signed and dated Charles Gore, 1794, Water colours and pen; roy., 5| x 6J in. 22. An Aemed Cuttee in a Stoem. A cutter sailing away under a strong wind from the 1. ; in the distance another boat dimly seen in a black rain storm. Water colours and body colours (blackened in parts); roy., 7| x 10| in. 23. Ships in a Calm. A calm sea, with a frigate anchored r. and two sloops 1., with ships and boats going to and fro, and a cutter in the distance. Signed and dated C. Gore, 1794 (?). Water colours ; roy., SJ x 12| in. 24. Shipplng in a Beeezb. A roughening sea with gathering clouds above and a cutter sailing towards the r., a barque aud two other cutters beyond at the r. and a lugger 1. Indian ink on drab paper heightened with white (now blackened); imp., 11 X 21| in. 25. A Luggee in a Breeze. A three-masted lugger sailing from the 1. with a strong breeze ; a moving cloudy sky. Wafer colours on drab paper heightened with white; roy., 11 J x 21 J in. 26. View of Bonn. View of Bonn from the Ehine, which flows into the foreground, with a number of vessels sailing down stream. Inscribed Bonn sur le Ehin. Signed and dated C\ Gore, 1790. Water coloura aud pen ; imp., 7| X 21 in. 27. IsOLA Bella. View frora the shores of a bay on tlie Lago Maggiore, looking acro.-s to the villas and terraced gardens of Isola Bella, with Isola Snperiore 1., * Isola Madre and Pallanza r., all backed by the mountains, enclosing 1, a luminous vista of the lake towards the N. ; in the foreground a boat, and other boats about the i.-lands. Inscribed with names of places and notes in Italian; dated 31 Luglio, 1795, and signed 0. Gore. Water colours ; ant., 12| x 36 in. All bequeathed by E. Payne Knight, Esq., 1824. For other drawings of the same series executed for Payne Knight by T. Hearne, see under the works of that artist. GOULD, John, F.R.S. (b. 1804, d. 1881). Ornithologist and draughts man ; born at Lyme Regis ; taxidermist to the Zoological Society, 1827 ; published a long series of works on birds, 1832-1880, illus trated by himself. His collections of humming birds and Australian mammals are now in the British Museum. 1. Oh. Quail. Two quails with their young on the ground among grasses and blue convolvulus. Inscribed Quail. J. Gould, 1863, and aigned and dated a second time J. Gould, F.E.S., March 11, 1864. I'encil and water colours ; roy., 9| x 14| in. Eev. EoBiNS. Two robins. PencU. Purchased January, 1890. Joseph Goupy.—Sir Francis Grant, P.B.A.—W. Gravatt. 239 GOUPY, Joseph (d. 1763). Water-colour painter and etcher; born in Prance ; came young to England ; was employed by Frederick, Prince of Wales ; painted miniatures and landscapes and scenes for the Opera ; celebrated also for his fan-painting ; etched in the manner of Salvator Rosa. 1. Landscape, -with Figures. A tree 1. by the side of » stream, which comes into the foreground between high banks ; on the r. bank a group of flsherraen ; on the opposite slopes sheep, and shepherds in the disi ance ; beyond, r., a scarped white hill. Body colours ; roy., 7} x 8f in. Bequeathed by the Eev. C. M. Cracherode, 1799. GRANT, Sir Francis, P.RA. (b. 1803, d. 1878). Painter; born in Edinburgh ; spent his fortune young, and then took to painting, though untrained as an artist ; first exhibited at the Royal Academy 1834, and in a few years became the fashionable portrait painter ; elected A.R.A. 1842, R.A. 1851, P.R.A. 1866, when he was knighted. 1. Pobteait of Mi-s. Mountjoy. Head and ahouldera, directed 1., in riding hat, with veil thrown back ; the face in three-quartera, and eyes looking towards the r. Black chalk with a little blue and red chalk ; roy., 9| x 6J in. Purchased August, 1875. 2. Study foe an Equestrian Poetrait op Count d'Orsay. The Count on horseback ruling towards the 1., the face not drawn in ; behind, other riders iu the Eow and the Achilh s statue. PencU ; roy., S| x 10| iu. Grant painted, perhaps from this study, an oil sketch now in the Wallace Collection, aud engraved in S. Sidney's ' Book of the Horse,' p. 290. D'Orsay (b. 1801, d. 1S52) was for many years (1831-49) one of the leaders of fashion iu London, and, with Lady Blessington, formed the centre of a brilliant coterie. 3. Study of a Hoese. A horse galloping towards the 1. Pencil ; roy., IOf x 17| in. 4. Study of the Hindquarters op a Horse. Black and white chalk on greenish-grey paper ; roy., 16J x 12f in. 5. Ob. Study foe an Equesteian Poeteait op Loed Chesteefield. Eiding towards the 1. Pencil, touched with red chalk ; imp., 15J x ISf in. George Stanhope, 6th Earl of Chesterfield (b. 1805, d. 1866), was one of the most noted dandies of the day. Bev. A eough Sketch. Sketch of a couple driven in a carriage by four horses with two postillions. Nos. 2-5 were purchased January, 1865. GRAVATT, W., Colonel (worked about 1790). Civil engineer, draughts man, and engraver ; F.R.S. ; engraved some views of Jamaica in aquatint. 1. Ludlow Castlb, Shropshieb. View of the castle, crowning a slope up which runs a road lined with trees, seen from across the river which flows beneath. Water colours ; roy., 8f x 13J in. 240 Drawings of the British School. 2. Kingston, Jamaica. View from above of' the town and harbour, with Fort Charlotte bevond and the sea 1. ; ships and boats in the bay ; iu the foreground negroes with a cart ; two English horsemen r. aud a man on a mule 1. Body coloura ; roy., 12J x 19 J in. A similar, but not identical, view was engraved in aquatint by Gravatt. 3. FoBT Edwaed. a road by the shore, with harbour 1. in the foreground; the fort beyond the water, and passage out to sea 1. Signed W. G. Water colours and pen ; roy., 11| x ISf in. 4. Doesetshibe Hill and Paet op Kingston. View from the Leeward road on Kingston Hill over country undulating to the sea, with Kingston on a bay at the r. and Dorsetshire Hill at the 1., beyond ; rocky islands in the distance; near the foreground a man and woman meeting a horseman. Water colours and pen ; imp., 12J x 19| in. All purchased December, 1867. GRAVELOT, Hubert Fran9ois Bourguignon (b. 1699, d. 1773). Designer, painter, and engraver ; born at Paris ; came to London about 1732 and remained till 1745 ; returned to JFrance for a time, then worked once more in London till 1755 ; painted a few pictures, but is best known as a draughtsman and designer of book illustrations, in which field he acquired immense vogue and influence, both in France and England ; the teacher of Gainsborough, and important as engrafting the grace of the Watteau tradition on the English style ; after 1755 in Paris, where he died. (^ 1. A Lady with a Fan. A lady in full skirted dress of the period, standing facing to the front, and looking full, one hand on her breast, tne other hanging by her side and holding a fan ; a pillar 1. Inscribed at the top G. (either as signature or as indicating Grignion, who was to etch the drawing). Pencil ; roy., 9| x 6g in. Etched in reverse by Charles Grignion as No. 4 of a set of studies of men and women, publisht d 1744. Purchased July, 1883. 2. Study of a Gentleman, seated. A man wearing a hat, seated on a chair directed r., the faee full, and eyes looking downward 1. Black chalk on drab p iper, heightened with white ; roy., 12J x 8| in. Purchased October, 1853. 3. A SiMiLAE Study. The same man seated, facing the front, but looking r. Black chalk on drab paper, heightened with white ; loy., 12J x 8J in. Nos. 2 and 8 are studies for the same series as No. 1, but were not etched; at least they do not appear in the Museum set of the etchings. Many other studies of like character, and apparently from the same models, were made by Grignion, Gravelot's pupil. One of them is described below (see Grignion). 4. Ladies and Gentlemen on a Tbeeace. A terrace with curved staircase at the back, leading fr im a house unseen ; a gentleman brings a lady down the steps, on the lowest of which are two children and their nurse ; groups are standing about the terrace, and some of the meu look over the balustrade, the top of which appears in the foreground ; towards the 1. are two Orientals talking to an Englishman. Pen and Indian- ink wash over pencil ; roy., 4| x 14J in. 5. Five on one mount, roy., viz. : — (a) Illusteation to Eichaedson's ' Pamela.' Lady Davers expostulating in ¦ a passiim with Mr. B., who grasps her by the arm, and Pamela entreating her on her knees. Pen and sepia wash ; 5J x 8 in. Engraved in reverse by the artist. H. F. B. Gravelot. 241 (6) Illustration to ' Pamela.' Pamela refusing to pour out wine for Lady Davers at her nephew's request. Pen and sepia wash ; 5 J x 8 in. Engraved in reverse by the artist. (o) Illustration to ' Pamela.' Mr. B. handing ' Pamela ' into his coach. Pen aud sepia wash ; 5 x 3 in. Engraved in reverse by the artist. (d) Illustration to ' Pamela.' Pamela's wedding with Mr. B., Mrs. Jewkes attending her. Pen and sepia wash ; 5 J x 3 in. Engraved in reverse by the artist. (e) Illustration to 'Pamela.' Pamela upsetting the table in her haste to embrace her father. Pen and sepia wash ; 5 J x 8 in. Engraved in reverse by the artist. Nos. 8-5 were purchaaed June, 1888. 6. Four on one mount, roy,, viz. : — (a) Illusteation to 'Pamela.' Pamela giving the papera to Mr. B. in the garden. Pen and sepia wash ; 5 x 3 in. Engraved in reverse by the artist. The engravings for ' Pamela ' are in the department, some of them being proofs touched and corrected iu peucU or sepia by the artist. (6) Illusteation to a Novel. An old woman chiding a young one, who weeps and points to an empty chair. Perhaps Pamela and Mrs. Jervis; an Uluatratiou to Eichardaon'a novel. Peu and Indian-ink wash ; 2f x 3f in. (e) Illusteation to Apulbius' ' Cupid and Psyche.' Psyche borne on a '.- litter to the mountain top, her father and raother foUowing. Pen and Indian-ink wash ; 2.| x 3f in. (d) Illustration to Deyden's • Aueeng-zebe,' Act IV., So. 1. Aureng-zebe '- about to drink a cup of poison, but prevented by Morat ; Queen Nourmahal r., upbrailing Morat with angry gesture. Pen over pencil; 5i X 8J in. Engraved by G. Van der Gucht for Dryden's Dramatic Works, 1768, Vol. rv., p. 75. Purchased July, 1889. [7-9]. Hlustrations to Gay's Fables, Vol. il., London, 1788, Engraved by G, Sootin. 7. Four on one mount, roy., viz. : — (a) Fable IV. : The Ant in Office. Ants in council in the foreground ; a L^ girl feeding turkeys behind. Signed H. Gravelot inv. et ddint. Sepia wash and pen ; roy., 6J X 4} in. Purchased November, 1865. (6) Fable VI. : The Squiee and his Cue. The Squire advised by his "-^ neighbour to turn away his cur; a servant standing behind the Squire; house and garden beyond. Signed H. Gravelot inv. et delin. Sepia wash and pen ; 6| X 4| in. (c) Fable III. : The Baboon and the Poultey. The Goose deriding the '" pride of the Baboon, now a prisoner; other poultry in the background. Signed H. Gravelot inv. & delin. Sepia wash and pen ; 6f x 4J in. V- (d) Fable II. : The Vultuee, Spaebow, and othee Bieds. The vulture ou a tree, aurrounded by his satellites, looking down on the contented sparrow. Signed H. Gravelot inv. & delin- Sepia wash and pen ; 6^ X 4J in. Vol. ii. b 242 Drawings of the British School. 8. Four on one mount, roy., viz. : — (a) Fable VII. : The Countryman and Jupitee. Jupiter on a cloud, showing the countryman the miseries of the rich and powerful. Signed H. Gravelot inv. el delin. Indian-ink wash and pen ; 6| x 4f in. ; (6) Fable XV. : The Cookmaid, the Tuenspit, and the Ox. The os reproving the dog, which the maid comes out to drive in to his work of turning the spit. Signed H. Gravelot inv. et delin. Indian-ink wash and pen ; 6J x 4| in, (e) Fable X.: The Degenerate Bebs. The honest bee dismissed from the hive ; a gardener busy on a terrace in the background. Signed H. Gravelot inv. et del. Indian-ink wash and pen ; 6| X 4| in. (d) Fable V. : The Beae in a Boat. The bear stranded in the boat, derided ^ by the beasts on the bank and the fishes in the water. Signed H. Gravelot inv. & delin. Indian-ink wash and pen ; 6J X 4J in. Nos, 7 (6)-((i0 aud 8 were purchased November, 1890. 9. Four on one mount, roy., viz. :— (a) Fable I. : The Doo and the Fox. The fox shrinking in fear of the '_ farmer's wife, who approaches on horseback ; the dog remonstrating. Signed H. Gravelot inv. & del. Indian-ink wash and pen ; 6| x 4} in. (6) Fable VIII. : The Man, the Cat, the Dog, and Fly. The man upbraiding the fly on his plafe; the cat and dog sit by the table, and a servant stands behind it. Signed H. Gravelot inv. & delin. Indian-ink wash and pen ; roy., 6| x 4| in. (c) Fable XI. : The Pack Hoese and the Caeeieb. The proud pack horse iu the stable admonished by the carrier. Signed H. Gravelot inv. & delin. Indian-ink wash and pen ; roy., 6| x 4} in. (d) Fable XVI. : The Eavens, the Sexton, and the Eaethwoem. The sexton and the two ravens in the churchyard referring their dispute to the earthworm. Signed H. Gravelot inv. & del. Indian-ink wash and pen ; roy., (JJ x 4| in. Purchased November, 1865. 10. Two ou one raount, roy,, viz. : — (a) Scene at a Theatee. The stage of a small theatre, with the orchestra ^" in the foreground and boxes beyond; on the stage an actor in a fool's costume, standing between Comedy and Tragedy; a Cupid hovering above the figures. Signed Hubert Gravelot inv. & delin. Indian-ink wash and pen ; 5} x 3} in. Engraved in reverse by G. Van der Gucht. ,Q)) Illusteation to a Book. A lady fainting 1., in the arms of her three waiting women, who are about to lay her ou a bed, near which, r. a lady sits weeping. ' Engraved in reverse. Purchased August, 1868. 11. Illusteation to a Novel. Two prisoners in chains appealing on their knees to a man standing r. : two ladies looking on in agitation at the 1., and a man protesting with hands held out ; m the background « ship partly seen between the houses. Pen and ink and Indian-ink wash ; roy., 5 x 3 in. Purchaaed August, 1875. H. F. B. Gi-avelot. 243 12. Two on one mount, roy., viz. : — V (a) Design foe Headpiece in a History of England. A bust of Queen Anne ou a pedestal, attended 1. by Justice and Truth, r. by Eeligion and Fortitude. Sepia wash and pen ; 8J x 6J iu. Engraved by C, Grignion. ,, (5) Design foe Headpiece in a Histoey op England. Britannia with spear and shield, driving Tyranny and Ignorance from Justice and Plenty, who sit enthroned 1., a Cupid holding above them a cap of Liberty on a spear ; shipa in the distance. Sepia wash and pen; 3| x 6 J in. Engraved by the artist. 13. Two on one mount, roy., viz. : — (a) The Death of Dido. Dido lying on the pyre, with the sword in her breast; Anna kneeling and weeping 1., two attendants on the other side of the pyre; Love floating above Dido's head. The design enclosed in a scallop-shaped frame, inscribed beneath Improhe Amor quid non mortalia pectora cogis'? Signed H. Gravelot inv. et delin. Bistre wash aud pen ; 3| X 4} in. Engraved by W. H. Toms, whose print is mounted under the drawing. vx^ (6) Design fob Titlepage to D'Anville's Atlas. A river-god r., leaning on his urn, and contemplating an inscription on a ruined monument, by which a Tartar stands. Pen and sepia wash ; 6 x 5| in. J. B. Bourguignon d'Anville, the geographer, was Gravelot's brother. 14. Four on one mount, roy., viz. : — j (a) Design fob a Book Oenament. Trophies of Science, a globe, books, and mathematical instruments. Pen and bistre wash ; 3 J X 8J in. (5) Design foe Tailpiece. A cartouche hung with garlands, and with a ^ weeping Cupid in the centre. " Pen and biatre wash ; 4J x 5f in. . (c) Design foe Tailpiece. A cartouche, with -a, boy Genius sitting among ¦ — ^ crowns and helmets and holding Fame's trumpet, and writing in her book; behind, a reUef representing a battle, surmounted by the arms of England. Pen and bistre wash ; 4| x 4 J in. (d) Design poe Tailpiece. A cartouche with a Genius kneeling among musical instruments, and holding a mask before his face ; behind, a garden terrace. Pen and bistre wash ; 4J X 5} in. Nos. 12-14 were purchased July, 1889. 15. A Panel of Oenament. A design for Eocaille ornament, enclosing a triangular ¦^ Wank space in the middle ; at the top two Cupids playing, at the 1. a fox among vine leaves, and at the r. a dog. Signed H. Gravelot, delin. Pen and water-colour tint ; roy., 9f X 14 J iu. (the lower corners cut off). Purchased May, 1890, at the Percy sale. [16-19.] Designs for the ornamental frames to the Portrait Heads of Illustrious Persons, engraved by Houbraken. 16. Design foe Feame to the Poeteait of Shakebpeaeb. Panel with musical instruments, mask, etc., below the oval left for the ^portrait and inscribed Shakespeare. Signed H. Gravelot inv. et delin. Sepia ; roy., l-ff X 9} in. 17. Design foe Frame to the Poeteait op Milton. The serpent holding the t apple in its mouth, with a lyre and bayleaves beneath the oval left blank and inscribed Milton. Signed H. Gravelot inv. et del. Sepia with Indian-ink outlines ; roy., 14} x 8J in. B 2 244 Drawings of the British School. 18. Design foe Feame to the Poeteait op Pope. An ornamented oval frame ¦' with the sun below breaking through clouds above a picture of ApoUo ammig the Muses crowning poets. Signed (gravelot inv. etf Indian-ink wash aud pen ; roy., 13f X Sf iu. 19. Design poe Frame to the Portrait op Sie Wm. Temple. A frame orna mented in the Eocaille style, with an eagle holding a laurel branch below and 1, the Goddess of Plenty, r. the Three Graces. Signed F. H. Gravelot mv. et detm. Indian ink ; roy., 14| x 9 in. ,. . At the top a modification of the design has been added on a separate slip ot paper over the original drawing. Nos. 16-19 were bequeathed by the Bev. G. M. Cracherode, 1799. 20. Design foe Frame op two Chaets in Pine's ' Tapesteies.' Between -the two spaces left blank for the charts of the engagement between the H-ngUsli and Spanish fleets ofl- the Isle of Wight, and of the Spaniards pursued up Channel, a naval piUar, surmonnted by a figure of Victory; above, portraits of Frobisher and Hawkins on two medaUiona, and two boy genu with naval trophies on each side ; below, sailors bringing weapons from Spanish ships. Sepia wash and pen ; imp., 14| X 23f in. „ ,, „ r i j 9 Engraved by J. Pine in the ' Tapestry Hangings of the House of Lords, plate VII., 1739. Purchased August, 1871. 21. View op London, from One Teee Hill, Geeenwich Paek, with groups of ladies and gentlemen in the foreground. Sepia with pen outlines ; 9| X 15^ in. In Portfolio xxxvi. (No. 27) of the Grace Collection of London Views, purchased November, 1880. See also under Nathaniel Buck, vol. l., p. 151, for a drawing with figures by Gravelot. GRAY, Samuel (worked about 1800-1830). Draughtsman; biography unknown. 1. Babnes, Sueeey. Part of the village green; a pond 1., bordered by the backs of houses and gardens, and a windmill ; at the r., a giil stooping by a log and a man talking to her. Signed 8. Gray inv. et del. Indian ink and water-colour tint ; roy., 7J x IOf in. Presented by W. de Gray Birch, Esq., March, 1879. GREEN, Amos (b. 1735, d. 1807). Water-colour painter; brother of the following, Benjamin Green; born at Halesowen, Shropshire; best known for flower pieces; painted landscapes also in later life; worked at Halesowen, Bergholt, Bath, and Burlington. 1. Ob. Mountain Landscape. A man sitting on the bank of a stream, on the further side of which are trees and a buah-giown crag r., and in the 1. distance a mountain peak. Indian ink and aepia; roy., 8f x lOJ iu. Bev. Mountain Landscape, Grassy slopes with trees, aud steep cliffs beyond. Indian ink and sepia. 2. View on a Eivee. A stream flowing into the foreground under overshadowing trees ; at a little distance, three men in a boat under a high bank. Indian ink and sepia ; roy., 7 X IOf in. Nos. 1 and 2 were purchaaed November, 1879. 3. SroMOUTH Bay, Devonshire. View from a road at the top of a hill, with trees r. and 1., looking down to the town and bay, and the coast beyond from Exmouth to Berry Head. Water colours ; roy., 7J x lOj in. Purchased October, ISbl. Benjamin Green. — William Green. 245 GREEN, Benjamin (b. about 1736, d. about 1800). Mezzotint engraver and draughtsman ; born at Halesowen ; drawing master at Christ's Hospital ; drew and etched a number of plates of antiquities, and engraved in mezzotint several animal subjects after Stubbs, besides a few portraits, 1. Cheist's Hospital. View, in an oval frame, of the court of the school, with clock tower rising 1. above the buildings; boys flying kites and playing in the courts. Indian ink and water-colour tint ; roy., SJ x 3 in. Purchased October, 1877. 2. Canonbuey Towee, Islington. The tower aud the remains of the manor house, seen from across a pond or stream in the foreground ; on the further bank a man talking to another, who sits on a low fence. See note on the drawing by J. W. Archer, vol. i., p. 58., No. (30). Indian ink, water-colour tint, and pen; roy., 10 x 14J in. Purchased April, 1881. 3. HiGUBUEY Baen, Islington. View of the once popular place of entertainment, with a green iu front of it r. and a man waiting with a donkey under trees on the road I. Water cclours ; roy., 10 x 14J in. Purchased June, 1881. 4. Kellwoeth, Noethamptonshibb. A village street, with church spire at the end of it ; a group of boys in the road r. Inscribed Kellworth, Northamptonshire, Aug., 1795 (?). Indian ink and water-colour tint ; roy., 8| x llJ in. 5. A TuENPiKE Gate. The gate, with toll-house 1. and open road iu the fore ground; a man just beyond the gate, and low hills in the distance. Indian ink and water-colour tint ; roy., 9J X 12 J in. Nos. 4 and 5 were purchased November, 18S1. 6. A Lion seizing a Stag. A stag fallen and seized from behind by a lion, which tears its body ; trees 1. and a background of crags. Sepia and Indian ink, partly tinted ; atl., 17| x 21J in. 7. Phabthon deiving the Chabiot of the Sun. Phaethon vainly trying to guide the four horses which whirl the fiery-axled chariot towards the r., while a thunderbolt descends to strike him. Signed and dated B. Green Del"., Ap'., 1790. Monochrome, tinted in parts ; atl., 17| X 23| in. Nos. 6 and 7 were purchased October, 1877. GREEN, William (b. 1760, d. 1823). Water-colour painter and engraver ; born at Manchester ; worked as an engraver in London, then settled at Ambleside, painting views of the Lake country, from which he afterwards engraved some sets of prints; published a guide to the Lake country 1822, with etchings by himself. 1. A Wateepall. A stream faUing over a rocky bank, with a tree r. into the foreground. Water colours and Indian ink ; roy., 9} X 12f in. 2. Landscape, -with a Passing Storm. A field, with trees on a slope r. and a view of a viUage in the distance, backed by a storm passing r. above an isolated hiU. Water colours ; roy., 7 X lOJ in. Nos. 1 and 2 were presented by Sir W. C. Trevelyan, Bart., December, 1871. 246 Drawings of the British School. 8. BoEEODALB, CUMBERLAND. A one-arched bridge over the stream which com«B down the valley; a drover and cattle crossing the bridge, and mountains beyond. Water colours ; roy., 5| x 7J in. Purchased July, 1876. 4. Geasmere Village, pbom the Seat op Thomas King. Grassy slopes, with cattle and trees, stretching down to the church and scattered houses of the village, beyond which rises Silverhowe ; at the 1. a glimpse of the lake. Water colours and Indian ink ; imp., 13| x 19f in. Purchased May, 1876. GREENALGH, James (worked about 1820). Draughtsman; biography unknown. 1-4. Four heads from Shakespeare, after Angelica Kaufmann, J. Opie, E. Smirke and B. West. Pen and ink vignettes ; (each) ]2| x 9| in. Bequeathed by FeUx Slade, Esq., Auguat, 1868. GREENHILL, John (b. about 1644, d. 1676). Portrait painter ; bom at Salisbury ; pupil of Lely, whom he nearly approached in style ; Charles II., Locke, Shaftesbury, and Cowley were among his sitters ; he lived freely and died too young to reach the fuU powers of his art. 1. Portrait op the Artist. Head and buat, in three-quarter face, directed 1., eyes looking full; long curls falling on each side of the face. Signed J.G. Black and red chalk on drab paper heightened with white; roy.. 9f x 7f in. A piofile portrait of Greenhill by Lely is also in the department and ia described under Lely. Purchased November, 1886. GREENWOOD, John (b. 1727, d. 1792). Portrait painter and mezzo tint engraver ; born at Boston, Massachusetts ; pupil there of Thomas Johnston ; worked in Surinam 1752-58, when he moved to Amsterdam ; from 1763 till his death worked in London ; painted portraits and landscapes, and after coming to Amsterdam began to produce a number of mezzotints; later in life he was also an auctioneer of works of art. [1-4]. Portraits of Collectors frequenting sales. 1. Three on one mount, roy., viz. : — (a) Portrait op John Blackwood. Head and shoulders in full face Inscribed John Blackwood, Esq. Pen over pencil sketch ; 5f x 5} in. (6) Portrait of Me. Seeman. Head in three-quarter face lookins r wearing hat. ' '"""-'"6 '^•t Pencil sketch ; 3 X 2^ in. *•"•' Draw^u'in'l78r.'''™ ^°'^'''=^™«- ^^^^ ^^ P^Ale looking I., wearing hat. Indian iuk ; 8 x 2f in. John Greenwood. 247 2. Four on one mount, roy., viz. : — (a) John Hinchliffe, Bishop op Peterbokough. Head in profile looking 1., with one hand raised to the ohin. Pencil sketch ; 2 x 2| in. John Hinchliffe, b. 1731, d. 1794, educated at Westminster and Trinity, Cambridge, was successively head-master of Westminster, Master of Trinity, and (1769) Bishop of Peterborough ; was a prominent speaker in the House of Lords and a famous preacher in his day. (6) J. G. HuQUiBE, Engraver. Head and shoulders in profile looking r,, wearing hat. Inscribed Huquier graveur de Paris. Pencil ; 3| x 2f iu. Jacques Gabriel Huquier, b. 1725, d. 1792, waa aon and pupil of Gabriel Huquier and beat known by his prints after Boucher. (c) George Barret, E.A. Head in profile looking 1., wearing hat. Pen over pencil sketch ; 2f x 3J in. See in this catalogue. Vol. ii., under George Barret the Elder. (d) Justice Guillman. Head in proflle looking 1., with spectacles, wearing hat. PencU; 2J X 2J in. 3. Four on one mount, roy., viz. : — (a) Abraham Langpoed, Head in three-quarter face, nearly profile, looking 1. Pencil sketch ; 2J x 1 j in. Abraham Langforil, b 1711, d, 1774, wrote for the stage, but was better known as an auctioneer, one of the most prominent of his time, at the Piazza in Covent Garden. (6) M. Demabteau. Head in three-quarter face, looking r., wearing hat Inscribed Demarteau. Pen over peucil sketch ; 2f X 2f in. Presumably Gilles Demarteau, b. 1722, d. 1776, the inventor of the chalk manner of engraving ; his prints from drawings by Boucher and other artists are well known. (c) Dr. Fobdyce. Head in profile looking 1., wearing hat. Inscribed Dr. Fordyce, Physician. Indian ink and pencil ; 2| x 2 J in. George Fordyce, b. 1736 at Aberdeen, settled in Loudon 1759 ; was very successful as a lecturer on medical science ; elected F.E.S. 1776 ; wrote several works on medicine and chemistry ; died 1802. (d) John Hlnchliffe, Bishop of Peteeboeough. Head in profile looking 1., wearing hat. Inscribed Bishop Peterboro. Pen and ink ; 8} x 8J in. See note on No. 2 (a). 4. Pour on one mount, roy., -viz. : — (a) M. Bastin, Auotionebe. Head in profile looking 1. Inscribed, Bastin, Auctioneer. Pen over pencU sketch ; 4} x 8| in. (6) Thomas Hollis. Head in profile looking r. Pencil, touched with sepia ; 25 x 2} in. Thomas HoUis, F.E.S., 'republican,' b. 1720, was well known for his strong opposition to Tory principles, aa an antiquarian, and aa benefactor of various colleges and pubUc libraries ; lived a recluse Ufe and died in a farm- hoase in Dorset, 1774. (c) W. EussEL, Peint Collectoe. Head in profile looking 1., wearing hat. Drawn in 1781. Indhin ink ; 8 X 2| in. (d) 06. M. QumKHABD. Head, wearing hat, in three-quarter face, directed r., eyes full, smUing. Inscribed Jul. Quinkhard. Black and red chalk sketch ; 5J x 4f in. Bev. The same Person. Half length, nearly fuU face, wearmg hat Black and red chalk sketch. Nos. 1-4 were purchased July, 1866, at the WeUesley sale. 248 Draivings of the British School. 5. Poeteait of P. Louw. Half length in proflle looking 1., writing at a desk, long clay pipe in mouth. Pencil and black chalk ; roy., 7 X 5 J in. Purchased May, 1879. GRESSE, John Alexander (b. 1741, d. 1794). Painter; bom in London ; pupil of Scotin, the engraver, and of Cipriani ; painted water-colour views and published a few etchings, but was chiefly occupied as a fashionable drawing master, and was also a great collector. 1. Watee Wheel and Pumping Woeks. View on a river with high wooded banks, and a water-wheel 1. connecting with machinery and with rods or pipes suspended across the stream. Indian-ink wash and pen, touched with u little red and green ; roy., 7f X lljm. Purchased May, 1890, at the Percy sale. GREVILLE, Hon. Charles Francis (b. 1749, d. 1809). Amateur draughtsman and etcher ; son of the Earl of Warwick ; a well-known collector ; member of Parliament and of the Dilettanti Society ; best remembered by his connection with Emma Lyon, afterward the wife of his uncle. Sir W. Hamilton. 1. Buening op Sheldon's Montgolfibe Balloon ik the Gaeden op Foley House. Water-colour and pen sketch ; 8J x 14} iu. In Portfolio xxix. (No. 54) of the Grace Collection of London Views, purchased November, 1880. GRIBELIN, Simon (b. 1661, d. 1773). Line engraver and designer; born at Blois ; learnt engraving in Paris ; came to England about 1680; engraved (with little feeling for the originals) Raphael's cartoons and other pictures in the Royal collections, Rubens' Whitehall ceiling, and several portraits. 1. Design fob Feontispieob to Du Feesnoy's Aet op Painting. The daughter of Dibutades, guided by Cupid, drawing her lover's shadow on the wall, in an oval hung with drapery ; implements of painting on the pedestal below, which is inscribed De Arte Graphica Liber. Signed 8. Gribelin. Pen and ink over red chalk outline, with Indian-ink wash ; roy., 5J X 8f in. Engraved by the artist for Dryden's translation of Du Fiesnoy, second edition, 1716. The first edition has a difi'erent frontispiece, engraved but not designed by Gribelin. Purchased August, 1861. [2-9]. Designs for illustrations, engraved by the artist in Lord Shaftesbury's 'Characteristics,' 1714. '' 2. Design for Title-page op Vol. I., ' Enthusiasts and Philosophees ' At the 1., two men panic-stricken by an earthquake, a prophet raving, and the Sibyl in her cave; at the r. a group of phUosopliers ; in the centre a magistrate on a thione, and Justice with scales reclining below. Pen aud bistre, with Indian-ink wash ; loy., 7J x 14i in. Simon Grihelin. 249 8. Design FOR Title-page op Vol. III., 'The Teiumph of Bigotey.' An allegorical design, with Egypt (the mother-land of superstition) at the 1., presided over by Eeligion, Fertility, and the Nile; in the centre, boy-genii, roprcsonting various sects, wounding eaoh other ; at the r. the Spirit of Eome sitting enthroned and receiving the homage of successful warriors iu her cause, and, behind, a king looking on in grief. Pen aud bisti-e, with Indian-ink wash ; roy., 7 x 14J in. 4. Three on a mount, roy., viz. : — (a) Design foe Headpiece. A cartouche with a pope's tiara on an altar ; at the 1., an ape riding a horse; at the r., a crow on a sheep's back. Pen and ink and Indian-ink wash ; 2J X 7 in. Engraved on the same plate with No. 3 on the title-page of Vol. in. (6) Sketch Design poe Title-page _of Vol. II., ' The Triumph of Moeal Liberty.' Moral Liberty in a chariot drawn by lions, with Death and Furtune captives at the wheels, and the Passions in chains behind at the 1., moving towards her sister. Civil or Political Liherty, who sits r. guarded by the Laws and Plenty. Above, a cartouche with a landscape and shipa at a coast where deer are feed ng ; at the 1. a beehive, at the r. an ant-hill. Below, a globe with the motto, e/c irau\toi'[sic] ev; at the 1., a spider's web; at the r., a bird feeding its young. Pen aud ink with Indian-ink wash ; 7 X 7J in. (c) Paet of Design fob Headpiece. Cartouche with crown and sceptre on an altar; at the r., implements of painting and design. Indian ink and sepia ; 3 X 7| in. Engraved on title-page of Vol. i. 5. Three on one mount, roy., viz. : — (a) Design foe Headpiece to Teeatise I. In a central panel, two children Weeping in a prison (symbolic of Eeligion as taught), and delivered by the armed goddess of Philosophy ; at the r. and 1. two ovals, with children dancing and fearlessly examining the world through telescopes ; above the centre panel a veUed female head, drawn on a separate piece of paper and substituted for a scallop-shell ornament. Pen and ink with Indian-ink wash and white (now gone black) ; 3} X 8 in. Engraved, Vol. I., p. 3. (6) Design fob Headpiece to Teeatise II. In a central panel an Ethiopian ridiculing the carnival masquerade in Paris ; 1., a man painting a figure of Orpheus ; r., a man painting a warrior with his foot on a slain enemy. Pen and ink, with Indian-ink wash and white (now gone black) ; 4 X 7f in. Engraved, Vol. I., p. 59. (c) Des gn foe Headpiece to Teeatise III. In the centre, a mirror with the Socratio dialogues (Nature's mirror) below, and heads of Socrates and a disciple above; r. and 1., two boy-genii consulting hand-mirrors, and the one pleased, the other dismayed. ¦ Pen and ink with Indian-ink wash and white (now gone black) ; 8f X 8J in. Engraved, Vol. i., p. 153. 6. Three on one mount, roy., viz. : — (a) Design poe Headpiece to Teeatise IV. A panel with two-faced statue of Eeligion in the centre, smiling 1. en a figure of Justice in a peaceful sunny landscape, and frowning r. on a figure of Discoid wilh a yawning dragon, a man slain by an altar, and a sun in eclipse; the pane] surrounded wilh ornament, and birds and beasts symbolical of peace and lapine. Pen and ink with L.dian-ink wash ; 4J x 8J in. Engraved, Vol. il, p. 5. 250 Dramngs of the British School. (b) Design foe Headpiece to Teeatise V. A panel in three compartments, divided by statues of Athene and Apollo ; Philosophy standing in a temple in the centre; academics diaputing 1., an alchemiat at work r. Pen and ink with Indian-ink wash and white (now gone black); 4 x SJ in. Engraved, Vol. ii., p. 181. (c) Design poe Headpiece to Teeatise VI. A panel in three compartments ; in the centre, an oval with terminal bust of teeming Nature ; 1., a satyr pointing to an altar of Pan surrounded by bird traps ; r., another satyr pointing to a mhscellaneous collection of hats and clothes, both symbolising the art of the miscellaneous writer. Pen and ink with Indian-ink wash and white (now gone black) ; 3f x 8} in. Engraved, Vol. in., p. 1. 7. Five on one mount, roy., viz. : — (a) Design foe Oenament. Weapons, trumpets, &o. Pen and ink and Indian-ink wash ; If x 2} in. (6) Design foe Oenament. A caducous and lyre suspended in a scale. Pen and ink and Indian-ink wash ; If x 2} in. (c) Design fob Headpiece. A cartouche, with crown and sceptre on an altar ; at the I. a writer's materials, at the r. a painter's. Pen and ink and Indian-ink wash ; 2^ X 7J in. Engraved above No. 2 on title-page to Vol. i. (d) Design foe Tailpiece. A cartouche, with owls flying from tumbling towers, and the motto EN QUO; r. and 1., instruments of punishment and warfare. Pen and ink and Indian-ink wash ; 2J x 7| in. Engraved below No. 3 on title-page to Vol. in. (e) Design poe Tailpiece. A cartouche with a temple, and the motto FEL . TEM., surrounded by ornaments symbolic of peace and concord. Peu and ink and Indian-ink wash ; 2f x 7f in. Engraved below No, 2 on title-page to Vol. i. 8. Nine on one mount, roy., viz. : — (a) Aems op the Eael of Shaftesbuey. With the motto Love, Serve. Pen and ink and Indian-ink wash ; 2i X 4f in. Engraved, Vol. i., p. iii. (6) Design fob Title-page to Vol. HI. A smaU study for No. 3, described above. Pen and ink over red chalk ; If x 3f in. (c) Design foe Title-page to Vol. II. SmaU study for No. 4 (6) ; the central design only. Pen and ink and Indian-ink wash ; 1} x 8} in. (d) Design fob Headpiece. Small study for No. 7 (c). Pen and ink and Indian-ink wash; IJ x 8| in. (e) Design foe Tailpiece. SmaU study for the lower part of the design described above. No. 4 (6). Pen and ink and Indian-ink wash ; 1 J x 3J in. (/) Design poe Headpiece. Small study for No. 4 (o). Pen and ink and Indian-ink wash ; 1 x 3f in. (g) Design foe Headpiece. SmaU study for the upper part of the design described above. No. 4 (6). rr i- a Pen and ink and Indian-ink wash ; 1 x 3f in. (h) Design foe Tailpiece. Small study for No. 7 (d). Pen and ink and Indian-ink wash ; 1 x 3| in. (i) Design foe Tailpiece. Small study for No. 7 (e). Pen and ink and Indian-ink wash"; 1 x 3i in. Simon Gribelin. — Jan Griffier. — Moses Griffith. 251 9. Six on one mount, roy., viz. : — (a) Design foe Headpiece to Teeatise I. Small study for No. 5 (a). Pen and ink and Indian-ink wash ; 2J x 4} in. (6) Design for Headpiece to Teeatise II. Small study for No. 5 (6). Pen and ink aud Indian-ink wash ; 2| x 4J in. (c) Design foe Headpiece to Teeatise III. Small study for No. 5 (c). Pen and ink and Indian-ink wash ; 2} x 4J in. (dl Design foe Headpiece to Treatise IV. Small study for No. 6 (a). Peu and ink and Indian-ink wash ; 2} x 4J in. (e) Design fob Headpiece to Teeatise V. Small study for No. 6 (6). Pen and ink and Indian-ink wash ; 2f x 4} in. (J) Design foe Headpiece to Teeatise VI. SmaU study for No. 6 (c). Pen and ink and Indian-ink wash ; 2f x 4 in. Nos. 2-9 were purchased February, 1880. Formerly in the Esdaile Collection. 10. Two on one mount, roy., viz. : — (a) X Faem Hoise. A farm house, with a pond in front and trees on either side of the pond ; in a border. Black chalk and Indian-ink wash ; 5 x 7J in. (6) Landscape with Pool. A pool shaded on each side bv trees, with open country beyond; in a border. Insciibed S. Gribelin Da Eubens. Black chalk and Indian-ink wash ; 4J x 7J in. Purchased May, 1880, at the Yorke sale. These two drawings have been attributed to Gribelin on the strength of the in.-cription, but they do not recall Gribeliu's style, and are so closely in the maimer of J. B. C. Chatelain (see Vol. I., p. 207) as to make it probable that they are his work. GRIFFIER, Jan (b. 1645, d. 1718). Painter and etcher; born at Amsterdam ; pupil of R. Roghman, influenced by Ruysdael, Saftleven and the other Dutch landscapists ; came to England about 1666, and was noted for riverside London views taken from a yacht on which he lived ; painted also landscape compositions, and made some etchings ; after amassing wealth, sailed to Holland and was shipwrecked, but remained there ten years ; returned to England and died at Millbank. 1. Landscape with Ei-vee. A meadow bordering a stream, with a broken willow in the foreground r., and a fallen trunk lying along the bank ; on the further shore, clumps of trees and a road -winding up a hill to a village. Black chalk on blueish grey paper ; imp., 15| x 22f in. Purchased July, 1878. GRIFFITH, Moses (worked about 1769-1809). Draughtsman and engraver ; bom in Carnarvonshire ; employed by the antiquary Pennant on his tours, from about 1769, to make drawings and engravings ; employed also by Francis Grose. 1. Kbnilwoeth Chuech in 1776. View of the west end of the church from the churchyard; houses beyond the churchyard 1.; in the foreground r. an old couple seated under a tree. Indian ink tinted with water colours ; roy., 9J x 12} in. Engraved by T. Cook, without the tree or figures, and published in the Gentleman's Magazine, August, 1787, Vol. lvil, p. 657. Purchased May, 1890, at the Percy sale. Formerly in Samuel Eedgraves' collection. 252 Drawings of the British School. GRIGNION, Charles, the Elder (b. 1717, d. 1810). Engraver; born in London, son of a Frenchman ; pupil, with Gainsborough, of Gravelot in London, and of Le Bas in Paris ; worked under Gravelot, then under Scotin, then (about 1738) on his own account ; greatly employed for book illustrations, till superseded in old age by the younger generation of engravers ; died in poverty. (See note on the portrait of Grignion by Uwins, described under IJ-ndns' name.) 1. Study of a Gentleman, seated. A raan, wearing a hat, seated on a chair, directed 1., wilh r. hand held open before him as if conversing. Black chalk and stump on blue-grey paper, heightened with white; roy., 12 X 10 in. Apparently a study made at the same time, and from the same sitter, as the drawing by Gravelot (No. 1). This drawing was formerly ascribed to Gainsborough, but comparisuu with the following authenticated drawing and others in private hands shows it beyond doubt to belong to Grignion. Presented by Chambers Hall, Esq., June, 1851. 2. Poeteait of Thomas Geignion. Whole length, standing eUrected to front, head nearly in profile, looking r. ; wearing hat and sword ; I. hand thrust in waistcoat. Inscribed on the back, Thos. Grignion of Great Eussell St., Covent IGarden']. Drawn by Chas. Grignion, Sen'', 1737, on Thomas's return from Paris, Aged 24 years. Black chalk and stump on blue-grey paper, heightened with white ; roy., 13^ X 7J in. Thomas Grignion was a well-known wati-hmaker in Covent Garden, brother of Charles Grignion the elder, and father of Charles Grignion the younger. Purchased May, 1890, at the Percy sale. 3. Poeteait op Captain Eichaed Tyrrell, E.N. Head and bust directed somewhat to the r., face turned nearly full, eyes full, wearing uniform, and with hat under I. arm. Pencil; roy., SJ x 6| in. Eichard 'Terrell is remembered by a naval action in which, with the Buckingham, of 65 guns, he fought tlie Florissant, of 74 guns, and two large frigate s. He was made admiral, 1762 ; died at sea, 1766. Purchase-d October, 1870. If it were not for the dates, it would be more natural to attribute this drawing to the younger Grignion; if by him, it must have been done after Tyrrell's death liom another portrait; if it is by the elder Grignion, his style niust have changed considerably from the early style of the two drawings fiist described. GRIGNION, Charles, the Younger (b. 1754, d. 1804). Painter; born in Covent Garden ; nephew of the preceding artist ; pupil of Cipriani, and one of the earliest students at the Royal Academy ; painted portraits and a few mythological pieces ; worked in London till 1782, afterwards at Rome ; died at Leghorn. 1. Portrait of Captain George Faemee, E.N. Half-length, directed to front, leaning with 1. arm on rock, and with r. hand holding sword across the body, the face in three-quarters, looking r. Black and white chalk and stump on drab paper; roy., 15| x 12} in. Engraved in mezzotint by John Murphy. The picture was painted in 1778, and is now in the possession of Mr. Henry Taylor, of Curzon Park, Chester. George Farm.-r, b. 17:-I2, served with disiinction in the navy, aud crowned his career, October, 1779, by dying in action after a memorable fight off Ushant with a French frigate, in which his own ship blew up. His son was made baronet in recognilion of his services. Samuel Hieronymus Grimm. 253 GRIMM, Samuel Hieronymus (b. 1734, d. 1794). Water-colour painter ; born at Burgdorf, near Berne ; son of a miniature painter ; came to England and worked here till his death ; exhibited at the Royal Academy from its foundation ; painted figure subjects of all kinds, but is best known for his excellent topographical drawings, of which he made many for Sir R. Kaye in Nottinghamshire and Derby shire, and for Sir W. Burrell in Sussex ; these large collections are now in the Department of Manuscripts in the British Museum. 1. Old Blackfriars Bridge, 176S. View of the atone bridge, atill uncompleted, from a landing atage near the Temple, St. Paul's rising above the houses at the 1. ; in the foreground, watermen handing two ladies and gentleman into a boat, other boats putting off, a barge on the river r., and a woman and child with a man ou the stairs I. Signed and dated S. H. Grimm fecit, 1768. Water colours and Indian ink; roy., 10} x 16 J in. Purchased June, 1865. 2. Landscape Composition. A cowherdj piping to his wife and child, with a shepherd listening under trees on the shores of a lake 1., his cows standing near in the water ; beyond the trees, cliffs and a waterfall and a round temple. Signed and dated, on a monument in the foreground, ;S. H. Grim fecit, 1768. Water colours and Indian ink, with pen outlines ; roy., 7f x 9| ia. Purchased March, 1867. 3. A Paek Scene. A group of two ladies and a man seated on the grass, and another man standing ami pointing out a row of great elms, which recedes into the distance 1. Water colours and Indian ink, with pen outlines ; roy., 7J X 10| in. Purchased March, 1868. 4. I'he Enchanteess' Gave. View from within a cave, the enchantress stand ing at ita raouth with an armed knight, to whom ahe pointa out a crowd of demons issuing frora clefts in the rock above with weapons and furious gestures ; the knight's horse, held by his page, r., outside, kicks wildly at the appaiitions ; beyond the cave'a mouth, a stream, and on the further side groups of lovers on la-wns, under grovea, or in boats, with Cupids hovering over them, and temples rising on wooded slopes. Signeii and riateil 8. H. Gi-imm fecit, 1765. Indian ink, with sepia in foreground, and pen outlines ; roy., 9f x 15} in. This dra-wing has been called ¦ Scene from Orlando Furioso,' but dues not seem to correspond with any actual passage in Ariosto's poem, though similar scenea occur iu the magical abodes of Logiatilla and Meliasa. Purchased at the Percy sale. May, 1890. 5. Haymakbes in a Village. A stream flowing out into the foreground, which it divides ; houses r. and 1., and between them a view of old buildings backed by a church apire, and hilly, wooded country beyond ; haymakers loading a cart 1., while an old woman beats a lazy boy who liea on a bench by fhe house, frighten ing two pigs and two children who are near ; at the r., a haycart being driven across a little bridge over a stream, followed by men and girls, at one of whom a woman throws a pail of water ; other women at the doors of the houses r., and a man smoking in his porch. Signed and dated S. H. Grimm fecit, 1776. Body coloura ; imp., 13J X 19} in. 6. Fbiae Bacon's Study, Oxfoed. The octagonal building associated by tradi tion with Uoger Bacon, seen beyond a water-mill across the river, which flows from the I. foreground under Folly bridge r., a barge lowering sail to pass under the bridge ; two men with a clothes-basket iu the r. foreground, two other figures on tlie bridge. Water colours and body colours ; imp., 13 X 20g in. , The buUdiug has now entirely disappeared. 254 Drawings of the British School. 7. The Soldibe's Eetuen. In a village street, with the workhouse r., and au inn with the sign of the Chequers 1., a one-legged soldier retnrned from the wars encounters his wife with a new mate and two strange children, while hia own four boys and girls run ragged from the workhouse to greet him; a woman looks from the inn door, and a man is seen smoking in the window ; and a pair of stag's hoi-na set on a post painted with the chequers, ^rabolizes the situation. Water colours and Indian ink with pen outlines ; imp., 14 J x 20J iu. Nos. 5-7 were purchased October, 1862. GRISET, Ernest (living artist). Draughtsman and book-illustrator ; of French extraction ; came to London in the early sixties ; worked for Dalziel Bros., illustrating a number of books with grotesque and humorous sketches, 1866-89 ; much of his work appeared in 'Fun.' 1. The Nubian Lion. A lion lying on his side, the head towards the 1., with half-shut eyes. Signed Ernest Griset, and inscribed, Nubian Lion. Black chalk, partly washed with water colours ; ant., 17J x 30 in. Purchased August, 1880. Eeproduced in chromo-lithography by the Art for Schools Association, 1894. GRISONI, Giuseppe (b. 1692, d. 1769). Painter; son of a Florentine artist and pupil of Tommaso Redi ; employed at Rome by J. Talman, who brought him to England, 1715; worked in England, painting portraits and illustrating books; returned to Rome 1728, and died there 1769. 1. A Pope in Pontifical Eobbs. A whole-length figure, standing under a green (jurtain, with r. hand r.iised in blessing. Inscribed below. The Pope, roahed in his Pontificall vestments upon some grand Festival, as Christmas Day, with his Tripple Crown and Mantle ; these ornaments are according to y^ forms and modes of y^ fourteenth and fiveteenth Centurys, they being now after an other manner, and less weighty and costly. The Tiara, Mantle and Pectoral (which are exceeding rich) were copyed from y'^ originalls preserved at St. Peters at Some. Signed and dated, G. G. Flo'' : delin : 1722. Water colours ami body colours, and gold; (with margin) 21 J x 15| in. 2. The Ducal Ceown of Venice. A side view. Marked A at the r. Inscribed, Tlie Ducal Horn or Crown belonging to y^ 'present Doge of Venice of y^ house of Cornaro, 1717; it is used on most solemn days as in y" grand Hall of Council, on Thanksgiving days when y' Doge Hears Te Deum in St. Mark's Cliurch on Ascention day when he goeth in y'^ Bucentoro towards y" Lido to espouse y^ Sea &c. It is richly wove with gold on siluer tissue, and stifned with past board, the lining is white Satten ; it is kept in y' Doge's own Appartment. A it the part wore in front. Signed and dated, Joseph Grisoni delin. 1719. Water coloura, body colours, and gold; (with margin) 14f X 11 in. Both purchased AprU, 1893, in an album with siuiilar drawings by other hands. GROSE, Francis (b. about 1731, d. 1791). Antiquary and draughtsman; born in Middlesex, son of a Swiss ; exhibited tinted drawings of architecture at the Royal Academy, 1767-77 ; published ' Antiquities of England and Wales,' 1773-87, ' Antiquities of Scotland,' 1789-91, and other works, containing many illustrations by himself. 1. South-West Aspect of Dudley Peioey, Woecestbeshiee. View of the remains of the Priory, with farm buildings adjoining, seen across a stream or pond. Indian ink, tinted iu water colours, and with pen outlines • roy 9? x 16 in Engraved in ' Antiquities of England and Wales,' Vol. iv. Purchased May, 1876. Francis Grose. — Thomas Douglass Guest. 255 2. G-vnrDEE Beidge, Wales. A three-arched bridge over a stream, with houses under a wooded hill on the further bunk r., and two women and two men on the near bank. Indian ink, tinted in water colours, and with pen outlines; roy.. 5 J x 8J in. Purchased June, 1881. 3. Castle Cobnbt, Gceensey. The fort on ita islet, seen from a wooded shore across a strait; iu the distance r., the ialinds of Herm and Sark, and i., on the horizon, Alderney ; a frigate at anchor near the castle. Indian ink and water colours, with pen outlines ; imp., 9J x 19f in. Different from either of the two views engraved in ' Antiquities of England and Wales, Supplement,' Vol. ii. Purchased May, 1876. 4. East Aspect op Castle Eushin, Isle of Man. The castle and houses around it seen from a bridge I. over a stream, which runs along the foreground ; a woman and two men on the bridge. Indian ink and water colours, with pen outlines ; imp., llj X 19| in. Engraved in 'Antiquities of England aud Wales,' Vol. iv. The engraving bears the date 20"> of May, 1795, aud the name of S. Hooper as draughtsman. Hooper, however, was only the publisher of the work. Purchased May, 1890, at the Percy sale. 5. South View op Ely Place, Holboen. Courtyard, colonnade, and south side of the hall. Indian ink, tinted with wafer colours; lOJ x 18 in. Engraved in ' Antiquities of England and Wales,' Vol. n. 6. East View of Ely Place. With the chapel at the r. Indian ink, unfinished ; llf X 19| in. 7. Noeth View of Ely Place. The chapel at the r. Indian ink, unfinished ; 12f X 19J in. Engraved in 'Antiquities of England and Wales,' Vol. Ii. The print ia dated May 16, 1772. Ely Place was pulled down, all except the chapel — which still exists — in 1775. Probably all these drawings were made in 1772. They were bought at Grose's sale in 1791, and are inserted in Vol. vu. of the interleaved Pennant's ' London,' bequeathed by J. 0. Crowle, Esq., 1811. 8. The White Towee op the Towee of London, Noeth-West Fbont, 1784. Water colours and pen sketch ; 10} x HJ in. In Portfolio xx. (No. 149) of the Grace Collection of London Views, purchased November, 1880. GUEST, Thomas Douglass (b. 1781). Painter, chiefly of portraits and historical subjects ; studied at the Royal Academy from 1801, and won a Gold Medal 1805 ; exhibited there and at other galleries between 1803-1839. 1. A View feom the Eocks at Tunbeidgb Wells. Two men and a dog on a mass of rocks r., looking out over the undulating hilly country. Signed aud dated, D. Guest 1813, and inscribed with the above title on the lower margin. Indian ink, with peu outlines, slightly tinted; roy., 8J X 12 J in. Purchaaed July, 1878. 2-56 Drawings of the British School. GYFPORD, Edward (b. 1772, d. about 1834). Architectural draughts man; studied at the Royal Academy from 1789, and exhibited there between 1791 and 1799. 1. Interior of St. Stephen's, Walbeook, looking W. With two figures near the W. door beneath the organ. Indian ink and water-colour tint ; roy., 6| X 5| in. Purchased October, 1877. 2. Interior of St. Stepeien's, Walbeook, looking B. With a man and a woman standing before the altar-piece. Indian ink and water-colour tint ; roy., 6f X 5J in. Purchased May, 1890, at the Percy sale. GYLES, Henry (b. about 1640, d. 1709). Glass painter; lived at York, and worked there, also at Oxford and Cambridge ; revived the art of glass painting, which had died out in England ; best known by his east window io the chapel of University College, Oxford. 1. Poeteait of the Aetist. Head in three-quarter face, directed 1., eyes full, with long curling hair; the bust lightly indicated. Inscribed, r« effigies of Mr. Hen. Gyles the celebrated Glasse painter at Yorke. Coloured chalks on buff paper ; roy., 12| X 9 in. Purchased February, 1852. HAGHE, Louis (b. 1806, d. 1885). Water-colour painter and litho grapher; born at Tournay in Belgium; pupil of his father, an architect, and of De La Barriere ; came to England as a youth and worked here till death; distinguished first by his lithographs of foreign scenery, afterwards for his water colours, to which after 1852 he devoted himself entirely ; painted chiefly historical subjects with interiors. 1. In the Church op St. Paul, at Antwerp. A corner in the sacristy of the church, with low vaulted ceiling, window r. above a black marble oblong basin and piim]i door and steps leading upwards 1. Signed L. Haghe and inscribed St. Paul Anvers 1845. Purchased June, 1889. HAIR, Thomas H. (worked about 1838-1849). Painter, chiefly of land- 18l8-'l'849 ^^"^ ^* *^^ ^""^^^ Academy and elsewhere between 1. Flodden Field. Engliah knighta charging from the I. to attack the Scota army drawn up on alopos towards the r. andllready engaged wXhe EngUsh l?o,lr,t;r/t^T^a°r^ °' "^°"^ ^^ agamstV^foudy sky.^nscS Water colours ; roy., 8f x 13J in. Purchased August, 1875. Halfpenny. — Hall. — Hamilton. 257 HALFPENNY, Joseph (b. 1748, d. 1811). Topographical draughtsman and engraver ; born in Yorkshire ; first a house-painter, then drawing-master ; worked under John Carr at the restoration of York Minster, from which he drew and engraved the ' Gothic Ornaments,' published by him 1795-1800; best known by this work and his 'Fragmenta Vetusta,' 1807. 1. Landscape -with a Mansion in the Distance. A river curving through meadows from the r. and flowing out agaiu r. past a road in the foreground, on which is a man walking by a horse and cart ; a group of cattle on the further bank ; at a little distance a range of hills closing the view ; and on the top of the ridge, fowareia the 1., a large mansion above slopes of park. Signed aud dated I. H, 1793. Water colours ; imp., 16| x 22J in. Purchased May, 1890, at the Percy sale. HALFPENNY, William (worked about 1722-1752). Architect; pub lished several works on architecture. 1. 'A Peespective View op the sunk Piee and the two adjoining Arches at Westminstee.' Signed By Will"': Halfpenny, Architect; with explanation in MS. Pen and sepia wash ; lOJ x 17 in. In Portfolio v. (No. 94) of the Grace Collection of London Views, purchased November, 1880. HALL, George Lowthian (worked about 1856-1878). Landscape painter ; worked in London ; exhibited a number of pictures at the Royal Academy and elsewhere between 1856-1878. 1. Hastings. View from the upper part of the valley between the East and West Cliffs, looking over the roof's of the old town to the sea beyond ; the church on high ground 1. and two children on the grass slopes of the foreground. Signed G. L. Hall, and inscribed Hastings. Pencil on greenish paper, heightened with white; imp., ]8| x 20| in. Purchased May, 1890, at the Percy sale. HAMILTON, Hugh Douglas (b. about 1734, d. 1806). Portrait painter ; born in Dublin ; pupil of James Mannin ; won reputation in Dublin and afterwards in London by small crayon portraits ; went to Rome 1778, and worked there for some years ; afterwards painted in oils with less success, but continued in vogue ; i-eturned about 1791 to Dublin, where he died. 1. Poeteait of a Gentleman. Head and bust, almost in proSle, directed 1. and looking 1., with slight smile; wearing v/ig. Signed H. D. Hamilton delin'; 1772. Coloured chalka; oval; roy., 10} x 8 in. Purchased February, 1*88. HAMILTON, James (b. 1819, d. 1878). Painter; born in Ireland; went young to America and worked there chiefly ; in England 1854-1856 ; illustrated the ' Arabian Nights ' and other popular works. 1. Aectic Scene. An ice floe in the Polar Sea riaing into a massive berg 1., under which, near the foreground, a man stands with a gun ; further off to the r. two other flgures on the ice, and tall stakes erected at intervals between the bcig Vol. n. s 258 Drawings of the British School. and another berg in the distance ; above, a dark sky flushed on the horizon. Signed /. Hamilton. Water colours ; roy., 6J X lOJ in. This drawing was probably made from a aketch by Dr. E. K. Kane for that traveller's ' Arctic Explorations ' (Philadelphia, 1856), the illustrations in which were prepared by Hamilton ; but this subject does not appear among those engraved. HAMILTON, John (worked about 1766-1777). Antiquary and draughts man ; F.S.A. ; exhibited at the Society of Artists between 1766 and 1777. 1. Back View of Tybuen at an Execution. The back of a row of crowded stands adjoinin? a low building 1. ; at the r. men mounted on ladders fixed together. Inscribed, By J. Hamilton. A back view or scetch [sic] of Tybourn, Taken Oct. the 14"' 1767, the day that Guest the Bankers clerk was hanged. It was the custom of Lamplighters in those days to erect their ladders together for persons to mount them at 2d & 3d each to see the Execution. Some of their partys frequently pulled down tlie ladders to get fresh customers to mount. 3rd June 1793. Pen and ink and water colours ; 5 x 14} in. Purchased July, 1883. HAMILTON, William, R.A. (b. 1751, d. 1801). Painter; born at Chelsea, of Scotch parentage ; studied at the Royal Academy ; exhibited 1774-1801 portraits, mythological and historical pictures, and small rural subjects; elected A.R.A. 1784, R.A. 1789. 1. Two on one mount, roy., viz. : — (a) Blind Man's Buff. A boy playing blind man and three little giris eluding him ; in a field with palings and tree behind. Water colours, with pen outlines ; oval ; 5| x 6| iu. (b) See-Saw. A little boy and girl riding see-saw on a plank, the girl who is at the r. weighing it down and falling off; two other girls behind her, one kneeling, and another girl in front at the 1. ; behind at the r. a bank and tree. Water colours, with pen outline; one of the flgures altered in body colour ; oval ; 5J X 6} in. Purchased December, 1853. 2. EuSTio CouETSHip. A shepherd with his crook on his shoulder and hia dog at his heel speaking to a milkmaid, who has set down her pail by a stile 1. under some trees, and taking her shy hand ; she looks doubtfully at him, hanging hi'r head ; beyond them r., a wide meadow bounded by trees," with church and cottage among them ; a shepherd on horseback and a boy driving a flock across the meadow. Water colours; highly flnished; imp., 15f x 21} in. Purchased May, 1857. 3. Ulysses, having slain the Suitors, spares Phemius. Ulysses, over whom floats Pallas Athene holding spear and iegis, stands over the slain body of a suitor and looks down, sword iu hand, on the bard Phemius, who prostrates himself on the steps before him, his lyre leaning agaiust a pillar r. Signed and dated TF"'. Hamilton, B.A., 1796. Water colours, highly finished ; imp., 2C Exhibited at the Eoyal Academy, 1796. Purchased March, 1859. Hannan. — Harcourt. — Harden. — Harding. 259 HANN AN, William (d. about 1775). Draughtsman and decorative painter ; born in Scotland ; best known by his decorations of Lord le Despenser's house at West Wycombe ; exhibited views of the Lake Country 1769-1772. 1. A View of the House and Paet of the Gaeden op Sie Francis Dash- wood, Bart , at West Wyoomb, in the County op Bucks. The house, built in classical style, seen at a little distance 1., the front looking r. over lawns that slope to a stream ; two men on the lawn in the foreground and trees at tho r., three other figures farther off near a grove on the slope. Black chalk (the figures in Indian ink), partly gone over with pen ; imp., 13} X 20J in. 2. A View op the L.\ke, etc. Taken from the Centre Walk in the Gaedbv of West Wyoomb. A lake with a wooded islet in the middle ; on the bank in the foreground 1., three ladies feeding swans and ducks ; towards the r. two men talking; two raen and a boy on the island, round the far end of which sails a boat ; in the distance 1. among trees a glimpse of the house. Black chalk, partly gone over with Indian ink and pen ; imp., 13} x 20^ in. Both engraved, with two other views of the same house, by W. Woollett. The prints were published 1757, Both purchased December, 1853. HARCOURT, Lady Elizabeth (b. 1739, d. 1811). Amateur painter; married Sir WUliam Lee, Bart. ; her portrait by Reynolds has been more than once engraved. 1. NuNEHAM Chuech, Oxfoedshiee. A sloping field, up which a path winds to a barn and haystacks among trees, with the church at the 1. Inscribed Nuneham church, Ox\^on']. PencU and Indian-ink sketch ; roy., 4J x 9| in. Purchased May, 1876. HARCOURT, William, 3rd Earl (b. 1743, d. 1830). Field-marshal; entered the army 1759 ; distinguished himself in the American War of Independence and in other service; became a general 1796, and held various governorships and Court appointments under George III. and George IV. ; succeeded to the title 1809. 1. View of Havana. View from a tower or other height over the roofs of the town to the harbour and fhe wooded shore beyond. Indian ink, slightly tinted ; imp., 12i x 20J in. This drawing was probably made in 1762, when Harcourt was aide-de-camp to Lord Albemarle at the taking of Havaua. Purchased December, 1882. HARDEN, John (worked early in the nineteenth century). Draughts man ; biography unknown. 1. Mill at Ambleside. A wate-mill, buUt r. above the rocky bank of a stream, into which pours a waterfall at the).; beyond, the mountains and a cloudy sky. Water coloura ; roy., 11| X 16| in. This drawing was purchased May, 1879, as the work of John Harden; but the name does not appear on the drawing, e.nd no evidence of his existence as an artist is as yet forthcoming. HARDING, Charles (worked about 1822-1847). Painter; exhibited, chiefly domestic subjects, between 1822 and 1847. 260 Drawings of the British School. 1. Wbobley Castle, in the Paei ' <= e Water colours, highly finished ; rov., 5} x 4| in Engraveel by Clamp for the ' Biographical Mirrour,' 1796. From an original picture by Sir P. Lely in the collection of Lord Verulam. 10. 'Theodore Haak, Teanslatoe. Half length, seated at a table ou which his r. hand rests, the face m three-quarters turned aud looking 1 Water colour,-', highly finished; roy., 6 X 4J in is S"S: BoS S;;' "^^ "" ' ^-^-P^-l Mirrour,' 1796. The original Silvester Harding. 265 11. Sie Heney Savile. Whole length, standing facing towards front and r., eyes looking full, in black dress, gown, and skull cap, r. hand holding glovee, 1. hand on a book which liea on a table, with a letter anel hat ; chair and curtain 1. Water colours, highly flnished ; roy., SJ x 5| in. The original picture is at Eton College. 12. Thomas Lbgge, LL.D. Half length facing to front, wearing flat cap and ruff, the 1. hand holding a glove. Indian ink ; roy., 4| x 8| in. 13. Heney Howaed, Eael of Noethampton. Half length, facing to front, head iu three-quarter face turned 1., looking full ; wearing hat and ruff. Dated 1609. Water colours and Indian ink ; roy., 5| x 8J in. At the back is a memorandum stating this to be from an original picture at Trinity College, Greenwich. S. Harding f. A drawing from a portrait of Northampton 'in the collection of Mr. Harding,' which seems a modified replica of this, was engraved by Clamp for the ' Biographical Mirrour,' 1796. 14. John Still, Bishop of Bath and Wells. Half length, facing to front and r., the face looking full, turned slightly r. ; wearing skull cap and bishop's vest ments, r. hand holding a book. Water colours ; roy., 4f X 8} in. Engraved by John Jones. The original picture is in the Master's Lodge at Trinity College, Cambridge. Nos. 1-14 were bequeathed by the Eev. C. M. Cracherode, 1799. 15. John Caetee, F.S.A. ; with Backgeound by Caeter. Half length, seated at a table in a library, facing to front; the head turned somewhat r. and looking r., with a book ou the ' Costume of England' in his hands on the table. PencU, unfinished : the background tinted in water colours ; roy., lOJ x 7} in. See Vol. I. p. 198, for Carter's biography. Purchased October, 1886. [16-22.] Drawings inserted in the interleaved copy of Pennant's London, bequeathed by J. C. Crowle, Esq., 1811. 16. Elias Ashmole. Head and bust in an oval facing and looking to front, the head turned slightly r. Signed S. Harding del. Water colours, highly finished ; 5 x 4 in. In Vol. I., No. 215. Engraved ' from a portrait in the possession of J. P. Harding.' 17. Eichaed Neile, Bishop op Dueham. Half length nearly full face, turned slightly r. ; in episi3opal vestments. Signed ou mount 8. Harding del, and in scribed Bp. Neale. Original at St. John's, Cambridge. Water colours, highly finished ; 4| x 3| iu. In Vol. H., No. 80. 18. Heney, 1st Baeon Noeeeys. Three-quarter length, standing facing to front and looking full, in rich suit of armour, holding baton in r. hand, 1. hand on sword-hilt ; helmet on table 1. Inscribed on the mount, Henry Lord Norris, Picture at Lady Paulett's. Water colours, highly finished; 6| x 5 in. In Vol. iL, No. 219. 19. Michael Loet, D.D., F.E.S. Half length in oval, standing turned I , the face in three-quarters, eyes looking full ; wearing a wig ; curtain behind. Signed 8. Harding. Inscribed on the mount, Dr. Lort, Librarian to the Duke of Devon shire, from the original at Dr. Farmer's, Eman. Coll., Cambridge. Water colours, highly finished ; 5 x 4} ins. In Vol. v.. No. 119. 20. Elizabeth Peeoy, Lady Ogle, afteewaeds Duchess of Someeset ; after Lbly. Head and bust in three-qnarter face turned 1. and looking 1., hair falling over I. shoulder, neck bare. Inscribed on the mount, Lady K Ogle, original at Strawberry Hill, aud signed S. Harding del. Water colours, highly- finished ; oval ; 4| x 3f in. In Vol. v., No. 202. Probably from Jurvas's copy of Lely's picture, now at Welbeck. 266 Drawings of the British School. 21. James Yoek, Bishop op Ely. Half length, facing full, wearing wig and episcopal vestments. Signed on mount 8. Harding del. Water colours, highly finished ; oval ; 5 x 4 in. In Vol. vn., No. 112. 22. Heney Holland, Duke op Exetee. Head and bust, in three-quarter face looking I., wearing rich red dress and large cap ; chequer background. In an oval, signed S. Harding del. Water colours, highly flnished ; 4 J X 3| in. In Vol. X., No. 103. A different portrait is at Dulwich College. HARDING, W. (worked about 1787-1792). Draughtsman; biography unknown, though apparently of some vogue in his day. 1. Illusteation to Steene's ' Sentimental Joueney ' : the Dance at Amiens. La Fleur in the kitchen of the inn at Amiens setting all the servants dancing with his fife ; he stands playing with the fille de chamhre beside him r., the maitre d'hotel and the cook with three maids dancing behind, and a dog and monkey on their hind legs 1. ; a window r., plates and dishes along the wall. Indian ink, slightly tinted in water colours ; roy., circle, 12 in. diameter. Engraved in stipple by F. Bartolozzi, and published 1787. 2. Illustration to the ' Sentimental Joueney ' : The Maequis eeolaiming his SwoED. The court at Eennes, with two judges seated 1., above the clerk of the court, by whom stands Yorick ; the marquis stands before the clerk's table and unsheathes his sword ; at the r. the marquis' family in a group, his wife, two sons and daughter ; a youth behind r., looks on. Indian ink, tinted in wafer colours ; roy., circle, 1 1 J in. diameter. Engraved in stipple by F. Bartolozzi. 3. The Libeetine Eeclaimed ; Illusteation to Thomas Hull's ' Sie William Harrington.' Sir WUliam Harrington kneeling 1., and taking the hand of Letitia Eandall, who atanda leaning on Lady S. and embraced by her ; Lord S. looka ou a little behind at the r. Indian ink, tinted in water coloura ; roy., circle, 12 in. diameter. Engraved in atipple by F. Bartolozzi, and publiahed 1792. HARDING (worked about 1800). Water-colour painter; biography un known. 1. The Gipsies' Dinner. An open space in a wood ; towards the r. a pot hung over a fire, by which sit an old man with his back turued, and a bare-legged boy; a young woman stands by thera 1., with a dog at her side, and further 1., another woman kneels over a basket ; beyond her, a withered Oak and a donkey tethered behind it. Signed Harding. Water colours ; roy., 15 J x 12 J in. This drawing, if genuine, belongs to the class of subject made popular by Morland, and was done imme-diately under his infiuence ; but there is no known artist of the name of Harding to whom it cau be ascribeii. Purchased June, 1883. HARDWICK, William N. (worked about 1829-1864). Water-colour painter ; exhibited a large number of landscapes at various galleries between 1829 and 1864, chiefly to the New Water-Colour Society, of which he was a member. 1. Castle of Chillon, Lake op Geneva. View of the castle, seen toward the 1., across the calm water, backed by the mountains, over which a storm passes away ; in the foreground r., a group of boats with figures, and 1., a man fishing from the shore. Water colours ; roy., 4J x 6| in. Purchased July, 1878. Hardy. — Harley.— Harlow. 267 HARDY, Thomas Bush (b, 1841, d. 1897). Water-colour artist; born in Sheffield ; fought in the American Civil War ; returned to England and exhibited marine subjects 1870-93. 1. Hayboat in a Breeze. A boat loaded with bay sailing towards the r. fore ground under a stiff breeze ; a similar boat at some distance, and two white sails on the horizon ; sky of blowing cloud aud shower. Signed and dated T. B. Hardy, 1878. Water colours; loy., 13 X 9f in. Purchased February, 1880, HARDY, W. J. (worked about 1845-56). Landscape painter ; exhibited at the Suflfolk Street galleries 1854-56. 1 . The young Ceab-catohee ; with a View op Southampton : the Fiquees copied peom Collins. A boy on a rock catching crabs, with a 111 tie girl beside him; beyond, Southampton Water, and the town seen across it in the light of a setting sun. Signed and dated W. J. Hardy, 1845. Water colours ; 4} x 7J in. Purchased May, 1859. HARLEY, George (b. 1791, d. 1871). Water-colour painter; exhibited a few drawings at the Royal Academy and elsewhere between 1817 and 1865 ; a drawing-master with large practice, and author of some drawing books. 1. Maxstoke Peioey. Waewiokshieb. A gateway with gable end above, and with turret adjoining 1., and a, low shed r. approached by a road from the 1. fore ground ; on the road r. a man standing by a gate ; a clouded aky. Signed G. Harley. Water colours ; roy., 4f x 6} in. Purchased August, 1871. 2. View on a Ei-vee ; Dawn. A river with buildings and wooden landing stairs on the muddy shore I , and two men on a stranded barge, by which is a punt ; the dawn breaks pale through mist in the r. distance, showing a bridge across the river, and great elms at the 1. Signed and dated Harley, 1828. Water px>hiurs ; roy., S x llj in. Purchased May, 1879. HARLOW, George Henry (b. 1787, d. 1819). Painter; born in London ; pupil of De Cort and S. Drummond, and subsequently of Lawrence, with whose style he had natural affinities ; very successful as a portrait painter in Lawrence's style ; ambitious but less suc cessful in historical subjects; went in 1818 to Italy, where he learnt much and won fame, but died on his return in the following year. 1. Poeteait op Gbnbeal Webee. Whole length in uniform standing facing to front, the face turned in three-quarters looking r, ; 1. hand on sword-hilt; r. hand holding cocked hat by his side. Dated Paris, July 5th, ISIS. Black chalk, with touches of red and white chalk; on drab paper, roy., 8} X 5 in. Probably a portrait of the Swiss Joseph Franz Xaver Von Weber, b. 1766, d. 1843, who received the oriler of the Legion of Honour from Charles X. Purchased February, 1857. 2. At Tivoli. View of the waterfalls pouring down the cliffs, with the round temple showing on the heights above r. Signed 0. H H., and dated Nov. 19, 1818, Tivoli. Black chalk and white chalk on drab paper; roy,, 16 X 11 in. 268 Drawings of the British School. 3. The Judgment of Paris. Paris stands in the centre, the apple in his hand, about to offer it to Venus, who stands r. with her back turned, while a cupid pulls away her drapery, and another dances r. ; Diana sits on a bauk near Paris, attended by a cupid, and Juno stands behind her. Indian ink wash and pen, and white ; roy., 4J x 6 in. 4. Portrait op John Stevens. A very old man, full half length, seated towards the front and 1., the head in three-quarters turned 1,, eyes nearly closed, hands crossed on lap. Eed and black chalk ; roy., 8f x 7J iu. Noa. 8 and 4 were purchased October, 1872. 5. Poeteait op James Noethcote, E.A. Full half length, seated towarda the front and r., the face in three-quartera looking up to the r., lianda crossed on lap. Drawn in Northcote's old age. Inscribed .lames Northcote, E.A. Black chalk, with red chalk on face and hands ; roy., 9} x 7| in. James Northcote, b. 1746 at Plymouth, came to London 1771; lived five years in Eeynolds' house; worked in Italy 1777-1780 ; became well known by his pictures for Buydell's Shakespeare Gallery, and was still more successful as a portrait painter ; published late in life several books, of which the ' Memoirs of Eeynolds' was the chief; d, 1881. Purchased May, 1891. 6. Poeteait op a Man Unknown. Head of a man in three-quarte^r face turned r. with features pursed up and eyes nearly closed. Signed O. H. H, and inscribed Here's a Nist of all the Nunning horses. NB. N for L. Eed and black chalks ; roy., 9J x 7 in. Purchased December, 1896. HARRADEN, Richard (b. 1756, d. 1838). Topographical draughtsman and engraver ; born in London ; worked in Paris, London, and Cambridge; published three sets of views of Cambridge, 1797, 1800, 1811, in the last of which he was helped by his son R. B. Harraden, and a work on the academical costume of the University, 1803. 1. St. Ives, Huntingdonshiee. View of the town, with the tall-spired church rising 1., across the Ouse, on the near barik of which is a wharf, and three boats moored to it ; a man in one of the boats talking to another on the shore, and a third man fishing r. ; at the extreme r., a stone bridge of many arches crossing the river. Near the centre a sailing boat has been inserted in pencil ; it appears in the engraving. Water colours and Indian ink ; roy., 7} x 12} in. Engraved in the Copper-Plate Magazine, pi. 240, January 1st, 1 802. Purchased May, 1890, at the Percy sale. HARRIOTT, W. H. (worked about 1811-1837). Water-colour painter; pupil and follower of Prout; Member of the Society of British Artists, at whose gallery he chiefly exhibited ; some of his foreign sketches were used by Cotman as the basis of more elaborate drawinga 1. TwiSEL Ca-tle and Beidge. The towers of the castle, seen at a little distance 1., through tall trees growing from the bank of the river, which fiows into the 1. foreground under a bridge of single arch; raen in a cart cross tho bridge; trees beyond it and about the castle, and weeds on the bank in foreground r. Inscribed Twisel Castle and Bridge, and tlie river Till. W. H. Harriott, 7 Sept. 1827. Pencil ; roy., 13J x 10} iu. Purchased August, 1875. John Harris. 269 HARRIS, John (d. 1834). Water-colour painter; worked in London; exhibited at the Royal Academy 1802-1815, and made some designs for illustrations ; probably identical with a freemason of this name , who published some masonic subjects in lithography. 1. Poeteait op Db. Adam Donald, called the Prophet of Bbthelnie ; aptbe a Peint oe Picture. Whole length, standing on a country road, turned to front in an uncouth attitude, conical cap era head, face full. Signed and dated J. Harris Jnr. pinxt 1822, anel inscribed Dr. Ad'"- Donald, a prophet of Betheluie in Scotland bom Anno 1703, aud with verses by Donald — Time doth all things devour. And Time doth all things waist. And we ivaist Time, And so are we at last. Water colours; roy., 13} x 8| in. Adam Donald (b. 1703, d. 1780), an ignorant peasant, had the wit to build up on his own grotesque figure and the superstitions of his neighbours a great name for prophecy and necromancy. There is an engraving of him from a drawing made in 1776, and this is probably a copy from the same original. A memorandum pasted on the back of the drawing says : This is the second drawing of Dr. Ad'". Donald of Scotland ; the first painting was for Mr. Gordon, Aug. 1818, hy Mr. J. Harris, 28 Mansion House St., Kennington, Surrey. Purchased December, 1877. 2. Sketchbook containing Views, etc. 7 x 10} in. (1) Study of Gothic Arches. Pencil. (2) New Inn. PencU. (3) A Foet and Shipp-NQ in an Estuaey. Probably Southsea Castle anil Spithead. Pencil. (4) College Geeen, Bristol. PeneU. (5) Statues in niches of Heney II. and Fitzhaeding, and op Edwaed the CONFESSOE AND AbBOT NaILAND. PencU. (6) Intbeioe of Tinteen (?) Abbey. Pencil. (7) Gate of the New Beidewell, Tothill Fields. Pencil. (8) College Geeen, Bristol. Pencil. (9) Aechway. Pencil. (10) POETSMOUTH Haeboue ; looking inland. On two sheets. Pencil and water colours. (11) Details of Gothic Caeving. Pencil. (12) Study of a Teee. Pen and ink. (18) Details of Gothic Oenament. Pen and ink. (14) Chaeity. Frora a marble group. Indian ink and white on grey paper. 270 Drawings of the British School. (15) Ships in Poetsmouth Haeboue. Pencil. (16) Hoistlng a Stone on the Gateway of thb New Beidewell. Sketch for a lithograph published by Harris. (17) QuABEYiNG Cliffs by the Sea. Pencil. (18) Details op Gothic Oenament. PenoU. Purchased September, 1891. HART, Solomon Alexander (b. 1806, d. 1881). Painter; born at Plymouth ; studied at the Royal Academy ; worked in London ; won a name by his historical pictures, and was elected A.R.A. 1835, R.A. 1840; worked in Italy from 1841 for a few years; professor of painting at the Academy 1854-1863, and librarian from 1865 till his death. 1. Two ou one mount, roy., viz. : — (a) Head op an Italian Boy. Head in three-quarter face, looking r. Signed and dated S. A. Hart, 1848. Water colours ; 7J x 7 in. (h) Two Studies of an Italian Giel's Head. At the 1., head and shoulders of a girl, directed ]., the face turned in three-quarters, looking down. Inse;ribed Guiditta, Boma, Mar. 1842. S. A. Hart. At the r., head of the same girl in profile, looking 1. 8. A. Hart. Boma, Mar. 1842. Water colours ; 6 j x 9} in, 2. Italian Peasant with Bagpepes. A raan with full beard and conical hat over long curls, in gay costume, seen to the waist and holding with 1. hand the mouthpiece of his pipes, the b.ig of which hangs over his shoulder. Signed and dated S. A. Hart, Boma, April 11, 1842. Water colours ; 10 X 6| iu. 3. Head of a Caedinal asleep. Study of the head of a cardinal, wearing a biretta, facing to front and r. ; head drooping and eyes closed ; below, at the r., a small study of the same head. Black chalk and pencil on grey paper, heightened with white; roy., lOJ X 6| in. 4. Three on one mount, roy., viz. : — (a) Poeteait Study op Charles Landseer, E.A. Head and shoulders, seated towards the 1. with arms on a tai.le, one hand resting on the other and holding a magnifying glass, through which he looks. Inscribed Athenaium, Clias. Landseer, October, 184.. Pencil sketch ; 4} x 3| in. See under Landseer in this Catalogue. (h) Portrait of H. Oeein Smith Head and shoulders, seated towards the 1., at a table on which he hulls a wood-bleick with one hand while he engraves it with the other. Inscribed H. Orrin Smith, 85 Hatton Garden Siirucd and dated 8. A. Hart, 1851. ^ PencU; 7 X SJ in. Harvey Edward Orrin Smith or OrrinsmUh (as now spelt) was son of John Orrm Smith, the wood engraver. He followed his father's profession for a time, but afterwards became director of tho firm of Burn & Co bookbinders. ' (c) Townsend, the Bow Steeet Eunnee. Nearly whole length, seuted towards the 1. reading a, newspaper, which he hol.ls in his hands- head in profile, wearmg spectacles. Signed 8. A. H, aud dated 1828. Sepia and pencil ; 5J x 8J in. Nos. 1-4 were purchased November, 1881. Solomon Alexander Hart. — Thomas Harvey. 271 5. Two on one mount, roy., viz. : — (a) Head op a Monk. Head in nearly full face, turned slighUy r,, with a stern expression, Signeii 8. A. Hart. Pen and ink ; 4| x 5g in. (6) Hannah and Eli. Eli seated by a post of the temple, facing to front, with raised hand rebuking Hannah, who kneela in prayer 1. ; a smoking altar and branched candlestick behind. Signed 8. A. Hart. Peu and ink sketch over pencil ; 7} X 6} in. Presented by Alexander Durlacher, Esq., November, 1893. HARVEY, Thomas (b. 1748, d. 1820). Amateur painter and etcher; squire of Catton, near Norwich, of which city his father was a merchant ; the earliest patron of Crome, whom he encouraged to copy from his Dutch and Flemish pictures, and his Gainsboroughs ; an ornithologist ; painted landscapes in oils ; and etched, mostly on soft ground, studies of animals and landscape. 1. Album, containing the ordinary set of Harvey's etched work, with nineteen adcUfional plates, followed by the sketches here catalogued ; all are in pencil except the fiist. (1) Landscape. A bank with two flgures under trees ; cottage and pond 1. Sepia. (2) Head of a Hoese, facing full. (8) Head of a Hoese, facing 1. (4) (a) Faemyaed, with cattle passing through ; house and rick 1. ; church behind r. (6) Three Horses in a Field. (5) (a) Landscape, with cow lying in r. foreground under trees. (b) Cattle on a Plain. Two cows lying down, one standing 1. These two appear to be sketched after Dutch pictures. (c) Small Landscape, with a distant church. Probably also after a picture. (6) Study of a Cow, facing 1. (7) (a) A Cow, lying down. (h) A Cow, facing r. (8) Head and Forequaetees of a Cow, facing 1. (9) Study op a Cow, facing 1. ; the head does not appear. (10) Head and Foeequaetecs of an Ox, facing 1. (11) (a) A Donkey's Head, facing r. (b) A Donkey, lying down by a gate. (12) (a) A POINTEE. (6) A Spaniel. (13) Ducks Asleep. (14) Two studies of a Dead Bied. (15) A Dead Bied. (16) Ob. A Sitting Hen. Eev. Studies or Foxhounds. 272 Drawings of the British School. (18) (a) Landscape, cottage and barns 1., trees and pond r. (h) Farmbulldings and Yard. (19) (a) A Wide View over wooda to diatant hilla ; packhorses on road in foreground. (6) A Shallow Steeam, foaming into the foreground, under rocky banks 1. (20) (a) Two HoESES in a Field ; wood beyond. (h) A Hill, with cottage on the top and wooda at the foot ; a atream coming round it r. (21) (a) View at the Head op a Beoad Eivee, with a sailing boat. (h) Euinbd Cottage and Wall, with view of open country beyond. (22) (a) A Village among Tebes, with river 1. (h) A Eivee boedeeed by Houses r., probably the Yare, near Norwich. (23) (a) The same Subject as the last, modified in composition. (b) Study foe paet op the same Subject. (24) (a) Wooded Hill and Clouded Sky. (b) A Eoad by a Eivee, with houses among trees. (25) (a) A Eoad through a Plain ; windmill and buUdings in the distance. (b) A THATCHED ShED BY A ElVER BANK. (26) (a) A Bend in a -mDE Eiver, with wooded banks. (h) An Oak Teee. (27) A Cottage, with old man and child at a stile. (28) Barn and Sheds, with elms behind and a fence in front. (29) (a) A Farm among Trees, stile and fence in front. (h) A THATCHED FaEMHOUSE. (30) A Lane leading past a Cottage among Teees 1., and church r. ; two figures in foreground. (31) (a) A Pond -with Swans, overhung with trees. (h) Cottages and Trees, with cornfield iu front. (32) (a) Faemyaed. (b) Pool undee a sandy Bank, with thicket above. (33) Landscape, with boats on a lake, bull in foreground, near tbe water, trees and ruin r. ; hills crowned with buildings across the water. Probably after a picture. (84) (a) Books by the Sea-shoeb. (i) A Naeeow Valley winding among wooded hills, with houses in the hollow. (85) A Willow ovee a Weir. (86) (a) Steep Slopes, with a poplar in the foreground 1. (b) A Lake in a Hollow, woods and distant hilla beyond ; two figures in tho foreground. Probably after a picture. (37) Peneyoe Castle ; fhe coast in the distance. (38) Pbneyce Castle ; a near view. (39) ' Kieby Cottage.' Probably after a picture by Crome. Dawson Turner has -written against this : This is Crome's Kirby cottage, which is in Mr. Wright's hands. Query, did Crome paint from Mr. Harvey's sketch, or Mr Harvey make a drawing from Crome's picture 1 T. Harvey.— W. Harvey. 273 (40) Pennant Castlb. (41) (a) Teee and Shed. (6) View on a rocky Coast. (42) (a) Coast Scene ; Yarmouth beach (7). (b) A little Haeboue, with boats ; mountains behind. (43) A Coast, with woody shores and boats at anchor. (44) Anothee View of the sake Coast. (45) Wooded Coast and distant Castlb, with boats at anchor in a bay. (46) (a) A Boat on a Noepolk Beoad. (6) Beach and Bay, with hill beyond. (47) Pool and Teees. (48) A Beech Teee. (49) Teunk op an old Oak. (50) A Thoen Teee. (51) An Ash Teek (52) Wild Caebot. (53) Sheet of Figuee Studies ; two in pen and ink. Purchased May, 1859, at the Dawson Turner sale. HARVEY, William (b. 1796, d. 1866). Designer and wood engraver ; born at Newcaslile-on-Tyne, and pupil there of Bewick ; worked in London from 1817, his best known woodcut being the large Dentatus, after Haydon ; after about 1822 abandoned engraving for design, and became one of the most popular illustrators of the day ; a facile but very mannered draughtsman, happiest in such work as his dra-wings for Lane's ' Arabian Nights.' 1. Two on cae mount, roy., viz. : — (a) Illusteation to a Stoey. Interior of a cottage, with open door in the background; at the 1., a young man wearing a Scotch bonnet turning to adelress an old woman who sits before him r. bowed with grief, clasping her hands; beside her a child with a cat, and behind her three girls at a wash-tub: behind the young man I. another girl looking up at him. A vignette. Water colours ; 4 x 5 J in. (6) An Ieish Family ebmovxng. A valley with cottages by a stream ; in the foreground 1., a woman with a baby wrapped in her shawl, two small children clinging to her dress, and a boy following with a kettle, all barefooted ; the husband more to the r., crossing the stream by a stepping- stone, turns away to call to a woman with a basket on her back, who followa another woman carrying a pitcher on her head up a rocky path in the back- grounei A vignette. Water colours ; 5| x 6f in. 2. Two on one mount, roy., viz. : — (a) Design foe an Illusteation. A garden, with cottage seen in the background among trees ; in the foreground a girl offers a basket of flowers to a gentle man on horseback 1. ; an old woman r. carries another basket and flowerpot, a dog following at her heels. A vignette. Water colours ; 8} x 4| in. Vol. ii. j' 274 Drawings of the British School. (b) Design poe an Illusteation. A garden, with a young man plucking a rose from a bush 1. to offer to the lady who walks beside him ; on a terrace above r. another couple watching them. A vignette. Water colours ; 8J x 4J in. Nos, 1 and 2 were purchased July, 1885. 3. Scene in the Apeioan Tropics. An African forest : a missionary turning r. to give a knife to a negro who receives it with gratitude, his wife standing by him aud clasping her hands ; tropical birds on the ground and in the air, and at the 1., behind a tree, a black sa-wing wood. A vignette. Water colours ; roy., 4f x 5| in. Purchased July, 1888. HASSELL, Edward (d. 1852). Landscape painter ; son of the following, John Hassell ; member (1841) and afterwards secretary of the Society of British Artists, at whose galleries and elsewhere he exhibited landscape and architectural subjects between 1827 and 1852 ; died at Lancaster. 1. Bums OP THB Eoyal Exchange after the Fibb, 1839. Interior of the quadrangle, with figures among the ruins; GrinUng Gibbons' statue of Charies IL in the centre. Signed and dated E. Hassell, 1839. Water colours ; 13| x ISJ in. This, the second Eoyal Exchange, built after the Great Fire, was burnt down January 10, 1838. In Portfolio XXII. (No. 96) of the Grace CoUection of London Views, pur chased November, 1880. HASSELL, John (b. 1767, d. 1825). Water colour painter and engraver ; worked in London; exhibited at the Royal Academy 1789-1819; drew views of places, which he engraved in aquatint ; he was well known as a teacher, and published several works on drawing, also a life of his friend Morland. 1. Two on one mount, roy., viz. : — (a) Caeisbeooke Castle Chapel, Isle of Wight. N.E. view ofthe chapel m a sunset gleam, with two figures by the door ; two sheep in the r. foreground, the castle wall beyond. Water colours ; 3| x 4J in. (b) Yaveeland Chuech, Isle op Wight. S.W. view of the little church with a Tms^ll mo '* ^" ^""^ ^ ^°"^® ^^^°''^ "¦¦ ^'^"^'^ """^ '^^*^'^ Water colours; 4} x 6j in. 2. Three on one mount, roy., viz. : — (a) Shalpleet Chuech, Isle op Wight. S.W. view of the church with its masHve square tower, by which are a horse and cow; at the I. a glimpse Water colours ; 4 x 5 J in. (b) Beading Chueoh, Isle of Wight. S.W. view of the church seen at the r l^rchuX^'d."^*'^ ' "^^^-'^°"^^' '^^ P-Pl^ b-y washingNrtLlate Ji Water colours ; 4} x 5J in. (a) Porchester Castle, Hants. The remains of the castle, with cottae-ea and frgS! ^^i-^ ^^- °^ '^^ '^"bo- '¦ a boat ^:z ;te s^ Water colours ; 4J x 6| in. Both purchased September, 1886. J. Hassell. — iii. Haughton. — W. Havell. 275 3. Westminster peom Lambeth. Westminater Hall with the bridge at the r. Signed and dated /. Hassell, 1806. Indian ink tinted in water coloura ; 4 x 6f in. In Portfolio IV. (No. 87) of the Grace Collection of London Viewa, purchased November, 1880. 4. West Feont of Covent Gaeden Maeket, 1830. With numerous groups of figures about the stalla. Water colours ; llf X 17 J in. In Portfolio XVIII. (No. 83) of the Grace CoUection of London Views, purchased November, 1880. HAUGHTON, Moses, the younger (b. about 1772, d. about 1848). Miniature painter and engraver ; nephew of Moses Haughton the elder ; born at Wednesbury ; pupil of George Stubbs ; painted portraits chiefly in miniature, and made several large engravings after his friend Euseli ; exhibited at the Royal Academy, 1808-1848. 1. Poeteait op John Smith, Pictuee Dbalbe. Half length, seated towareis the r. and front, the face in three-quarters, eyes full, both hands showing. Water colours on ivory, highly finished ; roy., 6} X 5J in. Purchased AprU, 1881. 2. Poetrait op Joseph Priestley, LL.D. ; after Fuseli. Pull half length, seated towards the r. by a table with books and papers, on which the 1. arm rests ; r. hand on knee ; the face in three-quarters looking r. Sepia over pencil and red chalk outlines ; roy., 7| X 6J in. Copied from the whole length portrait of Priestley by Fuseli, painted 1783, one of the only two portraits by that artist. It was engraved 1836 by C. Turner. Priestley, b. 1788, d. 1804, was celebrated as a man of science and a theologian ; emigrated to the United States in 1794. Purchased December, 1888. HAVELL, William (b. 1782, d. 1857). Painter; born -at Reading; son of a dra-wdng-master ; original member, 1805, of the Old Water Colour Society ; became known by his landscapes from Wales and the Lakes; went to China, 1816, with Lord Amherst's embassy; worked in India, painting water colour portraits, from 1817-1825, when he returned to England, but found he had fallen out of the public memory, and he never regained his former high position ; worked, 1827-29, in Italy, and thenceforth painted chiefly in oils. 1. WiNDERMEEE. View from wooded slopes looking down on the lake, which stretches away with its leafy islands into the distance ; in the foreground 1. a bov drinking from a spring at the side of a path overshadowed by trees, while his dog guards his coat and fishing-rod, laid on the high bank of a stream which flows through a hollow under hanging bushes at the r. ; all beyond the fore ground shadow lies bathed in sunshine from the 1. Signed and dated W. Havell, 1811. Water colours ; roy., 9| x 13| in. Purchased May, 1859, at the Dawson Turner sale. 2. Sadlbe's Wells. View from the bridge over the New Eiver, which curves away towards the r. ; at the r. of the bridge in the foreground a gate leading down an avenue of poplars, along the riverside, to the theatre ; at the 1. bank of the water, houses and gardens with trees beyond ; groups of figures on the bridge and on both banks, and a cab just inside the gate at the r. Water colours ; roy., 11 X 16| in. Purchased March, 1868. T 2 276 Drawings of the British School. 3. Eton ; Evening. View of flat meadows and dark groupa of elms about the Thamea in the r, foreground, woods and a cottage by the water r. ; in the distance Eton chapel rising against the last flush of twilight, and a crescent moon above. Water colours ; roy., SJ X 13| in. Purchased July, 1889. 4 Angelica and Medoeo; Illusteation to Aeiosto's 'Oelando Pueioso.' A luxuriant wooded valley with a stream flowing through it into the r. fore ground ; Medoro kneels among flowers and bushes, and AngeUca stands oyer him and guides his hand as he cuts then names on a tree. Inscribed beneath, W. Havell, delink January 13, 1816. Angelica and Medoro. Book 19, Stanza 27, 28. . Sepia wash -with pen outlines, heightened with white ; roy., 6| X 9§ in. Purchased May, 1890, at the Percy sale. 5. On the Thames. The river r. with islets and boats, and mansions among treea on either side ; cattle in the 1. foreground. Water colours and body colours ; roy., 8J x 14| in. Purchased May, 1893. HAWKSMOOR, Nicholas (b. 1661, d. 1736). Architect; born in Nottinghamshire ; pupil of Wren, whom he assisted in the building of Greenwich Hospital, Kensington Palace, and St. Paul's ; designed the new buildings at Queen's and All Souls, Oxford, and some of the fifty churches in London planned in the reign of Queen Anne ; St. Mary Woolnoth is one of the most admired of his works, and St. George's, Bloomsbury, one of the most remarkable. 1. Design foe a Mausoleum, A decorated sarcophagus, resting on a pedestal and surmounted by an allegorical group ; at the top a figure in armour, standing on a round pedestal upheld by Justice, Fortitude and two other virtues ; these stand on a square pedestal, ornamented with an arrow-pierced heart, and resting on figures of Malice and Envy overthrown by Honour, Wealth, and Fame. Drawn to scale and signed N. Hawksmore fecit. Peu and ink, shaded with Indian ink ; atl., 24f x 12| in. 2. Design foe a Column and Statue of Queen Anne. A fluted column with statue of Queen Anne holding ball and sceptre at the top ; round the upper part of the square base a group of allegorical figures, one at each side and another reclining araong weapons in front. These figures are drawn on a piece of paper pasted over another somewhat different design. A similar modifica tion has been made at the top of the column, under the statue. Signed N. Hawksmore, and inscribed, heighth of the column 180 feet, of tlie statue 20, total 200. Diameter of the shaft 12 ft. Pen and ink, shaded with Indian ink ; ant., 36} X 12 in. This columu was intended to be set up in the Strand, 1718, to commemorate Marlborough's victories under Queen Anne. Both purchased June, 1881. HAY, Robert (b. 1799, d. 1863). ArohBeologist and draughtsman; laird of Linplum ; author of 'Illustrations of Cairo,' 1840, the drawings for which by 0. B. Carter have been described in this catalogue ; one of the pioneers of Egyptian exploration, 1826-38. 1. PAexKET containing 26 unmounted drawings in pen and ink with water-colour tint, pencil, or sepia ; including plans for parts of Hay's house in Cairo, a view of Cairo, and design for an oven for cooking eggs. Placed iu a portfolio together with 24 unmounted drawings in pencil or pen and ink, washed with sepia, Indian ink, or water colours; including views of Mosques, etc., and studies of are-hitectural detail. The authorship of these ia uncertain, though the majority are probably by Laver (q.v.) and Hay ; aa being connected with Hay'a book, they are retained under his name. AU puichased October, 1879. B. B. Haydon. 277 HAYD'ON, Benjamin Robert (b. 1786, d. 1846). Historical painter; born at Plymouth; came to London, 1804, and studied at the Royal Academy ; began, 1806, a long series of large historical pictures, some of which had a brilliant success ; arrogant and improvident, he gained enemies as he lost money ; was harassed by continual debt, but sustained by a heroic self-confidence and a fury of ambition which were at once the strength and weakness of his art ; in later life was more successful as a writer and lecturer on art than as a painter ; urged the decoration of the Houses of Parliament and the establish ment of art schools, and was the first to recognise the surpassing importance of the Elgin marbles ; committed suicide. 1. Poeteait of Chaeles Heathcote Tatham. Head and bust, full face and looking fuU. Signed and dated B.E.H. 1823. Black and red chalk on buff paper, heighteued with white ; imp., 18|- x 14f in. C. H. Tatham, architect, b. 1772, d. 1842, was a pupil of Henry HoUand, studied in Italy, practised in England ; an intimate friend of Haydon. Purchased October, 1870. 2. Album, containing 268 academical studies and studies for pictures, nearly all in black chalk on gray or drab paper, generally heightened with white. These include studies for the following pictures: 'Christ's Entry into Jerusalem' (1818), 'Pharaoh' (1825), 'Dentatus' (1808), 'Judgment of Solomon' (ISi;^), 'Macbeth' (1810), 'Lazarus' (1822), 'Borneo' (1810), 'Joseph and Mary resting on the road to Egypt' (1806), 'Penitent Girl ' (1816), 'Agony in the Garden ' (1821), ' SUenus,' and ' Puck.' 3. A very large album containing 264 drawings, academical studies, and studies after the antique, aU in black chalk, including a number of drawings from the Elgin marbles made in 1808-1811, when the marbles were at Lord Elgin's house in Park Lane. In the controversy which arose when their purchase for the nation was being eUscussed, Haydon took a prominent part, and attacked with spirit and success the adverse and disparaging judgment of Payne Knight. The purchase by the nation was finally made in 1816. The principal stuelies from the Elgin marbles are as follows : (1) A Lapith, from Metope xi. of the Parthenon. (2-4) HoESBS of Hblios, from the Eastern Pediment. (5) Figuee feom the Choeagio Monument of Theasyllus,, (6) ' The Fates,' from the Eastern Pediment. (7) Asm op ' Peesbphonb.' (8) ' Demetee and Peesbphonb," from the Eastern Pediment. (9) Lapith feom Metope xi. (14) Metope vt. (15) 'Demetee,' (16) ' The Ilissos,' from the Western Pediment. (27) Two Youths and a Hoese,, from the Frieze of the Parthenon.. (28) One of the Metopes. (47) Figuee peom the Feibze of the Paethenon. (55) Studies feom the ' Theseus ' (Eastern Pediment). (56) One of the Metopes. (64) Metope vn. (69) (70) Studies feom the ' Theseus.' (119) ' Dembtbe and Peesbphonb.' 278 Drawings of the British School. (188) 'Theseus.' The rest of the drawings include studies for ' Christ'a entry into Jerusalem,' ' Jairus' Daughter,' ' Lazarus,' ' Judgment of Solomon,' ' Agony in the Garden,' and ' Macbeth.' Nos. 2 and 8 were purchased July, 1881. HAYLS, or HALES, John (b. 1679). Portrait painter; worked in London ; a rival of Samuel Cooper in miniature painting, and of Lely in oil painting; his portrait of Pepys is well known. 1. Poeteait of a Laby in the Chaeactee op a Shepheedbss. Nearly to the knees, facing to front, looking a little to the r., in broad straw hat and country dress, one hand holding a sheep-hook, the other pointing 1,; sheep at the r.,and a distaff at the 1. Peu and ink with sepia wash ; roy,, 4 x 3J in. Presented by W. Eickard, Esq., February, 1893. HAYMAN, Francis, R.A. (b. 1708, d. 1776). Painter; bom at Exeter, and pupil of Robert Brown in that city ; worked in London as scene painter at Drury Lane, and soon became well known by his illustra tions to Shakespeare, Milton, ' Don Quixote,' etc. ; painted with his friend Hogarth a series of pictures to ornament Vauxhall, besides historical pictures and many portraits ; he was prominent in the movement that brought about the foundation of the Royal Academy, of which he was an original member, 1768, and librarian fi'om 1771 till death ; etched a few plates. 1. Two on one mount, roy., viz. : — (a) Design foe a Book Illusteation. A man in a fencing suit and la^e spectacles engaged in imaginary combat with a row of figures painted on the wall of his study ; a man behind looks on in agitation. Indian ink with pen outlines ; 5J x 8 in. Purchased July, 1859. (fc) Design foe Feontispiecb to the 'Magazine op Magazines.' An author sitting 1. at a table with a blank sheet before him, craving au idea ; Mercury arriving at his prayer from the r. with a lapful of books, whUe Pallas on a cloud above points through a window to a sign of the Magazine of Magazines. Indian ink with pen outlines; 6 J x 4 in. Engraved by C. Mosley as frontispiece to the Magazine of Magazines, Purchased December, 1857. 2. Portrait op Foote in a comedy. Whole length advancing to the r., with arms spread out, and exclaiming, " What is all thisi" Hat and stick on the ground r. Pen and ink and Indian-ink wash ; 9 x 6f in. Samuel Foote, b. 1720, at Truro, educated at Oxford, after running through a fortune, took to the stage 1744 ; faUed as'au actor, but became very celebrated as a mimic, giving entertainments of his own ; wrote several plays, of which the Minor (1760) was successful ; died 1777. In Vol. IV. of the Burney collection of theatrical portraits, purchased 1817. ^' "^.^J?""? ''°°*='i°ing illustrations to Smollett's edition of ' Don Quixote,' 1755, 4to. All the drawings were engraved iu reverse. (1) Allegoeical Design foe Feontispiecb. Sepia with pen outlines. Engraved by C. Grignion. F. Hayman, R.A. 279 (2) Don Quixote Knighted by the Innkeepee. Sepia and white with pen outliues. Engraved by C. Grignion. Vol. i., p. 17. (3) Don Quixote brought Home by a Counteyman on his Ass, and received by the housekeeper, barber, and curate. ludiau ink with pen outlines. Engraved by C. Grignion. Vol. L, p. 26. (4) Thb Bueial of Cheysostom. Marcella appearing on the rock above to Don Quixote and the shepherds. Indian ink with pen outliues. Engraved by G. Scotin. Vol. i., p. 75. (5) Maeitoenes and Sanoho Panza fighting in the Bed, and discovered by the innkeeper. Ineiian iuk with pen outUnes. The engraving by J. S. Miiller, Vol. i., p. 92, is from a considerably modified design. (6) Sancho Panza examining Don Quixote's Mouth after he had been stoned by shepherds. Indian iuk with pen outlines. Engraved by C. Grignion. Vol. I., p. 106. (7) Don Quixotb thebatbning to kill the unhoesed Bachelob with his Lance. Indian ink with pen outlines. Engraved by S. Eavenet. Vol. i., p. 111. (8) Don Quixote and Sancho felled by Caedenio. Indian ink with pen outlines. Engraved by S. Eavenet. Vol. i., p. 159. (9) DoEOTHBA BATHING HEB Fbet IN THE Steeam, and discovered by Cardenio and his companions. Indian ink with pen outlines. Engraved by 0. Grignion. Vol. i., p. 196. (10) DoEOTHBA EECEIVBD BY DON QuiXOTB AS THE PeINOBSS MiOOMIOONA. IneUan ink with pen and red chalk outliues Engraved by G. Scotin. Vol. i., p. 211. (11) Don Quixote attacking the Wine Bags in his Sleep, aud stopped by the innkeeper. Indian ink with pen outlines. Engraved, with differences, by C. Grignion. Vol. i., p. 270. (12) Sancho Panza presenting the Country Wench as Duloinea to Don Quixote, who kneels before her. Indian ink with pen outUnea. Engraved by G. Scotin. Vol. n., p. 54. (18) DoEOTHBA pleading WITH DoN Fernando, who drawa hia sword to attack Cardenio, as Lucinda falls into Cardenio's arms. Indian ink with red chalk and pen outlines. Engraved by S. Eavenet. Vol. i., p. 281. (14) The Baebbe confounded by the assurances of Don Quixote, Don Fernando, and the rest that his basin ia a helmet. Indian ink with pen outlinea. Engraved by C. Grignion. Vol. I., p. 353. (15) Don Quixote about to kill the Knight of the Mireoes, and stopped by the Squire of the Nose. Indian ink with pen outlines. Engraved by G. Scotin. Vol. ii., p. 80. (16) QuiTEELA wedded TO Basilio while he feigns to be dying of a wound. Sepia with pen outlines. Engraved by J. S. Miiller. Vol. u. p. 137. 280 Drawings of the British School. (17) Don Quixote attacking the Figuebs op the Puppet Show. Indian ink. Engraved by Eavenet. Vol. ii., p. 163. (18) Don Quixote paying his Eespects to the Duchess. Indian ink. Engraved by Eavenet. Vol. n., p. 186. (19) Sancho Panza's Quabeel with the Duenna. Indian ink. Engraved by G. Scotin. Vol. n., p. 189. (20) The Peiest eneaged with Don Quixote at the Table of the Dckb and Duchess. Indian ink with pen outlines. Engraved by 0. Grignion. Vol. il, p. 194. (21) Sancho Panza at Dinnee ; the doctor having all the dishes whisked away. Indian ink with pen outlines. Engraved by C. Grignion. Vol. n., p. 284. (22) Sanoho's Eetuen to his Wipe and Daughtee. Indian ink with pen outlines. Engraved by S. F. Eavenet. Vol. n., p. 458. (23) Don Quixote expostulating with Sancho, who is about to scourge himself. Indian ink with pen outlines. Engraved by G. Sootin. Vol. n., p. 449. (24) Sancho displeased with the Answees given him by the enchanted Head, and reproved by hia master. Indian ink. Engraved by C. Grignion. Vol. n., p. 400. (25) The Giel disguised as a Boy beought befoee Sancho. Indian ink. Engraved by C. Grignion. Vol. ii., p. 305. (26) Don Quixote and the Duenna. Indian ink. Engraved by C. Grignion. Vol. ii., p. 296. (27) The Page presenting Sanoho's Lettee to his Wipe and Daughter. Sepia with pen outlines. Engraved by S. F. Eavenet. Vol. n., p. 811. (28) Don Qupxote taking the Baebee's Basin foe Mambeino's Helmet. Indian ink with pen outlines. Engraved by S. F. Eavenet. Vol. i., p. 126. Purchased June, 1S59. HAYTER, Sir George (b. 1792, d. 1871). Painter, etcher, and litho grapher ; son of Charles Hayter, miniature painter ; born in London ; studied at the Royal Academy, and worked in Rome 1816-18; on his return became soon well known by his portraits and historical pictures; appointed painter to the Queen 1841, and knighted 1842. 1. Sajhson Agonistes. Samson lying on hia back, hia head at the 1 on a bank while the two Hebrewa approach from the background r. luacribed with the Imea in MUton's poem. See how he lies at random carelessly diffused, with languished head unpropt . . . and by himself given over. Strongest of mortal men To lowest pitch of abject fortune art thou fallen.— Milton. Dated and signed Sept. 12, 1821, G. H. Pen and ink ; roy., 8| x llj in. Sir George Hayter. 281 X 2. Two on a mount, roy., viz. : — (a) God pbonouncing Sentence on Adam and Evb. He atanda I., with arm outatretched above the bowed heads of Adam aud Eve, who kneel at the r., beneath a tree, round which the serpent twines. Inscribed, Milton, P. L. Book X. line 175. Pen and ink over pencil ; 6 J X 5f in. (6) Adam and E-vb, Study foe the same Composition. The two kneeling flgures in the attitude of the preceding study ; dated Jan!/, 1818. Pen and ink ; 6 x 5f in. 8. Two on a mount, roy., viz. : — (a) Study op Teee Beauohes. Pencil ; 8 X 5J in. (b) God peonouncing Sentence on Adam and Eve. Studies for the same subject as No. 2, Adam and Eve are on a smaller scale than the other flgm-e. Dated Jany, 1818. Pen and ink ; 6 X 7i in. Studies fob a Picture of a sleeping Child. Five varying studies, all more or less slight and rough, of a chUd asleep and a lamb browsing on leaves of a bough above him. Pen aud ink ; roy., 7f X 5J in. \/5. Portrait op C. B. Ogle. Half length ; seated facing to r. and front ; the head in three-quarters looking r., hands clasped in lap ; curtain and books behind 1. ; on a shield-shaped screen r. signed and dated, G. H. Dec. 13, 1820, suo Amicis- simo C. B. 0. Pen and ink ; roy., 8 x 6J in. Nos, 1-5 were purchased August, 1871. Hayter etched a iJifferent portrait of his friend Chaloner Blake Ogle in 1824. ^6. Pobteait op the Eael op Deeby. Head in three-quarters, approaching full face, turned 1., and loolring 1. Black, white, and red chalks on canvas prepared with oil paint ; roy., 13 X 9* in. Edward Geoffrey, 14th Earl of Derby, b. 1799, d. 1869 ; Prime Minister 1852, 1858-59, and 1866-68. Purchaaed October, 1886. 1/7. Poeteait of Heney Fuseli, E.A. Head in proflle looking 1., wearing hat and wig. Signed G. H., and inacribed Henry Fusely, Esq., Keeper of the Eoyal Aeddemy. Sketeh, G. H, Jan. 1, 1812. Pen and ink ; roy., 6f x 5f in. See under Fuseli, p. 171 of this volume. Purchased June, 1889. /\/8. Pobteait op J. H. Wiffen. Head and shoulders facing to front, but -with head turned aome what r., and looking r. Signed and dated G. Hayter, 1824, and inscribed twice over, J. H. Wiffen. Pen and aepia, and sepia wash ; roy., 10 X 8 in. Jeremiah Holmes Wiffen, b. 1792, d. 1886, published poems and 'Memoirs of the House of Eussell ; ' beat known by his translation of Tasso. 9. Four on a mount, roy., viz. : — y(a) Sketch Poeteait of Sib Chaeles Eastlake. Half length facing to front and looking up to the r., with palette and brushes in hand. Indian ink and pencil ; 8| x 2J in. Sir Charles Lock Eastlake, b. 1793 at Plymouth, worked many years in Italy, waa well Imown as a painter, better known as a connoisseur and writer on the history of art ; became P. E. A. 1850, and Director of the National Gallery 1855 ; died 1865. 282 Drawings of the British School. v(b) Poeteait Sketches of Seymoue Kiekup and Sie C. Eastlake. At the 1. Kirkup writing at a table, facing to front, head bent down over the paper ; at the r., a head of Eastlake in three-quarter face turned 1., and looking down 1. Inscribed 8. 8. Kirkup and C. L. Eastlake, Eome. Signed and dated G. H. Dec. 24, 1816. Sepia and pencil ou brownish paper, heightened with white ; 3f x 8 in. Seymour Stocker Kirkup, artist, b. 1788, was in youth a friend of Blake and of Haydon ; settled in Italy, where he painted, studied Dante, and became a prominent member of the literary circles of Florence ; discovered, 1840, Giotto's portrait of Dante, which he copied before it was spoilt by restoration ; died 1880. ~'(c) Poeteait Sketch of Moeitz Eetsch. Head and bust facing nearly full, turned slightly r. ; eyes looking full and shaded by r. hand on forehead. Inscribed Moritz Betsch, from nature, at his villa. Signed and dated G. Hayter, October 8, 1843. Pencil on buff paper touched with white ; 6J x 4J in. Friedrich August Moritz Eetsch, b. 1779 at Dresden, d. 1857, is best known by his outline illustrations to Goethe, SchUler, and Shaliespeare, especially those to ' Faust.' /(d) Sketch Poeteait op Cauova. Half length standing directed to the r., the face turned full, hands crossed in front of him, a piece of sculpture in the background, with margin inscribed above Ant" Canova, and below. The general arrangement is like this, hut the likeness or character must not be looked for here, as it is only to show the view of his head which I have taken. The measurements of height (3 ft. 2J in.) and width (2 ft. 5 in.) are also noted. Pen and sepia wash ; 7J x 4J in. Hayter etched a head of Canova at Eome, 1817, from a picture which he made for the Duke of Bedford. This is a sketch from the same portrait, now at Woburn Abbey. Antonio Canova, b. 1757 at Possagno, d. 1822 at Venice; the moat celebrated sculptor of hia time. 10. Two on one mount, roy., viz. : — (Xa) Sketch Poeteait op Ed-win Landsbee. Whole length, seated in an arm chair, facing to front ; a very slight sketch. Pencil ; 5 X 3i in. ^b) Ed-win Landsbee. Head facing nearly full, turned a little 1., eyes looking r. Signed and dated G. Hayter, 1825, W. A., Jany. 10, and inscribed Edwin Landseer. Pen and ink sketch ; 6J x 4f in. See under Landseer in this Catalogue. Nos. 8-10 were purchased October, 1890. vdl. Sketch Poeteapt of the Duke of Wellington. Head in full face. Inacribed The Duke of Wellington, afterwards engraved, 1820. Pencil and Indian ink ; roy., 8|- x 2| in. The engraving waa made by J. E. Eobinson. 12. Album, containing portrait atudiea of meu. (1) SiE Eobeet Adaie. Head, nearly full face. Inacribed iJ'- Hon. ilf''- Adair. Pen and Indian ink. Sir Eobert Adair, K.C.B., b. 1763, d. 1855, an mtimate friend of Fox and an eminent diplomatist. (2) Me. Atheeley. Half length, seated, facing to front. Inscribed Mr. Atherley. Pencil and Indian ink. (3) Lieut.-Col. Bathuest. Half length, facing to front, r. hand showing. Inscribed Lieut.-Col. Bathurst. Pencil and Indian ink. The Hon. Thomas Seymour Bathurst, b. 1793, d. 1834. Sir George Hayter. 283 (4) Jambs E. Cuthbeet, Esq. To the hips, standing facing to front, with Byron collar and cloak. Inscribed J. E. Cuthhert, Esqre. Pen and ink and Indian-ink wash. Cuthhert was M.P. for Appleby. (5) Loed Ellenboeough. Head looking full over r. shoulder. Signed G. H, and inscribed Honf'^- Ed. Laiv. Pen and pencil and Indian ink. Edward Law, Earl of EUenborough, b. 1790, d. 1871 ; Governor-General of India 1841-44. (6) Poeteait of the Aetist. Head in full face. Inscribed on the back Self, Eome. Water colours and pencil. (7) Eev. John Hopkins. Head and shoulders, nearly full face. Inscribed Eev. John Hopkins. PencU. (8) Me. Hoenby. Head and buat, facing to front, head turned somewhat 1., and looking 1. Inscribed Hornby, Esqre. Pencil touched with neutral tint. (9) Me. W. Hoenby. A youth, head and bust turned to front and 1., face full. Inscribed Mr. W. Hornby, Midsh"- Water colours and pencil. (10) Ed. Lamont. A young man's head in full face. Signed G. H, and inscribed Ed. Lamont. Pencil and water colours. (11) Me. Chaeles Law. Head in three-quarter face, looking r. Signed G. H, and inscribed Mr. Chas. Law. Pencil. , „ ^,, Charles Edward Law, b. 1792, d. IS.'iO, brother of the Earl of EUen borough, was Eeoorder of London and M.P. for Cambridge University. (12) Peinoe Leopold. Head in three-quarter face, looking over 1. shoulder. Signed G. H., and inscribed Prince Leopold. Pencil and Indian ink. Prince Leopold of Saxe-Coburg married, 1816, Princess Charlotte, only daughter of George, Prince of Wales (George IV.). Hayter etched a different portrait of the prince, 1816. (13) Lt.-Col. Macgeegoe. Head and bust turned 1., the face in three-quarters looking over shoulder ; on the 1. arm a Highlander's target inscribed Clan Alpine, Lt.-Col. Macgregor. Pen and ink. Probably Alexander MacGregor, whose portrait aa General was engraved in mezzotint by S. W. Eeynolds after S. J. Eochard. (14) The Duke op Manchbstee. Head and shoulders turned r., the face in three- quarters, eyes looking full. Inscribed the Duke of Manchester. WiUiam Montague, b. 1768, d. 1843, flfth Duke of Manchester, was Governor of Jamaica for nineteen years, 1808-1827, during which he carried out many reforms. (15) Ensign H E. South. Three-quarter length, seated towards the r., the face in three-quartera, eyea fuU. Inscribed Ensign Henry Ed. South, 89"' Foot. Pencil. (16) Ensign Stopfoed. Head and buat, turned r., the face in three-quartera, eyes full. Inacribed Honble. Ensign Stopford. Pencil and water colours. 284 Dramngs of the British School. (17) Me. Veenon. Head in profile looking I. Inacribed Horfi^- Mr- Vernon. Pencil and Indian ink. G. J. W. Vernon, fifth Baron Vernon, b. 1803, d. 1866, waa M.P. for Derby 1831-35, when he became Lord Vernon; publiahed a famous aud extra ordinarily elaborate edition of the ' Inferno ' of Dante, to the study of whom he devoted most of his life. 13. Album, containing portraits of women. (1) Miss Buelton Bennett. Half length seated with a book at a table, facing to front ; the head in three-quarter face looking r. lusoribed Miss Burlton Bennett. Pencil and Indian ink, (2) Lady Elizabeth Bingham and Hon. John Montague. Full half length of the lady, holding the chUd ou a table 1. and looking full. Insorilied Bt. Honble. Lady Eliz'^^ Bingham and Hon^'.'- John Montague, 1814. Pencil and pen and ink. Lady Elizabeth Bingham (d. 1838), became the wife of G. G. Har court, M.P., of Nuneham Courtenay. (3) The Maeohioness op Buckingham. Half length, seated towards the 1., the face in three-quartera, eyea looking full. Inscribed The B'. Honble. Marchioness of Buckingham. Pencil. (4) H.E.H. Peinoess Chaelottb. To the waist, aeated towards front, in full face, both hands ahowing, one raiaed to shoulder. Inscribed, Her Boyal Highness Princess Charlotte. Pencil and sepia. Princess Charlotte Augusta, b. 1796, only daughter of George, Prince of Wales (George IV.), was never acknowledged by him as heir presumptive I aud was brought up in close seclusion; married 1816 Prince Leopold of Saxe-Coburg; died 1817. (5) Peincess Chaelottb. Two slight studies of the full face, one of the proflle. Inscribed H.E.H P. Charlotte. Pencil. (6) Miss Chaelottb Clavbeinq. Half length, turned to front and r., the face in three-quarters looking r. lusoribed Miss Charlotte Clavering, Daughter of Lady Agusta [sic]. Pencil. (7) The Maeohioness Coenwallis. Three-quarter length, standing facing to front, face nearly full, looking slightly r. ; pillar and balustrade behind. Signed G. H and inscribed The Marchioness Cornwallis. Peucil touched with Indian ink. (8) Miss Louisa Coutts. Head and bust, turned 1., face looking full. Inscribed Miss Louisa Coutts. PencU and water colours. (9) Countess Davanlby, Half length, full face, 1, hand showing. Inscribed Countess Davanley. Pencil and Indian ink. (10) Viscountess Duncannon. Head, nearly full face, looking sUghtly r. Inscribed Duncannon. Indian ink and pencil. (11) Miss Meeoee Elphinstone. Head in three-quarter face, looking over r. shoulder. Insciibed The Hon''^- Miss Mercer Elphinston, Pencil and IniUan ink. (12) Thb Misses Gaedinee. A group; one sister atanding between two seated ones, seen to the knees aud looking up at her. Inscribed The Miss's Mary, Harriet and Louisa Gardiner. Pencil and Indian ink. Sir George Hayter. 285 (13) Mes, Gaulton, Head and bust, turned to r. ; face in three-quarters, looking full and leaning on 1. hand. Inscribed Mrs. Gaulton n^e Mary Ogle. Pencil touched with water coloura. (14) Ladies Adelaide and Selina Hastings. Two children seated on the ground and embracing a dog, both looking to the front. Signed G. H. and inscribed E'. Honble. Ladies Adelade [sic] and Selina Hastings. Indian ink and pencil. (15) Mrs., afteewaeds Lady, Haytee, Head and bust, looking a little to the 1. Inscribed Mrs. H Pencil. (16) Lady Hinohinbeoke. Half length, turned to front, the face iu three- quarters turned 1., and looking 1. Inscribed Bt. Honble. Lady Hinchingbrook. Pencil and pen and ink. (17) Miss Hodgson. Head and bust turned to r., the face in three-quarters, looking full. Inscribed Miss Hodgson. Sepia and peucil. (18) Lady Cecilia Johnston. An old lady, half length, turned to r., the face in three-quarters, eyes full. Inscribed Lady Cecilia Johnston. PencU. (19) Mes. Kinnaied. Half length, turned to front and 1., the face full, eyes looking r. Signed G. H, and inscribed Mrs. Kinnaird. PencU and sepia. (20) The Hon. Mes. Lebson. Head and bust turned to r. and front, face in three-quarters, turned r., looking full, r. hand raised to I. shoulder. Inscribed Honble. Mrs. Leeson. Pencil and water colours. (21) Mes. Leigh. Head and bust, facing to front and I., the head in three- quarter face, turned r. and looking r. Inacribed Hon^^^- Mrs. Leigh. Pencil and Indian ink. Auguata, wife of Colonel Leigh, aister of Lord Byron, who adelressed to her the ' Epistle to Auguata ' and other poema. ^22) Misa MiLBANKE. Half length, aeated facing to front and I., the head in three-quarter face, turned r. and looking r. ; 1. hand raiaed to 1. shoulder. Inscribed Miss Milbanke. Pencil and Indian ink. Anne Isabella Milbanke, daughter of Sir E. Milbanke, b. 1792, married to Lord Byron 1815, but separated from him 1816; became Baroness Went worth 1856 ; d. 1860. (28) Lady Jane Montagu. In Turkish dress, half length, seated towarda the r. at a table, cheek resting on 1. hand, face nearly full. Inscribed Et. Honble. Lady Jane Montagu. Pencil. (24) Lady Janb Montagu. Head in full face, wearing turban, and with slight moustaches. Inscribed Lady Jane Montagu, 1814. PencU and sepia. (25) Lady Peyton. An old lady, half length, seated towards front and r. ; head in three-quarter face, turned r. and looking r., arm resting on table. Signed G. H. aud inscribed Lady Peyton. Pencil. Wife of Sir Henry Peyton, 2nd Baronet; d. 1857. (26) Lady Eanclipfb. Half length, seated toward the front, looking full, leaning I., elbow ou table, by which is a dog r. Inscribed The Et. Honble. Lady Bancliffe. Pencil and pen and ink, EUzabeth Mary (Forbes) wife of George Parkyns, 2nd Baron Eancliffe. 286 Drawings of the British School. (27) Miss Diana Eawlins. Head and bust turned to front, the face in three- quarters turned 1. and looking I. Inscribed Miss Diana Eawlins. Pencil with sepia and red. (28) Miss Oed and Miss Chaelottb Scott. One lady standing r., seen to the knees, and with her hand on the shoulder of the other lady, who is seated towards the front, looking nearly full. Inscribed Miss Ord and Miss Charm Scott. Pencil and sepia. (29) Lady Shelley. Head and buat in an oval, facing to front, the head iu three-quarter face, looking r. Inscribed Lady Shelley. Pencil and sepia. Probably the wife of Sir John Shelley, baronet, of the Devonshire and not of the Sussex family of Shelley. (30) Mes. T. Sheeidan. Full half length, standing towards the front in full face. Signed G. H. Inscribed Mrs. T. Sheridan. Pencil and Indian ink. (31) Chaelottb Stanley, a Gipsy. Half length, facing r., head in three- quarters turned 1. anei looking 1., with r. hand raised. Inscribed Charlotte Stanley Gypsey. PeucU. Study for a picture engraved by J. E. Eobinson. (82) The Same. Three-quarter length, seated towards the 1., head turned full, r. hand at neck. Inscribed Gypsy (Charlotte Stanley. Pencil. (33) The Hon. Maeia Stapleton. Half length, seated facing to front and I., face full, playing guitar. Inscribed flb»"«- Miss Maria Stapleton. Pencil anel Indian ink. Maria Frances Catherine Stapleton became (1813) Viscountess Jocolyn, afterwards (1820) Countess of Eoden ; d. 1861. (34) The Same. Head and bust facing 1., the head in three-quarters looking full, guitar in hands. Inscribed The Hon^^- Miss Stapleton. Not painted. PencU and Indian ink. (85) The Same. Head and bust turned nearly to front, the face full, looking a little r. Inscribed Lady Jocelyn — HonP^^- Miss Maria Stapleton. Pencil and IncUan ink. (86) Ladies Jane and Elizabeth Stopfoed. Two half length figures standing embraced. Inscribed Hon'''"- ladies Jane and Elizabeth Stopford. Pencil with sepia and vermilion. Daughters of James George, 3rd Earl of Courtown. (37) Lady Southampton. Head and bust turned to front, the face in three- quarters, turned I., looking nearly full, chin resting on hand. Signed G. H. and inscribed Lady Southampton. Pencil with sepia and vermilion. Probably Harriet (Stanhope), 1st wife of Charles Fitzroy, 8rd Baron Southampton, d. 1866. (88) Study op Haie foe the same Poeteait. Inscribed Ly. Southampton's hair. Pencil and sepia. (39) (a) Study op an Eye. For portrait of Lady E. Vernon. Pencil. (5) Lady E. Veenon. Head in full face. Pencil. (c) Study op Mouth. For the same portrait. Pencil. (40) Lady E. Veenon. Head in three-quarter face, turned r., bending down and looking full. Signed G. H., and inscribed Lady E. Vernon. Pencil. Sir George Hayter. 287 (41) The Countess op Waewick. Head in three-quarter to full face, turned r. and looking r. Inacribed Countess of Warwick. With aeparate atudy of an eye. PencU. Sarah Elizabeth (SavUe), wife of Henry Eichard, 3rd Eari of Warwick, d. 1851. (42) The Same, Head in similar position to the preceding, but looking full. Signed G. H. and inacribed Countess of Warwick. Pencil. Noa. 12 and 13 were purchased December, 1895. 14. Album, containing studies, principally for Hayter's picture of the coronation of Queen Victoria, engraved by H. T. Eyatt. The print is in the department. (1) Study for the whole coraposition. The archbishop and bishops at the altar 1. ; the queen opposite on the throne towards the r., with ladies grouped around it ; in the background the peers. On a atrip of paper beneath,^ The Archbishop of Canterbury having placed the crown on the head of Her Majesty, retired back to the alter and commenced an exhortation to H. M. Previously to his speaking, the peers mth shouts cried God Bless the Queen and put on their men coronets, June 28, 1838, West^. Abbey. G. H. PencU, partly gone over with pen and aome touches of lake. (2) Study fob the Head of the Queen. Profile, turned 1., looking down ; hands crossed on breast. Signed G. H. and inacribed H M. PencU. (8) Study foe the Queen's Eobe. Study of the robe aa it appeared on the Queen when seated ; with study of the train. Inscribed from Her Majesty in the imperial dalmatic robe. Signed and dated G. H., July 25, 1838. Pencil. (4) Teaoing feom Head op Poeteait of the Queen in the Dalmatic robes at Windsor. Pen and ink. (5) Lo-WEB Part of the Queen's Eobbs. Inscribed Sketched from Her Majesty and signed G. H. (6) (a) (h) Two eough Schemes of Peopoetion and Measueements of the Queen's head and flgure. PencU. (7) (a) Peees doing Homage. Eough sketch, inscribed The Hommage. PencU. (6) The same Subject from a different point of view. Eough sketch. Pencil. (8) (a) Thb Queen enthroned. Two rough studies. (b) Ladibs in Waiting. (c) Standing Figuebs, rough study. PencU. (9) (a) Pbees and Pebebssbs. SUght sketches. (6) Paet of thb Ceebmony. Very rough sketch. PencU. (10) (a) Peincess Schwaezenbeeg, and other rough studies. Inscribed Pe. Swarzenhourg. (h) Peeeesses and Pages. Bough studies. Pencil. (11) (a) Aechbishop Ho-wley addebssing the Queen. Sepia and pen. 288 Drawings of the British School. (b) The Aechbishop blessing the Queen, Pencil. (12) Sketch of the Aeohbishop's Figuee. Inacribed from the Archbishop of Canterbury, and signed G. H. Black chalk. (13) Eough Sketch op the Duchess of Kent. Inacribed H.E.H. the Ds. of Kent. Pencil. (14) Sketch of the Duke of Wellington. Pen and sepia. (15) Loed Stafpoed, a Page. Two atudiea with measurements, inscribed sketch for my picture of the coronation of Queen Victoria and aigned G. H. Pencil. (16) Lady Baeham. Two studies. Inscribed Lady Barham. Pencil. (17) The Duke of Bedpoed. Study for lower part of the flgure only. Inscribed Duke of Bedford. Black chalk. A whole length portrait of this, the 6th Duke, by Hayter is at Woburn Abbey. (18) The Duchess of Suthbeland, Mistress of the Eobes, with notes of details of robe. Inscribed Duehess of Sutherland. Pencil on drab paper touched with white. (19) The Duchess op Suthbeland. A larger and more elaborate study. Pencil and red chalk and white on drab paper. (20) (a) Hands op thb Duchess of Suthbeland. Pen aud ink on drab paper. (l) Teain op the Duchess of Sutherland's Eobes. Inscribed 6 ft. PencU, red chalk and white on eirab paper. (21) (a) (b) (c) Eough sketches of the flgures of the Duke of Sutherland and the Duke of Devonshire, with measurements. Pencil. (22) (a) (b) (c) (d) Bough Sketches for various figures, including WeUington and Marshal Soult. (c) is inscribed Sketches made at the coronation of our Gracious Queen in Westr. Abbey, 1838. Pencil. (23) (a) Slight studies for parts of costume of the Queen and Archbishop. Pencil. (6) Fald Stool. Inscribed with memoranda and dated 5th August, 1838. Water colours and pencil. (24) (a) (b) Bough sketches of Communion Plate, etc. With measurements. Pencil. (25) (a) (b) (c) (ef) Notes on costume and measurements of the Duke of Sussex, a sketch of a lady, notes on official costume and on positions at the cere mony of various personages. Pencil or pen. (26) (a) (b) (c) Notes on measurements, orders and costume of the Duke of Wellington. Pencil. (27) (a) Hilt of Swoed woen by Wellington. Inscribed The sword of Napoleon worn by Wellington at the coronation of Queen Victoria, 1838. Sisrned and dated G. H, 1889. ° Black chalk and white on drab paper. Sir George Hayter. 289 (6) The Queen's Soepteb. Several studies inscribed The sceptre of Peace held by the Queen at her coronation. Signed G. H. Pencil and white on drab paper. (28) (a) Head op Loed Chancellor. (6) Hilts of the Swoeds of Justice. (c) (d) Sketches op the Je-wblled Globe held by the sovereign. Pencil. (29) (a) ScEPTEB. Pen and ink tracing. (h) Baton op the Duke of Wellington as Great Constable of the Tower of London. Inscribed with notes on this and the Field Marshal's baton, and signed and dated G. H., Nov., 1889. Pencil. (30) Canopy above the Altae in the Abbey. Pencil and ineUgo wash. (81) Eough Sketch op the Altae. PencU and water colours. (82) (a) The Theone. Signed G. H. (h) The Altae Table. (33) Angle op Saceaeium, deaped fob the Ceebmony. Signed G. H. (34) Communion Plate. Inscribed Tlie plate of Gold on the first shelf above the Altar table, and the centre piece of plate on the upper shelf used in West minster Abbey at the coronation of Queen Victoria, June 28, 1838. Signed and dated G. H. Sept. 9, 1889. PencU and white on buff paper. (35) Communion Plate. Inscribed The upper shelf arrangement of gold plate at the altar, etc. Signed G. H. PencU and white on buff paper. (36) The Altae Table, as arranged for the ceremony. Signed G. H. Pencil and white on buff paper. (37) (a) Plan op Saceaeium. Pencil. (6) Sketch of the Altae, etc. Inscribed with memoranda. PencU. (38) The Altae. Signed G. H. Pencil. (39) (a) (6) (c) Details op AEcmTEOTURB. Pencil. (40) (a) (b) (c) (d) Details and bough Plans of Parts op the Abbey. Pencil. (41) (a) (6) (c) (d) Mbasuebments and Notes on Costume of Princess Hohenlohe, Lady Normanby, etc. Pencil. (42) (a) Newspapbe Cutting, with a description of the imperial crown of England. (6) Haytbe's Ticket of Admission to the Coeonation. 15. Album, containing studies principally for Hayter's picture of the Marriage of Queen Victoria. Engraved by C. E. Wagstaff. The print is in the department. (1) (a) Small bough Study foe the whole Composition. (h) Laegbe rough Study foe the Same. Black chalk and white on buff paper. Vol. ii. ' 290 Drawings of the British School. (2) (o) The Queen and the Peince." Two atudiea. Pencil. (b) Slight Study fob the Composition. Pencil. (3) (a) The clasped Hands of the Queen and the Peinoe. Inscribed DrawS. for a seal for H. M. 1840. G. H. Pencil. Qi) The cbnteal Geoup. Eough sketch. Pen and pencil. (4) The Queen and Peince at the Altae. Pencil. (5) (a) The clasped Hands op Qubbn and Peinob. Inaoribed drawn from Her Majesty and Prince Albert's hands. G. H. 1840. Pencil. (6) Queen and Peince at the Signing of thb Eegister. Pen and ink. (c) Queen and Peinob. Pen and pencil. (6) Prince Albbet. Half-length profile figure. Inscribed H.E.H. Prince Albert, traced from my large picture of the Marriage of the Queen, Febr. 10, 1840. G. H. Pencil. (7) Intbeioe of the Chapel Eoyal. Inscribed Interior of St. James's Chapel Eoyal at the marriage of Queen Victoria and H.B.H. Prince Albert. 10 Feby., , 1840. G. H. Half an hour before the ceremony. Pencil. (8) (a) Thb Duke of Saxe-Cobueo, his son Peince Eenest, and Princess Mary of Cambridge. Signed G. H. Pen and pencil. (h) Pages and Pbiests. With memoranda. Pen and pencil, (c) Peincess Maey op Cambbidqe, with memoranda. Pen and ink. (9) Peincess Maey of Cambridge. Slight aketch with meaaurementa. Pencil. (10) (a) (b) (c) (d) (e) Notes on Costume and Coloue, etc., with rough sketch of a balcony (a) and a standing figure (c). PencU. (11) (a) Head of Queen Dowagee. Slight aketch with memoranda. Pencil. (ft) The Queen Dowagee. Eough sketch. PencU. (12) (a) Figubes in a Balcony. Slight rough sketch. Pencil and black chalk. ' (6) NoTBB ON Costume of the Duchebb op Kent and others. Pen and pencil. (c) Chain on Shako op H.E.H. Peince Geoege of Cambeidgb. Pencil and white on brown paper. (13) (a) (c) (d) NoTBa op Position and Costume of various personages. (6) (e) Eough Sketches op Figuebs. (14) Paets op the Teain op Qubbn Victoeia. Signed and dated 1840 G. H. Pencil and white on gray paper. Sir George Hayter. 291 (15) Plume op H.E.H. Peince Albert. Pencil with sepia and lake. (16) (a) Peopile Head of a Nobleman. Pencil. (h) (c) (d) Notes and bough Sketches of Details of Costume. Pencil. (17) Notes of Measueements op Hee Majesty. Pencil and pen. (18) Unifoem op the Duke of Saxe-Cobueg and Gotha ; studies of detail, with memoranda. PencU and black chalk. (19) (a) (b) (c) (d) (e) (f) (g) (h) Studies op Paets op the Intbeioe op the Chapel. Pencil. (20) The Queen in the Eobes op the Gaetee; study for a picture, presented by Her Jlajesty to the King of Prussia. Whole length seated ; St. Paul's Cathedral in the background. Pen and ink over pencil. (21) Peincess Victoria in 1833; study for a picture painted for the King of the Belgians. Whole length atanding turned to the 1., face in three-quartera looking full. Sepia and pencil. (22) Study poe the same Pictuee. A rough aketch. PencU. (23) Small Study foe the same Pictuee. Black chalk and white on drab paper. (24) Peincess Victoeia, Kensington Palace, 1884. Whole length standing, with her dog. PencU. (25) Peincess Victoeia, Kensington Palace, 1834. Whole length seated towards the 1., face turned full; slight sketch. Black chalk aud white on drab paper. (26) Peincess Victoria in 1834. Half length turned to r., the face looking down towards the 1., r. hand raised to chin. Inscribed H.E.H. Princess Victoria. Signed and dated G. H, April, 1834. Pencil. (27) The Duchess of Kent and;Pbince3S Victoria. Two studies for the group of the duchess seated with her arm clasping the waist of the princess, who stands by her 1. Inscribed T.H.H the Duehess of Kent and Princess Victoria, Kensington Palace, 1834. Pen and ink. (28) Studies fob the same Pictuee. Eough aketch. Pencil. (29) Studies foe a Dea-wing of the Duchess and Peincess, 1834. Five slight studiea. Pen and ink. The drawing waa lithographed. (30) The Duchess of Kent. Study of costume for a aeated portrait. Inacribed H.H.H. the Duchess of Kent. Pencil and white on buff paper. (31) PEiNCEaa Hohenlohe. The child held on a cushion by her nurse. Inscribed H.S.H. Princess Hohenlohe. Light on the other side. Pencil and white on buff paper. Nos, 14 and 15 were purchased January, 1888. u 2 4r /(. 292 Drawings of the British School. HAYTER, John (b. 1800, d. 1895). Painter and draughtsman ; younger brother of Sir G. Hayter ; worked in London ; painted several pictures for the Royal family ; exhibited at the Royal Academy and elsewhere, 1815-1879, chiefly portraits and historical subjects; his crayon portraits had great vogue in their day ; painted parts of some of Landseer's earlier pictures. 1. 'Three on a mount, roy., viz. : — /(a) Sketch for Poetrait Group of Miss Boyle and Viscount Dungarvan. A mountain path down which the two are riding, Lord Dungarvan at the r., a man on foot 1., by his sister's horse. Peu and ink sketch; 5 x 35-in. Charles Boyle, Viscount Dungarvan, b. 1800, d. 1884, was son of Edward, eighth Earl of Cork and Orrery. '(6) Sketch por Poeteait op Miss Boyle. On horseback, riding towards the 1., looking to the front, tree r. Slight pen and ink sketch ; 6J x 6 in. (c) Head op a Hoese. In profile turned to the 1. ; a horseman with a lance in the distance. Signed J. Hayter and inscribed Head of C's horse. See No. 2 (e). Pen and ink sketch ; 8| x 5| in. 2. Three on a mount, roy., viz. : — • (a) Peaotising at Blount's Couet. A lady riding a horse and making it curvet. Inscribed Practising at Blount's Court, 1833. Signed J. Hayter. Pen and ink sketch ; 5 J x 3J in. (b) Illusteation to Paradise Lost, Book IX. Adam standing with bent head under a tree, round the roots of which the serpent twines, while Eve, aeated on the ground r., looka up to him, holding in her hand the fatal apple. Inscribed ' Speechless he stood and Pale ' .¦ Milton. Pen and ink sketch ; 5| X 3J in. (c) ' Chaeles in his Albanian Costume.' A man in Albanian costume with a lance, on horseback riding to 1. Inscribed Ciiarles in his Alb'^- Costume. Probably Charles Viscount Dungarvan. Pen and ink sketch ; 5§ X 3J iu. 3. Two on one raount, roy., viz. :^ (a) The Hon. Wm. Boyle as a Child asleep. A little boy lying aaleep on a cushion. Inscribed Willy asleep and good angels keep watch. Pencil, with very slight water-colour wash ; 5J x 8 j in. William George Boyle, son of Viscount Dungarvan and younger brother of the ninth Earl of Cork, b. 1880, was M.P. for Frome 1856-57. (b) Faiey Land. Hayter seated on the ground and contemplating a great blank canvas, his palette and brushes beside him. Inscribed Fairy land. Signed and dated John Hayter, N""- 1838, Blount's court. Pencil K 5J x 3| in. /4. Poeteait of Fanny Elsslee. Head and bust, the head iu profile looking 1, over the shoulder. Inscribed Fanny Eisler. Signed and dated, John Hayter, I A Chalks and stump on grey paper; roy., 17 x llf in. 5. Portbait of Fanny Elsslee. Half length, facing to front, the head in three- quarter face looking 1., a wreath of roses on the hah. Inscribed Fanny Eisler Signed and dated John Hayter 1843. Chalks and stump on grey paper ; roy., 11| x 8J in. Fanny Elssler, a celebrated Austrian dancer, b. 1810 at Vienna, d. 1884 in the same town. Nos. 1-5 were purchased October, 1872, -^ John Hayter — Guy Head — Thomas Heaphy. 293 6. Poeteait op Sir Charles Lock Eastlake, P.E.A. Head and bust turned to front, the face nearly full and looking full. Inscribed Eastlake. Dated Dec. 28, 1814. Signed Hayter. Pencil and ludiau ink on buft" paper, heightened with white; roy., 11 X 8| in. See note to No. 9 (a) of Sir G. Hayter's drawings. Purchased October, 1890. 7. Packet containing 290 studies in pencil or chalk of hands, feet, and particular features of faces, and various accessories of portraits. Presented by J. Deffett Francis, Esq., November, 1882. HEAD, Guy (b. 1753, d. 1800). Painter ; born at Carlisle ; studied at the Royal Academy ; worked for some years at Rome, returning 1798 ; painted copies, portraits and classical subjects ; best known as a copyist ; died in London. 1. Intbeiob of the Colosseum. View in the gallery running round the amphi theatre, with the inner arcade enclosing the arena 1. ; through a large rent in the vaulting, fringed with bushes, appears a sunlit glimpse of the tiers of seats built above the exterior galleries. Signed G. Head. Water colours ; atl., 19J x 25| in. 2. View of the Lateean feom the Palatine Hill. Part of the Palatine, sloping from 1. to r. ; in the fi^regrounda hollow with half excavated foundations overgro-wn -with weeds and creepers ; two men in the hollow, and two women above, near a group of cypresses; above the slope appears the Lateran in the distance, and houses on the low ground r. Signed and dated G. Head, 1795. Pen and sepia with sepia and Indian-ink wash ; atl., 17| x 25 iu. Both purchased July, 1899. HEAPHY, Thomas, the Elder (b. 1775, d. 1835). Painter; born in London ; studied at the Royal Academy, and exhibited portraits there for a time, but gained greater success with his water colours ; was elected Member of the Old Water Colour Society, 1808, but left in 1812, and again took to portraiture ; worked in Spain during the Peninsular War, painting portraits of officers, and his large picture of Wellington and his staff is well known from the engraving ; late in life formed the Society of British Artists, and was its first president. I. Two Watebloo Men. Two studies, bust portraits — one hi profile, one in full face of English soldiers. Berhaps two studies of the same men. PencU ; sf X 7 J in. Inserted in the interieaved Academy Catalogues (Vol. VIIL, No. 87), presented by J. H. Anderdon, Esq., November, 1867. HEAPHY, Thomas, the Younger (b. 1813, d. 1873). Painter ; son of Thomas Heaphy, the water-colour painter ; exhibited at the Royal Academy from 1831, at first painting only portraits, afterwards, from 1850, chiefly subject pictures ; spent many years investigating the history of the traditional likeness of Christ, on which he wrote papers, collected and published after his death in 1880 ; contributed also to periodicals. 1. Head op Cheist. FuU face, with a nimbus of rays. Oil colours on canvas ; imp., 16 J x 13|iu. ^ Purchased June, 1881. 294 Drawings of the British School. 2. Album containing drawings from early likenesses of Christ and other Christian antiquitiea. The descripthiu and dates are taken from Heaphy's MS. notes on the drawings and the blank leaves of the album. Eeterencea are made to Heaphy's ' The Likeness of Christ,' edited by Wyke Bayliaa, London, 1880. (1) Deaigns in gold on glaaa paterae and on g'aaa ornaments of the first and second centuries, and from the catacombs of St. Sebastian, now in the Christian Museum of the Vatican, viz. : — (a) Feagment, with paet op the Head of Cheist. (b) Cheist ceowning as Maetybs SS. Peteb and Paul. (c) Cheist crowning two Saints. (d) (/) Obverse and Eevbrse of an Amulet. (g) The Crucifixion (a forgery). (h) Cheist with the Beead of Life. (i) Christ blessing Peteb and Paul. (j) The Ebsueeeotion. (k) Poeteait of Linus, piest oe second Bishop of Eome. (I) Eaising of Lazarus, or, Christ turning water into wine. All in water colours. (2) Glass Paterae from various catacombs, of the flrst and second centuries, viz. : — (a) Cheist ceowning Timothy and Justus, (6) Paul and Peter. (c) Portrait of St. Paul. (d) Three Cheistian Ladies, represented as the three Graces. (e) PoETEAiTs of Saists John, Damas oe Thomas, Peter and Paul. (/) Feesoo of the Last Suppee (?), or the Forgiveness of Peter, All in water colours, (3) (a) Satan ; from catacombs of SS, Achille e Nereo. Pencil. (b) Peopile Head of Eutyohia, a Christian Maetye. From the Eoman catacombs. Peucil. (c) Cheist seated between St. PiiTee and St. Paul, from the catacombs of Mavalliui e Petri. Water colours. (d) The Lamb op God. Water colours. (4) (a) Cheist Teaching ; from catacombs of SS. Achille e Nereo, 2nd Century. Pencil. (b) St. Peter and St. Paul, and Cheist ; from the same catacombs ; 1st or 2nd Century. Pencil. (5) Cheist and the Samabitan Woman. Fresco ; 1st Century. Water colours. (6) Eaising op Lazaeus. 2nd Century ; from catacombs of SS. Achille e Nereo. Pencil. (7) Cheist seated Peeaohing. Fresco of Ist or 2nd Century, from the same catacombs. Pencil. (8) Eaising op Lazaeus. 1st or 2nd Century, from the same catacombs. Pencil. (9) Cheist BEATBD ; with foue Apostles. Fresco of 1st or 2nd Century, from Eoman catacombs. Water coloura. Thomas Heaphy. 295 (10) The Ebsueeeotion. 1st or 2ad Century. Oil colours on paper. Engraved on wood in ' The Likeness of Christ,' p. 36. (11) Head of Cheist in Profile. Mosaic of 2nd Century from Eoman catacombs. Water colours. Eeproduced in ' The Likeness of Christ,' pi. viii. (12) Head of Cheist, op Eastben oeigin, ascribed by legend to St. Luke ; aud Christ at supper; both in the Vatican museum. Water colours. The fiist reproduced in ' The Likeness of Christ,' pi. iv. (13) Head op Christ in Peopile, from catacombs of SS. Achille e Nereo. Water colours. (14) Head op Cheist in the Saoeisty of S. Babtolommeo at Genoa, said to have been done from life for Agbanus, King of Edessa. Pencil and neutral tint wash. (15) The same Head. A much larger copy. Sepia ou linen. Eeproduced in ' The Likeness of Christ,' pi. in. (16) Head of Cheist in S. Silvesteo, Eome (rigidly excluded from the public). Sepia and body colours on linen. (17) Head op Cheist, called Veeonica's Handkeeohief, in the sacristy of St. Petei-'s at Eome. Water colours and body colours on linen. Eeproduced in ' The Likeness of Christ,' pi. ii. (18) Poeteait of Cheist, attributed to St. Peteb, in the sacristy of Santa Prassede at Eome. Water colours. (19) Pagan Caeioatuee of thb Ceucipixion, from the Palatine; now in the Eoman College. Pencil. (20) Cheist and two Disciples with the Loaves and two Fishes; from the Christian cemetery at Aries. Pencil. (21) Eaising op Lazaeus; Woman Peaying; and Cheist with the Tree of Life. From a sarcophagus at Aries. PencU. (22) Fibst Ebpeesentation op an Angel, with other designs frora Aries. Pencil. (23) Ob. Cheist Dispensing the Gospel. Pencil. Bev. Cheist giving the Gospel to a Disciple, and washing Peter's feet. From Arlea. Pencil. (24) Cheist Deliveeing the Gospel to Disciples. From Aries. PencU. (25) Two Mosaics feom the Catacombs of S. Agnese, half-length figure of Christ, and the Virgin and Child. Now in the Museum of the Lateran. Water coloura. The flgure of Chriat reproduced in ' The Likeneaa of Chriat,' pi- vii. (26) Cheist Deliveeing the Gospel to two Disciples. Moaaic from S. Lorenzo, Milan. PencU. (27) Head of Cheibt -with Nimbus. Moaaic executed by^Constantine'a order iu the Baailica of St. Paul, Ee,me. Eeproduced in ' The Likeness of Christ,' pi. x. (28) Cheist in a Blue Eobe, with a Book. Figure in smalto and gold, dug up 620 under the pavement of S. Maria in Traatevere ; now in the Eoman College. Oil colours on paper. Eeproduced iu ' Tho Likeness of Christ,' pi, vl 296 Drawings of the British School. (29) Cheist Blessing. Fresco from the tomb of S. CecUia, Eoman Catacombs. Oil colours on paper. (30) Eaeltest known Ebpeesentation op the Virgin Maey. Fresco from the tomb of S. Cecilia. Water coloura. (31) Poetrait op Cheist, half-length. Mosaic from the Baptistery of Constantine. Oil colours on paper. Eeproduced in ' I'he Likeness of Christ,' pi. ix. (32) Colossal Figubb op Cheist. Mosaic iu the Church of SS. Cosimo and Damian. Oil colours on paper. Eeproduced in ' The Likeness of Christ,' pi. xi. (33) Symbolic Figuee op Cheist, from au amulet ; and two other flgures. Pencil. (84) Cheibt seated with a Book. Mosaic from the chapel of S. Prassede. Oil colours and gold on paper. Eeproduced in ' The Likeness of Christ,' pi. xii. (35) Christ seated on a Throne. Mosaic from the church of S. Pudenziana, Eome. Oil colours and gold on paper. Eeproduced in ' The Likeness of Christ ' as frontispiece. (86) Figuee op Cheist in a Ciecle, upheld by an Angel. Mosaic from S. Prassede. Oil colours on paper. (37) Metal Ceucipix. Ostro-Gothic period, 6th Century. Water colours. Engraved on wood in ' The Likeness of Christ,' p. 76. (38) Cheist Blessing. Mosaic in the Baptistery of Constantine (decline of the true type). Water colours. (39) Cheist Blessing, standing in a field with flowers; fresco in St. Clement's 10th Century. Oil colours on paper. (40) Head OF Cheist, mosaic of the 13th Century by Jacopo da Turrita (decline of the true type). ^ Water coloura. (41) Head OP Cheist, on a gold ground ; cloth picture iu the church of S Silvestro at Kome. (42) Pobteait of Esthbe L. Winn. Head and bust in three-quarter face turned r eyes looking fuU. Inscribed Estlier L. Wiim, 1857. Pencil.Purchased June, 1881. HEARNE Thomas (b 1744, d. 1817). Water-colour painter; born at Brmkworth, near Malmesbury ; came young to London ; apprenticed to Woollett, the engraver, 1765-1 771 ; worked in the Leeward Islands, o iT^K^^'^ft y:,%™e, 1777 in publishing 'The Antiquities of Great Britain (Cadell & Davies), for which he made all the drawine^s • one of the founders of English water-colour art; influenced both Girtin and Turner. ] . Two on one mount, roy., viz. : (a) Chepstow Castlb peom Pieesfield, 1794. View from abovo nf ti,o ixr curving from ther foreground past'a wooded meadow 1. boi deree^on^l^: further aide by the scarped rocks on which the v.Ltri 1 *i ? } beyond, glimpses of Chepstow town amemg trees and Tn the f'taf''''tl' • broad water of the Severn and the Mendi| HUls crossing the In.- " few boats on the river. ^ crossing the horizon ; a Water colours and Indian ink ; 7| x 9| in. Thomas Hearne. 297 (6) Chepstow Castlb feom the Wye, A near view from the opposite river bank of the lower part of the castle, crowning the cliffs and bridging over a chasm in their mass ; three boats on the river below and a bushy bauk in the 1. foreground. Water colours and Indian ink ; 7^ X OJ in. 2. Two on one mount, roy., viz. : — (a) Neae Ashstead, Sueeey. View from the brink of a great quarry pit, the bottom filled with water, at which horses are drinking; above the bush- fringed further margin, an immense proapect of open wooded plain. Water colours and Indian ink ; 4J x 7J in. (b) Hitohin Peioey, Heets. View of the Priory at some distance across a park with a river flowing past it 1., and the town with church tower beyond ; sheep and two horses under a group of trees in the 1. foreground. Signed Hearne. Water colours and Indian ink ; 5f x 8 in. 3. Caeisbeooke Castle, Isle of Wight. The entrance gate of the castle, fianked by towers, towarda the r. ; in the foreground a grassy slope with ruins 1., two figures and some sheep ; beyond, a lUstant view of the Solent and the Hampshire coast. Water colours and Indian ink ; 7J x 9J in, 4. A Paet op the Eemains op the White Fri.4.es at Aylesfoed. View looking along a moat, with an old, buttressed, bush-grown wall r., and trees on the grassy bank 1. ; at the further end of the moat a low wall, above which appears a house with a sundial over an archway. Signed Hearne. Water colours and Indian ink; roy., 11 x 10 in. 5. One op the Gates op Heeefoed. The old Gothic gate r., with low irregular outbuUdings in front of it beside the road, which curves round at the 1. ; a atream, croased by a amall bridge, runs along it into the r. foregrouud; beyond, the ruined city wall and a round tower ; a woman and a boy on the road, and three figures on the bridge. Indian ink aUghtly tinted in water colours ; roy., 7§ X 9J iu. 6. Elvet Beidge, Dueham. View of the bridge frora the bank of the Wear, which flows into the foreground ; a rock, by which a woman washes linen, hides the 1. end of the bridge, which is built over at the r. by. a cluster of gabled cottages adjoining other houses in the street ; two figures on the further bank under the wall which borders it. Water colours and Indian ink ; roy., 8x10 in. Etched by C. 0. Murray, in the ' Portfolio,' Vol. xix. (1888). A view of the bridge from the other side appears in ' A North-East View of the City of Durham,' engraved by W. Byrne after Hearne. 7. Neae Witham, Essex. A cottage with willows in front and elms behind on the further side of a stream which flows into the r. foreground, with level fields and trees on the 1., and a man unharnessing two horses from a cart on the near bank. Signed and elated Hearne 1793. Water colours and Indian ink ; roy., 7f x 9 J iu. 8. Neae Monmouth, 1794. A stream fiowing between high banka into the fore ground under a footbridge, on which are three figures, while a woman below washes linen iu the water; beyond, a church spire and roofs of a town. Signed Hearne. Water colours and Indian ink with pen outlines ; roy., 8| X 5| in. 9. Newark Castlb, 1777. The ruined castle, standing 1. on the banks of the Tr. nt, which flows into the foreground ; two hayatacka under the castle wall ]., and two boats on the river. Signed Hearne. Water colours and Indian ink over pencil; roy., 8 x 10 in. 10. Site op the Castle at Pleshey, Essex. A narrow winding hollow between bare hilla, crossed by a one-arched bridge, with a fragment of ruin overgrown by buahea on the bridge at the r. ; beyond, a glimpse of open country between two treea on the hillside ; under the archway a man. Water colours and Indian ink ; roy., 7J X lOj in. Nos. 1-10 were presented by John Henderson, Esq., May, 1859. 298 Drawings of the British School. 11. At Much Easton, Essex. The Tudor houae aeen at the 1, beyond clumps of osiers growing from a stream which comes out into the foreground; a girl crossing the stream by a light wooden bridge, in front of which, on the r. bank, are two willows. Signed Hearne. Water coloura and Indian ink ; roy., 75 X lOJ in. Purchaaed July, 1859. 12. ' The Pipees,' Coenwall. The two monolitha known as ' The Pipers ' ; one of them in the immediate i. foreground of a large field, the other at a good distance, rising beyond the hedgerow which encloses it ; tlie field ia crossed by a path leading obliquely from the r., and at the 1. of the path two men are carting the last load of hay. Indian iuk and water-colour tint with pen outlines ; roy., 6^ x 9 J in, 13. Scene in the West Indies, A scene near the coaat, with distant sea r. ; iu the r, foreground a negro with wife and child coming along a road, and men with casks on a cart further off; at the 1,, a sugar-cane plantation and negro alavea under an overseer on horseback cutting and carting the canes ; beyond, the factory, with a windmill and other buildings, at the entrance of a gorge enclosed by hills, on the top of which are houses and another mill ; behind these a mountain peak rises 1, into the clouds. Signed and dated Hearne, 1779. Indian ink and water-colour tint with pen outlines ; imp., llf x 21 J in. Purchased May, 1872. 14. A Eivee Goegb. A shallow, rapid river flowing from the 1. at the bottom of a wild wooded gorge and meeting towards the r. another stream ; from the 1. foreground a road leads along the bank of the river, deeply shaded by treea ; on the road a man moving away. Signed and dated Hearne, 1785. Water colours and Indian ink ; imp., 18J x 19| iu. 15. Oak Teees. An old oak of huge girth with a shepherd resting under the broken stump of a second stem, and his sheep on a slope to the r. ; beyond, two other great trees. Signeii Hearne. Indian ink slightly tinted, with peu outlines ; imp., 19J x 13f in. [16-26]. Viewa in Sicily and Italy. In the spring of 1777, Eichard Payne Knight, to whom these drawings belonged, made a three monthe' tour in Sicily with J. P. Hackert, a German artiat, and Charlea Gore, some of whose drawinga, made on this tour, have been catalogued above (p. 236). Hearne seema never to have been in Italy himaelf, anel these drawinga are probably from sketches by Gore. He worked also on two of the drawings described under Gore, Nos. 4 and 5. Some of the drawings by Hackert are also in the department. 16. Euins op the Geeat Temple at Selinus. Fragments of columns heaped together ; with two figuies. Signed T. Hearne. Indian ink and water-colour tint ; roy., 9 x 14J in. 17. Euins of the same Temple. SimUar fragments, with one figure. Signed T. Hearne. Indian ink and water-colour tint ; roy., 9J x 14f in. 18. Temple of Juno, Ageigbntum. The ruins on high ground sloping 1. towards the distant sea ; several figures on the edge of the slope. Water colours and Indian ink ; imp., IOf x 17J in. 19. Tomb of Theeo, Ageigbntum. The square tomb stands towards the 1., with a cornfield r, and two shepherds in the foregrouud with aheep and goats ; in the distance a temple on a hill and ruins on another hiU further off. Signed T. Hearne. Water colours and Indian ink ; imp., IOf x 17| in. 20. Euins of Ageigbntum from thb Eoad below the Modern City. A wide view of open country, with the sea r. and tbe ruins of Agrigentum at some distance scattered about the low hills on which are the temples ; two horsemen and a man on foot on a road which leads down among trees from the 1, foreground. Signed T. Hearne. Water colours aud Indian ink ; imp,, lOJ x 17^ in. Thomas Hearne. 299 21. Citadel of Cepalit. View from tho east along the coast to tho conical pro- monteiry of Cefalii, with citadel on the top; a road leads from the foreground along the shore. Inscribed View of Cephalu, North Coast of Sicily, between Milazzo and Pale[rmo']. Water colours and Indian ink ; imp., lOJ x 17} in. 22. Monte Cassino. View across a plain, with scattered atonea in the foreground and trees r., to a town beneath a mountain. Inacribed View of Monte Cassino in the Kingdom of Naples. Water colours and Indian ink ; imp,, lOJ x 17f in, 23. ' Dionysiub' E.\R,' Syeacuse. (By Hearne aud Jakob PMlipp Hackert). The mouth of the cavern hung with creepers, from the outside ; three figurea at the entrance. Inscribed Orecchio di Dionysio a Syracusa. Water coloura and Indian ink; imp., 17^ x 10| in. 24. 'DiONYSius' Ear,' Syracuse. The mouth of the cavern, from inside; a man leaning against the rook by the entrance. Indian ink ; imp., 17J x lOJ in. 25. Euixs OF Selinus, peom the East. A grassy plain with the scattered ruina; goats and cattle near the foreground, and three figures ; in the I. distance the sea. Signed and dated T. Hearne, 1780. Water colours and Indian ink ; ant., 9J X 29J in. 26. Euins op Selinus, from the South. View over grassy slopes, on which a shepherd is talking with two women, to the ruins and sea beyond. Signed T. Hearne. Water colours and Indian ink ; ant., llj X 27J in. Nos. 12-26 were bequeathed by Eichard Payne Knight, Esq., 1824. [27-33]. Dra-wings in monochrome and pencU. 27. Clifford's Tower, York. Eemains of a round tower on a knoll, hushes and trees in the foreground 1. Inscribed Clifford's Tower at York, called the Castle, October 18th, 1778. Indian-ink wash and pen ; roy., 3| X 7f in. Purchased February, 1850. 28. The Hermitage, Waekwoeth. The ruins of the Hermitage, partly buUt, partly hollowed in the rock, and overhung by trees on the bank of a river (the Coquet), which fiowa at the r. Indian iuk over pencil ; roy., 7J X lOJ in. Engraved by W. Woollett, with the addition of four figurea, for Plate ix. of ' Antiquities of Great Britain,' 1786. The legend of the hermitage is erabodied in Bishop Percy's poem, ' The Hermit of Warkworth.' 29. Faemhouse and Steeam. A houae 1., with wooden bridge leading from it acroaa a atream which fiUa the foreground ; treea on the r. bank. Pencil ; roy., 12 x 9J in. Purchaaed July, 1859. 30. Faemhouse and Steeam. A houae, perhaps the same as the last, seen from the other side ; the whole house aeen at the r. and the stream dividing the fore ground ; at the I., a group of amall treea. PencU ; roy., 9J x 12J in. Purchased March, 1868. 31. Shed and Willow. A thatched roof supported by bougha, and leaning againat a pollard willow. Signed Hearne. Pencil ; rov,, 9| x 6J in. Presented by J. Deffett Francis, Esq., December, 1874. 32. Poetrait of Sib Joseph Banks, Babt. Head and bust in an oval, the face in three-quarters, nearly full, eyes looking 1. PencU on vellum ; oval; roy., 4 J x 8| in. ,.-,,. ^ ™ u Su Joseph Banks, b. 1718 in London, educated at Eton and Christ Church, waa eariy di=tiii guished by love of natural history ; sailed round the world with Captain Cook, 1768-1771 ; President of the Eoyal Society from 1777 till death ; created baronet 1781 ; d. 1820. Banks wrote a few works, but was more important as a patron of science. His library is now in the British Museum. Purchased April, 1867. 300 Drawings of the British School. 33, Poeteait op William Woollett. Head aud shoulders in profile, looking 1., wearine cap. Pencil ; oval ; roy., 3| X 2J in. See under WoUett in this Catalogue. Purchased August, 1868. Attributed to Hearne. Landscape with Castlb and Cathedbal. A road winding down to a river, from which rises r. a cliff, surmounted by a castle ruin ; beyond the river, the high opposite bank of which is fringed with wooda at the top, a town and cathedral, and in the distance a chain of hilla ; in the foreground, a woman with a child sitting under a group of trees growing from a rocky bank, and a man and woman talking to her ; two other figures near the river. Si'pia and Indian ink, slightly tinted; imp., 17 x 18| in. This drawing, apparently a composition, has been ascribed to Hearne, but has no real resemblance to his style. Purchased October, 1872. HEATH, Charles (b. 1785, d. 1848). Engraver, etcher, and lithographer; son and pupil of James Heath the engraver ; noted for his small plates in popular editions of English classics, and his portraits ; less successful in large plates ; in later years occupied with assistants in producing the Keepsake and other illustrated Annuals. 1. Illusteation to Otway's 'Oephan'; Act iv., so. 2. Castalio hiding his face as Monimia takes his arm and preaaea him to apeak ; Florella standa behind near a Gothic archway. Indian ink, partly tinted in water colours ; roy., 3J x 2| in. Engraved by the artist as frontispiece to Vol. xii. of Mrs. Inchbald's ' British Theatre.' In the print the com|iosition is modified in more than one respect ; Castalio wears a cap and a different dress; and the background ia altered. The drawing was attributed by Samuel Eedgrave, in whose collection it was, to Henry Singleton, and it resembles his style. But the design is described on the engraving as drawn by C. Heath, and possibly a more practised draughts man may have been called in to improve it by the modifications introduced. Purchased May, 1890, at the Percy sale. HEATH, William (b. 1795, d. 1840). Draughtsman, chiefly of mihtary subjects; illustrated his own 'Life of a Soldier' in verse (1823), and ' Martial Achievements of Great Britain ' ; painted portraits. 1. Sketch poe a Caeioatuee. Three officers of the Light Cavalry hastily beating a retreat r. before a group of ladies, one of whom holds a banner inscribed (in reverse) None but the polite deserve the Fair, preceded by a drum and fife. Brusli and sepia sketch ; roy., SJ x 12J in. Purchased November, 1861. 2. Design fob Title to a Set of Etchings. A cow, goat and kid beneath a monument inscribed A collection of Prints etched by and engraved after the Designs of Paul Potter. W. Heath, and surmounted by a bust with a medallion peirtrait of Potter. Indian ink and sepia ; roy., 15| x 12| in. Presented by Paul Davidsohn, Esq., July, 1877. 8. A Battle between Eussians and Tueks. Turkish cavalry beaten back and fleeing r. from the attack of Eussian infantry ; in the centre a Turk ou horse back is conspicuous, engaged in single combat with a white-uniformed Grenadier ; behind him two Turkish standards, one of them seized by a Eussian Lancer; at the 1. and at the r. Euaaian soldiers in green uniform advancing. Water colours ; roy., 11 j x ]7| in. W. Heath— W. H. Heath— E. van Heemsherh—M. Hefde. 301 4. TaeTAE baeteeing with Russian Peasants. Two peasant women, one carry ing a pitcher on her head, the other offering a dead bird to a Tartar soldier, who holds up two fingers; tents in the background, and soldiers, two on horse back. Signed and elated Drawn by William Heath, Portrait and Military Painter, 1819. Water colours ; roy,, 14 x lOJ in. 5. Napoleon buening the Feenoh Eagles. The French army halting in a snowy plain ; in the foreground a fire, into which five colour-sergeants, staneling r., are casting or about to cast, with tears and groans, their eagles. Napoleon, 1., stands directing them, a general at his side reading a list of names; others of the staff behind, under two fir trees. Signed W. Heath del. Pen and ink, tinted in water colours ; atl., 17| x 23 J in. 6, Falstaff at Justice Shallow's House, Falstaff stands 1, between Silence and Shallow, the latter of whom pricks off on a list in his hand the recruita chosen by Falstaff; these, Mouhly, Shadow, Wart, Feeble and BuUcalf, sfand in a row at the r, ; behind them Bardolph stands looking on and leaning on the balustrade of a steii rcase going up r, to the house ; others on the steps, and in the background. Signed W. Heath del. Pen and ink and pen and indigo ; atl., 19^ x 27f in. Nos. 5 and 6 were purchased January, 1890. HEATH, William H. (worked about 1821-1847). Painter; worked at Tonbridge ; exhibited a few figure subjects, chiefly at the Sufiblk Street Galleries, 1829-47. 1. Landscape -with Euinbd Castle. The ruins of a castle on a rounded hill seen across a river, from the near bank of which a boat is being pushed off, towed by two men on fhe other shore ; a tree in the I. foregrouud. Signed and dated W. H. H. 1821. Purchased October, 1872. HEEMSKERK, Egbert van (b. 1645, d. 1704). Painter; born at Haarlem ; pupil of P. de Grebber ; painted boors, drinking scenes, etc. ; worked chiefly in London, where many of his pictures were engraved in mezzotint and very popular. 1. BoOES IN A Taveen. a group of seven figures; two seated together at a table, reaiiing from a paper some news at which a man on a bench r., holding a glass in his hand, exclaims loudly ; two others I., on another bench, look at him jeeringly ; a fat man entering by an open door behind the table looks over the shoulders of the readers; the seventh standa listening at the r. Signed Heemskerk. Eed chalk and red wash ; roy., 12f x 9f in. Purchased 1845, with the Sheepshanks collection. HEFELE, Melchior (worked about 1690-1700). Painter; born in Germany, came to England with the Dutch troops of William III. ; painted landscapes, flowers and insects in water colours ; died about 1710. 1. The Duck Pond. A pond with two ducks on it, and two drakes on the bank 1. near a tree ; a round building on the other side of the pond r., across which a wild duck is flying ; beyond, 1. a wood. Body colours ; roy., 6J X 5 in. Purchased August, 1882. 302 Drawings of the British School. HEMING, Matilda, born Lowry (worked about 1808-1855). Water- colour painter; daughter of Wilson Lowry, F.R.S., the engraver; exhibited a few portraits at the Royal Academy between 1808-1855. 1. At Weymouth. In the 1. foreground on the sea-shore, a house and shed with timber stacked in a yard, enclosed by a wall, in front of which is an upturned cart r. ; the calm bay and a green coast beyond. Water colon is; roy., 4| x 7J iu. 2. Backwater, Weymouth. A beach with boats drawn up, and old houses beyond a breakwater 1. ; at the r. a little bay, and part of the town seen across it. Water colours ; roy., 6J X lOJ in. Nos. 1 and 2 were purchased May, 1877. 3. Silk Mills, Derby. A broad stream in which the silk mill, a large many- windowed building, is reflected 1.; ou the r. bank, fir trees and bushes. Signed and dated M. Lowry, 1809. Water coloura ; roy., 12| x lOJ in. Presented by Misa Margaret Mushet, July, 1877, 4. Poeteait op Mes. Someevillb. Head and bust, in three-quarter face, looking 1. Water coloura and pencil ; oval ; roy., 5J x 4| in. Mary, daughter of Sir, W. G, Fairfax, born 1780 at Jedburgh, waa an admir able writer on science, and one of the most remarkable women of her genera tion; married, 1804, to Captain Greig, and again, 1812, to Dr. W. SomervUle; died, 1872, at Naples ; her name is commemorated in Somerville Hall, at Oxford. Purchased May, 1878. HENDERSON, John, the Elder (b. 1764, d. 1843). Amateur painter ; one of the early patrons of Turner and Girtin ; lived in Adelphi Terrace, next to Dr. Monro ; his son John Henderson was a well- known collector and archseologist, who made important bequests to the Museum. 1. Poeteait of De. Thomas Moneo. Head and shoulders in profile, looking 1. Pen and ink; roy., 6J X 5J in. Dr. Thomas Monro (b. 1759, d. 1833), for many years physician to Bridewell and Bethlehem Hospital, is best known as a connoisseur, an amateur painter, and a patron of aitists; see note on No. 29 of Girtin's drawings. Presented by Colonel Kennett Henderson, July, 1893. 2. On the Wye nbae Symonds Yat; aftee Heaene. The river partly seen r. with a boat near the bank, on which is a cottage 1., passed by a road leading from the foreground ; a group of men and women under a tree near the house ; close behind, dense woods, and limestone crags above them. Water colours with pen outlines ; roy., 8 x 10| in. Presented by John Henderson, Esq., January, 1863. 3. DovBE. View from the harbour of the old houaea clustered under the cliffs, with a one-masted verael and two boats at anchor near the foreground. Pencil ; roy., 8 x lOJ in. 4. Dovee Haeboue. Part of the harbour, aurrounded by wharves ; in the 1. fore ground two men in a boat alongside two sailing veasels, pulling at a cable ; at the r., further off, a hulk in which two men are busy, and a beached vessel lying on its side beyemel. Peucil ; imp., IOf X 17 in. 5. Daetpoed, Kent. View looking up the main street, with its old houses and hanging signboards, to the church ; a few people in groups on either pavement. Dated Dartford, July 26, '94. Pencil ; imp., 14J X 21g in. 6. Manoe House, Eiohmond, Yoekshiee ; aptee Gietin. Water colours ; imp., 12J x 18J in. Copied from the drawing by Girtin described above, p. 229, No. 49. John Henderson. 30."^ 7. Dueham Cathedbal, aftee Gietin. Water colours ; imp., ISJ x 16| in. Copied from the drawing by Girtin described above, p. 229, No. 51. Noa. 2-7 were bequeathed by John Henderaon, Esq , December, 1878. 8, Album, containing views in Italy, (1) (a) Basilica at Anagni, Water colours. (6) A Castlb. Water coloura. (2) Abbey op Monte Cassino. Water colours. (3) (•. throne under a canopy signing the charter presented to him by the kneeling archbishops ; three barons standing 1. Water colours and Indian ink ; roy., 3 x 2J in. Purchased May, 1863, at the Bicknell sale. [2-24.] Studies for pictures, 2. Joseph's Coat brought to his Fathee. Jacob sits under the eaves of hia house r., with Benjamin beside hira, and throws up his arms in despair at sight of Joseph's coat, held before him by his brethren standing in a group with their sheephooks at the 1. Pen ami ink ; roy,, 7f X 12f in. 3. Oh. The Death of the Firstborn in Egypt. The temple of Apis, whose statue stands 1., thronged with groups bewailing the dead ; at the 1. a woman holding the arm of her child, who falls down at her side ; in the centre a young man dead, and his mother over him ; behind, an old man standing erect ; at the r., a group of prostrate figures, and beyond, slaves carrying away a body. Indian-ink wash and pen; roy., 11^ x 15 in. Eev. Study poe the same Subject. A quite different study, for a single group only ; a young man lying dead in the arms of his mother, who sits 1., whUe au old man ami two other figures bend over the body. Indian-ink wash and pen. 4. The Death op the Firstborn. A different composition from either of the two preceding ; at the r. a mother with her child ; towards the 1., a group of prostrate figures and two men standing over them ; other mourners behind. Sepia wash and pen ; roy., 12 J x 19 in. 5. Ob. The Death of the Fiestboen. Yet another different composition, con taining at the r. the figures of the woman and child described at the 1. of No. 3 (oh.) ; at the 1. is a group of two women and an old man lamenting over a body ; lightning in the sky, and pyramids in the distance. Part of the composition at the r. is on a separate piece of paper (included, however, in the measurements below). Indian-ink wash and pen ; imp., llj x 28| in. Bev. Study foe the same Subject. A group of men and women bewaUing a young man dead, &o., &c. Indian-ink wash and pen. 6. Daniel in the Lions' Den. He lies bound, looking up to the I. ; two lions roughly sketched iu the background. Peu and ink ; roy., 9J x 8 in. 7. The Holy Family. The Virgin and Child under a tree r., Joseph seated behind them ; tho boy Saint John bringing a lamb 1. Indian-ink wash and pen ; roy., 4g x 5 in. S. The Descent fbom the Ceoss. Sketch for the upper part of a composition ; two nien on two ladders supporting the body of Christ, while a third, hanging over the top of the cross, holds one of the lifeless arms. Eed chalk ; roy., 12J x 7^ in. 9. The Entombment; two Studies. Above, a composition taken almost entire from the Entombment by Titian in the Prado at Madrid, with the addition of a figure staneimg at the h ; below, a different design with three figures, two at the head of the body of Christ 1 , a third at the foot. Black chalk; roy., 14i X IOf in. 10. Ulysses eecounting his Adventuees to Calypso. Calypso sitting 1. on a raised seat attended behind by an old woman and a young, and listening eagerly to Ulysses who sits on a low seat r. ; at the 1. a handmaid standmi with a vase on her head. ° Sepia wash and pen ; roy., 5J x 7f in. "• ^t^,W°n,?™°";i,^^'''™o^7 ™^ Seasiioee. Ulysses sitting on a rock and hand and shmildm' "^ ' ^^'''° standing by him r., and touching him on the Sepia wash and pen ; roy., 5J x 7f iu. William Hilton. 311 12. The Fight over the Body of Pateoolus. Menelaua and another Greek hearing the dead body of Patroclus, whUe Ajax defends thom from the attacking Trojans led by Hector on his chariot. Sepia wash and pen ; roy,, 4J x 7i in. 13. The Fall op Phaethon. Phaethon falling backwards from the chariot of the Sun, his hands clasped behind his head. Pen and ink sketch ; roy,, 8 x 7 in. 14. Paet op a Design fob an unknown Subject. Two men and a woman grouped together, the man at the r. bending in grief over something which ho holds in his hands ; at the I. a woman kneeling and clasping the arm of a figure not seen. Sepia waah and pen ; i-oy., 9i x 7| in. 15. Studies op Gboups op Figuebs. A man walking to the 1. with his haniia behind him ; three men talking together ; a man addresaing a youth whom three older men seek to hold back. Below, two studies of nude men seated, and a philosopher. "- Bistre and pen ; roy., 7J X 11| in. 16. Aechimago o-veeoomb by Sansloy. Archimago diaguiaed in armour, lying 1., unhorsed by the lance of Sansloy ; Una and her lion in the background r. Illustration to the ' Fairy Queene,' Bk. I., Canto III. 85. Pen aud ink ; roy., 6| x 7J in. 17. Una and the Satybs. Una in the forest surrounded by a rout of dancing satyrs and nymphs. lUubtratiou to the ' Fairy Queene,' Bk. L, Canto VI, 9. , Pen and ink sketch ; roy., 5 X 6 j in. 18. The Foesaken Lady. A lady seated weeping in a wood.; in the distance a knight approaching. Pen and ink ; roy., 7| X 9 in. 19. Study fob a Woman's Head. Head of a young woman, perhaps Cordelia, with long hair bound by a fillet, looking 1. 'Two small rough sketches of the same head above. Pen and ink, and pencU ; roy., 8| x 6| in. 20. Wild Hoeseb. Three wUd horses gaUoping towards the 1., the first plunging, and the last biting at the neck of the second one. PencU sketch ; roy., 7§ x 11 in. 21. A Foeest Scene. Dark trees overarching a hollow. Black and white chalk on brown paper ; roy., 7^ x llj in. 22. A Faun. A naked faun kneeling towards the r. with face upturned. Black chalk on drab paper, heightened with white ; roy., 14| x 10| in. 23. Ebbbkah at the Well. Eebekah giving water to drink from her pitcher to Abraham's servant, who kneels before her on one knee ; behind her r., other women with pitchers below the city wall ; at the 1., behind the servant, his men prostrating themselves, and his camels. Black chalk ; ant., 19J x 30i in. 24. Study foe the same Subject. One of the women at the well coming down steps from the 1. with her pitcher on her shoulder ; another woman on a higher step 1. Neither of these figures appear in the composition described No. 23. Black chalk on gray paper, heightened with white ; ant., 29| x 17| in. A picture of this subject by HUton was engraved by C. Eolla ; the composition is simUar, but Abraham's servant ia giving the bracelets to Eebekah. [25-36.] Academical Studies. 25. Study op a Woman. Standing with drapery held over her bosom. Black chalk on blueish paper, heighteued with white ; roy., 10| x 8| in. 26. NuDB Study. A woman lying on cushions, her arms crossed over her head. Black chalk on pinkish paper, heightened with white ; roy,, 10 x 15| in. 27. NuDB Study. A woman standing holding drapery behind her. Eed and black chalk ou drab paper, heightened with white; roy., lOJ x 7 in. 28. Study of a Man, naked to the waist, lying on his back, foreahortened, with head to 1. Black chalk on greenish paper, heightened with white ; roy., 7J x lOJ in. 312 Drawings of the British School. 29. Nude Study. A man seated towards I., head on r. hand and elbow on r. knee. Black chalk on buff paper, heightened with white ; roy., 17| X 12J in. 30. Nude Study. Back view of a raan seated. Eed chalk on drab paper, heightened with white ; roy., 9| X 7J in. 31. Nude Study. A man seated turned r. and holding staff in r. hand. Eed chalk on drab paper, heightened with white ; roy., 9J X 7J in. 32. Nude Study. A man seated turned to front and I., holding staff iu r. hand. Eed chalk on drab paper, heightened with white ; roy., 9J x 7J in. 38. Nude Study. Smaller study from the same model as the last, in the same position, Eed chalk on drab paper, heightened with white ; roy., 6J X 6J in. 34. Studies of an Aem, Two studies of a left arm. Black chalk on blue-grey paper, heightened with white; roy., 8 X lOJ in. 35. Sketch Book containing 28 studies of single figures, studies for compositions (including the Woman taken in Adultery) and studies of drapery. Black chalk on tinted paper, mostly heightened with white ; lOJ X 17J in. ' 86. Sketch Book containing 19 studies from pictures in Italy (Giotto, Pesellino, Ghirlandajo, Gaudeuzio Ferrari, Perugiuo), and a sketch of an Italian church interior. / PencU ; 15 X lOJ in. 87. PoETPOLio containing 740 sketches and studies from the antique, from the life, and for pictures, etc., of the same character as the selected studies which have been mounted and described above. Black or red chalk, pencil, or pen and iuk. Nos. 2-37 were presented by Misa Tatlock, December, 1873. HINE, Henry George (b. 1811, d. 1895). Water-colour painter; born at Brighton ; self-taught ; began as a painter, then worked for some years (from 1841) as a wood-engraver and comic draughtsman for Punch and other papers ; returned to painting, and became well known for his numerous drawings of the Sussex Downs. 1. Old Houses. An open paved place with a, stone well, surmounted by a lamp at the 1., and some women busy washing clothes in a number of large tubs ; beyond, two streets converging with old timbered housea at the corner. Two doga in the foreground. Signed and dated H. Hine, 1835. Water coloura ; roy., 8| X 12J in. Purchased November, 1881. HIXON, James Thompson (b. 1836, d. 1868). Water-colour painter; best known for his Algerine sketches ; Associate of the Institute of Water Colour Painters ; died of consumption at Capri. 1. Study op an Aeab. An Arab in a burnous squatting against a wall, his hands claaped on hia knee. Black chalk ou grey paper, heightened with white, partly discoloured ; roy.. Ill X llf in- 2. An Aeab Pipe Playbe. A young Arab lying on one elbow on a bench and playing on a pipe. Black chalk and a, little red chalk on lUao paper, heightened with white ; roy., lOJ X 15| in. Both purchased August, 1871. HOARE, Sir Richard Colt, Bart. (b. 1758, d. 1841). Amateur painter ; eminent as an antiquarian and well known as the historian of Wilt shire ; illustrated some of his own books ; succeeded his father in the baronetcy 1787. Sir Richard Colt Hoare — William Hoare. 313 1. Wateemill nbae Caewen, Noeth Wales. A stream coming down in two cascades from a rocky hill in the backgrounii flows out r. in the foreground, part of the water being diverted to run over the wheel of the mill which atanda at the 1. ; near the wheel, under a birch tree, are two figures ; and on a path in the I. foreground a man with a dog, atanding by a donkey with panniera. Sepia and Indian-ink wash and pen ; ant., 27J x 21| in. Purchased November, 1870. HOARE, William, R.A., known as 'Hoare of Bath' (b. about 1707, d. 1792). Portrait painter ; born in Suffolk ; pupil of Grisoni in London and of Fernandi for nine years in Rome ; returned to London, then to Bath, and obtained great vogue as a portrait painter, both in oils and in crayons ; one of the foundation members of the Royal Academy, 1768. 1. William Pitt, Eael op Chatham. Three-quarter length, seated towarda front and r., at a table on which the 1. hand, holding a paper, rests ; the face nearly fuU, turned a little r., eyes full; landscape and church through a window I., bookcase r. Black chalk over faint red chalk outline on greenish grey paper, heightened with white; roy., 14J X llf in. 2. Thomas Pelham-Holles, Duke op Newcastle. Three-quarter length seated, facing to front and r., and looking full, wearing robes with George and Garter; r. hand pointing to front, I, hand on knee, plumed hat r. Black chalk on waim grey paper, heightened with white; roy., 14J x llf in. The picture, engraved in mezzotint by McArdell, belongs to the Duke of Newcastle. Thomas Pelham-Holles, b. 1693, succeeded his father as Lord Pelham, 1712, became first Duke of Newcastle, 1715, he-Id office under Walpole, was for two years Prime Minister, and later held posts under Pitt, Bute, and Eockingham ; had great political power, but more through wealth and position than abUity ; d. 1768. 3. Thomas Pelham-Holles, Duke op Newcastle. Whole length in the same attitude as the preceding ; the background larger aud showing a round-arched window r. Black chalk on brown paper, heightened with white ; imp., 20 x 15 in. 4. Philip Thioknessb. Three-quarter length, standing in a park, facing to front and looking full, wearing uniform and sword, hat under r. arm. Black chalk on grey paper, heightened with white, roy., 14J x 12 in. Philip Thicknesse, b. 1719, d. 1792, after serving in America and Jamaica, became governor of Landguard Fort, Suffolk ; author of a number of books, chiefly on travel ; best remembered by his friendship and quarrel with Gainsborough. 5. Ealph Allen. Three-quarter length, standing facing to front and r., looking full, 1. hand on a paper which lies ou the table r., beneath a curtain. Black chalk, with red chalk on face and hands, on drab paper heightened with white ; roy., 14| x llj in. Ealph Allen, b. 1694, d. 1764, called the ' man of Bath,' in which city he made a large fortune ; celebrated for his friendship with Pitt and Pope, and for his extraordinary muniflcence. There is an etched profile head of him by Hoare, published 1764, after his death. 6. Poeteait op a Lady. Three-quarter length, standing in a park, facing to front, head turned in three-quarter face and looking I., hat held in r. hand. Eed chalk and black chalk, on drab paper, heightened with white ; roy., 12ix 10|in. 7. PoETEAiTS OF A Fathbe AND HIS SoN. A gentleman, three-quarter length, seated r. by a table, on which his r. elbow leans, and looking at his son, a boy who stands 1. by the table, holding an open book in his hands, turned r., but with face looking full ; on the table a paper, on which the words in London, 1759, are alone legible ; at the r. a bookcase. Black chalk on drab paper, heightened with white; roy., llj x 14^ in. 314 Drawings of the British School. 8. Poeteait of an Aetist. Short three-quarter length, standing facing to front and r., head turned 1. iu three-quarter face and looking 1., both hands resting on a book held upright ; at the r. a eirawing of a female head leaning on a pile of books with a statuette of Minerva above ; curtain 1. Black chalk on warm grey paper, heightened with white ; roy., lOJ X 10 in. 9. Poeteait of a Gentleman. Three-quarter length, seated on a sofa, facing to front and r., looking full, r. hand on hip, I. hand in waistcoat. Black chalk on warm grey paper, heightened with white ; roy., 14f x llf in. 10. Poeteait op a Pbbe. Three-quarter length, standing facing to front and r., face turned a little r., but looking full ; r. hand on hip, 1. hand on pedestal of a pillar ; wearing ermine robes and sword. Black and red chalk on drab paper, heightened with white; roy., llf X9J in. 11. Poeteait op a Lady. Three-quarter length, seated on a chair turned to front and r., and playing a lute, the face in three-quarters looking full ; wearing cap and fur trimmed cape. Black chalk on warm grey paper, heightened with white ; roy., 14J x llf in. Nos. 1-11 were purchased April, 1894. 12. Medallion Poeteait of Sie Isaac Newton. Head in profile looking 1., with bare neck and short hair ; at the r. a comet : enclosed in a circle formed by a serpent with its tail in its mouth. Eed chalk ; roy., llj X lOJ in. The artist's etching from this portrait in reverse, dated 1734, is mounted opposite the drawing. Newton died in 1727. Presented by Colonel Harold Malet, December, 1894. 13. Cheistian Feedbeiok Zinckb. Half length, seated, turned towards r. and painting a miniature inside a sloping frame, with screen attached to it ; cap on head, glaases on nose ; the face in profile; at the 1. a window. Inacribed below Frederick Zink, Painter in Enamel, drawn by William Hoare, from his Love and Friendship, as well as many obligations to him, in the year 1752, Mr. Zink being at that time retired from business, and amusing himself in painting his own Daughter's Picture. Black chalk and red chalk ; imp., 16^ x 12J in. C. F. Zincke, b. in Dresden 1684, came to England 1706, and became very fashionable as a miniature painter, was patronized by the king and court, and produced a great number of portraits ; his eyesight failing 1746, he removed from Covent Garden to South Lambeth, where this drawing was doubtless made ; died 1767. Purchased July, 1860. 14, Feedbeiok, Pbimoe op Wales. Whole length, standing facing to front in robes of the Garter, with collar and George, r. hand on hip ; plumed hat 1. on table, two pillars r. Black chalk on drab paper, heightened -with white ; imp., 20^ X 14f in. Frederick Louis, b. 1707, eldest son of George II., was tlJoughout life in prorainent antagonism with his father, who thwarted his projects of marriage and kept him in dependence ; encouraged the opposition against Walpole ; acquired a certain popularity, chiefly through the king's unpopularity ; d. 1751. 15. A Family Geoup. Three-quarter lengths of a lady and gentleman standing turned partly towards each other and partly to the front ; the lady, who stands 1., rests one hand on the shoulder of a little girl, who sits on a balustrade in front of her ; behind, a part of a colonnade in a garden. Black chalk on warm grey paper, heightened with white ; imp., 15f X 17J in. 16. POBTEAITS OF A BoY AND GiEL A boy Seated on a bank in a meadow facing to front, but looking r. and sketching in a book, which his sister, standing beside him 1., helps to hold upon his knee. Black chalk on warm grey paper, heightened with white ; imp., 17 J x 13f in. 17. Portrait of a Lady. A middle-aged lady, three-quarter length, standing facing to r. and front, the face in three-quarters turned r., looking full ; curtain 1., pillar r. Black chalk on warm grey paper, heightened with white ; imp., 14J x 14 J in. William Hoare — William Hodges — Hodgkin. 315 18. A Family Geoup. A gentleman and hia wife atanding in a park, turned to front, almost whole length, the lower part of the two figures cut off by a grass slope I., ou which sits then- child holding a stick ; the wife looka towarda the huaband, who looka full ; his r. hand is on her shoulder, hia 1. hand touchea hers. Black chalk ou warm grey paper, heightened with white; imp., 16| X 15Jin. 19. Poeteait op a Lady. A middle-aged lady, whole length, standing turned to front and r,, eyes looking full ; park seen through a door at the back, r. Black chalk on warm grey paper, heightened with white ; imp,, 20 x 12| in. Nos. 14-19 were purchased April, 1894. HODGES, William, R.A. (b. 1744, d. 1797). Painter; born in London; pupU of Richard Wilson; draughtsman 1772-75 to Cook's second expedition to the South Seas; worked for some years from 1778 in India; published 'Travels in India' 1793, illustrated by himself (in the department) ; elected A.R.A. 1786, R.A. 1789. 1. Man of the Island of Mallioolo. Bust portrait of a naked savage, holding a bow aud arrows in r. hand, with bone ornaments in the nostrils and bono bracelet on wrist. Eed chalk, slightly touched with black chalk ; roy., 9 X 7Jin. The etching done from this drawing, by J. Caldwall, is mounted with it. 2. View of the Island of Otaheitb. View looking to sea, with a curve of the shore 1., and islets near, grown with tall cocoa-nut palms and plantains, and -with a house on one of them ; towards the r. a native two-masted vessel. Inscribed on the back, A View in the Island of Otaheite from the Land, looking towards the Beef and Sea, and which has much the appearance of the Low Coral Beef Islands. The Plants are Coco Nut Tree and Plantain, which are Indigenous. Drawn from Nature hy W. Hodges in Year 1773. Indian-ink wash and pen, partially tinted in water colours ; imp., 14| x 21i in. Purchased May, 1890, at the Percy sale. Formerly in the coUection of Mr. Alexander Trotter. HODGKIN ( ). Scene painter ; biography unknown. [1-9.] Sketches of Theatrical Scenery, in water colours or Indian ink. Unmounted. 1. Scene in 'La Peeouse': Covent Garden. SJ X 11 in. 2. Scene in 'Undine, oe the Spirit op the Watees,' 5| X 9J in. 3. Teeeacina. 5 X 7f in. 4. Feascati. 5 X 7| in. 5, South Sea Island Scene ; for pantomime of ' Captain Cook,' 9 X 12| in. 6. The Eomau Foeum; for 'Coriolanus.' 8| X Hi in. 7. An Easteen Temple. 5| X 7 in. 8. ErvBR AND Pabk with Classic Buildings. 5 X 12iin. 9. Eoom in a Mansion foe a Stock Scene. 8J X llj in. All presented by J. Filliuham, Esq., June, 1857. 316 Drawings of the British School. HOGARTH, William (b. 1697, d. 1764). Painter and engraver; born in London ; apprenticed to a silver plate engraver ; designed and engraved illustrations for books from about 1720 ; aiterwards (1727) began to paint portraits and conversation pieces in oils, and studied in the school of ThornhiU, whose daughter he married; about 1731 began the first of his famous series of satirical paintings, ' A Harlot's Progress,' followed by the ' Rake's Progress ' (1733), the ' Marriage a la Mode' (before 1745), and others, all in turn engraved by or under the superintendence of the artist ; painted also some sacred and historical subjects, less successful than his portraits ; pubhshed a number of satires designed and mostly engraved by himself, one of which, ' The Times' (1762), brought about a quarrel with Wilkes and Churchill; published The Analysis of Beauty 1753. [1-14.] Drawinga for a series of engravings called 'Industry and Idleness,' publiahed 30th September, 1747. The prints, which were all, except one, engraved in reverse, are mounted oppoaite the drawings ; they are all very minutely described in the catalogue of Political and Personal Satires in the British Museum, Vol. III., Pt. I., pp. 673-721. Some of these drawings are first thoughts, freely sketched ; others represent more developed studies ; others, again, the final design made for transfer to the copper. 1. The Fellow 'Pebntices at theie Looms; Finished Dea wing foe Plate I. The industrious apprentice working at hia loom 1., the idle one seated anoring at hia r., while the cat plays with his shuttle and the master looks in at the door 1., with stick raised and threatening face. Enclosed by a border as in the priut, aud inscribed below, The Fellotv Prentices at their Loomes. Bepresenting Industry and Idleness, but without the two quotations from the Proverbs. Indian ink ; roy., 10| X 14 in. In the print the master's face has a different expression ; the torn ' 'Prentice's Guiiie ' on the floor, and the ballad of ' Moll Flanders ' above Tom Idle's ' head do not appear in the drawing, and the inscription on the tankard on his loom ia not simply Spittlefields but John . . . Crown a ... in Spittlefields, probably the names of an innkeeper and inn, which it was customary to put on such pots. 2. The Industeious Appeentice peefoeming the Duty of a Cheistian. Finished Drawing foe Plate II. The gallery of a church, probably St. Martin's-in-the- Fields ; at the I. the good apprentice, leaning over the edge of a pew to look over the prayer-book of his master's daughter, near whom stands her father ; a, man asleep in the 'Prentices' pew, and a stout woman's face and bust appearing over the top of the one adjoining ; at the r. a woman, the pew opener, sitting on a couple of hassocks ; the body of the church occupies the bacliground. Border as in the print, but with The good 'Prentice at church performing the duty of a Christian in the place of the verse from the Psalma. Indian ink; roy., 10 J X 13|in. 3. The Idle 'Peentiob at Play m the Chuechyaed dueing Divine See-vice. Sketch foe Plate III. The 'Prentice sprawls r. on a tomb-stone gambling for coins with two loafers who lean their elbows on the tomb-stone 1. ; one, a shoe black, appears to be laughing at the trick which the 'Prentice is playing on the third, who ia between them, and behind whom atanda a boy scratching his puzzled head; at the r., behind the 'prentice, standa the beadle with uplifted cane ; at the door of the church 1. ia a group of people ; in the foreground akuUs and bonea round an open grave. Pen and ink, with Indian-ink waah ; roy., SJ x llf in. 4. The SAME Subject. Finished Dea wing foe Plate III. The same composition as the preceding, but in this drawing aa iu the print the expresaion of the gamblera' facea is changed from that in the flrst aketch ; the shoeblack has now ' This is the name flnally adopted by Hogarth for the worthless 'prentice, as shown iu Plate V. His original intention was to call him Thomas Fowler ; the name occurs on two of the drawings here described, Nos. 14 and 16. The other 'prentice was called Goodchild, William Hogarth. 317 a ruffianly and menacing air, and seems to threaten the 'Prentice; the third gambler has a patch over his eye ; and the boy behind him grins. Border as in the print, inacribed The had 'Prentice at play in the Churchyard with Pick pockets, inatead of a verae from Proverbs. Indian ink; roy., IOf X 18|in. 5. The Industrious 'Peentice a Favoueite and Enteusted' by his Mastbe. Sketch foe Plate IV. The 'Prentice standing 1. by a desk with a day-book in hia hand and interrupted by his master, who lays one hand on his shoulder, and with the other points to the workshop in tlie background ; at the r. a porter arrives carrying rolls of cloth ; a dog asleep at the feet of the master, under whom is written A Quaker. Peu and ink, with Indian-ink wash ; roy., 8J x llj in. 6. Thb same Subject ; a moeb finished Deawing. Except for some details, this drawing corresponds with tlie print. The men working at the looms, the two women spinning, and the structure of the workshop are now plain ; a cat takes the place of a liog, and the dog now comes with tbe porter, while the cat arches her back at him ; the gloves on the desk are now added. The differences from the print are these. The master is still in Quaker's dress and has fuller features and a more pronounced smile than in tbe print ; the almanack on the desk has a device of mitres and croziers instead of ' Industry and Time.' Indian iuk, with pen outlines; roy., SJ X llj in. 7. The Idle 'Peentice tuened away and sent to sea. Deawing foe Plate V. A reach of the Thames, with windmills on the low shore 1. (called Cuckold's Point), and vessels coming up stream ; in the foreground the 'Prentice and his mother, with two men, in a boat sculled by a third man ; one of the men points out to the 'Prentice a man hanging on the gallows on the shore, the other holds up a rope's end (not untwisted into tails as in the print). Without Idle's name on the cheat, anei -without This Indenture on the paper he has thrown into the water. The man aculUng puffa from his pipe a cloud of smoke, which does not appear in the print. Without the framing border, and inscription. Indian ink ; roy., SJ x llj in. S. The Industeious 'Peentice out of his Time and Mabeied to his Mastee's Daughtee. Study foe Plate VI. A street near the Monument, the base of which appears iu the r. distance ; 1. a house, at the wiudnw of which the 'Prentice, sipping tea, with his bride behind hira, gives money to a bowing drummer, one of a band of drummers who are celelirating the wedding in the street ; at the door of the house a footman pours a plateful of broken meat into the apron of a poor woman ; in the foreground r. stands a woman half seen -with a child beside her; the child carries a doll and appears to be munching a cake, while a dog looks up at her. Pen and ink over pencil, with Indian ink wash ; roy., 8J X llj in. In the print two butchers are introduced among the musicians; a cripple singing a ballad is substituted for fhe woman and child in the foreground, though the dog reraains ; and the beggar woman at the door wears a hat, not a cap. 9. The Idle 'Peentice returned prom Sea and in a Garret with a common Peostitute. Sketch for Plate VII. A garret of bare walls from which the plaster drops, with rent floor and stained ceiling ; at the r. the 'Prentice and the prostitute in a bed broken at the foot, and sloping to the floor ; Idle sits up iu a shock of terror at the noise of a cat falling with sorae dislodged brickbats down fhe chimney in the background ; planks set slanting against the barred door indicate his fear of capture ; the prostitute, who is the nearer of the two, pays no heed, lost in contemplation of an earring, one of several stolen treasures on the bed. Pen and ink over pencil, with Indian-ink wash ; roy., 8| X 11| in. In the print, Idle's face is seen in three-quartera, not looking full, and his r. hand is not raised so high ; at the head of the bed ia a broken shield, substituted for a sword and a key ; the prostitute's ahoea, under the bed, are omitted; a jug and diah on the floor (roughly pencilled in the drawing) are put in, aud a rat is introduced running from under the bed. 10. The Industrious 'Prentice grown Ei(3H and Sheriff of London. Sketch foe Plate VIII. The interior of a City banqueting hall, with citizens and their wives dining at three long tables, disposed round three aidea of the hall ; one 318 Drawings of the British School. of the tables projects into the foreground at the 1., and shows a, busy group of voracious persons ; Goodchild, the former 'prentice, and hia wife are at the oppoaite table in chairs of state ; at the door r. a hungry group, kept back by a beadle's mace. Pen and ink, with Indian-ink wash ; roy., SJ x llj in. This atudy, unlike the others, is iu the same direction as the print, frora which it differs in the following points : — In the print a negro servant is introduceel behind the nearest table ; there is only one balcony for rausicians (in the drawing there are two) ; and the beadle is reading the address of a letter to GoodchUd, brought by one of the meu at the door, and holds his mace upright. 11. The Idle 'Prentice betrayed by his Whoeb and taken in a Night Cellar •WITH his Aocompliob. Fiest Sketch foe Plate IX. A cellar flUed with people ; in the centre foreground the 'Prentice sits with a man who wears a patch over his eye, dividing the spoils of a robbery ; at the r. a huge, Ul-favoured woraan pours out drink for a youth beside her ; two other figures, one atanding, one sitting on the floor, are roughly sketched in at the extreme r. ; at the 1. a woraau seated smoking a pipe, and a soldier beside her, both on the near side of a fire, beyond which is a confused group of quarrelling people ; in the background r. is a flight of stairs, on which is a freely sketched flgure and indications of another above (probably the prostitute giving information to the watch). Pen and ink, with ludian-ink wash; roy,, IOf X 12|in. The sketch differs greatly from the finished design. In the print, which is reversed, the walch descend the stairs 1. with lanterns, and are received by the prostitute, who points to Idle ; at the r. a man is throwing a murdered man's body down a trap ; the soldier smokes with his face to the wall by the chimney, the smoking woman being absent. The group at the r. of the sketch is entirely omitted. 12. The Industeious 'Peentice Aldeeman of London, the Idle One brought before him and impeached by his accomplice ; first sketch fob Plate X. Part of a court of justice ; the foreground shut off by a barrier at the r., within which 1. is the Alderman in magistrate's robes, with a secretary standing behind his chair ; he looks with emotion on his old fellow-'preutice, who grasps the barrier, while his accomplice, 1., swears against him on a book held by an attendant; at the i. of the prisoner is a group of persons, one holding up the weapons found on Idle, others bending down to speak to a clerk (?) who sits iuside the barrier, turning away hia head and holding up hia wig as if annoyed by their importunity. Pen and ink, with Indian-ink wash ; roy., SJ x llj in. This study, as will be aeen from the drawing next described, differs greatly from the completed design, especially in the conception of the alderman. The figures being so freely sketched, are not easy to identify with certainty ; iu particular the man seated in the foreground seema to be playing a more important part than tho circumstances explain. 18. The SAME Subject; finished Drawing. The same composition with consider able changes; the Alderman turns away his head witii a gesture of distress from Idle, who clasps his hands and begs for mercy ; the secretary sits instead of standing; the clerk at the r. is standing instead of sitting and swears the accomplice, while with hand behind his back he takes a bribe from a woman ; at the 1. of the prisoner his weeping mother vainly supplicates a stout anil important beadle. Pen and ink, with Indian-ink wash ; roy., SJ x llj in. The drawing agrees entirely with the print, except that the heads in the foregrouud are there more defined and the beadle's hand is raised in shocked protest. 14. The Idle 'Peentice executed at Tybuen; Dea-wing foe Plate XI. An open space with houses 1., thronged with spectators on stands projecting from the roof; the entire space is occupied by a great crowd, through whiob, towards the r., the 'Prentice, seated against his own i;offin and holding an open prayer book, is being eiriven to the gallows, a triple structure rising 1. above the crowd ; the cart is followed by soldiers on horseback and preceded by a coach, from the window of which the Ordinary of Newgate addresses the people. In the I. foreground are two carts, the smaller and nearer containing Idle's mother (?) and a child weeping, the other a group of women drinking; in front of these carts are ' Tiddy Doll,' a seller of cakes, and a man and woman fighting over William Hogarth. 319 an apple harrow ; in the centre a ruffian about to throw a live our at the convict, and a woman crying The last dying speech and confession of Thomas Fowler ; at the _r. a soldier has plunged to the knee in the Tyburn and two boys laugh at him ; other minor incidents complete the crowd. Indian ink ; roy , 9| X 15|. The design was finally modified in the engraving by the introduction of a Wesleyan preacher sitting in the cart with the convict, and fervently exhorting him, while the Ordinary in the coach stares about him and says nothing ; a wall thronged with people at the top (roughly sketched in pencil on the drawing) is also introduced ; the low hills in the distance are made higher ; and one of the men ou the house roof is made to send off a carrier pigeon. This drawing gives the 'Prentice'a name aa Fowler, afterwards changed to Idle. [15, 16.] Drawings for subjects of the same series, not engraved. 15. The Industeious 'Peentice when a Meechant giving Money to his Paebnts. A counting-house with a gallery supported by pillars, running round it ; at the r. the Merchant sits by a table ami hands a bank note to his father who, with his mother, stands beside him ; at the 1., bales of wool and a servant busy with a weighing machine ; in the gallery at the back another servant hoists a bale from below. Pen and ink sketch, with Indian-ink wash ; roy., 9J x llj in. 16. The Idle 'Peentice Stealing peom his Mothee. The outside of a cook shop kept by the 'Prentice's raother ; he is saying good-bye to her at the door, aud while he half kneels for her to kiss him he passes a pot full of victuals behind his back to a confederate ; another looks roemd the comer of the house 1. ; at the r., beneath the unglazed windows, where meat and dishes are displayed, is an opened hatch disclosing a man working with a hammer just below the level ofthe street, and in front is a bird iu a cage suspended from the window- ledge. Over the shop door is a notice Eoast, Boiled . . . and on the pot stolen by the 'prentice is Fowler's Cooke Shop. Pen and ink sketch, with IneUan-ink wash ; roy., 8f x llf in. Nos. 1-16 were purchased July, 1896. The series was formerly in the Horace Walpole, Gye and Cheney Collections. 17. Study fob a Poeteait Geoup oe ' Conveesation Piece.' A garden terrace, with ten flgures in two groups in and near the foreground ; at the r. a youthful widow, seated and facing the front, takes snuff from a gentleman staniiing beside her chair at the extreme r. and looking across to the group at the 1. ; a young girl with a ball in her hand comes to the widow from the other side aud touches her arm ; beyond these, and almost in the centre, a lady stands holding a box from which she eiraws a necklace, turning her head meanwhile to a maid who puts a jewel or ribbon in her hair. At the 1. a gentleman facing to the front stands holding a picture or drawing on his knee, while he turns to point out something in it to two friends behind him, one kneeling on a chair, tho other standing beyond and between the two ; close beside this group, r., is a boy seated ou a stool caressing a dog, and looking up at the picture ; behind the group, with one hand on the balustrade of the terrace, is a servant girl looking also at the picture with a gesture of lively aimiration. In the backgrounii, r., a small stone sphinx terminating the downward curve of an archway unseen, and a tree beyond ; at the 1., a house of classical style, with pUasters, fronting r. on a sheet of water; a hill on the other shore in the distance. Pen and ink over red chalk, washed with Indian ink and water colours ; imp., 12f X 17i in. Purchased July, 1885, from the Cheney collection. Formerly in the WiUiam Eusaell collection. Hogarth aays that after hia marriage he 'commenced painter of amall conversation pieces,' choosing this style .from a wish to compose pictures on canvas, similar to representations on the ttage. He did not long continue the painting of these subjects, though a few somewhat larger portrait groups Uke the ' Eich and hia family,' at the Garrick Club, and the present drawing, date probably from a later period. 18. A Cheistening ; called ' Oeatoe Henley oheibtbning a Child.' A font round the further side of which atand the young mother, r., the officiating clergyman with the baby in hie arma, and an older woman, 1., perhapa the 320 Drawings of the British School. nurse ; between and behind the two last is the clerk, seen in proflle, looking 1., his mouth open, like the ch-rgyman'a, aa it both were repeating a prayer ; the mother's eyes look to the front, the clergyman's are turned towards her, the woman at the 1. is absorbed by the baby ; in front a little girl, very slightly sketched in outline (with raw umber), reaches up with one hand to the font. Oil coloura on canvas ; roy., 12| x 9i in. Etched by Samuel Ireland under the title ' Orator Henley christening a Child.' A small copy waa etched by Jane Ireland for ' Graphic lUusfrationa of Hogarth.' A whole-length flgure of Henley with the baby in hia arma, adapted from thia study, was etched by G. Cruikabank aa frontispiece to Caulfleld's ' Eemarkable Persons.' For a more elaborate description of thia aketch aee ' Personal and Political Satires in the British Museum,' Vol. III., No. 2887. For a note on Henley aud his career see Vol. I. of this Catalogue, p. 182 (drawing by L. P. Boitard). A satire on Henley, calhd ' Oratory Chappel,' waa published November, 1746, with Hogarth's name, but is not by him. The parson in Hogarth's picture, 'A Midnight Modern Conversation,' has also been identified with the 'Orator' and strongly resembles the parson of the present sketch. But the identification is not certain in either case. Bequeathed by E. Payne Knight, Esq., 1824. Formerly in the posseaaion of Samuel Ireland. 19. Poeteait Study op a Lady. Bust of a lady in youthful middle age turned to front and 1., with face in three-quartera looking r. over the 1. shoulder ; wearing a cap, and low bodice of greenish blue. Oil sketch on canvas ; roy., 8J x 2J in. Purchased August, 1861. 20. Poeteait Study of a Lady. A lady seated in a chair, facing 1., with hands crossed on her lap ; almost whole length ; the head covered by a cap, coming under the chin, the face in three-quartera looking full. Black and white chalk and stump on grey paper ; roy., 14f x 9J in. Purchased October, 1890. 21. Study of a De.4.d Child's Head. Head of a dead chUd on a pillow, the chin towards the r. ; the face surrounded by a frilled cap. Chalks on grey paper ; roy., 9 x lOJ in. Purchased December, 1895. 22. Poeteait of Simon, Loed Lovat. Head and shoulders, in full face, looking a little 1. and talking with a smile on his broad lips. Black and white chalk and stump on drab paper ; roy., lOJ x 8J in. This seems to be a part of a larger study and was perhaps originally a whole length, like the corresponding portrait etched by Hogarth, which represents Lord Lovat aeated and counting over the Highland clana on hia lingers. This famous etching, published August 25, 1746, had an immense sale. An oil sketch of the portrait is now in the National Portrait GaUery. Simon Eraser, 12th Lord Lovat, born about 1667, had an adventurous career, playing a double part almost all his life, intriguing both with the Jae-obitea and the government; aided against the old Pretender in 1715, but was one of the chief instigators of the young Pretender's rising in 1745, though he did not dtclare himself openly till after Preston Pans; was captured hiding in an island in Loch Morar, brought to London, tried, and executed on Tower HUl April 9,1747. It was at the White Hart Inn, St. Albans, on his way to London, that Hogarth drew his portrait, August 14, 1746. The artiat is said to have known him previously and to have painted him before. Purchased May, 1893. 23. Sheet op Sketches at Loed Lovat's Trial. In the centre at the top two studiea of the Lord High Steward (Phihp Yorke, Lord Hardwicke) at a table addressing the prisoner with lifted haml ; opposUe him, in the r. corner, Lovat standing between two warders, one hand thrust in his waistcoat, the other extended m explanatory gesture : below, a little 1., a similar study in which Lovat leans forward over the barriirr as he speaks, and still lower down r another similar study, but with three guards holding axes behind the prisoner. At the 1. of this lust study two heralds holding maces. At the 1. upper corner WiUiam Hogarth. 321 of the sheet a standing man ; lower down a back view of the Judge or counsel, slightly sketched. Inscribed Sketches of Lord Lovat's Trial hy Hogarth. Indian ink, with a vermilion wash on the judges' robes ; roy., 7J X 11 in. Purchased August, 1812. [24^25.] Portrait sketches of coffee-house frequenters. Samuel Ireland, who once possessed these drawings, published aquatint engraviugs of them in his ' Graphic Illustrations of Hogarth,' under the title, ' Characters who frequented Button's Coflee-house about 1720,' and idenlified the characters with Button himself, Addison, Martin Folkes, Arbuthnot, Pope, Garth, and a Count Viviani. These drawings are undoubtedly by Hogarth ; but this is all that can be said with certainty about them. The assertions of a man of such unscrupulous credulity as Samuel Ireland raust be well sifted. In the first state of his engravings from these sketches he made the date 1730, and this is perhaps about the actual date to which they belong, though it is probably nearer 1740. But while publishing them aa drawings of 1730, he boldly claimed to recognise in them portraits of Addison and of Garth, who both died in 1719. The famous cUcle at Button's broke up on Addison'a death, and Pope quarrelled with Addison and his coterie in 1713. Therefore if the persons here represented are those Ireland claimed them to be, Hogarth must have drawn them when he was sixteen at most and still an apprentice to Mr. Gamble, the silver plate engraver. The mature style precludes that possibility, and the later date is confirmed by other considera tions. The portrait of Count Viviani which appears in No. 25 (a) was, says Ireland, recognised by Horace Walpole. who remembered him well. As Walpole was not born till 1717, and the count is already bent with years in the drawing, if we put back the date into the second decade of the century, we must allow the latter a fabulous old age in order to make the former's acquaintance. Again, the most plausible of Ireland's identifications is that of Martin Folkes, in No. 24 (6), doubtless made on the authority of Hogarth's portrait of Folkes, painted in 1742 ; but in the ih-awing he looks little younger than in the paint ing, certainly not a young man of 23. Other points are noted in the comments on the drawings ; but on the whole it is plain that Ireland, from a wish to make them interestiug from a literary point of view, dubbed the characters as plausibly as he • ould, on the authority of vague and casual resembldnces, and this with a headstrong indifference to dates and probabilities. 24. Two on one mount, roy., viz. : — (a) A Waiter and a hungry Customer. An old man with ragged hair, carrying a bag, and with a dog snuffing at his coat-tails, coming up from the 1. to the aproned waiter, who holds a mag in one hand, while he puts out the other for the money, turning his head rouud r. as if to other customers. The old man clasps his stomach with one hand, and holds out a coin with the other, with an expression of fierce hunger on his face. Indian ink and sepia ; 4f x 5 J in. Engraved in aquatint by S. Ireland for ' Graphic Illustrations of Hogarth,' Vol. I., p. 25. Described aud annotated in ' Political and Personal Satires in the British Museum,' Vol. IL, No. 1701. The waiter was said by Ireland to be Daniel Button, who opened a coffee-house in Eussell Street, Covent Garden, about 1713. It succeeded to Will's, over the way, as the resort of the wits, chiefiy through Addison's patronage. After Addison's death and Steele's retirement it lost its vogue. (6) Examining a Watch. A box in the coffee-house; a lean man sitting r., with one arm over the partition, and holding a knife in the other hand, waiting for hia companion to pronounce on a watch which he is examining through an eyeglass; on the table a clay pipe, a bowl, and a watch-glass lying on a paper inscribed Votes of the Commons. Indian ink and sepia ; 5 x 7| in. Engraved in aquatint by S. Ireland for his 'Graphic Illustrations,' Vol. I., p. 81. The man examining the watch has a deciiled resemblance to Martin Folkes, as he appears in Hogarth's portrait of 1742 ; and if this be Folkes, the drawing cannot date from much earlier than that year. 'The man at the r. was supposed by Ireland to be Addison ; that is most im probable in any case, and if the other be Folkes, impossible. Addioon was by nearly twenty years the older of the two, and died in 1719 ; Folkes, b. 1690, d. 1754, was President of the Eoyal Society. Vol. II. Y 322 Drawings of the British School. 25. Two on one mount, roy., viz. : — (a) Deaught Playeeb inteeruptbd. Two men playing draughts at opposite sides of a table, one with his back turned, the other looking up to address an old man in a cloak who comes up from the r,, deprecating his intrusion with a gesture of the hand ; at the 1., on the further side of the table, is a slight atanding figure holding a paper in hia hand and looking in a nervous manner at the new-comer. Indian ink and aepia ; 5 x 7 in. Engraved by S. Ireland for hia ' Graphic lUuatrations,' Vol. L, p. 34. The man in the cloak is, according to Horace Walpole, aa quoted by Ireland, a certain Count Viviani. Ireland called the draught-player Dr. Arbuthnot, the famoua phyaician and wit (b. 1667, d. 1735). Aa no portrait of him is known, fhe conjecture waa a aafe one. The figure standing at the table has, says Ireland, ' much the countenance of Pope ' ; he appears again in the next drawing. The facial likeness to Pope is considerable, but the stature appears too tall and erect, and there is nothing to suggest Pope's position as the chief of English letters. He seems rather to be on the fringe of a coterie ; and after his success was assured, Pope was not a frequenter of coffee-houses. (b) A Game of Deaughts ended. Two players facing each other across a table, one with his back turned, as in the preceding drawing, and probably the same person, but now wearing his hat ; opposite him ia the spare little man who appears at the I. iu No. 25 (a); he seems to be starting up irritated at ha-ving lost the game, while a young man in a tie-wig r. takes him by the shoulder and smilingly expostulates with him ; at the I. a roxmd- faced man in a periwig looks on, holding his cane upright on the table. Indian ink and sepia ; 5 X 7| in. Engraved by S. Ireland for his ' Graphic lUustrations,' Vol. I., p. 38, where one of the players ia aasumed to be Pope — ' the pee-vishness and anxiety in the lineaments of the face leaye no doubt of the identity' — while the man with the cane is claimed to be Dr. Garth, the poet of The Dispensary (h. 1672, d. 1719). Garth was a zealous Whig, and therefore little likely, as Ireland himself admits, to frequent the Tory haunt of Button's ; moreover, the di-awing must have been made after hia death. Noa. 24 and 25 were purchased at the George Smith sale, AprU, 1861 ; formerly in the collection of Samuel Ireland, who bought them from the executors of a Mr. Brent, a friend of Hogarth's. 26. Two on one mount, roy., viz. : — (a) Design foe Shop-bill of Baekee's Copfeb House. A shield surrounded by an ornamented frame, with scallop shell at the foot, and inscribed Barker's Coffee house. Pen and ink sketch ; 3J x 8 J in. (b) Design fob an Illusteation to a Novel. A man standing under a tree r., leaning with one hand on a stick, and holding in the other a sword, -with which he appears to have just disarmed a man facing him I. with one hand on his breast; in the distance two other men are engaged in animated dispute. Inscribed below with Ulustrative text, out off at both ends, so as to be somewhat fragmentary in sense. Pen and ink, with Indian-ink wash ; 7J X 3J in. 27. Sheet of Studies. Studiea of a right leg standing on tip-toe, a left arm hanging straight, and a right leg seen from behind in a kneeling position ; below, bust of a pagan god with two small horns growing on the top of the head ; aU probably studies for illustrations to the 'Analysis of Beauty,' but not used Pen and ink; roy., 13| x 8 J in. 28. Four on one mount, roy., viz. : — , (a) Study foe an Illusteation to the 'Analysis op Beauty.' A fat man s face crying out and wearing a child's cap and placed over a child's figure, seated in a chair ; round him four cherubs, described hy Hogarth as An mfants head of about two years old, with a pair of duck's wings William Hogarth. 323 placed under ita chin, supposed always to be flying about and singing psalms ; ' one of these has a man'a face, bewigged and grimacing. Pen and ink ; 5 J x 45 in. The child's flgure was engraved by the artist, Plato I., flg. 17, of the ' Analysis of Beauty ; ' only one of the cherubs' heads was engraved, fig. 22. Both were to show the absurdity of unnatural combinations. (b) Study foe an Illustration to the ' Analysis op Beauty.' A decoration adapted from the bones of the hip. Pen and iuk; 2^ x If in. (c) Study poe an Illusteation to the ' Analysis op Beauty.' Decoration, adapted more freely than the laat atudy, from the bones of the hip. Pen and ink ; 2 X 2f in. Engraved by the artiat for the ' Analyais of Beauty,' PL IL, fig. 61. (d) Study poe an Illusteation to thb ' Analysis of Beauty.' Bonea of the hip, ' ossa innominata ' ; with dotted line showing the curve of their form. Pen and ink ; 9J x If in. Engraved by the artist for the ' Analysis of Beauty,' PI. IL, flg. 60. Nos. 26-25 were purchased April, 1858. 29. Design foe Feontispiecb to Kieby's Peespbotive of Aechitecture. A landscape, in the foreground of which sits a Cupid with Palladio's book on Architecture on his knees, turning r. to the sun, which rises over a distant mountain and shoots a ray of light to a scroll on the ground 1., half covered with perspective designs ; above this leans obliquely on a stone an extraordinary object, something Uke the Eoman fasces, encircled near the top with the Prince of Wales's coronet, and branching above into a sort of capital, ornamented with the Star of St. George, so that the whole resembles the upper part of a fluted column ; beyond is a lake with a town and rocky mountains I., and a circular teraple r. Eed chalk ; roy., 8^ x 15J in. Engraved by W. WtxiUett, with slight modifications, as frontispiece to Joshua Kirby's ' Perspective of Architecture,' 1761. The fall meaning of the design ia unknown ; it is explained by Themes Malton in his ' Treatise on Perspective,' and by Samuel Ireland, who gives an engraving of this drawing, made by himself, in his ' Graphic Illustrations,' Vol. II., p. 141. Purchased July, 1860. Formerly in Samuel Ireland's coUection. 30. The Sleeping Housewife. The interior of a room, facing a fireplace, over which hangs a picture of a man drinking, with pistols hung on each side and guns above ; at the 1. of the fireplace a woman sittinu; in a fihair, with head dropped on her shoulder, fast asleep ; her book has fallen to the floor and a kitten plays with it ; a cat sits on a table 1., beneath a large looking-glass hung between two windows ; on the other side of the fireplace a chair under a clock ; at the 1. a door in the side wall of the room, with stag's head above it. Signed and dated W. Hogarth, 1754. Ineiian ink with pen outUnes ; roy., 8| x llj in. Bequeathed by the Eev. C. M. Cracherode, 1799. The drawing belonged at one time to a Mr. Eyre, who wrote on the back of it : N.B. reed. This of T. Forrest, Esqr., in exchange for one of P. Sandby, cost £9 9s. ; it was given to him hy Mr. Hogarth with another small Scetch of a Man reading. 31. Hogabth's Toue. A sketch-book of nineteen leaves, containing six lirawinga and a taU-piece, illuatrating an account in MS. entitled, An Account \ of what seem'd most Eemarkable in the Five Days' peregrination | of the Five Following persons, viz., Messieurs \ Tothall, Scott, Hogarth, Thornhill, and Forrest. \ Begun on Saturday May the 21th 1732 | and Finish'd | on the 31st of the same month \ AM tu et fac Similiter — Inscripton [sic] on Dulwich Colledge porch. Besides the seven drawings by Hogarth, the volume includes two drawings by Scott, who also drew the landscape of another drawing, and a map by Thornhill. The ' Tour ' remained iu manuscript till 1782, when it was published with aquatint facsirailes of the drawinga by Eichard Livesay. (A metrical version of Forrest's prose, by Canon Gostling, had appeared in 1781.) This was included in Nichols' and Stevens' ' Genuine Works,' 1817, Vol. III. See Austin Dobson's ' WilUam Hogarth,' 1891, pp. 83-87. X 2 324 Drawings of the British School. (1) Feontispiecb : ' Me. Somebody.' A headless and legless flgure in a parti coloured coat, half drab, half blue, holding a stick in one hand and a mast and sail in the other; emblematical of the journey, 'A short tour by land and water, backwards aud forwards, -without head or taU ' ; Eochester Keep in the 1. background ; part of a fallen column under the sail r. Signed W.H. Pen and ink and water-colour wash ; 7f X llj in. [View op the Medway peom Eoohestbb. By Samuel Scott : described under Scott.] (2) Upnoe Castle. The shore of the Medway, with boats and a man-of-war partly showing on the river r. ; at the 1. the castle ; in the foreground Scott seated sketching, and the travellers standing, each distinguished (here as in the other drawings) by letters, to which the corresponding names are appended below. On the scroll in the sky The Castle of JJpner. Pen and ink and water-colour wash ; 8J x 12| in. (3) Beeakfasting at Stoke. Interior of a room at the Nag'a Head inn; a ahock-headed fisherman in shirt and boots, shaving ThomhUl; at the r. Forrest breakfasting on a bowl of milk, and Scott finishing a drawing at the same table; at the 1. Hogarth seated sketching the scene; behind, Tothall shaving at a glaas hung near the window. Pen and ink and Indian ink, aud a little vermUion wash ; 8J X 12f in. (4) Embarking fbom the Isle op Geain; by Scott and Hogaeth. The Medway, looking towards Sheerness, with men-of-war and other shipping ; in the foreground, I., the travellers embarking in a boat, in which Tothall sits holding the tiller, and Thornhill lends a hand to Hogarth, who is crawling along two oars laid from the boat to the shore ; behind him, on the land, Forrest ia pushing Scott forward. The figures only are by Hogarth. Pen and ink and slight water-colour wash ; 8 X 12J in. (5) Thb Town op Qubenboeough. View looking up the main street to the clock-house ; at the r. Hogarth and Forrest talking with a group of sailors who had been stranded without food or money. Pen and ink and Indian-ink wash ; 8 x 12J in. [Tomb of a Spanish Ambassador at Minstee. By S. Scott.] (6) Tomb of Loed Shoeland in Minstee Chuech. The canopied monument of a Crusader, with his effigy on a slab ; the feet at the 1., resting on a horse's skull. The skull is explained by the local legend of Lord Shorland, told in the 'Tngoldsby Legends' as the 'Legend of Sheppey,' and by Forrest in the MS. text. Forrest's version is printed in Dobson's ' Hogarth,' pp. 34-35, Pen and ink and Indian-ink wash ; 7f X 12 J in, (7) Tailpiece : ' Me. Nobody.' A trophy, conaisting of a man'a laughing face in hat and wig, and two legs attached, from which hang a wine bottle and a glaas ; two oars crossed behind the head and legs, and a knife, fork, spoon and pipe hanging by a ribbon. Signed W. H. Not mounted like the other drawings, but drawn on the page. Pen and ink and water-colour wash. Purchased March, 1847. Formerly in the possession of Ebenezer Forrest, and of Peter Coxe. Attributed to Hogarth. Six on one mount, roy., viz. : — (a) Head of a Singee, in the 'Eehbaesal op the Oeatoeio op Judith.' I Head of a spectacled man in a full wig; in the print he occupies the centre of the composition, just under the conductor. Pen and ink ; 2J x 2 in. (b) Two Heads op Singees in the same Design. In proflle turned r. ; they appear in the lower r. of the print. Pen and ink ; 2g x IJ in. William Hogarth. 325 (c) Two Heads op Singers in the same Design. One looks over the other's shoulder ; he wears a bag wig, and haa been conjectured to be a foreign Castrate ; in the print they are just imder the conductor at the 1. Pen and ink ; 2f x 2f in. (d) Head op a Singee in the same Design. In profile turned 1. ; in the print he looks over the same acore as the man in spectacles, No. 26 (a). Pen aud ink ; 2i X If in. (e) Head op a Singer in the same Design. In profile turned r., with glass held up to one eye ; in the print he is at the r. of the middle row of singers. Pen and ink ; 2 x If in. (/) Head of a Singee in the same Design. In vanishing proflle looking 1., wearing a bag-wig ; at the 1. of the middle row in the print. Pen and ink ; 1| x If in. Nine on one mount, roy., viz. : — (a) Head op a Boy. The head of the boy in the design called ' Evening,' crying because his sister threatens to take away his gingerbread king. Pen and ink ; If x If iu. (6) Head op a young Woman. One of the mourners in the last scene of 'The Harlofs Progress' (Plate vt.); in proflle looking 1., with a hood over her head. Pen and ink; 2J x If in. (c) Head op a Boy, in a modish bag--wig ; resembling the boy at the r. of the design caUed ' Noon ' ; in the print hia eyes are on the ground. Pen aud ink ; IJ x If in. (d) Head of a deunken Man. The head of a drunken freemason in the design caUed ' Night.' Pen and ink ; 1 J x 1 J in. (e) Feench Women kissing. Heads of two old women wearing hoods and kissing. They appear in ' Noon,' in the background at the r. Pen and ink ; If x 2f in. (/) Head op a Woman. A woman's face with a kerchief round it, frowning, with mouth open as if exclaiming. Inscribed Harlot's Progress. No head precisely resembUng this appears iu that series, but it is not unlike the drunken mourner of Plate vr. Pen and ink ; 2i x If in. (g) Head op a Giel. Head of a buxom girl looking r., in three-quarter face, wearing a hood. Pen and ink ; If x If in. (h) Head op a Man ceying out. A man in a hat and wig bawling out. Inscribed Frenchman — Noon; but this head does not occur in the plate of that name. Pen and ink ; If X If in. (i) Head op a Woman. Head of the servant of the Harlot in the funeral scene of the ' Harlot's Progress.' Pen and ink ; IJ x If in. The last two numbers were purchased October, 1887. Formerly in the EsdaUe collection. In spite of the high authority of Esdaile as a coUector, it seems more probable that these and simUar studies are copies from Hogarth than genuine works of his hand. Study of a Gentleman seated. A gentleman seated on a chair turned to r. and front, the head in proflle looking r., 1. hand raised and extended, r. hand on a table I. Eed, black and white chalk on blue paper ; roy., 15| x 12J iu. Presented by J. E. Taylor, Esq., February, 1894. This drawing has been attributed to Hogarth, but belongs rather to the Gravelot and Grignion school, and should be compared with the similar studies catalogued above, p. 240 (Gravelot, Nos. 2 and 3) and p. 252 (Grignion, No. 1). 32() Draivings of the British School. Paul befoee Felix buelbsijued. A slight and childishly rude sketch of the well-known design made by Hogarth in burlesque of his own picture, as a satire on Eembrandt and his school. Inscribed on the back in a contemporary hand, probably by that of its former owner, George Jackson-Duckett ,(b. 1725, d. 1822), Paul before Felix, after the Dutch manner. By Hogarth. Hastily sketched in pencil. Pencil ; roy., 12f x 15| in. Purchased March, 1884. Traditionally supposeel to be a rapid sketch, intentionally and satirically childish, by Hogarth, but much more probably copied or roughly traced from the print published in 1751. After Hogarth. Three on one mount, roy,, viz. : — ¦ (a) Theee Heads fbom the ' Maech to Finohlby.' The drummer and his crying wife, and the boy playing the flfe ; all in the 1. foreground of the picture. Eed chalk on oiled paper ; 5| x 4f in. (b) Two Heads feom the ' March to Finohlby.' The Guardsman and his tearful sweetheart in the centre of the picture. Eed chalk on oiled paper ; 5| x 3 J in. (c) Two Heads feom the ' March to Finchlby.' The gin-woman and the boy shoeblack, in the r. foreground. Eed chalk on oiled paper ; 5| x 4J in. Two on one mount, roy., viz. : — (a) Four Heads peom the 'Maech to Finohlby.' The soldier giving water to the comrade who wants gin, and the comrade; the soldier pouring milk surreptitiously into his hat, the pastrycook laughing at the incident, and the soldier stealing a tart from the pastrycook ; all near the foreground towards the r. Eed chalk on oiled paper ; 5f x 4J in. (i) Eight Heads feom the 'Maeoh to Finohlby.' The soldier kissing the milkmaid ; the infuriated sweetheart of the Guardsman; the aoliiier with a pike ; the two Jacobite intriguers ; the baby on a woman's back, and the man reading the notice on a wall ; all near the foreground at the 1. Eed chalk on oUed paper ; 6 X 5J in. The last two were presented by J. E. Taylor, Esq., February, 1894. They are tracings from Hogarth's picture of 1750, now in the Founilling Hospital, and are in all probability by Luke Sullivan, who engraved it. The well-known drawing ' Heidegger in a Eage,' engraved as Hogarth's in Vol. III. of John Ireland's 'Hogarth Illustrated,' 1797, wiU be found described under Philip Mercier, to whom it was originally, and doubtless quite correctly, attributed. HOLBEIN, Hans (b. 1497, d. 1543). Painter, decorator, and designer for jewellery and for wood engraving ; born at Augsburg, and pupil there of Hans Holbein the Elder; from about 1515 to 1526 worked at Basle (with the exception of two years at Lucerne), painting por traits and wall decorations and some important reUgious pictures, making designs for painted windows, and for woodcuts in books; worked in England 1526-1528; in Basle again 1528-1532, and from that time till his death again in England, where he drew the great series of portraits of the EngHsh nobility, now at Windsor, and painted portraits both of Court personages and of London merchants, though far more portraits have been ascribed to him than are from his hand; designed 1523-1526 the famous woodcut Hans Holbein. 327 illustrations to the Old Testament, and the still more famous Dance of Death ; fixed a tradition of portrait painting in England which prevailed nearly till the advent of Vandyck. [1-7,] Scenes from the Passion ; probably designs for glass paintings. In the museum at Basle is a series of exactly aimilar but reversed designa, with three other subjects added which are here missing, viz.. The Flagellation, Christ Crowned with Thorns, and Christ Nailed to the Cross, making ten in all. The drawings here catalogued are not the direct work of the artist's hand, but offsets taken from such drawings by means of damped paper. That this was a practice with Holbein is proved by an examination of certain designs for ornaments, e.g.. No. 104 in the sketch book of ornaments at Basle, where only the left side of a goblet has been actually drawn, the right side has been produced in reverse by the process just deseribed. We may therefore assume that the present ' Passion ' series was made by Holbein himself from the Basle set ; and the assumption is conflrmed by the fact that the designs have been strengthened in parts by retouches with a flne brush and IneUan ink; and these retouches show, beyond a doubt, the raaster's hand.' They have thus in great measure the character of original drawings, and are not inferior in effect to those at Basle ; though the appearance is eUfferent and much lighter, the Indian ink shading having printed off but palely aud being little strengthened afterwards. In one case. No. 5, additional retouches have been made in sepia by a later and weak hand. The designs date from the later part of Holbein's first residence at Basle, i.e., 1521-1525. 1. Cheist befoee Caiaphas. Caiaphas sits 1. on a richly decorated throne, beside which in the foreground stands a Jew in a hooded cap. Christ stands before him between two soldiers, the nearer of whom, at the r., raises his 1. hand to strike him; behind is a crowd, filling the hall in the 1. background, while between pillars of Eenaissance architecture at the r. the archway is thronged "with the soleUers' spears. Indian-ink wash with brush outUne ; roy., 15f x llf in. Tbe design has been cut at the bottom ; in the Basle drawing, the ornaments at the two lower cornera are complete. This ocoura throughout the set. 2. Cheist Buffeted. Christ sita in the centre, under a vaulted roof supported by decorated pUlars, a lamp hanging above his head ; with eyes bandaged and hands bound, he is being buffeted by a man who stands r., and wl^o clutches his head by the hair; another man is behind ; a third at the 1. plies a scourge of rope ; a fourth in the 1. foreground kneels and looks up into Christ's face, offering him a palm branch ; in the space between the pillars at the r. stands a Pharisee in long robes with fringed cap, looking on. Indian-ink wash with brush outline ; roy., 15f x llf in. 3. ' EccE Homo.' The scene is framed by a heavily ornamented Eenaissance archway, opening on a court filled with flgures, two Jews and a soldier occupying the foreground; at the 1, Pilate leads forth Chriat, crowned with thorns, from a (loorway, in the shadow of which stands a bearded man ; at the back of the court is a building with gables and a balcony, on which are spectators. Indian-ink waah with brush outline ; roy., 15J X llf in. 4. Pilate washing his Hands. Pilate sits enthroned under a canopy, washing his hands in a basin, into which an attendant at the i. pours water ; he aita facing r., but turns his head 1. to addreaa the crowd, as Christ is led off I. between two soldiers; other soldiers and Jewa are aeen in the background, and the foreground ia framed by a decorated arch, with Cupids holding a wreath above. Indian-ink wash with brush outUne ; roy., 16 x llf in. 1 It is to be observed also that the Basle drawings have been similariy retouijhed where the damping-off has weakened the hues too much, e.g. in the figure of Pilate washing his hands. 328 Drawings of the British School. 5. Cheist caeeying the Ceoss. Christ, stooping, carries his cross towards the 1., urged on by two soldiers, one of whom, in the foreground, raises his hand to strike, while the other from behind strikes him with his knee ; preceding Christ at the 1., an executioner drives on the two malefactors, one of whom turns round to jeer ; the background is flUed with a crowd carrying spears, axes, and a ladder; at the I. the wall of a fortress, at the r. a street. I'he whole ia enclosed, as before, with pillars, between which hangs a wreath with a medaUion portrait. Indian-ink wash with brush outlines (retouched in sepia and body colour by a later hand); roy., llf x 11 in. This design has been greatly marred through the blundering retouches, by which the position of tlie 1. arm of Christ has been completely altered and impossibly distorted ; it has also been cut down on all sides, especially at the bottom, where the soldier's foot has been cut through. 6. Cheist Steipped. Christ kneels on his cross between two executioners, who tear his garments from him ; a third, in the r. foreground, bores a hole in the arm of the cross ; behind, a man with his back turned lifts an adze, whUe a group of soldiers are gathered round one of the malefactors; at the 1. appears the head of a man with a pitying expression (Joseph of Arimathea), and behind him Pilate looks frowning over his shoulder upon the scene. Two pillars on eaoh side, and above, two Cupids, holding a medalUon portrait of a Eoman Emperor. Indian-ink waah with brush outlines ; roy., 15f x llj in. 7, The Ceucipixion. The cross of Christ stands in the centre foreground ; beside it stand the Virgin and St. John, on whom Christ looks down ; three Eoman soldiers stand 1. with otliers behind, round the cross of the impenitent thief; the cross of the good thief is seen from behind, partly intercepted by one of the two pillars which frame the scene ; on a ladder set against the back of the cross of Christ stands a man speaking to oue in the crowd below, who raises the sponge of vinegar on a reed. IneUan-ink wash with brush outlines ; roy., 15J x llf in. Nos. 1-7 were purchased September, 1846. Formerly in the Lawrence collection. [8-15.] Portraits and figure studies. 8. A Mothee and Childeen in Chuech. A seat in a church, on which, facing 1., sits a mother with downcast eyes, holding a baby in her arms, while a httle girl at her knee touches her wrist and looks up into her face ; a young boy, in a flat feathered cap, stands I., and seems to be speaking to hia mother; another boy, still younger, also in a feathered cap, sits r., with an unhappy face. Inscribed on the margin below, in a later band, exaltate Cedrus. H. HoVyein (apparently a reminiscence of Ecclesiasticns xxiv. 17, ' Quasi cedrus exaltata sum in Libano'). Indian-ink wash with brush outline ; roy., 5i x 6f in. An admirable example of Holbein's earUer Basle period. The woman has a look of Holbein's wife, as seen in the Basle portrait of 1528, and might conceiv ably represent her at a somewhat earlier age. Elizabeth Schmidt was a widow when Holbein married her. She had certainly one chUd by her former husband, and may have had others, though there is no record of them. Purchased May, 1852. Formerly in the Cosway and Utterson coUection. 9. Poeteait op John Fisher, Bishop of Eoohestee. Head and shoulders in three-quarter face, turned 1., and looking 1. Indian ink over red chalk on pink prepared paper (cut at corners) ; roy,. This is a duplicate of the portrait of Fisher in the great series at Windsor though m this example the features and expression are less emaciated and austere. Another simUar drawing was in Dr. Percy's collection. Both this and the foUowing drawmg are in Holbein's manner, but whether actuaUv bv hia hand la not certain. John Fisher (b. about 1459) was Chancellor of Cambridge University, where he promoted the study of Greek, and quickened the whole academic life ; made Bishop of Eochester 1504, through the favour of Henry VIIL, whose fatal Hans Holbein. 329 resentment he afterwards roused by bis conscientious opposition to the doctrine of royal supremacy and the royal divorce; imprisoned 1534, and beheaded a fortnight bcfeire More, 1535 ; his fate was a shock to all Europe. Bequeathed by the Eev, C. M, Cracherode, 1799. Formerly in the Eichardson collection. 10. Poeteait op Kathaeinb, 4th Wife op Chaeles Beandon, Duke op Suffolk. Head and bust in three-quarter face tm-ned 1., and looking 1. ; wearing peaked head-dress, with lappets falUng on the ahoulilera. Black chalk, with touchea of red and yellow chalk, atrengthened with brush and Indian ink on pink prepared paper ; roy., 1 1 J x 8J in. Like No. 8., thia eii-awing is a duplicate of one of the Windsor portraits. Katharine, daughter of the widowed Lady Willoughby, was married, September, 1538, to Charles Brandon, Duke of Suffolk, Henry Vlll.'a favourite; his latest wife, Queen of France and Henry's sister, had died in the previous June. Purchased with the Malcolm collection, September, 1895. Formerly in the Eobinson collection. The drawing is also marked with the small star, often supposed to be the collector's mark of Charles I. or of the Earl of Arundel, but more probably that of one of the brothers Lanifere. 11. Studies fob the Poeteait of a Lady. Two whole-length studies ; at the 1., the lady stands in a three-quarter pose, turned 1., with eyes looking down towareis the r., ber hands in front of her, holding a rosary ; she wears the English peaked head-eiress, with long black lappets. The other study, r„ is a side and back view of the same figure, the 1. hand raised and pointing. Signed twice over H. H. and H. H B., but the signature is false. Indian iuk and brush outline, partly washed with Indian ink and with red, on drab paper ; roy., 6J x 4| in. Apparently a stuiiy from one of the ladies of the Engliah Court, Purchaaed with the Malcolm coUection, September, 1895. Formerly in the Lawrence collection. 12. Costume Study, peobably foe a Pbocession. A bearded man in the prime of life walking towards the 1. and front, his face quite in profile, looking 1. ; he is dressed in blue cap and blue cloak over a white coat, girt with a belt, into which his hands are thrust ; high red boots of soft leather, and slippers with soles of wood. Sisned in a later hand H. Holbein. Indian ink and brush or pen outlines, with water-colour wash ; roy., 9J X 6| in. This drawing seems to have been done as a study for some frieze or wall decoration. It used to belong to Horace Walpole, aud hung in the Holbein room of his house at Strawberry Hill. Purchased May, 1890, at the William Mitchell sale. Formerly in the Eichardson, Horace Walpole, and Bale collections. 13. A Wild Man of the Woods ; Design foe Glass Painting. A naked bearded man, his head and his loins girt with forest leaves, holding an uprooted sapling in his hands, and with feet planted apart, looking defiantly to the r. ; he stands on a stone ledge forming the sill of a window, decorated with pilasters and garlands in the Eenaissance style and opening on a hollow among mountains thronged with pines. Brush and Indian ink outlines, with Indian ink and slight colour wash; roy., 12f X 8J m. Purchased with the Malcolm collection, September, 1895. 14. MiNEES AT WoEK. A round composition. A mountain side, on the face of which the miners are working ; the foreground is a rooky platform, to which one of the men, with a lantern fixed iu his cap, is just mounting by a ladder; on the platform two men are driving in wedges with pliant-handled hararaers, round a rock which they wish to detach (the method used before blasting was introduced), while two others above pierce holes for the wedges with small hammers. Behind these is a tall fissure, to which a miner ascends by a ladder, and from a second opening at the r. another pushes a truck of ore along a wooden bridge leading out of the composition ; below him, at the r. of the first 330 Drawings of the British School. group, is a man raking up ore on a tray. Two wooden huts are seen high up 1., and another at some distance r. Indian ink with pen and bistre outlines ; circle ; roy., SJ diam. Eeproduced in the ' Jahrbuch der Kgl, Preussischen Kunstsammlungen,' 1894, p. 208, with an article by E. Hia, who maintains that the drawing must have been in Basle in the sixteenth century, when it was utilised by an artist for illustrations to a MS. book on mining by Andreas Eyff, and conjectures that it was made iu the Alps, perhaps during a journey from Lucerne across the St. Gothard pass. Purchased October, 1872. 15. Musicians on a Balcony. A balcony on which are five musicians; one, wearing a cap, blows a trumpet over the balustrade ; his neighbour at the extreme 1. also wears a cap, and plays a horn, as do the other three, who are bareheaded ; the last on the r. haa hia back turned, Indian-ink wash, with brush outlines ; roy., 5J X 7| in. This study is entirely in Holbein's manner, though certain weaknesses of drawing prompt a doubt, and some critics would assign it to a scholar. Purchased May, 1852. Formerly in the Cosway and Utterson collections. [16-39.] Designs for architecture, furniture, and ornaments. 16. Design foe a Chimnby-piece, peobably foe Heney VIII.'b Palace at Beidewell. A magnificent decorated chimney-piece, in two stages, one above the other, each fianked by a pair of pillars with entablatures above them. The upper part is divided into six panels, richly decorated; the upper three contain the royal arms of England with the motto 'dey et mon droit' in the centre; H and a fleur-de-lys, 1.; he and a portcullis (one of Henry's badges) r. The lower panels have a relief of a cavalry combat in the centre; medallions of Charity 1., and Justice r. In the centre of the entablature between the two stages of the chimney-piece is the letter h; and the space under this, above the fireplace, where logs are burning, is decorated as a lunette with spandrUs ; the lunette contains a relief of a battle, with a wreathed medallion in the centre, representing Esther and Ahasuerus; the spandrils have 1. the head of a warrior, r. the head of a lady, on medalUons. The bases of the lower pillars on each side have blank tablets with scroU work. Pen and ink, with Indian-ink wash and colour in parts ; atl,, 21J x 16f in. Eeproduced in E. His' ' Dessins d'Ornaments de Hans Holbein,' Paris, 1886, PI. XLVni., XLIX., L. The presence of the royal arms, monograms, and badges proves that this superb chimney-piece was designed for some building occupied or planned by Henry VIII. Peacham in his notes on Holbein, in the ' Compleat Gentleman,' nientions having seen 'of his own draught with a penne a most curious chimney-piece K. Henry had bespoke for his new buUt paUace at Bridewell ' ; and there can be Uttle doubt that, as Walpole conjectured, this is the drawing in question. Purchased July, 1854. Formeriy in the Eichardson and Horace Walpole collections. 17. Design foe a Clock. An hour-glass with a terminal figure of a Satyr in the centre, enclosed in a case, of which the doors stand open, and which rests on a pedestal with legs, ornamented at the corners with terminal flgures of Satyrs and having a circular space left blank m the centre. On the decorated top of the case stand two naked boys, eaoh pointing to a sundial of metal curved outwards m an arc, for which their fingers serve aa gnomon.' On their heads rests a mechanical clock with dial, surmounted by a crown. At the 1 is a compass probably intended to fit inside the clock-case, above the hour-glass. Inscribed m the lower 1. corner in SU Anthony Denny's handwriting, Strena /acta pro antiiony deny camerario regio quod in initio novi anni 1544 reqi dedit, i.e.. New Year a gift made for Anthony Denny, Chamberiain to the Kmg, and r,l-in'w^,'1o,Sft*H''^ the method of marking the hours intended, though the usual plan was to indicate them by the shadow thrown from one of the edges of the metal arc. Hans Holbein. 381 given by him to the King at the beginning of the New Year 1544 (the year after Holbein'a death). On one of the doora of the clock-case is, Conjunctio sive novilunium pro 20 annis ; at the r. of the design compassu . . . , and a word illegible; lower down opp6 [oppositio]. Indian-ink waah and pen ; roy., 16J X 8J in. Eeproduced by Hia, Plate XLvn. Anthony Denny, who commissioned this clock, the favourite of Henry VIIL, was knighted by the king on 80 September of this same year, 1544. Purchased July, 1850. Formerly in the Mariette and Horace Walpole collections. 18. Design poe the 'Jane Seymour' Gold Cup. An elaborately ornamented cup, -with a cover. The body of the cup is set with four medallions in high relief ; a female head and bust ou the side facing the spectator, two heads partly seen r. and 1., the fourth not seen. Bound the cup, beneath these, are the initials of Henry VIII. and Jane Seymour, alternating with precious stones set as roses and carnations ; a border repeated round the foot of the cup. The stem is decorated with two pendant pearls at the top, and two more lower down, and has rouud it the motto of Jane Seymour, bovnd to obey [and seeve]. The cover is also engraved with the motto, aud has the rose and carnation border of jewels roimd the rim; above, two grotesque figures blowing pipes and sur mounted by two Cupids holding a crown upon a shield; two pearls hang just below the Cupids. (The drawing has been cut close to the outline of the cup, but haa since been laid in paper, the measurements of which are given.) Pen and ink ; roy., 17f x 9J in. A more finished design for the cup, washed with Indian ink, and with a modification in the curves of the pipes blown by grotesque figures on the cover, (a modiflcation suggested in the present eirawing) ia in the University Galleries at Oxford (formerly in the Bodleian Library). I'he cup itself was executed for Henry VIIL, about 1536-7. It was still in the Eoyal collection at the accession of Charles I. in 1625 ; and in a document of that year is thus described : ' Item a faire standing Cupp of Goulde, garnished about the Cover with eleaven Dyamonds, and two poynted Dyamonds about the Cupp, seaventeene Table Dyamoneis and one Pearle Pendent uppon the Cupp, with theis words Bound to Obey and Seeve, and h and i knitt together ; in the Topp of the Cover the Queenes Axraes, an Queene Janes Armes houlden by twoe Boyes under a Crowne ImperiaU, weighing Threescore and five ounces ami a halfe.' Purchased November, 1848. Formerly iu the Beckford collection. 19. Design foe a Dagger. A dagger designed to be executed in chiselled gold or silver ; the handle decorated with apiral banda set with stones, the hilt and tip with grotesque figures ; the sheath elaborately chased, also with grotesque flgures and foliage, set -with pearls. Only the r. half of the sheath ia drawn, as the corresponding half would repeat it. Pen and ink, with Indian-iuk wash ; roy., 17J X 4f in. Eeproduced by His, Plate xxix. Purchased August, 1874, from the Earl of Wicklow's collection. 20. Five on one mount, roy., viz. : — (a) Daggee-hilt. Knob at the end of a dagger-hilt with foliage-ornament, and a man's head at the top. Pen and ink, with Indian-ink wash ; 2J x 1 J in.' (6) Daggee-hilt. Knob of dagger-hilt, ornamented with a grotesque head and dolphins. Pen and ink, with Indian-ink wash ; 2J x IJ in. (c) Daggee-hilt. Hilt, the top ornamented with a grotesque head, the cross- piece with ram's horns and acanthus leaves. Pen and ink, with Indian-ink wash ; 5 x 3| in. ' These drawings for ornaments having nearly all been cut round the edgea of the design, measurements given are of the maximum height and width. 332 Drawings of the British School. (d) Daggee-hilt. Cross-piece of a hilt, ornamented with dolphins and foliage. Pen and ink, with Indian-ink wash ; 2| X 3 in. (e) DAGGER-mLT. Cross-piece of a hilt, ornamented with two boys blowing curved pipes, with dolphins and foliage ; below, a band of twisted anakes round the rim of the aheath. Pen and ink, with Indian-ink wash ; 2J x 2f in. Eeproduced by His, Plate xxxn. 21. Ten on one mount, roy., viz. : — (a) Swoed Belt, with buckle and leaf ornaments in silver. Pen and ink, with Indian-ink waah; 6 x IJ in. (fi) Tip op Belt, with ailver ornament. Pen and ink, with Indian-ink wash ; If x 1 in. (c) Swoed Belt, with buckle and leaf ornament. Pen and ink, with Indian-ink wash ; 5f x IJ in. (d) A Band of Oenament, perhaps for a belt. Pen and iuk, with Indian-ink wash ; | x IJ in. (e) Tip of Belt, with silver ornament. Pen aud ink, with Indian-ink wash ; IJ x 1 J in. (/) A Band op Oenament, perhaps for a belt. Pen and ink, with Indian-ink wash ; J X 1 J in. (3) SwoED Belt, with buckle and leaf ornament. Pen and ink, with Indian- ink wash ; 5J x IJ in. (Ji) Buckle op Belt in gold. Pen and ink, with Indian-ink and yellow ochre wash; If x If in. (i) Buckle and Tip op Belt in gold. Pen and ink, with Indian-ink and yellow ochre wash ; 3f x If in. (7c) Clasp of Belt in gold. Pen and ink, with Indian-ink and yellow ochre wash ; 1 J x 3J in. (a) (h) (c) (d) (e) (/), reproduced by His, Plate xxxn. 22. Six on one mount, roy., viz. : — (a) Two Cupids, foe a Sundial. Two draped Cupids standing back to back and holding little rods by which the shadows would be marked on the dial. Perhaps an alternative design for the dial in No. 17. Peu and ink, with Indian-ink wash ; 8J x 2f in, (?)) Teeminal Figubes op Satyeb. Two satyrs supporting a pedestal. Pen and ink, witti Indian-ink wash ; 3 x 1 J in. (c) A Nude Woman seated on a Globe. Pen and ink, with Indian-ink wash ; 3 x If in. (d) Paet of the Foot op a Vase, with chased ornament. Pen and ink, with Indian-ink wash ; IJ x IJ in. (e) A Nude Woman, kneeling with her back against a globe. Pen and ink, with Indian-ink wash ; 2 x If in. CO Stem of a Goblet. Decorated with female terminal flgures and pendant pearls. ^ Pen and ink, with Indian-ink wash ; 44 x 5 in. Eeproduced by His, Plate XLvi. 28. Nine on one raount, roy., viz. : — (a) Grotesque Figuee. A winged female flgure with a washing brush in her hand. ° Peu and ink ; If x IJ in. Hans Holbein. 333 (&) Geotesque Figuee. Similar to the last, but holding a mirror. Pen and ink ; If x 1 in. (c) Grotesque Figuee. Similar to the last two, but holding a comb. Pen and ink; If x 1| in. (d) Geotesqub Figuee. A winged warrior with club and buckler. Pen and ink, with Indian-ink wash ; IJ x IJ in. (e) Geotesque Figuee. A winged warrior with a mace. Pen and ink and Indian-ink waah ; IJ x IJ in. (f) Geotesque Figuee. A winged warrior, with the jawbone of an aas. Peu and ink, with Indian-ink wash ; IJ x IJ in. (g) Geotesque Figuee. A Eoman warrior grasping with his hanels the rim of the dish or salt-cellar behind him. Pen and ink, with Inilian-ink wash ; IJ x 2J in. (h) Geotesque Figuee. Similar to the last. Pen and ink, -with Indian-ink wash; If x 2J in. (i) Geotesqub Figuee. Similar to the last two. Pen and ink, with Indian-ink wash ; If x 2| in. The flrst three of these designs were doubtless intended to ornament some toUet box or vase ; the rest, making two sets of three each, were probably for dishes or salt-cellars. 24. Five on one mount, roy., viz. : — (a) A Eam's Head. Pen and ink, -with Indian-ink wash ; 1 J x | in. (b) Design foe a Badge : a chained -white Hind. A white hind couchant on the top of a pillar, ducally gorged and chained. Pen and ink; If x IJin. The white hind or white hart was a badge used by Eichard IL, who took it from his mother, the Fair Maid of Kent. It may have been still used in Henry VIH.'s time by her descendants. (c) Sketches poe Heealdio Devices. A cock, a strawberry, and a spread- eagle with a strawberry in its mouth. Pen and ink ; If x 2 in. (d) A -WINGED Stag. A winged stag with long branching horns lying do-wn. Pen and ink, -with Indian-ink wash ; 2f x 8J in. (e) A Goat. A goat lying down : with three separate studies of the head. Pen and ink, with Indian-ink wash ; 8J X 4J in. 25, Seven on one mount, roy., viz. : — (a) Design foe small Pendant. Two pearls pendant from a foliated ornament. Pen and ink, with Indian-ink wash ; f X f in. (6) Pansies in a Hanging Bowl. This seems to be a study of actual flowers rather than a design for ornament. Pen and ink ; 2j x 2J in. (o) PoETABLE SuNDiAL AND Calbndae. A small Cylinder marked with the signs of the zodiac, and indicating the days of the month and the hours by the shadow of the upper rim: with a ring at the top by which to suspend it. Pen and ink; 3| X IJ in. (d) Design of Flowbbs fob an Oenament. A bunch of roses and carnations within a circle on a flat surface, to be wrought in metal in relief, with space for an irregularly-shaped pearl in the middle. Pen and ink, with Indian-ink wash ; IJ x 1 J in. 334 Drawings of the British School. (e) Design poe a Cuetain Tassel. Pen and ink, with Indian-ink wash ; 6J X If in. (/) Jewelled Oenaments foe a Debss, Five ornaments, each composed of a pair of large pearls set in foliated scroll work ; on a black ground. Peu and ink, with Indian-ink wash ; 3} X 2J in. (g) Design foe a Cuetain Tassel. Pen and ink, -with Indian-ink wash ; 3J x 2| in. (e) (e) (f) (g) reproduced by His, Plate XLin. 26. Five on one mount, roy., viz. : — (a) Design fob a Pendant. A pendant of enamelled gold in the shape of a rounded lozenge hanging by a chain ; in the centre an oval ruby ; at each corner a table-cut stone, and pearls in pairs between these ; below, a pearl drop. Pen and ink, with Indian-ink and colour wash and lights in white; 4f X 2J in. (6) Design fob a Pendant. A lozenge-shaped pendant of enamelled gold hung by a ribbon ; a table-out stone in the centre, and four others at the angles with four pairs of pearls between thera, and a pearl drop below. Pen and ink, with Indian ink, a yeUow ochre wash and lights in white ; 5| X 2f in. (c) Design foe a Pendant. A round pendant with pearl drop, composed of a cross of flve table-cut stones on a setting of gold-leaf ornament within a circle of twelve pearls and four stones. The stones are placed oppoaite the angles of the cross. Pen and ink, with Indian-ink and yellow ochre wash, aud lights in white ; 8f X 2J in. (d) Design foe a Pendant. A lozenge-shaped gold pendant hanging by a chain; table-out stones at the angles with single pearls between and a fifth stone in the centre ; below, a pearl drop. Pen and ink, with Indian-ink and yellow ochre wash, and lights iu white ; 4 J X 2 J in. (e) A lozenge-shaped pendant of enamelled gold hanging by a ribbon; table-cut atones at the anglea with three pearls set in triangular pattern between, and a fifth stone in the centre ; below, a pearl drop. Pen and ink, with Indian-ink and yellow ochre wash, and lights in white ; 4J X 2J in. Eeproduced by Hia, Plate xlii. 27. Six on one mount, roy., -viz. : — (a) Design foe a Pendant Ceosb. A cross of chased metal work, with pearls at the intersection of the arms ; suspended by a ring. Pen and ink ; 2f x 2 in. (6) Design poe a Pendant. A heart-shaped pendant of gold, with two doves billing on a green bough in enamel, and the motto tvetvevm conooedia ; below, three pearls. Water colours ; 2 J x 1 § in. (c) Design foe a Pendant. A heart-shaped sapphire, framed in gold and enamel ; below, three pearls. Waters colours and gold ; 2J x If in. (d) Design foe a Pendant. A round pendant of enamelled gold, set with four emeralds ; below, a pearl. Pen and ink, with ludian-ink and water-colour wash ; 3| x 2 J in. (e) Design for a Pendant. A pendant formed in a monogram of the letters E and E in gold, with two rubies, an emerald and a garnet at the four corners ; hung by a ribbon above, and with three pearla below. flaws Holbein. 335 Pen and ink, with water-colour wash ; roy., 3i x If in. A similar jewel, formed of the sacred monogram, is worn by Jane Seymour in her portrait by Holbein at Vienna. (f) Design foe a Pendant. A monogram of the letters H and I (probably for Henry and Jane Seymour), with an emerald iu the centre and three pearls below. Pen and ink, with slight water-colour wash ; 2J x 1 J in. Eeproduoed by His, Plate xliii. 28. Twelve on one mount, roy., viz. : — (a) Design foe a Je-wel. The bust of «¦ woman holding between her hands a large atone ; below, three pearls. Inscribed on the space left for the stone Well Laydi Well, apparently by another hand. Pen and ink and Indian-ink wash ; 2f x If in. (6) Design foe a Pendant. A pendant formed of two large stones, one above the other, set in gold work, and with three pearls below. Pen and ink ; 2J x li in. (c) Design foe a Pendant. A pendant like the preceding, but with gold work of a different pattern. Pen and ink ; 2 x IJ in. (d) Design for a Pendant. A jewel of open gold work with ribbon ornament ; a diamond iu the centre, surrounded by six pearls ; a pearl below. Peu and ink, with Indian-ink wash ; 1 J x If iu. (e) Design fob a Pendant. Open gold work with leaf ornament ; a diamond in the centre surrounded by three diamonds and three pearls alternating ; a pearl below. Pen and ink, -with IniUan-ink wash ; 2J x If in. (f) Design fob a Pendant. Open gold work with leaf ornament in the shape of a lyre ; at the top a grotesque head above two scrolls, inscribed qvam ACOiPEEB DAEE MVLTO BBATivs ; iu the Centre a diamond ; below a pearl. Pen and ink, -with Indian-ink wash ; 2| x If in. (g) Design foe a Pendant. Jewel formed by a Siren holding two stones in her arms and two horns of plenty, with three stones ; below a pearl. Pen and ink, with IneUan-ink wash ; 2§ x If in. (h) Design fob a Pendant. A lozenge-shaped jewel of intertwined ribbon ornament ; in the centre a table-cut stone ; stones at each angle and single pearls between ; below, a pearl drop. Pen and ink, -with Indian-ink and yeUow ochre wash ; 2J x If in. (i) Design fob a Jewel. A jewel of leaf and ribbon ornament, with four stones and three pearls above, and a pearl below. Pen and ink, -with IneUan-ink wash ; 2| X If in. (]c) Design foe a Pendant. A jewel of ribbon ornament enlacing three pearls and three stones, with a pearl below. Pen and ink, with Iniiian-ink wash ; 2J x IJ in. (Z) Design fob a Pendant. Three pearls and four atones set in gold leaf- work enlaced with ribbon, with a winged terminal figure at the top and a pearl below. Pen and ink, -with Indian-ink wash; 2f x If in. (m) Design foe a Pendant. Scroll work enclosing four atones within five pearls, with a pearl below. Pen and ink, with Indian-ink wash ; 2J x 2 in. Eeproduced by His, Plate XLi. 29. Eleven on one mount, roy., viz. : — (a) Design foe the Seal op Chaeles Beandon, Duke of Suffolk. A hon's head, erased and ducally crowned, within the Garter, bearing its motto. 336 Drawings of ihe British School. HONY SOYT Q-vi MAL Y PENSE ; outside this a circular band inscribed, CAROLVS DVX SVFFYCIE PRO HONOEE SVO EIOHEMOND. (The paper CUt into an octagon close rouud the design.) Pen and ink, with Indian-ink wash ; IJ X 1 J in. (t) Design fob a Device. A hand issuing from a cloud and resting on a book which lies on a rock; below, the motto seevae voglio qvbl ohb ho eviEATO : in a circle, round which the paper is cut into an octagon. Pen and ink, with Indian-ink wash ; 2J x 2J in. (c) A Vaeiation op the Pebceding Design. The hand comes down in the centre instead of at the r., and the motto is on a smaller scale. Pen and ink, with bistre wash ; circle, 2J in. diam. (d) Shield with Holbein's Aems. Holbein's arms ; a bull's head, sable, with a ring in its mouth and a mullet of six points between the horns. Indian ink and pen, with blue background ; J x J in. (e) Holbein's Coat op Aems. A shield with the arms just described, sur rounded with mantles and surmounted by a helmet bearing boms with a mullet of six points between them. ludiau ink and pen, touched with gold, on blue background; circle. If in. diam. (f) SfflBLD WITH Holbein's Aems. A variation oi(d). Pen and ink ; circle, f in. diam. (g) Design foe a Medallion. A boy lying under a fountain, which jets ita wafer over him. Pen and ink and Indian-ink wash ; circle, 2J in. diam. (fi) Design foe a Medallion. A woraan lying in fiaraes while her father and mother lament over her. With a stone in the centre. Pen and ink, with Indian-ink wash touched with yellow; 2J x 1| in. (i) A Device. A round composition, composed of two boms of plenty, two dolphins and a pair of compasses, round the legs of which two serpents twine ; on a scroll the motto pevdentement et pae compas incontinent viendras. Pen and ink, with Indian-ink wash ; circle, 2 iu. diam. (7c) Design foe a Medallion. In the centre the Annunciation, slightly sketched, with the legend oeigo mvndi melioeis round it, and a broad border of daisies, of which only one side is drawn in. Pen and ink, the liaisies washed with water colours ; circle, 2f in. diam. (I) Design foe a Medallion. In the centre the Trinity, lightly sketched, encircled by the legend teinitatis gloria stabilimve, and with a broad border of roses, of which only half is drawn in. Pen and ink, the r- ses washed with water colours ; circle, 2J iu. diam. Eeproduced by His, Plate XL. 30. Ten on one mount, roy., viz. : — (a) Design for a Beoooh. Three diamonds enwreathed by a scroll, inscribed mi ladi peinsis. Pen and ink, with Indian-ink wash ; J x 2| in. (6) Design foe a Beoooh. Three diamonds and three pearls enwreathed by a scroll, inscribed with the same motto as the preceding. Pen and ink, with Indian-ink wash; IJ x 2J in. (c) Design foe a Beoooh. A metal brooch formed of eight ostrich feathers laid in pairs, side by side, with a pearl in the centre and ribbons at the ends. Pen and ink; 1 x If in. (d) Design foe an Oenament. An oblong shield with scroll above ; both blank. Pen and ink ; 1 x If in. Hans Holbein. 337 (e) Designs fob Book Clasps. Four designs for book clasps. Pen and ink ; 2 x 2 in. (/) Pattern foe Enamel Decoeation. A segment of a circular border. Pen anil ink and Indian-ink wash ; 1 X If in. (g) Pattben fob Enamel Decoeation. A segment of a circular border. Pen and ink ; J X 1 J in. (/*) Design fob Beacelet oe Chain Collae. Four links of enamelled metal with Eenaissance ornament. Pen and ink, with Indian-ink wash ; 1 x 5| in. (t) Design poe Beacelet oe Chain Collae. Two links of enamelled metal and arabesques. Pen and ink, with Indian-ink wash ; J x 3 in. (k) Design poe Beacelet oe Chain Collar. Three links of foliated ornament in relief. Pen and ink, with Indian ink ; J X 4f iu. Eeproduced by His, Plate xxxiv. 31. Four on one mount, roy., viz. : — • (a) Design foe a Book Binding. A prayer book, with binding decorated in enamel aud metal work containing the initials T.w.i. and i.w.T., and with a ring at the top, for hanging to a girdle. Pen and ink, with Indian ink and yellow ochre wash ; 3J x 2f in. (6) Design fob a Book Binding. A binding of the same character as the last, with the initials T.w. in the centre ; above, T.w. repeated, and below, w.t. Pen and ink, with Indian ink and yellow ochre wash ; SJ x 2| in. (o) Design fob a Jewel Casket. A casket decorated with arabesques on enamel and with ornamented pillars at the sides ; in the centre a round space left blank. Pen and ink, with Indian ink and yellow ochre wash ; 4J x 8J in. (d) Design poe a Jewel Casket. An exacUy similar design to the preceding, but ha-ving the round space filled with an arabesque. Pen ami ink, with Indian iuk and yellow ochre wash ; 4J x 3J in. Eeproduced by His, Plate xliv. 32. Six on one mount, roy., viz. : — (a) Design foe Enamelled Disk. A disk with arabesques on enamel. Pen and ink ; circle, 1 f in. diam. (6) Design foe Enamelled Disk. A disk with arabesques on enamel. Pen and ink ; circle, If in. diam. ^c) Design foe Enamelled Disk. A disk ornamented with six fish arranged as rays. Pen and ink ; circle, 1 in diam. e'd) Design poe Enamel. A disk with arabesques on enamel, surrounding a shielel. Pen and ink, with Indian-ink wash ; circle, 8 J m. diam. (e) Design foe Enamelled Disk. A disk with enamel arabesques. Pen and ink, with Indian-ink wash ; circle, 1| in. diam. (/) Design foe Enamel. A disk with enamel pattern, only partly indicated. Pen and ink ; circle. If in. diam. Eeproduced by His, Plate xxxvi. 33. Eight on one mount, roy., -viz. : — (a) Panel op Oenament. A panel of arabesque, white on black ground. . Peu and ink; 2 X If in. VOL. II. 338 Drawings of the British School. (b) Panel op Oenament. Arabesques, white on black. Pen and ink ; 2 x If iu. (c) Panel of Oenament. Arabesques, white on black. Pen and ink ; J x IJ in. (d) Panel of Oenament. Arabesques, white on black. Pen and ink ; J x 2| in. (e) Panel op Ornament. Arabesques, white on black. Pen and ink; IJ x If in. (/) Half of a Panel of Ornament. The upper part of a panel of ornament in white on black, surroundeil by a border in black on white, with D at the r. corner and a letter cut in half (e or b) on the 1. side. In the centre a monogram iu a circle, formed of the letters l.m.a.e.y.w. Pen and ink ; 2J x 3 in. (g) Panel of Oenament. Designed in oriental style, white on black. Pen aud ink, with Indian-ink waah ; 2J x 2f in. (li) Panel of Oenament. Arabesques, white on black. Pen and ink; IJ X If in. Eeproduced by His, Plate xxxviii. 84. Sixteen on one mount, roy., viz. ;— (a) Bobdee Oenament. Fragment of a border of leaf ornament. Peu and ink and Indian-ink wash ; f x f iu. (6) Boeder Ornament. Fragment of a border of leaf ornament. Pen aud ink, with Indian-ink wash ; J x f in. (c) Boeder Ornament. Fragment of a border of leaf ornament. Pen aud ink, with Indian-ink wash ; J x J in. (d) Design fob a Boeder. Segment of circular border of arabesques iu black on white. Peu and ink ; f X 8J in. (e) Boeder Oenament. Fragment of a border of leaf ornament. Pen and ink, with Indian-ink wash ; f X f iu. (/) Design foe a Boedbe. Segment of circular border of arabesques in white on black. Pen and ink ; J x 3 in. (g) Design foe Boeder. Segment of circular border of arabesques in white on black. Pen and ink ; f x 3f in. (h) Design foe Border. Semicircle ; white ornament on black. Pen and ink, with Indian-ink wash ; J x 2J in. (i) Feagment of Boedbe. Ornament to be executed in relief Pen and ink ; f x If in. (7c) Design foe Border. Segment of circular border, with arabesques in black on white. ^ Pen aud ink ; IJ x 3f in. (I) Design FOB Boedbe. Segment of circular border with Eenaissance desie^n m white on black. ° Peu and ink, with Indian-ink wash ; 1 x 3f in. (m) Details of Enamel Oenament. Perhaps for the flnger-plate of a lock Pen and mk ; IJ x If in. = r- (n) Detail of Enamel Oenament, of the same character aa the last. Pen and ink ; f x 2 in. Hans Holbein. 339 (o) Design foe Enamel Oenament. Arabesques, black on white, in the segment of a circle. Pen and ink ; 2 J x 8f in. (p) Design foe Boeder. A semicircular border of rose aud oak leaf design, white on black. Pen and ink; J X If in. (2) Design foe Border. Segment of a disk, with Eenaissance border, white ou black. Pen and ink, with Indian-ink wash ; 2J x 4J in. Eeproduced by His, Plate xsxvu. 35. Thirteen on one mount, roy., viz. : — (a) Design for a Bracelet oe Collae. Of rich Eenaissance ornament, set with alternate liiamonds and pearls. Pen and ink, with Indian-ink wash ; 8| x 1 in. (b) Detail op Oenament. To be executed in relief. Pen and ink ; J x 1 in. (c) Design fob Medallion. With standing flgure of St. John the Baptist. Pen and bistre and water colours ; circle, 2 iu. diam. (d) Design foe BIedallion. Time extricating Truth from fhe rock._ Inscribed round the edge, nihil est tectvm qvod no sit eetegendv et nihil occvLTv qvod no bevelabitve. Pen and ink, with Iniiian-ink wash ; circle, 2 in. diam. (e) Design foe Medallion. Lot and his daughters led by an angel from Sodom, and his wife turned into salt. A stone iu the centre. Inscribed Lot Gen. 19. Pen and ink, with Indian-ink wash ; 2 x 2 in. (/) Design foe a Chain. On a black ground. Pen and ink, with Indian-ink wash ; 2f x J in. (g) Aeabesques. Arabesques in white on black. Pen and ink ; 2| x f in. (h) Design foe a Collae. Eenaissance ornament with nymphs and satyrs, set with alternate diamonds and pearls. Pen aud ink, with sepia and Indian-ink wash ; 2J x | in. (i) Design fob Oenament. Perhapa for a needle-oaae. Pen and iuk ; 1 J x | in. (7c) Detail of Ornament. For part of a chain. Pen and ink, with Indian-ink waah ; 1 J X | in. (I) Detail of Oenament. Daisiea, white on black. Pen and ink ; 1 J X f in. (m) Design fob Eing. A signet ring with a demi wolf rampant, bearing an olive branch, on the seal ; on the ring itself w and p. Pen and ink, with Indian-ink wash ; f X 2J in. (n) Design fob Eing. A signet ring with a ram engraved on the seal ; on a separate strip of paper the raotto, to be engraved on the inside of the ring, AECANVM CELA. Pen and ink ; f X 2 J in. and J X 2 m. All except (c) (d) and (e) reproduced by His, Plate xxxv. 86. Twelve on one mount, roy., viz. : — (a) Detail of Ornament. . , , , , ^ , 7 - Pen aud ink, with Indian ink and water-colour wash ; J x J in. z 2 340 Drawings of the British School. (&) Detail of Oenament. ^ b ^ 7 ;„ Pen and ink, with Indian ink and water-colour wash ; f X J in. (c) Design poe Enamel Oenament. Semicircle, with white arabesques on black. Pen and ink ; f X 1 J in. (d) Detail of Oenament. , ,, i • Pen and ink, with Indian ink and water-colour wash ; f x 1 m. (e) Detail op Oenament. Pen and ink ; | X 1 in. (/) Design por Eotg. Ornamented as a laurel wreath, enlaced with the garter. Pen and bistre, with yellow and blue wash ; J x 3 in. (g) Design fob Eing. In the shape of a garter, wreathed. _ Pen and bistre, with yellow and blue waah ; | X 8 m. (h) Design for Eing. A band of chain pattern wreathed with the garter. Pen and bistre, with yellow and blue wash ; | x 3 in. (i) Design for Enamel. Arabesques in white on red and blue. Pen and ink, with Indian ink, red and blue wash ; | x 2 m. (7c) Design foe Enamel. Arabesques in white on blue. Pen and ink, with Indian ink and blue wash ; f X 2J in. (I) Design foe Enamel. Arabesques in white on blue and red. Pen and ink, with Indian ink, blue and red wash ; f X 2| in. (m) Design fob Enamel. Arabesques in white on blue and black. Pen and ink, with Indian ink and blue wash ; J X 2J in. 37. Sixteen on one mount, roy., viz. : — (a) Design foe Jewel. An oval pearl with setting of ornament. Pen and ink, with Indian-ink wash ; J in. diam. (b) Design foe Jewel, An oval pearl with setting. Pen and ink, with Indian-ink wash ; J in. diam. (c) Design foe Jewel, A round pearl with setting. Pen and ink, with Indian-iuk wash ; 1 in. diam. (d) A small oblong Shield. Pen and ink and yellow ochre wash ; f x 1 in. (e) Design foe Je-wel. A table-cut atone with setting. Pen and ink, with Indian-ink wash ; J in. diam. (/) Design foe Jewel. A table-cut atone with aetting. Pen and ink, with Indian-ink wash ; J in. diam. (g) Design for a Beooch. An oval-ahaped ornament for the setting of precious stones. Pen and ink, with yellow ochre and Indian-ink wash ; 2J x 1| in. (7s) Design foe Beoooh. Half of a circular ornament, for the setting of precious stones. Pen and ink, with yellow ochre and Indian-ink wash ; 1 x If in. (i) Design fob Jewel. Half of the setting of a stone. Pen and ink, with Indian-ink wash ; f x If in. (7c) Design foe Jewel. A pearl with setting. Pen and ink, with Indian-ink wash ; 1 x 1 J in. (I) Designs poe Two Jewels. Two halves of settings for stones. Pen and ink, with Indian-ink wash ; (each) f X If in. Hans Holbein. 341 (m) Designs for Two Jewels. Two halves of settings for stones. Pen and ink, with Indian-ink wash ; (eaoh) J x If in. (») Design foe Beooch. The letter b -with a stone on each arm of the letter. Pen and ink, with Indian-ink wash ; IJ x If in. (o) Design for Brooch. A stone set in delicate leaf work. Pen and ink; with Indian-ink wash ; 1 J x IJ in. (p) Design for Enamel Ornament. Arabesques in white on black within a circle. Pen and ink ; J x J in. (g) Design foe Jewel. An oval pearl with setting. Pen and ink ; J X 1 in. Eeproduced by His, Plate xxxiii. 38. Eighteen on one mount, roy., viz. : — (a) Monogram of the letters a.b.c.b. Pen and ink ; J x 1 J in. (b) Monogeam of the lettera h.i.s.a. Pen and ink and bistre wash ; 1 X 1 in. (c) Monogeam of the same letters as (a). Pen and ink ; J x IJ in. (d) Monogeam of the same letters as (a) and (c). Pen and ink ; | x 1 in. (e) Monogeam of the letters t.h.e.o.s.i.b.l.a. Pen and ink; circle. If in. diam. (/) Monogram of the letters e.n.l.r.a.o.d. Pen and ink ; f x IJ in. (g) Monogram of the letters a.t.l.h.b.n.e.s.i.g.k. Pen and ink, -with Indian-ink wash ; J x 1 J in. (h) Monogeam of the letters m.t.h.p.n.e.a.d.o.o.v. Pen and ink ; If x If in. (f) Monogeam of the letters l.n.h.o. j.n.a.g. Pen and ink, with Indian-ink wash ; J x IJ in. (k) Monogeam of the letters c.t.p.n.a.b.s.o. Pen and ink ; J x If in. (I) Pendant in Form op Monogeam. The letters e.e. united by a cord looped round a stone iu the centre and with three hanging pearls below. Pen and iuk; 2| x If in. The pearls are added in a different ink, perhapa by a different hand. (m) Monogeam of the lettera e.s.h.n.k,p. Pen and ink ; J X 1 J in. (n) Monogram of the letters h.n.a.v.g.r.s.xd., ornamented with flve stones, one in the centre and one at each corner. (o) Pendant in Form of Monogeam. An oval-shaped pendant formed of the letters a.v.e.n.t.e.k.o.i.s., enlaced with ornament set with ten stones. Pen and ink ; 2| x 2f in. (p) Design for a Small Shield. Inscribed with monogram of the letters a,h., enlaced by a cord ; with a drawing of the shield as seen edgewise. Pen and ink ; IJ X 1 J in. (q) Monogram ofthe letters A,H,N.i.i.e)i Pen and ink ; 1 X IJ in. 342 Drawings of the British School. (r) Pendant in Foem of Monogeam. The letters a.h., with a large table-cut stone in the centre. . Pen and ink, with Indian ink and yellow ochre wash ; 2 X IJ in. (s) Monogeam of the letters t.w.e.s. Pen and ink ; f x IJ in. (g)-(n) reproiiuced by His, Plate xxxix. Nob. 20-88 were bequeathed by Sir Hans Sloane, Bart., 1753. 89. Design fob Daggee. A dagger, the hilt of which is ornamented with trophies, the sheath with a triumph of Bellona, riding in a chariot with three horses and preceded by warriors fighting. Pen and ink, with yellow ochre and Indian-ink wash ; roy., 13f X 3 in. This design is on two pieces of paper joined together, the hilt on one, the sheath on tiie other. The two parts are obviously by different hands. The sheath is by Holbein ; the hUt, in all probability, by Peter Flotner of Nurem berg. Purchased November, 1848. Formerly in the Beckford collection. Attributed to Holbein. Two on one mount, roy., viz. : — (a) Design poe Daggee Sheath. With Eenaissance ornament. Pen and bistre, with Indian-ink wash ; 9 X 2i in. Eeproduced by His, Plate xxxv. This seems to be certainly not by Holbein's hand, and at most a drawing of a sheath designed by him. Bequeathed by Sir Hans Sloane, Bart., 1758. (b) Heney VIII. Giving Audience. A room, at the end of which the king sits alone at a table laid for a meal, with a canopy over his head. Courtiers are grouped 1. and r. ; a man brings a letter 1., another brings a dish r. from a sideboard. Inscribed Holbein invent. Pen and sepia, with ludian-ink wash; 3J X 4| in. Not by Holbein, but possibly after a eirawing by him. Purchased June, 1854. After Holbein. The Teiumph of Eicheb. The chariot of Plutua, drawn towards the 1. by four horses and attended by famous men of ;wealth. The god old, bowed, aud bald, sits on a high seat with his feet on a sack of gold; on the forepart of the car sits Fortune scattering coin, and in front of her the charioteer ' holds the reins, labelled Notitia and Voluntas. The two off horses are ridden by Libera- litas and Mqualitas, the near ones led by Bona Firies and another figure (Justitia) ; attending the car are Simonides, Sichseus, Pythius, Crispiuus, Leo Byzantinus, Themistocles, Narcissus, and others ; Blidas, Croesus, and Cleo patra, all on horses, bring up the rear, while Nemesis hovers threatening above them. Pen and ink, with Indian-ink wash ; imp., 9f X 28J in. About 1532, Holbein painted for the Hanse merchants of the Steelyard two allegorical compositions. The Triumph of Poverty and The Triumph of Eiches. The paintings have themselves perished, but the compositions are preserved in several drawings, among which are this and the following. A similar drawing of the ' Eiches ' is in the Louvre, and is attributed to Holbein's own hand. The drawing just described was formerly attributed to Holbein ; it is said by Woltmann to be a tracing of the Louvre example, but it has no appearance of being traced, and is certainly a copy, perhaps by an Italian. The heads and attitudea are given a Eaphaelesque air, strikingly different from the ^ His name is Eatio, according to the copy by Jan de Bisschop, which also gives the leader of the fourth horse as Justitia. In the present drawing the titles have got confused iu several e-ases. Hans Holbein. — Thomas Holden. 843 Flemish style of the following copy of the ' Poverty,' which is probably by Vorster- man, who engraved a print of the 'Poverty.' Other aud larger copies of both paintings are also in the department; they are by Jan de Bisschop, and the ' Eiches ' shows several minor differences and some additions ; FMleas and Leo Pisanus are introduced, their heads appearing before and behind the charioteer, besides Heliogabalus and some unnamed persons ; there is a parrot on the treo in the background, and the tree is much larger and more finished. All goes to prove that the Louvre drawing and the copy just described represent a study for the painting, while the Bisschop and Vorsterman drawings were from the paintings, or copies of the paintings, and represent the final designs. Purchased June, 1854. The Triumph op Poverty. The procession, as in the last, moves from r. to 1. Poverty, an old woman, is drawn along in a waggon by two asses and two oxen ; a canopy of poles and straw is over her head bearing the Greek title IIENIA ; iu front of her sit Usus, Memoria, and Industria ; behind. Infortunium, beating with a rod the heads of the crowd which follows. Spes drives the waggon, and the team is led by Moderatio, Solicitudo, Diligentia, and Labor. The aises are named Stupiditas and Ignavia, the oxen Negligentia and Pigritia. A throng of workmen foUow, and among them an old man, Mendicitas, and an old woman, Miseria. On a tablet hung to a bough of a tree at the 1. are Latin lines ascribed to Sir Thomas More : Mortalium jueunditas volucris et pendula Movetur instar turbinis quern nix agit sedula, ete. (The lines are quoted iu full in Woi-num, 'Holbein,' p. 265.) Black and red chalks and pen washed with Indian ink, and heightened with white on a blue background; atl., 17i X 23 in. This drawing ia probably by Lucas Vorsterman the Younger, who engraved the subject. If so, it waa not made after the original painting, but from a copy made by Zuccaro in 1574. Walpole ascribed this drawing to Zuccaro himself, but the style is decidedly Flemish. Two other copies of the ' Triumph of Poverty ' are in the department, one by Matthaus Merian the Younger, the other by Jan de Bisschop. Purchased July, 1894. Formerly in the Lely and Horace Walpole coUectiona. A copy of the ' Eichea,' made in the same style, was sold at the same sale. Both belonged to Walpole. School of Holbein. The Descent of the Holy Ghost at Pentecost. The Holy Ghost descending through clouds in the form of a dove on the twelve apostles, who stand grouped round the seated Virgin, in a building of Eenaissance architecture. From the arched top hang garlands held at the sides by cherubs, with a tablet between, bearing the date 1533. Pen and ink, with Indian-ink wash ; 13f x 7| in. This drawing is catalogued by Woltmann as by Holbein, but belongs only to his school. It seems to be by the same hand as a drawing in the Dresden Cabinet, now ascribed to Christoph Amberger, bnt formerly called Holbein, and reproduced by Woermann (HI., 6). Purchased June, 1860. Formerly in the Lely and Lawrence coUections. HOLDEN, Thomas (worked about 1748), Architect; apparently only known by the Ironmongers' Hall, built from his designs in 1748. 1. Ieonmongees' Hall, Fenchueoh Steeet. Front elevation of the haU. Signed, T. Eolden Archt. The name is also on the actual facade. Indian-ink wash and pen ; 7J X 8f in. Engraved for the Gentleman's Magazine, November, 1750. Inserted in Vol. XIL (No. 221) of the interleaved Pennant's 'London,' bequeathed by J. C. Crowle, Esq , 1811. 344 Drawings of the British School. HOLLAND, James (b. 1800, d. 1870). Painter; born at Barslem ; son of a potter; started in London as a flower painter 1819, but soon became known by his landscapes ; elected Associate of the Water Colour Society 1835, Member 1857, rejoining it after a resignation and long absence ; Member of the Society of British Artists 1843-48 ; worked both in oils and water colours in France, Switzerland, Italy and Portugal, as well as in various parts of England ; best known by his richly coloured Venetian subjects. 1. Venice. The corner of a piazza. A tall house over a shop at the r., and a wall with a fresco of the Entombment at the 1., framing a vista of canal and buildings, above which rise two campanili and the dome of the Salute, radiant under the blue sky ; in the foreground, groups of market women with flowers and vege tables, and gondoliers by the frescoed wall. Water colours and boiiy colours ; roy., 16J x 9| in. Purchased October, 1886. This does not seem to be an actual view in Venice, but one of Holland's variations on Venetian themes. HOLLAR, Wenceslaus (b. 1607, d. 1677). Engraver and draughtsman; born at Prague ; pupil of Matthew Merian ; worked at Frankfort, Cologne and Antwerp; brought to England 1635 by Lord Arundel ; published works on the Female Costume of England 1640, and of Europe 1643; fought for the Royalists, and was taken prisoner, but escaped; worked at Antwerp 1645-1652, when he returned to England and engraved for the booksellers ; appointed designer to the king by Charles II., whose coronation he drew and engraved ; sent by the government 1669 to Tangier, where he worked for a year ; died in poverty ; produced a vast number of prints, including topography, portraits, costume and historical subjects. 1. Two on one mount, roy., viz. :— (a) Poeteait of Philip, 4th Eael of Pembeoke; after Vandyck. Bust turned r. in three-quarter face, looking full. Signed W. Hollar delin, A Van Dyck Pinx. Indian-ink wash and pen ; oval, 3 x 2J in. Another portrait of Lord Pembroke (b. 1584, d. 1650) is describe d among the drawings by G. P. Harding, No. 13 (p. 262) ; it is also afler Vandyck, but from a different picture. (6) PoETEArr OF William Oughteed. Head and shoulders, turned 1., almost in proflle, and looking 1., wearing skull cap. Inscribed Mr. Oughtred and signed Hollar delin. Pencil ; 2f X 2f in. A portrait of Oughtred was engraved by Hollar as frontispiece to his Clavis Mathematicse, but iliffers frora this ; it is a half-length, full fai-e. William Oughtred (b. 1575, d. 1660) was one of the most distinguished matiiematicians of his time; he was rector of Albury near Guildford, where he lived most of his life ; was for some tirae tutor lo the son of Lord Arundel; publiahed Clavis Mathematics, 1631. Bequeathed by the Eev. C. M. Cracherode, 1799. 2. Poeteait op a middle-aged Lady. To the waist, in an oval, turned 1., the face in three-quarters, eyea looking full; wearing a small cap on the back of tho head, and a broad linen collar over the shoulders. Pen aud iuk on vellum ; roy., 2J x 2f in. Purchased November, 1863. Wenceslaus Hollar. 345 3. Study op Female Costume. Whole-length flgure of a woman in a long gown, and large veil. Pen and sepia, with sepia wash ; roy,, 10 X 6f in. 4. Study op Female Costume. Whole-length flgure of a woman dressed in black and with a large black hat, walking towards the r. Oil sketch on paper ; roy., 7J X 4| in. 5. Study op Female Costume. A woman dressed in black and with a black veil, walking towards the r. OU sketch on paper ; roy., 7| X 4J in. 6. A Lady's Muff. A muff of fur and brocade. Indian ink and body colour; roy., 2f x 8f in. Engraved by the artist, with the date 1647 (Parthey, No. 1946). Nos. 3-6 were bequeathed by Sir Hans Sloane, Bart., 1753. 7. Design fob Titlepage to ' Clidamas, oe the Sicilian Tale.' Two ornamental shieliis, one above the other, joined by drooping garlands ; the upper is inscribed Clidamas, or the Sicilian Tale hy J. 8., the lower one London, Printed by Th : Paine, 1639. On the upper shield is a kneeling Cupid holding two wreathed medaUions, one at the 1. with two galleys at sea, the other at the r. with a cavalier and lady meeting. Pen and bistre, and bistre wash ; roy., 4J x 2J in. Engraved by the artist (Parthey, No. 2655). Acquired before 1837. 8. Two on one mount, roy., viz. : — (a) Design fob a Sundial ; and a View of Hampton Couet. A sundial in the shape of a pUe of books with a cylinder above, on which the hours ara shadowed by a flying flgure of Time with his scythe ; at the side, on the books, is a metal arc, also for indicating the hours. Above, a view of Hampton Court from the river, at some liistance off. Inscribed at the top Hampton Court. SUver-point ; 4J X 4J in. (6) A Mastbe and Pupil ; and a Paib of Stocks. A boy reading from a paper which he holds in his hands, while his master, standing I. and holding his glasses to his nose, lays a hand on the pupil's shoulder and looks over. Above, a pair of .stocks -with leg-holes for three offenders, SUver-point; 4J x 4| in. Purchased February, 1850. 9. View of the Towee of London. The Tower seen from the river, on which are several anchored ships, including a man-of-war, flying the St. George's Cross, near the r. foreground ; small boats ply with passengers to and fro, and groups of flo-ures are on the opposite bank, under the fortiflcations ; ou the river ia Thamesis Fluvius, and at the top Den Tower van London. Pen and ink, with light water-colour waah ; roy., 4j x 11| in. A nearer view was engraved by the artist (Parthey, No. 908). 10. View of Whitehall. View of Whitehall and the houses and palaces bordering the river, which fllla the foreground ; at the 1. a grassy foreshore with bushes ; on the water a number of rowing boats. Inscribed on the river Thamesis fiiivius, and at the top White Hall Palatium Begis. Pen and ink, with light water-colour waah ; roy., 3J x llf in. Noa. 10 and 11 were purchaaed August, 1859. 11. View op the Thames at Westminstee. View from the river bank at Lambeth ; at the r. in the foreground are landing staira, with a number of boats moored to them and men and women coming or going bythe ferry ; part of Lambeth House appears on the terrace among trees ; on the river are many small boats and two loaded bargea, and on the other side is a continuous line of houses, with the Abbey and Parliament House 1., Whitehall and other palaces beyond. Signed 346 Drawings of the British School, W. Hollar D'- and inscribed with the names Westminster Abhy, Parlament house, Suffolke house, Lambeth house over against the respective buildings. Pen and ink ; roy., 6 x 15f in. Purchased August, 1882. 12. Eiohmond Palace. View of the palace from the opposite bank of the river (inscribed Thamesis Fluvius) ; a gentleman and two laelies on the near bank, and other flgures on tbe bank in front of the palace. Inscribed above Eiehmond, and signed W. Hollar fecit. Pen and ink and sepia wash ; roy., 3^ x 4J in. Purchased May, 1854. 13. View op Gravesend. View of the Thames, looking up the river from the southern shore, which rises 1. into low hills with bushes above a broad stretch of sands ; a horse and cart on the sands aud a few flgures on the slopes. Inscribed hey Gravei-and in England, and signed and dated W. H. 1623. Pen and ink, with Indian-ink wash ; roy., 2J x 7J in. Hollar is not known to have come to England before 1635. The date on this drawing would presume an earlier visit, if genuine ; hut the character of both date and monogram is too doubtful to admit of any inference being drawn from them. Purchased February, 1850. 14. Qubenboeough Castlb. A view of the castle standing at a little distance in the midst of open meadow, with- the Medway and low hills beyond ; a few groups of men on the road from the foregiound to the castle, and iu the meadows 1. Inscribed Quinborow Castle in Engelland. Pen and ink, slightly washed with water colomrs ; roy., 4J x IOf in. Engraved by the artist (Parthey, No. 948). 15. Staeboeough Castle, Sueeey. A near view of the castle, aurrounded by ita moat ; from the 1. foreground a path leada to the drawbridge across the moat, and on the bridge are two figures. Inse-ribed Starburow in England. Pen and ink, slightly washed with water colom-s ; roy., 4J x lOJ in. The castle has been since destroyed by fire, Nos. 14 and 15 were purchased August, 1859. 16. Paet of the Walls of Peagub. View of the waUs from outside, with a round tower rising r. ; on the outer and lo^er wall is a cluster of wooden houses partly built out from it on supports. Inacribed de borch van de Stadt van Prage. Signed W. Hollar. Pen and ink, with alight sepia wash ; roy., 5| x llj iu. Purchased February, 1850. 17. The Haeboue at Amsterdam. Part of the docks with a man-of-war iu one of the basins ; beyond the outer dyke a crowd of shipping, and iu the distance the flat sliores of the Zuyder Zee. Inscribed Amsterdam. Signed and dated W. H. 1634. Pen and ink, with slight water-colour wash ; roy., 5f x 14| in. 18. Delfshaven. The Maaa, with the village of Delfshaven r., and a few vesaela off the little port ; othera further down the river, and the spire of Schiedam in the distance. Inscribed Delfshaven — Shiedam. Peu and ink, with slight water-colour wash ; roy., 3J x IOf in. Purchased July, 1862. Formerly in the Jonathan Eichardson collection. 19. Two on one mount, roy., viz. : — (a) View of Wesel. View of the walled town from the Ehine which flows along the foreground. Inscribed on the water Blienus fl. and above, in another hand, Wesel. Pen and ink; 3 x 10 in. Engraved with modifications by the artist (Parthey, No. 900). Wenceslaus Hollar. 347 (b) View of a Town on the Lippb. A walled town with two large churches at the r. ; in the foreground flat meadows through which a river, inscribed Lippefl., flows into the broad moat surrounding the town. Inscribed above Lippe. Pen and ink, with slight Indian-ink wash ; 3J x 10 in. Bequeathed by Sir Hans Sloane, Bart., 1753. 20. View at Dijebn. A river bank with trees by the water, and a man with gun and dog ; on the other bank r., part of a castle. Inscribed By Duren. Pen and ink and slight water-colour wash ; roy., 5J X 10 in. Purchased February, 1850. 21. Three on one mount, roy., viz. : — (a) Melaten, neab Cologne. A church and houses, among trees. Inscribed Melaten bey Colin, and dated 1633, Pen and ink ; 2 x 4J in, (b) Kybueg. View of the little town on the steep further bank of the Toss, which is crossed in the foreground by a bridge. Pen and ink ; 8| x 5| in. (c) Geoningkn. View of the town, built on steep slopes, and connected by a amall bridge with the caatle r., which stands on a separate knoll. Inscribed Grvningen. Pen ami ink ; 3J X 5J in. Bequeathed by Sir Hans Sloane, Bart., 1753. 22. View on the Ehine above Andeenach. View looking down the Ehine to Andernach in the distance ; on a, hill-crest at the r. is Eeineck ; at the 1., further off, Hammerstein, also on the top of a hill ; in the foreground a boat sailing down stream with a barge in tow. Inscribed with the names of the places and dated 9 Maij. Pen and ink, with slight water-colour wash ; roy., 4J x lOJ in. 23. View op Bonn. View of the walled town from across the Ehine ; on the near bank in the foreground two figures standing by a boat, and two men, one with a pack, sitting down. Signed W. Hollar and inscribed Bonn and Bhenus fluvius. Pen and mk, with slight water-colour wash ; roy., 4J x lOJ in. 24. Eandeeigh, on the Danube. View looking up the Danube, on which are two large boats ; at the 1., part of a walled town on a wooded hill above the river. Inscribed Eanderigh and Danuhius fluvius. Pen and ink, with slight water-colour wash ; roy., 4J X 9J in. Engraved by the artist (Parthey, No. 777). 25. View of Augsbubg. View of the walled city with its many churches, among which St. Ulrich is prorainent at the 1.; in the foreground the river Lech flowing through meadows. Inscribed Augspurg. Pen and ink, with water-ceilour wash ; roy., 4J x llf in. 26. View of Miltbnbbeg. View on the banks of the Main, with MUtenberg under low bills at the 1. Inscribed on the water Moenus fluvius and at the top Miltenburg. Pen and ink, with slight water-colour wash ; roy., 3f X 9f in. Noa. 22-26 were bequeathed by the Eev, C. M. Cracherode, 1799. 27. Near Strassburg. The banks of the IU, looking towarda part of the city 1. ; at the r. a row of trees behind palinga ; in the foreground a man by the river, and a dog in the water. Dated 1630 and inacribed By Strassburg. Pen and mk, with sUght sepia and Indian-ink wash ; roy., 5^ X lOJ m. 28 View op Wageningen. View on the banks of the Ehine, which flows into the 1. foreground with flat meadows r, and on the other bank 1. the roofs and 348 Drawings of the British School. buildinga of Wageningen riaing beyond trees ; sailing boata and rowing hoata on the river, marked Bhenus fluvius. Inscribed above Wageningen. Pen and iuk, with water-colour-waah ; roy., 4| x lOJ in. Engraved by the artist (Parthey, No. 898). Nos. 27 and 28 were purchased February, 1850. 29. Two on one mount, roy., viz. : — (a) The Tower of Pfalz on the EmNB. View of the tower on a little island in the river, with the high rooky bank beyond and a sailing boat in the foregrouud. In an oval. Pen and ink, with aepia waah ; 2| x 3J in. Bequeathed by Sir Hans Sloane, Bart., 1753. (b) A Sea Fight. Two men-of-war discharging a broadside at each other ; the nearer carries the English ensign. Pen and ink, with slight water-colour waah ; 3J X 8J in. Purchased February, 1850. 30. Quadrangle in Windsor Castlb. View in the Quadrangle lookmg towards the Bound Tower, three soldiers with muskets marching off r., two ladies crossing the middle of the Quadrangle, and soldiera with a cannon at the end of the buileliug r. Signed Wenceslaus Hollar delineavit. Pen anil ink, with water-colour wash ou vellum ; atl., 7 X 22J in. Bequeathed by the Eev. C. M. Cracherode, 1799. [81-38.] Views and plans of Tangier. In 1669 Hollar was sent aa draughtaman in the suite ot Lord Henry Howard to Tangier, and remained there about a year. Tangier was, with Bombay, part of the dowry of Catherine of Braganza, and therefore became an English possession in 1662. In 1688 Charles II. abandoned it and had the worka blown up. 31. Two on one raount, imp., viz, : — (a) The Straits op Gibraltar prom Tangier. Distant -view, across the sea, of the coast of Spain, with Gibraltar r. ; three ships in the straits. Inscribed with names of places and at the top Prospect of the Straights of Gibraltar from Tangier. Pen and ink, with slight water-colour wash ; 4 x 24| in. (b) The African Coast peom the Steaits of Gibealtae. The coast of Barbary, with Apes' Hill and Ceuta 1. ; Tangier towards the r. and the Atlantic at the extreme r. ; an English man-of-war and a sloop r., other ships off Tangier. Inacribed with namea of places, arid at the top Prospect of the Straights of Gibraltar, as you come from Cadiz, from about the middle y" Chanell. Pen and ink, with slight water-colour waah ; 4 x 24f in. Purchased August, 1854. Formerly in the Esdaile collection. 32. Tanqibe peom the West. View from green uplands, looking down on the town. It lies on a bay in a hollow, enclosed by fortiflcatie^ns, which cUmb a hill at the 1., and culminate in a tower called Peterborow Tower, from which floats the Union Jack. At the back of the town roads issue from the Catharine port and lead to Bridges fort, Monmouth fort, Font fort, Catharine fort, and James Fort, all on hills commanding the approach to tlie town from inland. Near the foreground are two soldiers on foot marching 1. ; and on the same road, where it dips by a pool, are three others riding r. In the 1. distance appears the coast of Spain across tlie sea. Inscribed with names of places, and at the top Prospect of Tangier from the West. Signed and dated W. Hollar fecit 1669. Pen and ink, with water-colour wash ; imp., 9 x 38f in. 33. Two on one mount, ant., viz. : — (a) Tangiee feom the Sea, or North Side. The foreground is occupied by the sea, into which a mole runs out at the 1. from the land, protecting 1. the Wenceslaus Hollar. 349 bay ; above the bay ia the town, entirely enclosed by the fortiflcations ; on the inland side I. ia the Irish Battery, on the aeaward side above tho molo the Yorke Castle, above which to the r. are the Upper Castle and Govern ment House ; and the fortifications are continued ou the heighta r. to the Peterborow Tower. Inland at some distance r. is Charles fort, seen above the beach and settlement called Whitby. In the foreground are two English men-of-war, a ship of the line and a sloop, each carrying the red ensign, and the sailors on the yards and rigging are in red uniforms ; other ships ride inside the bay ; and a party of English soldiers are at work upon the mole. Inscribed above Prospect of Tangier from the Sea, it being the North side opposite to Spaine, 1669, hy W. Hollar. Pen and ink, with water-colour wash ; SJ X 35f in. (h) Tangieb feom the S.W. View looking down on the town and the bay, with the Irish Battery r. and Peterborough Tower 1. Two roads ascend to the foreground from tlie Catharine Port ; on the Way to Tetuan at the r. a troop of English infantry are advancing ; two horsemen are approaching the town from the 1. on the Way to Arzilla ; and on a knoll at the I., between the two roaiis four oflicers are conferring, while a flfth approaches them up the slope ; in the hollow beyond this knoll is a building called White Hall. Shipa are anchored in the bay, on the further shore of which is old Tangier; aud beyond is the entrance to the Mediterranean, with Gibraltar 1., and Cape Malabata r. Signed and dated W. Hollar delineavit, 1669, and inscribed above. Prospect of Tangier from the Land, it being the South West Side. Pen and ink, with water-colour wat-h ; 12| x 35i in. Engraved with modifications by the artist (Parthey, No. 1199). 34. Two on one mount, ant., viz. : — (a) View of Whitby, neae Tangiee, feom the S.E. View looking west from Tangier, with the coast I. as far as Cape Spartell, and the Atlantic r. ; ¦Whitby, a Uttle group of buUdings, is near the foreground, with a curveei mole running out below it r., near which a boat is anchored ; beyond, I., a great number of raen are working on the beach, quarrying the cliff and carrying stone away. The Way from Tangier comes down from the I. into the foreground ; on the road are a man and a woman followed by another man driving a donkey with a pack ; at the turn of the road above some soleUers are disappearing on their way to Tangier. At aome distance along the coast is Henrietta Fort, and below it another fort called The Drop. Signed W. Hollar fecit 1669, and inscribed above Prospect of 'Whitby by Tangier, where the stone for the Mould [Mole] is fetsh'd and the Workmen doe quarter. Drawne from the 8. E. by W. H. Pen and ink, with water-coloru wash ; 11 X 38f in. (6) S.W. View feom Peteeboeough Tq-wbe, Tangiee. View over bare un dulating country with the sea at the r. In the foreground 1, is a bastion below the Peterborough Tower, with groups of soldiers conversing, and cannon in the embrasures ; at the r. is an outwork of the tower ; and on the road from this to Henrietta Fort a troop is moving at some distance. From Henrietta Fort a chain of forts extends inland to the I., including Kendall, Pond, Anne, Norwood, James, Catherine, Font, Monmouth, and Bridges Forts ; the last of these are close to the town, part of which appears at the extreme 1. In the hollow at the back of the town ia "White Hall, a Fort and Taverne, with ita Bowling green and ita Herb and Kitchen Gardens for the Towne ; and in front of theae a river flowing into the town. Inscribed A Prospect of the Lands and Forts Within y^ Line of Communication before Tangier, now in the Possession of the English, drawne from Peterborow Tower, by 'Wenceslaus Hollar, his Maj'^ designer in September A" 1669. Pen and ink, with water-colourwash ; llj X 40^ in. 36. Plan op Whitby, neae Tangiee. A plan of the buildings described in No. 35 (a) and of the ground adjacent; with scale of feet and explanatory references to the letters with which the several parts of the buildings are marked. Inscribed above Groundphtt of Whitby hy Tangier 1669. Signed W. Hollar fecit. Pen and ink, with sepia wash; roy,, llf X 18J in. 350 Draivings of the British School. 37. Yoek Castle, Tangier. View from the beach at low tide of the fortifications of Tangiers, which crown the cliffs and terminate 1. in York Castle, beyond which the mole is seen jutting out, and the bay beyond ; along the beach raen are bringing a cart fllleei with stones from the direction of Whitby. Water colours over pencil ; imp., 8 X 28J in. 38. Oh. Plan op the Fortifications of Tangier. Plan of Tangier and the lines of communication outside. With scale of feet. Pen and ink, with water-colour wash ; imp., 28f x 19f in. Bev. Two Sections of E amp aets op Tangiee. Inscribed Profill oftheflanc and Profill of the Towne. Between this is an ornamental ahield with wreaths and acroU worls, supported by two boys blowing trumpeta. Pen and ink, with water-colour wash. 30. 06. Plan OF A FoETiFiED Haeboue. With scale of feet. Inscribed ./I : .B : C ; I> ; E: F. is 133 Houses each of 45 foote front and 4 romes of afioure. The mouth of the Port is 11 foote at dead low water and it flows 5 foote. The Lake is 4 miles over against the fort and a very bold shore on booth sides aiid the Coast or Island to the south of the fort very high land, and good anchor age being mud amd owse. Tortoise is plentifull enough to keepe the Inhabitants and 'tis supposed that European wheate will grow heare. The Biver being a branch of the great one that falls into the Lake to tlie East of the fort makes an Island of about 6500 acre. The mines ly in the mountains westward and may bee brought down the great river to this small branch which will also bare boats large enough to carry the ore. Pen and ink, with water-colour wash ; imp., 24 x 19J in. Bev. Section op a Foetipication. With scale of feet. Pen and ink, with water-colour wash. The last three numbers, 37-89, are certainly not from Hollar's hand, though possibly after his design ; they formed part of the same set in tbe Sloane CoUection, and as the actual iJraughtsman is unknown, they are kept in this place with the drawings which they illustrate and complete. Nos. 32-39 were bequeathed by Sir Hans Sloane, Bart., 1753. HOLMES, George (worked about 1799-1804). Landscape painter; exhibited at the Royal Academy between 1799 and 1802; worked in London and DubUn. 1. A Eivee Scene. The bank of a river, with a boy resting by the side of a road r., and a girl talking to him ; more to the I., by the water, a man sitting in a boat and another man beside it ; further off, a sailing vessel aud boat alongside, and a second sail seen above the bank higher up the stream ; on the other bank of the river a succession of high hills receding in the distance r., the nearest covered with woods and crowneei by a church tower. Indian ink ; roy., IOf x 16| in. 2. Landscape with a Chuech Towee. In the middle distance a church tower among woods, from which a road comes into the foreground down a winding slope ; on the road, a man leading two packhorses, ou one of which rides a woman ; at the 1., a small bridge over a falling stream ; in the r. foreground, a tramp asleep by a wall ; two men working iu a fleld near the church, to the r., and above the woods, also at the r., a distant hill. Indian ink ; roy., 10 J x 15 J in. Nos. 1 and 2 were purchased October, 1872. 3. Dublin Lighthouse. View from the harbour, of the pier, running out from the r., with the lighthouse at the end of it ; guna in embrasures and flagstaff r. ; in the foreground two sailing boats and a rowing boat, and a three-masted ship disappearing behind the lighthouse ; at the 1., a distant promontory. Indian ink ; roy., 4 X 6 J in. Purchased October, 1877. George Holmes. — Richard Rivington Holmes. 351 4. Two on one mount, roy., viz. : — (a) Neae Eingsend, Co. Dublin. A beach, with a view across the bay at the r. to Dublin ; two flshing boats in the bay and a thud on the beach with a man by it, half aeen beyond a cottage raiaed on stone trestles 1. ; in the foreground, near the cottage, a group of two flsherineu, two women, and a boy talking together, among nets and baskets. Signed on a log at the 1., G. Holmes. Water colours ; 7J x 9J iu. (6) Neab EmosBND. A beach at low tide looking out to sea ; in the foreground a cottage, on the wall of which a boy ia hanging nets above a heap of barrels ; more to the 1., a man sits talking to two girls and a child who come up from the beach, where a row of flshing boata ia drawn up. Signed and dated G. Holmes, 1804, Water coloura; 7J X 9f in. Both theae dra-n-inga, especially the second, have changed in tone, through the disappesirance of the indigo, as ia ahown by a strip at one end, which has been at one time proteijted from the light. Purchased October, 1884. HOLMES, Richard Rmngton (b. 1835). Living artist. 1. GuABD Book, containing drawings made on the British expedition to Abyssinia in 1867-68, which resulted in the capture of Magdala and the death of King Theodore. The drawings are arranged according to the route taken by the expeditionary force on its way from Zula to Magdala. The campaign is described in the two volumes by Major T. J. Holland and Captain H. Hozier, 'A Becord of the Expedition to Abyssinia,' 1S70, and the line of march is iniiicated on the map appended to that work. Names of places are spelt as in the'Eecord." (1) Eemains op a Byzantinb Chuech, pound in excavating on the Site op Adulis, the Modern Zcla. Foundations and bases of pillars on raiaed ground surrounded by brushwood, with Annesley Bay and ships at anchor in Zula harbour in the distance 1., and a range of hills r. In the fore ground the artist, contemplating the remains, while a servant holds his horae r., and a native with a pickaxe aita on the slope 1. Sepia on buff paper, heightened with white ; 8 J x 14 J in. (2) In the Sueu Pass, Thirty Miles S. op Annesley Bay. A small encamp ment at a bend in the pass; two camels coming up the pass round the bend from the r. ; two natives in the foreground. Sepia on buff paper, heightened with white ; 10 x 14 in. (3) Church, Village and Camp at Gunaguna, Fifteen Miles S. of Senafb. A massive cliff-faced mountain descending into the flelds of the fore ground, where two horsemen are resting, one dismounted, under a tree by a brook ; at some distance 1., a camp ; on the hill side a village ; and higher up r. on a ledge in the scarped face of the mountain, a church. Sepia on buff paper, heightened with white; 10 x 14 J iu. (4) Camp at Focada. Part of a plateau, overshadowed r. by a huge crag", and seamed in the foreground with hollow watercourses of great depth,. grown with trees ; in the distance 1., beyond the spur of the mountain, the British camp. Sepia on buff paper, heightened with white; 14J x lOJ in. (5) View feom near Focada looking W. over Debea Damo towards Adowa. View over a desert tableland, scored with vast hollows, to a distant range of jagged peaks on the horizon. In the foreground three native warriors with spears. Sepia on buff paper, heightened with white ; lOJ x 14J in. ' The department also contains another set of drawings made in Abyssinia by E. Zander, a German who lived in the country and married a wife out of the Galla tribes. These drawings, in a sketch-book, are in pen and ink, extremely precise, and include native types as well as landscapes. 352 Drawings of the British School. (6) Insoeibed Eock Ten Miles E. op Focada. The crest of a hill sloping steeply from r. to 1. ; at the top a native pointing out to the artist two crosses cut in the jutting sandstone. / Sepia ; 13J x 10 in. vx;7) Euinbd Chuech neae Focada. Euined walls of masonry, with two trees 1. and two Indian soldiers in the foreground, one holding his horse, the other sitting and smoking. Sepia on buff paper, heightened with white; lOJ x 14J in. (8) House of Chief at Adigeat. A square tower aud round thatched hut enclosed by a wall, against which three Abyssinians are sitting; in the foreground I. another hut. Sepia ; 7J X 14 iu. (9) A Chuech in a Geovb at Adigeat. A valley with a church iu a grove, beyond the bend of a stream at the 1. ; behind the grove a range of bold hills, extending to the r. distance. Sepia on buff paper ; 10 x 14 in. (10) FoETiPiED House on the Eoad peom Adigeat to Mai Wahez, called Amba Daba. a rocky bluff projecting from the r. into a valley, with two round towers buUt on its extreme edge ; below, a few huts and scattered boulders. Sepia ; 9J X 14 in. (11) FoETiFiED House on the same Eoad. View from a sloping fleld, which a native is ploughing with oxen, acroas a valley to a range of rocky heights, stretching from the 1. ; on one of the heights is an enclosure with a tower and huts; further off, the hUl with two towera described in the last drawing. Sepia on buff paper, heightened with white ; 10 x 14J in. Lithographed by J. Ferguson for Holland aud Hozier's ' Eecord,' Vol. I., p. 410. (12) Steonghold op Amba Tsion, Twenty Miles S. of Adigeat. A valley out of which rises in the distance r. a high plateau terminated by jutting or isolated columnar cliffs, the last of which is fortifled ami towers above the rest. Part of the British force, with baggage on mules and camels, pass from 1. to r., along the foreground ; in the 1. distance, a Une of jagged hills. Sepia on buff paper, heightened with white ; 10 x 14J in. (13) EooK-HEWN Chuech op Dongolo, Exteeioe. A church portal carved out of the cliff face, with three doorways pierced in it. Sepia ; 9J X 14 in. /(14) {i Chuech of Dongolo, Intbeioe. Part of the twelfth century church, with tall pillars and vaulting hewn out of the tawny stone ; on the floor, against a low partition wall, is a seated Abyssinian whom the artist is addressing. Water colours ; 12f x 10 in. '(15) Euins of an Ancient Chuech at Agula. Half excavated ruins with a tree r., and in the foreground a tent and native family. Sepia ; lOJ X 14 in. (16) Geoup of Teees at Dolo. A gi-oup of trees in full foliage standing in a valley, with a winding brook r. ; ruined walls and buildings near the trees and on the hill-slope 1. ~ ¦ 10 X 14 iu. (17) Bet Maea, Hill Foet between Masgah and Mashie. A mountain crowned with limestone precipices, rising from a wooded plain. Sepia ; 9J X 14 in. (18) Amba Alaji, the Stronghold of Waldo Yesus, Twenty Miles S. op Antalo. A wooded gorge winding down from the pass below the bare peak of Amba Alaji, which towers ou the horizon ; the British army is seen descending from the pass, by a road along the side of the gorge ; two elephants on the road in the foreground. Sepia on buff paper, heightened with white ; 14 x lOJ in. Richard Rivington Holmes. 353 (19) View from the Pass under Amba Alaji. View looking down tho gorge to the British camp, in the valley of Atsala below, from which rises, beyond a lower ridge, the flat-topped mass of Debra Musa (11,500 foet abovo sea level). Sepia on buff paper, heightened with white ; 14J x 10 J in. (20) Camp at Bulago, A camp in a valley under a high pointed pealc r. ; beyond, the ridge of Debi-a Musa. Sepia, touched with white; 10 x 14 in. v(21) Lake AsiiANeii. peom the N. View of the lake at a little distance, sur rounded by mountains ; in the foregrouud, three English soldiers, near a clump of pines. Sepia on buft" paper, heightened with white ; 10 x 14J in. X2 22) FOETIFIED Village op Adi Woka on the Slope of the Hill to the S. op Lake Ashangi. A road, up which English soldiers are moving, winding steeply up the mountain side, from which projects at the 1. a crag with a small vUlage enclosed by a wall. Sepia on buff paper, heighteni^d with white ; 14J x 10 in. Lithographed by James Ferguson for Holland and Hozier's ' Eecorii,' Vol. IL, p. 12. (23) On the Top op the Mountains op Wandach, at the Souece of the Takazze ErvEE. View from a hill-creat looking down on a valley r., with the mountain range sweeping rouud it from the I. ; in the foreground are several tall spikes of the plant called Tupa rhyncopetalum. Sepia ; 9J X 14 iu. V^^ /. 24) On the Wadela Plateau. A rocky plateau with a hollow at the 1., down which a troop of Abyssinian horsemen are riding from the r. foreground ; in the near distance the rock cropa out of the ground in a singular shape, like a vast horseshoe. Inscribed on the mount. Sketch showing formation of the Wadela plateau on S. bank of the Tacazza. Cavalry of Wagshum Gobayze [a friendly chief] in the foreground. Sepia on buff paper, heightened with white ; lOJ x 14J in. Lithographed by J. Ferguson for Holland and Hozier's 'Eecord,' Voh IL, p. 22. (25) The Talanta Plateau, seen peom the Head of the King's Eoad, Twenty- Five JIiLis N. OP Magdala. View from a htiglit, looking up the ravine of the Jedda; at the I. the King's Eoad climbs over the mountain slopes; in the distance the high table-lands of Talanta and D 'Ont Sepia on buff paper, heightened with white ; lOJ x 14 in. (26) Dejaz JIashahsha, Uncle of the Wagshum Gobayze. Half length in three-quarter face lixiking r., with black beard and turban. Dated Santara 29 March 1868. (Santara is near the Takazze river.) PencU ; 7J X 5i in. (27) Head op King Theodore. The square head, with short upstanding hair, lying back after death, with one eye opened. Inscribed, '/ heodorus, Emperor of Abyssinia, sketched immediately after the capture nf Magdala, 13 April 1868 by E. B. Holmes F.S.A. Archieologist attached to the expedition. Penc 1 on blueish paper, heightened with white ; 6J x 4f in. Lij Kassa, afterwards known as Theodore, was born in Koara, a pro-vince of Abyssinia, about 1818 ; educateel in a convent, he bee-arae governor of Koara, and proclairaed himself independent; defeated successive armies sent against him, and in 1S55 became Emperor, as Theodore III. ; after hia wife's death his reign crew cruel, capricious, and intolerable ; he plunged into landless atrocities, and on his refusal to give; up some English captives. Sir Eobert Napier's force was sent against him. He shot himself during the assault on Magdala, 1868. Presented by the artist, 1868. T 2 A 354 Drawings of the British School. HONE, Nathaniel, R.A. (b. 1718, d. 1784). Painter; born at Dublin; studied in Italy for some years, about 1750-1752; returning to England, worked in London as painter of portraits and miniatures ; member of the Society of Artists, and foundation member, 1768, of the Royal Academy, where he exhibited till his death; worked in London ; etched a few plates. 1, Portrait op Mrs. Wymondbsold. Bust in three-quarter face, turned r., and looking r., wearing low dress; in an oval. Inscribed (twice over) Mrs. Wymondesold. Signed with monogram and dated 1751. Pencil on vellum ; oval ; roy., 3 x 2 J in. Purchased June, 1880. 2, Two on one mount, roy., viz. : — (a) Portrait of the Aetist. Head and shoulders, at a table on which he is drawing, the face turned 1., looking down and foreshortened. Signed with monogram and dated 1764. Pen and sepia and sepia wash ; 5J x 4f in. (6) Poeteait of the Aetist. Half-length in an oval, turned to r., and draviing at a sloping desk, the face turneel round in three-quarters, and looking full. Signed Nat. Hone Dt. Black chalk on lilac-grey paper, heightened with white; 7J X 5J in. Purchased October, 1890. HOOD, John (worked about 1762-1771). Water-colour painter and ship wright ; worked at Limehouse ; exhibited sea pieces, chiefly with the Free Society of Artists, 1762-1771. 1. Men-op-War in Harbour, with a Couet Martial, 1762. A roadstead with ships at anchor and a fort on the coast in the r. distance ; iu the centre fore ground is the flagship, flying the St. George's cross at the masthead, her decks thronged and busy, seen from the stern with broadside half turned to the front; at the r., another three-decker hoisting sail, and seen bow on ; at the 1., further off, a two-decker, with main topmast struck ; beyond these a further line of six frigates, and smaller ships in the distance; a number of boats from the other ships are approaching the flagship, two frora the foreground r. and 1. ; a small sloop, also approaching her from the 1., is firing a gun. Signed and dated on a buoy, John Hood, 1 762. Indian ink ; atl., 17J X 27J in. Accnrapanying the drawing is a draft prosfectus in MS. for an engra-ving from this Sea view drawn and design'd by Mr. John Hood, Living at Lime- house Causeway, Poplar, and to be Etch'd and Engrav'd by Mr. Francis Perry, Living at the corner of Knowles Court, Little Cat ter Lane, St Paul's. .... The Price of Each print will be half a Guinea. . . . The Subject is a Fleet of men-of- War in Harbour, representing a Naval Court Marischal. Purchased Julv, 1878. HOOD, Thomas (b. 1799, d. 1845). Poet and draughtsman; bom in London ; apprenticed as an engraver, but soon turned to literature ; became famous as the author of the ' Song of the Shirt,' ' The Bridge of Sighs,' and many comic works, some of which he illustrated himself. L The Waterspout. Two naked men fishing by the bank of a river, affrighted by the apparition of a watery form, towering suddenly above them from the stream, in the likeness of a man with long white hair ; on his transparent robes Thomas Hood. — Theodore E. Hook.— John Hoppner. 355 appears the shadowy figure of a man falling headlong ; on the other bank a horae runs wildly away ; iu the distance mountains rising above trees, and a storm at the 1. Signed T7jew. Hood Delt. Peucil, partly washed with water coloura; roy., 7 J X 12J in. Purchased June, 1861. HOOK, Theodore Edward (b. 1788, d. 1811). Writer and draughtsman ; born in London ; famous in his day as a journalist, novelist, wit and improvisatore. 1. A Grotesque Couple. A fat little woman, in shawl and bonnet, on the arra of a young dandy, who looks away and puffs a cigar, while she points to him in admir.itiiin. Signed with monogram. Water colom-s on gray paper, heightened with white (now blackened) ; roy., 5 X 8J in, 2. Poeteait Sketch op Michael Kelly. Half-length, seated leaning back in a chair, turned to 1., the face almost hidden by enormous collars, hands thrust in pockets. Pen and ink ; roy., 3 x 2J iu. Michael Kelly (b. about 1764, d. 1826), actor and singer, first appeared in Dublin, his birthplace; studied music and sang in opera in Italy and in Vienna, where he was trained by Gliick and Mozart ; from 1787 in London as director of the Italian Opera, and from 1797 much employed for musical settings of plays. Both purchased June, 1879. HOPPNER, John, R.A. (b. 1758, d. 1810). Painter ; born in London of German parents ; studied at the Royal Academy, and exhibited there from 1780; elected A.R.A. 1792, R.A. 1795, from which time he was established in favour as a portrait painter, and, till his death, divided with Lawrence the patronage of Society ; made numerous chalk sketches of landscape, and painted, especially in earlier years, several fancy subjects, but his fame rests on his portraits, painted in a brilliant but not very individual style. [1-5.] Portrait and flgure studies. 1. Poeteait of Mrs. Hoppner. Half-length, seated, turned to front, the face in three-quarters tm-ned 1., and looking 1. ; wearing large hat with ostrich feathers. Black chalk and red chalk ; roy., 10 x 7J in. Engravi-d in stipple as ' Eliza. From Yorrick,' by J. Kingsbury, and pub lished 1785. Tbe engraving is mounted opposite the drawing. Phoebe Wright, youngest daughter of Mrs. Patience Wright, the American sculptress and modeller in wax, celebrated both in London and Paris for her social gifts, was married to Hoppner in 1782 ; she sat frequently to West and other artists besides her huaband, who made studies of her in various fancy characters. Purchased July, 1891. 2. Portrait op a Lady, probably Mes. Hoppnbe. To the knees, seated, turned to I , with hands clasped on lap, head in three-quarter face, nearly proflle, eyea turned almost full ; large hat with ostrich feathers, a glimpse of landscape and tree at the 1. Signed I. Hoppner F. Black and red chalk on drab paper, heightened with white on the dresa ; roy., 8J X 5J in. 2 A 2 356 Drawings of the British School. 8. Poeteait of a Lady. To the knees, seated, full face, turned to front, with hands on lap, the head inclined a little r., lips slightly smiling, and eyes half closed ; wearing large hat with ostrich featurea. Signed I. Hoppner. Black and white chalk ; roy., 9J x 5J in. Possibly a portrait of Grace Dalrymple Elliott, wife of Dr. John Elliott. She eloped with Lord Valentia, 1774, was afterwards mistress of the Prince of ¦Wales and of Philippe Egalite', was in France during the Eevolution, and died there 1823. Her portrait by Gainsborough at Welbeck Abbey, aud a miniature by Cosway, which has been engraved, are sufficiently like this to make the presumption of identity probable, though not certain. Nos. 2 and 3 were purchased July, 1896. 4. Poetrait of a Lady. Bust in full face, looking full, with slight smile ; hair on shoulders. Black chalk on buff paper, heighteued with white ; roy., 6J x 4 in. Presented by John Henderson, Esq., January, 1863. 5. Study for a Portrait Group of a Physician and ms Family. A room with pillars and curtain in the background and a statue of .ffisculapius r. ; at a round table in the centre the doctor, seated i-., writes and turns to his eldest son, who leans over his chair with one knee on a stool ; close by the table, in front, a boy sits on the floor, studying a globe; at the 1. the mother stands bending over a young girl, whose elder sister gives her an apple from a basket carried under her arm. Inscribed with ages of the chUdren : Eldest son, 22. Eldest daughter, 17. Youngest Dr., 10. Youngest Boy, 12. Pen and ink ; roy., 7J x 7J in. Purchased March, 1868. [6-18.] Landscape studies. 6. Moonlight Scene, with House and Figubes. A house at the 1. partly seen and looking on an open space bounded by trees, behind which hilla alope up ; in the foreground 1. a woman and chUd and a man. Black chalk on greeniah-gray paper, heightened with white ; roy., lOJ x 14f in. Purchaaed June, 1847. 7. Two on one mount, roy., viz. : — (a) Meadow and Hills. A flat meadow, with clumps of trees, enclosed In the background by hilla, on one of which I. is a house ; evening light. Black chalk and stump on blueish paper ; 6J x 10| in. Purchaaed July, 1875. (6) A Glade. A glade with treea on the slopes on either hand, and a path leading from the r. foreground, where a man is walking with a bundle on his shoulder. Black chalk and stump ; 8 x 10| in. Purchased June, 1847. 8. Cottage and Trees. A cottage r. with an ash-tree growing beside it and a clump of elms 1. against evening light. Black and white chalk and stump on blueish paper ; roy., 7 X lOJ in. 9 Two on one mount, roy., viz. : — (a) A Hoese grazing. An old oak stump with new branches on it, and a horse grazing by it at the r. Black and white chalk and stump on blueish paper ; 7 J x 8 in. (b) A Eoad ovee Downs, A road leading over undulating country, with clumps of trees on the ridges and in tbe hollows. Black and white chalk and stump on blueish paper; 7 x lOJ in. John Hoppner. 357 10. Two on one mount, roy., viz. : — (a) A Farm. Farm buildings wiUi tre-os beyond and a fence nnd field in front. Black and white chalk on blueish paper ; 7 x lOJ in. (6) A Faem. A barn 1., farmhouses and buildings further off r., with trees beyond. Black and white chalk and stump on blueish paper ; 7 x 10 J in. 11. Two on one mount, roy., viz, : — (a) Cottage .\nd Oechard. The back view of a cottage, iu a fleld with an orchard on the slope at the 1. Black and white chalk and stump on blueish paper ; 6 J X lOJ in. (6) A Clump of Teees. A group of trees with a withered stump r. Black and white chalk and stump on blueish paper; 6 J x IOf in. 12. Two on one mount, roy., viz. : — (a) The Hedgeeow. A hedgerow interrupted by a path coming over a foot bridge towards the 1. Black and white chalk and stump on blueish paper ; 7 X IOf in. (6) View of a Bay on the C!oast. Slopes grown with bushes and with two trees 1. ; above the hollow a view of sea and shipping backed by a hilly coast. Black and white chalk and stump on blueish paper ; 7J X lOJ iu. 13, Fields and Teees. Undulating fields, among which an ash is prominent at the L Black and white chalk on blueish paper ; roy., 7 X lOJ in. 14. A Geoup op Teees. A group of three tall treea with a shed or cottage 1. beyond. Black chalk and stump on blueish paper ; roy., 9f x 7 in. 15. A House in a Hollow. A low wall acroaa the foreground, beyond which risea a tall house, half covered with ivy, and sheltered 1. by a high slope with trees; a path through a gate in the wall towards the r. leada along the narrow valley to another house under the wooded hill. Signed with monogram. Indian ink on drab paper, heightened with white ; ' imp., 18 x 18J in. Ni3S. 8-15 were purchased July, 1875. 16. The same House peom the othee Side, The house, encloaed by a wall, stanils r., with treea on the ateep slopes rising behind it ; a woman standing just inside the wall, and a boy sitting beside some sheep near a path winding np the slope. Black chalk and Indian ink on cream-toned paper, heightened with white ; imp., 13 X 18| in. 17. A Eoad theough a Wood. A road coming into tho foreground between oak woods, at the r. aide enclosed by a paling on a bank ; a man resting 1. by the wayside, and a man on a pony in the foreground guided to the r. by another man. Black and white chalk and pencil on drab paper ; 13 x 17f in. Nos. 16-17 were purchased June, 1847. ' In this and the following drawing a slight preliminary outline of the design haa been made in brown oU colours pressed, while wet, between two sheets, producing a pecuUar grained effect. This device was probably first used by G. B. Castiglione (1616- 1670), and was developed by Blake (aee note on p, 128 of Vol, I,). 358 Drawings of the British School. 18. Oh. Figuebs in a Landscape. A mountain glen; in the foreground a two- stemmed birch-tree, againat whie-h leans a youth looking down 1. on another youth and girl reclining on the alope under a tree. Black chalk and sepia on drab paper heightened with white ; atl., 13J X ISJ in. Bev. Study poe a Lady's Poeteait. Whole length, seated facing to front, reading with book on lap, and r. elbow resting on a table 1. Black and white chalk sketch. Purchaaed July, 1874. 19. Album, containing sketches iu black chalk on blueish p.aper, mostly heightened with touches of white chalk ; two (No. 7) arc iu greenish blue chalk. (1) (a) A Boat sailing. (h) View op a Lake peom above, with Hills around it. (2) (a) An Oak-teee. (6) Teees on Geass Slopes. (3) (a) A Withered Teee. (b) A Pond in a Field with Teees and a Cottage l. (4) (a) A Cottagk (b) A Cottage on high Geound, seen peom below. (5) (a) A Hollow Oak. (b) A Village among Tebes, seen aceoss a wide Meadow. (6) (ft) Slight Study op Cloud. (6) Moonlit Clouds above wooded Hills. (7) (a) A Castle above a moonlit Sea. (6) A Castle seen aoeoss Watee; moonlight. (8) (a) A Eoad among Teees on a Heath. (b) A Hollow between Teees on sandy Banks. (9) (a) A Eoman Warrior ; a head ; and two nude figures. (b) Groups op Teees in a Park. (10) (a) Slight Sketch, unfinished, op Cottages. (6) Slight Studies op Tebes. Purchased July, 1875. HOPPNER, Lascelles H. (b. 1783). Painter; son of John Hoppner; studied at the Royal Academy, and exhibited portraits there 1811- 1815 ; painted also subject pictures. 1. The Gleaner. A country girl bearing a bundle of corn on her head, keeping it steady with one hand, whUo the otiur is on her hip. Signed aud dated Hoppner f. 1804. Water colours ; roy, ]7f x 10 J in. Purohated July, 1876. Robert Belgrave Hoppner. — Herbert Percy Horne. 359 HOPPNER, Robert Belgrave (worked about 1807-1827). Painter, chiefly of sea pieces ; exhibited at the British Institution and the Royal Academy, 1807-1827. 1. On the Dut(3h Coast. A fishing smack and two small boata hy a flat shore, with men busy near them and on board ; towards the r., sails on the water, and a low coast with windmills beyond. PencU ; roy., 5J x 9J in. 2. A Dutch Fishing Boat. With sails furled, and three men on the deck. Pencil and ludian-iiik wash ; roy., SJ X 6| in. 3. Nbapolptan Shipping. A cluster of fishing boats 1., approached by a rowing boat with two men from the r, ; in the distance are several ships, and at the r. a rocky coast, probably Ischia ; a storm coming on. Pencil and Indian-iiik wash ; roy., 6J x llg in. 4. Boats off Naples. A felucca sailing r., two others in the distance. Signed B. B. H. PencU and slight Indian-ink wash ; roy., 6 x 8 J in. 5. Boats off Naples. A felucca sailing 1., others farther off, and a rowing boat r. ; in the r. dist.iuce a man-of-war firing a salute, and other vessels in the ofBug. Signed E. B. H. PeucU and slight IneUan-ink wash ; roy. ,6 x 8 J in. 6. A Neapolitan Xebec. A boat with one square-rigged and two lateen-rigged masts, called a xebec. Signed B. B. H. Pencil aud Iniiian-ink wash ; roy., 6| x 5J in. 7. A Cottage by a Steeam. A cottage, with wooden stairs to the upper storey, and a woman going up them; at the 1. a bridge over a stream and treea behind. Signed B. B. Hoppner f. Sepia ; roy., 7f x 10| in. AU purchased May, li?82. HORNE, Herbert Percy (b. 1864 ). Living artist. 1. Album containing ilrawings for the Hobby Horse magazine, published 1886-1893. Proofs of the repro.luctions are in many cases mounted with the original designs. (1) Diasa and Endymion. Diana kneeling over Endymion, with hair stream ing across the moon ; round the moon is a luminous whirlwind, in which the forms of lovers are driven. Inscribed with a verse round a border : — ' Love, I cannot hold thee longer. In the deep night sink away,' etc. Pencil, highly finished. Eeproduced in the preliminary number of the Hobby Horse, pub lished 1884. (2) (a) Initial A, with leaves and flowers. (6) Initial 0, with leaves and flowers. (c) Initial F, with leaves and flowers. (d) Initial I, with leaves and flowers. (e) Initial M, with ivy leaves and dotted background. (f) Initial M, the same design aa the last, but with shaded background, as reproduced. 360 Drawings of the British School. (g) Initial O, with bird on a branch in the centre. All in pen and ink. Used thi-ough Vols. III.-VII. (3) (a) Initial P, with chestnut leaves. (b) Initial P, with serpent swallowing its tail. (c) Initial B, with flowering foliage. (d) Initial T, with oak leaves. (e) Initial T, with wreath of leaves. All in pen and ink. These were used through Vols. III.-VII. with the exception of (h) and (e), which do not occur. (4) (a) Tailpiece; two boughs with berries and a cluster of leaves in the centre. (6) Tailpiece ; a ribbon wreathing two sprays of foliage. Pen and ink. First used, (a) at p. 12, (&) at p. 22, of Vol. III. (5) (a) Tailpiece ; two butterflies, each on an ear of corn. (6) Tailpiece ; two birds, back to back, on sprays of foliage. Pen and ink. First used, (a) at p. 29, (&) at p. 40, of Vol. HI. (6) (a) Tailpiece ; a cluster of hepaticas. (6) Tailpiece ; poppies and leaves. Pen and ink. First used, (a) at p. 68, (&) at p. 82, of Vol. 111. (7) Ob. Studies of Eobes ; sketch for the last design (6) (h), study of a female torso, etc. Pencil. Bev. Sketch foe Initial A, and sketch for a tailpiece. Pencil. (8) Tailpiece ; two birds singing, facing one another, on boughs of mallow. Pen and ink. First used Vol. III., p. 113. (9) (a) Tailpiece ; an ermine on an ilex branch. (b) Tailpiece, with two kinds of leaves. (c) Tailpiece ; ivy leaves. Pen and ink. First used, (a) at p. 133, (&) at p. 160, (c) at p. 120, of Vol. HI. (10) Tailpiece ; cluster of leaves and flowers. Pen and ink. First used, Vol. IV., p. 39. (11) Ob. Slight Sketch FOE the last Design. Bev. Slight Sketch poe the Design of Poppies, No. (0) (6) ; an orchid, etc. Pencil. (12) Tailpiece ; primroses, with two butterflies. Pen and ink. First used. Vol. IV., p. 55, (13) (a) Tailpiece ; spiral border of vine-tendrils aud leaves. (b) Tailpiece ; running stag and oak branches. Pen and ink. First used, (a) at p. 96 of Vol. IV., (h) at p. 117 of Vol, IV. Herbei-t Percy Home. — J. Hornsey. 361 (14) Tailpiece ; oak leaves and acorns. Pen and iuk. First used at p, 12 of Vol. VI. (15) (a) Tailpiece ; cluster of flowers and loaves. (b) Tailpiece ; ranunculus flowers and lonvos, with a butterfly. Pen and ink. Neither reproducoel in the Hobhy Horse. (16) Oh. Two Sketches foe a Tailpiece ; a butterfly on a blado of corn. PencU. Bev. Slight Sketch for a Design. PencU. (17) TAiiriEiTE; a butterfly on a blade of coin. Pen and iuk. Not reproduced in the Hobhy Horse. (18) ' Marie at the Window.' Design for title, not adopted, to the following. Pen and ink. (19)-(21) ' Maeib at the Window.' Title and music for a soug by Arthur Somervell. (The lettering of the song by S. Image.) Pen and ink. Eeproduced in the Hobby Horse, Vol. HI., p. 72. (22) Diana Huntixg. Designed in white on a black background, with border, and the legend from Horace, Silvarum Potens Diana Candida Dea. Pen and ink. Eeproduced, with much reduction, Vol. IV., p. 57. (23) Study foe the last Subject. Study for the figure of Diana. Black chalk. (24) (o) (b) (c) Studies foe the same Subject. Studies for the hare, trees, etc. PencU. (25) Sketch fob the Cover of the New Series of the ' Hobby Horse.' Sketch for a design with the title in a bordered panel ; not adopted. Peucil. (26) FruAL Design for the same Cover. A knight riding a hobby-horse. Pen and ink. First used for the volume for 1893, New Series. (27) Design for Initial A ; with Arachne spinning. Pen and iuk. Used in the New Seriea, Vol. I. (28) Design foe Initial T ; with a woman holding a vase. Pen and ink. Used in the New Series, Vol. I. Presented by the artist, October, 1896. HORNSEY, J. (worked about 1795-1797). Draughtsman; made topo graphical drawings, chiefly views Ln Yorkshire, for the Copper-plate Magazine. 1. Poeteait op a Bull. A black and white bull grazing in a fleld, with a river beyond, and hills in the diatance. Indian ink, with partial slight tint ; imp., 15J X 19J in. Purchased May, 1878. 362 Drawings of the British School. HOTHAM, Amelia (worked about 1793). Water-colour painter ; biography unknown. 1. Castlb and Stream. A stream coming into the 1. foreground between rooky banks with trees r. and 1. enclosing a view of a castle ruin on a wooded hUl. Signed and dated, Amelia Hothom, 1793. Water colours ; atl , 19f x 26| in. Purchased July, 1878. HOUGHTON, Arthur Boyd (b. 1836, d. 1875). Book illustrator and painter ; was in India as a youth with his father, a captain in the Navy ; returning, he worked for the Graphic, and illustrated books ; exhibited pictures 1859-1874, both in oils and water colours; but his reputation rests on his book illustrations, especially the brilliant woodcut designs for Dalziel's ' Arabian Nights,' 1865. 1. The Chronicles being read to the King; Illustration to the 'Arabian Nights.' The king reclines