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CORPORATION OF LONDON

ART GALLERY

WM COLLECTION OF PICTUEES

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' YALE N
CENTER
' Art '

BEQUEST OF
FREDERICK WHILEY HILLES

Corporation of Honiron.

/fRT (iALLERY.

DESCRIPTIVE CATALOGUE

OF THB

LOAN COLLECTION OF PICTURES
^teparetr lig tfie autijoritg of ti^e Hilicacg Committee of ti)e (Eocpratton of
t^e <EttB of Honton ig Mt, a. ©. Cmple, dF.S.^.
Mr. Deputy Mora, Chairman,

1 893.

Honlron:
PHINTED BT CHARLES SKirPER AND EAST,
ST. DUNSTAN'S HILL, E.C.

fLitrarg (UTtimmittee.

MR. DEPUTY HORA (Chaieman).

Sie JAMES CLARKE . LAWRENCE,
Baet.
Sie JOHN WHITTAKER ELLIS,
Bast., M.P.
SiB REGINALD HANSON, Baet.,
M.P., LL.D.

STUART KNILL, Esq.
JAMES THOMSON RITCHIE, Esq.
GEORGE ROBEET TYLER. Esq.,
Sheriff.

JAMBS WALLINGEE GOODINGE, Esq., Deputy.
JOHN BDWAED sly, Esq.
THOMAS BEARD, Esq.
JAMES GALLAHER, Esq.
ALFRED JORDAN HOLLINGTON, Esq.
ALFRED WAGSTAFF, Esq.
WALTER HAWTREY, Esq.
HENRY WILLIAM BROWN, Esq.
JAMBS EDMESTON, Esq, Deputy.
OWEN EDWARDS, Esq.
WILLIAM THORNBURGH BROWN, Esq., Deputy.
AUGUSTUS ALF. WOOD, ESQ., A.K.C., F.G.S.
HENRY HUGH THOMPSON, Esq.
FRANK TAYLER, Esq., F.S.A., F.R.G.S.
SAMUEL ELLIOTT ATKINS, Esq., Deputy.
JOHN TBRRY, Esq., F.R.G.S.
JOHN JAMES BADDELEY, Esq.
J. DOUGLASS MATHEWS, Esq., F.R.I.B.A.
CHAELES JONES CUTHBEETSON, Esq.
GEORGE SHAW, Esq.
HENRY HICKS, Esq.
THOMAS ANTHONY WOODBRIDGE, Esq.
WILLIAM HENRY LIVERSIDGE, Esq.
JAMES GODWIN, Esq.
CHARLES JOHN TODD, Esq.
GEORGE CANNING EDWARDS, ESQ., J.P.
MATTHEW WALLACE, Esq.
HOWARD CARLILE MORRIS, ESQ.
GEORGE MANNEES, Esq., F.S.A., F.L.S.

A 2

The Library Committee of the Corporation of London desire to
express tlieir thanks to the owners of works of Art for the readiness
with which many famous and valuable productions have been
entrusted to them for the present Exhibition.
The Exhibition will open at 10 a.m. and close at 6 p.m.
from the 28th March to the 30th June,
The admission will be free.

The Loan Exhibition of Paintings held in the permanent Art Gallery of
the Corporation, at the Guildhall, in the summer of 1890, was the first of its
kind held in the City of London. The Exhibition was free, and all expenses
incident thereto were borne by the Corporation out of its private funds. The
object of the Exhibition was to show freely to the people some of the distinguished
works from private collections which could not be seen by the bulk of the people,
except under the auspices of such a body as the Corporation of London. The
request for the loan of celebrated works was met with favour by their respective
owners, and considerable public spirit was shown in the readiness with which the
Corporation was thus assisted in their undertaking. The Exhibition gave great
satisfaction to the people, evidenced by the daily attendance, and the manner in
which the pictures were studied.
In view of these facts tbe Corporation of London determined to hold the
present Exhibition. Several of the distinguished works now placed on view have
never before been publicly exhibited ; many have been brought from a distance,
some from abroad, and nearly all may be said to be inaccessible to the general
public, and the opportunity of again seeing many of them is remote.
The Library Committee have again honoured me by approving of my
selection of the pictures, and, by their direction, I have adopted a similar course
with the Catalogue as was adopted in 1890, and have given such details concerning
each picture as may serve to interest the general visitor, and, in the case of deceased
masters, I have prepared a brief biography. In all cases the title of the picture
as given by the owner has been adopted in the Catalogue. A. G. TEMPLE.
Aet Gallery op the Coepoeation of London,
Guildhall, E.C.
2ith March, 1892.

Room I.

:o:-

THE PIAZZA, VENICE.
Painted hy William Logsdail.
Canvas, 49|- X 86J inches.
ILent 1)8 f osept i^uslon, (Ssq., of Einroln.

^^'HE great public square on the West front of the Cathedral of
^'^ St. Mark's, where people of all nationalities resort for promenade
and refreshment.

A SPATE IN THE HIGHLANDS.
Painted by Peter Graham, R.A.
Canvas, 50 X 70 inches.
Efnt tg Sic aSftm. Olunliffe iSroofes, ISatt., J«.U.

^TNTO the desolate peat mosses, spongy, black, and cold, up among
-'*' the hills, the rain pours into the holes whence generations have
dug their fuel. By-and-by these holes become filled, their sides give
way, and their waters rush from the one into the other and from all down
the hill-sides, forming a vast accumulation of water. This constitutes
what is called " a spate." In the present day the numerous drains
constructed provide a rapid and steady escape for the water, but in past
times, when there were no such contrivances, it frequently over-ran the
natural river courses and caused terrible disaster to the adjacent villages.
In the picture before us " the water frae the hills," cold, torn, and

troubled, rushes in torrent between the rocky banks.. It has carried
away a portion of the stone bridge, over which some cattle were about
to pass, but are being hurriedly driven back. The sun's powerful rays,
piercing the lowering clouds, strike the further hills with a cold gleam,
and light up the low floating clouds. The whole scene depicts Nature
in an angry mood. In composition, effect, and rich colouring, a
magnificent landscape, with a consistent truthfulness throughout.

WORK-A-DAY ENGLAND.
Painted hy W. L. Wyllie, A E. A .
Canvas, 36 X 50 inches.
iLettt 63) (ffifjatles C ?^arrt8, iHsq[.

-^<^

^S^^^b^

'• Men my brothers, men the workers." — [Tenkyson.]
1^^ STRETCH of the Medway, looking up-stream towards Rochester
^^ and Chatham, whose dockyard chimneys and workshop fires are
seen in the distance, their smoke mingling with the lustrous afternoon
light. Up the river glide the busy craft, sailing or steaming. On the
land also men are busy at their toil. Clay is being dug away to be
carried in barges to the new Tilbury Docks, to be used there in
puddling the bottom. One sturdy fellow in the foreground is
resting for a moment, but his companions continue hard at their work,
while below may be seen others at the same kind of labour. A. man
to the right is burning some gorse.. Beyond is a ship-building yard,
and at intervals along the winding shore are small piers, all for the
purposes of work, of which there is evidence in every part of the
picture. High in the sky the pale crescent moon tells of advancing
night, when labour will cease, and rest for a brief space will reign.
The picture was painted in 1886.

MISS NINA LEHMANN, AFTERWARDS LADY
CAMPBELL.
Painted hy Sir J. E. Millais, Bart., R.A.
Canvas, 51 X 34 inches.
Hent fis ifiltg. Hefimattn.
 ==.§.e©^e=.e 

r

?ULL-FAOE, life-size, seated, in white, on a blue garden seat,
holding a single red camellia in her right hand. A string of
blue beads is round her neck. A blue curtain is arranged behind her,
and on her right is a camellia in flower. Two doves are on the pavement
near her.
Painted in J 869.

MOORLAND ROVERS.
Painted by Peter Graham, R.A.
Canvas, 49 X 73 inches.
ILent 1)8 ILort atmstronfl, 01.56.

^TN this sedgy land, among the vigorous flags, Highland cattle are
-^ roaming. The outline of the hills is lost in the mist that hangs
low, and dark shadows are cast on the broad slopes.

6

WILD WALES.
Painted hy B. W. Leader, A.R.A.
Canvas, 48 X 60 inches.
lL«ttt tiB IS^njatnln armitage, (Sgq., of iaanctestw.

— cTTS:::£^5fc.§S3i'5->~_

^TN the foreground are huge boulders and the cataracts of a rushing
•'*' stream, which is crossed a little distance off by a rough stone
bridge. Further away are mountains with precipitous sides, and in the
distance a long range of mountains. A bright golden day. Sheep are
on the grass land to the left, and figures and a dog on the rocky
pathway to the right.

IN THE MINISTER'S' GARDEN.
Painted by Cecil G. Lawson.
Canvas, 71 x 107 inches.
ILcnt 68 ti)f ororporattott of Mmt%t&itx,

^1^ E YOND a tangled growth of flowering nasturtium is a bench of
^¦^ beehives, and clusters of gay hollyhocks and sweet-peas abound,
beside which are apple trees in fruit and a vigorous fir tree. To the right
among more nasturtium are some flower-pots and a spade, near which
yellow roses grow. Beyond in the fields some people are peacefully

working, others pass along the roadway, while in the broad expanse of
country lie the quiet hamlets, surrounded by farms and orchards, rich
grass-land, wheat-fields, woods and streams. Far away the long line of
blue hills meets the summer sky, across which white clouds leisurely float.
" Near yonder copse, where once the garden smil'd,
And still where many a garden flow'r grows wild ;
There, where a few torn shrubs the place disclose,
The village preacher's modest mansion rose.
A man he was to all the country dear.
And passing rich on forty pounds a year.-
Remote from towns he ran his goodly race,
Nor e'er had changed, nor wished to change his place."
Cecil Gr. LawBon was born in Shropshire in 1851. His father was^
a portrait painter. While still a boy, he employed himself, under the
guidance of his father, in painting small studies from nature — land
scapes, clouds, fruit, flowers, &c. In 1870 he exhibited at the Eoyal
Academy his picture of " Cheyne Walk, Chelsea." After the lapse of
four years he made a tour in Holland and Belgium, and in the same
year, 1874, commenced his painting of " Hop Gardens of England."
" The Minister's Garden " appeared at the Grosvenor Gallery in 1878,
and attracted much attention. The painter described it as a tribute to
the memory of Oliver Goldsmith ; the studies for the composition were
made on a hillside near Sandhurst. He married in 1879, and lived at
Haslemere ; there he painted " The August Moon," which, after his
death, was presented to the National Gallery by his widow, in fulfilment
of his wish. His health was always delicate, and though he spent the
winter of 1881 in the Riviera, he returned to England no stronger, and
died in the following year, aged 31.

8 APPLICANTS FOR ADMISSION TO A
CASUAL WARD.
Painted hy Luke Fildes, R.A.
Canvas, 56 X 97 inches.
Eent ()B tlje ©obemors of tf)e Koeal ll^ollotoae fflolleae, ffiflijam.

n^:^ ANGED against the wall, waiting each his or her turn, are these
38r^ applicants for temporary shelter, brought to this pass by
misfortune or crime. Tho garish gas lamp shows the entrance to the
ward, and suggests a warmth and comfort in contrast to the cold and
misery outside. Crouched on the wet ground, against the figure of a
woman, is a lad ill-clad and shivering. The woman seems anxious to
shelter a little girl, whose bare arm is seen against the poor garments
of the woman. The dissolute-looking man in a hat, stands in a
callous attitude, his hands in his empty pockets ; it is an every night
affair with him, and he knows there is nothing else to be done but to
wait his turn. With the family to his left it is a different matter. The
look of respectability on the father's face, and the grief of the mother at
having been brought, evidently by pure misfortune, to these desperate
straits, are pathetic ; no shoes for one child's feet, and the other two
children insufficiently clad, and, withal, no means for either shelter or
food. The cripple, an old soldier, to the extreme right, looks as if he
were playing pitch and toss with two roguish, evil-looking men.
" Dumb, wet, silent horrors, sphinxes set up against that dead wall, and none likely
" to be at the pains of solving them until the general overthrow."

Beneath the gas lamp a policeman is referring to some book or list,
while a man shivering with cold, and with a stick under his arm,
seems to be casting his eye down the line of casuals, and Hstening to
the policeman at the same time. A woman with one child closely
clasped in her arms, and another holding to the skirt of her dress,
is evidently coming away from fhe ward with some ticket or paper for
relief. The refinement and grace still left in the shabbily-clad figure
speak of better days, but through all, she seems more mindful of the
children than of herself ; things might be worse so long as they are
spared to her.
This remarkable work was exhibited at the Royal Academy in 1874.

9 THE LAND BETWEEN THE LOCHS.
Painted hy Alfred East, R.I.
Canvas, 48 X 78 inches.
Hent i)B f of)n lolson, ©sq., of ^aislee-

/JiP'HE stream runs placidly between the lochs, stretches of low grass-
^^f^ land on either side. To the right a group of trees rises from the
dry tangled grasses, while to the left at the bend of the stream are some
farm buildings. Beyond the winding water is the heathery moorland,
and, away in the distance, the blue hills.

10
A MARTYR IN THE REIGN OF DIOCLETIAN.
Painted hy Paul Delaroche.
Canvas, 68 X 56 inches.
Uent 1)8 an. i'iSic^tSal, <&»^., of lang.

(^f YOUNG Roman girl refusing to sacrifice to the false gods is
^^ condemned to death. Her hands are tied together and she is
thrown into the Tiber. It is the close of day, and the last gleams of
the setting sun are seen beyond the desolate bank. Two Christians catch
sight of the body of the young martyr as it is carried past them by
the tide. This picture was painted in 1855, and exhibited in the International
Exhibition of 1862, where it attracted immense attention, and is still of
world-wide repute. Paul Delaroche, the eminent French painter, was born in Paris
in 1797. He studied landscape painting with Watelet, and afterwards
entered the studio of Gros, and devoted himself to history. He also
expended four entire years of his early life in studying the human
figure. He made rapid progress, and in 1819 exhibited his first picture.
In 1824 he produced three works, for which he obtained a gold medal,
and in 1827 appeared "The Capture of the Trocadero," this work
procured him the distinction of the cross of the Legion of Honour. In
1830 he painted " The Princes in the Tower," which has been so often
engraved, and which induced M. Delavigne to write his tragedy on the
same subject. In 1833 he was appointed professor at the Ecole des
Beaux-Arts, and married in 1835, at Rome, the only daughter of Horace
Vernet, who waa then director of the French Academy in that city.
In 1837 the adornment of the Amphitheatre of the Ecole des Beaux-
Arts was entrusted to him, and iu this work he displayed great
originality of conception, obtaining an imposing result by very simple
means, completing it in 1841. He died in Paris in 1856.

11 THE LORD GAVE AND THE LORD HATH
TAKEN AWAY, BLESSED BE THE NAME OF
THE LORD.
Painted hy Frank Holl, R.A.
Canvas, 36 x 49^ inches.
Eent J8 dF. ©. latole, ®sq., gj.?3.
^^HE sorrow of a family, and the desolation of a household at the
^^ loss of the last remaining parent, are shown in this picture. The
eldest of the family, a young minister, takes the father's vacant place,
and in saying grace at the frugal meal, refers, in the words adopted for
the title of the picture, to the loss he and his brother and sisters have
sustained ; a loss which promises to tell upon their comfort, and seriously
to affect their means of maintenance. There is evidence of poverty
already in the scanty furniture and meagre surroundings. The eldest
sister sits resignedly with folded hands, her mind full of the sad past,
and fully aware of the struggle for bread which awaits them ; while the
sailor brother at her right,— ^called probably from his duty to attend his
father's funeral, may be able, as he seems willing, to be of some help.
The old faithful servant by the door evidently intends to keep by these
poor children in their adversity and do what she can.
This pathetic and remarkable work was painted when the artist was
not 24 years of age. It gained him the travelling studentship of the
Royal Academy, where it was exhibited in 1869, and at once gave him
distinction. It was purchased by its present owner before its
appearance there. Frank Holl was born in London in 1845. He was the son of the
engraver, Francis Holl, A.R.A. At the age of 15 he became a probationer
at the Royal Academy Schools. In 1868 the picture before us brought
him into prominence. He availed himself only to a very limited extent
of the travelling studentship he obtained by it, feeling that.he did not

profit by foreign traveL His pictures the next ten years were for the
most part scenes of domestic life, often dramatic iu their character,
and always pathetic to an extent that sometimes brought their realism
almost too painfully home ; as in his pictures of " Hush " and " Hushed,"
and " The Visiting day at Newgate." He secured his reputation, however,
by them, to be increased in a manner unexpected by him, when, in 1879,
at the urgent request of an old and intimate friend, he undertook the
painting of a portrait, the excellence of which at once discovered his
true vocation. From 1879 to his death in 1 888, at the age of forty -three, he
painted -the portraits of many of the most illustrious men of the day,
his most distinguished achievements being, perhaps, the full-length
portrait of H.R.H. the Duke of Cambridge, and the three-quarter
length of the fourth Dqke of Cleveland. As evidence of his industry,
it may be remarked that, in the year he died, he had on exhibition at the
Academy eight portraits, the fruit of his previous year's work, all of
them painted with the same masterly dexterity and decision, viz., a full-
length of H.R.H. the Prince of Wales, and three-quarter lengths of
Earl Spencer, Mr. Gladstone, Baron Huddleston, Sir William Jenner,
Sir Andrew Clark, Sir Richard Webster, and Mr. Townsend, of New
York. He was elected an Associate of the Royal Academy in
1878, and an Academician in 1884.
In contemplating his work, his appreciation can be understood of
the great Dutch master, Rembrandt, before some of whose pictures,
such as " The Anatomy Lesson," in the Museum of the Hague, and
" The Syndics of the Cloth Hall," in the Amsterdam Museum, he has
been known to sit for the hour together, frequently speaking of the
latter picture as one of the greatest ever painted.

12
PORTRAIT OF Mrs. J. A. FULLER-MAITLAND.
Painted by W. B. Richmond, A.R.A.
Canvas, 50 X 43 inches.
Eent t)B ifilts. 3J. a. dFuUec^jraattlanti.

^^'HREE-QUARTER length, seated back on a cushioned settee. Rich
^i^ russet brown dress with elaborate pattern , A fan held up against the
face with the right hand, and an open illuminated book lying at her left.
On the table is a vase of flowers, and, beyond, a green curtain.

13

A HILLY FARM.
Painted by Frank Walton, R.I.
Canvas, 17^ X 25 inches.
Eent is ©ftarles E. ?l}arcis, iSsq.
 s=>g^3^.=.s 

yll^ORSE in golden bloom is in the foreground, and beyond it a
^^ gentle meadow with its familiar . gates and open sheds for
wagons. On the hill slope paths run through the dry brown bracken,
amid which pine trees rise and grow plentiful further off' till they stand
in multitude against the sky. To the left the roadway leads through
leafy avenues to the farmhouse, and a lad is seen with two horses.
A true English landscape in its familiar tones and clear atmosphere.

14

OPHELIA,
Painted hy G. F. Watts, R.A.
Canvas, 30 X 25^ inches.
Emt t)8 tl&e artist

/^P'HE pure, beautiful face, with wistful eyes, is peering down
^¦^ through the willow leaves ; the sensitive hand lies on the
treacherous bough. " There is a willow grows ascaunt a brook,
That shows its hoar leaves in the glassy stream ;
There with fantastic garlands did she come."

15

LOVE AND LIFE.
Painted by G. F. Watts, R.A.
Canvas, 86 X 49 inches.
Eent Ja tlje Artist.

-^-=>i®*=

mp the rocky steep, Life, with vigorous frame and strong pinions,
leads the quivering, sensitive form of Love. Higher and
higher he leads the trembling figure into the ethereal atmosphere.
Though weary and ofttimes doubting, its latent strength still clings, with
passionate hope, to Life.

16

VIEW NEAR BRIGHTON.
Painted hy G. F. Watts, R.A.
Canvas, 20 X 24 inches.
Eent tB tfif 'B.xti^t

17

Dr. MARTINEAU.
Painted by G. F. Watts, R.A.
Canvas, 26 X 21 inches.
Eent Jb ti)e Artist.

^^'HE Rev. James Martineau, D.D., LL.D., was born in 1805.
^'^ He was pastor of the Unitarian Gothic Chapel at Liverpool,
and gained great celebrity as a pastor and an author. Among his
published works, which are very numerous, are "Endeavours after
a Christian Life," " Hymns for the Christian Church and Home,"
"New Affinities of Faith," "Types of Ethical Theory," and
"The Study of Religion." In 1857 he removed to London, where
he became minister of Little Portland Street Chapel, and later, in 1868,
Principal of Manchester New College, London. He has contributed
frequently to periodicals and was one of the founders of the "National
Review." He is brother to Harriet Marbineau.

18

PAOLO AND FRANCESCA DA RIMINI.
Painted by G. F. Watts, R.A.
Canvas, 61^ X 51 inches.
Eent 68 tJ^ ^rttgt.

*#*RANOESOA, the beautiful daughter of Guido da Polenta, Lord
f^jf of Ravenna, was wedded towards the close of the 13th century
to Lanciotto, son of the Lord of Rimini, a man deformed in his person,
who discovered her in guilty companionship with his brother Paolo, and
P 2

slew them both. The tragic event occurred in Dante's lifetime, and
impressed itself on his imagination, for he twice refers to it in his
" Divina Commedia."
Paolo and Francesca are here portrayed in the Second Circle of
Hell, where carnal sinners are tossed about ceaselessly in the darkness
by furious winds. They have issued from the ongoing throng to talk
for brief moment with Dante and his guide Virgil. Francesca tells them
her sad story : — " One day, for our delight, we read of Lancelot,
How him love thrall'd. Alone we were, and no
Suspicion near us. Oft times by that reading
Our eyes were drawn together, and the hue
Fled from our alter'd cheek. But at one point
Alone we fell. When of that smile we read.
The wishe~d smile so rapturously kissed
By one so deep in love ; then he, who ne'er
From me shall separate, at once my lips.
All trembling, kiss'd. The book and writer both
Were love's purveyors. In its leaves that day
We read no more."
Dante ventures not to enquire in what manner her husband put her
to death, but is so overpowered by pity that he sinks in a swoon. He
had probably known her when an innocent and beautiful girl living under
her father's roof. The episode was written by him in the very house at
Rimini in w'hich Francesca was born, and in which, during the last ten
years of his life, he found a constant asylum.
It is recorded that Paolo and Francesca were buried together, and
that three centuries later their bodies were found at Rimini, with iFran-
cesca's silken garments yet fresh.

19

FRESHWATER.
Painted hy G. F. Watts, R.A.
Canvas, 20 X 24 inches, i
Eent ia t^e artist.

^TN the neighbourhood of the Poet Laureate's home. Thatched farm
•'*' buildings and a glimpse of farm yard ; grass land and leafless
trees beyond.
20 ALGERNON CHARLES SWINBURNE.
Painted hy G. F. Watts, R.A.
Canvas, 26 X 21 inches.
Eent 1)8 tije 'B.xii^t

(^LGERNON CHARLES SWINBURNE, poet, essayist, and
^^ dramatist, was born in London, 1837. He was educated in France
and afterwards at Eton. He entered as a commoner at Balliol College,
Oxford, 1857, but left without taking a degree. Eis first publication was in
1861 — two plays, entitled the "Queen Mother" and " Rosamond," which
attracted little attention. It was followed by""Atalanta in Calydon,"
in 1864, "Chastelard," inl865, and "Poems and Ballads," in 1866.
The last-named work was very severely criticised. His chief productions
since that date are " A Song of Italy," " Songs before Sunrise,"
"Bothwell," " Songs of Two Nations," "Poems and Ballads, 2nd Series,"
" Mary Stuart," " Tristram of Lyonesse and other Poems," " A Mid
summer Holiday," and " Locrine." Many reviews and essays have also
appeared from his pen in high-class periodicals.

21 LOVE AND DEATH.
Painted by G. F. Watts, R.A.
Canvas, 99 X 47 inches.
Eent 6b tfte artist.

^TN this striking work the majesty of death is seen. With a power
•'*' not to be withstood he is entering a dwelling house. He
encounters the figure of Love, who strives with all the might at its
command to prevent his entry. But Death pauses not. He forces aside
the lovely figure, crushing its sun-tinged wings against the portals of
the house, and continues his way. Mysteriously shrouded, nothing of
his actual frame is discerned except the grisly heel and the overpowering
arm ; but with Love there is no mystery ; with its coronet of roses,
and its healthy vigorous presence, it is seen in the fulness of life.

22 GOOD LUCK TO YOUR FISHING.
Painted by G. F. Watts, R.A.
Canvas, 24 X 20 inches.
Eent ia 1S« Artist.

23

SANT' AGNESE, MENTONE.
Painted hy G. F. Watts, R.A.
Canvas, 21 X 26 inches.
Eent ba t5e artist.

24 OSKOLD AND THE ELLE-MAIDS.
Painted hy Sir J. NoEL Paton, R.S.A.
Canvas, 44 X 64 inches.
Eent 6a IS. If. iSenneft, ®s^., of aar, i^.lS.

/JJp'HE picture was suggested by Scandinavian legends of the
^¦^ beautiful and malevolent wood-spirits or ElM-maids.
" ' So all that day Ke rode right forth in the forest till the sun went
down. Then was he ware of five demoiselles dancing and singing in
the glade ; and ever they proffered him, would he but turn from his
quest, all manner of solace and pleasaunce. Now, he was passing faint
by reason of his long fasting, and weary from his vigil. . . . And
marry, him thought in his heart, mot I but rest me here a little space,
and with moonrise ride on my way I But anon heard he afar off" a
sweet bell ring as for vespers. Then was he all adread and cried on
height, " Ah, blessed Lord who died on tree, help me in this tide, for
sorely am I bested ! " Right so there arose a marvellous great wind,
whereat his stout horse gan quake and sweat for fear. Then crossed he
himself, and anon the fair demoiselles vanished with doleful strain. Then
he knew they were the Ell^-sisters, and he rode on giving God
remercieaunce, by whose grace he had scaped their fell assautes. ' My
son, the questing Knight is the soul, the forest is the labyrinth of this
world, and the ElM-maids are the five senses. " — [Sir J. Noel Paton. J

25 KATHERINE AND PETRUCHIO.
(FEOM SHAKESPEARE'S "TAMING OP THE SHREW.")
Painted by W. Q. Oechardson, R.A.
Canvas, 31 X 41 J inches.
Eent ia dF* ©. latole, ©sq., f .1.

^

ETRUCHIO, a gentleman of Verona, woos for her money and
subsequently weds, the shrewish daughter of Baptista, a rich

gentleman of Padua. " I come to wive it wealthily in Padua,
If wealthily, then happily, in Padua."
Katherine stands to the left of the picture in long black dress, which
she draws petulantly back with her right hand ; behind her is a rich
piece of tapestry, Petruchio, in the costume of a gallant, wears a
white doublet and hose, and a sword with broad leather trappings. He
sits back in a red-covered chair, his black cap held jauntily in his hand,
and his white gauntlets on the ground. To his left is a blue chair he
has overturned, and a table upon which is a vase and some small articles.
A lamp of simple design hangs above him, and behind him is a fire
place with oaken panel above.
Pbteuchio — Now come, Kate, come, you must not look so sour.
Katherine— It is my fashion when I see a crab.
Petbuchio — Why here's uo crab, and, therefore, look not sour.
Katheeine— There is, there is.
Pbteuchio — Then show it me.
Katheeine — Had I a glass I would.
Peteuchio — What, you mean my face 1
Katheeine — Well aim'd of such a young one.
* * * * V
Peteuchio — Thou must be married to no man but me ;
For I am he am born to tame you, Kate ;
And bring you from a wild Kate, to a Kate
Conformable as other household Kates.

26 ROSE STANDISH.
FROM LONGFELLOW'S POEM OF "THE COURTSHIP OF
MILES STANDISH."
Painted by G. H. Boughton, A.R.A.
Canvas, 52 X 28 inches.
Eent fia 33ettjamtn armtfase, iSsii., ot ISlanc^ester.
" Beautiful Rose of Love that bloomed for me by the wayside !
She was the first to die of all who came in the May Flower."
AL HE is wearing the simple primitive costume of the time of the
^^^ Pilgrim Fathers ; pale pink gown, white apron with deep collar,
and black sash round the waist, and, falling to her right ; black hood with
a frill of white beneath it. She is walking in a pleasant woodland, her
hands crossed before her, and holding some forget-me-nots.
27 CHRISTMAS EVE.
Painted by Sir J. E. MiLLAiS, Bart.-, R.A.
- Canvas, 63 X 52 inches.
Eent Ja dearies aaJertifieimer, ISs?.
 3«=#'c8Ji;==S 
^I'p'HE cold day is clouding over. Tender lights illumine the winter
^^ sky. The deep-set windows of the castle-home reflect the sun's
last gleams. Into the chill air the trees spread their naked branches.
Beneath the terrace-walk the slope is covered with snow tinged by the
lustrous lights above, and on the drive in the foreground the rooks, old
inhabitants of the place, have alighted. Dark firs and yews are seen
beyond the garden wall.
" And the winter winds are wearily sighing."

28

THE OLD GATE.
Painted by Frederick Walker, A.R.A.
Canvas, 53 X 66 inches.
Eent ia a. (&. Street, ®sq., iKl.a.

/j^HILDREN are playing at the foot of the worn steps, at the top of
^"'^ which is an old gate, through which are passing a comely country
girl, with gay shawl and busy basket, and a lady in mourning, apparently
a young widow. On either side the gate is a square pillar, gray
with time, and beyond is the rich country-side^ chill and sad on this
sunless Spring day. Gently the gate closes behind them, and as they
descend, a sturdy young labourer passes along the road, with his spade
on his shoulder, and his eyes are turned toward them.
Frederick Walker was born in Marylebone in 1840, and early in
life became a student at the Roy al Academy . He had already begun.
to draw on wood, and received employment on the periodicals " Once
a Week," " The Cornhill Magazine," and other illustrated publications.
In 1866 he was elected a, Member of the Society of Painters iu Water
Colours, and in 1871 an Associate of the Eoyal Academy. He died in
1875 at the early age of 35, and was buried at Cookham, where his
brother artists erected a tablet to his memory. Cookham was in the
midst of his favourite sketching haunts. His pictures have great
feeling, and any incident he painted was clothed by him with an
intensely poetic beauty. He is represented in the National Collection
by " The Vagrants," painted in 1868.

29 RUNNING WATER.
Painted hy Georgb Paul Chalmers.
Canvas, 49 X 30 inches.
Eent 6a ®. 3f^. ©urtts, ®s?., of ©reenoelt, B-M,

^!M RAPID stream is rushing over a low rocky fall. Full-leaved
^^ trees rise from the thick undergrowth on the opposite bank,
while to the right, grassy land is seen and purple distance.
George Paul Chalmers was born at Montrose in 1836, and educated
at the Burgh School there. Early in life he was apprenticed to a ship-
chandler ; this occupation becoming intolerable to him, he made his
way to Edinburgh, and, while still quite young, entered the School of
Design, then under the direction of Lauder. His first works were
portraits, and it was only at a, later period that he took to landscape
painting. He was elected an Associate of the Scottish Academy in
1867, and an Academician in 1872. He died in Edinburgh, 1878.

30 THE MUSICIAN.
Painted by John Pettie, R.A.
Canvas, 64 X 43 inches.
Eent l'^ i!^t artist.
 ^  ^=^^^^=^ 

^^ MUSICIAN is lying back in a deep chair, thinking out a
^^ composition, imagining an orchestral effect, with the occasional
help of an organ. His worn look suggests the nervous strain his
occupation puts him to. He is attired in a grey dressing robe, lined

with pale blue, low shirt collar, black stockings and shoes. The organ
to the right of the picture is curiously ornamented, two trumpets being
crossed over the key-board, and a crown placed above the central
pipes. Leaning against the organ is a violoncello, and behind it is a
chair. Some volumes are on the ground beside him, useful at times,
but not needed at the moment.
The music in his hand was painted from ono of Mozart's original
manuscripts.

31
SWEET IS EVENING'S TRANQUIL HOUR.
Painted by David Murray, A.R.A.
Canvas, 74 x 48 inches.
Eent lia ffliiarles C iS?arris, OiKs^.

T^TN this charming pastoral a girl, in low-toned dress, is listening to a
-'*' shepherd boy, who sits on a knarled bough, piping. The evening
light catches her face and the pink kerchief on her head, and tinges the
skin of the cow against which she is leaning. Around her are
old fruit trees, their blossom bright at this quiet hour. Sheep are
peacefully scattered about the grassy land in familiar companionship
with the figures ; a scene of tranquillity. The well-worn pathway bends
sharply off to the left and is lost in the distance. Cold grey clouds
advance slowly towards the last flood of golden daylight, against which
the windmill is seen, with its sails now still after the day's work. One
is conscious in this picture of the last parting gleams of day.

32 DANCING DOWN THE HAY.
Painted hy G. H. Boughton, A.R.A.
Canvas, 43 X 60 inches.
Eent is 5E. ^. ©atliutf, ies(i., M.^\
kERE is seen the making of the rick ; the village girls are
merrily treading the hay down while the men bring up fresh
heaps, and so increase its size until the stack is complete.

33

AN AL-FRESCO TOILETTE.
Painted hy Luke Fildes, R.A.
Canvas, 68 X 42J inches.
Eent Ja artl)ur antierson, ffisq.

^jM GIRL in dark dress, with green petticoat, is skilfully dressing
^^ the rich auburn hair ofa handsome girl, who, in dark-blue skirt,
with her white mantilla across her knees, is seated outside the pillared
portico of a house in Venice. The girl to the right wears a pale-red skirt,
striped with white, and a black apron. Two young girls are seated at a
table in the rear.

34

RORKE'S DRIFT.
Painted by Lady^BuTLER (Elizabeth Thompson).
Canvas, 47 x 84 inches.
Eent lia J^er iWajesta tfie (!|ueen.

#N the morning of the 22nd January, 1879, the Zulus, 25,000
strong, were within five miles of the camp of the 24th regiment.
They did not intend to fight that day, for " the moon was dead," but
were sitting on the undulating plain in a huge semi-circle, when a small
reconnoitering party of Colonel Durnford's men came unexpectedly upon
them and fired. Then quickly followed the attack on Colonel Durnford's
main command, and the slaughter of his men, by this immense host, at
Isandhlwana. Nothing but the post at Rorke's Drift, with a detachment
of eighty men, stood between Natal and this overwhelming force, whose
cunning, discipline, and reckless bravery, made it a formidable foe, not
to be kept back by any superiority of armament. Scarcely had a hasty
barrier been made of biscuit tins and mealie bags by this handful of
men, when the attack was upon them. It raged all through the night.
Six times the Zulu impis charged the barricade with utter disregard of life,
and each time effected an entrance, but were driven out and kept at bay.
The rifles of the English by the incessant firing grew too hot to hold
without cloths round the barrels, and over and over again the Zulus got
hold of them while they were being loaded, and tried to wrench the
bayonets off. Creeping to the rear they set fire to the hospital. As the
day broke, when the gallant detachment was at the point of exhaustion,
Lord Chelmsford's advance guard was seen approaching, and the
courageous enemy retired.
The commanders of this gallant defence were Lieutenants Chard
and Bromhead.

35

A YOUNG PRODIGAL.
Painted by G. A. Storey, Esq:, A.R.A.
Canvas, 40 X 63 inches.
Eent Ja tfie artist.

f^y yOUTHFUL gentleman has been entertaining a party of friends
^^ and is short of the wherewithal to pay, when the proprietor of
the place, with polite address, presents his bill. One of the guests, an
ancient roue, is inspired with the idea, now that the repast is over, that
he at least had better be moving, while the other guests, warmed with
the excellent wine, drink to their young host's health, regardless of the
wine being unpaid' for. The ladies, like the gentlemen, are gaily dressed
in the picturesque costume of the last century. A little distance off'
two gamesters are sitting, and beyond is a pleasant view of the country,
with farm buildings. Cedar trees are behind the guests, their trunks
rich iu colour, and their spreading boughs yielding a pleasant shade.

36 LADY CAMPBELL, BORN LEHMANN.
Painted hy Sir J, E. Millais, Bart., R.A.
Canvas, 50 x 33J inches.
Eent ia Mt^' Eeljmann.

IVM IFE-SIZE, seated on the end of an oak chest, fronting the spec-
rBw tator, and holding a closed fan ; head turned to the left.
White dress, with a small bouquet of forget-me-nots fastened in front ;
a necklace of pearls ; light gloves on the chest beside her, and a jar of
blue Nankin, filled with tulips.
The portrait was painted in 1884.

37

THE LOST CHORD.
Painted by 0. Holmburg.
Canvas, 43 X 31J inches.
Eent 6a Sir Wm ^en^ier, m.(St.mM.

Room II.

-:o:-

38 THE VIRGIN AND CHILD ENTHRONED.
Painted hy Jan Gossaert (Mabuse).
On Wood, 32 X 26 inches.
Eent ia li^orti JWetfiuen.

^^'HE Virgin, in rich blue dress, is seated on a throne of wondrous
^'^ workmanship ; her magnificent red robe has dropped down on
her right, and is trailing on the ground. The Child is on her knee,
looking at the pear which has just been given to the Virgin by St. Anna,
who, in rich apparel, stands on her right, holding the cover of a
golden vessel. To the Virgin's left is St. Catherine, kneeling, an open
book before her, at certain words in which she is pointing. She wears a
crown, and is in costly raiment. On the ground at her feet is a sword,
and behind her, in simpler clothing, is St. Joseph, holding an open book.
(For Notice of the Painter's life, see No. 52.)

39

THE ANNUNCIATION.
Wood, 34 X 22 inches.
Eent 6a ®. f . ^otitr, ©stj.

=j®^

^^'HIS was originally two panels — forming the wings'of a triptich.
^^ The design is extremely simple and beautiful. The purity of the
Virgin is suggested by the lily at her side, and her devotion, by the Sacred
Volume in her hand. She listens with wonder to the Angel of the
Annunciation.

40

THE DEATH AND CORONATION OF THE
VIRGIN.
Painted by Fra Giovanni da Fiesole, called Fra Angelico.
Wood, 24 X 15 inches.
Eent 68 Eorii jWetfiuen.

^^i'HIS picture was formerly the altar-piece of a chapel near Leghorn.
^'^ In the richness of its composition", and in the variety of the
refined and beautiful heads, it is one of the most admirable works of
the master. It is in wonderful preservation.
Fra Giovanni da Fiesole, surnamed, from his great piety, " Angelico,"
was born at the village of Vicchio in 1387. In 1407 he entered the
Dominican Monastery of Fiesole, near Florence, and for two years his
first efforts in art are believed to have been exercised in the illumination
of religious inanuscripts. In 1409 he left Fiesole to paint frescoes at
Foligno and Cortona. Returning in 1418 to Fiesole, he there executed
many frescoes and paintings, and for 18 years was engaged in embellishing

churches. In 1486, being at Florence, he painted the altar-piece for
the choir ofthe Monastery of San JFaroo, and the walls, ceilings, corri
dors, and cells are covered with his paintings, and still remain in the
positions for which they were designed. In 1445 Fra Angelico visited
Eome, on the invitation of the Pope Eugenius, and there painted the
Chapel of the Sacrament in the Vatican. Offered the Archbishopric of
Florence, he, through modesty, declined the appointment. He died, in
1455, at Eome, and was buried in the Church of the Minerva, where his
eflSgy, with epitaph, may still be seen. The historian, Vasari, a hundred
years later, states that Angelico never began a painting without prayer.
He says : — " The life of this really angelic father was devoted to the
service of G-od, the benefit of the world, and duty towards his neighbour.
 He shunned the worldly in all things ; and, during his
pure and simple life, was such a friend to the poor that I think his soul
must be now in heaven. He painted incessantly, but would never lay
his hand to any but a sacred subject. He might have had wealth, but
he scorned it, saying that true riches were to be found in content.
He might have ruled over many, but would not, saying that obedience
was easier, and less liable to error. He might have enjoyed dignities,-
but disdained them, affirming that the only dignity he sought was to
avoid hell, and gain heaven. He was wont to say that the practice of
art required repose and holy thoughts, and that he who would depict the
acts of Christ must learn to live with Christ."
" If at whiles
My heart fails, as monotonous I paint
These endless cloisters and eternal aisles
With the same series. Virgin, babe and saint ;
With the same cold, calm, beautiful regard ;
At least, no merchant traffics in my heart ;
The sanctuary's gloom at least shall ward
Vain tongues from where my pictures stand apart :
Only prayer breaks the silence of the shrine,
While, blackening in the daily candle smoke.
They moulder on the damp wall's travertine,
'Mid echoes, the light footstep never woke." — [Beowning.]

41

THE ADORATION OF THE KINGS.
A TRIPTICH.
Painted hy Cornelis Enselberts.
Wood, centre panel, 14 X lOj inches, side panels, 14J x 4g inches.
Eent 68 H. m. Wim, ©sq., EE.H.

^TN the centre panel the Madonna in blue, with her hair falling on
-'*' either side, is seated holding the Infant Christ, to whom one of
the kings is offering a golden vessel ; he is richly robed in red, with
fur on the shoulders, and with gold waistband and ornaments ; his
crown ia laid aside on the ground. To his right is another prince,
richly apparelled, and raising his crown in reverence as he approaches
with a costly gift ; beyond him is a landscape, and the star is seen which
guided the kings hither. To the left of the picture is seen another
magnificent bearer of an offering, and behind is the humbler figure
of Joseph. The left panel shows the holy Virgin in costly raiment, followed
by many women — herself the first and most honoured.
In the right panel soldiers are seen bearing flags and spears,
suggestive of the rough and cruel usage which awaits the Infant before
whom kings now bow.
This was formerly in the collection of the Right Hon. W. E.
Gladstone, M.P. Cornells Engelberts was the son- of a wood-engraver, and was born
at Leyden in 1468. He is said to have been one of the first artists of his
country that painted in oil, and studied the works of Jan van Eyck.
Many of his paintings were destroyed by the Dutch iconoclasts in the
sixteenth century, though some were preserved with much care in the
Church of Onr Lady, at Leyden. Engelberts died at Leyden in 1533,
and is said to have been the master of Lucas of Leyden ; he is thought
to be identical with the " Cornelis de Hollandere " of the Guild of St,
Luke at Antwerp, in 1492.

0 2

42

ECCE HOMO.
Painted hy LucAS van Leyden.
Wood, 18 X 13J inches.
Eent 6a tl)e ®arl of iBiortt6roofe, ©.©.S.S.

^HhlLATE, with a long thorny switch in his hand, is presenting
^p' Christ, who is mockingly robed and crowned, to the people,
who in bright-coloured garments are holding up their hands to signify
their assent to His crucifixion. Beyond are buildings particularized
with great care. The sky is clear and luminous on the left, but
clouded on the right, over the rising ground evidently intended to
be Calvary. In the foreground Christ is again seen in costly
raiment talking with the holy women, while to His left some of the ^
disciples are seen.
The picture is remarkable for the conscientious earnestness of
the design, its multiplicity of incident, its harmonious brilliancy and
its extraordinary finish ; nowhere, perhaps, more observable than in
the border on the robe of Christ in the foreground.
Lucas Jacobsz, called Lucas van Leyden, was born at Leyden in
1494. His father was also a painter, and at a very early age he en
graved plates from his father's designs. He studied with Cornelis
Engelberts, and amazed his contemporaries, when he was only
twelve years old, by his painting of " St. Hubert." He was equally
successful in his treatment of landscapes, portraits, or history, painting
in oil, in distemper, or on glass. He was a, friend of Albrecht Diirer,
and worked at Leyden and at Middelburg, where he enjoyed the com
panionship of Jan Gossaert (Mabuse), and at Antwerp, where, in 1522,
he was received into the Guild of St. Iiuke. He died at Leyden in
1533. His works are seldom met with.

43

ST. JEROME.
Painted hy GiovANNi Francesco Carotto.
Wood, 9X7 inches.
Eent 6a Sir ?^icltman iSacon, tSart.

=^^€=

Giovanni Francesco Carotto, or Oaroto, was born at Verona in 1470.
He was first apprenticed to Liberale, but afterwards went to Mantua
and entered the studio of Mantequa, whose style he closely imitated.
He returned to Verona in 1508 and painted frescoes in the church of
San Tommaso Cantuariense. Many of the galleries and churches of
Verona and Mantua possess paintings by him. He died at Verona in
1546.

44

PORTRAIT OF A MAN.
Painted by Albert Durer.
Wood, 33 X 24 inches.
Eent 6b tf)e IBnfec of ISutlantJ, IS.®.

=»3-®€<=

^^'HE portrait is evidently that of some distinguished and learned
^^ person, probably also a student of works of art, as he holds in
his hand a richly ornamented object of gold, which from having a tassel
may be an official seal. The order, also of gold, suspended by a heavy
gold chain from the neck, denotes his importance, as also does the black
cap with a badge, and the rich dress, in which the collar of the under
garment is finely embroidered with gold.

Pictures bj' this famous master of the German School are so rare
in private collections, and even in the great public galleries, that this fine
portrait possesses very great interest, both as a work of art and as it
bears the well-known monogram of the painter, and the date 1520,
which is seen in the upper part of the panel in the spandril of a
painted arch. — Belvior Castle Catalogue.
Albert Durer was born at Nuremberg, 1471. His father was a
goldsmith, and sent him, at the age of 13, to Martin Schon, in whose
atelier he doubtless met Hans Burgkmair, who in after Hfe was his most
active assistant. Later on he was apprenticed for three years to Michael
Wohlgemuth. The earliest known portrait by Durer is that of his
father, dated 1497, while 1498 is the date assigned to " The Nativity,"
his earliest known composition. In the same year appeared his wood
cuts illustrating the Book of the Revelations. These mystical subjects
are conceived in a singularly poetic spirit. Between 1495 and 1511 he
executed many important paintings and portraits, and also the three
large series of woodcuts illustrating the Greater and the Lesser Passion,
and the Life of the Virgin. To 1513 is ascribed the celebrated plate of
" The Knight, Death, and the Devil," considered by many the most
important work which the fantastic spirit of German art has ever
produced ; and among the excellent plates produced during the
following year the well-known one entitled " Melancholy " may be
considered the most inventive and poetical. In 1521 he journeyed to
the Netherlands, where he was received by the native artists with
great honour. To 1526 belongs the execution of his two greatest
paintings, that of the Apostles " John and Peter " and " Mark and
Paul," painted the size of life, and now in the Munich Gallery. He
died at Nuremberg, 1528. In him the style of art already existing
attained its most original and highest perfection. His spirit was rich
and inexhaustible and was united with a capacity for the severest
study.

45 THE VIRGIN AND CHILD, WITH
ATTENDANTS.
Painted by Jaoopo Pacchiarotto.
Wood, oval, 26^ X 19^ inches.
Eent ba Eieut.^fflol. ?!3. M. dorntoall Eegij.

^^'HE Holy Virgin, with blue drapery on her head, and a blue robe
^^ ornamented with a star, is carefully holding the Infants Christ
and St. John ; behind,, on the left, is St. Joseph, and on the right,
St. Elizabeth. This painter's work is seldom seen out of his native city Siena.
Jacopo (or Giacomo) Pacchiarotto was born at Siena in 1464, and
lived there until 1535. For taking part in a rebellion against the
government he was compelled to quit the country, and went to France,
and became a friend of the painter II Rosso, and is thought to have
executed paintings for Francis I. at Fontainebleau. He returned to
Siena in 1536, but again becoming involved in a conspiracy against the
authorities he was banished, but in 1540, by the eflforts of his wife, he
was pardoned and allowed to return. Nothing is recorded about him
after this event. Many of his works have been thought to have been
executed by Girolama del Pacohia, and vice versa. Much confusion
has arisen regarding these artists ; they were contemporaries aud
fellow citizens, and are also said to have worked in conjunction one
with the other ; both were members of the turbulent Company of the
3ardotti, a Club which was afterwards suppressed by the government.

46 THE MADONNA AND CHILD.
Painted hy Jan van Eyck.
Wood, 10| X 8i inches.
Eent 68 tlje iil&arl of iaortproofe, (JEf.OI.S.I.
'^I^ENEATH a finely-painted canopy the Madonna is seated in dark
^¦^ blue robe with an elaborate border of precious stones where
it meets her neck. Over it she wears a rich red mantle, also with a
jewelled border. A circlet of Jewels is round her brow. Some white
drapery is beneath the Holy Child, who is sitting on her knee, holding
some flowers in His left hand.
{For Nolicc of the Painter's life, see No. 48.)
47 THE VISION OF SAINT HILDEPHONSUS.
Painted hy Bernard Van Orley.
Wood, 16^ X 14J inches.
Eent 68 tlje ®arl of iaortproofe, (S.OJ.S.I.

^LDEFONSUS, or Hildephonsus, was a learned Benedictine
-'*' abbot of a monastery called Agaliense near Toledo, and was
promoted to the Archbishopric of that city about a.d. 657. He
wrote a celebrated book on "The spotless Virginity of the Virgin

Mary " in answer to certain heretics ; and the Holy Virgin
consequently regarded him with especial favour. He was entering
the cathedral at the head of a midnight procession when he perceived
the high altar surrounded by a blaze of light. He alone of all the
clergy ventured to approach, and found the Virgin seated in his
ivory episcopal chair and surrounded by singing angels. He bowed
to the ground before the heavenly vision, and the Virgin thus
addressed him : " Come hither, most faithful servant of God, aud
receive this robe which I have brought thee from the treasury of
my Son." Then he knelt before her and she threw over him a
chasuble or cassock of heavenly tissue, which the attendant angels
adjusted on his shoulders. From that night the ivory chair remained
unoccupied and the celestial vestment unworn until the days of the
presumptuous Archbishop 'Sisiberto, who died miserably in consequence
of seating himself in the one and attempting to array himself in the
other. The Virgin is here descending, crowned, and in blue aud green
drapery. She is offering the robe to the Saint, who kneels reverently
before her. Bernard, or Barent, Van Orley, was born about 1491 at Brussels,
where his family, noted for artistic talents, flourished for three
centuries. When young he studied in Eome, in the school of Eaphael.
Keturning to Brussels he was appointed Court Painter to Margaret of
Austria, regent of the Netherlands, and, together with Michael Coxie,
he superintended the making of the tapestries for the Vatican, from
Raphael's cartoons, which were woven in Brussels by Pieter van
Aelst. He also himself drew designs for tapestry, and for paintings .on
glass. Some of the windows in St. Gudule, at Brussels, are from his'
cartoons. He died in Brussels in 1542.

48 THE MADONNA AND INFANT CHRIST.
Painted hy Jan van Eyck.
On Wood, 9x6 inches.
FROM THE INCE-BLUNDELL HALL COLLECTION.
Etnt 6a OlSarles 215HeH(=13Iun^ieU, d^n-
 •Ji^SScX^'^f^^S-.&.ji'  ¦ 
Signed " Completum anno domini MCCCCXXXII. per Johannem de Eyck
Brugis. ' Als ikh kan ' (signifying ' as I can '), the first words of an old Flemish
proverb, ' As I can, but not as I would.' "
^^•HE Virgin, in a blue tunic, and a rich red mantle, the folds of
^•^ which cover the ground about her, holds a book before the Infant
Saviour, who sits on her knee, and is turning the leaves. The scene is
in a half-lighted chamber, illumined by small panes of glass. On a
table, near the window, is a crystal vase, partially filled with water ; and
some oranges are at its side. To the left, on a board, is a branched
candlestick, and a brazen pot. The Virgin's feet rest on a richly
coloured carpet. A circlet of pearls holds back her brown hair, which
falls in many tresses over her shoulders, and on the upper part of the
blue dress are similar ornaments.
Jan van Eyck w as born probably at Alden Eyck on the Maas,
about 1390. The Van Eycks resided chiefly at Ghent and Bruges,
where they founded a great school. Both Jan and his brother Hubert
were granted the freedom of the Corporation of Painters of Ghent in
1421. They are particularly distinguished as tho inventors or improvers
of oil-painting. Their joint masterpiece, the " Adoration of the Lamb,"
an altar-piece in the Chapel of St. Bavon, Ghent, was finished by Jan
the same year the present picture was painted, viz., in 1432, six years
after the death of Hubert, but in the inscription on the picture the
chief merit is given to Hubert, who is called the greatest in art' while
Jan is styled the second. Jan van Eyck died at Bruges, 9th July, 1440.
Funeral masses for the repose of his soul were celebrated yearly in the
month of July for upwards of three hundred years, when the first
French Revolution put an end to the ceremony, which brought an
annual revenue to the church of 34 gros.

49

THE VIRGIN AND CHILD, WITH ANGELS
AND SAINTS.
Painted hy Cima da Conegliano.
Eent 6a ®arl ^Srotonloto.

Giambattista da Conegliano, so-called from his birthplace in Friuli,
lived in the middle of the fifteenth century ; the dates of his birth and
death are unknown. He frequently introduced the hills and surround
ings of his native town into his pictures, so the name of " Cima," which
means a summit or eminence, has been given him by posterity, and by
this appellation he is always known in the history of art. During the
latter years of his life he left Friuli and settled in Venice. In the
gallery of Vicenza is the enthroned Madonna and Child, his earliest
dated work, painted in tempera on canvas, but all his other pictures are
executed in oil. He is reported to have died in 1517.

50 THE VIRGIN AND CHILD.
Painted hy BERNARDINO Luini.
Wood, 22^ X 20 inches.
Eent 6a Eieut.^OIol. m. M. (Korntoall EegJ), of iSnutsforH.

/^•¦'HE Virgin, in a red robe over a green dress, and with dark
^^^ drapery around her head, is holding the Infant Child, who stands
on a bench, where also lies an open book. He is placing a ring on the
third finger of St. Catherine, who wears a dark garment over a richly
worked dress. Ou her head is a crown, and her left hand rests on the
cruel wheel. The background is dark, with green curtains on either
side. Bernardino Luini was borii at Luino, on the Lago Maggiore, about
1475. He has left numerous and beautiful productions, though little
is recorded concerning his personal history. Vasari, who erroneously
calls him Del Lupino, must have known his works, but he only devotes
a few short sentences to him. He worked in the churches of Milan,
Saronno, and Lugano. Some of his best eflforts have been attributed
to Leonardo da Vinci, and no artist has approached nearer to the style of
another than Luini does to Leonardo ; there is the same peculiarity of
composition and colour, and both artists are characterized by the
beauty, dignity and modesty of their female figures.

51 THE VIRGIN AND INFANT CHRIST,
WITH ANGELS.
Painted proba!bly by Stephen Lochener, called
Master Stephen of Cologne.
On Wood, 33 x 26 inches.
FI?OM THB INCE-BLUNDELL HALL COLLECTION.
Eent 68 fflftarles W^m-lSXmmx, ISsq.

(^••HE Virgin, enthroned beneath a canopy, is gazing, with most
'•^ graceful action, upon the Holy Child sleeping on a cushion in her
lap, holding an apple. She is taking some cherries with her right hand
out of a basket, which an angel is offering to her. On her left are
three angels singing ; the one with the music book is drawn with great
dignity and grace. At the sides of the canopy are views of a rich
landscape, and along the top is the inscription " Pulchra es et Suvais."
In the earlier portion of the 15th century the Cologne School dis
tinguished itself in excellence before all other schools iu Germany, and
in Stephen Lochener attained its highest form of originality. There is
no proof of Stephen having been a scholar of the traditional Master
William, but it is obvious he formed his style from him. In the Limburg
Ctironiole, 1380, it is recorded : " In this time there was a painter in
Cologne of the name of Wilhelm ; he was considered the best master in
all German land ; he paints every man, of whatever form, as if he were
alive." And the custom arose of attributing to him the best pictures in
Cologne and its vicinity of this period, but there is no certainty as to
the real origin of one single picture of this school. In those assigned
to Master Stephen " is recognised an art more developed and realistic,
richer and more splendid in colour, but still retaining the tender grace.
of the earlier style." This is unmistakably observed in the picture
before us.
Master Stephen was born at Constance early in the 15th century. He
was living at Cologne in 1442, and represented the Guild of St. Luke in
that city in 1448 as a member of the Senate. He was occupying the
same post of honour in 1451, but died poor and neglected in that year.

52 THE LEGEND OF COUNT RAYMOND
OF TOULOUSE.
!By Jan Gossaert (Mabuse).
Wood, 45 X 33 inches.
Eent 6a i^. ia. Sutton^iaeUi&orpp, (^n-

i^ff'HE story here portrayed is characteristic of the middle ages. The
^'^ youiig Count of Toulouse, deeply touched with the sense of his
Saviour's suffering, felt himself unworthy to enjoy the luxury and
honour of his high station. Stripping himself of his dignities, he
proceeded to the Holy Land in the garb of a pilgrim. He is here repre
sented taking off his shirt, which a servant, in a brown furred coat,
receives, at the same time holding the black fur coat, which his master
has laid aside, and which is partly on the ground. His cap lies there,
too. Next to him stands the Bishop of Toulouse, in his j-obes, wiping a
tear away with his left hand, while with his right he covers the nakedness
of the Count with his gown . Behind him are two other men, who finely
express their sympathy at the scene. On the right, in the middle dis
tance, through a gate, is seen a man bringing the pilgrim's dress, a short
hair garment. On the left the Count appears, dressed iu it, about
to begin his journey. The pilgrim's staff is in his left hand, his eyes are
cast upwards in humble aspiration, and his right hand lies on his breast.
In the background, which consists of buildings and a piece of landscape,
he reappears, being attacked and beaten by robbers.
Jan Gossaert was known as " Mabuse," from Mauberge, the place
where he was bom. In the earlier part of his career he adhered to the
style then prevalent in Flanders. He removed to Antwerp in 1503,
but five years later went in the train of Philip of Burgundy, and then
- endeavoured to combine with his native style those forms of Italian art
which captivated him most. From that time his works, though always
executed with the greatest care, lose any deeper interest. He was one
of the illuminators of the famous Grimani Breviary, now in the library
. of St. Mark's, Venice. On his return from Italy, after an absence of 1 0
years, he was much employed throughout the Low countries, and finally
returned to Antwerp, where he died in 1541. He was remarkable for
conscientious and elaborate finish, for daylight freshness, and warm
and brilliant colouring.

53 THE VIRGIN AND CHILD,
WITH ATTENDANT SAINTS.
Painted hy Francesco Maria Mazzola, called Parmigiano.
Wood, 26 X 20 inches.
Eent 6a H. ^. mmXiim, 3£sq.

/^^'HE Virgin, in dark purple dress, is seated in graceful attitude
^'^ and with serene expression. A book is in her left hand. Upon
her knee is the Holy Child, who is being clasped by the Infant St. John ;
behind is St. Elizabeth, holding a vase in her left hand. In the
background is a landscape. Francesco Maria Mazzola, called Parmigiano from his birthplace,
Parma, was born in 1508. When quite young he lost his father, and was
brought up and instructed in art by his uncles. When 20 years of age,
wishing to see the works of Raphael and Michael Angelo, he visited Eome,
where his talents brought him under the notice of Clement VIL, for
whom he painted a picture, which was placed in the palace of the
Vatican. In 1527, on account of the sacking of Rome by the soldiers of
Charles V., he took refuge in Bologna, and there painted several altar-
pieces. Four years later, returning to Parma,-he began to paint some
frescoes for the Church of Santa Maria della Steccata ; but, being,
unfortunately, fond of the study of alchemy, he wasted much time in
this pursuit, and, consquently, neglected his art ; and, for the delay in
carrying out his agreement with the authorities of the Church, who had
already paid him half the sum due for the work, the fathers decided to
prosecute him for breach of contract, and he was imprisoned. On his
release he fied to Gasal Maggiore, where he died, in 1540, at the age^of
37. His drawings are celebrated ; and he also drew on wood, and is
supposed to have been the first artist in Italy who etched.

54 ST. AUGUSTINE.
Painted hy Ambrogio Borgognone.
Wood, 58 X 25 inches.
Eent 6a fijenra ?l?wcfes <@i66s, ®sq., JH.l.

/^P'HE picture shows the full-length figure of the Saint, slightly less
^^^ than life size. He is robed as a bishop, and a crozier is in his
left hand. His right hand rests on the shoulder of a donor, who kneels
beside him, holding his cap with both hands.
Ambrogio Borgognone was born at Milan, probably between 1450
and 1460. He was an architect as well as a painter, but -no very
authentic account is given of him by any writer of the time. For
many years he lived at Pavia, where he received a commission to
paint the altar-piece of the Certosa, and he also designed the stalls and
other wood work for the choir. Returning to Milan about 1494 he
there executed many considerable .works, and in 1497 he was at Lodi,
painting in the church of the Incoronata. Many of his works are still
preserved iu the churches in his native country. His pictures have
much of the sweetness of Leonardo aud Luini, and his Madonnas are
of a very beautiful character, the countenances being singularly soft
and gentle, proving that he was a man of refined and deeply religious
nature. He worked mostly in tempera and fresco, and is considered to
be the most remarkable of Milanese artists of his time.

55

PORTRAIT OF THE ELECTOR OF SAXONY.
Painted by LuoAS Cranach.
Wood, 24 X 16 inches.
Eent 68 ^H. ti'ffiteljtfial, ffis?., of ^aris.

-~~c-_£je;5";^^;'5^ia-£-j 

AL MALL three-quarter length, black robe, deep fur collar, a frill
C^ round the neck, black cap ; the hands together ; landscape
background. Lucas Cranach was born in 1472, at Cronach, in Bavaria. In 1504
he was established at Wittenburg as Court Painter to Frederick the
Wise, who bestowed on him a coat of arms and patent of nobUity. He
was evidently a man of importance at Wittenburg, for he was twice
elected Burgomaster of the town, where he carried on, besides his large
art workshops, a book printing business, and an apothecary's shop.
Cranach was the intimate friend of Martin Luther, and painted his
portrait several times. He warmly embraced his doctrine, and en
deavoured to set it forth in his art. He excelled in portraiture, and his
colouring is warm and rich. He was fond of drawing birds and
animals, and often depicted hunting scenes. He is also well-known
as an engraver. He died at Weimar in4553.

56 PORTRAIT OF A DUTCH GENTLEMAN.

Painted by Frans Hals.

Canvas, 45 x 36 inches.

Eent 68 ^ntona ®t66s, <&n., f .1.

-^==§-®«^

^^ THREE-QUARTER figure standing to the right, in a black
^^ costume, holding a broad-brimmed black hat in his left hand, and
a pair of buff gloves in his right. He wears the white ruff of the period.
Inscribed ^Etat SV^ 52 AN° 1630.
Frans Hals was born at Antwerp about 1580. He was one of the
greatest portrait painters. His parents, who were of noble family,
afterwards removed to Haarlem. Frans was twice married aud had
seven sons, flve of whom were painters. He was a man of drunken and
violent character, and was brought once before the magistrate for ill-
treating his wife ; expressing contrition, he was discharged on the
understanding that on the next occasion it would be met with severe
punishment. He was idle and fond of pleasure, but his abilities as a'
painter were held in high esteem by his fellow citizens, who seem to
have condoned on this account the faults of his intemperate and
imprudent life. When in his old age he suffered from poverty and
debt the State allowed him a pension.- "He was over eighty years of
age when he died in 1666. The story of his interview with Van Dyck,
of whom he was a contemporary, has often been related ; Van Dyck
pressed his friend to come to London, and offered to introduce him to
his distinguished friends, but Hals declined, saying he could earn a
competence in his native city from the practice of his art, and preferred
ease and congenial society, to the ambition that sought for more than
these advantages. His life was consequently retired and uneventful.
Residing for sixty years in the quiet Dutch town few records have been
handed down to us, though he lived twice as long as his celebrated
rival, to whose brilliant and diversified career his own forms a tame
and striking contrast.

57

A TAVERN BRAWL.
Pa{nted,by Adrien Brouwer.
Wood, 18 X 2di inches.
Eent 68 3Eti5Marli Eee, iSsij.

-^=^Ȥ^9^

^^'WO men. have quarrelled over cards, which lie scattered on the
^^ floor. The central figure, whose red cap is flung on the ground
and whose chair has been pushed over behind him, is in blue tunic, and
has drawn a short sword, while his opponent with menacing action is .
about to draw his from its sheath. A man and a woman with a hay
fork are interposing to prevent mischief, and four other figures are seen
in the rear. Upon the table are jars of liquor and pipes, and to the
right the usual accessories of a Dutch interior of this description, cans,
metal pails, Ac, all painted with much dexterity and finish.
Adriaen Brouwer was born about 1605, probably at Oudenaerde,
His mother, a dressmaker, entrusted him to th§ care of Frank Hals,
who, if report be true, used him ill. He made him work without
ceasing, and starved him. Leaving Hals, he went to Amsterdam, where
his talents soon met with the recognition they deserved. From Amster
dam he went to Antwerp, where he was thrown into prison as a spy.
He was released through his own talents and the intercession of Eubens,
who would bave had him reside with him. It is said, however, that he
considered Eubens' splendour little better than the Duke of Arenburg's
prison. In 1632 his portrait was painted by Van Dyck. He died at
Antwerp in 1638, and was buried in the Church of the Carmelites.
Genuine works by Brouwer are now rarely met with. They were highly
esteemed even in his own time. Eubens and Eembrandt both possessed
several of them. Almost without exception his pictures represent
Dutch interiors, with peasants drinking, smoking, and playing. They
are especially esteemed for their colouring.

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58 A WHITE PEACOCK AND FOWLS.
Painted hy Melchior Hondecobtbr.
Canvas, 57^ X 72^ inches.
Eent 68 itt. Sntton iaeltfjorpe, ©sij.

— -t.iJ£%"^:^^r553k.5_i-—

Melchior de Hondeooeter was born at Utrecht in 1636. He was
instructed by his father, Gysbert de Hondecoeter, and also by his uncle,
Jan Baptist Weenix. He resided at the Hague, but afterwards
removed to Amsterdam, where he died in 1695. He was one of the
most remarkable of the Dutch painters of birds. His favourite bird
was the cock, which he is said to have taught to stand to him in a fixed
position, as a model.

59

THE TOILET.
Painted by Franz Van Mieris.
Wood, 13 X 11 inches.
Eent 68 ffl^arles C H. (Eretos, dSsf^,

^^ LADY, partially dressed, is regarding herself in a mirror ; she
^^ wears a yellow corset and black gown. On the table before her
is an unfolded missive, telling, probably, of an expected visitor, for whom
evidently she is adorning herself. A young negro waiting-maid,
holding an inlaid box, looks up admiringly at her mistress. Over the
back of a chair hangs an elegant cloak, edged with white fur. The
usual fine finish of Mieris is apparent throughout the picture.
Franz van Mieris was born in 1635 at Leyden. His father was a
goldsmith, and he was one of a family of twenty-three children. In
early life he studied with Gerard Dow, who said he was the prince of
Hs pupils, and in many respects he was not inferior to his master. His
talents were much appreciated during his lifetime, his pictures realizing
large sums. His works were small in size, and he loved to represent
silks, plate, and jewels, and like all "The Little Masters" of Holland,
gave much thought to the painting Of hands, and' made them full of
beauty and meaning. He died at Leyden in 1681.

D 2

60

AN OLD LADY READING.

Attributed to Gerard Dow.

Canvas, 14 x 12 inches.

Eent 6a }i\. ffl. Cfrljartit, ®S({., dF.H.OI.S.

fN old lady is sitting in a green-backed chair, her spectacles low on
her nose, and her hands, iuterlockpd, resting on an open volume.
Her rich red dress is edged with- ermine, and white drapery arranged on
her bead is tied under the chin. On the richly-worked table cover is
seen her spectacle case and a time glass stands near it, the sand well nigh
run out. To her left is a small open Dutch stove, and in the back
ground on the shadowed wall are pictures.
Gerard Dow or Dou, one of the most celebrated of the Dutch genre
painters, was born at Leyden in 1613. His father was a glass painter,
and Gerard was at flrst taught by him. At the age of flfteen he
entered the school of Eembrandt, who did not set his pupils their tasks
in his own atelier, but penned each of them in a box of his own in a
top story of the house, partitioned expressly for the purpose. Here the -
young and promising artists successively received instruction from their
teacher ; here the models might be seen wandering from box to box ;
here the same subject was represented, painted in the master's form,
but with the individuality of the pupil. In three years Gerard had
attained the position of an independent artist. His works are re
markable at once for high finish and for lightness of handling. He
reaped ample fruits from his great reputation. An amateur of the
name of Spiering paid him a thousand fiorins annually for the mere
privilege of having the first offer of his pictures, which have steadily
increased in value up to the pres.ent time." He died at Leyden, 1675.
Among his pupils were the eminent painters Franz van Mieris and
Gabriel Metsu.

61
VIEW IN VENICE, ST. GEORGIO MAGGIORE.
Painted by Antonio Canale, commonly called Canaletto
Canvas, 14 x 20 inches.
Eent 6a t^e lEarl of Bartmout^.

{For Notice of the Painter's life, see No. 68.)

62 PORTRAIT OF SIR EDWARD COKE.
Painted hy Cornelis Janssens.
Wood, 24 X 16 inches.
Eent 6a ffititoari i£ae, ©sq., Jf.^.Sk., of JStrlteniiealp.
¦  ~<-SLJj5S";:^^:rg5s._2_> 
AL IR EDWARD COKE was born 1551. At the age of nineteen he
C%^ became a member of the Inner Temple, and six years later was
called to the bar. The year following he argued an important case, known
to lawyers as " Lord Cromwell's case." Three years later he was associated
with the Solicitor-General in arguing before the Chancellor and twelve
judges in the case of Edward Shelley, where the important rule in the law
of real property, which has since been celebrated as " the rule in Shelley's
case," was laid down so distinctly that it has taken its name from this case.
His practice became enormous, and professional honours were bestowed
upon him. He was elected Recorder of London in 1592 ; shortly after,
he became Solicitor-General, and in 1594 Attorney-General. ~ He gained
lasting celebrity as the author of the " Institutes of the Laws of England,
or a commentary upon Littleton." One of the last acts of his public life
was his spirited denunciation of the Duke of Buckingham as the cause of
all the misfortunes of the country. He died in 1633.
{For Notice of the Painter's life, see No. 98.)

63

THE DUET.

Painted hy Caspar Netschbr.

Wood, 19 X 16 inchps.

Eent 6b t\^t Buke of i^utlanti, 3^.©.

#NE young lady is seated, singing, while another accompanies
her on a guitar. A boy is bringing iu a glass of beer on a
salver. Signed " Netscher " on the chair.

Caspar Netscher was born at Heidelberg in 1639. He became a
pupil of Gerard Terburg. Leaving that artist, he determined to visit
Italy, and embarked at Amsterdam, but on reaching Bordeaux he
there became betrothed to the niece of the person with whom he lodged,
and so remained in Bordeaux for' some time painting portraits. On
his marriage he went to live at the Hague, where, in 1662, he joined
the Guild of Painters. His talents brought him much success, and his
pictures , representing domestic subjects, and also his portraits, which
he painted on a small scale, became very popular. Walpole says he
came to England in the reign of Charles II., at the request of Sir
William Temple, but remained only a short time" He died at the
Hague in 1684.

64 THE MUSICIAN— INTERIOR OF A
DUTCH TAVERN.
Painted by Cornelis Dusart.
Canvas, 17 x 20^ inches.
Eent 6a ?^. ®. ffiriiartit, (iEsq., dF.3K.<ffif.S.

^^'HE Musician, in the centre of the picture, is playing on the
^'^ violin and singing. A red piece of drapery hangs on the back
of his chair. Round the table, at which he is sitting, are three other
men singing in chorus, one of them holding up his glass. Behind these
figures is the fireplace, which a boy is tending with tongs. A man,
with his pipe, is on the opposite side of the hearth. At the further end
of the room at a window are two men playing cards, a third looking on.
A basket on the floor cleverly relieves the sense of space between the two
sets of figures. The eye at once centres on the Musician, around whom
are grouped, in skilful arrangement, the other figures and the various
homely accessories usual in such an interior. The work is executed
throughout with much care and with no lack of breadth.

Cornells Dusart was born at Haarlem in 1660, and entered tho
guild of Haarlem in 1679. He was a pupil of Adriaan van Ostade, whose
style he imitated with much ability. His pictures are generally
representations of peasant merriment and feasting. He died in "1704.

65

PORTRAIT OF HIS WIFE.
Painted hy Jan Steen.
Wood, 12 X 10 inches.
Eent 6a f . 1- J^eseltine, m%.
 5-=J®-§»S 

(^ THREE-QUARTER figure seated to the left and glancing at the
^^ spectator as she plays on the mandoline. She wears a black
hood and puce- coloured gown, and a strip of white is seen round the
face. Signed " J.Steen " — J. and S. connected.
{For Notice of the Painter's life,, see No. 87.)

66

THE SMOKER.
Painted by Jan Steen.
Wood, 8i X 7 inches.
Eent 68 (Hfiarles C B. airetos, ffisij.

AL EATED at a dark covered table, a man in a brown coat, with red
C%^ undercoat and red cap, is filling a long clay pipe, over a metal
plate, near which is a bone-handled knife. Dark background.
{For Notice of the Painter's life, see No. 87.)

67

THE MOUTH OF THE SCHELDT.
Painted by Abraham Storck.
Canvas, 12J X 14^ inches.
Eent 68 gj. E. Kutlea, ®sq.

^M DUTCH man-of-war, with its flags flying in the breeze, is on the
^^ left of the picture ; other craft are beating about in busy
motion ; a brisk animated scene. The pier in the foreground shows
figures at work, and a windmill is seen on the opposite shore.
Abraham Storck (Stork) was born at Amsterdam about 1630. He
devoted himself to the study of Bakhuisen, whose manner he copied.
His pictures are generally seaports, and scenes on the River Y or the
Amstel, near Amsterdam. Shipping, boats, and numerous figures are
skilfully and carefully drawn. Storck sometimes painted the figures
in the landscapes of Hobbema and other artists. He died at Amsterdam
about 1710.

68 VIEW IN VENICE.
Painted by Antonio Canale, commonly called Canaletto.
Canvas, 14 x 20 inches.
Eent 6a ti)e IBarl of BartmoutJ).

^-

'HE Dogana, with the Church of Santa Maria della Salute behind
it. To the right a glimpse of the Doge's palace is seen.
Antonio Canale, commonly called Canaletto, was born at Venice
in 1697. He was the pupil of his father, a decorator and scene painter,
and for some time Antonio followed the same employment, but in 1719,
accompanied by his nephew, Bernardo Bellotto, who is also known as
II Canaletto, he went to Eome to study there, particularly the buildings
and ruins of the ancient city and its neighbourhood. Eeturning to
Venice he executed numerous paintings of that wonderful place. These
works were very successful in his own day, and at the present time are
greatly esteemed. In 1746 he visited England and stayed for two
years, painting many scenes in London. He died at Yenice in 1768.

69

A SEA PIECE.
Painted hy William Van de Vbldb.
Canvas, 37 X 61 inches.
Eent 6a att6rea l^arcotirt, lEsii.
{For Notice of the Painter's life, see No. 102.)

70

^¦

VENICE.
Painted by Francesco Guardi.
Canvas, 17^ X 27 inches.
Eent 68 Sir ^Jtcfeman ISacon, iSart.
'HE Dogana, or Custom House, with the Church of Santa Maria
della .Salute. Francesco Guardi, born in Venice in 1712, was the scholar and
imitator of Canale, but was far behind him in the accuracy of his
architectural details, and careless and sketchy in the execution of his
figures ; his works are, however, rich and forcible in their colouring.
He, died at Venice in 1793.

n

A DUTCH INTERIOR
Painted hy Pieter de Hoogh.
Canvals, 22 x 18 inches.
Eent 68 f. 1. JgeseWne, ffis?.

^^f WOMAN is seated at needle-work, opposite to her is a cavalier
^^ with a glass of wine in his hand ; through a doorway a river is

seen, with a vessel at anchor.
Signed P. D. Hoogh.

Pieter de Hoogh, or Hooch, was born, probably, in 1630. Very little
is known of his lite ; only a few details can be gathered from occasional
dates on his pictures. He excelled in the painting of full and clear
sunlight, and the figures he introduces into his pictures are generally
placed iu the open air, in courtyards. The atmospheric effect attained
in his pictures are their chief characteristic. He lived at Delft, and also
at Haarlem, at which latter place he is believed to have died in 1681.

72 A LANDSCAPE.
Painted by Jan Both.
Canvas, 39 X 62 inches.
Eent 6a tlje ffixeeutors of tf)e late 2123. J^. Smttf), l«.l.

^ji ROCKY foreground to the left is surmounted by trees, whose
^^ gently-bending forms and tender leafage that trembles in the
quiet atmosphere, show the painter's usual appreciation of the finer
touches of nature. Sportsmen are in the roadway beneath, with their
" guns, dogs, and horses, while peasants and laden mules pass along. The
rising ground is broken in the middle distance, and the mountains afar
off rise into an ethereal sky, such as Both rejoiced to paint, and across
which the light clouds float. A characteristic work, full of sunlight.

Jan Both was born at Utrecht about IfilO. He and his younger
brother Andries both learned the first rudiments of art from their/ather,
a painter on glass. Later the two brothers visited France and Italy
together, and stayed some time in Rome. Jan was an excellent land
scape painter. While in Italy he fell under the influence of Claude.
He was wonderfully clever in rendering the efieot of the golden light
and ethereal distance of an Italian sunset. He died in Dtrecht, 1652.
The figures and cattle in his pictures were generally put in by his'
brother Andries.

73 THE WRECK OF THE MINOTAUR ON THE
HAAK SANDS.
Painted by J. M. W. TcRNBR, R.A.
Canvas, 68 X 95 inches.
Eent 68 tije ®arl of ¥ar6orougIj.

^^WHE vessel, a large Indiaman, lies on the left of the picture, beam
^y^ ends on the sand. Fishing-boats are assisting in rescuing the
crew and passengers, some of whom, with their luggage, are already in
a large row-boat, being borne along in the tumult of 'sea, with small
chance of ultimate escape ; the two Dutch galliots on either side, are
endeavouring to reach the wreck, one -lifted high on the crest of a wave,
the other scarcely visible in the trough of the sea. Other vessels are
standing off the immense hulk, from whose bowsprit, figures are seen
dropping into a boat below. The rudder of the doomed vessel is in the
immediate foreground, tossed about in the wild water.
This is universally pronounced to be one of Turner's masterpieces,
and, in its way, has, probably, never been surpassed by him or any other
artist. It was painted in 1810 for Lord Yarborough, the grandfather of
the present Earl, and was never exhibited at the Royal Academy, nor
has it, we believe, ever before been publicly exhibitedln London.
Joseph William Mallord Turner was born in 1775 at 26, Maiden
Lane, Covent Garden. His father was a hairdresser, and his mother, a
native of Islington, was, like her son, small in stature, and an early
portrait of her, by Turner, gives her a masculine aspect. It is recorded
that she had a bad temper, and led her husband a sad life. She became
insane in later years, and from her, it may be, Turner inherited his

melancholy and reserved disposition. He began his career as a sort of
infant prodigy in his father's shop, and there is a drawing of Margate
church, in existence, executed by him when nine years old. His first
school was at Brentford, and at the age of 14 he became a student at
the Royal Academy. Four years later he received commissions for
drawings to be engraved, and took a studio in Maiden Lane, close to his
father's house. At the age of 24 he was elected an Associate of the
Royal Academy. During the next few years he travelled over nearly
the whole of England and Wales searching for subjects for his drawings,
and made many acquaintances, who were -afterwards among his best
friends. Becoming Eoyal Academician iu his 27th year, he practically
ceased then to draw for the engraver, aud took a house in Harley Street.
The same year he made his first tour on the Continent, and exhibited
six pictures of foreign subjects. His Wb'er studiorum was begun in 1807,
and forms, perhaps, the most , satisfactory monument o'f his genius. In
1812 he migrated to Queen Anne Street, which was known as his
address to the end of his life, although he later had a country house at
Twickenham. He made yearly visits to all the most picturesque parts
of the country, and in 1819 went On his first visit to Italy, and from
that time dates the commencement of his bolder excursions into colour.
In 1830 his first subjects from Venice were exhibited, and in 1839 his last
picture at the Royal Academy was seen, " The fighting Temeraire
tugged to her last berth." During the latter 10 years of his life he
became interested in the then new art of photography, and paid several
visits, incognito, to the studio of Mr. Mayall, calling himself a " Master
in Chancery," and generously helping him, unasked, with a loan of £300.
"He received two offers of £100,000 each for the contents of his house in
Queen Anne Street, but declined them, having already, in his will,
bequeathed his pictures to the nation. Towards the end of 1851 he was
discovered living, under the name of Booth, in a small house at Chelsea,
and he there died the same year, and was buried in St. Paul's Cathedral.

74

A PORTRAIT.
Painted by Sir Anthony Van Dyck.
Canvas, 44 y. 37 inches.
Eent 68 tl)e (ffiarl of 312aartotcfe.

^•|*HREE-QUARTER length, in a silk dress, with a black pelisse.
^'^ The hands, especially the left, are painted with great delicacy.
Waagen traced much resemblance in the features . to Van Dyck's
portrait of the Earl of Arundel at Stafford House.
Inscribed 1630 — in Van Dyck's best period.
{For Notice ofthe Painter's life, see No. 76.)

75 A LANDSCAPE.
Painted by David Teniers, the elder.
Canvas, 54J x 46 inches.
Eent 68 3f. E. H^utlea, C^siJ.

^TN a rocky foreground a herdsman with red waistcoat is piping ;
¦'*' some sheep, a goat, and some cattle are near him. On an
elevation beyond is a house with a steep wooden stairway to a door
where a woman is standing. A vine grows about the house and some
trees stand near. Further away another building is discerned, and in
the distance, mountains. Across the tranquilly clouded sky some birds
are flying. David Teniers, the elder, was born at Antwerp in 1582, and was
admitted into the Guild of St. Luke iu 1606. He visited Eome, and
placed himself under the tuition of Elsheimer, with whom he studied
for six years. He died at Antwerp in 1649.
76 PORTRAIT OF DAVID RYCKAERT.
Painted hy Sir Anthony Van Dyck.
Canvas, 42 X 32 inches.
Eent 6a tfie (JKarl of aSEartotrfe.

5|^AVID RYCKAERT was a Dutch Artist who began life as a
-^'¦^ landscape painter, but who afterwards succeeded in subjects of
similar character to those of Teniers and Brouwer. He was the Director
of the Academy at Antwerp, and his paintings were so greatly admired
that it was with difficulty he could meet the demand for his works.
Peasants regaling and musical parties were his favourite subjects.

He is here seated in an arm-chair, with a fur cap on his head and
in a dress trimmed with fur. The face, with very marked features and
large moustachios, is most carefully painted and. with extraordinary truth
to nature. Sir Anthony Van Dyck was born at Antwerp, 1599. At the age of
ten he became the pupil of Hendrik van Balen, but his great instructor
was Rubens, with whom he lived for four years. Before his twentieth
birthday he was admitted a Master of the Antwerp Corporation of
Painters. By the advice of Eubens, he visited Italy, and remained
there five years. On his return he painted among others his celebrated
picture of " The Crucifixion " for the church of St. Michael, at Ghent,
and this it was which established his reputation as one of the Masters
of the age. He soon acquired, too,' an unrivalled reputation as a
portrait painter. In 1630 he visited England, but not meeting with
the reception he had anticipated, he returned to his own country ; but
in 1632, Charles I., who had seen a portrait of his Chapel-master by Van
Dyck, sent an express invitation to him to come to England, and on this
occasion he was most courteously received, being lodged by the king at
Blackfriars, and in the following year knighted. He was also granted
a pension of £200 per annum for life. He settled in England, where
his success as a portrait painter enabled him to live in great style. He
had u, country house at Eltham, and kept great state when in town,
" he always went magnificently dressed, had a numerous and
gallant equipage, and kept so good a table in his apartment that few
princes were more visited or better served." He died in London, 1641,
at the age of 42, and was buried in the old church of St. Paul, near the
tomb of Johu~ of Gaunt. Notwithstanding his expensive style of
living, he left property to the' value of about £20,000 sterling.
In freshness, force, aud vigour of handling, his works are un
surpassed. In his portraits he stands a Master among Masters.
77 A LADY AT HER TOILET.
Painted by Pieter de Hoogh.
Wood, 21 J X 25 inches.
Eent 68 \¥ Iiuke of SMelltngton.

(^f LADY in green gown, and red jacket bordered with white fur,
^*^ and wearincf a pearl necklace, is seated at a toilet table. She
turns to look at a gentleman who, in rich costume, has just entered the
room and is standing behind her chair, with one hand on her shoulder
A landscape is seen through the open door.
{For Notice of the Painter's life, see No. 71.)

?"•jT rTT

*' ¦' ^' " " ¦* " II II II II n ¦' <]
78 THE ENCHANTED CASTLE.
Painted by Claude Gellise, called Cl.^ude de Loeraine.
Canvas, 34 X 58 inches.
Eent 6a Eorti fflSaantage, F.Ot., UMM.

/^¦•HE poetic impression conveyed by this picture entirely cor-
^mi^ responds with the name it bears. A noble edifice in the
Roman style, partly surrounded by trees, stands on the extreme verge
of a rock, in the centre of the middle distance, the sea flowing at its
base. Between the castle and the spectator the broken ground is
overgrown with bushes, amongst which are a few young trees. The
view on the left extends over rising ground to distant hills. A
beautiful group of trees is seen on the right. In the foreground to
the left a female figure, supposed to be Psyche, is sitting in a
contemplative attitude, and beside her a stag and doe are grazing.
This picture was originally painted for the Conestabile Colonna.
Claude GelMe was born in 1600 at Chamagne, a vUlage on the river
Moselle, in the Vosges country, then in the ancient province 'of
Lorraine. His parents were poor, and apprenticed him, when young,
to- a pastry-cook ; he afterwards, in the pursuit of his calling, found his
way to Rome, and took servioe as a domestic and general assistant with
Agostino Tassi, a landscape painter, and soon became his pupil. After
some years spent in wandering in different countries, and a brief visit
to his native place, he finally, in 1627, settled in Eome, aud became
acquainted with the German Artist Joachim Sandrart, who became his
intimate friend and afterwards his biographer. With him Claude made
excursions in the neighbourhood of Eome, sketching from nature. His
devotion and energy in the exercise of his art at length brought him
much appreciation and success, aud his works were in great demand.
He led a quiet and retired life, having, with the exception of Sandrart,
few friends among his fellow artists. A remarkable collection of 200
drawings known as the " Liber Veritatis," or Book of Truth, executed
by him from his own pictures is in the possession of the Duke of
Devonshire. On the backs of these drawings are written the dates
when the paintings were finished, and the names of the purchasers.
The British Museum has also a number of his drawings. Claude was
a laborious and careful worker, his weakness or diflfioulty consisting in
his treatment of figures and animals ; for these he sometimes had
assistance from other painters, and used to say " he sold his landscapes,
but gave the figures." He never married, and by his will, whioh has
recently been discovered, it is learned that besides his nephew and
housekeeper Jean, an adopted daughter (then eleven years of age) also
lived with him, her name was Agnes, and he called her " Mia Zitella."
To her and to his nephew Jean he bequeathed nearly all his property
He died at Eome in 1682.

¦c^K^y^'

79 A SEA PIECE.
Painted hy Jan van de Capelle.
Canvas, 29 x 35 inches.
Eent 6a Cfjarles C B. (Kretos, ©gq.

^^'HE brilliantly lit sky, with lightly floating clouds, throws a vivid
^^ light upon the sea, where many boats are seen breezily sailing.
In the centre, by the low sea shore, is a boat unloading, and some of its
cargo is being conveyed to the land by two men. The darkly-painted
bank in the foreground has a group of people upon it.
Jan van de Capelle was born at Amsterdam about 1630, and
received the freedom of that city on the occasion of his marriage in
1653. He was a painter of river and sea scenes, his favourite subject
being a quiet sea, under the aspect of cheerful weather and warm
lighting, so that objects are clearly reflected in the water. Of his life
little is known, as he is not commented upon by any Dutch writer of
the period. He was painting until the year 1680.

80

VIEW IN A PARK.
Painted hy Adrian van de Veldb.
Canvas, 33 X 40^ inches.
Eent 6a Sir J^trfeman Uaeon, ISart.

I^Vd ARGE dock leaves and herbage in the foreground with the road-
^^ way, partially shadowed. To the right on tho grassland is a
piece of water, where a horse and some deer are drinking ; beyond are

the wooden palings of the park, and thickly clustered trees ; to the left,
between the trunks of the lofty trees, are still seen the park palings.
Figures are interspersed among the trees.
Adrian van de Veldo, brother to William van de Velde, the great
marine painter, was born at Amsterdam about 1635. He studied first
with his father and afterwards with Wynants and Wouwerman. At the
early age of fourteen he was a distinguished artist. He was one of the
most accomplished of the little masters of Holland, painting domestic
animals and landscape with truth and refinement. In many of the
landscapes of his contemporaries the figures that appear are painted by
him — notably in those of Van der Heyden and Jacob van Euisdael. His
composition is in the highest degree picturesque, and shows the
perfection the Dutch School had attained at that period. He died at
Amsterdam, 1672.

81 A COUNTRY MUSICIAN.
Painted hy David Teniers, the younger.
Canvas, 32 X 25 inches.
Eent 68 Sir i^enra St. f of)n jmiltimaa, ISart.
JTN the foreground a party of eight are seated at table in the open air,
-'*' regaling themselves. Younger people are close by, dancing to the
tune of a country musician, who stands by the open door of a house on
the right. Further away, several others are seated round a table, eating
and drinking and generally merry. Groups are scattered about else
where in the picture in sociable converse. Most of them are in gay
costumes. Beyond, on a rising ground, the village church is seen.
David Teniers was born at Antwerp, 1610. He studied under his
father, David Teniers, the elder, whose style he adopted, but the
infiuence of Rubens and of Adriaen Brouwer is perceptible in his
pictures, He was admitted a Master into the Antwerp Guild of
Painters iu 1632-3. He was twice married, his first wife being Anna
Brueghal, daughter of the painter Jan Brueghal. In 1648 he settled
in Brussels, and became Court Painter and one of the Chamberlains of
the Archduke Leopold. He bought himself a country seat at Perck,
a village between Antwerp and Mechling, which became the constant
resort of the Spanish and Flemish nobility, and it was there he died
on 25th April, 1690. His colouring is very delicate, his handling of the
brush light and spirited, aud he is reputed to be the greatest genre
painter of all times.

82

PORTRAIT OF A YOUNG LADY.

(Dutch School.)
Canvas, 30 X 25 inches.
Eent 68 fflSailltam l^ome, HBsq., dff^.S.:

ALF-LENGTH, almost full face ; black dress, with light band
round the waist ; large white ruffle ; dark background .

83 ON THE ROAD TO HAARLEM.

Painted hy Solomon van Ruisdael.
Canvas, 31 X 43 inches
Eent 6a (ffifjarles C 19. (Hretos, CPsq.
(^T N open breezy landscape. In the centre of the picture is a long
*^^ low-roofed cottage with trees about it, and past which the road
to Haarlem runs. A covered wagon is stopping to allow the horse to
drink. Solomon van Ruisdael was born at Haarlem about 1600. He was
the uncle of the celebrated Jacob van Euisdael. He was a Dean ofthe
Corporation of Haarlem, and in 1623 was admitted as a master into the
Painters' Guild. He was a pupil of Jan "Vau Goyen. He painted
landscapes and views in Holland, and was particuaiiy successful in
the representation of water. He died in 1670.

E 2

84 A BOY, DOG, and FOWLS.
Painted hy Jan Weenix.
Canvas, 46 x 39 inches.
Eent 6b Sit ?^enra S^t f of)n iEittmaa, ^art.

Jan Weenix was born at Amsterdam in 1640, and until the age of
twenty was the pupil of his father. On the death of that parent he
had sufficiently progressed in his profession to work without further
assistance. He was a versatile painter, and executed a variety of
subjects, though his chief excellence is displayed in the representation
of dead game ; his fame in this direction induced the Elector Palatine,
Johann Wilhelm, to invite him to his Court and to give him commis
sions to paint for him pictures of this class. These he executed on a
large scale and in a masterly manner, exhibiting great clearness, truth,
harmony and power, the full perfection of the artist. He died at
Amsterdam in 1719.

85
VIEW ON THE MAAS, WITH THE TOWN OF
DORT.
Painted hy Albert Cuyp.
Canvas, 66 X 46 inches.
Eent 6b <©arl ^rotonloto.

oGS^Oc

^^ LARGE boat, its sails hanging in the quiet air, is in the fore-
^^ ground to the right, with flags flying and a festive party on
board. A drummer stands above the rest of the party, and is beating a
drum as a rowing boat approaches, conveying to the vessel two
distinguishedly dressed men. Fishing boats are seen one behind the
other for a long distance down the river, and the delicacy shown of

aerial gradation (to use Waagen's words) " is not to be described, and
shows the astonishing height the art of painting in general had attained
in Holland in the 17th century." To the left is seen the town of Dort,
its square tower standing out in the clear evening light, and large clouds,
painted in masterly fashion, float across the broad splendour of the sky.
Albert Cuyp was born at Dort, his father's native town, 1620. He
became the pupil of his father, but further particulars of his early life are
wanting, but it is probable he visited other parts of Holland before com
mencing practice on his own account at Dort. He was many-sided in
his art, but ever taking nature as his guide and model escaped all
reproach to mannerism. His temperament led him to seek calm and
sunny scenes, and his extraordinary mastery in rendering light and the
effects of hazy morning or of glowing afternoon,' has become proverbial.
He met with but limited recognition in his day, and Holland is not
particularly rich in his works. The portraits he painted are good ip.
character, and as little conventional as his other work. He died at
Dort, 1691 .
86 HOUSES ON A DUTCH CANAL.
Painted by Jan van der Heyden.
¦Wood, 14 X 18| inches.
Eent 68 tje 23uke of iKutlanti, IS.©f.
^^'WO red-brick houses occupy the centre of the picture, with trees
^f^ near them, and a long garden wall fronting a canal. Beyond is
a rising ground with houses and a church. To the left is a wooden
stairway to a stone bridge, and to the right the canal winds toward
another stone bridge and by some houses. In the distance is seen a
range of low hills. Jan van der Heyden was born at Gorkum in 1637, and is
distinguished for his street views, in which the figures were inserted by
Adrian vau de Velde and Eglon van der Neer. He may be called the
Gerard Dow of architectural painters. Like that painter, he under
stood how to combine an unspeakable minuteness of detail, with such
keeping of the whole, that his best pictures look like nature seen
through a diminishing glass. He was at first apprenticed to a glass
painter, with whom he remained for a short time. He then studied
architectural drawing, and, betaking himself to Amsterdam, practised
that branch of art. He had a strong turn for mechanics, made im
portant discoveries in the construction of fire-engines, and organised at
Amsterdam the lighting of the streets. He visited England for a short
time. He died in Amsterdam, 1712. He rendered the smallest details
of his work with the greatest exactitude, and even brickwork is most
accurately drawn. In general effect his work is always harmonious.

87

THE PHYSICIAN.

Painted hy Jan Steen.
Wood, 19 X 15J inches.
Eent 68 tlje Bu6e of ffliJIHeUinston.

-=gjrarar'ia!jjj|{|gj|jii«irairatgj==—

^^ PHYSICIAN is feeling the pulse of an elegantly-dressed young
^^ girl, the mother standing by. A boy with a bow and arrow, and
a picture of Venus and Adonis indicate the cause of the malady. This,
says Waagen, is one of the most delicate and solidly-painted works of
the master, in which he approaches Metzu.
Jan Steen was the son of a brewer, and was born at Leyden about
1626. He studied at tho Hague with Jan van Goyen, whose daughter
he married there in 1619. He entered the Corporation of Painters at
Leyden in 1648, but he was absent from that city for several years,
returning to it in 1658. He then combined the business of a tavern.
keeper with the occupation of painting. He has been justly likened,
for dramatic expression, to Moliere. He drew human nature from the
humorous side, often with grim satire, though not without touches of
pathos, which show deep sympathy with his kind. If he is sometimes
unnecessarily coarse, some allowance must be made for his period and
his surroundings. Tlie character of his figures is typical and subtly
true, his execution crisp aud brilliant, aud his colour varied and un
common. In composition he has never been excelled, and he contrived,
to give to the most skilful arrangement the effect of accidental combiina-
tions.

M2i!

88 A VIEW IN ITALY.
Painted hy Gillis Neyts.
Copper, 12 X 15^ inches.
Eent 6a ?E^. <t. <iKrf)arW, mn-i dF.itt.O.S-
^JTN the centre of the foreground is a roadway, along which a riclily-
-'*' dressed horseman is approaching, followed by a covered wagon
drawn by three horses. To the left are some ladies with musical
instruments ; a girl with red skirt is speaking to them. To the right are
peasants and cattle, and a river with boats, from which women are
washing clothes. The landscape shows the greatest observance of detail.
The castle in the foreground catches the eye, but the other buildings and
the trees are carefully delineated with a sincere aim at truth. Evidence
of active life is seen in all directions. The picture is worthy of study.
The late afternoon is ably indicated in the low sunlight seen between the
clouds. Gillis, or Egidius, Neyts, a Flemish painter, flourished in Antwerp
from about 1647 to 1690. In the former year he was named a Master
of the Painters' Guild. He was a disciple of Lucas van Leyden, but
little is known of his life. Two of his pictures are in the Dresden
Gallery.
89 ELEANOR, WIFE OF MR. HENRY TOWNLEY
WARD.
Painted by George Romney.
Canvas, 90 X 58 inches.
Eent 6a t^enra i^utks ®i66», ®gq., JW.^.
/^T LIFE-SIZE figure, standing with great grace ; her left arm rest-
^^ ing on a stone pedestal, with the hand raised lightly to her face,
which is turned to the left. Her right arm falls idly at her side. The
broad lines of her white gown and train are admirably drawn.

A twisted girdle of pale purple encircles her, the ends of which fall
to her left and foUow the line of her figure. Small jewels gather the
drapery together at the sleeves, and a jewel is seen on her bodice. Her
left foot rests carelessly on a step of the pedestal. The red drapery
arranged where her arm rests, appears again as it falls to her right ;
beyond it a richly-painted landscape is seen.
Few works of Romney convey so great a sense of beauty. There is
no part of the composition which is not entirely under his control,
and throughout the work he is at his best.

^O'

{For Notice of the Painter's Ufe, see No. 95.)
90 ARUNDEL CHAPEL.
Painted hy J. M. W. Turner, R.A.
Canvas, 20 X 36 inches.
Eent 6a 9So6ert iSortoick, ®sq.

{For Notice ofthe Painter's life, see No. 73.)
91 VENUS DISROBING.
Painted by William Etty, E.A.
Canvas, 32 x 43.J inches.
Eent 68 antoua ©1663, ffisij., f .^.

¥

ENUS is standing at the foot of a red-covered couch, and raising
her hands with most graceful action to unbind the masses of hair

that fall about her. Six beautiful attendants are around her ; one
loosens the last string of her mistress's sandal ; another draws away the
remnant of white veil from her shoulder ; tlbree others admiringly gaze
at the revealed beauty of the goddess and offer pearls and a wreath ;
while another, as dark as her mistress is fair, brightly glances at her
companions, as she supports behind her mistress the steely shield of the
sleeping warrior who lies on a leopard skin with his armour above him,
and his. sword lying amid roses on the ground beside him. To the right
is a minstrel sounding the praises of Venus ; and in tho background are
stone columns and a blue sky with white clouds.
{For Notice of ihe Painter's life, see No. 101.)

92 GEORGIANA, DUCHESS OF DEVONSHIRE.
Painted hy T. Gainsborough, R.A.
Canvas, 91 X 58 inches.
Eent 68 ®arl Spmeer, it,®.

^'

'HE eldest daughter of John, first Earl of Spencer, aud born
1757. She married in 1774, as his first wife, William, fifth
Duke of Devonshire, and died in 1806.
Full-length figure— life size— the hair piled high, face looking
down. She wears a white dress. Her right elbow is on the base of a
column ; a scarf in both her hands ; her right foot is crossed before her
left ; a landscape background. Exhibited in the Royal Academy, 1778.
She was about 21 years of age when this portrait was painted,
and was in the full flush of her career, " the most brilliant of the gay
throng that danced and played the night away at the Ladies' Club,
masqueraded at the pantheon, or promenaded at Ranelagh." Walpole
wrote : " Last night I was at a ball at the Ladys' Club. It was all goddesses.

The Duchess of Devonshire effaces all, without being a beauty ; but her
youth, .figure, glowing good nature, sense, lively modesty, and modest
familiarity, make her a phenomenon." Gambling was the rage during
her day. She indulged in it, and was made miserable by her debts.
Sheridan used to say that " the Duchess and Martindale had agreed that
whatever they two won from each other should be sometimes double,
sometimes treble the sum which it was called, and that he had handed
the Duchess into her carriage when she was Hterally sobbing at her
losses." An abundance of record exists regarding her. She is seen in all
sorts of circumstances — domestic, amorous, festive, social, and political.
She ardently took part in the election of Charles James Fox for West
minster, and personally canvassed the shopkeepers in the constituency.
"I could light my pipe at her eyes," said an Irish elector, much moved
by the brilliant vivacity of the beautiful canvasser. She was, at that time,
about 27 years of age.
It was she who set the fashion of feather head-dresses, but when
Reynolds painted her in her new-fashioned plumes, with his usual moder
ation, he lowered her feathers.
Thomas Gainsborough was born at Sudbury, in Suffolk, in 1727.
At an early age he showed an aptitude for art, and spent his time in
sketching, and in rambling about the woods and lanes around his home.
'When 14 years of age he came to London, and for several years studied art.
Before he was 19 he married Miss Margaret Burr, a young lady with an
annuity of £200 a year, the memory of whose extraordinary beauty is
still, says Fulcher, preserved in Sudbury. For a, period of 12 years
they lived at Ipswich, removing in 1759 to Bath. On the foundation of
the Eoyal Academy in 1768 he became one of the 36 original members,
and in 1774 left Bath to reside in London. He was much patronised
by George III. At the height of his popularity, when nearly all the
great men and celebrated women of the day were sitting to him, com
missions came in so quickly that he was unable to keep up with the
demand for his services . Gainsborough was also a musician, and used
to say "he painted portraits for money, landscapes because he loved
them, and was a musician because he could not help it." He died in
1788, of cancer, at the age of 60, and was buried, at his own request, in
Kew Churchyard. He was of a kind and generous disposition, and
Northcote writes : " He was a natural gentleman, and, with all his
simplicity, had wit." His pictures are full of grace and beauty, aud as
a landscape painter he is at the head of the English school. He was
one of England's greatest masters, and, to use Mr. Ruskin's words, " an
immortal painter."

93

KILGARRAN CASTLE.
Painted by J. M. W. Turner, R.A.
Canvas, 36 X 48 inches.
Eent 6a Eort ^rmsitrong.

^ST^ ILGARRAN CASTLE in Pembrokeshire was once a noted strong-
-^*^ hold. It is now a majestic ruin, overlooking the River Teif. To
the right, in an almost impregnable position, stands the castle, and beneath
it is the river winding between the steep declivities, and lit up in the fore
ground by the broad golden light seen through the breaking clouds. The
hill to the left is in deepest shade.
{For Notice ofthe Painter's life, see No. 73.)

94 FISHING-BOATS ENTERING CALAIS
HARBOUR.
Painted hy J. M. W. Turner, R.A.
Canvas, 28 x 38 inches.
Eent 6a ?i?enr8 HBcake, ©sq.
^f N the foreground are two fishing-boats, sailing into the harbour with
¦'*' a fresh breeze, the brown sails in fine form against the- dark
lowering clouds ; seething water, well lighted, is in the wake of the boats,
and a black surging wave rises on the left. To the right a beacon is
seen, and ships and buildings in the distance beyond the pier.
{For Notice of the Painter's life, see No. 73.)

95

LADY HAMILTON AS "CIRCE."
Painted hy Gborge Romney.
Canvas, 94 X 58 inches.
Eent 68 ?^er6ert (id. ©1660, aggq.

^IP'HIS celebrated beauty, life-size, in the character of Circe,
^'^ approaches the spectator with her left hand uplifted in a com
manding manner, and the right arm dropped at her side, with a wand
held lightly in her hand. Around her circle the savage creatures. The
beautiful face endeavours to be serious for the passing moment. In the
auburn hair is a thin fillet of pale blue, and a veil of darker tone flows
behind her. A pale red robe drapes the animated figure, and falls low
on the right shoulder, being caught at the waist by a band, or sash, of
similar colour. The arms and feet are bare, the left foot, on which the
radiant figure is for the instant poised, coming prominently forward.
Dark rocks compose the background, with a glimpse of sea low down to
the left. George Romney was born at Daltbn-in-Furness, Lancashire, 1734.
His father was a cabinet-maker, and brought Romney up to his own
business, but the son showed so decided an ability for drawing that he
was placed at the age of nineteen with a portrait painter named Steele,
then established at Kendal. At the age of two and twenty Romney
married, and in the following year commenced painting on his own
account, and in 1762 came to London. In 1773 he visited Italy, and
returning in 1775 took up his residence in Cavendish Square. From this
time he divided the patronage of the famous and wealthy with Reynolds
and Gainsborough, but his wife and family never participated in his
success ; they remained at Kendal, and during thirty-seven years he
paid, it is said, only two visits to them. It was in 1782, when in his
forty-eighth year, that he became acquainted with Lady Hamilton.
After her first appearance on his horizon he seems to have relied almost
solely on her for inspiration. He was miserable when away from " the
divine lady," and reduced the number of his sitters in order to devote
more time to studies of her beauty. At the age of sixty-five he broke
up his London establishment and rejoined his family at Kendal, where
he died in 1802. His best characteristics are grace and pleasant colour.
As a draughtsman he gave evidence of higher gifts than either Reynolds
or Gainsborough. On the other hand he was far below Reynolds in
intellectual vigour, and below Gainsborough in spirituality, and below
both in richness of chiaroscuro. -

96 THE SIEGE OF OSTEND.
Painted by Sebastiaen Fkancks.
23 X 40 inches.
Eent 6a f^enra ?^iicfes (5i66s, C^sq., iW.l.
y||5|STEND was once a strongly fortified town. In 1601-1604, it
^^•^ sustained one of the most remarkable sieges on record, and was
only surrendered to the Spanish General Spinola in consequence of
orders received from the States General.
Sebastiaen Francks, sometimes Franck or Vrancx; was born at
Antwerp, 1578. He was a disciple of Adam Van Noort, and dis
tinguished himself in painting landscapes with figures and animals.
He also executed several paintings in conjunction with his son, Jan
Baptist, and adorned the works. of other painters with figures. He
died 1647.
There were several contemporary artists of the surname of
Francken, or Francks, but only one Sebastiaen.

97 THE CASTLE OF BENTHEIM.
Painted hy Jacob van Ruisdael.
Canvas, 39^ X 32 inches.
Eent 68 Sir f^iekman iSacon, ^Sart.
kEAVILY clouded sky, against which the Castle rises above
the forest trees ; the" high bank on the left, surmounted by
ao-ed trees, slopes down to the roadway that winds toward the
Castle and on which travellers are seen, one in a red cloak ; in the
immediate foreground the top of the bank is seen, with an uprooted
tree. Jacob van Ruisdael was the nephew of the painter Solomon van
Ruisdael, and was born at Haarlem about 1625. His father, Isaac,
gave him a good education and intended him for the medical profes-

sion, and he was sometimes styled Doctor. He probably studied under
his uncle, but it is clear he was powerfully influenced by Allaert van
Everdingen. He removed to Amsterdam in 1659, and the same year
obtained the rights of citizenship there. He remained unmarried, in
order to promote the comfort of his'aged father, but in spite of his
activity his talents were not appreciated by his contemporaries as they
deserved to be. In 1681 his fellow religionists obtained from the
Burgomaster of Haarlem a place in the almshouse of Haarlem for him,
by payment of a certain sum. He died there soon after, 'and was buried
May 14th, 1682. The landscapes of Ruisdael are generally simple
natural views, well selected, his favourite subjects being woody scenes
and waterfalls, though he sometimes painted marine pieces. The
artistic importance of his work lies in the conception, and in the solemn
earnestness of the prevailing tone, founded upon a deep and continual
observance of nature.

98 PORTRAIT OF LADY DOROTHY NEVILL.
Painted by Cornelis Janssens.
Wood, 53 X 43 inches.
Eent 6a tje JHarpis of <&xzXtx, iS.<@.

i^fADY DOROTHY NEVILL was the first wife of Thomas, first
^¦^ Earl of Exeter. Waagen observed that for refinement and
delicacy of conception, tone and execution, this portrait was one of the
finest of Janssens. Cornells Janssens was born, according to "Walpole, at Amsterdam
in 1590, but Sandrart states that his birthplace was London, and that
his parents came from the Spanish Netherlands. He had already
attained distinction in Holland when he came as portrait painter to
the Court of James I. in 1618. He stayed in England for many years,
painting also for Charles I. He resided in Kent, and also at Blackfriars.
Pie was a friend of Van Dyck, whose style he imitated and even
rivalled, and whose portrait he painted. On the outbreak of the Civil
¦War in 1648 he returned to Middelburg, in Holland, and afterwards
went to Amsterdam, continuing to paint until his death, which
occurred either at Amsterdam or at Utrecht, between the years
1662 and 1664. He generally worked on panel, and also painted in
miniature.

99

MOSES STRIKING THE ROCK.

Painted hy Jan Baptist De Wael.

Wood, 17i X 26 inches.

Eent 68 ?iK <K. ®rfiarlit, ®s?., ,iF.3S..©.S.

^^'O the left of the picture is seen Moses in blue raiment, with a
^'^ garment of pale yellow falling from the waist. Beside him is
Aaron in the rich clothing of High Priest, and wearing the breast-plate
and jewelled mitre. The water is issuing from the rock as Moses
strikes it. Opposite to him is a woman reaching out to catch it in a
vessel, and others in brilliant coloured raiment are eagerly securing the
welcome water. Evidence of the Israeli tish camp is seen in the
immediate foreground, where metal utensils, baskets, and cans are
scattered, and a greyhound and other animals are seen. In the spaces
between the trees, troops of thirsty Israelites are seen hastening to the
water. The composition is elaborately carried out, and the completeness
of the design by this rare master in England, the richness of colouring,
and the individual grace of each group of figures, are worthy of study.
Signed J. Van Wael, fecit anno, 1604.
Jan Baptist De 'Wael, or De 'Waal, was born at Antwerp in 1557,
and was a disciple of Frans Francken the elder. His subjects were
chiefly historical, in the style of his master. Little is known of his
life. He became a member of the Academy in Antwerp, and died in
that city in 1633.

100 STILL LIFE.
Painted hy Jan Davidsz De Heem.
On Wood, -15 X 22| inches.
Eent 68 dF. ©. labile, 3Sgq., f 49.

^%' METAL plate, with oysters upon it, some crayfish beside it ;
^^ grapes, lemons, and a crystal glass, with some red wine in it, are
arranged on a table, with an olive-green cover.
The naturally vivid colours of the objects portrayed are kept well
under control, and form a very harmonious rendering of still life.
Jan Davidsz De Heem was born at Utrecht about the year 1600,
is said to have died at Antwerp in 1674. He was the pupil of his father,
the flower painter, and was the first master who developed the art of
fruit painting and still life generally^ He is thought by some to be
" the greatest master of the class the school produced." His works are
held in much estimation, but there are few examples in England. He
is believed to have died at Antwerp in 1674.

101 PLUTO AND PROSERPINE.
Painted hy William Etty, R.A.
Canvas, 52 X 78 inches.
Eent 6b Sojn Ufioties, ©sq^., of EeelfS.

-=aOOE^4SiB>^^K3ES=-

^^'HE story of Pluto, the god of the dead, carrying off a young
^^ goddess full of life, is a myth peculiar to the Greeks. Zeus,
the father of Proserpine or Persephone, advised Pluto, who was in
love with her, to carry her off by force, as her mother Demeter would

never allow her to go down to Hades. Proserpine was gathering
flowers on the plains of Enna, with Artemis and Athena, when far away
across the meadow her eye caught the gleam of a Narcissus flower ; as
she ran towards it, a fragrance " which reached to the heaven, and made
the earth and sea laugh with gladness," filled her with delight ; but
when she reached out her arms to seize the stalk with its hundred
flowers, the earth opened and before her stood "the immortal horses"
and the car of Pluto. Proserpine begged and implored gods and men
to help her, but Zeus approving the abduction, Pluto placed her by his
side, and bore her off to his " resounding mansions." Demeter's anger
compelled Zeus to send Hermes to Pluto, who consented to the release
of Proserpine, but her return for good had become impossible. She
had accepted from Pluto the half of a pomegranate, or apple of love,
and had eaten it. She was compelled to come back to Hades again,
where for a third part of the year she reigned as queen ; through all
the other months she was to be the beautiful maiden who sported on
the plains of Enna. This fq,mous painter was born at York in 1787. "Like Eembrandt
and Constable," writes Etty, " my father was also a miller." ' 'When
a compositor to a printer at Hull, to whom he was apprenticed in 1798,
he says, " to whioh business I served seven full years faithfully and
truly .... but I had such a busy desire to be a painter that the
last years of my servitude dragged most heavily. I counted the years,
days, and weeks and hours till liberty should break my chains and set
my struggling spirit free." His uncle, William Etty, helped him
during his lifetime, and at his death left him the necessary means to
pursue his artistic studies. Etty tells us, " I drew from prints or from
nature, or from anything I could." Among his fellow- students at the
Academy were Hilton and Haydon, and in 1808 he became a pupil of
Sir Thomas Lawrence, who often employed him to make copies of his
portraits. He studied from the Old Masters in the British Gallery,
which he found easy after his year with Sir Thomas Lawrence ; his
work, too, as a student was clever and painstaking, though he never
carried off a medal, and for many years his pictures were rejected at
the Eoyal Academy. Industry and perseverance at length prevailed and
good fortune crowned his efforts. He visited Paris in 1822, and later, went
to Italy, Venice being his chief attraction. '¦ Venice, the birthplace and
cradle of colour, the hope and idol of my professional life." Etty Uved
in London from the year 1826 till 1848, when, as his health began to fail,
he removed to his native city of Tork, and died there in the following
year. An exhibition of his works' was held in 1849, and a life of him
was written in 1855 by Alexander Gilchrist

102 A CALM— VESSEL SALUTING.
Painted by WiLLBM Van de Velde, the younger.
Wood, 9J X 8^ inches.
Eent 6a f . 1. f^eseltine, OKsq.

^^f HE calm water washes in broad ripples towards the spectator. A
^f^ boat, in which two men are hauling in a net, is in the left fore
ground. Some distance away is a large vessel, its sails mostly set ; it
has just fired a salute and one is conscious of the report of the gun so
truthful is the atmospheric effect.
'Willem van de Velde (the younger) was born at, Amsterdam in
1633. He is the most celebrated of the Dutch marine painters, and
studied with his father and also under Simon de Vlieger. From the
year 1677 both he and his father were established in England, where
they lived at Greenwich. Charles II. granted them each a salary of
£100 a year for painting sea-fights, the father furnishing the drawings
and the son " putting the said draughts into colours." 'Walpole, in his
" Anecdotes of Painting " says, " Willem van de Velde, the son, was the
greatest man that has appeared in this branch of painting, the palm is
not less disputed with Raphael for history, than with Van de Velde for
sea-pieces." He died in London in 1707, and was buried in St. James's
Church, Piccadilly. His drawings are very numerous, and his execution
was so rapid that it is said he would frequently fill a quire. of paper in
an evening with his drawings. " There are abundance of fine works
by this master in England, many of the best are in the National
Gallery." It is no wonder that his pictures are popular here, they are so
calculated to please a seafaring nation, and nearly all his works are in
England and Holland, very few being in other countries.

103 STILL LIFE.
Painted by Jan Davidsz de Heem.
Wood, 13J X 18 inches.
Eent 68 2r. jFoster SSattoek, iSsq.
 s=^§.®«=.s 
{For Notice of the Painter's life, see No. 100.)

104 A LANDSCAPE— " THE DANCING DOG."
Painted by Claude Gelled— commonly called Claude de Lorrain.
Copper, oval, 16 X 21J inches.
Eent 6a t{)e ©art of IBartmoutf).
^^P'HE land is bathed in the warm light of a summer afternoon.
^'^ The stately trees in the centre of the picture are thick in foliage.
To their left, a little distance away, are other trees, a castle, and a bridge.
To the right some figures are seen. One is piping and looking, with
two others, at a female figure in blue, who holds the paw of a dog that
is standing on its hind legs. This unusual incident has secured for the
picture the title of " The dancing dog." Beyond the figures, in a sun
lit expanse, are waterfalls and rising ground, with a range of distant
hills. In the foreground some cattle are being driven down to the Cool
water. {For Notice of the Painter's life, see No. 78.)

105

A GROUP AT MUSIC.
Painted hy David Teniers.
Wood, 9^ X 7 inches,
Eent 6a (iltarle« K. B. airetos, ffig?.

MAN, seated at a table, is singing, accompanied by another on a
guitar ; a third holds a pipe in his hands ; on a seat is a jug and
a o'lass of wine ; an old woman is looking through the door.
Signed D. Teniers, fee.
{For Notice of the Painter's Ufe, see No. 81.)

F 2

106 STILL LIFE— LOBSTERS AND FRUIT.
Painted by Jan Davidsz Db Heem.
Wood, 17 X 22 inches.
Eent 68 Sir ftjickman ISacon, 38art.

^%' LOBSTER on a metal plate, with a bunch of muscat grapes and
^^ two lemons, one partially peeled, are arranged on a wooden table,
partly covered with a dark grey cloth. Vine leaves relieve the dark
background. {For Notice of the Painter's life, see No. 100.)

lOr TWELFTH NIGHT.
Painted by Jan Steen.
Wood, 17 X 25J inches.
Eent 68 EorK ffimantage, V.dt., IS.CI.^.

^^N interior, with numerous persons making merry. At a table,
^^ covered with a white cloth, in the centre of the room, are
seated a man holding up a glass of wine, and a woman with a child
on her lap j standing behind is a boy playing a violin ; some boys
and a man are playing other instruments, and two children and a
dog are on the floor in the foreground.
The picture is signed "J. Steen" (J. & S. connected).
{For Notice of the Painter's life, see No. 87.)

108

HEAD OF A COW.
Painted hy NicOLAS Berghbm.
Canvas, 40J x 33 inches.
Eent 6b tfie iSarl of ESaartoiek.

Nicolas Berghem (or Berchem) was born at Haarlem in 1620. He
was taught by his father and other artists, and married the daughter of
the painter, Jan Vils. He is said to have visited Italy, and, at one time
in his life, sold his labour, from early morning until four in the after
noon, for 10 florins a day. His wife allowed him to keep little of his
earnings, as his practice was to spend it all in buying pictures. His
father's name was Pieter Claaz, and several reasons are given to acconnt
for his signature of Berchem, by some thought to have been a nickname,
but as he used it on all his pictures, it may be considered as a surname.
His landscapes are very ' beautiful, adorned with groups of figures,
cattle, and sometimes ruins. His contemporary and rival was Jan Both.
A burgomaster, of Dordrecht, a patron of art, engaged Both and Berchem
to each paint a picture, and the one whose painting was considered best
was to have a sum of money over and above the remuneration paid to
each artist. When their work was finished, the, burgomaster did not
know whioh picture to prefer, but told them they had both reached
perfection in their art, and that both were entitled to the prize. He
died at Amsterdam in 1683.

109 PORTRAIT OF MISS CLEGHORN.
Painted by Sir Henry Raeburn, R.A.
Canvas, 30 X 25 inches.
Eent 6a iS.. SJ. ISennett, (ffisq., of ^ar., ia.^.

.^^^ISS CLEGHORN was the daughter of a celebrated physician
3''*^^ who practised in Glasgow in the early part of the present
century. Full face ; white dress, low-necked ; brooch in the centre,
a simple row of pearls round the neck, and a veil round the shoulders —
dark background.
Painted in 1818. Sir Henry Raeburn was born in 1756 at Stockbridge, Edinburgh.
His father was a manufacturer, but both his parents died when he
was little more than six years old. Apprenticed at the age of fifteen to

a goldsmith, he showed such taste for drawing that his master in
troduced him to a friend, named Martin, who was a portrait painter,
and subsequently, in the kindness of his heart, released him for the
rest of the time of his apprenticeship. Raeburn supported himself by
miniature painting, and as his knowledge of art increased, he applied
himself entirely to the study of painting. At the age of twenty-two
he married a lady of fortune, and came to London, where he made the
acquaintance of Sir Joshua Reynolds, who counselled him to go to
Italy, and study the works of Michael Angelo ; so he and his wife
departed for Rome, and after two years spent in Italy, they returned to
Scotland, and settled in Edinburgh, where he soon took the lead as a
portrait painter, and received full employment. For years he reckoned
among his sitters and friends the most distinguished men of his time in
Scotland, and may be said to rank next to Reynolds and Gainsborough
as a portrait painter. In 1814 he became an Associate, and, the year
following, a Royal Academician. Wken George IV. visited Scotland
in 1822 he was knighted, and appointed " His Majesty's Limner " for
Scotland. He died in 1823, in the 68th year of his age.

110

A PORTRAIT.

Attributed to Bartholomeus Van der Helst.

Wood, 18 X 14 inches.

Eent 68 ffibtoari) Mae, ®sii., dF-S.a., of ISirfeeniieati.

Bartholomeus Van der Heist was born at Haarlem in 1611 or 1612.
When young he settled in Amsterdam, where he lived for the greater
part of his life, and became the scholar of Nicholas Elias, the eminent
portrait painter. In 1686 he married a young lady famous for her
beauty and wit. He was also a foundation member of the Painter's
Guild. He died at Amsterdam in 1670. One of the most renowned
Dutch portrait painters of the period, the great excellence of his work
is seen in the careful drawing, conspicuous in the hands, and in the
skill with which he reproduced the shimmer of jewellery and gold
embroidery, in the truthfulness of his heads to nature, and the clear
and powerful colouring.

Ill PORTRAIT OF THE COUNT DE GONDOMAR.
Painted by Sir Anthony Van Dyck.
Canvas, 42J X 33J inches.
Eent 6a tfie d^arl of ^ifflJartoicfe.

JJ^IEGO SARMIENTO DE ACUNA, Count de Gondomar,
-"•¦^ born 1567, played an important part in English history.
His earliest exploits were military, at the age of seventeen, in resisting
the attacks of Drake on the coast near Bayonne. He came to England
in 1613 and remained five years, the object of admiration, honour,
suspicion and fear. His influence with the King brought the great
adventurer Raleigh to the scaffold. He contributed greatly to make
the skill of Spanish diplomatists renowned throughout Europe. One of
the most subtle and dangerous enemies England ever had, he despised
no means to acquire and maintain his power. To the King, James I.,
he spoke false Latin, that the Royal pedant might correct him. He
flnally returned to Spain in 1622.
{For Notice of the Painter's life, see No. 76.)

112 PROSERPINE— THE PLAINS OF ENNA.
Painted by J. M. W. Turner, R.A.
Canvas, 37 x 49 inches.
Eent 68 ©ttoarli Olfiapman, IBsqt., JBl.a., f .^.
 c-^-ezS^fik3^^'^s-^ 
/^P'HE painter has borrowed the lovely scenery of Sicily, with its
^f^ high mountains and its water-falls. Proserpine is cleverly
introduced. The conception is fine, and the warm evening sky very
splendid. " That fair field
Of Enna, where Proserpine, gathering flowers.
Herself a fairer flower, by gloomy Dis,
Was gathered."— [Milton.]
The picture was painted in 1839.
{For Notice ofthe Painter's Ufe, see No. 73.)

113 PORTRAIT OF MRS. LOWNDES STONE.
Painted hy T. Gainsborough, R.A.
Canvas, 30 X 26 inches.
Eent 6a Eori f^iUtnalion.

fl^ CHARMING face ; nearly full ; high-powdered coiffure with a
^^ white lace veil thrown over it and a star of brilliants in the
centre in front, white dress, white lace kerchief over the shoulders ;
black, lace-trimmed shawl that passes round her right arm and is
gathered up on her left.
{For Notice of the Painter's Ufe, see No. 92.)

114

A LANDSCAPE.

Painted hy Patrick Nasmyth.

Wood, 8| X 10^ inches.

Eent 68 ©eorge iWannerg, ©sq^., dF-S.^.

^!M TREE to the right in the foreground, by a shallow pond, near
^^ which are two men and a dog. A roadway winds towards the
village by a red-roofed house on the right and a steep bank on the left,
surmounted by trees. In the distance is seen the church and a cluster
of houses. White clouds on an azure sky.
Signed P. Nasmyth. Peter Nasmyth, commonly called Patrick, was born in Edinburgh
iu 1787. He showed an early predilection for landscape painting, and
his zeal in the pursuit of his favourite art left him little opportunity of
acquiring any other instruction. Early in life he injured his right
hand and learned to paint with his left. At the age of twenty he came
to London, and his productions became very popular. He first exhibited
at the Royal Academy in 1809. His style was not sufficiently massive
to represent the wild aspects of his native country. Light clouds,
sunshine, smooth water, small pattering brooks, meadows, and green
trees are the objects he best represents. He died at Lambeth, 1831.

115 DEDHAM, FROM THE GUNHILL.
Painted by John Constable, R.A.
Canvas, 20 x 24 inches.
Eent 6a f . 1. I^eselttne, ®sq.
 ^=^^'^^-§^='^ 
kIGH foreground overlooking the pleasant country where nestles
Dedham with its church tower breaking the blue line of the
horizon. Its name has been made familiar to all lovers of art by the
genius of Constable. It was, indeed, his home, for he was born near
by, at Bergholt, and went to school at Dedham. In the mid-distance is
a piece of water, around which are pleasant meadows with paths
through them, and some comfortable houses close to the water's edge.
This eminent landscape painter was the son of a wealthy miller,
and was born at Bast Bergholt, Sussex, in 1776. As a boy he attended
schools at Lavenham and Dedham, but showed little talent for any
book learning, but was always drawing. His parents had wished him
to enter the Church, but Constable showing no inclination in that
direction, his father took him into his own business. Growing into
manhood, he was known throughout the country as " the handsome
miliar," because of his fine face and figure. He and his great friend,
Dunthorne, used to paint together in the fields, and his father, acknow
ledging at last his great talent, reluctantly allowed him to go to London
to study art, but it was not until the year 1799 that Constable became
a student at the Eoyal Academy. During the years following, the
summer months were spent in the country, living nearly always iu the
fields, and seeing nobody but field labourers. Nature was his great
instructor, and though he attempted historical and portrait painting, in
landscape is best shown his marvellous excellence. His whole life
and letters testify to his love and appreciation, for the country. In
1816, Constable married Miss Mary Bicknell, in 1819 was elected
Associate of the Royal Academy, and 10 years later Academician.
Though he was a hard worker, for many years his pictures were not
popular, but about the year 1829 he began to meet with success. Three
pictures of his, exhibited at the ' French Salon, won for him the
gold medal, and were much praised. Living at Hampstead, his " dear,
sweet Hampstead," iu 1827 he writes : " My little studio commands a
view without an equal in all Europe." The neighbourhood afforded him
many studies for paintings, as did Asmington, the home of his wife
when a girl, and Salisbury, where his friend Fisher lived. Constable
often lectured on the study of nature, and sometimes painted in water-
colour. He died suddenly in London in 1837. A memoir of him, with
much of his correspondence, was published in 1843 by G. E. Leslie, E.A.

116
GEORGIANA, BORN SPENCER, DUCHESS OF
DEVONSHIRE, AND HER CHILD, GEORGIANA
DOROTHY CAVENDISH, AFTERWARDS
COUNTESS OF CARLISLE.
Painted by Sir Joshua Reynolds, P.R.A.
Canvas, 43 J x 56 inches.
Eent 6a tf)e HBuke of IBebonsfiire,
 s-=sj^#=s 
^^P'HREE-QUARTER length ; seated on a sofa playing with and
^^ singing to her daughter, her right arm raised ; the child has
both arms raised. {For Notice of the Painter's life, see No. 121.)
117 THE CHATEAU OF ROSENAU.
Painted by J. M. W. Turner, R.A.
Canvas, 38 X 49 inches.
Eent 68 Oeorge l^olt, iSsq., of Etberpool.

mOSENAU was the summer residence of Ernest, Duke of Saxe-
Coburg-Gotha, and birthplace of the late Prince Consort of
England. In the picture an avenue of trees faces the spectator, and above, on
the right, the chateau rises into a golden sky. Below is a cluster of
people, and nearer a man is seen with a fishing rod, and a woman seated
on the ground. A broad sheet of water is in the foreground, on the
left bank of which rise stately trees.
{For Notice of the Painter's life, see No. 73.)

118

THE SUN RISING IN VAPOUR.
Painted hy J. M. W. Turner, R.A.
Canvas, 34 x 44 inches.
Eent 6a Oeorfle Oljapman, ©189.

JTN the foreground, to the right, are fisherfolk ; fish is strewn on the
•'*' sand; a boat, with large brown sail, lies on the shore, and beyond'
it the white cliffs are distinguished in the hazy atmosphere. To the left,
other boats are seen, evidently just arrived ; many people are gathered
round them. The glory of the reflected sun occupies the -centre of the
picture. In the distance many other craft are seen, and, among them,
two war ships. {For Notice ofthe Painter's life, see No. 73.)

119

A LANDSCAPE.
Painted by T. Gainsborough.
Canvas, 11^ x 13^ inches.
Eent 68 3J, 1. ?i^eseltine, <&n.

^

TUDY of a landscape in an effect of storm. On the left an old
oak has a mass of large-leaved herbs at its foot.
{For Notice of the Painter's life, see No. 92.)

120

A SEA SHORE.
Painted hy J. M. W. Turner, R.A.
Canvas, 13 X 17 inches.
Eent 6a f^enra Brake, ®%%,
 ^=3j^ 

J^^IGURE S and boats in the foreground ; low-lying coast seen
f^/ beyond the sea on the horizon— evening sky.
{For Notice ofthe Painter's life, see No. 73.)
121
LADY ELIZABETH FOSTER, AFTERWARDS
DUCHESS OF DEVONSHIRE.
Painted by Sir Joshua Reynolds, P.R.A.
Canvas, 29^ X 24^ inches.
Eent 68 tfie 29ufee of IBebonsfitre.

^^*HE second daughter of the fourth Earl of Bristol, and married,
^•^ as her second husband, William, fifth Duke of Devonshire,
as his second wife ; Georgiana (No. 92 in the present collection)
being his first.
Lady Elizabeth Foster was the alluring widow of whom Gibbon
said " that no man could withstand her, and that if she chose to beckon
the Lord Chancellor from his woolsack, in full sight of the world, he
could not resist obedience. "
Half-length portrait, painted in 1787, and exhibited at the Royal
Academy in 1788 ; three-quarter face, turned to the right ; white dress ;
lace collar, tied with pink ribbon ; blue sash ; powdered hair.
Sir Joshua Reynolds was born in 1723, and educated at Plympton
St. Mary, Plymouth. He came to London at the age of 18 as a pupil
of Hudson, arid remained with this master less than two years. Eeturn
ing home, he painted many portraits at low prices (70s.}. In 1749 he
sailed with Commodore Keppel to the Mediterranean, and reaching

Eome, stayed there for two years, directing his studies chiefly to Michael
Angelo's works in the Sistine Chapel. Working there during bad
weather he caught cold and became deaf, and was compelled thereafter
to use an ear trumpet. He returned to London in 1752, and settling
soon after in St. Martin's Lane, quickly rose in reputation. In 1753 he
painted the portrait of Commodore Keppel, which laid the foundation
of his fortune. He painted many heads at this time at 12 guineas each.
Henceforward his progress was very rapid, and among his sitters were
many of the famous men and women of his time. In 1768 he was
knighted, and became first President of the Eoyal Academy. From
this time he worked with almost uninterrupted assiduity and success,
producing many hundreds of pictures. He died February 23rd, 1792.
122 MARGARET GEORGIANA, BORN POYNTZ,
FIRST COUNTESS SPENCER.
Painted by T. Gainsborough, R.A.
Caiivas, 30 X 25 inches.
Eent 6a IBarl Spencer, 3S;.@f.

^^'HE eldest daughter of the Right Honourable Stephen Poyntz,
^^ of Midgham, Berkshire. She was born in 1737, and
married the Honourable John Spencer, afterwards Yiscount Althorpe
and Earl Spencer. She died in 1814. She was the mother of the beau
tiful Duchess of Devonshire, whose portrait is in the present collection
(No. 92).
To the waist, seated ; w^earing a riding-dress ; the hands crossed.
{For Notice of the Painter's Ufe, see No. 92.)
122a PORTRAITS OF THREE CHILDREN IN A
LANDSCAPE.
Painted hy George Romney.
Canvas, 58 X 42 inches.
Eent 6a JBlajor Wk. f^. Eittle.

^^'HE child to the right of the picture in red frock aud green sash,
'"^ and with a coloured ribbon in her hair, is showing a piece of
blue needlework to a pretty child in white. To the left is a handsome
boy in crimson, with a deep white collar, white stockings and black gold-
buckled shoes. To the right is a large easy chair, with some drapery
upon it, and a black and tan spaniel.
{For Notice of the Painter's life, see No. 95.)

Room III.

123

A VIEW OF AMSTERDAM.

Painted by Jan van Goyen.
Wood, 8 X 10 inches.
Eent 68 3- ^. i^egeltine, lEs^.

^TN the foreground some peasants are resting at the foot of two
'^ pollard trees ; beyond, over the flat country, is Amsterdam, lying
low, with its buildings and its windmills seen against the sky. This
simple composition, with its delicately painted clouds, is characteristic of
Van Goyen. Jan van Goyen was born at Leyden in 1596, and studied under
various masters of little note. While still young he made a tour through
France, and on his return home received some instruction from Essias
van de Velde. He was one of the earliest Dutch landscape painters,
and his works are marked by great truth and observance of nature, and
the. drawing is admirable. His daughter married Jan Steen. He died
at the Hague in 1666.

124

GOOD FRIDAY.— THE VIRGIN WITH THE
HOLY WOMEN.
Painted hy Paul Delaroche.
Canvas, 10 X 20 inches.
Eent 68 at(. i'iEicStfial, ©s?., of ^aris.

^^'HE slight figure of the Apostle John, in his eagerness to catch a
^'^ glimpse of the terrible procession to Calvary as it passes beneath
the window, reaches across the heavier form of Peter, who holds him
back for fear of his being seen and recognised. On the floor at their
feet is Mary Magdalene, overcome with grief at the fate of her Master.
In the centre of the picture is the kneeling figure of the Mother of
Christ, and behind her other women are kneeling in grief and terror.
The excited tumultuous crowd outside is suggested by the irregular
carrying of the spears and flags of the Roman soldiery.
The gloom that pervades the scene is not relieved by the introduction
of any bright colour. It is wholly sad, colour in sombre tone and
solemn shadows prevailing throughout.
The painter, in his intense reverence for the subject, wrote : " When
I think of what is due to the portrayal of that scene, and of what
passes in that room at the moment when the noise of the procession is
loud in their ears, it is easy to understand that my head and heart fail
me, and I am ready to destroy my canvas."
The picture attracted great attention when it was exhibited in
London in the International Exhibition in 1862.
{For Notice of the Painter's life, see No, 10.)

125 EASTHAM.
Painted by Robert Tonge.
Canvas, 13 x 20 inches.
Eent 6a ©eorge Mae, IBsq^., of ISirfeenlieat).
J^ULL-FOLIAGED trees bordering a rocky shore ; long slabs of
f^/ brown rock in the foreground ; dark clouds are to the left, and
a flood of light beyond the trees.

126

THE OLD HORSE.
Painted by Edmund Bristow.
Canvas, 18 X 15 inches.
Eent 6a dF. 01. ^atole, 3Ssii., f .1.

^^'HERE is much that is beautiful in this small work. The decrepit
^^ frame, the docile, patient head, the worn skin, and the weary
eye, point to the near close of a life of quiet labour. To the left of the
picture is a thatched shed, outside the door of which is a man
with a dog beside him. In the foreground are some dockleaves, and in
the tranquil landscape beyond, are two cows.
Edmund Bristow was born at Eton in 1787. He exhibited only on
one occasion, viz., at the British Gallery ; it was a sort of notoriety it
is said he despised. It Is believed to have been Landseer's opinion that
there was no one to equal him in the painting of a horse. Few details.
are known concerning his life, but he appears to have been an
eccentric character. It is reported that on one occasion he refused to
sell a picture to a distinguished lady of the aristocracy when she paid A
visit to his studio, on the ground that he had a horror of being patronised.
The Queen possesses several of his paintings. He died at Windsor in
1876, having outlived all his old friends, and passing his latter years in
uch retirement that he was scarcely known to the greater part of his
fellow townsmen.

127

A VIEW NEAR PARIS.
Painted hy Georges Michel.
Canvas, 20 x 27 inches.
Eent 6b f . 1. ?§eseltine, ffisq.

^

HREE figures and some cattle in the foreground, the middle
distance darkly shadowed. Clouds floating upon an azure sky.
Georges Michel was born in Paris about 1763. His father was
employed in the Paris markets, but he himself was placed with a village
curate on the plain of St. Denis, and afterwards apprenticed to the
painter Leduo. At one time he was the painting companion of Louis
Bruandet, at another he was living in the house of a noble amateur,
whose pictures he finished. His favourite subject was the great plain
which stretches from Montmartre to the north of St. Denis. In spite
of the small prices he received for his pictures he contrived to pass his
life in modest comfort. He died in Paris in 1843, and is represented
in the Luxembourg by two examples.

128

"SWEETEST EYES WERE EVER SEEN."
Painted by Sir J. E. MiLLAlS, Bart., R.A.
Canvas, 39 x 28 inches.
Eent 6b iffilrs. iSberett CRraa.

GIRL of twelve or fourteen, with an intensely sweet face, holding
before her a large basket of violets. She wears a simple coloured
print dress, and in the dark background behind her may be seen a bank
of primroses and violets.
Painted in 1881.

The title of this picture was suggested by the beautiful poem, by
Mrs. Barrett Browning, of " Caterina to Camoens," in which Caterina,
dying abroad, refers to the poem which Camoens wrote, wherein he
recorded the sweetness of her eyes.

" When I heard you sing that burden
In my vernal days and bowers.
Other praises disregarding,
I but barkened that of yours —
Only saying.
In heart playing,
' Blessed eyes mine eyes have been,
If the sweetest, His have seen 1 ' "

129

COMPTON WINYATE, THE SEAT OF THE
EARL OF NORTHAMPTON,
Painted by E. H. Henshaw.
Canvas, 20^ x 28 inches.
Eent 6a JHrs, iaatfian.

^JTN the foreground some cattle are being driven on the roadway
-'*' through the park ; on either side are stately trees, between which
can be seen the mansion surrounded by foliage, beyond which is a wide
stretch of country. A picture full of light and atmosphere.

G 2

130

THE DULL LECTURE.

Painted by G. S. Newton, R.A.
Canvas, 16| X 12 inches.
Eent 6a dF. ffl. ^atole, 3B0(i., gj.l.

^^ YOUNG and beautiful lady, in a white satin dress, from which
^^ one foot emerges, is seated in a red-covered chair, her right hand
raised listlessly to her cheek, the elbow resting on aome closed books.
that lie on tho red-covered table beside her ; her left hand falls wearily
on the arm of tbe chair. She hears and not hears the dull lecturer.
" Frostie age, frostie age, vaine all your learning,
Drowsie page, drowsie page, ever more turning.
Young head no voice will heed,
Young heart's a reckless rover.
Young beautie, while .you read.
Sleeping dreams of absent lover." — (Old Song.)
Gilbert Stuart Newton, R.A., was born at Halifax, Nova Scotia, in
1 794, and first studied art with his uncle, Gilbert Stuart, at Boston. In
1817 he went to Italy, and visiting Paris, came to London, and entered,
as a student, the Eoyal Academy, where he was elected an Associate in
1828, and a Eoyal Academician in 1832, in which year he visited his
native country and married there. He enjoyed the friendship and
esteem of Washington Irving and Charles E. Leslie. His last picture,
'¦ Abelard," was shown at the Eoyal Academy in 1833, and it was about
this time that he began to show signs of aberration of mind. He died
at Chelsea in 1835, at the age of 40.

131

CHRISTMAS EVE.
Painted by F. Strbitt.
Canvas, 14 x 23 inches.
Eent 6b S. iS. Jtjartlea, ©sq.

JTN this Polish village, a merry party, with jingling sleigh-bells, are
•'*' betaking themselves to some hospitable roof to spend Christmas
Eve. On their way they pass a villager, also journeying to some
friendly hearth, with his violoncello. The lighted windows of the
cosy village houses, with their suggestive warmth and, comfort, form
an effective contrast to the coldness of the world outside, where the
snow lies deep in the keen frosty air.

132 THE MARKET PLACE AT THE FOOT
OF THE RIALTO.
Painted hy Henry Woods, A.R.A.
Canvas, 7i X llj inches.
Eent 6b Eouis Jl^utf), lEgq.

132a a cup of TEA.
Painted hy A.. E. Plassan.
Wood, 10 X 7J inches.
Eent 68 J^enra ?^ucfes ©fi66g, iBsij., iBl.l.
1^^ YOUNG lady is daintily seated in demi-toilette at a tea table, the
^^ train of her gown trailing on the floor ; her foot is on a blue-
covered footstool. The China tea-service stands on an elegant little
table with red-covered top ; behind her is a richly ornamented folding
screen.
133 WHERE BIRCHES WAVE AND ALDERS SIGH.
Painted by J. L. Pickering.
Canvas, 12 X 20 inches.
Eent 68 tf)e Artist.

134 CONQUERED, BUT NOT SUBDUED.
Painted by T. Faed, R.A.
Canvas, 9x13 inches,
Eent 6b ffiolonel ?ft, IB. Babieg, aiiierman.

^f N this homely cottage the good-natured looking mother, who is
¦'*' seated peeling potatoes, has had reason to overawe the small

disturber of the peace, and to place him apart against the wall for a
time. On the opposite side of the picture are the more dutiful children,
whose comments do not tend to soothe his' rebellious spirit. Beyond
them may be seen the aged grandmother, and from the sunny little
window is a glimpse of the country.

135 FOOD FOR POWDER.
Painted hy F. Roybbt.
Canvas, 17 X 11 inches,
Eent 6b Utcara ®i66s, IBgq^.

^M MUSKETEER in the picturesque garb of the seventeenth
^^ century. Red costume, white collar, and rich embroidered
scarf. He stands at the foot of some stairs, his large grey felt hat in
his right hand, and his musket on his shoulder, its butt inlaid with
ivory. Beyond him is a deep archway with a long flight of stairs.

136 THE DREAM OF DANTE.
Painted hy D. G. RosSETTi.
Canvas, 53 X 77 inches. Predellas, 14j X 33 inches.
Eent 6b SJosepl) iJiuston, C&«(i., of Etncoln.

^Jl^ANTE ALIGHIERI first met Beatrice Portinari in 1274 at
-^'¦^ a May feast given by her father, who was one of the chief
citizens of Florence. He was then near the end of his ninth year. He
describes the dress she wore on that day and follows by saying that
" the spirit of life which hath its dwelling in the secretest chamber of
the heart, began to tremble so violently, that the least pulses of my body

shook therewith . . . and from that time forward Love quite
governed my soul." After the lapse of nine years, he writes : " the same
wonderful lady appeared to me, dressed all in pure white, between two
gentle ladies elder than she . . . and by her unspeakable courtesy
saluted me with so virtuous a bearing that I seemed then and there to
behold the very limits of blessedness."
The Dream is recorded in " La Vita Nuova," Dante and Beatrice
being at that time 25 years of age. After speaking of .the illness from
which he was suffering, he says : " Then feeling bewildered, I closed
mine eyes ; and my brain began to be in travail as the brain of one
frantic. ¦ . . . And I seemed to look toward Heaven, and to behold a
multitude of Angels who were returning upwards, having before them an
exceedingly white cloud. . . . Then my heart, that was so full of
love, said unto me, ' It is true that our lady lieth dead ; ' and it seemed
to me that I went to look upon the body wherein that blessed and most
noble spirit had had its abiding place. And so strong was this idle
imagining that it made me to behold my lady in death ; whose head
certain ladies seemed to be covering with a white veil, and who was so
humble of her aspect that it was as though she had said, ' I have attained
to look on the beginning of peace.' "
Dante, in purple raiment and walking as if in sleep, approaches the
dead Beatrice, who lies on a red-draped couch, her hands crossed on
her bosom. Two green-clad ladies, sad of aspect, tenderly suspend
for a moment the purple pall above her, which is full of May bloom,
while the figure of Love, draped in passionate red and with filmy
red pinions, bends forward and kisses the cold lips, which Dante's had
never touched. One hand grasps a winged arrow and a branch of
rosemary — the other holds the hand of Dante, whom he has led hither.
The floor is strewn with poppies symbolical of sleep, and on either side,
through open doorways, are seen glimpses of the City of Florence,
which " sat solitary " for his lady's death.
{For Notice of the Painter's life, see No. 159.)

137

THE SCULPTOR'S GALLERY.
Painted by L. Alma Tadema, R.A.
Wood, 24 X 18 inches.
Eent 68 Ctolonel f^. B, JBabies, aitieiman,

—< — sc^'G*'4i^Kai*''k>o.''~'—

J'TN the centre of the picture is a full-length bronze statue, standing
¦'*' pn a square red pedestal ; an attendant is about to move it for
the better convenience of the Roman gentlemen who, with the eye of
the connoisseur, are criticising its merits. They wear the noble garb of
the period. Two ladies are present, one sitting. In the foreground
to the right, upon an elegant inlaid floor, is a table with a bronze lioness
mounted on a piece of green marble. In the background is the famous
marble group of the Laocoon and two seated statues of Roman matrons,
and beyond is seen an open court, festooned, and with a glimpse of sky
above the tiled roofing.
138 GLOUCESTER CATHEDRAL.
Painted by James Webb.
Canvas, 13J X 16^ inches.
Eent 68 ffieorge SSato, lEsq;,

/^ff'HE square white tower of the cathedral rises majestically into the
^^^ carefully painted sky, and its nave stands high above the ordinary
buildings of the City. In the foreground is a wharf, with barges. The
picture is excellent in composition, and full of delicate light.

139 THE CHALLENGE.
Painted by W. Q. Orchardson, Esq., R.A.
Canvas, 29 X 45 inches.
Eent 6a 5129. Otutpert Oluilter, iE0q[., J«.l.

/^¦[•HE scene is laid in an old oak'panelled chamber, on the tapestried
'¦^ stool in which is the Puritan's bible. He grasps tightly the
hand of his sincere friend, who endeavours to dissuade him from
accepting the challenge so impudently offered on the point of a sword.
His honour, however, suggests that he should take the unwelcome
missive.

140

VENETIAN WASHERWOMEN.
Painted hy C. Van Haanen.
Canvas, 33 x 23 inches.
Eent 6b 3f. 1. ?^eselttne, iEgq.

^^'HE stalwart girl facing the spectator is preparing for her work.
^f^ Her red cap becomes her. Her companion, in blue petticoat,
with one foot in the water, has already commenced upon tbe heap of gay
clothing on the stone steps. In the dark archway behind two others
are seen at work.

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141 MERCATO , VECCHIO.
Painted by WiLLiAM Logsdail.
Canvas, 14 X 10 inches.
Eent 6a tiie Ertiist.
THE DEER PARK AT FONTAINBLEAU.
Painted by RosA Bonheur.
Canvas, 22 X 18 inches.
Eent 6b EorU Ermstrottg, ®.18.
142
^^ SECLUDED spot where the sun's rays, finding their way
*^^ between the forest leaves, light up patches of the leaf-strewn
ground, and shimmer on the brown hides of two deer, one of whom, in
conscious security, is lying with closed eyes on the velvety sward, while
its companion, keenly on the alert, stands by its side, not to be put off
its guard by any appearance of tranquiUity.
143 TRESPASSERS.
Painted hy William Davis.
Canvas, 13 X 16| inches.
Eent 6b ©eotfle ISae, lEgq., of 3Strfeenf)eati.
{For Notice of the Painter's life, see No. 167.)
144
THE GENTLE MUSIC OF A BYGONE DAY.
Painted hy J. M. Steudwick.
Wood, 31 X 24 inches.

Eent 6a Soscpf) IBtion, iSgi}.

Al EATED on an elaborately carved and inlaid chest, a lady, with
^^ pensive and beautiful face, is playing on a cythern. Her raiment
is arrano-ed about her in graceful folds. Her eyes look down on a music
book held open for her by her companion, who is seated at a lower
level. Beyond is a third and equally lovely figure, demurely sitting
with her hands crossed on a zyther, listening with contented enjoyment
to the tuneful strains. Behind her is an organ, its painted doors thrown
open, and to the left, further away, a stained glass window is seen.

145 THE VALLEY OF THE NERVIA.
Painted by William Logsdail.
Canvas, 10 X 14 inches.
Eent 68 tlje glrttst.

146 CLAUDIO AND ISABELLA.
(From Shakes|)eare's " Measure for Measure.")
Painted by W. Holman Hunt.
Canvas, 30^ x 17^ inches.
Eent 6b 2ri&oma« ^s^ton, CIsq,, gf.ip., of iWaneiftester.
¦  -~K.-£-e:;§";^¥^^5*-.£_>-  ¦ 
JTN the City of Vienna in the sixteenth century there was a law that a
-•^ man convicted of a,dultery should lose his head. Claudio, a yoiith,
gentle by birth, was convicted and condemned to death. His sister
Isabella, virtuous and beautiful, begs his life of the Lord Deputy Angelo,
who, regarding her great beauty and the " sweet order of her talke," demands
the forfeit of her honour as the price of his release. Abhorring both him
and his suit, by no persuasion would she yield to this condition, and the
execution of Claudio is ordered. The head, however, of a prisoner, who
had died of fever, is palmed off on Angelo as Claudio's, while Isabella is
told that her brother is dead ; exasperated at this, she makes her case
known to the Duke Vincentio, who pardons Claudio, compels Angelo to
wed Mariana, who had been abandoned by him when her dowry was
lost, and marries Isabella himself. The picture represents the interview
of Isabella with her brother, in which she recounts to him the proposal
of Angelo. Claudio at first applauds her conduct, but overcome by the
fear of death, strives to persuade her to consent to dishonour.
Claudio. — " Aj, hut to die, and go we know not where ;
To lie in cold obstruction, and to rot ;
This sensible warm motion to become
A kneaded clod j * » *
• Sweet sister let me live."
Claudio stands with -his back to the light, with anxious, vacant
look, his right hand catching absently at the iron fetter that chains
him to the wall. He wears a crimson tunic, bordered with fur,
across which, at the waist, is a steel chain, to which is attached a velvet

pouch. His shoes are the long pointed ones of the period. Pressing
her two hands to his heart in sisterly distress, her right wrist grasped
tightly by Claudio, stands Isabella. She is in her nun's apparel, having
quitted the peaceful seclusion of her convent in the hope of saving her
brother's life.
In the recess of the prison window hangs sC mandolin, and beyond
the iron bars is seen the steeple of a distant church ; against the vivid
sky, across which fleecy pink clouds are passing in the brilliancy of an
early summer evening, are branches of an apple tree laden with blossom.
This picture was painted in 1850.

147 THE VALE OF REST.
Painted by Sir J. E. MiLLAis, Bart., R.A.
Canvas, 41 X 67 inches.
Eent 68 J^enra Cate, dSsq,., §,T^,
" To where beyond these voices there is peace."
JTN a convent garden at sunset a grave is being prepared by two
-'*' nuns. The younger, a novice, with her white coif thrown back
from her face, is in the grave, vigorously throwing out large spade-
fulls of earth ; the elder sits on the overturned headstone, holding a
rosary, her black gown sweeping the dank coarse grass. The garden
wall is hidden by thickly-set Cyprus trees, and against the luminous
evening sky stand the still poplars.

148

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THE WIDOW.
Painted by C. LangiSe, Fils.
Canvas, 37 X 40 inches.
Eent 6a Mx». laatpn.
149
OPHELIA.
Painted hy Sir J. E. Millais, Bart., R.A.
Canvas, 28^ X 43 inches.
Eent 6b Mx». dFuller^jWaitlanli.
JTN the shadow ofthe overhanging leaves, Ophelia is floating to her death.
¦^ Her face, with its half-open lips, chanting snatches of old tunes, and
her hands, grasping their " weedy trophies," rise above the water. Her
garments are losing their last reserve of buoyancy ; and when she has
cleared the sandy shallow through which she is. now passing, she wUl
sink and yield her life with scarcely a struggle.
" There, on the pendant boughs, her coronet weeds
Clambering to hang, an envious sliver broke.
When down her weedy trophies, and herself.
Fell in the weeping brook." —Samlet. Act 4. Scene 7.
Of this picture Mr. Ruskin wrote : " The loveliest Enghsh landscape,
haunted by sorrow."
The background was painted on the River Ewell, near Kingston.
Miss Siddall, afterwards the wife of Dante Gabriel Rossetti, was the
model for the face.
The picture was painted in 1851, and exhibited at the Royal Academy
in 1852.
150

A COAST SCENE.
Painted by William Collins, R.A.
Canvas, 22^ X 26 inches.
Eent 6b lfto6ert |^. ISenson, iBs(t.
 ^=s§.®.^=..s 

William Collins was born in London in 1788. His father, a
native of Wicklow, in Ireland, was a man of literary abilities, and the
friend and biogrp,pher of George Morland, he carried on the business
of a picture dealer in order to provide means for supporting his family.
As a boy William Collins was allowed to watch the painter, George
Morland, at his work, and in 1807 he obtained admission as a student
into the Eoyal Academy. Even at this early stage in his life he began
to exhibit at the annual exhibitions. In 1842 his father died, leaving
his family penniless, and wholly dependent on the young artist for the
means of subsistence. In the year 1814 his pictures, in the opinion of
his fellow artists, showed such qualities of pathos and tenderness, that
he was elected an Associate of the Eoyal Academy, and, six years later,
a Eoyal Academician. He visited the continent on several occasions,
and in 1836 spent nearly two years in Italy, each tour afEording him
materials for numerous paintings. He died in London in 1847. His
favourite and popular subjects are coast-scenes and landscapes, animated
with rustic figures, often of children; "As happy as a King," and
" Eustio Civility," may be mentioned as being widely known and
appreciated.

151 THE ENEMY SOWING TARES.
Painted hy Sir J. E. MiLLAlS, Bart., R.A.
Canvas, 43 x 33 inches.
Eent 68 Sir Sol)n Rentier, iS.Ot.itt.ffi.

z^' ATAN is here represented as au aged evil-minded figure in dark
^^ gabardine, with wild locks flowing about his face. With
grotesque energy, and delight in evil, he is busily sowing the ill seed.
" Another parable put He forth unto them, saying : ' The Kingdom of Heaven is
likened unto a man which sowed good seed in his fields ; but while men slept his enemy
came and sowed tares among the wheat and went his way.' " — Matthew XIIL, 24, 25.
Exhibited at the Royal Academy, 1865.

152 THE GIFTS OF THE FAIRIES.
Painted by Frank Holl, R.A.
Canvas, 23J X 17^ inches.
Eent 6b dF. CI. ^aWe, iSg?., gj.l.

^^'WO peasant children, partially dressed, are unable to resist the
^f^ curiosity of coming down stairs in the early Christmas morning
to see what Santa Claus has brought them. They are hand-in-hand.
The elder child, with bare shoulders and wearing a rough red petticoat,
is coming boldly forward, gazing at the objects ranged on the floor ;
the younger, still in her nightdress, appears more timid, and is glancing
up to her left, towards a wall where hangs a jackdaw's cage, the
stirring within which has doubtless caught the child's ear. Beneath
the cage is a hardware dish holding w^ater for the bird.
Painted in 1878 for the present owner, and exhibited at the Royal
Academy in 1879.
153 AN INCIDENT IN DEER STALKING.
Painted hy Sir Edwin Landseer, R.A.
Canvas, 18^ X 25 inches.
Eent 6b Seorge ?|olt, lEs?., of Eiberpool.

Sir Edwin Landseer was born in London in 1802. He was the
youngest son of John Landseer, the well-known engraver. His father
taught him, and is said to have sent the boy at an early age into the
fields to sketch from nature any animals he came across. Some
drawings in South Kensington Museum were executed by him when
five years old. His first exhibited picture was painted when thirteen
years of age. Three years later he entered the schools of the Eoyal
Academy. In 1826 he became an Associate, and, a few years after,
an Academician. His pictures are universally known, and he is " the
unrivalled painter of animal life." In 1850 he received the honour of
knighthood. He died at his house iu St. John's Wood in 1873,
and was interred in St. Paul's Cathedral.

154

THE CURB'S GARDEN.
Painted hy Charles H. M. Kerr.
Canvas, 24 X 32 inches.
Eent 68 iTOrs. Skinner.

155 THE JUGGLING GIRL.
Painted by Sir Frederic Leighton, Bart., P.R.A.
Canvas, 42 x 24^ inches.
Eent 68 Eort SJiUingtron.

fl^ GRACEFULLY posed figure, nearly nude, juggling with five
^^ balls. She stands on a leopard skin, red and white drapery fall low
down over a seat to her right ; a brazen vase, a sword, and some rings,
suggestive of jugglery feats, are at her left ; and behind her, clearly
outlining her figure, hangs a white screen, bordered with a Grecian
design. Beyond, and on either side of the screen, is an orange grove,
plenteous in fruit ; and above it is a pale sky, with warm, sunny clouds.

156

ONLY A SHOWER.
Painted hy G. H. Mason, A.R.A.
Canvas, 18 X 36 inches.
Eent 68 ST. E, Bebilt, IBsq^.
 ^=J.^|=^—  ! 

ALOME girls of twelve or fourteen years of age are caught by a
GV light squall of wind and rain. One of theni is repeating an
action which was a favourite one with the painter, she has set down her
milk pail and lifts her hands to confine her loosened hair.
{For Notice of the Painter's life, see No. 173.)
157 AURELIA.
Painted by D. G. Rossetti.
Wood, 17 X 15 inches.
Eent 6b Oeorge Mae, iBsq., of ^trfeenfteair.

/^^'HE picture was originally called " Fazio's Mistress," but the
^f^ painter gave it its present title when he repainted it in 1873.
Fazio was a Florentine who tried to make a fortune by Alchemy,
but being present when Bartoldo the miser died, he buried the body
secretly, 'and stole his money bags. Being then rich he passed his time
in licentious pleasure with the Marchioness Atdabella. She is here
seated to the left, plaiting her hair, and glancing at her beauty in a
mirror. Her dress is white with a band of blue, and a blue jewel is on
her finger. At her side is her hair brush and comb, and behind against
a rich tapestry is a candle.
The picture is signed with monogram, and dated 1863. Repainted
1873. {For Notice of the Painter's life, see No. 159.)

H 2

158 THE WHEEL OF FORTUNE.
Painted by E. Burne Jones, A.R.A.
Canvas, 59J X 28J inches.
Eent 6a lio6ert i^. ISenson, ®«q[.

" Turn Fortune, turn thy wheel and lower the proud ;
Turn thy wild wheel thro' sunshine, storm, and cloud."
AL AD, but inexorable, the fateful figure turns the wheel. She stands
^^ firm, on a platform of rock, against a stone-built wall, working
the wheel with her left arm and balancing it against her hip. Her
purple drapery is disposed in masterly fashion about the matured form.
There may be sorrow and regret in the beautiful countenance, but there
is no indecision. The wheel goes round. The sceptred king, once
uppermost on the wheel, is now beneath his slave, whose chained
foot presses on the crowned head, while beneath the king is seen the
laurelled head of -the poet, who, as he disappears, looks ardently and
not un reproachfully at the arbiter of his destiny, as if a hope still
remained of better fortune.
" Wherefore one nation rises into sway.
Another languishes, e'en as her wUl
Decrees, from us concealed, as in the grass
The serpent train. Against her, nought avails
Your utmost wisdom. ... By necessity
She is made swift, so frequent come who claim
Succession in her favours. This is she
So execrated e'en by those whose debt
To her is rather praise : . . .
But she is blessed, and for that recks not ;
Amidst the other primal beings glad.
Rolls on her sphere and in her bliss exults."
[Dante's Inferno— Canto VIL]
This painting was commenced earlier and finished (for the present
owner) later than the one in the possession of the Right Hon. A. J.
Balfour, but the general design is the same, the difference lying in
the feeling and tone of colour, and in the variation of the accessories.
Signed E. B. J.

159

ROSA TRIPLEX.

Painted hy D. G. Rossetti.
Canvas, 19 X 23'inches.
Eent 6a 5128. Orafiam iao6ert!Son, (!5sq[.

— ^E^=®=4<I-=— .

^^ GAIN ST a background of roses are three small half figures of
^^ girls with long fair hair, in red drapery, and finely-wrought
bracelets and necklaces, leaning on a balustrade, each with a rose in
her left hand. Gabriel Charles Dante Eossetti was born in London in 1828. Ho
was the son of Gabriele Eossetti, who was exiled from Italy for his
political opinions and came to London. He entered the Schools of the
Eoyal Academy in 1846, and in 1848 became the prime mover in the
famous Pre-Raphaelite revolt. In 1850 he edited "The Germ," a
periodical whioh demonstrated the principles of the brotherhood ; but
it was short lived. Afliong the works painteii according to its
principles was the " Ecce Ancilla Domini," now in the National
Gallery. For the next ten years his chief productions were a series of
water colours inspired by passages in the "Vita Nuova" and the
"Divina Commedia." In 1860, after a long engagement, he married
Elizabeth Eleanor Siddall, a girl of characteristic beauty and the model
for some of his most famous works. She died in 1862 from an over
dose of laudanum and on the day of her burial Rossetti placed the
manuscript of all his poems, as a last gift, in her coffin. In the autumn
of that year he removed to Cheyne Walk, Chelsea, and between that
time' and 1869, produced some of his finest paintings, achieving a
splendour of colour that may be compared with the productions of the
great Venetians, and has seldom been surpassed in modern times. In
1869 he was prevailed upon to permit the exhumation of his buried
manuscripts, and in the following year the first collection of his
poems appeared. At this time symptoms of weak health appeared, and
he suffered terribly from insomnia. To obtain relief he resorted to chloral,
with the customary results. Early in 1882 he went to Birchington,
and on the Easter Sunday of that year he died.

160

A HEARTY WELCOME

Painted hy L. Alma Tadema, R.A.
Panel, 12 x 36^ inches.
Eent 6a ^ii f^enra €Sonrps(on, MM,

(^y GRACEFUL child, in pale blue, is ardently welcoming the arrival
^^ of her mother, who closely clasps her. The mother wears a
dark purple shawl over her finely-worked raiment. In her hair are
mauve orchids. The two are standing on a sanded walk, in an enclosure
rich in architectural construction, and open to the air. To the left is a
marble fountain, throwing up the cool water, and close behind them is a
recess with a little lamp burning. The court abounds in poppies and
sunflowers, palms and vines. Sunlight and shadow are on the square
pillars to the left, against one of which a woman is seen with a babe in
her arms, large thistles being in the foreground ; to the right is a cool
marble stairway, descending which is the child's father. To his right
are seen three majestic pillars, and in the blue sunlit sky beyond are
white marble edifices. At the foot of the stairs another child is seen
stooping down and calling to a dog that comes running towards her.

161

ARIEL.

(FEOM SHAKESPEAEE'S "TEMPEST.")

Painted hy Robert Fowlbe.

Canvas, 48 X 24 inches.

Eent 6b tfie Corporation of Eiberpoo!.

='^^^

^Jp'HE airy spirit floats in the stilly night. Below him is a lake,
^^ on the surface of which a heron skims. Beyond its bordering
trees the crescent moon rises into the deep starlit firmament. The flying
bat bears Ariel along. He is able to assume any shape, or even to
become invisible. He was enslaved to the witch Sycorax, the mother of
Caliban, who overtaxed the little thing. Liberated by Prospero from
the pine-rift where Caliban had imprisoned him, the grateful spirit
served Prospero for sixteen years and was then set free.
Aeibl — All hail, great master I . . . be't to fly.
To swim, to dive into the fire, to ride
On the curl'd clouds, — to thy strong bidding, task
Ariel and all his quality.

162

MARY.
Painted hy W. M. Loudan.
Canvas, 36 X 28 inches.
Eent 6a t$e artist.

" Benignity and home-bred sense,
Ripening in perfect innocence.' '

^^ YOUNG girl in black, patiently sitting with her hands before
^^ her. Tangled hair falls about her simple face, and in her black
hat is a sprig of white flower.

163 PORT BANNATYNE.
Painted by William Davis.
Canvas, 21 X 30 inches.
Eent 6b ©eorge iJJae, iEsq., cf IStrkenfieatf.
 — -s^-2_e;5";^¥C5i3u..£j- — 
^j^ CAREFULLY studied richly-coloured bank slopes down to the
^^ water. The sun is disappearing beyond the dark ridge of hill,
and its last bright reflection is seen in the shallow water.
{For Notice of the Painter's life, see No. 167.)

164

ISABELLA.
Painted hy J. M. Strudwick.
Wood, 39 X 23 inches.
Eent 6b WL. ©ratiam iao6ertgon, ®gq.

IjTSABBLLA is mournfully contemplating the einpty stand from
-'*' which her brothers have taken the pot of sweet basil wherein
she had placed the head of her murdered lover, Lorenzo. She is robed
in rich rose colour, the graceful folds and numberless creases of which
show the industry and careful thought of the painter in the carrying
out of his design. The robe hangs from her left shoulder, while
on the right is white drapery skilfully subdued into harmonious tone
with the rest of the picture. Her left hand is pressed to her heart, and
with her right she rests her light figure on a pedestal over which falls
some dark purple drapery. Through the mediaeval window behind her
is seen a pleasant sunny landscape, the only figures visible therein
being the two brothers, bearing away the stolen basil pot. Scattered
pieces of the plant, dropped by the brothers in their hasty flight, are
on the marble floor.

" Piteous she looked on dead and senseless things.
Asking for her lost Basil amorously ;
And with melodious chuckle in the strings
Of her torn voice, she oftentimes would cry
After the Pilgrim in his wanderings.
To ask him where her Basil was ; and why
'Twas hid from her 1 ' For cruel 'tis,' said she,
'To steal my Basil-pot away from me.'"

Exhibited at the Grosvenor Gallery, 1879.

165

APPLE GATHERERS.
Painted by T. M. Rooke.
Eent 68 SftisepI) 3Btxon, lEg?.

166 LOVE AMONG THE RUINS.
Painted hy E. Burne Jones, A.R.A.
Canvas, 39 x 61 inches.
Eent 6b dFreteriek (Jlraben, i£sq., of ^Safeeteell.

.^^Ar UCH that can make life lovely has gone. A palatial habitation
^mr^ is iri ruins, the sculptured marble overthrown, and the
usurping briar flourishes and flowers i yet human tenderness and
passion remain. The man, darkly draped and with sensitive frame,
takes to his heart with infinite tenderness the frail woman whose heart's
fulfilment is in her eyes. She is clothed in a splendour of blue and has
one hand in her lover's, while the other is round his neck. Each other's
nearness lifts their souls above the sense of calamity.

167 THE MERSEY FROM RUNCORN.

Painted hy Willla.m Davis.

Canvas, 26 X 46 inches.

Eent 6b ©eorge Mae, ©gq., of 5Sirkenf)eaii.

J^ROM the rich broken land where the cattle are grazing, a wide
fjff expanse of lowland is seen, green with its "market gardens.
Dark clouds to the left are drifting over the brilliantly lighted sky, with
its serried lines of white clouds, and in the water are seen the numberless
tones reflected from above.

William Davis was born in Dublin, 1812. His father was a
solicitor, whose profession he intended his son to follow, but the
natural taste for art was too strong, and his son entered the Royal
Dublin Society as a student ; among his fellow-workers was Foley, the
sculptor. When his studies were completed he set up at Dublin as a
portrait painter, but meeting with small success iu that line, he
removed to the banks of the Mersey, where better fortune awaited him.
In due time he became a member of the Liverpool Academy, at that
period the most important Art Society in the provinces. He exhibited
constantly at the Eoyal Academy. In 1870 he removed to London,
where he died in 1873. His sketches of herbage are vividly but
harmoniously green. The subjects he peculiarly favoured were wide
stony wastes, terminating on sea sands. He was a proniinent repre
sentative of the Liverpool school of painters, which flourished in the
first half of the present century. This school was one of the latest
survivals of the social state prevailing in England before the intro
duction of railways.

168
A HUGUENOT, ON SAINT BARTHOLOMEW'S
DAY, REFUSING TO SHIELD HIMSELF FROM
DANGER BY WEARING THE ROMAN
CATHOLIC BADGE.
Painted by Sir J. E. MiLLAiS, Bart., R.A.
Eent 6b C f^. ifWiUer, ®n., of ^oulton=le=iFteHie.

" When the clock of the Palais de Justice shall sound upon the great bell at
" daybreak, then each good Catholic must bind a strip of white linen round his
" arm, and place a fair white cross in his cap." — Vide the order of the Duke
of Guise.
^!M ROMAN Catholic lady, during a stolen interview, is entreating
^^ her Protestant lover, with the most moving supplication, to wear
the white scarf. She clings to him, and endeavours to tie it round
his arm, but he gently prevents her, looking down upon the sweet
face with grave and loving eyes.
The ivied wall behind the lovers is weatherworn, and lichened.
On the ground to the right creeps the nasturtium in brilliant flower,
and to the left is the Canterbury bell.
The lady wears a black figured dress with pufi^ed sleeves let in with
yellow at the shoulder. Her lover's tunic is rich purple ; black hose and
shoes ; white frill round the neck, and a gold chain, from which a
medallion is suspended.
The model for the lady was a Miss Ryan, long since dead ; and
Mr., now General, Lempriere was the model for the Huguenot.
The picture was painted in 1851, and exhibited, at the Royal
Academy in 1852, where crowds stood before it all day. The painter at
that time was not twenty-three years of age.

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169
THE GOOD SAMARITAN.
Painted by William James Mtjllee.
Canvas, 22 X 34 inches.
Eent 6b Eorti armstronB, ®.iS.
^^TT the foot of a group of palm trees the unfortunate traveller is
^^ being tended by the good Samaritan, who, richly robed, stoops
down to succour him. A little distance off stand palm and other trees,
and beyond is a dark range of desolate mountains, above which is the
light of the setting sun. Heavy clouds are to the right above the
broken country. Wniiam James Miiller was born at Bristol iu 1812. His father, of
German nationality, was curator of the Bristol Museum. He was at
one time intended to be an engineer, but his taste for art soon became
evident. He received his first instruction from J. B. Pyne, and in 1833
his first picture was exhibited at the Royal Academy. He visited the
continent shortly afterwards, studying much from nature, and in 1838
travelled in Greece and Egypt, returning with a number of interesting
works, among them "Prayer in the Desert," and "A Street Scene in
Cairo." In the year following he settled in London, and two years
later published " Picturesque Sketches of the Age of Francis I.," which
greatly extended his fame on the continent. He also joined, at his own
expense, an expedition sent by the Government to Lycia, and from
valuable sketches he made there produced the pictures which were
exhibited during the next few years. In 1845, Muller left London for
Bristol for the benefit of his health, but he died there the same year of
heart disease. His works are much esteemed, and are considered to be
of high artistic value ; he is one of the chief painters of Architectural
subjects of the past generation, and his death at the early age of
thirty-three closed a career of considerable achievement and much
promise.
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AN IDYL.
Painted hy Maurice Grbiffenhagbn.
Canvas, 62 X 31J inches,
Eent 6a tfie Corporation of Eiberpool.
JTN grass-land, abounding in white marguerites and scarlet poppies,
-'*' and lit by a low red sun, a young shepherd is clasping in his arms
the fair form of his beloved. Her rich-coloured hair falls over her
shoulders and far down till it is lost in the beautiful blue of her
raiment, against which the poppies shine in all their splendour. There
are no strong shadows and no vivid lights in the picture, and one is
conscious of the event portrayed rather than of its being paint. The
execution is equal to the tenderness and beauty of the conception ; a
glimpse of dreamland, scarcely outlined yet amply comprehended.
" And on her lover's arm she leant,
And round her waist she felt it fold.
And far across the hills they went
In that new world which is the old.
*****
And o'er the hills and far away.
Beyond their utmost purple rim,
Beyond the night, across the day.
Thro' all the world she foUow'd him."
in

SIR GALAHAD.

Painted by Sir J. Noel Paton, R.S.A.
Canvas, llj X 8 inches.
Eent 6b SJotn poison, lEgqf., of ^aislea.

AL IR GALAHAD was the son of Lancelot and the fair Elaine (not
C^' " the Lily Maid of Astolat "), and thus was fulfilled a prophecy
that Elaine should become the mother of " the noblest Knight that was
ever born." He carried a snow-white shield, on which Joseph of
Arimathea had made a cross with his blood. After divers adventures
he came to Sarras, where he was made King, was shown the Sangreal,
and died. Then " suddenly a great multitude of angels bear his
soul up to heaven, and sithence was never no man that could say
he had seen the Sangreal." He was the only Knight who could sit
in the siege Perilous, a seat reserved for him who should achieve the
quest of the Holy Grail. It appears certain that the Arthurian legends
mean that Sir Galahad saw with his bodily eyes, and touched with
his hand, "the incarnate Saviour," reproduced by the consecration
of the elements. " Others see the transformation by the eye of faith
only, but Sir Galahad saw it bodily with his eyes." — [Sir Thomas
Malory, 1470.J " So pass I hostel, hall and grange,
By bridge and ford, by park and pale.
All-armed I ride, whate'er betide,
UntU I find the Holy Grail. "

172 CALIBAN.
(FEOM SHAKESPEAEE'S " TEMPEST.")
Painted hy Sir J. Noel Paton, R.S.A.
Canvas, 33 X 49 inches.
Eent 6b P. IBenna, ffisq., §.%$., of lium6arton.

^^'HIS strange creation of Shakespeare may be taken as symbolical
'^'^ of the heavy element of earth, as Ariel (No. 161 in this collection)
is symbolical of air. The magical world of spirits which the wand of
Prospero has assembled on the island is only faintly reflected on
Caliban's mind ; yet, despite his rude nature and hideous deformity,
he is not insensible to the " sounds and sweet airs " that come about
him. Seated on the sand in the burning noon-day sun, his ear
catches the curious sounds, the embodiments of which float above
him in the form of beautiful women. The sunlit ocean lazily laps
the level sands, and the distant rocks are bathed in sunlight..
Caliban — . . . The isle is full of noises.
Sounds and sweet airs that give delight and hurt not.
Sometimes a thousand twanging instruments
Will hum about mine ears ; and sometimes voices
That, if I then had wak'd after long sleep
Will make me sleep again : and then in dreaming.
The clouds methought would open and show riches
Ready to drop upon me ; that when I wak'd
I cried to dream again.
It has been surmised that the idea of this character was derived from
the following passage of Eden's " History of Travayle in the West and
East Indies," published in London in 1577. " Departing from hence
they sayled to the 49 degree and a halfe under the pole antartike ;
where, being wyntered, they were inforced to remayne there for the
space of two monethes ; all which time they sawe no man, excepte that
one day by chaunce, they espyed a man of the stature of a giant, who

came to the haven, daunsing and singing, and shortly after seemed to
cast dust over his head. The captayne sent one of his men to the shore
with the shyppe boate, who made the lyke signe of peace. The which
thing the giant seeying, was out of feere, and came with the captayne's
servaunt to his presence into a little ilande. When he saw the cap
tayne, with certayne of his company about hym, he was greatly amazed
and made signes, holding up his hands to heaven, signifying thereby that
our men came from thence. The captayne caused him to eate and
drynke, and gave him many things and among others a great lookyng
glasse, in the which as soono as he sawe his owne lykenesse was sodaynly
afrade, and started backe with such violence, that hee overthrewe two
that stoode nearest about him. "
This picture was painted in 1869, and exhibited at the Royal
Academy in that year.
173 THE RETURN FROM PLOUGHING.
Painted hy G. H. Mason, A.R.A.
Canva's, IOJ X 29 inches.
Eent 6b l^er iffilalesta tiie ©ueen.
^^'HE weary horses are pacing homeward after the long day's
^'^ labour. The comfortable barns and farm buildings are in sight.
By the leading horse is seen the -lad who has charge of them. Two
young girls, one in white, with the pretty rustic bonnet and frock, and
the other in dark clothing, stooping down to get water from the spring,
are on the right. The sun is setting over the rich English landscape, its
light catching the cottage window, and the rest and tranquillity of
evening are at hand. G eorge Hemming Mason was born at Wetley Abbey, in Worcester-
¦ shire, in 1818. He studied, by his parents' wish, for the medical
profession, but abandoned it, at the age of 26, for art. He travelled on
the Continent with his brother, and eventually settled in Eome for
several years, from which place he contributed many pictures to the
Exhibitions of London and Paris; wh'ile there, news of financial
disaster at home reached him, and for a time he was thrown entirely on
his own resources. In 1857 he returned to England, and thenceforward
all his subjects were taken from the neighbourhood of his birthplace,
where he partially resided. In 1865 he settled in London, and was
elected Associate of the Eoyal Academy in 1868. He died in 1872.

174

" FOR MOTHER'S BIRTHDAY."
Painted hy Mrs. J OPLlNG-RoWE.
Canvas, 29 X 23^ inches.
Eent 6a tje glrttst.

^!M PRETTY child, full face, with her hair falling on either side and
^^ tied with pink ribbon, which appears in a bow on the top of the
head. She is holding a glass vase full of violets. A grey-toned back
ground. A tender- and beautiful picture of childhood.

175

THE FERRY, A DAINTY FARE.
Painted hy G. H. Boughton, A.R.A.
Canvas, 22 X 19 inches.
Eent 6a Eaiia Jtjillinglion.

'Jf^ Y the quaint buildings on the old-fashioned landing-stage a young
^¦^ lady in summer attire, and with a basket of roses, is about to be
ferried across the river by the old boatman who has answered to her
summons. He seems not ill-pleased with so dainty a fare. In the
distance the reach of the river is seen with busy craft.

176

LINGERING LIGHT.

Painted hy W. Gilbert Foster.
Canvas, 30 X 50 inches.
Eent 6a a, aiamp6ell Hilair, ®sq., of JManciiester.

" Lit by a low, large moon."
^J^HIS garden of lilies, with its bee-hives and flower-pots, overlooks
^'^ a wide stretch of shore, where tranquilly washes the incoming
tide. Above the line of cliff lie the evening clouds in the pale light of
the moon.

177

A YORKSHIRE MOOR.

Painted hy -E. J. Niemann.
Canvas, 9 X 24 inches.
Eent 6a ai..ll. ii^artlea, ^H'

Edmund John Niemann was born at Islington in 1813. In his
early life he was engaged as an underwriter at Lloyd's, but relinquished
this employment in 1839, and settling in High Wycombe, determined
to become an artist. He painted much in the open air, and from the
year 1844 was a constant exhibitor at the Eoyal Academy. He died in
1876. His pictures have much poetic feeling, though the colouring is
sometimes duU . A collection of his works was exhibited at Nottingham
in 1878.

178

SIR LANCELOT.

Painted by Sir J. NoBL Paton, R.S.A.

Canvas, 11^ X 8 inches.

Eent 6a Sfotn lolson, (ffisq., of laislee.

AL IR LANCELOT was the son of ' Ban, King of ^ Baiiwick or
S%^ Brittany. He was stolen in infancy by Vivieune, the Lady of
the Lake, who brought him up until he was presented to King Arthur,
and knighted. He was the strongest and bravest of the 150 Knights of
the Round Table. King Arthur chose him to conduct Guinevere,
afterwards Queen, to court, and this was the occasion when that disloyalty
began which lasted to the end. His adultery with Queen Guinevere was
directly or indirectly the cause of the death of the King, the breaking
up of the Round Table, and the death of most of the Knights. The
Queen retired to the convent of Almesbury, which she refused to leave,
and Lancelot thereupon turned monk, was consecrated a hermit by tbe
Archbishop of Canterbury, and died in the odour of sanctity. He is
here shown in the hey-dey of his career, haunted in his lonely ride by
the spirit of Guinevere.

INDEX OF CONTRIBUTORS,

=>§^&§=-^

HER MAJESTY THE QUEEN, 34, 173.

Anderson, Aethuk, Esq  33
Aemitagb, Benjamin, Esq., j.p. 6, 26
Aemsteong, Loed, c.b. 5, 93, 142, 169
Ashton, Thomas, Esq., j.p. ... ... 146

Bacon, Sie Hickman, Baet. 43, 70,
• 80, 97, 106
Bennett, R. J., Esq  24, 109
Benson, E. H., Esq  160, l.^iS
Blaie, a. Campbell, Esq  176
Borwick, Robeet, Esq  90
Beooks, Sir Wm. C, Baet., m.p. ... 2
Beownlow, The Bight Hon. Bael 49. 85

Caebutt, E. H., Esq., M.P  32
Chapman, Bdwaed, Esq., m. a., j.p. 112
Chapman, Geoege, Esq  118
Craven, Frederick, Esq., j.p. ... 166
Crews, Chaeles T. D., Esq. 69, 66,
79, 83, 105
C0ETIS, C. H  29

Dartmouth, The Eight Hon. the
Earl of  61, 68, 101
Davies, Colonel and Alderman
H. D  134, 137
D'Eichthal, Ad., Esq. 10, 55, 124

Denny, P., Esq., j.p.

172

Devitt, T. L., Esq.



156

Devonshire, His
Duke of 

Grace

the
116,

121

Dixon, Joseph, Esq.

144,
165
Drake, Henry, Esq.

..94,
120
Eehardt, H. C, Esq., F.R.G.S. 60, 64, 88, 99
Exeter, The Most Hon. the
Marquis op, k.g  98
Fullbe-Maitland, Mrs  149
FULLEE-MAITLAND, MrS. J. A  12
Gibbs, Antony, Esq., j.p. ... 66, 91
Gibbs, Henry Hucks, Esq., m.p. 54,
89, 96, 132A
Gibbs, Herbert C, Esq  95
Gibbs, Vioaey, Esq  135
Gray, Mrs. Everett  128
Harcourt, Aubrey, Esq  69
Harris, C. T., Esq. ... 3, 13, 31
Hartley, J. R., Esq  131, 177
Heseltine, J. P., Esq. 83, 65, 71>
102, 115, 119, 123, 127, 140
HiLLiNGDON, Lord ...
HiLLiHGDON, Lady ...
Holt, George, Esq. ...
Huth, Louis, Esq. ...
JOPLING-ROWE, Mrs. ...
Kerr, R. M., Esq., ll.d.
113, 155
 175
117, 153
 132
 174
 41
 57
Lee, Edward, Esq 
Lbgh, Lieutenant - Colonel H.
Cornwall, j.p  4.5, 50
Lehmann, Mrs  4, 36
Little, Major  122a
Liverpool, The Corporation of
161, 170
Logsdail, W., Esq  141, 145
Loudan, W. M., Esq. ... ,  162
Manchester, The Corporation of 7
Manners, Geoege, Esq., f.s.a. ... 114
Methuen, Lord  38, 40
Mildmay, Sir Henry St. John,
Baet  81, 84
Miller, T. H., Esq  168
Nathan, Mrs  129, 148
Nelthoepb, E. N. Sutton, Esq. 52, 58
Northbrook, The Right Hon.
the Earl of, g.c.s.i. ... 42, 46, 47
Index op Contributors — continued.

Pawlb, F. C, Esq., j.p. 11, 25, 100,
126, 130, 152
Pendee, Sir John, k.c.m.g. 37, 151
Pettie, John, Esq., e.a  30
Pickering, J. L., Esq  133
PoLSON, John, Esq  9, 171, 178
Quilter, "W. Cuthbert, Esq., m.p. 139
Eae, Edward; Esq., f.s.a. ... 62, 110
Rab, George, Esq. ... 125, 143, 157,
163, 167
Rhodes, John, Esq  101
Eobbrtson, W. Graham, Esq. 159, 164
Eome, William, Esq., f.s.a  82
Royal Holloway College, The
Governors of the  8
RUSTON, Joseph, Esq  1, 136
Rutland, His Grace the Duke
op, k.g  44, 63, 86
RUTLEY, J. L., Bsq  67, 75
Shattock, T. Fostbe, Esq  103-
Shaw, Geoege, Esq  138

Skinnbe, Mrs.

154

Smith, The Teustebs of the
LATE Eight Hon. W. H  72
Spencer, The Right Hon. Earl,
K.G  ,  92, 122
Storey, G. A., Esq., A.R.A  35
Stebbt, a. B., Esq., M.A  28

Tate, Henry, Esq., j.p  147
Thompson, Sie Heney, m.b  160
Todd, C. J., Esq  39

Wantage, Loed, v.c, k.c.b. ... 78, 107
Warwick, The Right Hon. the
Earl op .".. ... 74, 76, 108, 111
Watts, G. P., Esq., E.A. 14, 13, 16
17, 18, 19, 20, 21, 22, 23
Weld-Blundell, j. C, Esq. ... 4S, 51
Wellington, His Grace the
Duke of  77, 87
Wertheimer, Charles, Esq. ... 27

Yarborough, The Eight Hon.
THE Earl of  73

INDEX OF ARTISTS,

Angelico, Fra  40
Berghbm, N  108
BONHBUE, EosA  142
Borgognone, A  54
Both, Jan  72
Boughton, G. H., a.r.a. ...26, 32, 175
Bristow, E  126
Brouwer, A  57
buene-jonbs, e., a.r.a. ... 158, 166
Butler, Lady  34
Canaletto, A  61, 68
Cappellb, j. Van de  79
Carotto, G. F  43
Chalmers, George P  29
Cima da Conegliano  49
Claude db Lorraine  78, 10 1
Collins, W., r.a  150
Cologne, Master of  51
Constable, J., r.a  115
Cranach, Lucas ...  55
Cuyp, Albert-  85
Davis, Wm  " 143, 163, 167
Delaroche, Paul  10, 124
Dow, Gerard  60
Durer, Albert  44
Dusart, C  64
Dyck, Sir Anthony van 74, 76, 111
Bast, Alfred, r.i. ...
Engelberts, C  41
' Etty, William, E.A  91, 101
Eyck, Jan van  46, 48

Faed, Thomas, r.a. ...
Fildes, L., e.a 
Foster, W. Gilbeet ...
PowLEE, Robert
Francks, Sebastiaen

... 134
8, 33
... 176
... 161

Gainsborough, T., e.a. 92, 113,
Gossaert, Jan  3i
GoTBN, J. Van 

119, 122
, 52
. 123

Graham, Peter, r.a.
Grbiffenhagbn, M. .
Guardi, P 
Haanen, C. Van ... .
Hals, Frans 
Heem, J. D. Db ... .
Helst, B. van dee .. ..
Henshaw, F. H 
Heydbn, jan van der ..
Holl, Frank, r.a 
Holmburg, O 
Hondecoeter, M. db
Hooghe, p. de 
Hunt, W. Holman, e.w.s.
.lANSSBNS, C 
Jopling-Rowe, Mes  ,
Kerr, 0. H. M 

 2, 5
 170
 70
 140
 56
100, 10,3, 106
 110
 129
...>  86
152 3758
77
146

...11,

71,

62, 98
... 174

154

Landseer, Sir E., r.a  153
LangSe, C, fils  148
Lawson, Cecil  7
Leader, B. W., a.r.a  6
Leighton, Sir F., Baet., p.e.a. ... 155
Leyden, Lucas Van  42
Logsdail, W  1, 141, 145
Loudan, W. M  , 162
Luini, Beenaedino  50
Mabuse  38, 52
Mason, Geoege, a.e.a. ... 156, 173
Mazzola, P. M  53
Michel, G  127
Mieris, Franz Van  59
Millais, Sir J. E., Bart., r.a. 4, 27,
36, 128, 147, 149, 151, 168
MiJLLEE, W. j  169
mueray, d., a.r.a  31
Nasmyth, P  114
Nbtbchee, C  63
Newton, G. S., r.a  130
Neyts, G  88
Niemann, E. J  „ 177

Index of Artists — continued.

Orchardson, W. Q.,

R.A. ...

...25, 139

Orley, B. Van ...

 47

Pacchiarotto, J.

 45

Parmigiano 

 53

Paton, Sir J. Noel,

R.S.A.

:..24, 172,
171, 178

Pettie, John, a.r.a.



 30

Pickering, J. L. ...

 133
Plassan, A. B.
... 132A
Raeburn, Sir H  109
Eeynolds, Sir Joshua, r.a. ...116, 121
Richmond, W.B., a.r.a  12
EOMNBY, G  89, 95, 122A
RooKB, T. M  165
Eossetti, D. G  136, 157, 169
Eoybet, P  135
Euisdael, Jacob van  97
Euisdael, S. van  83
Steen, Jan
Stoeck, a.
...65, 66, 87, 107
 67
Storey, G. A., a.r.a  35
Strbitt, F  131
Strudwick, J. M  144, 164
Tadema, L. Alma, r.a. ... 137, 160
Teniers, David, the elder... ... 75
Teniers, David, the younger 81, 105
Tonge, E   125
Turner, J. M. W., r.a. 73, 90, 93, 94,
112, 117, 118, 120
Velde, A. van db
Velde, W. van de
Wael, J. van der
Walker, F., a.e.a.
Walton, Frank ...
 80
... 69, 102
 99
 28
 13
Watts, G. P., r.a. 14, 15, 16, 17, 18^
19, 20, ¦ 21, 22,
Webb, Jambs 
Weenix, J. van ... .
Woods, H., a.r.a 
Wyllie, C. W., a.r.a.
138 84
132 3
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