,illustration3 ,from an ,engraving by ,frank ,cousins1 ,john ,andrew ,son1 ,sc4 ,,the ,,connoisseurs ,property of ,king ,edward ,,vii ,the ,riverside ,art ,series ,,landseer ,a ,,collection ,,of ,,fifteen ,,pictures ,,and ,a ,,portrait ,,of ,,the ,,painter ,,with ,,introduction ,,and ,,interpretation ,,by ,,estelle ,m4 ,,hurll ,,boston ,,and ,,new ,,york ,,houghton1 ,,mifflin ,,and ,,company ,the ,riverside ,press1 ,cambridge #aija ,,copyright1 #aija1 ,,by ,,houghton1 ,,mifflin ,,co4 ,published ,november1 #aija4 ,,preface ,the wide popularity of ,landseer has been chiefly due to the circulation of engravings after his works4 ,this little book is1 so far as ,i know1 the first attempt to bring together a collection of his pictures made in the modern process of half tone1 from photographs direct from the original paintings4 ,it is hoped that they may give a fairly good idea of the range and character of his art4 ,,estelle ,m4 ,,hurll4 ,,new ,,bedford1 ,,mass4 ,september1 #aija4 ,,contents ,,and ,,list ,,of ,,pictures ,,page ,,the ,,connoisseurs4 ,,painted ,,by ,,landseer4 7,frontispiece7 ,picture from ,engraving by ,frank ,cousins ,,introduction ,i4 ,,on ,,landseer',s ,,character ,,as ,,an ,,artist vii ,,ii4 ,,on ,,books ,,of ,,reference x ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection x ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,landseer',s ,,life xii ,v4 ,,some ,,of ,,landseer',s ,,contemporaries xiii ,i4 ,,king ,,charles ,,spaniels #a ,picture from ,photograph by ,franz ,hanfstaengl ,,ii4 ,,shoeing #g ,picture from ,photograph by ,franz ,hanfstaengl ,,iii4 ,,suspense #ac ,picture from ,photograph of the original ,painting ,,iv4 ,,the ,,monarch ,,of ,,the ,,glen #ai ,picture from ,engraving by ,thomas ,landseer ,v4 ,,the ,,twa ,,dogs #be ,picture from ,photograph of the original ,painting ,,vi4 ,,dignity ,,and ,,impudence #ca ,picture from ,photograph by ,franz ,hanfstaengl ,,vii4 ,,peace #cg ,picture from ,photograph by ,franz ,hanfstaengl ,,viii4 ,,war #dc ,picture from ,photograph by ,franz ,hanfstaengl ,,ix4 ,a ,,distinguished ,,member ,,of ,,the ,,humane ,,society #di ,picture from ,photograph by ,franz ,hanfstaengl ,x4 ,a ,,naughty ,,child #ee ,picture from ,photograph of the original ,painting ,,xi4 ,,the ,,sleeping ,,bloodhound #fa ,picture from ,photograph by ,franz ,hanfstaengl ,,xii4 ,,the ,,hunted ,,stag #fg ,picture from ,photograph by ,franz ,hanfstaengl ,,xiii4 ,,jack ,,in ,,office #gc ,picture from ,photograph of the original ,painting ,,xiv4 ,,the ,,highland ,,shepherd',s ,,chief ,,mourner #gi ,picture from ,photograph of the original ,painting ,,xv4 ,a ,,lion ,,of ,,the ,,nelson ,,monument #he ,picture from ,photograph by ,franz ,hanfstaengl ,,xvi4 ,,the ,,connoisseurs #ia ,,introduction ,i4 ,,on ,,landseer',s ,,character ,,as ,,an ,,artist4 ,if the popularity of a painter were the measure of his artistic greatness1 ,sir ,edwin ,landseer's would be among the foremost of the world's great names4 ,at the height of his career probably no other living painter was so familiar and so well beloved throughout the ,english-speaking world4 ,there were many homes in ,england and ,america where his pictures were cherished possessions4 ,while popular opinion is never a safe basis for a critical estimate1 it must be founded on reasons worth considering4 ,in the case of ,landseer there is no doubt that a large element in his success was his choice of subjects4 ,the hearts of the people are quickly won by subjects with which they are familiar in everyday life4 ,a universal love for animals1 and especially for domestic pets1 prepared a cordial welcome for the painter of the deer and the dog4 ,his pictures supplied a real want among the class of people who know and care nothing about art for art's sake4 ,the dramatic power with which ,landseer handled his subjects was the deeper secret of his fame4 ,he knew how to tell a story with a simple directness which has never been surpassed4 ,with almost equal facility for humor and pathos1 he alternated between such inimitable satire as the ,jack in ,office and such poignant tragedy as the ,highland ,shepherd's ,chief ,mourner4 ,before pictures like these1 the keenest criticism must confirm the popular verdict4 ,poetic imagination is one of the most coveted of the artist's gifts1 and ,landseer's rich endowment commands universal admiration4 ,the artist who is a story teller finds it one of the most difficult tasks to keep within proper limits4 ,he is under a constant temptation to emphasize his point too strongly1 to exaggerate his meaning in order to make it plain4 ,that ,landseer never fell into such error none would dare to claim4 ,in interpreting the emotions of dumb animals he sometimes overdrew1 or seemed to overdraw1 their resemblance to human beings4 ,only those who have observed animals as closely as he--and how few they are--are competent to decide in this matter4 ,when one thoroughly considers the question1 the wonder is less that he sometimes made mistakes1 than that he made so few4 ,as a sympathetic critic has said3 ,nothing short of the most exquisite perception of propriety on his part could have enabled him to give innumerable versions of the inner life of animals with so little of the exaggeration and fantasticalness which would have easily become repugnant to the common sense of ,englishmen4#a ,footnote #a3 ,henrietta ,keddie 7,sarah ,tytler74 ,among ,landseer's technical qualities the critic has highest praise for his drawing4 ,he was a born draughtsman1 as we see in the astonishing productions of his boyhood4 ,he was besides a painstaking and faithful student in the youthful years when the foundations of good work must be laid4 ,another valuable quality was his artistic discrimination1 that which a certain critic has called the selective glance that discerns in a moment what are the lines of character and of life4 ,seizing these1 he transferred them to his canvas in the decisive strokes which reproduce not merely the body but the vitality of the subject4 ,his dexterity in texture-painting was remarkable4 ,the glossy coat of the bay mare1 the soft long hair of the ,newfoundland dog1 the polished surface of metal1 were rendered with consummate skill4 ,there are marvellous tales of the rapidity of his workmanship4 ,in the moment of inspiration his practised hand made the single telling brush stroke which produced the desired effect4 ,with apparently little systematic effort towards orderly composition1 he often felt his way instinctively1 as it were1 to some admirable arrangements4 ,he sometimes showed a feeling for pose almost plastic in quality1 as when he painted ,a ,distinguished ,member of the ,humane ,society and ,the ,sleeping ,bloodhound4 ,his sense of the picturesque is quite marked4 ,he was fond of sparkle1 and disposed very cleverly the points of bright light in his pictures4 ,landseer's admirers are wont to regret that he devoted himself to so limited a range of subjects4 ,the patronage of the rich absorbed much of his time in unimportant work1--time which might better have been spent in those works of creative imagination of which he showed himself capable4 ,his pictures of deer subjects reveal an otherwise unsuspected power in landscape-painting which with cultivation might have led him into another field of success4 ,in portrait-painting1 too1 his work was admirable1 especially in the delineation of children4 ,it is idle to speculate upon what he might have been had he not been what he was4 ,much greater artists than he might well envy him his unique fame4 ,to exceptional artistic ability he united a sympathetic imagination which divined some of the most precious secrets of common life4 ,it was his peculiar glory that he touched the hearts of the people4 ,,ii4 ,,on ,,books ,,of ,,reference4 ,in the year following ,landseer's death 7i4e41 in #ahgd71 a memoir of the painter was published by ,f4 ,g4 ,stephens1 made up in part of material previously issued by the writer on the ,early ,works of ,landseer4 ,a few years later 7in #ahhj71 this memoir served in turn1 as the substantial material1 revised and somewhat enlarged1 for ,stephens' biography of ,landseer in the series ,great ,artists4 ,besides ,stephens1 ,cosmo ,monkhouse has devoted valuable critical work to the art career of ,landseer4 ,full of suggestive and illuminating comment is his large volume ,the ,works of ,sir ,edwin ,landseer1 with a ,history of his ,art ,life4 ,the book is illustrated with forty-four engravings4 ,an interesting article on ,landseer's art appeared in ,the ,british ,quarterly ,review soon after his death1 and was reprinted in ,littell's ,living ,age1 ,december #bf1 #ahgd4 ,some pleasant chapters on ,landseer are to be found in ,elbert ,hubbard's ,little ,journeys to the ,homes of ,eminent ,painters4 ,comments on the artist's pictures and methods are scattered through the works of ,ruskin and ,hamerton4 ,a catalogue of ,landseer's works was issued by ,henry ,graves1 ,london1 #ahge4 ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection4 ,the ,connoisseurs4 ,painted in #ahfe4 ,the property of ,king ,edward ,,vii4 #a4 ,king ,charles ,spaniels4 ,painted in #ahcb1 according to the authority of ,f4 ,g4 ,stephens4 ,monkhouse gives the date as #ahde4 ,in the ,national ,gallery1 ,london4 ,size3 #b ft4 #c-a_/b in4 by #b ft4 #aa-a_/b in4 #b4 ,shoeing4 ,exhibited in #ahdd4 ,bequeathed by ,mr4 ,jacob ,bell to the ,national ,gallery1 ,london1 where it now hangs4 ,size3 #d ft4 #h in4 by #c ft4 #h in4 #c4 ,suspense4 ,exhibited in #ahcd4 ,in the ,south ,kensington ,museum1 ,london4 ,size3 #b ft4 #aa-c_/d in4 by #b ft4 #c-a_/b in4 #d4 ,the ,monarch of the ,glen4 ,painted in #ahea4 ,catalogued by ,graves as the property of ,lord ,fitzgerald in #ahge4 #e4 ,the ,twa ,dogs4 ,signed ,e4 ,l4 #ahbb4 ,in the ,south ,kensington ,museum1 ,london4 ,size3 #a ft4 #i in4 by #a ft4 #d-c_/d in4 #f4 ,dignity and ,impudence4 ,exhibited in #ahci4 ,bequeathed by ,mr4 ,jacob ,bell to the ,national ,gallery1 ,london1 where it now hangs4 ,size3 #b ft4 #aa-a_/b in4 by #b ft4 #c-a_/b in4 #g4 ,peace4 ,exhibited at the ,royal ,academy1 in #ahdf4 ,in the ,national ,gallery1 ,london4 ,size3 #b ft4 #aj in4 by #d ft4 #d in4 #h4 ,war4 ,exhibited at the ,royal ,academy1 in #ahdf4 ,in the ,national ,gallery1 ,london4 ,size3 #b ft4 #aj in4 by #d ft4 #d in4 #i4 ,a ,distinguished ,member of the ,humane ,society4 ,exhibited at the ,royal ,academy1 in #ahch4 ,in the ,national ,gallery1 ,london4 ,size3 #c ft4 #f-a_/b in4 by #d ft4 #g in4 #aj4 ,a ,naughty ,child4 ,exhibited at the ,british ,institution1 in #ahcd4 ,in the ,south ,kensington ,museum1 ,london4 ,size3 #a ft4 #c in4 by #aa in4 #aa4 ,the ,sleeping ,bloodhound4 ,exhibited at the ,british ,institution in #ahce4 ,bequeathed by ,mr4 ,jacob ,bell to the ,national ,gallery1 ,london1 where it now hangs4 ,size3 #c ft4 #c in4 by #d ft4 #a in4 #ab4 ,the ,hunted ,stag4 ,exhibited at the ,royal ,academy1 in #ahcc4 ,in the ,national ,gallery1 ,london4 ,size3 #b ft4 #c-a_/b in4 by #b ft4 #aa-a_/b in4 #ac4 ,jack in ,office4 ,exhibited at the ,royal ,academy1 in #ahcc4 ,in the ,south ,kensington ,museum1 ,london4 ,size3 #b ft4 #b in4 by #a ft4 #g-c_/d in4 #ad4 ,the ,highland ,shepherd's ,chief ,mourner4 ,exhibited at the ,royal ,academy1 in #ahcg4 ,in the ,south ,kensington ,museum1 ,london4 ,size3 #b ft4 by #a ft4 #f in4 #ae4 ,a ,lion of the ,nelson ,monument4 ,commission received in #ahei4 ,lions set up in ,trafalgar ,square1 #ahfh4 ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,landseer',s ,,life4 #ahjb4 ,landseer born in ,london4 #ahae4 ,honorary ,exhibitor at ,royal ,academy1 studies under ,haydon4 #ahaf4 ,admittance to ,royal ,academy as student4 #ahag4 ,portrait of ,brutus exhibited4 #ahah4 ,fighting ,dogs exhibited4 #ahbb4 ,premium of ,l#aej awarded by ,directors of ,british ,institution for ,larder ,invaded4 #ahbd4 ,first visit to ,highlands and to ,sir ,walter ,scott at ,abbotsford4 ,cat's-,paw exhibited4 #ahbe4 ,removal to house in ,st4 ,john's ,wood1 ,london4 #ahbf4 ,associate of ,royal ,academy4 #ahcj4 ,royal ,academician4 #ahcd4 ,landseer's highest level in art2 ,suspense exhibited4 ,highland ,shepherd ,dog rescuing ,sheep from ,snowdrift4 #ahcg4 ,highland ,shepherd's ,chief ,mourner4 #ahdj4 ,travel on ,continent4 #ahdc4 ,the ,sanctuary4 #ahdf4 ,peace2 and ,war4 ,the ,stag at ,bay4 #ahdh4 ,a ,random ,shot4 #ahej4 ,knighthood conferred4 #ahec4 ,gold medal from ,paris ,exhibition4 #ahei4 ,commission for lions of ,nelson ,monument4 #ahfj4 ,flood in the ,highlands4 #ahfh4 ,lions placed in ,trafalgar ,square4 #ahfi4 ,the ,swannery ,invaded4 #ahgc4 ,death1 ,october #a4 ,funeral in ,st4 ,paul's1 ,october #aa4 ,v4 ,,some ,,of ,,landseer',s ,,contemporaries4 ,,artists3-- ,sir ,charles ,eastlake1 #agic-ahfe ,c4 ,r4 ,leslie1 #agid-ahei4 ,henry ,fuseli1 #agda-ahbe4 ,william ,mulready1 #aghf-ahfc4 ,painters ,j4 ,m4 ,w4 ,turner1 #agge-ahea4 ,benjamin ,west1 #agch-ahbj4 ,sir ,david ,wilkie1 #aghe-ahda4 ,john ,gibson1 sculptor1 #agij-ahff4 ,thomas ,landseer1 engraver1 #agif-ahhj4 ,,authors3-- ,elizabeth ,barrett ,browning1 #ahji-ahfa4 ,robert ,browning1 #ahab-ahhi4 ,lord ,byron1 #aghh-ahbd4 ,charles ,dickens1 #ahab-ahgj4 ,george ,eliot1 #ahai-ahhj4 ,james ,hogg1 #aggj-ahce4 ,walter ,savage ,landor1 #agge-ahfd4 ,john ,ruskin1 #ahai-aijj4 ,sir ,walter ,scott1 #agga-ahcb4 ,tennyson1 #ahji-ahib4 ,thackeray1 #ahaa-ahfc4 ,wordsworth1 #aggj-ahej4 ,i ,,king ,,charles ,,spaniels ,edwin ,henry ,landseer was the most gifted member of a family of artists4 ,his father was a well-known engraver1 and his brother ,thomas distinguished himself in the same profession4 ,as soon as he could hold a pencil1 the boy ,edwin began to draw4 ,the family were then living in the outskirts of ,london1 and there were open fields near the house4 ,here the future animal--painter used to spend long afternoons sketching cows and sheep1 and at the end of the day his father would criticise his work4 ,at an early age the young artist began to show a preference for the dog above other animals4 ,a drawing of a foxhound made when he was five years old is still exhibited as a remarkable production4 ,at the age of fourteen he became a pupil at the ,royal ,academy1 a bright lad with light curling hair1 and a very gentle1 graceful manner and much manliness withal4 ,the following year all the critics were surprised when he exhibited an admirable portrait of a dog called ,brutus4 ,the painter ,fuseli was at this time at the head of the ,academy1 and was very fond of his precocious pupil1 whom he playfully called his little dog boy1 in reference to the ,brutus4 ,it was by means of another dog picture that the artist took his next step towards fame4 ,the ,fighting ,dogs was a remarkable work for a painter sixteen years old1 and upon its exhibition in #ahah it was purchased by an ,english nobleman4 ,this was the real beginning of ,landseer's professional career1 and from this time forward his success was assured4 ,it became a fashion among people of means to bring their dogs to ,landseer for their portraits4 ,he even counted royalty among his patrons1 painting the favorite pets of ,queen ,victoria and her husband1 ,prince ,albert4 ,the spaniels of our picture were the pets of a certain ,mr4 ,vernon1 who not unnaturally deemed the beautiful little creatures a worthy subject for a master's brush4 ,this kind of dog1 as its name implies1 is supposed to have come originally from ,spain4 ,both ,stuart kings1 ,charles ,i4 and ,charles ,,ii41 were specially fond of the breed1 each having a favorite variety4 ,one of the dukes of ,marlborough was also a lover of spaniels1 and imported into ,england the variety called1 from his palace1 the ,blenheim4 ,the difference of color between the ,king ,charles and the ,blenheim is seen in the picture1 the former being black and tan1 with a few white touches2 the other white1 with spots of liver color4 ,both have characteristic silky coats1 round heads1 big lustrous eyes set wide apart1 and long ears hanging in folds4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,king ,,charles ,,spaniels ,national ,gallery1 ,london ,the little dogs lie side by side on a table4 ,the ,blenheim has his paws over the edge1 resting his nose comfortably upon them4 ,the ,king ,charles nestles upon the brim of a high-crowned hat ornamented with a long ostrich plume drooping over the brim4 ,such a hat was worn among the ,cavaliers or king's party in the reign of ,charles ,i42 hence the title of the ,cavalier's ,pets1#b often given to the picture4 ,the hat1 it must be understood1 serves an important artistic purpose in the composition1 the height1 from crown to feather tip1 relieving the otherwise flat effect of the picture4 ,footnote #b3 ,the idea suggested in this title is made the basis of an imaginary story woven about the picture in ,sarah ,tytler's little book1 ,landseer's ,dogs and their ,stories4 ,the attention of the dogs seems attracted by some object across the room4 ,it is the painter talking to them soothingly over his sketch3 he has learned the secret of dog language4 ,as his pencil moves rapidly over the paper1 they watch him with wide eyes1 full of wonder but with no fear4 ,they are like spoiled children gazing at a visitor with an expression half wilful1 half beseeching4 ,the fresh ribbon bows they wear are evidence of the fond care bestowed upon them4 ,though the spaniel is not of the highest order of canine intelligence1 it is an affectionate and lovable pet often known to fame in distinguished company4 ,tradition has it that it was one of these little creatures which followed the unfortunate ,mary ,stuart to the executioner's block-- ,the little dog that licked her hand1 the last of all the crowd ,which sunned themselves beneath her glance and round her footsteps bowed4 ,it is also supposed that ,sir ,isaac ,newton's little dog ,diamond was a spaniel1 the mischief-maker who destroyed his master's priceless calculations1 and drew from the philosopher the mild exclamation1 ,diamond1 ,diamond1 thou little knowest the mischief thou hast done4 ,again1 it was a spaniel whom ,elizabeth ,barrett ,browning cherished as the companion of weary hours of illness and confinement4 ,the charming verses to ,flush celebrate the dog's beauty and affection4 ,the history of our picture illustrates ,landseer's remarkable facility of workmanship4 ,after making the first sketch at ,mr4 ,vernon's house in ,pall ,mall1 the painter was for a long time too busy to do any further work upon it4 ,one day artist and patron chanced to meet upon the street1 and the former was reminded of his promise4 ,the sketch was taken out and1 two days later1 the finished painting was delivered to the owner4 ,the picture lost nothing1 however1 by the haste with which it was executed4 ,a competent critic 7,cosmo ,monkhouse7 has said that ,landseer never excelled it as a piece of painting4 ,much praise has been bestowed upon the few dexterous strokes which have so perfectly reproduced the texture of the plume on the hat4 ,even in the black and white reproduction we can appreciate some of the best points of the picture4 ,,ii ,,shoeing ,at the blacksmith's shop the bay mare ,betty is being fitted to new shoes4 ,already the fore feet are nicely shod and the blacksmith now has the near hind foot in hand4 ,the other occupants of the place are a small donkey and the bloodhound ,laura4 ,betty is a sensible horse and enjoys the shoeing process4 ,when the time comes around for her regular visit to the forge1 she walks off of her own accord and unattended to the familiar spot4 ,no halter is necessary to keep her standing2 in fact1 she would not tolerate such an indignity4 ,she takes her place by the window as if perfectly at home4 ,blacksmith and horse are old friends who understand each other well4 ,the man has won the animal's confidence by the care he has taken to fit the shoes comfortably4 ,though a plain1 rough fellow1 he is of a kindly nature and knows his business thoroughly4 ,the shop is a quaint little place such as one finds in ,english villages4 ,the thick masonry of the walls shows how old the building is2 the floor is paved with large blocks of stone4 ,between the anvil and the forge there is only space enough for the horse to stand4 ,yet all the necessary tools are at hand1 and a good blacksmith may shoe a horse as well here as in the most elaborate city establishment4 ,at this stage of the process the preparations are all over4 ,the old shoes were first removed and the feet pared and filed4 ,new shoes were chosen as near the right size as possible1 and one by one shaped for each foot4 ,holding the shoe in his long tongs1 the blacksmith thrusts it into the fire1 while he fans the flames with the bellows4 ,thence it is transferred1 a glowing red crescent1 to the anvil4 ,now the workman swings his hammer upon it with ringing strokes1 the sparks fly out in a shower1 and the soft metal is shaped at will4 ,the shoe may be made a little broader or a little longer1 as the case may be2 bent a trifle here or there1 to accommodate the foot to be fitted4 ,the steel toe calk is welded in1 the ends are bent to form the heels1 the holes for nails are punctured1 the shoe taking an occasional plunge into the flames during these processes4 ,now there must be a preliminary trying-on4 ,the shoe still hot is held to the foot for which it is intended1 and the air is filled with the fumes of burning hoof4 ,yet the horse does not flinch1 for the thick hoof is a perfect protection for the sensitive parts of the foot4 ,if the careful blacksmith is not quite satisfied with the fit1 there must be more hammering on the anvil1 and another trying on4 ,when the shoe is satisfactory1 it is thrust hissing into a barrel of cold water1 and1 cooled and hardened1 is ready to be nailed on4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,shoeing ,national ,gallery1 ,london ,it is at this point in the story that we come upon ,betty4 ,the farrier1 after the approved method of his trade1 holds the foot firmly between his knees1 and bends to his task4 ,the nails1 long and flat1 are in the tool-box on the floor beside him4 ,a few firm blows of the hammer drive each one into place1 first on one side1 then on the other2 the projecting points are twisted off every time1 and finally1 all the rough ends are filed smoothly on the outside of the hoof4 ,betty is at last fully shod and will step complacently home4 ,our painter has arranged the four figures of the picture in a sort of circular composition1 so that we may see each one in a characteristic pose4 ,the bay mare is1 of course1 the chief attraction1 a fine high-bred creature1 with straight legs1 arching neck1 and gentle face marked on the forehead with a pure white star4 ,landseer exerted his utmost skill in reproducing the texture of the glossy hide4 ,its beautiful sheen is more striking by contrast with the shaggy hair of the donkey4 ,it was a clever thought to place this plebeian little beast beside the aristocratic1 high-spirited horse4 ,the donkey bends his head in a deprecating way below ,betty's handsome neck1 and the horse permits the companionship of an inferior with gentle tolerance4 ,there is something very appealing about the donkey1 a patient little beast of burden1 meekly bearing his saddle4 ,the bloodhound shows no little curiosity as to the shoeing process1 as if it were something new to her4 ,she sits on her haunches1 thrusting her head forward1 the long ears drooping1 the sensitive nose sniffing the strange odors4 ,among these dumb companions the blacksmith feels himself surrounded by friends4 ,he is a lover of pets1 as we see by the birdcage hanging in the window4 ,his sturdy frame looks equal to the demands of his trade1 which are in fact very laborious4 ,it is grimy work1 and only the roughest clothes can be worn4 ,a big leather apron with a cut down the middle is1 as it were1 his badge of office4 ,our farrier does his work with conscientious earnestness1 concentrating all his thought and energy upon each blow of the hammer4 ,the task completed1 he will take an honest pride in the good piece of work he has done for ,betty4 ,it is interesting to know that old ,betty's owner was ,mr4 ,jacob ,bell1 an intimate friend and business adviser of ,landseer4 ,,iii ,,suspense ,a wounded knight has been brought home to his castle1 and a line of blood-stains on the floor shows where he was carried through the hall to the room beyond4 ,the family and servants press after1 the door is closed1 and the favorite hound is shut out in the hall alone4 ,only the meaningless murmur of voices1 broken perhaps by the groans of his master1 tells what is going on within4 ,it is a moment of suspense1 and the dog waits with drooping head1 and eyes fixed mournfully on the barrier which separates him from the object of his devotion4#c ,so alert is every sense that at the slightest touch upon the door he will spring forward and push his way in4 ,footnote #c3 ,a similar situation is described in the story of ,bob1 ,son of ,battle1 where the shepherd dog waits in suspense outside the sickroom of his mistress4 ,it is some such story as this which the painter tells us in the picture called ,suspense4#d ,every detail is full of meaning to the imagination4 ,the heavy door1 studded with great nails1 calls to mind the old ,norman castle2 the gauntlets on the table and the plume on the floor suggest the armor of the mediaeval knight4 ,the picture is like an illustration for one of ,scott's novels4 ,our knight may have been wounded1 like ,ivanhoe1 in a tournament4 ,the scene of the lists rises before us1 the opposite lines of mounted knights charging upon each other with their lances1 the shock of the meeting1 the unhorsing of many1 the blows of the battle axe upon helmet and coat of mail1 and finally the entrance of the squires to bear their wounded masters to a place of safety4 ,footnote #d3 ,a pretty imaginary story is woven about the picture in ,sarah ,tytler's little book1 ,landseer's ,dogs and their ,stories4 ,the hound had no part in the sports of the tourney1 but the scene of his glory was the chase4 ,when the knight went forth for a day's hunting in the forest1 the whole pack went with him1 waking the woodland echoes with their baying4 ,some familiar verses tell of ,the deep-mouthed bloodhound's heavy bay ,resounding up the rocky way1 ,and faint from farther distance borne1 ,the echo of the hoof and horn4 ,the dogs' delicate sense of smell enables them to track game with unerring precision4 ,it seems impossible to exhaust their perseverance or their wind1 and it is surely not their fault if a hunting-party returns unsuccessful4 ,while hunting brings out the more ferocious elements of the nature1 the hound is on the other hand capable of an affectionate devotion which makes him a valued friend of man4 ,the ,english country gentleman is a lover of dogs and horses1 and knows how to appreciate their good qualities4 ,out of the many animals in his kennels one dog is usually a chosen favorite which becomes his master's inseparable companion4 ,such a favorite is the dog of our picture1 and we like to fancy that the knight is worthy the love of so noble a creature4 ,illustration3 ,john ,andrew ,son1 ,sc4 ,,suspense ,kensington ,museum1 ,london ,the hound is represented in his best and noblest aspect3 all the forces of his being seem concentrated in loving anxiety4 ,it is as if suffering brought out in the dog's nature those higher qualities by which he is allied to human beings4 ,his countenance is intensely expressive yet thoroughly canine4 ,every line of the drawing brings out the dog's character1--the squat of the haunches1 the position of the legs far apart1 the rising of the hair on the crest of the back1 the droop of the head1 the flattening of the tail4 ,the broad collar with the ring is a symbol of his subjection4 ,the privilege of man's friendship has cost the dog his freedom4 ,to offset the hours of delightful companionship with his friendly master are the weary times when he must tug impotently at the chain which keeps him within the castle enclosure4 ,it has been said that ,landseer looked upon most animals with the eyes of the artist1 the poet1 and the natural historian1 but the dog alone he painted as a friend4 ,our picture is good evidence of the truth of the statement4 ,every resource of the painter's art was lavished upon his favorite subject with the loving care that one gives only to a friend4 ,the massive size of the dog is seen by comparing the figure with the height of the table and the door4 ,the great creature practically fills the canvas4 ,the pose is so finely conceived1 the figure itself so admirably modelled1 to use the critic's phrase1 that it seems almost like a work of sculpture4 ,the light and shadow are carefully studied4 ,the light seems to come from some source at the right1 bringing out strongly the expressiveness of the dog's face4 ,landseer1 we are told1 was fond of introducing into his pictures a bit of sparkling metal4 ,here the reflected light on the gauntlets1 like that on the spurs beside the ,king ,charles ,spaniels and on the helmet near the ,sleeping ,bloodhound1 adds an effective touch to the composition4 ,suspense has been a popular favorite among ,landseer's works1 and is one of the pictures referred to in the ,memorial ,verses published in ,punch after the artist's death4 ,this is the stanza describing it3-- ,the lordly bloodhound with pricked ear1 ,and scent suspicious1 watches for his lord ,at the locked door1 from whose sill1 trickling clear1 ,the blood bespeaks surprise and treacherous sword4 ,,iv ,,the ,,monarch ,,of ,,the ,,glen ,an annual visit to the ,scottish ,highlands was one of ,landseer's pleasures4 ,it was here that he learned to know the habits of the deer1 the subject of many of his noblest paintings4 ,his first journey to this region was as a young man of twenty-two1 in company with a friend and fellow painter1 ,leslie4 ,an incident of the excursion was a visit to ,abbotsford1 the home of ,sir ,walter ,scott4 ,the painter and the novelist had much in common in their attachment to dogs1 their fondness for vigorous out-of-door exercise1 and their love of nature4 ,landseer was deeply impressed with the rugged grandeur of the ,highland scenery4 ,especially was his imagination stirred by the mountain solitudes1 the haunt of the deer1 which ,scott had described in his poems4 ,a favorite resort was the valley of ,glencoe1 a singularly wild and romantic spot where a long narrow ravine is shut in between almost perpendicular hills4 ,the painter first made the acquaintance of the deer after the ordinary manner of the sportsman4 ,for sport in itself1 however1 he cared little or nothing2 the great attraction of hunting was the chance to study the action of animals4 ,his friends laughed at him for a poor shot1 but his true weapon was the pencil1 not the gun4 ,one day1 while deerstalking1 just as a magnificent shot came his way1 the gillies were astonished to have the painter thrust the gun into their hands1 and hastily take out his sketch-book4 ,it was the life and not the death of the animal in which he was chiefly interested4 ,the ,monarch of the ,glen seems to be a picture caught in just this way4 ,the very life and character of the animal are transferred to the canvas as by a snap shot of the camera4 ,the stag has heard some strange sound or scented some new danger1 and1 mounting a hill1 looks abroad to see if all is well4 ,the responsibility of the herd is his1 and he has a tender care for the doe and the young deer4 ,he must always be on the alert4 ,his attitude reminds one of ,scott's antlered monarch in ,the ,lady of the ,lake1 which ,like crested leader proud and high ,tossed his beamed frontlet to the sky2 ,a moment gazed adown the dale1 ,a moment snuffed the tainted gale4 ,it is with a proud sense of ownership that the monarch surveys his domain4 ,with head erect he seems to defy the whole world of sportsmen4 ,behind him are piled the massive crags of the mountain peaks1 with the mist rising from the valley below4 ,this fog1 so dangerous to the traveller1 is a blessing to the deer1 tempering the heat of the summer sun and hiding him from his enemy1 man4 ,it appealed to ,landseer on account of its weird sublimity1 and he liked to get the effect of it in his landscapes1 especially when illumined by a burst of sunlight4 ,illustration3 ,from an ,engraving by ,thomas ,landseer1 ,john ,andrew ,son1 ,sc4 ,,the ,,monarch ,,of ,,the ,,glen ,the ,monarch of the ,glen is a splendid specimen of his kind4 ,the spreading horns above his head are like the boughs of an oak tree4 ,we know from the number of branches that he is seven years old4 ,the horns are developed at the end of the first year1 and every year thereafter are displaced by new ones with an additional branch4 ,the large ears are held erect as if the animal could fairly see with them4 ,his fine eyes scan the horizon with a searching glance which misses nothing4 ,his sensitive nose detects from afar the approach of any stranger to his fastnesses4 ,the end is always moist1 in order that he may catch the way of the wind1 as the hunter catches it on his moistened finger4 ,his neck is encircled with a heavy mane1 falling in a broad band1 like the collar of a royal order4 ,his body is rather short1 thick1 and round4 ,the legs1 which are seen only half their length1 seem strangely disproportioned to the weight of so heavy an annual4 ,that the deer's horns are so large and his legs so small are two perpetual mysteries about this wild creature4 ,an amusing fable by ,la ,fontaine relates how a stag1 gazing at his reflection in the water1 deplores the awkwardness of his legs1 and admires the beauty of his antlers4 ,a moment later1 fleeing for his life1 he learns the value of his despised legs1 while the boasted horns impede his progress by catching in the branches of the forest trees4 ,the speed of which the deer is capable is indeed marvelous4 ,he adds to his power of fleet running a wonderful trick of bounding through space4 ,it is said that a deer may leap six or eight feet into the air1 and cover in a single bound a distance of eighteen to thirty feet4 ,the leap is performed without apparent haste or effort1 the animal rising gracefully into the air by a tiny toe-touch of the dainty hoofs4 ,it is a sort of wingless flying4#e ,the deer is besides a strong swimmer1 and lakes and streams are no obstacles in his way4 ,footnote #e3 ,see ,the ,trail of the ,sandhill ,stag1 by ,ernest ,seton-,thompson1 from which is also drawn the information about the deer's moist nose4 ,as we look into the noble face of the ,monarch of the ,glen1 we feel a sense of kinship with him1 like the experience of ,yan in the beautiful story of ,the ,sandhill ,stag4 ,it was after following the trail of the deer many days that the youth at last came suddenly face to face with the object of his desire1 a wondrous pair of bronze and ivory horns1 a royal head1 a noble form behind it4 ,as they gazed into each other's eyes1 every thought of murder went out of ,yan's heart1 and gave place to a strange sense of fellowship4 ,go now without fear1 he said1 but if only you would come sometimes and look me in the eyes1 and make me feel as you have done to-day1 you would drive the wild beast wholly from my heart1 and then the veil would be a little drawn1 and ,i should know more of the things that wise men have prayed for knowledge of4 ,v ,,the ,,twa ,,dogs ,the ,scotch poet ,robert ,burns1 who died a few years before ,landseer's birth1 was a kindred spirit of the painter in his love of dogs and his sense of humor4 ,an early picture by ,landseer illustrating the poem of ,the ,twa ,dogs fits the verses as if painter and poet had worked together4 ,we are told that ,burns once had a collie which he named ,luath1 after a dog in ,ossian's ,fingal4 ,the favorite came to an untimely end1 through some one's cruelty1 and the poet was inconsolable4 ,he determined to immortalize ,luath in a poem1 and this is the history of the tale of ,the ,twa ,dogs4 ,the poem relates how ,upon a bonny day in ,june ,when wearing through the afternoon1 ,twa dogs1 that were na thrang#f at hame1 ,forgather'd ance upon a time4 ,footnote #f3 ,busy4 ,of the two dogs1 one is the collie ,luath1 here represented as the friend and comrade of a ploughman4 ,he is described in broad ,scotch as ,a gash#g and faithfu' tyke ,as ever lap a sheugh#h or dike4 ,his honest1 sonsie1#i baws'nt#aj face1 ,aye gat him friends in ilka place4 ,his breast was white1 his touzie#aa back ,weel clad wi' coat o' glossy black2 ,his gaucie#ab tail1 wi' upward curl1 ,hung o'er his hurdies#ac wi' a swirl4 ,footnote #g3 ,knowing4 ,footnote #h3 ,ditch4 ,footnote #i3 ,comely4 ,footnote #aj3 ,white-striped4 ,footnote #aa3 ,shaggy4 ,footnote #ab3 ,bushy4 ,footnote #ac3 ,hips4 ,luath's companion was a foreign dog1 from some far place abroad1 where sailors gang to fish for cod1 in short1 ,newfoundland4 ,he was1 moreover1 a dog of high degree1 whose locked1 letter'd1 braw brass collar showed him the gentleman and scholar4 ,the gentleman is appropriately called ,caesar1 a name commonly given to ,newfoundland dogs4 ,the picture carries out faithfully the poet's conception of both animals4 ,luath is here to the very life1 with shaggy black back1 white breast1 and honest face4 ,we only regret that his position does not allow us to see the upward curl of his bushy tail4 ,caesar is a black and white ,newfoundland dog with a brass collar4 ,the model is said to have been ,neptune1 the dog of a certain ,mr4 ,gosling4#ad ,footnote #ad3 ,two years later 7#ahbd7 ,landseer painted the portrait of ,mr ,gosling's ,neptune1 showing head and shoulders in front view4 ,though representing opposite stations in life1 ,the ,twa ,dogs were excellent friends4 ,on this occasion1 weary of their usual diversions1 they sat down together on a hillock ,and there began a lang digression ,about the lords o' the creation4 ,it is ,caesar who opens the conversation1 expressing curiosity as to how the poor man can endure his life4 ,luath owns that the cotter's lot is a hard one1 but declares that in spite of poverty and hardships the poor are maistly wonderfu' contented4 ,the talk then drifts to the corruption of politics and the vices of the rich4 ,caesar at last brings it to an end by describing the wearisome monotony and emptiness of the fashionable life4 ,illustration3 ,john ,andrew ,son1 ,sc4 ,,the ,,twa ,,dogs ,south ,kensington ,museum1 ,london ,by this time it was sundown1 and the two friends separated1 rejoicing that they were na men1 but dogs4 ,the contrast between the two canine types is well brought out in our picture4 ,even the attitudes show their opposite temperaments4 ,the collie is a somewhat awkward figure1 sitting on his haunches1 with legs far apart1 nervously alert4 ,the ,newfoundland dog lies at his ease with one paw elegantly crossed over the other4 ,they talk muzzle to muzzle1 the one long and pointed1 the other thick and square4 ,in those days the collie was chiefly the poor man's dog1 the indispensable aid of the shepherd1 and the friend of the laborer4 ,it was not until later years that1 following the example of the ,queen1 the rich began to notice his good qualities1 and he became a popular favorite4 ,but neither ,burns nor ,landseer needed to be taught by the dictates of fashion to understand the collie's fine nature4 ,the dog they portrayed1 however1 was not the luxuriously reared pet we know to-day1 but the unkempt companion of humble folk4 ,the ,newfoundland dog1 though of plebeian origin1 and a hard worker in his native land1 is generally regarded as an aristocrat4 ,he is dignified1 gentle1 and kindly in nature4 ,both dogs are very sagacious1 and the painter and poet agreed in giving them the thoughts and feelings of human beings4 ,in the picture ,caesar seems to be describing the fashionable revels he has witnessed1 while honest ,luath listens in amazement to the recital4 ,the landscape is such as one might see in ,scotland4 ,at the foot of the hill lies a lake1 beyond which is a range of low mountains4 ,two years after painting the picture of ,the ,twa ,dogs1 ,landseer made a pilgrimage to ,ayr1 the birthplace of ,burns1 and rambled about the spots associated with the poet's memory4 ,that he took a peculiar interest in the subject of the poem is shown by the fact that over thirty years after he painted it a second time1 with some slight variations4 ,,vi ,,dignity ,,and ,,impudence ,any one with a sense of humor must often be struck by the resemblance between the ways of dogs and the ways of men4 ,the dignified dog1 the vulgar dog1 the nervous dog1 the lazy dog1 the impudent dog1 are all types of which there are many human counterparts4 ,the dog1 indeed1 seems at times almost to mimic the manners of men4 ,so in our picture of ,dignity and ,impudence we are at once reminded of a corresponding situation in human life4 ,the hound ,grafton1 posing as ,dignity1 lies at the entrance of his kennel1 his paws overhanging the edge4 ,his handsome head is held erect as he surveys an approaching visitor with the air of an elderly statesman receiving a political candidate4 ,there can be no doubt that his opinions are decidedly conservative4 ,a small ,scotch terrier has been playing about him1 having no awe of his big host1 but making himself quite at home in his cosy quarters4 ,he is like a frolicsome child1 playing about the statesman's chair1 while the old gentleman pursues his train of thought quite undisturbed4 ,now at the sound of approaching footsteps the impertinent creature peeps forth1 with the curiosity of his kind1 to see who the newcomer is4 ,his tongue is thrust halfway out at one side like that of a saucy street boy making faces at the passers by4 ,though ,dignity apparently ignores the presence of ,impudence1 we may be sure that the little fellow's antics afford him a quiet amusement4 ,plainly the two dogs are the best of friends4#ae ,footnote #ae3 ,a story of a dog friendship as odd as that between ,dignity and ,impudence is told apropos of this picture in ,sarah ,tytler's little book1 ,landseer's ,dogs and their ,stories4 ,there is the greatest possible contrast between them1 both in character and appearance4 ,the bloodhound is of a ponderous nature which does not act without deliberation4 ,thoroughly aroused he may become quite terrible1 but he is not hasty in his judgments4 ,the terrier is a nervous creature1 full of activity4 ,we can see from the tense position of his head in the picture that his whole body is quivering with motion4 ,the bloodhound seems large even for his breed1 which averages about twenty-seven inches in height4 ,one of his huge paws is almost as large as the terrier's head and could easily crush the little creature4 ,but in spite of his reputation for fierceness his expression here is not at all savage4 ,it is rather grave and judicial1 as if carefully summing up the character of his visitor4 ,while the terrier saucily asks ,who are you8 the bloodhound is steadily gazing at the intruder1 as if to read his secret thoughts4 ,a modern authority on dogs quaintly says of the bloodhound's discrimination1 ,if he puts you down as a bad character1 or one who cannot be thoroughly trusted1 there must be something radically wrong about you1 indeed4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,dignity ,,and ,,impudence ,national ,gallery1 ,london ,perhaps something of the gravity of the hound's countenance is due to the looseness of the skin about the head1 making folds which suggest the wrinkles in an old man's face4 ,the eyes1 too1 are rather deep set and impress one with the unfathomable depths of the dog's intelligence4 ,how unlike are the shining round orbs of the little terrier4 ,the hound's sleek short-haired coat comports well with his dignity1 while the long tangled hair of the terrier suits his impudent character4 ,with the long overhanging ears of the larger dog are amusingly contrasted the small sharp points standing upright on his companion's head4 ,finally1 were the two dogs to lift up their voices to greet the new arrival1 an odd duet would be produced by the deep baying of one1 broken by the short sharp yelps of the other4 ,dignity and ,impudence would each find perfect vocal expression4 ,our picture illustrates admirably ,landseer's genial gift of humor and shows us how varied was his power4 ,as we have occasion to see elsewhere in our book1 some of his works deal with pathetic1 even tragic1 subjects4#af ,like other men of poetic imagination the painter seemed equally ready to call forth smiles or tears4 ,while no one can look at ,dignity and ,impudence without smiling at the contrast1 the fun is without irony4 ,pomposity and impertinence are amusing qualities alike in dogs and men1 but are altogether harmless4 ,footnote #af3 ,see ,suspense1 ,the ,highland ,shepherd's ,chief ,mourner1 ,war1 and ,the ,hunted ,stag4 ,the painter has here kept strictly within the proper limits of his art4 ,a few slight changes would entirely transform the character of the picture4 ,by exaggerating only a little the human quality of expression in the dogs' faces and suggesting a resemblance to some particular individuals1 the picture would become a caricature4 ,cartoonists have not scrupled to borrow the design and adapt it to such purposes4 ,landseer himself1 however1 had no aim but to produce a humorous effect of contrast between the two dogs4 ,,vii ,,peace ,a flock of sheep and goats are pasturing on the meadowland above some cliffs which rise abruptly from the sea4 ,to those familiar with the scenery of ,england the place recalls at once the white cliffs of ,dover4 ,the caretakers are a lad and his sister1 who have brought with them a younger child4 ,a shepherd dog is their assistant1 one of those intelligent animals trained to keep the flock together and to lead it about4 ,it is noontide of a bright summer day4 ,the sea lies blue and still under the clear sky4 ,the flock no longer graze industriously1 but rest in scattered groups4 ,the young people amuse themselves quietly on the grass1 and the dog has stretched himself for a nap4 ,overhead two large sea gulls take their flight through the air4 ,there is a single reminder here of a time when all was not so peaceful1--the rusty old cannon in the midst4 ,from these uplands a battery once frowned across the ,channel1 threatening destruction to the approaching enemy4 ,the booming of guns resounded where now is heard only the lowing of cattle and the laughter of children4 ,happily the cannon has now so long been out of use that it has become a part of the cliff1 like one of the rocks4 ,the flock gather about it as a rallying place1 and in its black mouth grow tender herbs for the lambs to crop4 ,no cottage is in sight1 and we judge that our young people have brought their flock from a little distance4 ,two sturdy goats act as beasts of burden in the family1 both equipped with saddle and bridle4 ,as they rest now at one side they are the impersonations of docility and dignity1 but a hint of mischief lurks in their complacent expressions4 ,one feels decidedly suspicious of the old fellow with the long beard4 ,twin lambs lying at the cannon's mouth are the softest and daintiest little creatures of the flock4 ,so1 evidently1 thinks the sheep beside them1 gently nosing the woolly back of the one nearest4 ,the children are of the best type of ,english villagers1 with fresh1 sweet1 happy faces4 ,all three are well dressed and have the tidy appearance which is the sign of family thrift and prosperity4 ,the girl has her hair brushed back smoothly from her forehead and knotted at the back like a little woman's4 ,she bears herself with a pretty air of motherliness toward her brothers4 ,like other ,english village maidens1 she is skilled in all sorts of domestic duties and has few idle moments through the day4 ,her sewing-basket lies beside her on the ground1 and while the dog looks after the sheep1 she busies herself with her work4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,peace ,national ,gallery1 ,london ,evidently she has some knitting under way1 and the work comes to a pause while she winds a new skein of yarn4 ,the little toddler may now make himself useful by holding the skein4 ,he is proud of the honor and watches the rapidly moving thread with fascinated eyes4 ,so deftly do the fingers untangle the snarls that the task is converted into a game as absorbing as a cat's cradle puzzle4 ,even the older lad1 of the manly age to feel himself superior to such amusements1 peers over the little one's shoulder with genuine curiosity4 ,in the excitement of their occupation1 the little knitter's straw bonnet has slipped from her head far down her back1 leaving the plump neck exposed to the sun4 ,the full significance of the picture is best understood in contrast with the companion subject1 ,war4 ,the two pictures have been called by a critic true poem-pictures4 ,the painter means to show here that the choicest blessing of ,peace is the prosperity of the humbler classes1 who are the bulwark of the nation4 ,agricultural pursuits can flourish only when arms are laid down4 ,happy is the land where innocent children and dumb beasts can roam in safety over the country4 ,the long level stretch of land and sea adds much to the impression of tranquillity in the picture4 ,the imagination has a delightful sense of liberty in great spaces4 ,ruskin has told us that this is because space is the symbol of infinity4 ,however we may explain it1 we certainly have here a pleasant sense of looking across illimitable space over a world flooded with sunshine4 ,the picture recalls the stories of ,landseer's first lessons in drawing in the pastures near his boyhood home4 ,here he practised all day on sheep1 which are the best subjects for the beginner1 because they keep still so long6 ,in later years his preference was for animals of livelier action1 but in this exceptional instance1 as if in reminiscence of his youth1 he painted a pastoral scene with much artistic feeling4 ,there are a good many more figures in the picture than are usual with our painter1 and he therefore had a more difficult problem in bringing all the parts into harmonious relations4 ,it is interesting to contrast it with the altogether different kind of composition in the companion picture of ,war4 ,,viii ,,war ,in the exigencies of war a stone cottage seems to have been used as a part of some rudely improvised earthworks4 ,a detachment of cavalry has made a charge against this rampart1 and the place now lies in ruins4 ,to the smoke of battle is added the smoke of burning timbers rising in a dense cloud1 which shuts out the surrounding scenes as with an impenetrable curtain4 ,below the breach1 in a confused heap amidst the debris1 lie some of the victims of the disaster4 ,there are two dragoons1 vigorous men in the prime of life1 and their two splendid horses4 ,the man lying most plainly in sight has the appearance of an officer1 from the sash worn diagonally over his steel coat4 ,he has fallen backward on the ground beside his horse1 one booted leg still resting across the saddle4 ,his face1 well cut and refined1 is turned slightly away1 and the expression is that of a peaceful sleeper4 ,on the other side of his horse1 his comrade lies in a trench hemmed in by heavy beams4 ,both men are already apparently quite dead3 it is too late for the army surgeon or nurse4 ,death has come swiftly in the midst of action1 and the tide of battle has swept on1 leaving them behind4 ,the horse belonging to the man in the trench has died with his rider2 we see only his fine head4 ,the other horse1 though unable to rise1 is still alive4 ,as he lies stretched on the ground1 we see what muscular strength he had1--a beautiful creature whose glossy hide and sweeping mane and tail show the pride his owner took in him4 ,the two have shared together all the hardships of the campaign1--long journeys1 short rations1 extremes of cold and heat1 fatigue and privation4 ,the horse has learned to listen for the familiar voice1 so strong in command1 so reassuring in danger4 ,now even in his dying agony he turns with touching devotion to his master4 ,not a sound comes from the closed lips1 not a flutter of the eyelids disturbs the calm of the face4 ,lifting his head for a last effort1 the splendid creature sends forth a prolonged whinny4 ,this must surely arouse the sleeper1 and he fixes his eyes on the impassive countenance with an almost human expression of anxiety and entreaty4 ,all in vain1 and in another moment the flames and smoke will envelop them1 and soon nothing will remain to show where they fell4 ,this is the story we read in our picture of ,war4 ,there is nothing here to tell us whether the fallen riders are among the victors or the vanquished4 ,we do not care to know1 for in either case their fate is equally tragic4 ,it was ,england's iron duke who said ,nothing except a battle lost can be half so melancholy as a battle won4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,war ,national ,gallery1 ,london ,various small touches in the composition add to the significance of the scene4 ,fresh flowers among the heaps of stones show how recently there was a smiling garden where now all is so ghastly4 ,on the ground lie an embroidered saddle-cloth1 a bugle1 and a sword1 emblems of the military life4 ,it is said that the horrors of war have never yet been faithfully portrayed4 ,those who have lived through the experience are unwilling to recall it1 while those who draw upon their imaginations must fall short of the reality4 ,whenever any powerful imagination comes somewhere near the truth1 people turn away shocked1 unable to endure the spectacle4#ag ,even this picture is almost too painful to contemplate1 yet it selects only a single episode from a battlefield strewn with scenes of equal horror4 ,footnote #ag3 ,as when the exhibition of ,verestschagin's pictures was forbidden4 ,landseer had himself seen nothing of war4 ,the ,napoleonic wars had ended in his childhood and the ,crimean war was still ten years in the future4 ,it was in the quiet interim of the early reign of ,victoria when the picture was painted4 ,the object was to emphasize by contrast the blessings of peace illustrated in the companion picture4 ,as in ,peace we have a delightful sense of light1 space1 and liberty1 in ,war we have a suffocating sense of darkness1 limitation1 and horror4 ,of the many tragedies of the battlefield1 naturally the sort which would most appeal to ,landseer's imagination would be the relations between horses and their riders4 ,always in close sympathy with animal life1 he had a keen sense of the suffering which the horses undergo in the stress of conflict4 ,the real hero of our picture is the horse4 ,in an artistic sense also the dying horse dominates the composition1 his great bulk lying diagonally across the centre of the foreground1 and his lifted head forming the topmost point of the group4 ,all the other figures are subordinated1 both literally and in point of sentiment4 ,their conflict is over and they are at rest1 but the suffering animal is even now at the climax of his agony1 his terror increased by a desolate sense of loneliness4 ,the pathos of the situation is the deeper because of the animal's inability to understand his master's silence4 ,the sentiment is one common with ,landseer1 as we see in other pictures of our collection4 ,it is the favorite animal's love for his master made manifest in some great trial4 ,like the bloodhound in the picture of ,suspense1 and like ,the ,highland ,shepherd's ,chief ,mourner1 the horse is raised by the dignity of suffering to the level of human emotion4 ,,ix ,a ,,distinguished ,,member ,,of ,,the ,,humane ,,society ,in his walks about the city and in the country ,landseer's eye was always quick to catch sight of a fine animal of any kind4 ,to his remarkable habits of observation is due the perfect fidelity to nature which we find in all his work4 ,one day1 in a street in ,london1 he met a ,newfoundland dog carrying a basket of flowers4 ,he was struck at once with the singular beauty of the dog's color4 ,newfoundland dogs of various colors were at that time common about ,london1 red1 brown1 bronze1 black1 and black and white4 ,landseer had already painted a black and white one in the picture of ,the ,twa ,dogs1 which we have examined4 ,here1 however1 was a dog of a beautiful snowy white with a head quite black save the muzzle4 ,the painter was not long in making his acquaintance1 and learned that he was called ,paul ,pry4 ,permission being obtained to make the dog's portrait1 our beautiful picture was the result4 ,it is probably this picture which gave rise to the later custom of calling the white ,newfoundland dog the ,landseer ,newfoundland1 to distinguish it from the black4 ,the ,newfoundland dog is a general favorite for his many good qualities4 ,he is very sagacious and faithful1 and unites great strength with equal gentleness4 ,he is at once an excellent watchdog and a companionable member of the household4 ,children are often intrusted to his care3 he makes a delightful playmate1 submitting good-naturedly to all a child's caprices and apparently enjoying the sport4 ,at the same time he keeps a watchful eye against any danger to his charge1 and no suspicious character is allowed to molest4 ,it is possible to train such dogs to all sorts of useful service4 ,in their native country of ,newfoundland they do the work of horses1 and harnessed to carts or sledges draw heavy loads4 ,they learn to fetch and carry baskets1 bundles1 and letters1 and are quick1 reliable messengers4 ,perhaps their most striking peculiarity is their fondness for the water2 they take to it as naturally as if it were their proper element4 ,they are not only strong swimmers1 but also remarkable divers1 sometimes keeping their heads under the surface for a considerable time4 ,nature seems specially to have fitted them for the rescue of the drowning1 and in this humane calling they have made a noble record4 ,innumerable stories are told of people1 accidentally falling from boats1 bridges1 or piers1 who have been brought safely to land by these dog heroes4 ,the dog seizes the person by some part of the clothing1 or perhaps by a limb1 and with the weight dragging at his mouth1 makes his way to the shore4 ,he seems to take great pains to hold the burden as gently as possible1 keeping the head above water with great sagacity4 ,some one has told of seeing a dog rescue a drowning canary1 holding it so lightly in his mouth that it was quite uninjured4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,a ,,distinguished ,,member ,,of ,,the ,,humane ,,society ,national ,gallery1 ,london ,it is in his capacity as a life saver that the ,newfoundland dog of our picture is represented1 called by the pleasant jest of the painter1 ,a ,distinguished ,member of the ,humane ,society4 ,surely no member of the honorable body could be more efficient than he in that good cause4 ,he lies at the end of a stone jetty1 his fore paws hanging over its edge a little above water level4 ,nothing can be seen behind him but the gray sky1 with sea gulls flying across3 against this background the massive head stands out grandly4 ,he seems to look far out to sea1 as if following the course of a distant vessel4 ,a gentle lifting of the ears shows how alert is his attention2 he is constantly on duty1 ready to spring into the water in an instant4 ,his attitude shows his great size to full advantage1--the splendid breadth of his breast and the solidity of his flank4 ,the open mouth reveals the powerful jaw4 ,a sense of his strength is deeply impressed upon us4 ,the pose suggests that of a couching lion1 and has the same adaptability to sculpture1 as we may see by comparing it with the bronze lion of the ,nelson monument4 ,as the dog lies in the full sunlight1 the picture is an interesting study in the gradations of light and shadow1 or of what in technical phrase is called chiaroscuro4 ,a critic calls our attention to the painting of the hide1 here rigid and there soft1 here shining with reflected light1 there like down2 the masses of the hair1 as the dog's habitual motions caused them to grow2 the foreshortening of his paws as they hang over the edge of the quarry4#ah ,footnote #ah3 ,f4 ,g4 ,stephens4 ,other ,newfoundland dogs are known to fame through epitaphs written in their honor by distinguished men1 such as ,lord ,byron1 ,lord ,grenville1 and the ,earl of ,eldon4 ,never has dog had a nobler monument than this ,distinguished ,member of the ,humane ,society1 whose portrait ranks among ,landseer's best works4 ,the owner of the dog1 ,mr4 ,newman ,smith1 became likewise the owner of the picture1 and by him it was bequeathed to the ,english ,national ,gallery1 where it now hangs4 ,x ,a ,,naughty ,,child ,in stories of the ,english village life of half a century ago we often read of the dame school1 where children took the first steps in their education4 ,this would be held in the cottage of the schoolmistress1 who1 in our imagination1 was always a kindly old woman in a big cap and short petticoats4 ,the children sat in rows on hard wooden seats1 or forms1 and gabbled their lessons aloud4 ,each was provided with a slate on which letters and figures were laboriously inscribed4 ,by the great fireplace sat the mistress1 and the big-faced clock ticked off the slow hours4 ,a striking contrast was this to the kindergarten of the twentieth century6 ,our picture shows us a corner of a dame school where a naughty child is in a fit of temper4 ,the rough board walls1 with great projecting beams1 show how little thought was given to schoolroom adornment in those days4 ,the high bench1 without back1 is as uncomfortable a seat as one could imagine4 ,it is supposed that the children of that period were strictly disciplined in good behavior1 but it appears that naughtiness was no less common then than now4 ,the refractory pupil who would not learn his lessons was condemned to sit on the dunce stool1 wearing the tall pointed cap4 ,naturally he did not yield readily to his punishment1 and there was often a struggle with the mistress before peace was restored4 ,the child of our picture is evidently giving the good dame a great deal of trouble4 ,neither threatening nor coaxing can induce him to study his lesson4 ,the book is turned face down on the form1 and in a storm of rage the boy has thrown his slate crashing to the floor4 ,this exhibition of temper is followed by a fit of sulks4 ,he squeezes himself into the smallest possible space in the corner1 huddling his feet together1 toes turned in1 and pressing his arms close to his side4 ,the raising of the shoulders reminds one of the way a cat raises its back as it shrinks from its enemy4 ,the child's mouth is twisted1 pouting in a scornful curve4 ,his eyes1 bright with unshed tears1 glare sullenly before him into space4 ,here is wilfulness and obstinacy to a degree4 ,if the boy's face were not disfigured by anger1 we should see in him a handsome little fellow4 ,he is of a sturdy build1 with plump arms and shoulders1 a noble head with a profusion of flaxen curls1 and a face which might be charming in another mood4 ,if the schoolmistress could once win him she would have a pupil to be proud of4 ,such a head as his might produce a ,daniel ,webster4 ,the episode of the schoolroom is the story the painter wished us to read in his work4 ,the real story of the picture is quite a different tale4 ,the scene of the ,naughty ,child's temper was ,landseer's own studio1 and the child was angry1 not because he had to learn a lesson1 but because he must sit for his picture4 ,in those days1 before the invention of photography1 it was indeed a tedious process to obtain a child's portrait4 ,it is scarcely to be wondered at that an active boy like this should not relish the prospect of a long sitting4 ,illustration3 ,john ,andrew ,son1 ,sc4 ,a ,,naughty ,,child ,south ,kensington ,museum1 ,london ,landseer was struck by the child's beauty and was eager to make the picture4 ,the outburst of temper did not trouble him a bit4 ,seizing his sketch-book he hastily drew the little fellow exactly as he looked4 ,it was characteristic of his art to reproduce accurately every peculiarity of pose and motion1 and he found this attitude of the child far more novel and interesting than the stiff pose of a commonplace portrait4 ,it seems hardly probable that the parents could have been pleased to have their son's ill-temper perpetuated4 ,what they thought of the picture we can only surmise4 ,certain it is that later generations of mothers1 leading their children through the gallery where the picture hangs1 could not have failed to pause and point the moral4 ,our picture emphasizes the fact that ,landseer's artistic skill was not limited to the portrayal of animal life4 ,how natural it was to think of him chiefly as a painter of dogs is illustrated in the familiar witticism of ,sydney ,smith4 ,being asked if he was about to sit to ,landseer for a portrait1 he asked1 ,is thy servant a dog that he should do this thing8 ,had not ,landseer's tastes gradually limited his work to animal subjects1 he might have become well known both for his landscapes and his portraits4 ,he was especially happy in the delineation of children1 whose unconscious motions display the same free play of muscle as do the animals4 ,we have seen in our picture of ,peace how sympathetically he entered into the heart of childhood4 ,two ,english painters who preceded ,landseer are famous for their pictures of children1 ,sir ,joshua ,reynolds and ,sir ,thomas ,lawrence4 ,it has not been thought unsuitable to compare ,landseer with these great men1 in the treatment of child subjects4 ,his works1 says a critic1#ai without the color or subtlety of character of ,reynolds or the superfineness of ,lawrence1 are quite equal to the first in naturalness and to the second in real refinement1 and are without the mannerism or affectation of either4 ,footnote #ai3 ,cosmo ,monkhouse4 ,,xi ,,the ,,sleeping ,,bloodhound ,if a universal dog-lover like ,landseer could be said to have a preference for any particular kind1 it was certainly for the bloodhound4 ,this noble animal is of very ancient origin1 known apparently to the ,romans1 and introduced early in ,english history into ,great ,britain4 ,apparently many gentlemen of ,landseer's acquaintance were possessors of fine specimens4 ,one of these we have already seen in the picture of ,suspense1 where the dog's senses are all in intense concentration4 ,here1 by contrast1 the ,sleeping ,bloodhound is seen in complete relaxation4 ,we might almost fancy the picture a sequel to ,suspense1 and carry on our story to another chapter1 in which1 the knight's wounds being stanched1 the door is opened and the dog admitted to his master's presence4 ,quiet having fallen on the household1 the hound retires to a corner for a well-deserved nap4 ,he lies on a fur rug spread in front of an ottoman1 beside which stands his master's helmet4 ,his forelegs are stretched out straight before him1 his body curled around1 his head pushed forward in a position which from a dog's point of view represents solid comfort4 ,though asleep he is still on guard2 the painter has conveyed the impression of the dog's latent power1 even in repose4 ,like ,rab1 in ,dr4 ,john ,brown's famous story1 he is a sort of compressed ,hercules of a dog4 ,as he lies at his ease1 we note the characteristics of his kind1--the loose skin1 the long soft ears1 the long thick tail4 ,of his most striking quality there is no visible evidence1 namely1 his exquisite sense of smell4 ,it is this which has made him so valuable to man1 both as a companion of his sports and a protector of life and property4 ,in former times when the resources of government were limited1 bloodhounds often served in the useful capacity of a detective force4 ,in the border country between ,england and ,scotland1 before the union of the kingdoms1 these dogs were kept to maintain safety1 and to track criminals4 ,in ,cuba they were put on the pursuit of outlaws and fugitives from justice4 ,this explains why the dog has sometimes been called a sleuthhound2 that is1 a dog set upon a sleuth1 or trail4 ,in our own ,southern ,states bloodhounds were once used to recover runaway slaves1 as we may read in ,uncle ,tom's ,cabin4 ,there have been times1 too1 when the dog's unique gift of scent has enabled him to find lost children and exhausted travellers1 and thus be a benefactor to humanity4 ,whatever the task set him1 whether for good or ignoble ends1 the bloodhound has always fulfilled it with unflagging perseverance and devotion4 ,he is a dog to command both fear and admiration1 and we count ourselves fortunate if we win his good opinion4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,the ,,sleeping ,,bloodhound ,national ,gallery1 ,london ,the original of the portrait was ,countess1 the bloodhound of ,mr4 ,jacob ,bell1 of whom we have also heard as the owner of the bay mare ,betty4 ,the dog had long been waiting for a portrait sitting1 but the busy painter seemed to have no time for the work4 ,finally occurred a strange accident which was the immediate cause of the picture4 ,poor ,countess fell one night from a parapet at ,mr4 ,bell's residence1 in some unknown way losing her balance1 or missing her footing4 ,the distance was between twenty and thirty feet1 and the dog was killed4 ,mr4 ,bell immediately took the animal to ,landseer's studio1 and there in an incredibly short time was produced this portrait4 ,the story explains why the painter chose the unusual theme of a sleeping dog4 ,ordinarily he delighted in showing the expressiveness of a dog's eye4 ,this being here impossible on account of the model's condition1 we have instead a picture which we would not exchange even for ,suspense or ,dignity and ,impudence4 ,if we have here less of those higher qualities which are brought out in the dog's human relationships1 we see the better the purely animal side of his nature4 ,the union of power with repose is a rare combination in art1 and one we associate with ,greek sculpture4 ,the picture of the ,sleeping ,bloodhound has what we call plastic qualities4 ,we have a sense of the massive solidity of the dog's body1 as if he were modelled in clay4 ,in this respect the picture should be compared with the ,newfoundland dog called the ,distinguished ,member of the ,humane ,society1 and with the lion of the ,nelson monument4 ,the helmet beside the dog is one of those picturesque accessories which ,landseer enjoyed putting into his works4 ,like the gauntlets in the picture of ,suspense1 it suggests the knightly deeds of chivalry with which the bloodhound seems appropriately associated4 ,the reflection of light from the polished surface of the metal makes an effective touch in the picture4 ,it is by no accident that the helmet occupies the place it does2 it is an essential part of the composition1 serving precisely the same purpose which the cavalier's hat does in the picture of the ,king ,charles ,spaniels4 ,both compositions gain by this device the necessary height to balance their horizontal lines4 ,,xii ,,the ,,hunted ,,stag ,in his study of the deer in the ,scottish ,highlands1 ,landseer found almost inexhaustible material for his art4 ,in fact1 nothing of interest escaped him in the life of this noble animal4 ,if we could have a complete collection of his pictures on this subject1 they would set forth the entire story of the deer4 ,the painter1 as we have seen1 did his hunting with a sketch-book1 and brought home1 instead of so many head of game1 so many pictures with which to delight future generations4 ,many of these pictures deal with tragic subjects1 as in our illustration of a ,hunted ,stag borne down a mountain torrent with the hounds upon him4 ,the pathetic side of animal life appealed strongly to ,landseer's dramatic imagination4 ,he who could see so readily the comic aspects of a situation was equally quick in his appreciation of suffering4 ,it has been said by a close observer of animal life that no wild animal dies a natural death4#bj ,every creature of the woods lives in the midst of perpetual dangers from some one of which1 sooner or later1 he comes to a violent or tragic end4 ,the rigor of the elements sometimes overcomes him1--rain or snow1 heat or cold1 flood or avalanche1 the falling tree or the crashing rock4 ,it may be that some other animal which is his natural enemy finally falls upon him and destroys him4 ,the most cruel fate of all is when he falls into the power of the sportsman1 matching against the wild creature's instincts his wits1 his dogs1 and his rifle4 ,in such an unequal contest man seldom fails to win4 ,footnote #bj3 ,ernest ,seton-,thompson in ,wild ,animals ,i have known4 ,deerstalking was long the favorite sport in ,england1 dating from the early days of semi-barbarism1 when the only serious pursuits of the rich were war and the chase4 ,the forest laws of the old ,norman kings set the punishment for killing a deer1 except in the chase1 as great as for taking a human life4 ,large tracts of land were reserved for hunting grounds in districts which might otherwise have been covered with prosperous villages4 ,down to our own times1 a large pack of hounds was maintained by the ,english crown solely for the use of royal hunting parties4 ,at length1 at the beginning of the twentieth century1 the new king1 ,edward ,,vii41 has abolished the custom4 ,it would seem that the deer was well fitted by nature to cope with his enemy the sportsman4 ,his senses are so exquisitely delicate that he detects the approach of the hunter at a great distance4 ,as soon as he takes alarm he flees from the danger1 covering the ground in flying leaps with incredible speed4 ,from time to time he pauses on some hilltop to locate anew the position of the enemy4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,,the ,,hunted ,,stag ,national ,gallery1 ,london ,as he begins to tire1 he resorts to stratagem as a substitute for speed4 ,sometimes another deer comes to his aid1 taking the track he has made1 while he hides in some thicket or flies in a different direction4 ,one of his tricks is to run backward over his course for a number of yards1 and then leap aside to start in another way4 ,the story of the ,sandhill ,stag tells how a deer used this device three times in succession1 the last time returning to a thicket near his track from which he could discern his pursuer long before the trail would bring him too near4 ,after this1 grown more desperate1 the stag circled round till he joined his old track1 and then bounded aside to let the hunter follow the cold scent4 ,when all such artifices fail1 the hunted deer's last resort is the water4 ,plunging into a lake or mountain stream1 he swims up the current1 taking care not to touch any brush on the bank1 lest he leave a scent for the hounds4 ,it is said that he can even hide under the water1 leaving only the tip of his nose above the surface4 ,the stag of our picture has reached the water too late2 already the hounds are upon him4 ,the mass of struggling animals is swept along the current of a mountain stream to an inevitable doom4 ,the hunted creature raises his noble head in his dying agony1 seeking to escape his tormentors4 ,even yet he strikes out in a brave attempt to swim1 but the end is only too plain4 ,the painter's art has set the tragedy very forcibly before us4 ,behind is a lake1 around which rises a range of high hills4 ,a single break in their outline admits a ray of sunlight into the sombre grandeur of the scene4 ,the narrow stream which issues from the lake falls between huge boulders1 in a steep descent4 ,the struggle of the dogs with their prey churns the torrent into foam about the body of the stag4 ,while we admire the art which can produce such a picture1 the subject1 like that of ,war1 is too painful for enjoyment4 ,we must turn again to the ,monarch of the ,glen1 and from the contrast of the dying with the living1 we enjoy the more the splendid vitality of the animal4 ,,xiii ,,jack ,,in ,,office ,in the time of ,landseer a familiar figure about the streets of ,london was the itinerant dealer in dog's meat4 ,his outfit consisted of a square covered wheelbarrow in which he carried the meat1 a basket1 a pair of scales1 knives1 skewers1 and similar tools of his trade4 ,his assistant was a dog1 whose duty was to guard the meat barrow while the butcher called for orders or delivered his goods4 ,in this capacity a dog would serve even better than a boy1 in keeping hungry animals from his master's property4 ,there is a quaint old saying that it takes a rogue to catch a rogue4 ,the dog's wages were all the meat he could eat1 and having satisfied himself to the point of gluttony1 there would be no danger of any inroads on the meat from him4 ,in our picture a butcher has left his barrow standing on the cobble-stone pavement at the corner of the narrow entrance to a square4 ,his dog ,jack controls the situation in his absence1 and rules with undisputed authority4 ,such is the master's confidence in the dog's ability to manage1 that he has taken no pains to put the meat away in the barrow4 ,a large cut is left in the scale pan1 and a basket on the pavement contains some choice bits4 ,naturally the tempting odor has drawn a number of stray street dogs to the place4 ,from his elevated position ,jack surveys them as a monarch receiving a throng of obsequious courtiers4 ,as a matter of fact he is himself a low mongrel cur1 vastly inferior in origin to some of the surrounding dogs4 ,circumstances having raised him to a position of authority he regards them all with supercilious disdain4 ,a miserable1 half starved hound approaches the basket with eyes fixed hungrily on the contents1 the tail drooping between the shaking legs1 the attitude expressing the most abject wretchedness4 ,he is a canine ,uriah ,heep professing himself so 'umble4 ,behind is a retriever1 uplifting a begging paw1 and farther away are other eager dogs4 ,a puppy in front has just finished eating1 and1 still gnawing the skewer1 looks up to ask for more4 ,not one of them all dares touch the meat1 though ,jack moves not a muscle to prevent them4 ,it is a question whether an overfed1 tight-skinned animal like this would prove a very redoubtable enemy in a fight4 ,jack's influence1 however1 is due in no small measure to his sagacious air of importance4 ,seated on his haunches1 he holds between his fore legs the handle of the scales as the insignia of office4 ,a broad collar and a small leather harness show he has to take his own turn in serving another4 ,ignoring the appeal of the puppy1 he turns to the group of larger dogs1 regarding them with a contemptuous expression of his half-closed eyes4 ,he has been a keen observer of dog nature1 and knows what value to place upon the professions of these fawning creatures4 ,illustration3 ,john ,andrew ,son1 ,sc4 ,,jack ,,in ,,office ,south ,kensington ,museum1 ,london ,the situation inevitably suggests corresponding relations in human life4 ,it often happens that a man of inferior qualities is raised to some position of authority which he holds with arrogant assumption4 ,himself the servant of another1 he delights in the exercise of a petty tyranny4 ,he is forthwith surrounded by a throng of flatterers seeking the benefits he has to bestow4 ,it is pitiable to see how some who were originally his superiors humiliate themselves before him4 ,like the sycophant hound and the imploring retriever1 they seem to lose all sense of self-respect4 ,one can see how easily the picture of ,jack in ,office could be converted into a caricature1 and it is not surprising to learn that it has been used in ,england as a political cartoon4 ,american politics might also produce many a parallel situation4 ,the party boss in a municipal government holding petty appointments in his control is a veritable ,jack in ,office surrounded by his followers4 ,the humor of the picture is1 as we see1 a trifle keener than in ,dignity and ,impudence4 ,arrogance and sycophancy are such despicable qualities1 whether in dog or man1 that they are held up not only for our laughter but for our contempt4 ,as may be inferred from our previous illustrations1 the greater number of ,landseer's dog subjects were drawn from animals of the finer breeds4 ,jack in ,office is unique in our collection as dealing with the commoner animals of the street4 ,even here1 however1 the painter found material for his favorite theme of the dog's fidelity to his master4 ,jack is1 as it were1 the butcher's business partner1 sharing alike in his labors and his gains4 ,as we are to see again in our next picture1 the dog which is made the companion of daily labor is even more to his master than one which is merely a playmate4 ,it is instructive to examine one by one the details of the composition1 which the painter has rendered with much technical skill4 ,the vista of the square at the end of the alley is a pleasant feature of the composition1 giving a more spacious background to the group4 ,,xiv ,,the ,,highland ,,shepherd',s ,,chief ,,mourner ,while the mountains of the ,scottish ,highlands are haunted by deer1 the valleys are the pasture ground for large flocks of sheep4 ,here our painter1 ,landseer1 made the acquaintance of two unique characters1 the ,highland shepherd and his dog4 ,in former times the shepherds of ,scotland were no ordinary men4 ,the loneliness of the life in these wilds left an impress upon their nature1 making it stern and serious4 ,not infrequently great readers were found among them1 and even poets4 ,the ,ettrick shepherd ,james ,hogg was one of ,scotland's first men of letters4 ,the poet ,wordsworth1 whose boyhood was passed in the north of ,england1 describes in ,the ,prelude his admiration for the shepherds of that region3-- ,there1 't is the shepherd's task the winter long ,to wait upon the storms3 of their approach ,sagacious1 into sheltering coves he drives ,his flock1 and thither from the homestead bears ,a toilsome burden up the craggy ways1 ,and deals it out1 their regular nourishment ,strewn on the frozen snow4 ,and when the spring ,looks out1 and all the pastures dance with lambs1 ,and when the flock1 with warmer weather1 climbs ,higher and higher1 him his office leads ,to watch their goings1 whatsoever track ,the wanderers choose4 99 99 99 99 99 ,a rambling schoolboy1 thus ,i felt his presence in his own domain1 ,as of a lord and master1 or a power1 ,or genius1 under ,nature1 under ,god1 ,presiding2 and severest solitude ,had more commanding looks when he was there4 ,the shepherd would be helpless without his dog1 the collie1 whose astuteness and skill can hardly be overstated4 ,the trained sheep dog learns to know every individual member of the flock1 so that if a straggler goes beyond bounds1 he will reclaim it2 if an intruder enters he will drive it out4 ,when the flock is to be led home1 he gathers the scattered portions into a compact body and keeps them in the way4 ,a sagacious dog belonging to ,hogg once amazed his master by gathering together a flock of seven hundred lambs which had broken up at midnight and scattered in three directions4 ,the collie is fitted by nature with special qualifications for his peculiar work4 ,his neck is long and arched1 that he may put his nose well to the ground and stretch it when running4 ,his half pricked ears are the best possible for distinguishing sounds at a distance1 and the part that falls over protects the inner ear from the rain4 ,his thick coat is proof against rain1 snow1 or wind1 and the heavy mane shields the most vulnerable part of his chest1 like a natural lung protector4 ,with bare hind legs1 long and springy1 he can make his way easily in the heather4 ,the long1 tapering muzzle gives a peculiarly intelligent look to the face4 ,an authority on dogs says1 ,there is1 if the expression may be used1 a philosophic look about him which shows thought1 patience1 energy1 and vigilance4 ,illustration3 ,john ,andrew ,son1 ,sc4 ,,the ,,highland ,,shepherd',s ,,chief ,,mourner ,south ,kensington ,museum1 ,london ,the shepherd and his dog are constant companions from dawn to sunset1 sharing the responsibilities of their charge4 ,common hardships seem to knit the friendship1 and the tie between them is unusually close4 ,we can easily understand that a faithful dog deprived of his master would mourn him deeply4 ,such grief is the subject of our picture1 ,the ,highland ,shepherd's ,chief ,mourner4 ,an old shepherd living alone in his rude cottage has thrown down his hat and staff for the last time4 ,his neighbors have prepared his body for decent burial1 the coffin has been closed and nailed1 and now stands on the trestles ready for removal4 ,the shepherd's plaid has been laid over it as a sort of pall1 and a bit of green is added by some reverent hand4 ,for the moment the house is deserted1 and the dog is left alone with all that represents his master's life to him4 ,his mute grief is intensely pathetic2 speech could not express more plainly his utter despair4 ,a beautiful description by ,ruskin suggests the important points to notice in the picture1--the close pressure of the dog's breast against the wood1 the convulsive clinging of the paws1 which has dragged the blanket off the trestle1 the total powerlessness of the head laid close and motionless upon its folds1 the fixed and tearful fall of the eye in its utter hopelessness1 the rigidity of repose which marks that there has been no motion or change in the trance of agony since the last blow was struck on the coffin-lid1 the quietness and gloom of the chamber1 the spectacles marking the place where the ,bible was last closed1 indicating how lonely has been the life--how unwatched the departure of him who is now laid solitary in his sleep4 ,the critic shows that the skill with which the painting is executed1 remarkable as it is1 is not so great a thing to praise the painter for as the imagination which could conceive so pathetic a scene4 ,the picture is1 he says1 one of the most perfect poems which modern times have seen4 ,the incident which ,landseer imagined has doubtless many a parallel in actual life4 ,there is a story of a traveller who was killed by a fall from a precipice near ,mt4 ,helvellyn4 ,three months later his remains were discovered1 watched over by the faithful dog4 ,scott's poem ,helvellyn commemorates the incident1#ba and the line telling how-- ,faithful in death1 his mute favorite attended1 expresses well the spirit of our picture4 ,footnote #ba3 ,wordsworth's verses on ,fidelity apparently refer to the same story4 ,,xv ,a ,,lion ,,of ,,the ,,nelson ,,monument ,our conception of the range of ,landseer's art would be quite inadequate if we failed to notice his studies of the lion4 ,though his works on this subject were not numerous1 he was all his life greatly interested in the noble animal called the king of beasts4 ,as a boy1 he used to visit a certain menagerie called ,exeter ,change1 and make drawings of the beasts there4 ,a drawing of a ,senegal lion1 made here at the age of nine1 is very creditable4 ,the same menagerie furnished1 many years later1 the material for his first serious lion study4 ,one of the animals having died1 ,landseer obtained the body for dissection4 ,his methods of work were always thorough4 ,he believed that it was only by mastering an animal's anatomy that a painter could faithfully reproduce its motions and attitudes4 ,the result of his studies on this occasion was an interesting series of pictures1--,a ,lion disturbed at his ,repast1 ,a ,lion enjoying his ,repast1 and ,a ,prowling ,lion4 ,naturally opportunities for dissecting lions were not frequent1 and the painter had to bide his time for further studies4 ,a friend who could help him in this respect was ,mr4 ,mitchell1 secretary of the ,zooelogical ,society4 ,whenever the secretary happened to have a dead lion on his hands1 he offered ,landseer the first chance to obtain it4 ,an amusing story is told of one of ,mr4 ,mitchell's efforts in his friend's behalf4 ,a company of guests was gathered one evening at ,landseer's house1 when suddenly a man servant appeared at the drawing-room door1 and quietly asked1 ,did you order a lion1 sir8 ,the inquiry was made in a matter-of-fact tone1 precisely as if ordering lions were an every-day affair1 like ordering a rib of beef1 or a leg of mutton4 ,there was a sensation among the guests1 and much merriment was caused by their pretended alarm4 ,tradition says that ,charles ,dickens was of the party1 and it was he who often told the story afterwards4 ,as it proved1 ,mr4 ,mitchell had sent the painter a lion which had died that day in the ,zooelogical ,garden of ,regent's ,park4 ,in #ahei ,landseer received an important commission from the ,english government requiring all his knowledge of the lion4 ,his task was to model some lions to ornament the ,nelson monument in ,trafalgar ,square1 ,london4 ,this monument had been erected more than fifteen years before 7#ahdc71 in memory of the admiral under whose leadership the ,english fleet had won their victory off ,cape ,trafalgar1 ,october #ba1 #ahje4 ,it consisted of a tall granite column surmounted by a statue of ,nelson4 ,to make the base of the column more imposing1 it now seemed desirable to place colossal bronze figures of lions at the four corners4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son1 ,sc4 ,a ,,lion ,,of ,,the ,,nelson ,,monument ,trafalgar ,square1 ,london ,with characteristic thoroughness1 the artist made his preparatory studies4 ,two of these are rough sketches on canvas in the ,national ,gallery of ,london1 and show distinctly the original data for his final conception4 ,apparently they are studies from menagerie animals4 ,one is in profile1 showing the beast as he creeps in snarling discontent within the limited area of his cage4 ,the other sketch has caught the attitude of the animal lifting his head to scan an approaching visitor4 ,in these two studies1 ,landseer obtained the proper proportions of the side face1 from nosetip to ear1 and the length of the front face1 from the crest of the mane to the lower jaw4 ,they also show completely the manner in which the mane grows1 both along the back and on each side the face4 ,it could not be expected that a man who had been all his life a painter would immediately acquire proficiency as a sculptor4 ,landseer had his lions under way nearly ten years1 and in the mean time practised himself in the new art by modelling the figure of a stag4 ,certain qualities of sculpture he had already shown in some of his paintings4 ,the pose of the ,newfoundland dog called ,a ,distinguished ,member of the ,humane ,society is conceived in the spirit of plastic art4 ,so also is ,the ,sleeping ,bloodhound4 ,when it came1 therefore1 to modelling a figure1 the artist understood well how to secure a monumental pose4 ,in this point his work is especially successful4 ,the lion lies in a grand1 majestic attitude4 ,the mane rises like a crown on his brow1 and falls in splendid masses on either side his head4 ,the mouth is open1 and the expression a little mild for dignity4 ,one is reminded of the tamed spirit of the menagerie captive rather than of the proud majesty of the animal in his native wilds4 ,a work of this sort must necessarily have a certain stiffness and conventionality which we should not like in a painting4 ,it is said that ,landseer modelled only a single figure1 and the others were cast from the same model with slight variations4 ,when at last the work was completed1 the colossal figures were mounted on huge pedestals radiating diagonally from the four corners of the square base of the monument4 ,,xvi ,,the ,,connoisseurs ,the story of ,landseer's art career was a series of continuous successes from his precocious boyhood to his honored old age4 ,he was an exhibitor at the ,royal ,academy when he was in his teens1 and early in his twenties he was successful enough in his profession to set up an establishment of his own4 ,he then took a small house in a pleasant part of ,london known as ,st4 ,john's ,wood1 and fitted up the barn into a studio4 ,the place was called ,maida ,villa1 as a compliment to the famous staghound which was ,sir ,walter ,scott's favorite dog4 ,here ,landseer lived1 like ,sir ,walter himself1 surrounded by dogs4 ,he never married1 and his sister1 ,mrs4 ,mackenzie1 was for many years his housekeeper4 ,his life was1 of course1 a very busy one1 filled with commissions which came much more rapidly than he could execute them4 ,his house was enlarged as his means permitted1 and became a delightful resort for many favored guests4 ,the painter was of a frank nature1 genial and kindly among his friends1 witty in conversation1 and a clever mimic4 ,an invitation to one of his parties was a privilege4 ,many were the distinguished patrons who visited his studio2 even the royal carriages were sometimes seen standing at the door of ,maida ,villa4 ,his work was duly rewarded with the proper honors4 ,at the age of twenty-eight1 the painter was elected to membership in the ,royal ,academy1 and twenty years later he was knighted4 ,thereafter he was known as ,sir ,edwin ,landseer1 probably the most popular painter of his day4 ,he is described as a man of heavy figure1 six feet in height1 with a weather-beaten countenance4 ,he used to wear a sober gray tweed suit1 and had the general appearance of an ,english country gentleman4 ,his movements were quick and energetic4 ,our portrait shows him at the age of sixty-two1 when his beard was white4 ,his face is attractive because of the kindly expression1 but it is by no means handsome4 ,the redeeming feature is the high broad forehead1 the sign of the fine poetic temperament of which so many of his works are proof4 ,it was characteristic of ,landseer to paint his portrait with his dogs4 ,neither the man nor his art can be separated from the animal to which he devoted his best gifts4 ,the dogs give the title to the picture1 and with the genial humor natural to the painter1 he represents himself as the subject of their criticism4 ,holding his sketch-book across his knees1 he appears to be making a pencil study of some dog subject1 while over each shoulder peers the grave face of a canine ,connoisseur4 ,the dog at the painter's right seems to express approval1 while his more critical comrade on the other side reserves judgment till the picture is completed4 ,it would appear that ,landseer's dog pictures were faithful enough to satisfy the judgment of the originals4 ,we cannot help believing1 writes an admiring critic1#bb that the manner in which ,landseer drew the forms and expressed the character of the canine race would have been rewarded with the gratitude1 if not the full satisfaction of such a critic4444 ,on the whole1 seeing that he was but a man the ,connoisseurs must1 we fancy1 have allowed that he was a good artist1 a fair judge of character1 and meant kindly by them4 ,footnote #bb3 ,cosmo ,monkhouse4 ,the honors bestowed upon ,landseer culminated at the time of his death in the magnificent funeral ceremonies attending his burial at ,st4 ,paul's ,church1 ,london4 ,his body was laid near those of ,sir ,joshua ,reynolds1 ,turner1 ,fuseli1 and other famous ,english painters4 ,in the memorial sermon following the funeral1 the painter's character was fittingly summed up in a few lines from ,coleridge's ,ancient ,mariner4 ,he prayeth well who loveth well ,both man and bird and beast1 ,he prayeth best who loveth best ,all things1 both great and small1 ,for the dear ,god who loveth us ,he made and loveth all4 ,the ,riverside ,press ,electrotyped and printed by ,h4 ,o4 ,houghton ,co4 ,cambridge1 ,mass41 ,u4,s4,a4 ,,authors' ,,portraits ,,for ,,school ,,use ,sample of the portraits in ,masterpieces of ,american ,literature and ,masterpieces of ,british ,literature1 described on the second page of this circular4 ,illustration3 ,oliver ,wendell ,holmes4 ,,portraits ,,of ,,authors ,,and ,,pictures ,,of ,,their ,,homes ,,for ,,the ,,use ,,of ,,pupils ,,in ,,the ,,study ,,of ,,literature ,we have received so many calls for portraits of authors and pictures of their homes suitable for class and note-book use in the study of reading and literature1 that we have decided to issue separately the twenty-nine portraits contained in ,masterpieces of ,american ,literature and ,masterpieces of ,british ,literature1 and the homes of eight ,american authors as shown in the ,appendix to the newly revised edition of ,richardson's ,primer of ,american ,literature4 ,,portraits ,,american4 ,,bryant4 ,,hawthorne4 ,o',,reilly4 ,,emerson4 ,,holmes4 ,,thoreau4 ,,everett4 ,,irving4 ,,webster4 ,,franklin4 ,,longfellow4 ,,whittier4 ,,lowell4 ,,british4 ,,addison4 ,,coleridge4 ,,macaulay4 ,,bacon4 ,,cowper4 ,,milton4 ,,brown4 ,,dickens4 ,,ruskin4 ,,burns4 ,,goldsmith4 ,,tennyson4 ,,byron4 ,,gray4 ,,wordsworth4 ,,lamb4 ,,homes ,,of ,,authors ,,bryant4 ,,holmes4 ,,lowell4 ,,emerson4 ,,longfellow4 ,,stowe4 ,,hawthorne4 ,,whittier4 ,sold only in lots of ten or more1 assorted as desired4 ,ten1 assorted1 postpaid1 #bj cents4 ,each additional one in the same package1 #a cent4 ,in lots of #ajj or more1 assorted1 #a cent each1 postpaid4 ,for mutual convenience please send a remittance with each order4 ,postage stamps taken4 ,,houghton1 ,,mifflin ,,co4 #d ,,park ,,street1 ,,boston2 #aa ,,east #ag,,th ,,street1 ,,new ,,york2 #cgh-chh ,,wabash ,,avenue1 ,,chicago4 ,,ornaments ,,for ,,school-,,rooms ,,the ,,atlantic ,,life-,,size ,,portraits ,of ,whittier1 ,lowell1 ,emerson1 ,hawthorne1 ,longfellow1 ,holmes1 ,bryant4 ,size1 #bd by #cj inches4 ,lithographs1 #a4jj1 net1 each1 postpaid4 ,teachers' price1 #he cents1 net1 each1 postpaid4 ,,masterpieces ,,portraits4 ,for descriptions and prices see other pages of this circular4 ,,homes ,,of ,,american ,,authors4 ,for descriptions and prices see other pages of this circular4 ,,longfellow',s ,,residence4 ,a colored lithograph of the historic mansion 7,washington's ,headquarters7 at ,cambridge1 in which ,mr4 ,longfellow lived for forty years4 ,size1 #ab by #af inches4 ,price1 #ej cents1 net1 postpaid4 ,,fine ,,steel ,,portraits 7,the size of cabinet photographs7 of over ninety of the most celebrated ,american and ,european ,authors4 ,the #be-;cent portraits and the #ge-;cent portraits are printed on paper measuring #i by #ab inches1 and the #a4jj portraits #aa by #ad inches4 ,a list with prices to teachers may be had on application4 ,,houghton1 ,,mifflin ,,co4 #d ,,park ,,street1 ,,boston2 #aa ,,east #ag,,th ,,street1 ,,new ,,york3 #cgh-chh ,,wabash ,,avenue1 ,,chicago4 ,,authors' ,,homes1 ,,for ,,school ,,use4 ,sample of the pictures of author's homes in the newly revised edition of ,richardson's ,primer of ,american ,literature1 described on the second page of this circular4 ,illustration3 ,,holmes',s ,,birthplace4 ,the ,gambrel ,roofed ,house1 ,cambridge4