,,illustrated ,,biographies ,,of ,,the ,,great ,,artists4 ,,sir ,,edwin ,,henry ,,landseer4 ,,illustrated ,,biographies ,,of ,,the ,,great ,,artists4 ,the following volumes1 each illustrated with from #ad to #bj ,engravings1 are now ready1 price #cs4 #f;d4 ,,leonardo ,,da ,,vinci4 ,by ,dr4 ,j4 ,,paul ,,richter4 ,,michelangelo4 ,by ,,charles ,,clement4 ,,raphael4 ,from ,j4 ,d4 ,,passavant4 ,by ,n4 ,d',,anvers4 ,,titian4 ,by ,,richard ,,ford ,,heath1 ,m4,a41 ,oxford4 ,,tintoretto4 ,by ,w4 ,,roscoe ,,osler4 ,from researches at ,venice4 ,,holbein4 ,from ,dr4 ,a4 ,,woltmann4 ,by ,,joseph ,,cundall4 ,,the ,,little ,,masters ,,of ,,germany4#a ,by ,w4 ,b4 ,,scott4 ,,rembrandt4 ,from ,,charles ,,vosmaer4 ,by ,j4 ,w4 ,,mollett4 ,,rubens1 ,by ,c4 ,w4 ,,kett1 ,m4,a41 ,oxford4 ,,van ,,dyck and ,,hals4 ,by ,,percy ,r4 ,,head1 ,lincoln ,coll41 ,oxford4 ,,figure ,,painters ,,of ,,holland4 ,by ,lord ,,ronald ,,gower1 ,f4,s4,a4 ,,vernet and ,,delaroche4 ,by ,j4 ,,ruutz ,,rees4 ,,hogarth4 ,by ,,austin ,,dobson4 ,,reynolds4 ,by ,f4 ,s4 ,,pulling1 ,m4,a41 ,oxford4 ,,turner4 ,by ,w4 ,,cosmo ,,monkhouse4 ,,landseer4 ,by ,,frederick ,g4 ,,stephens4 ,the following volumes are in preparation3-- ,,fra ,,angelico4 ,by ,,catherine ,m4 ,,phillimore4 ,,fra ,,bartolommeo4 ,by ,,leader ,,scott4 ,,velazquez4 ,by ,,edwin ,,stowe1 ,m4,a41 ,oxford4 ,,gainsborough4 ,by ,g4 ,m4 ,,brock ,,arnold1 ,m4,a41 ,oxford4 ,,albrecht ,d,,rer4 ,by ,r4 ,f4 ,,heath1 ,m4,a4 ,,giotto4 ,by ,,harry ,,quilter1 ,m4,a41 ,trinity ,college1 ,cambridge4 ,illustration3 ,deerhound's ,heads4 8,the whole world without ,art would be one great wilderness40 ,,sir ,,edwin ,,landseer ,,by ,,frederick ,g4 ,,stephens1 ,,author ,,of 8,,memorials ,,of ,,mulready10 ,,etc4 ,illustration ,,london3 ,,sampson ,,low1 ,,marston1 ,,searle1 ,,rivington1 ,,crown ,,buildings1 ,,fleet ,,street4 #ahhj4 7,all rights reserved47 ,,to ,,henry ,,wallis1 ,,painter1 ,,the ,,thank-,,offering ,,of ,,an ,,old ,,friend4 ,,preface ,,to ,,the ,,third ,,edition4 ,the text of a former work on the early productions of ,sir ,edwin ,landseer has been1 for the second time1 revised and extended by the author2 and the subject has been continued to the death of the artist4 ,the biographer's aim is achieved if he has successfully shown the course of the artist's studies1 and their result in success of an extraordinary kind4 ,june1 #ahhj4 ,,contents4 ,,chapter ,i4 ,,page ,origin of the ,landseer family--,parentage of ,edwin ,henry ,landseer--,thomas ,landseer #a ,,chapter ,,ii4 ,early life--,landseer's first studio--,etchings--,first picture at the ,royal ,academy--,haydon's studio #af ,,chapter ,,iii4 ,a fully-developed painter--,early paintings--,british ,institution--,the ,cat's ,paw #ci ,,chapter ,,iv4 ,at ,st4 ,john's ,wood--,chevy ,chase--,chief's ,return from ,deer-stalking--,made ,royal ,academician 7#ahcj7--,lassie herding sheep #eh ,,chapter ,v4 ,suspense--,highland ,shepherd ,dog--,bolton ,abbey--,drover's departure--,shepherd's ,chief ,mourner--,dignity and ,impudence--,otters and ,salmon--,the ,sanctuary #gb ,,chapter ,,vi4 ,windsor ,castle in the present time--,not caught yet--,the ,otter speared--,shoeing--,the random shot--,dialogue at ,waterloo--,landseer knighted #hg ,,chapter ,,vii4 ,sir ,edwin ,landseer--,the ,monarch of the ,glen--,midsummer ,night's ,dream--,maid and ,magpie--,the ,flood in the ,highlands #id ,,chapter ,,viii4 ,man proposes1 ,god disposes--,the ,connoisseurs--,the ,swannery invaded--,closing ,years--,death of ,landseer #aje ,,list ,,of ,,illustrations4 ,from ,etchings by ,edwin ,landseer and ,c4 ,g4 ,lewis4 ,,page #a4 ,,dogs ,,worrying ,a ,,frog4 ,etched by ,edwin ,landseer 7#ahbb7 xii #b4 ,,low ,,life4 0 0 0 7#ahbb7 #g #c4 ,a ,,shepherd',s ,,dog4 0 0 0 7#ahbd7 #ac #d4 ,,the ,,beggars4 0 0 0 7#ahbd7 #ai #e4 ,,donkeys ,,on ,a ,,common4 0 0 0 7#ahbd7 #be #f4 ,,four ,,irish ,,greyhounds4 0 0 0 7#ahbe7 ,front4 #g4 ,,eagle ,,and ,,red ,,deer4 0 0 0 7#ahbe7 #ca #h4 ,,the ,,rabbit ,,warren4 0 0 0 7#ahbf7 #cg #i4 ,,return ,,from ,,deer-,,stalking4 0 0 0 7#ahbf7 #dc ,,the ,,mothers4 ,drawn by ,edwin ,landseer in #ahcg4 #aj4 ,,highland ,,nurse4 ,etched by ,c4 ,g4 ,lewis 8 7#ahdg7 #di #aa4 ,,mare ,,and ,,foal4 0 0 0 7#ahdg7 #ee #ab4 ,,dog ,,and ,,pups4 0 0 0 7#ahdg7 #fa #ac4 ,,cow ,,and ,,calf4 0 0 0 7#ahdg7 #fi #ad4 ,,donkey ,,and ,,foal4 0 0 0 7#ahdg7 #gg #ae4 ,,goat ,,and ,,kids4 0 0 0 7#ahdg7 #he #af4 ,,sow ,,and ,,pigs4 0 0 0 7#ahdg7 #ic #ag4 ,,sheep ,,and ,,lambs4 0 0 0 7#ahdg7 #aja ,the head and tail pieces are from ,etchings by ,edwin ,landseer for the ,,game ,,card at ,woburn ,abbey 7#ahbe74 ,,chronology ,,of ,,edwin ,,henry ,,landseer4 ,,page #ahjb4 ,born at #hc1 ,queen ,anne ,street ,east #af #ahab4 ,studied at ,hampstead #ag #ahae4 ,exhibited pictures at ,royal ,academy #bh ,attended ,haydon's ,studio #cb #ahah4 ,exhibited 8,fighting ,dogs0 #db #ahbb4 ,received a premium of #aej from the ,directors of the ,british ,institution #ea #ahbd4 ,first visit to the ,highlands #ee #ahbe4 ,took the house in ,st4 ,john's ,wood #eh #ahbf4 ,made ,associate of the ,royal ,academy #fj #ahcj4 ,made ,royal ,academician #fb #ahej4 ,knighted #ic #ahei4 ,received the ,commission for the ,lions for the ,nelson ,monument #ajh #ahfj4 ,exhibited 8,flood in the ,highlands0 #ajj #ahff4 ,the 8,lions0 were placed in ,trafalgar ,square #ajh #ahfi4 ,the ,swannery invaded #ajh #ahgc4 ,died ,october #ast #aab ,buried in ,st4 ,paul's1 ,october #aath #aab ,illustration3 ,,dogs ,,worrying ,a ,,frog 7#ahbb74 ,,sir ,,edwin ,,landseer4 ,,chapter ,i4 ,,origin ,,and ,,parentage4 ,so much of the family history of this artist as it is needful to repeat1 or the reader will care to learn1 may be briefly told3 it begins with his grandfather1 who was a jeweller settled in ,london1 where1 in #agfa1b his father1 ,john ,landseer1 was born4 ,the senior was on intimate terms with ,peter1 father of the lawyer and politician1 ,sir ,samuel ,romilly4 ,peter ,romilly was descended from a distinguished ,french family1 the first of whom known in this country settled near ,london after the revocation of the ,edict of ,nantes1 and acquired a fortune as a wax-bleacher4 ,this ,peter was a jeweller of note and wealth1 established in ,frith ,street1 ,soho1 and it is probable that common interest in a craft which is so closely allied to art had much to do with directing the minds of ,john1 and consequently those of his family1 to design4 ,it is certain that in the early life of ,sir ,samuel ,romilly he gave considerable attention to painting and its sister studies--architecture1 and anatomy as applied to the arts4 ,his biographer tells us that the future lawyer attended the lectures delivered on these subjects by ,dr4 ,william ,hunter and ,james ,barry at the ,royal ,academy1 and doubtless those which1 as we shall presently see1 ,john ,landseer1 his friend--for the affection of the fathers was continued with the sons--pronounced with noteworthy effect at the ,royal ,institution4 ,these discourses of ,john ,landseer's1 as printed and published at a later date1 and entitled 8,lectures on the ,art of ,engraving10 #ahjg1 still supply the body of one of the best text-books in our language on the principles and practice of that art4 ,how ,john ,landseer became an engraver may not be difficult to understand when we recollect that the art which he fortunately illustrated1 was1 for modern use at least1 first exercised if not invented by a jeweller and goldsmith1 and that most of the early ,european artists in gold and jewellery not only worked in their proper crafts1 but1 for the service of the printing-press1 incised silver and copper plates with the graver and needle4 ,from ,holbein to ,stothard1 before and since their days1 some of the greatest artists have applied their genius to the designing of jewellery4 ,hogarth engraved on household plate before he etched or cut copper to immortal uses4 ,as etchers1 or autographic artists on metal1 both ,john ,landseer and his son ,edwin distinguished themselves4 ,conversely1 the best etchers have been and are painters1 from ,drer1 and ,rembrandt1 and ,van ,dyck1 to ,,mm4 ,rajon and ,palmer of our own day4 ,the etchings of our chief subject are among his least known yet most admirable works2 ,thomas1 ,edwin's senior1 another son of ,john ,landseer1 was one of the most eminent engravers of this age4 ,observing the ability of his son ,john1 ,landseer the jeweller obtained for him the assistance of ,william ,byrne1 one of the best instructors of that period1 who1 with ,hearne1 had been engaged in the production of 8,the ,antiquities of ,great ,britain10 and singly1 in preparing many topographical works1 such as 8,views of the ,lakes of ,cumberland10 and 8,italian ,scenery40 ,sea-pieces by ,vernet1 landscapes by ,both and ,claude ,lorrain1 ,turner's contributions to 8,britannia ,depicta10 and a fine 8,view of ,niagara10 by ,wilson1 occupied this venerable artist1 who was one of the ablest in his profession1 and a pupil of ,aliamet and ,wille1 as ,hearne1 his partner in 8,the ,antiquities10 had been a pupil of ,william ,woollett4#c ,william ,byrne was one of those stout 8out-siders0 of the ,royal ,academy who1 with ,woollett1 ,schiavonetti1 ,sharp1 ,hall1 and ,strange1 refused to place their names as candidates for the half-honours of the ,associateship to that body so long as the upper grade of ,academicianship in full was denied to members of their profession4 ,some of the more eminent ,english engravers1 among whose names that of ,mr4 ,john ,pye is distinct1 held themselves aloof from the ,academical body on this as well as on other accounts4 ,this exclusion of engravers from their full professional honours had1 as we shall see1 great effect on the career of ,john ,landseer1 and the law by which it was produced has only within the last ten years been modified by the admission without reserve of ,mr4 ,s4 ,cousins to the ,academicianship1 after he1 with ,mr4 ,doo1 had passed through the anomalous grade of ,academician-,engravers1 which seemed to have been instituted in order to draw the line sharply between members of their profession and those other artists who practised painting1 sculpture and architecture4 ,this line was drawn with such emphasis that ,bartolozzi was elected1 not as an engraver1 but as a painter1 he having painted a picture in order to evade the law of the ,academy4 ,byrne1 like his pupil1 ,john ,landseer1 was earnest in charitable works for his fellow-artists2 thus1 we find his name as one of the ,directors of the ,society of ,engravers for the benefit of poor professors of the art1 their widows and orphans4 ,john ,landseer was one of the founder-members of the ,artists' ,fund1 and associated therein with the ,schiavonettis1 ,raimbach1 and ,heath1 to whom as painters1 ,mulready1 ,mr4 ,linnell1 and others of good standing were joined4 ,mr4 ,john ,pye was among the most active members of this society1 its ablest expositor1 and practically its founder4 ,no artist among ,englishmen1 not even ,turner1 ,stothard1 ,wilkie1 nor ,hogarth himself1 owed so much of his popular honours to engraving as ,edwin ,landseer2 in ,mr4 ,thomas ,landseer's hands1 and by the hands of other skilful engravers1 the pictures of the distinguished animal-painter obtained a popularity which would otherwise be impossible2 and it may be said1 with but little strain on the terms1 that the engravers have repaid his son for the devotion of ,john ,landseer to their art4 ,not only was the popularity of ,sir ,edwin immensely extended by engravings1 but the greater part of his fortune accrued by means of copyrights and the sale of prints4 ,having got over the early difficulties of his profession1 the first works of ,john ,landseer were vignettes after ,de ,loutherbourg's landscapes2 intended1 says the author of an excellent article in 8,the ,literary ,gazette10 to which we are indebted for some of the facts of this biography of the engraver1 for the 8,bible0 of ,macklin1 the once 8great0 publisher4 ,these plates were produced in the heat of the contest between ,alderman ,boydell and ,macklin1 who struggled which should employ the ablest artists to paint for their respective ventures in engraving4 ,the 8,shakespeare0 of the former enthusiastic speculator is the best known of these publications4 ,to him1 indirectly1 we owe the establishment of the now defunct ,british ,institution1 and all the knowledge of ancient and modern art which it diffused during more than sixty years4 ,one of ,boydell's efforts to establish his large venture secured the aid of ,sir ,joshua ,reynolds1 who was considered not only the ablest portrait-painter of that day1 but acceptable to the public as a producer of historical and fancy subjects4 ,as to the last1 it is not too much to state that the cost was thrown away4 ,it would have been better for ,reynolds's reputation if he had restricted himself to that mode of art in which he was a master4 ,it is said that a bank-note for fifty pounds slipped in the hand of ,sir ,joshua had much to do in dispelling the apathy with which he was supposed to regard the schemes of ,boydell4 ,this statement may be believed by those who choose to do so1 not by us4 ,nevertheless1 ,reynolds did paint pictures for ,boydell1 and among these was the famous 8,puck10 which is noteworthy for producing the enormous sum of #ihj guineas when sold1 with the ,rogers ,collection1 to ,earl ,fitzwilliam2 ,rogers bought it at ,boydell's sale for #bael4 #es4 ,it is now at ,wentworth ,house1 and very much faded4 ,boydell gave ,reynolds #ajj guineas for this painting1 of which--when exhibited at the ,royal ,academy in #aghi1 about the time ,john ,landseer was working from ,de ,loutherbourg's vignettes--,walpole wrote that it was 8an ugly little imp1 with some character1 sitting on a mushroom as big as a millstone40 ,reynolds likewise painted for ,boydell 8,the ,death of ,cardinal ,beaufort10 of which there is a version in the ,dulwich ,gallery4 ,for the former of these the ,earl of ,egremont gave1 at the publisher's sale1 #ecjl4 #hs42 ,boydell paid ,reynolds #ejj guineas for it1 ,june #bb1 #aghi4 ,the well-known painting of 8,the ,witches meeting ,macbeth0 is noted in ,reynolds's ledger as 8not yet begun10 although1 ,june #aghf1 the ,president received #ejj guineas for it4 ,these were the three pictures produced by ,reynolds for ,boydell's 8,shakespeare20 their painting is closely connected with our story4 ,in publishing large and boldly-illustrated works ,boydell's rival was ,macklin1 who1 as he contemplated a 8,bible0 of even greater pretensions than those of his antagonist's 8,shakespeare10 needed the countenance of the ,president of the ,royal ,academy as much as his aldermanic antagonist4#d ,of ,reynolds ,macklin bought 8,tuccia1 the ,vestal ,virgin10 an illustration of ,gregory's 8,ode to ,meditation10 for which he paid1 says ,northcote1 #cjj guineas1 though ,reynolds's ledger refers to the receipt of #bjj guineas only2 ,macklin bought for #ejj guineas 8,the ,holy ,family10 which is now in the ,national ,gallery2 and1 for a still larger sum1--which it would be difficult to ascertain1 as the entry in ,reynolds's ledger confuses it with the prices of various works1 in all more than two thousand pounds--a painting which is sometimes called 8,macklin's ,family ,picture10 or 8,the ,cottagers10 otherwise 8,the ,gleaners10 and represents an ,arcadian scene1 such as ,macklin would have rejoiced to realize as it might appear before the door of a cottage1 with the publisher1 his wife1 and their daughter seated in domestic happiness1 with ,miss ,potts1#e a dear and beautiful friend of theirs1 ,illustration3 ,low ,life4 standing with a sheaf of corn on her head2 the last-named figure claims the greatest interest from all who admire the works of the ,landseers2 because1 in a short time after the damsel sat to ,sir ,joshua in this charming guise1 she was married to ,john1 the young engraver1 and thus became the mother of ,thomas1 ,charles1 ,edwin ,henry1 and four daughters of his name4#f ,it is understood that ,john ,landseer and ,miss ,potts were first acquainted in the house of ,macklin1 and it is believed that the marriage was1 in more than a single sense1 an artistic one4 ,bartolozzi engraved1 in #agid1 the portrait of a ,miss ,emily ,pott1 after ,reynolds1 as 8,thais40 ,this was not the lady now in question4 ,the introduction of these lovers to each other occurred1 we believe1 through the employment of ,john ,landseer by ,macklin to execute plates for his 8,bible40 ,in these works1 several of the best engravers of that time were associated with him2 among them ,bromley1 ,heath1 and ,skelton4 ,not long after this1 that is1 in #agib1 we find ,john ,landseer exhibiting at the ,royal ,academy1 the only year1 we believe1 ere he became an ,associate of that body1 in which he vouchsafed to do so4 ,his contribution was 8,view from the ,hermit's ,hole1 ,isle of ,wight0 7,no4 #eda71 and his address was given at #hc1 ,queen ,anne ,street ,east4#g ,a few years later he was occupied in the production of plates from drawings by ,turner and ,ibbetson1 styled 8,views in the ,isle of ,wight10 a series which came to an early end4 ,john ,landseer's share of this work was confined to 8,orchard ,bay10 8,shanklin ,bay10 and 8,freshwater ,bay40 ,he engraved 8,high ,torr10 after ,turner1 for ,whitaker's 8,history of ,richmondshire10 a very fine specimen of his skill2 this book was published by ,longmans in #ahbc2 and1 for 8,the ,picturesque ,tour in ,italy10 he executed 8,the ,cascade of ,terni10 which is one of ,turner's best pictures4 ,these were1 we believe1 all ,landseer's transcripts from the works of the great master of ,english landscape art4 ,his largest series of plates was styled 8,twenty ,views of the ,south of ,scotland10 and made after drawings by ,james ,moore3 another group of engravings was executed from drawings of animals by the ,dutch masters1 ,rubens1 ,snyders1 ,rembrandt1 and others2 these plates show not only his remarkable skill1 but the current of his mind towards animal subjects1 such as his sons1 ,thomas and ,edwin ,henry1 have pre-eminently illustrated4 ,in addition to the above we have 8,a ,series of ,engravings illustrating those important events recorded in the ,sacred ,scriptures10 8which have been selected from ,raphael1 c41 with critical notices10 #ahcc2 and six plates to 8,vates1 or the ,philosophy of ,madness10 #ahdj4 ,having disposed of our materials about the professional and family lineage of the ,landseers1 it will be desirable1 before entering upon the chief subject of this text1 to draw together all it is needful to state of his very remarkable parent1 the engraver and engravers' champion4 ,we shall do so without regard to the chronological parallelism of their lives2 a course of treatment which admits simplicity of arrangement4 ,the births of three able sons are important facts in the history of any man who might be so honoured in parentage4 ,thomas1 the eldest son1 was born1 we believe1 in #agif2 ,charles1 the second son1 ,aug4 #b1 #agii2 ,sir ,edwin ,henry1 in #ahjb2 ,march #gth was the date given on his coffin-plate1 but there are doubts about this matter1 even among the ,landseer family4 ,including the daughters1 the names of this family ran thus in the order of their births3--,jane1 who married ,mr4 ,charles ,christmas1 and died at the birth of her first child2 ,thomas1 ,charles1 ,anna ,maria1 ,edwin1 ,jessica1 i4e4 the present ,miss ,landseer1 and ,emma1 now ,mrs4 ,mackenzie4 ,the last two survive4 ,according to the original constitution of the ,academy1 engravers had no place in it4 ,thus they were denied the privilege of considering themselves artists at all4 ,this absurdity was not much reduced when1 in the third year of its existence1 the body decided on admitting six 8,associate ,engravers0 as a distinct and inferior class4#h ,as we have thus noted1 the position of engravers in the honour-bestowing body of their profession had been anomalous1 and beneath the pretences1 as well as the merits and reputations1 of many distinguished men1 who1 while not unwilling to join the academical association1 declined to do so on conditions which at once marked their alleged inferiority to the professors of other branches of art1 and placed them in a lower grade than the painters1 sculptors1 and architects with whom1 nevertheless1 they claimed to be equal4 ,they complained especially1 that1 in addition to the above-given sources of discontent1 a law of the ,academy restricted them from more than one of the privileges and advantages of the exhibitions3--#ast1 of that law which declared that 8each ,associate-,engraver shall have the liberty an unfortunate form of expression of exhibiting two prints1 either compositions of his own1 or engravings from other masters40 ,thus1 while other members were entitled to contribute eight pictures1 sculptures1 or what not1 without limitation as to the size of each example1 the engravers might exhibit not more than two1 which1 by the very conditions under which they were produced1 must be small4 #bndly1 the engravers objected to the concluding section of the same law1 which ran thus3 8and these shall be the only prints admitted to the ,royal ,exhibition40 ,by these measures the engravers were affected1 and their art depreciated4 ,this state of things has been mended now1 and engravers are admitted to the full academical honours4 ,the history of the earliest phases of the contest1 and a statement of the case are in ,mr4 ,john ,pye's 8,patronage of ,british ,art10 where the exertions of ,john ,landseer and others are described4 ,it is strange that although this measure of justice has been vouchsafed1 the lots of honour fell to two of the staunchest 8outsiders0 who refused to become candidates for the ,associateship until the standing of their profession was recognized3 while ,john ,landseer remained an ,associate for nearly fifty years1 and died without further distinction in #aheb1 but five years before the election of ,mr4 ,cousins4 ,mr4 ,doo's election occurred the next year after that of ,mr4 ,cousins4 ,the latter became an ,associate thirty years later than ,john ,landseer2 the former was an ,associate but one year1 being elected ,a4,r4,a4 in #ahef1 and ,r4,a4 in #aheg4 ,mr4 ,cousins resigned his ,r4,a4ship1 and became a ,retired ,royal ,academician in #ahgi4 ,the first to accept honour was ,john ,landseer4 ,it was with the intention of putting the true position of the engraver's art and its professors before the world1 and of doing so in the most effectual fashion1 that ,john ,landseer1 in #ahjf1 delivered lectures on engraving to large audiences at the ,royal ,institution1 and thus laid out those broad and high views of art for which he has been justly honoured4 ,he defined engraving as a species of sculpture performed by incision1 and1 by defending that view with spirit and skill1 became the champion of his profession4 ,mr4 ,h4 ,crabb ,robinson described ,john ,landseer's lecturing on 8,the ,philosophy of ,art10 at a later occasion1 ,december #e1 #ahac1 at the ,surrey ,institution4 8,he is animated in his style10 said ,mr4 ,robinson1 8but his animation is produced by indulgence in sarcasms and in emphatic diction4 ,he pronounces his words in italics1 and by colouring strongly he produces an effect easily40#i ,in the year in which the lectures on engraving were delivered1 ,john ,landseer was elected ,a4-,e4,r4,a41 under protest1 as it were1 from himself1 that he received the distinction with a view to more effective action in favour of his fellow-sufferers4 ,in furtherance of this object he1 with very little effect1 presented a memorial to the ,academicians1 and1 as he said1 experienced from ,sir ,martin ,archer ,shee and others 8a very great deal of illiberality1 and was finally repulsed in a most ungracious way40#aj ,after this1 says the author of a biography of ,john ,landseer1#aa the disappointment preyed upon his mind so deeply that he turned his attention from the practice of his profession to the study of archology4 ,this statement requires a considerable quantity of salt4 ,no doubt this failure of so many hopes and efforts embittered his memory for a long time4 ,it is said1 though1 as ,mr4 ,pye told us1 it would be difficult to verify the assertion1 that an ,associate-,engravership in the total number of six1 which became vacant on the death of ,john ,brown1 in #ahja1 remained vacant because no outsider offered himself until ,landseer's election in #ahjf4 ,there were only five such members of the ,academy during the interval in question1 and ,val4 ,green1 ,collyer1 ,james ,heath1 ,anker ,smith1 and ,james ,fittler were tenants of the five posts4 ,the intensity of professional feeling on the subject may be surmised from this fact4 ,there is this much to be said about ,john ,landseer's alleged neglect of his own profession for the studies of an archologist3 he published 8,observations on the ,engraved ,gems brought from ,babylon to ,england by ,abraham ,lockett1 ,esq41 considered with reference to ,scripture ,history20 but this was not done until #ahag1 or ten years after the memorializing of the ,royal ,academy4 ,the object of this work was to show that ,babylonian cylinders1 the 8gems0 in question1 were not used as talismans or amulets1 but as signets of monarchs or princes--a conclusion which is not far from the now accepted truth4 ,he next issued 8,saban ,researches10 #ahbc1 a work founded on remains brought from 8,babylon10 by the above-named traveller1 comprising letters on antiquities1 and lectures delivered at the ,royal ,institution4 ,these works have been superseded by later ones1 and more scientific studies than were to be expected from an author who had been bred to another profession4 ,he likewise published a discursive 8,description of ,fifty of the ,earliest ,pictures in the ,national ,gallery10 #ahcd4 ,he produced twenty plates by way of contribution to the 8,antiquities of ,dacca0 7begun in #ahaf71 a work which was never completed2 this imperfectness likewise marked that book on the ,national ,gallery which bears 8,end of ,vol4 ,i40 by way of 8,finis10 to a tome which has no successor4 ,he issued 8,the ,review of ,publications of ,art10 #ahjh1 a periodical of trenchant quality1 but brief career2 and he promoted a second periodical styled 8,the ,probe10 #ahcg1 which seemed--for it ran to not more than half-a-dozen numbers--designed to oppose the then recently-established 8,art-,union0 journal4 ,the chief task of his later years was engraving his son ,edwin's famous picture of 8,the ,dogs of ,st4 ,bernard10 on which he wrote a small explanatory pamphlet styled 8,some ,account of the ,dogs and the ,pass of ,st4 ,bernard40 ,in #ahbf he was appointed one of the 8,engravers to his ,majesty40 ,later1 he exhibited at the ,royal ,academy some studies in water-colours from so-called ,druidical ,temples4 ,he died on the #bith of ,february1 #aheb1 aged eighty-three4 ,it is a curious fact that on his death1 and the vacancy caused in the ,academy by that event1 ,leslie proposed that the disabilities of engravers should be removed4 ,the chief work of ,john ,landseer was the bringing-up of his sons2 in this he was thoroughly successful1 and worthy of more ,illustration3 ,the ,highland ,shepherd's ,dog4 honour than is given to one who struggled valiantly towards an unselfish end4 ,this process of education must have been common to all the objects of attention and affection4 ,as to the eldest son1 but for his admirable skill with the burin1 feeling for animal character1 and pathetic treatment of his brother's pictures1 we should have known comparatively little about ,sir ,edwin or his works4 ,the thousands who go to exhibitions1 public galleries1 and private collections1 are few compared with those who day by day study the learned prints for which we are indebted to the skilful hand of ,mr4 ,thomas ,landseer4 ,this engraver1 trained as a draughtsman and anatomist under the advice of ,haydon1 and to work on copper under his father1 generally exercised his craft in mezzotint1 combining with this mode a considerable proportion of etching1 because that process is better adapted to the subjects he affected than the more severe mode of line-engraving4 ,he executed1 nevertheless1 plates in the 8line manner40 ,to him was attributed a cartoon named 8,samson forgives ,delilah10 ,no4 #cd1 in the exhibition of such works at ,westminster ,hall1 in #ahdc4 ,his first work in copper was a 8,study of the ,head of a ,sibyl10 after ,haydon1 #ahaf4 ,he engraved a considerable series of early designs by his brother ,edwin in 8,the ,sporting ,magazine10 #ahbc-f1 which1 including original works of his own in the same periodical1 were afterwards collected in a folio volume1 and published separately as 8,annals of ,sporting40 8,the ,sportsman's ,annual10 #ahcf1 owed much to the brothers ,edwin and ,thomas2 8,twenty ,engravings of ,lions1 ,panthers1 c410 #d41 #ahbc1 was likewise so composed1 and comprises many excellent specimens of the united arts of the authors4 8,stories about ,dogs10 #af41 #ahfd1 and 8,stories illustrative of ,instinct of ,animals10 #af41 #ahfd1 are amusing books for juvenile students1 and happily illustrated in their way4 ,probably his most important work1 not a production of his brother's1 is the fine mezzotint of ,mdlle4 ,rosa ,bonheur's 8,horse ,fair40 ,this1 with the series of etchings of monkeys styled 8,monkeyana1 or ,men in ,miniature10 which he designed1 drew1 and etched throughout1 secured the reputation of ,thomas ,landseer1 both as an original humourist and a translator of the works of others4 ,he was elected an 8,associate-,engraver of the ,new ,class0 in the ,royal ,academy in #ahfg1 after he had been before the public during more than fifty years4 ,in #ahgc he became an 8,associate-,engraver40 ,in #ahgf he was merged with the 8,a4,r4,a's410 and this distinction was abolished4 ,this artist died on the #bjth of ,january1 #ahhj4 ,he published 8,characteristic ,sketches of ,animals10 8,drawn from the life and engraved by ,t4 ,l410 #ahcb1 ,ten ,etchings1 illustrative of 8,the ,devil's ,walk10 #ahca1 8,flowers of ,anecdote10 with etchings1 #ahbi1 and in #ahga1 8,life and ,letters of ,william ,bewick10 a most readable and excellent book1 that is full of anecdotes and experiences4 ,most of the original sketches in pencil for 8,monkeyana0 are in the ,british ,museum4 ,as the life of ,mr4 ,charles ,landseer does not come within the scope of our purpose in this text1 it will be needless to say more about his career than that he became an exhibitor at the ,royal ,academy in #ahbh4 ,before this he travelled in the suite of ,lord ,stuart de ,rothesay in ,portugal and to ,rio de ,janeiro1 where he made a large number of studies and sketches1 which have been described with admiration4 ,he was elected ,a4,r4,a4 in #ahcg2 ,r4,a4 in #ahde2 ,keeper in #ahea4 ,this office ,mr4 ,c4 ,landseer1 having held it for an unusually long period1 resigned in #ahga2 he died ,july #bb1 #ahgi1 leaving an ample fortune1 which somewhat unexpectedly1 it is said1 accrued to him as the residuary legatee of his brother ,sir ,edwin4 ,mr4 ,c4 ,landseer was a large donor to the artists' benevolent societies2 #aj1jjjl4 fell to the ,royal ,academy for the 8,landseer ,scholarships10 as appointed and awarded by the ,president and ,council4 ,miss ,landseer 7,mrs4 ,c4 ,christmas7 exhibited occasionally at the ,royal ,academy and ,british ,institution4 ,the name of ,h4 and ,henry ,landseer frequently appears in the like manner2 this gentleman was a brother of ,john ,landseer1 a frequent contributor to the ,exhibitions1 especially to that of the ,society of ,british ,artists4 ,edwin ,henry ,landseer bore the second name1 in honour of his uncle4 ,at one period it was1 at least occasionally1 his practice to use all three of these names4 ,he made a sketch of ,count ,d',orsay's horse1 and signed it 8,e4 ,h4 ,l410 and1 in reply to a question why he did this1 said that his second name was ,henry1 but1 as his father had said one name was enough1 he had given up using it2 7see the ,catalogue of the ,royal ,academy ,winter ,exhibition1 #ahgd1 p4 #cj47 ,miss ,jessie ,landseer is a painter of considerable ability1 and an engraver1 who etched some of her brother ,edwin's works4 ,she is now1 #ahhj1 the sole bearer of the name of ,landseer in the family4 ,mrs4 ,mackenzie1 her sister1 to whom ,i am much indebted for materials used in this text1 practised art with characteristic success4 ,at the ,british ,institution ,exhibitions of #ahba1 #ahbb1 and #ahbc1 ,miss ,landseer1 ,mr4 ,e4 ,landseer1 and ,mr4 ,h4 ,landseer appeared together4 ,illustration ,illustration ,,chapter ,,ii4 ,a4,d4 #ahjb ,,to ,a4,d4 #ahag4 ,,edwin ,,henry ,,landseer--,,early ,,drawings--,,pictures ,,of ,,dogs--,,haydon',s ,,studio--,,mr4 ,,ruskin',s ,,criticism4 ,edwin ,henry ,landseer was1 as stated above1 born in #ahjb--the year before another animal painter of modern note1 ,mr4 ,t4 ,s4 ,cooper--and that event happened at his father's house1 ,no4 #hc1ab ,queen ,anne ,street ,east 7not ,turner's ,queen ,anne ,street71 and consequently at his death he was in his seventy-second year4 ,for the greater part of this long period he retained far more health and activity than are commonly vouchsafed to those who pass the allotted term of human life4 ,how that life was spent1 what are the pictures he produced1 and under what circumstances they were executed1 ,i have now1 to the best of my means1 to inquire and detail4 ,the best living authority avers that our subject was by no means diligent at school1 in fact1 he was 8always running away from his teachers1 and always drawing40 ,his artistic education was begun by his father at a very early age1 but not before natural ability had made itself evident in sketching and drawing4 ,training of the best sort was soon afforded by the judicious care of ,john ,landseer1 who directed his son's practice1 after the mode of the greatest masters1 to ,nature1 so that 8as soon as he could hold a pencil with some steadiness10 says ,mr4 ,r4 ,n4 ,wornum1 the biographer of ,landseer in the 8,english ,cyclopdia10 the boy was sent or accompanied into the fields to draw from sheep1 goats1 and donkeys2 and especially did he find space for this mode of study on ,hampstead ,heath1 where the creatures grazed or stood as nearly in a state of nature as civilization permits to any of their kind in ,england2 and certainly in that condition of their existence which is familiar to us4 ,the following account1 obligingly furnished to me by the late ,miss ,meteyard1 at once confirms and illustrates this early history3-- 8,in #ahdi--ahej the ,howitts resided in ,avenue ,road1 ,st4 ,john's ,wood1 and the father of ,edwin ,landseer no great way off4 ,william ,howitt and ,mr4 ,john ,landseer being well acquainted1 and often meeting in their walks1 would go and return together2 sometimes one way1 sometimes another1 but generally in the direction of ,hampstead4 ,one evening1 in passing along the ,finchley ,road towards ,child's ,hill1 ,mr4 ,landseer stayed by a stile of ancient look1 and said to his friend1 #8,these two fields were ,edwin's first studio4 ,many a time have ,i lifted him over this very stile4 ,i then lived in ,foley ,street1 and nearly all the way between ,marylebone and ,hampstead was open fields4 ,it was a favourite walk with my boys2 and one day when ,i had accompanied them1 ,edwin stopped by this stile to admire some sheep and cows which were quietly grazing4 ,at his request ,i lifted him over1 and finding a scrap of paper and a pencil in my pocket ,i made him sketch a cow4 ,he was very young indeed then--not more than six or seven years old4 ,after this we came on several occasions1 and as he grew older this was one of his favourite spots for sketching4 ,he would start off alone1 or with ,john 7,thomas87 or ,charles1 and remain till ,i fetched him in the afternoon4 ,i would then criticize his work1 and make him correct defects before we left the spot4 ,sometimes he would sketch in one field1 sometimes in the other2 but generally in the one beyond the old oak we see there1 as it was more pleasant and sunny4' 8,those acquainted with ,hampstead and its environs will know these two fields at once4 ,they lie nearly opposite what is now the ,finchley ,road ,station of the ,north ,london ,railway1 and open out into ,west ,end ,lane1 a little below ,frognal and the parish church4 ,the old oak is still standing1 though in withered decrepitude4#ac ,indeed1 till almost recent years1 this was a region of oak-trees1 and the whole neighbourhood was picturesque in the extreme4 ,but much of this beauty is now effaced4 8,belonging to ,sir ,john ,maryon ,wilson1 ,lord of the ,manor of ,hampstead1 and abutting the corner of ,west ,end ,lane1 these fields will1 at no late date1 be covered with #8villas' and other buildings4 ,but the fact that the site was ,edwin ,landseer's first studio may be preserved by in some manner naming it after the illustrious painter4 8,this interesting fact was told me by ,mr4 ,howitt whilst walking through these fields about twenty years ago4 8,,eliza ,,meteyard40 ,the representation of animals in that mode of life in which the creatures existed1 is that practice which1 being best understood by the common world1 would best sustain the objects of an artist who had to do with so many beasts which were but semi-barbarous1 and not in a state of natural fierceness and wildness4 ,the reader who wishes to see what was the merit of studies thus pursued1 is referred to the ,south ,kensington ,museum1 ,british ,art ,collection1 where a series of nine drawings1 executed at a very early period of his life by ,edwin ,landseer1 and duly marked with the dates of their production1 will not alone evoke admiration for the nature-given ability of the draughtsman1 but testify1 that with such ability to back the practice his father devised1 the son was fortunate in receiving that father's counsel4 ,further1 the observer will note how zealously the boy-pupil bent his mind to the task with all the pleasantness which attends the exercise of natural powers4 ,illustration3 ,the ,beggar4 ,this is enforced by ,miss ,meteyard's communication4 ,be it remembered that even such natural ability as that of ,landseer was not trained without strenuous and long-continued labours4#ad ,the same course was pursued by him in painting1 and he never1 during this early stage1 drew without nature2 not1 probably1 carrying the principle of study in this fashion to the virtuous excess of ,william ,henry ,hunt1 his contemporary1 of whom it is said that he would not draw a pin without a model2 a saying which implies the devotion of the man to truth1 rather than that he refused to avail himself of his own experience4 ,that the one would not paint a pin without a model is as true as that the other painted dogs best because he relied on nature from the first1 and succeeded most in painting them while he relied most on nature4 ,the drawings and sketches which are referred to were reserved by ,john ,landseer from a much larger number of his son's productions1 and by means of notes in that father's hand--notes written in affectionate pride1 indicating that some of them were made when the boy was but five years old--declare the progress and precocity of their subject2 so that we see how in the fifth year of his age ,landseer drew well1 and thoroughly studied animal character and humour4#ae ,landseer's precocity exceeded that of ,lucas van ,leyden1 one of the great artists whose early skill has made them wonderful1 and added interest to their after-glory4 ,lucas van ,leyden etched designs of his own when he was but nine years of age4 ,when he was fourteen appeared his famous print of ,mahomet killing ,sergius the ,monk4 ,when ,van ,leyden was twelve he painted 8,st4 ,hubert10 thereby beating ,edwin ,landseer in pictorial progress1 if not in precocity of draughtsmanship4 ,to have been so nearly neck-and-neck in early development with such a magnificent genius as that of ,lucas van ,leyden1 and to have maintained that remarkable position through a long life1 was a singular fortune4 ,van ,leyden1 however1 died at thirty-nine years of age4 ,sir ,edwin's years attained to nearly double that period4 ,at the sale of ,mr4 ,m4 ,w4 ,simpson's pictures1 in #ahdh 7,mr4 ,simpson was an early friend and patron of ,landseer's71 a considerable number of the artist's youthful productions were disposed of1 many of which were1 we believe1 painted at about this period of his career4 ,of those probably executed a little later1 but which for convenience sake we may as well refer to here1 if it were but to declare how these pictures have risen in value1 the following were examples3--8,a ,scotch ,terrier with a ,rat in his mouth10 sold for1 although not more than four inches by five inches1 sixty-eight guineas1 and would now1 twenty-five years later1 produce treble that sum4 ,this work has been engraved1 we believe1 by ,mr4 ,t4 ,landseer4 8,waiting for ,orders10 a full length portrait of ,mr4 ,simpson's coachman1 sold for thirty-two guineas4 ,this was not that portrait of a deer-hound which is now called 8,waiting10 and was engraved by ,j4 ,c4 ,webb4 8,the ,paddock10 an old chestnut horse1 and a white ,scotch terrier near it1 with a distant view of ,windsor ,castle1 sold for one hundred guineas4 ,if this could happen twenty-five years ago1 with regard to unexhibited pictures of comparatively small account1 what could be expected now1 although the artist was most prolific1 and not1 like ,mulready1 accustomed to confine his labours to a few canvases or panels8 ,for this question of the comparative prices of old and later pictures by ,landseer we shall enable the reader to form an answer for himself ere our task is complete4 ,among the minor works of the painter1 none have so much interest as examples of the etchings which were produced when he was little more than an infant4 ,the inherent ability of the man's mind is more distinctly and decidedly marked in these comparatively unimportant works than in those which received the benefit of years of study and of craft1 and were produced when his natural powers had been consummated by practice upon a score of pictures1 being the fruits of an intelligence developed to the utmost in that way which these very etchings1 more than any other means1 declare to be proper1 apt and natural to it4 ,edwin ,landseer continued the practice of etching1 and made the results of these labours proportionately as valuable and meritorious as his pictures4 ,it is not1 however1 to the products of his perfected skill that we now address our remarks1 so much as to the works of his infancy1 boyhood1 and youth4 ,as some of these juvenile productions are very rare1 and consequently little studied1 although much admired in artistic circles1 our readers will not be sorry to have an account of a collection of them1 including works duly annotated with the age1 of the artist at the time they were executed4#af ,the first etching on our list is said to be also that which was produced before all others by 8,master ,e4 ,landseer10 and to have been wrought five years ere he appeared in the ,royal ,academy display as an 8,honorary ,exhibitor20 doubtless the youngest of his class before or since that date4 ,it was done in his eighth year1 and one plate comprises several subjects1 thus3--#a4 ,the ,head of an ,ass2 which1 by the way1 is not thoroughly understood1 if one may so write of the production of so capable an artist2 for the head is not well articulated with the neck1 or complete in drawing as to placing the eyes on a level with each other4 ,yet it is full of truth in the rendering of texture and expression1 as the beast bites sideways at the large-leaved herbage2 his ears are standing well above his head1 and one eye is turned towards us in a very asinine fashion1 steadfastly watching1 while the other is directed downwards as the animal's wrenching nibble goes on4 #b4 ,is the ,head of a ,shorthorned ,sheep1 with the exact expression of nature in its ever mobile and quivering lips2 the eye is that of the timid creature1 yet seems to meditate4 ,the foreshortening of the horns is astonishing as the workmanship of a child-draughtsman4 #c4 ,is the ,head of a ,sheep in the act of browsing2 this calls for no remark1 except that of general admiration for its excellent drawing4 #d4 ,is the ,head1 on a larger scale than the others1 of a long-tusked1 deep-snouted ,boar1 while dozing in the sun4 ,besides these1 and probably of even earlier origin1 is a not very well-drawn ,head of a ,sheep in full-face2 here the eyes are a little out of drawing4 ,on this account1 although the defect may be due to the greater difficulty of the subject when so placed1 we are inclined to believe this etching to be more remote in execution than the above-described examples1 which are1 as the productions of a boy of eight years of age1 so far wonderful that they are really better drawn and more truly expressive than the work of most adult artists4 ,on the same plate with the sheep's head in front view is 7#a7 a ,donkey1 at full length1 so to say1 i4e41 standing on all fours1 and biting at his leg--a capital study1 full of action and spirit2 7#b7 a ,donkey and her ,foal4 ,on another plate are the heads of a lion and tiger 7see the last note71 in which the differing characters of the beasts are given with marvellous craft1 that would honour a much older artist than the producer4 ,the drawing of the tiger's whiskers--always difficult things to manage--is admirable in its rendering of foreshortened curves4 ,then comes a drawing of a young bull1 wrought by ,edwin ,landseer at nine years of age1 and etched by his by no means very distant senior brother ,thomas2 this brute's walk1 the peculiar shouldering1 lounging way of his kind1 rolling from shoulder to shoulder1 is here in perfection2 the bull whisks his tail lightly from side to side4 ,next is another specimen1 but on a larger scale than those which are above described4 ,it exhibits an extraordinarily finely drawn bull1 the foreshortening and handling of whose form is perfect2 his expression is that of a rigid conventionalist--for bulls are not unlike men in these matters of temperament--a thoroughly old-fashioned ,john ,bull4 ,behind this is a foreshortened view of a horse reclining1 and1 in the distance of the field1 which supplies a landscape-background to the composition1 is a goat4 ,the work of the young artist's tenth year shows great progress to have been made1 for he wrought the whole design1 and entirely etched the next plate1 which represents two groups of cattle placed one above the other on the paper1 which is disposed1 as artists say1 upright-fashion1 and of about the size and proportion of a large octavo book4 ,in the lower section is the representation of a ponderous beast1 couched at ease1 yet with all his strength drawn together by the attitude of resting with his limbs beneath his bulky body2 he has downward-pointing horns4 ,he is a surly 8oldish0 bull1 who breathes the breath of content in summer1 but with possibilities of fury in his irritable moodiness2 not a stupid bull1 although terrible when exasperated2 he is evidently apt to lose his temper on slight occasions4 ,behind this surly monster stands an intensely stupid brute1 one who is evidently given up to all sorts of self-indulgences1 and who in every possible fashion spoils himself2 his countenance is absolutely besotted2 he has a hog-like air1 and his very tail hangs heavily straight down from his back2 with these is grouped a maternal cow1 who is large1 if not like ,byron's 8,dudu10 8languishing and lazy40 ,executed in the same year of the draughtsman's life we have another group1 drawn on the same plate with the above-named studies of animals4 ,this is a bovine family4 ,maternity itself appears in the shape of a stumpy-footed cow2 fatherhood1 in the portly figure of a bull whose knit brows and self-satisfied look about his chaps1 his broad bowed neck and vast chest1 are honoured by imitation in the little bull-calf which reclines before its parents1 ruminating1 if not meditating1 and 8the picture of his father40 ,produced at about the same period as the last is an admirable etching of a cow and bull-calf4 ,the former1 by the leanness of her haunches and flanks1 shows the stress of the debt of milk she is paying to the latter1 or to the more exacting pail3 on her back a ridge of spines is distinct2 large aspiring promontories of bone crop up in the rearward regions of the milky mother1 not unlike1 in their ruggedness and the slopes which form their sides1 the steep forms of granite mountains as they are thrust through sedimentary deposits of a later date4 ,at her feet lies the blunt-nosed bull-calf of her heart4 ,next1 in the same collection1 and said to be of still earlier origin1 comes a much larger production1 etched by ,mr4 ,thomas ,landseer from a drawing by his brother1 our subject4 ,this noble plate represents an ,alpine mastiff of the great ,st4 ,bernard breed1 which had been in the second decade of this century imported to this country by a gentleman of ,liverpool4#ag ,illustration3 ,the ,common in ,winter4 ,an inscription at the foot of the plate informs us that1 at a year old1 this magnificent creature was six feet four inches long2 and1 at the middle of his back1 stood two feet seven inches in height4 ,the note in question adds that the animals of this breed are employed by the fraternity of ,mont ,st4 ,bernard1 not only in the rescue of travellers from snowdrifts1 in which the latter may have been engulfed1 but as beasts of burthen1 and that they are capable of carrying a hundredweight of provisions from the town on which the monks rely1 to the hospice1 a distance of eighteen miles4 ,the drawing was done by ,sir ,edwin ,landseer when he was about thirteen years of age1 that is1 in the year #ahae4 ,it is really one of the finest drawings of a dog that has ever been produced2 we do not think that even the artist at any time surpassed its noble workmanship4 ,in its form are reproduced all the characteristics of such a beast4 ,the head1 though expansive and domical in its shape1 is small in proportion to that of a ,newfoundland dog2 the brow is broad and round2 the eyes1 according to the standard commonly assumed for large dogs1 are far from being large1 and are very steadfast in their look1 without fierceness2 the ears are pendulous1 placed near to the head1 and fleshy in substance4 ,this ,st4 ,bernard dog has a great hanging jowl and finely formed nose2 which last1 as is commonly the case with creatures whose sense of smell is delicate1 tapers slightly to the nostrils4 ,the chest is broad and square1 but by no means heavy2 the forelegs are brawny1 yet elegant1 with broad and firmly placed feet4 ,the body is comparatively long and rather slender in its contours1 the belly is hollow1 and the hind legs nervously lean and remarkably muscular4 ,withal1 this beast has a grave and dignified walk which is pleasant to see4 ,next1 and returning to early examples in the same collection1 we have an etching of some sheep1 8,southdowns10 which is comparatively unsuccessful4 ,after this comes the 8,head of a ,ram10 of about half life-size1 with doubly voluted horns1 pointing downwards4 ,to an artist's eyes1 or those of one who is capable of truly appreciating this superb drawing1 the real proof of the draughtsman's power is to be seen in the foreshortening of the twisted and wreathed horns2 the execution of these parts is marvellous for precision and 8clearness0 of line1 for the elaborate involuting of the protuberances1 and the manner in which perspective of very delicate and intricate nature has been expressed by the deft craftsmanship4 ,a ,group of ,lions in a hollow on a mountain side supplied the subject of the next example in our series of illustrations4 ,etched by ,thomas ,landseer is a copy of a retriever lying down1 and behind him another dog1 whose features recall 8,brutus10 the artist's very old favourite1#ah and the subject of several works by him1 to one of which we elsewhere more particularly allude4 ,next are heads of a pointer and a spaniel1 both of great beauty as to the execution--an extraordinarily brilliant production of the engraver4 ,here we shall place the fore-part of a tiger1 crouching and seeking prey4 ,finally1 two admirable prints1 the one representing a gaunt ,french hog1 standing munching before its sty1 and having an elaborate landscape background4 ,a plate of this was published with a slight modification1 and styled 8,a ,french ,hog1 the property of ,mr4 ,bacon1 of the ,black ,boy ,inn1 near ,chelmsford40 ,by way of fellow appeared 8,an ,english ,hog40 ,the ,french ,hog is a ludicrous beast1 antithetical to its companion subject1 and one of the most uncouth1 long-legged1 swift-looking1 sharp-nosed1 flat-sided1 hollow-bellied of animals1 covered with bristles that recall a porcupine's quills1 which are gathered in lines on his flanks1 and project from his limbs like ragged old thatch on a ruined cottage roof4 ,the ,english ,boar looks a mere round barrel of lard mounted on two pairs of wonderfully short legs1 with a head stuck on one of its ends1 and a tail attached to the upper part of the other4#ai ,almost every place where animals might be seen to advantage was visited by ,edwin ,landseer during this period1 the ,tower among them4 ,at this time was observed the incident which furnished a capital subject of 8a lion's and a dog's friendship10 which is reproduced1 with three others1 in ,thomas ,landseer's book1 8,twenty ,engravings of ,lions1 ,panthers1 c40 ,the story is briefly this3 a lioness1 an orphan of course1 had been captured in very early cub-hood and brought on board ship1 and was suckled by a bitch1 for whom1 although she soon surpassed her nurse in size and strength1 she ever retained the utmost affection1 and some respect4 ,the attached couple being shown in ,exeter ,change menagerie1 attracted much admiration1 and were the source of delight to thousands4 ,the other three works by ,edwin ,landseer in this collection are 8,a ,combat between a ,lion1 ,tiger1 and a ,panther1 contending for a dead ,fawn10 8,a ,tiger tearing the carcase of an ,indian ,bullock10 and 8,the ,frontispiece40 ,spilsbury1 an artist of considerable ability1 contributed modifications of designs by ,rubens1 ,rembrandt1 ,stubbs1 and others2 there is likewise one by ,t4 ,landseer1 representing 8,a ,tigress defending her ,cubs from a ,snake40 ,ere this period of his studies was past1 8,master ,edwin ,landseer0 justified so much public interest that his doings were chronicled by his father2 and in ,elmes's well-known 8,annals of ,art0 he was referred to as a promising student4 ,some of his early studies appeared in 8,the ,sporting ,magazine10 whence they were1 as stated above1 collected and republished4 ,incessantly he drew and painted from nature1 without reference to copies2 in this was the source of his knowledge of life1 truth in design1 and mastery of the forms of animals1 and of their varied coverings4 ,the first appearance of the painter1 then only thirteen years of age1 occurred in #ahae1 and is thus recorded in the ,catalogue of the ,royal ,academy ,exhibition of that year3 8,master ,e4 ,landseer1 ,h42 #cc1 ,foley ,street40#bj ,the subjects of the pictures contributed to the annual gatherings of works of art indicate very clearly what had been the youthful painter's studies4 ,as is not commonly the wont of young artists1 8,master ,edwin ,landseer0 did not aspire to a subject4 ,nothing heroic1 pathetic1 or dramatic came from his easel at that date1 but simply two portraits of animals4 ,they are thus described3--8,no4 #ddc4 ,portrait of a ,mule1 the property of ,w4 ,h4 ,simpson1 ,esq41 of ,beleigh ,grange1 ,essex20 and1 8,no4 #ehd4 ,portraits of a ,pointer ,bitch and ,puppy40 ,the latter was painted for the owner of the mule1 and both pictures appeared among those early works of ,sir ,edwin's which were1 as before stated1 sold in #ahdh1 after the death of ,mr4 ,simpson4 ,james ,ward1 being essentially a cattle painter1 these examples are important1 because they are the first seriously studied pictures by the first ,english painter who1 since ,hogarth1 had painted a dog with due regard to individuality and character1 to say nothing of pathos and dramatic expressiveness1 passion1 energy1 and humour4 ,hogarth had painted several dogs with admirable skill1 e4 g41 the telling portrait of 8,trump0 in his own likeness1 now in the ,national ,gallery1 and there are dogs in 8,a ,rake's ,progress40 ,john ,wooton was the fashionable dog painter of ,hogarth's day1 who did many canine portraits1 notably that of ,horace ,walpole's 8,patapan10 as recorded in his master's letter to ,mann1 ,ap4 #be1 #agdc4 ,stubbs painted several capital dogs1 as accessories to his horses4 ,both ,gainsborough and ,romney used dogs in like situations4 ,nevertheless1 it is true that between ,snyder's and ,landseer's days the 8friend of man10 as an independent subject of study1 was neglected by artists4 ,another artist of great note was beginning to make a mark which is likely to grow deeper as the world grows older1 for in the man were many fine powers of art and criticism4 ,he was closely associated with our subject4 ,this was ,leslie1 who arrived in ,england in #ahaa1 and was at this time1 #ahae1 residing next door to ,flaxman1 i4e41 at ,no4 #h1 ,buckingham ,place1 or ,street1 ,fitzroy ,square4 ,in #ahaf ,leslie1 eight years ,landseer's senior1 made a bold attempt with a congenial theme from ,english poetical history1 a class of subject which he affected warmly1 being 8,the ,death of ,rutland10 from 8,the ,third ,part of ,henry ,,vi410 ,act i4 ,scene #c1 where ,clifford murders the youth4 ,edwin ,landseer sat for the young victim1 kneeling1 with a rope round his wrists1 being then 8a curly-headed youngster1 dividing his time between ,polito's wild beasts at ,exeter ,change and the ,royal ,academy ,schools40#ba ,the picture1 after appearing at the ,academy in #ahaf 7,no4 #eah71 was sent to ,america1 and purchased by the ,academy of ,philadelphia1 where it probably still is4 ,it contains a very early portrait of our painter4 ,but this was not the first likeness of ,landseer exhibited2 for 8,master ,j4 ,hayter10 afterwards a portrait-painter of considerable note and some cleverness1 although then but a youngster1 painted 8,master ,e4 ,landseer0 as 8,the ,cricketer10 and sent the work to the ,royal ,academy in #ahae 7,no4 #dej74 8,master ,j4 ,hayter0 died1 an old man1 not many years ago4#bb ,that an artist so eminent as ,landseer should have first presented himself to the public1 or by his father have been so presented1 in the ranks of the honorary exhibitors1 is curious4 ,the suffix 8,h40 to the name1 and his being included with the class in question1 leaves no doubt on the subject4 ,it is understood that pictures by exhibitors of this class are not for sale1 and the privilege of thus showing works is1 or was1 considered a compliment to persons of distinction4 ,thus we find among the honorary exhibitors of #ahae1 ,sir ,george ,beaumont2 the ,illustration3 ,the ,eagle and ,dead ,stag4 ,rev4 ,w4 ,holwell ,carr1 a benefactor to the ,national ,gallery2 ,j4 ,britton1 the antiquary2 and the ,hon4 ,mary ,j4 ,eden4 ,that a picture by a boy of twelve should be so exhibited is among the curiosities of ,academy displays4 ,though in itself more meritorious1 it is not less remarkable1 than the fact that ,george ,morland1 in #aggh1 sent to the ,academy a picture drawn with a poker1 or that similar gatherings formerly comprised flower-pieces in human hair1 and the like 8works of art40 ,the year #ahaf witnessed the second appearance of our painter1 and with a picture the title of which affirms his previous practice4 ,this happened at 8the ,great ,room in ,spring ,gardens10 then1 and long before1 a frequent place of exhibition1 not unlike the present ,egyptian ,hall1 ,piccadilly1 that could be hired for all sorts of shows1 and afforded many curious illustrations of the uses to which such a gallery could be put4 ,in the year in question this 8,great ,room0 was in the occupancy of the ,society of ,painters in ,oil and ,water ,colours--that is1 the same association which now flourishes as the ,society of ,painters in ,water ,colours1 its original title1 which had for a time given way to the first-named designation1 in consequence of a difficulty about dividing profits among the members1 a considerable number of whom seceded1 leaving those who remained unable to cover the walls with pictures4 ,in this strait the remaining members invited a certain number of oil painters to contribute to the exhibition1 and called the persons who consented to do so ,associate-,exhibitors4 ,the seceders comprised ,j4 ,j4 ,chalon1 ,de ,wint1 ,gilpin1 ,hills1 ,reinagle1 and ,pugin the elder4 ,david ,cox had joined the ,society shortly before1 and 8came to the rescue with a host of pictures20 but these did not suffice1 and the expedient of inviting ,associate-,exhibitors was employed to increase the popularity of the exhibitions4 ,it is noteworthy that among these 8outsiders0 who were taken in as stop-gaps was ,william ,henry ,hunt1 one of the most artistic of ,english painters2 he made his dbut to the ,society1 of which he became one of the most distinguished members1 in #ahad1 with two landscapes in oil4 ,hunt1 like ,landseer1 had previously exhibited in the ,royal ,academy2 he did so in #ahjg1 when ,sir ,edwin was five years of age4 ,the ,society continued to use1 until #ahbd1 its style of the times of difficulty1 and thereafter reverted to its former title and limits4 ,it is worthy of note that this interval of disturbance had much to do with the bringing out of painters so diverse in their modes of thought as ,hunt and ,landseer4 ,haydon also found a field for the exhibition of his power in the gallery of the divided ,society4 ,in #ahad the last-named artist sent there 8,the ,judgment of ,solomon10 a picture which is admitted to be the best he painted1 and to it the attention of ,landseer's biographer is directed1 as having probably been purchased1 as it was certainly long retained1 by his pupil in memory of ,haydon4 ,the work passed from ,sir ,edwin's possession to that of ,lord ,ashburton4 ,the connection between the ,landseers and ,haydon is close4 ,haydon was1 at least in some degree1 ,edwin ,landseer's third teacher1 if we put ,nature before his father4 ,in his peculiar way1 which has to be taken into account ere we can appreciate the true sense of the following passage1 ,haydon describes the first entry of ,john ,landseer's sons to his charge3-- 8,in #ahae1 ,mr4 ,landseer1 the engraver1 had brought his boys to me and said1 #8,when do you let your beard grow1 and take pupils8' ,i said1 #8,if my instructions are useful and valuable1 now1' #8,will you let my boys come8' ,i said1 #8,certainly4' ,charles and ,thomas1 it was immediately arranged1 should come every ,monday1 when ,i was to give them work for the week4 ,edwin took my dissections of the lion1 and ,i advised him to dissect animals--the only mode of acquiring a knowledge of their construction--as ,i had dissected men1 and as ,i should make his brother do4 ,this very incident generated in me a desire to form a school2 and as the ,landseers made rapid progress1 ,i resolved to communicate my system to other young men1 and endeavour to establish a better and more regular system of instruction than even the ,academy afforded40 ,it would appear from this account that ,edwin ,landseer was not a pupil of ,haydon's in the sense of that term1 which is applicable to his brothers' studies1 ,this notion seems to be supported1 if not confirmed1 by what is recorded hereafter4#bc ,it will not be forgotten that long before this date all the ,landseers had made very considerable progress under their father1 and so far as regards ,edwin this is affirmed by ,haydon4#bc ,the pupils who followed the ,landseers to ,haydon's studio were1 ,bewick1 son of an upholsterer of ,darlington1 who died in #ahff1 without making any deep sign in art1 and is the subject of ,mr4 ,t4 ,landseer's biography1 above mentioned2 ,harvey1 the author of so many thousand designs for woodcuts1 familiar to all headers of the 8,penny ,magazine10 and the by no means happy illustrator of the 8,arabian ,nights20 ,edwin ,chatfield1 who died young2 and ,george ,lance1 the popular fruit-painter4 ,of ,thomas ,christmas1 another of ,haydon's pupils1 we speak elsewhere4 ,before the ,landseers studied under ,haydon's directions1 ,charles ,lock ,eastlake1 the late ,president of the ,royal ,academy1 had received invaluable counsel from a man whose broken career and hapless fortunes--which were1 doubtless1 in no small degree1 of his own producing--are among the sad facts in the history of ,english painting4 ,haydon goes on3 8,all these young men looked up to me as their instructor and their friend4 ,i took them under my care1 taught them everything ,i knew1 explained the principles of ,raphael's works in my collection of his prints1 and did the same thing over again which ,i had done to ,eastlake1 without one shilling of payment from them1 any more than from him4 ,they improved rapidly4 ,the gratitude of themselves and of their friends knew no bounds40 ,so far1 so good2 what follows of the writer's career concerns us not now4 ,haydon was painting 8,christ's ,entry into ,jerusalem10 and occupied a position which is rather difficult for men of another day fairly to appreciate4 ,he had finished1 with extraordinary clat1 8,the ,judgment of ,solomon10 and1 on account of the success this obtained1 fancied himself at the top of the tree4 ,he had certainly begun well for himself1 and his earnest advocacy of the ,elgin ,marbles was honourable to him4 ,to this advocacy he attributed an importance that was in excess of the fact1 although it was of great service4 ,he was a valuable champion in art by means of these marbles1 and the studies which he made his pupils produce from them1 to say nothing of the effect of his introducing to other countries casts of the statues1 and promoting the bringing to ,london several of the ,cartoons of ,raphael1 which his pupils ,charles and ,thomas ,landseer drew manfully at the ,british ,institution4 ,edwin ,landseer made studies from the same works4 ,the catalogues of pictures exhibited in various galleries show that ,edwin ,landseer was at this period domiciled with his father and brothers1 and ,mr4 ,henry ,landseer1 his uncle1 at #cc1 ,foley ,street or ,foley ,place4 ,a few doors off1 at ,no4 #cj1 lived ,thomas ,campbell1 a fellow-lecturer with ,john ,landseer at the ,royal ,institution1 where he delivered 8,discourses on ,english ,poetry40 ,this house was of much superior character to that which its present appearance indicates2 the whole of the ,foley ,street region has 8gone down0 in the world within the writer's memory of forty years' duration4#bd ,haydon's studio1 at #da1 ,great ,marlborough ,street1 was near for a youth's walk2 and that artist1 with ill-concealed difficulties gathering around him1 struggled yet against them without a sign of failure4 ,burlington ,house1 where the ,elgin marbles were placed while critical combats were waged about them ere they found a home in the ,british ,museum1 was close at hand1 and the noblest academy for study4 ,independently of ,haydon's declaration1 there can be no doubt that the ,landseers derived immense benefit from the study of those models1 even if they have shown nothing that can be directly referred to them4 ,it is in the formation of style that one would expect benefit from these types1 rather than in mere copying their characteristics4 ,we fancy that in ,landseer's dogs1 such as 8,a ,distinguished ,member of the ,humane ,society10 8,suspense10 and wherever breadth and grandeur of elements are involved1 are results of impressions thus made4 ,we cannot conceive a student who is familiar with these examples losing the ideas he had obtained from them4 ,not only did these works afford lessons which occurred fortunately with studies from ,nature1 but the advice of ,haydon1 that his pupils should dissect1 was the sure guide to success4 ,having received such instructions from ,john ,landseer as fixed ,nature in his mind as the ever-present and indisputable director2 and from ,haydon the injunction to study the marbles as models of style1 together with counsel and aid in dissecting human and leonine subjects1 ,edwin ,landseer's powers were in the fairest way of development4 ,ability and energy must have done the rest2 they were all-sufficient to bring that reputation which is so widely spread4 ,to a mere painter of portraits of animals1 no such fame1 no such abundance of thanks as are due to ,landseer would have accrued4 ,a picture of ,mr4 ,so-and-,so's favourite mastiff1 nay1 a mere likeness of a favourite lap-dog1 would1 except to a few of the enthusiastic1 have been nought to mankind2 worse than nought for the reputation of the painter who failed to impart pathos and character to his productions1 and so make1 in one of them1 the hat and gloves of a gentleman not unwelcome to ,illustration3 ,the ,rabbit ,warren4 those who looked for nobler works from such masterly hands4#be ,yet there were not wanting men who1 when the hat and gloves in question occupied prominent positions in a fine picture by ,landseer1 demurred greatly to his expending time on these objects1 which had been better otherwise employed4 ,to a hat and gloves could not1 by any process known to humanity1 be imparted either pathos or character4 ,even ,edwin ,landseer failed in this1 and there were those who distinguished between the more heartily wrought and truly pathetic pictures1 and such representations of domesticities4 ,the distinction which many professed to draw between these pieces of genre painting and 8,a ,dialogue at ,waterloo10 which represents the ,duke of ,wellington and his daughter-in-law1 was that in the one the painter's heart was set open by his subject1 whereas in the others there was nothing to open the heart4 ,although produced with but few years between them1 the style of the former is weak1 timid1 and thin2 that of the latter1 solid1 masterly1 and broad4 ,it has been said1 doubtless by way of apologizing for the shortcomings of the domesticities1 that the inspiration of the inferior works was a graceful one4 ,although later in its origin1 we saw more of the studies to which we just referred in the 8,waterloo10 than in the intermediary genre pictures4 ,here1 then1 are examples 7#a7 of mere portraiture1 lacking pathos1 and failing even in ,landseer's hands2 7#b7 a pathetic1 grand subject moving him when the ,duke of ,wellington was in question and ,waterloo to aid1 in forming a contrasted subject with that of a lady's chamber and other scenes of his work4 ,experts could hardly believe their eyes when the unfortunate pictures appeared with ,landseer's name to them4 ,it was not1 then1 in mere portraiture that success was to be looked for when neither pathos nor character are present4 ,yet these pictures are recognized as the failures of our artist2 and we refer to them here1 because they are no less antipathetic and antithetical to many others which we have yet to describe1 than to the studies we have just indicated4 ,as to ,landseer's studies1 ,mr4 ,ruskin wrote1 in 8,pre-,raphaelitism10 p4 #cj3--8;,edwin ,landseer is the last painter but one whom ,i shall name3 ,i need not point out to any one acquainted with his earlier works the labour1 or watchfulness of nature they involve1 nor need ,i do more than allude to the peculiar faculties of his mind4 ,it will at once be granted that the highest merits of his pictures are throughout to be found in those parts of them which are least like what had been before accomplished2 and that it was not by the study of ,raphael that he attained his eminent success1 but by a healthy love of ,scotch terriers40 ,undoubtedly ,landseer learned next to nothing from ,raphael4 ,in the next chapter we shall show that he enjoyed facilities for studying the 8,cartoons10 i4e4 those examples of ,raphael's art which are greatest in style4 ,by means of the ,elgin marbles ,landseer was imbued with that care for style which distinguished his best works1 from 8,fighting ,dogs10 to the 8,swannery ,invaded10 one of his earlier1 and one of his later pictures4 ,illustration ,illustration ,,chapter ,,iii4 ,a4,d4 #ahah ,,to ,a4,d4 #ahbd4 ,a ,,fully-,,developed ,,painter--,,fighting ,,dogs--8,,the ,,cat',s ,,paw0--,,first ,,visit ,,to ,,the ,,highlands4 ,having now brought our artist to the verge of his career2 shown the course of his studies2 and indicated that quality of his genius which seems to have been most effective in making him what he was1 we have next to set forth1 in chronological order1 some of his more remarkable works1 and to describe their production as we should relate the history of special incidents in the life of a man of action4 ,in one sense pictures are the actions of a great artist3 he lives in them1 and his life is of them4 ,we said that the first exhibited works of ,edwin ,landseer1 8,portrait of a ,mule10 and 8,portraits of a ,pointer ,bitch and ,puppy10 were sold with the collection of ,mr4 ,simpson1 the artist's early friend2#bf the next painting that comes into notice is the portrait of 8,brutus10 the property of the same gentleman1 which was exhibited in #ahag4 ,this was1 we believe1 the little circular picture originally intended for the top of a snuff-box1 and representing the head of a dog in full face1 or nearly so1 which was afterwards very finely engraved in #ahah by ,mr4 ,t4 ,landseer2 the print styled 8,old ,brutus40 8,brutus0 is depicted with a grizzled muzzle1 ears not closely cropped1 and having eyes expressing habits of consideration1 as if he had seen the world and profited by experience2 a hawk's bell hangs beneath his chin4 ,after the wont of dogs and men1 this 8wise and venerable0 8,brutus0 had a son1 another 8,brutus10 who became a very much-favoured and frequent model of ,landseer's2 the animal was a gift from ,mr4 ,simpson to the painter4 ,this son 8,brutus10 whom we must1 for distinction's sake1 call the second of the name1 whose portrait appears in an early 8,sportsman's ,magazine10 was a rough-hided1 very sagacious-looking white dog1 with a short tail1 and signs1 so far as strangers were concerned1 of a shorter temper4 ,thus we judge by his portrait1 as it was taken1 whole canine generations since 8,brutus ,,ii40 appeared4 ,the picture was engraved by ,mr4 ,t4 ,landseer1 having its scene in a stable1 the floor of which is strewn with straw2 a pipe and a bone are there to tell their tales4 ,the canine inmate is a wiry-looking creature1 tough1 and light in limb1 yet1 withal1 having every muscle instinct with life1 and in courage such as makes him anything but loth to begin a combat4 ,he has seemingly heard1 or smelt1 for he cannot yet see1 the approach of a stranger of his own kind1 whose muzzle is visible to us by means of the stable door being a few inches ajar1 8with the chain up10 as folks say4 ,this stranger is a representative of that ill-conditioned race1 the bull-dog breed--the so-called 8bull-poop0--much loved by ,staffordshire colliers1 whose wives1 such is the local legend1 are not seldom known to suckle the 8poop0 with the baby2 although the former is1 out of the ,black ,country1 much abhorred by many men and dogs4 ,of the latter class1 8,brutus ,,ii40 is evidently one1 and we may thank the chain of the stable-door for keeping the animals apart2 but for this1 there would have been a dire 8scrimmage0 between the champions4 ,we believe the same plate which supplied 8,the ,sportsman's ,magazine0 with this capital illustration was again used for the collected series of 8engravings0 before referred to from the works of our artist4 ,the print is one of the most masculine specimens of its kind1 and full of spirit and character4 ,edwin ,landseer made a great pet of 8,brutus ,,ii410 taught him tricks1 and very often painted him4 ,in the ,anderdon ,collection of ,royal ,academy ,catalogues1 which is now in the ,print ,room1 ,british ,museum1 is a copy of a letter1 formerly in the possession of ,dawson ,turner1 which is characteristic of a young artist1 and1 as referring to this important picture of 8,brutus10 may well find a place here4 ,it was1 no doubt1 directed to ,mr4 ,w4 ,w4 ,simpson3-- 8,foley ,street1 ,aug4 #ab1 #ahah4 8,,dear ,,sir1--,i must beg to apologize for detaining the pictures so long1 but hope you will now receive them safe1 and that you will like the #8,brutus1' as it has generally been admired1 and thought the best thing ,i have done on so small a scale4 ,i am exceedingly obliged to you for your kind invitation1 but am doubtful whether ,i shall be able to avail myself of the pleasure this season4 8,i remain1 8,yours truly1 8,,edwin ,,landseer4 8,p4,s4 ,i shall get on with your other picture as fast as possible4 ,i think you left the subject to my choice40 ,at the foot of the paper is a sketch of a greyhound chasing a hare1 designed with great spirit4 ,to this the following memorandum refers3 8,i don't mean this for the subject40 ,the signature comprises the usual flourish which accompanied ,landseer's autograph2 the handwriting is very neat and clear4 ,the 8,portrait of ,brutus0 showed a white dog1 lying at the full length of his chain1 near a red earthenware dish4 ,it is very small2 and was sold1 with the pictures of ,sir ,john ,swinburne1 ,june1 #ahfa1 for seventy guineas4 ,the bidding began at five guineas1 and rose by one guinea at a time4 ,it will be observed that we are now writing of ,edwin ,landseer as an accomplished artist2 yet1 strange as it may seem1 it is true that only the year before this picture of 8,brutus0 was exhibited1 he was admitted a student in the ,royal ,academy4 ,this is generally considered one of the earlier steps in an artistic career4 ,so much1 however1 did our artist differ from most students1 that he was an exhibitor before entering the ,academy1 and his progress had been carefully recorded in one of the periodicals of the day4 ,there is a pleasant story told of ,fuseli1 the ,keeper1 and ,landseer's entry to the ,academy as a student1 then a bright lad1 with light curling hair1 and a very gentle1 graceful manner1 and much manliness withal4 ,he was a diligent student2 and ,fuseli would look round the room for him1 and1 alluding to the picture of 8,brutus10 exhibited that year1 say1 8,where is my little dog boy80 ,in the year #ahag was exhibited the 8,portrait of an ,alpine ,mastiff10 which we have noticed while giving an account of early drawings and etchings by and after ,edwin ,landseer4 ,this drawing1 and two others1 were exhibited with works by the ,society of ,painters in ,oil and ,water ,colours1 at the gallery in ,spring ,gardens4 ,it is doubtless that which has been engraved by ,mr4 ,t4 ,landseer in #ahah4 ,the year #ahah is noteworthy as constituting an important epoch in the life of our artist4 ,he then produced a picture from which the present height of his reputation might have been predicted4 ,this appeared at the before-mentioned exhibition of the ,society of ,painters in ,oil and ,water ,colours1 ,spring ,gardens1 entitled 8,fighting ,dogs getting ,wind0 7,no4 #adj72 it excited an extraordinary amount of attention4 ,the work was purchased by ,sir ,george ,beaumont1 and this fact was accepted as giving a stamp of the higher order of distinction to the artist1 who immediately rose in fame1 and became 8the fashion10 in a way in which those persons will easily realize who have read ,haydon's account of his own and ,wilkie's positions in the world under similar circumstances4 ,here is a criticism on 8,fighting ,dogs getting ,wind10 from 8,the ,examiner10 p4 #bfi1 #ahah1 in a review of the exhibition of the ,society of ,painters in ,oil and ,water ,colours4 ,after refering ,illustration3 ,return from ,deer ,stalking4 to the merits of certain landscapes which commanded the critic's admiration1 we are told1 8,their pictures alone would elevate the character of this ,exhibition2 but when we add the #8,fighting ,dogs getting ,wind1' by our ,english ,,schneiders1 young ,mr4 ,e4 ,,landseer1 and the masterly ,drawings and ,paintings by ,mr4 ,,haydon1 we give overflowing evidence of the justness of our preference of this ,exhibition4 ,it behoves the ,keeper of the room to be careful how he admits any animals of the same species before the #8,fighting ,dogs1' when we recollect the exciting effect which a #8,mastiff' by this young ,animal ,painter had last year upon a canine judge admitted to the room4 ,we hope that ,e4 ,,landseer will not deviate from his large touch into a littleness of style4 ,his may be called the great style of ,animal ,painting1 as far as it relates to the execution and colour2 and the natural1 as far as it concerns their portraiture4 ,did we see only the ,dog's collar1 we should know that it was produced by no common hand1 so good is it1 and palpably true4 ,but the gasping1 and cavernous1 and redly-stained mouths1 the flaming eyes1 the prostrate ,dog1 and his antagonist standing exultingly over him1 the inveterate rage that superior strength inflames but cannot subdue1 with the broad and bright relief of the objects1 give a wonder-producing vitality to the canvas40 ,the writer was evidently deeply moved4 ,it is impossible to refrain from smiling at the thought that ,leigh ,hunt's1 or his brother's1 influence in respect to 8,the ,examiner0 was thus represented with regard to pictures by their friend ,haydon and ,edwin ,landseer4 ,the painting is still at ,coleorton2 it was ,no4 #dbb1 in the ,royal ,academy ,winter ,exhibition of #ahgd4 ,it has not been engraved4 ,of one of ,landseer's contributions to the ,royal ,academy in #ahah ,wilkie thus wrote to ,haydon3 8,geddes has a good head4#bg ,etty has a clever piece1 and young ,landseer's jackasses are also good40#bh ,the picture thus referred to as by ,landseer is styled 8,portrait of a ,donkey40 ,wilkie's memory tricked him about it1 but his testimony of admiration is valuable4 ,in these days the ,british ,institution received superior attention from ,landseer3 and the ,academy gatherings--where1 however1 his dbut was made--rarely contained his more important productions4 ,lady ,charles ,wellesley has a picture of this year1 a thoroughly characteristic example of ,landseer's then current mode1 which was mounted for the ,hon4 ,h4 ,pierrepoint1 but not sent home1 and when inquired for could not be found4 ,it is called 8,white ,horse in a ,stable40 ,in #ahdb1 many years after its disappearance1 the work was discovered in a hayloft1 where it had been hidden by a dishonest servant1 and was sent by ,sir ,edwin with a letter to ,mr4 ,pierrepoint1 stating that the white horse 8was the first of that complexion ,i ever painted10 and that he had not retouched it1 thinking 8it better when my early style unmingled with that of my old age40 ,in answer to a question as to price1 he mentioned that the sum he was accustomed to receive at the time of painting this picture was ,ten ,guineas3 see the ,royal ,academy ,winter ,exhibition ,catalogue1 #ahgd1 p4 #bd4 ,in #ahah a satirical print was published in ,elmes's 8,annals of the ,fine ,arts10 representing ,haydon and his pupils drawing from ,raphael's ,cartoon of 8,elymas struck blind10#bi which1 as ,haydon boasted1 had by his means been brought to ,london and placed for the use of artists in the ,british ,institution4 ,this print is a rough etching1 and entitled 8,a ,master in the ,grand ,style his ,pupils20 it represents the interior of the gallery with three enormous canvases placed before the ,cartoon1 besides a smaller one and a portfolio1 at which last a boy is drawing one of the heads on our right of ,raphael's work4 ,five copyists are busy1 two of whom are identified by their portraits and inscriptions on their canvases1 as1 #a1 ,bewick1 a 8romantic0 looking youth1 who assumes 8the grand style0 of drawing1 pressing his lips together demonstratively after the fashion of poor ,haydon himself1 while he steps backwards on the rickety platform and draws at arm's length1 sustaining his right elbow with his left hand2 his inner mind is evidently divided between his studies and concern for his personal appearance1 which is intended to be more than commonly beautiful by means of long curled locks tucked behind his ears1 and a falling shirt-collar2 his boots are of the smallest4 ,the next artist1 #b1 is ,thomas ,christmas1 one of ,haydon's pupils1 wearing very big boots1 his hair and collar being similar to those of his neighbour4 ,the figures working at the smaller canvases on our left do not concern us here2 but the portrait of a lad1 who1 perched on a ladder1 measures with a pair of compasses the features of one of the faces in ,raphael's work is important1 as it probably represents ,edwin 7see below7 or ,charles ,landseer1 the younger two of ,haydon's pupils1 in the figure of a modest-looking1 neatly-dressed boy4 ,in the air is ,haydon1 wearing his broad-brimmed hat and spectacles1 busily flying about as a bird and blowing his own trumpet as 8,director of the ,public ,taste40#cj ,the joke is heightened by the publication line of the print stating that it was 8,published for the ,annals of the ,fine ,arts1 ,no4 #h1 by ,sherwood1 ,neely ,jones1 ,paternoster ,row1 ,april #a1 #ahah40 ,in this ,journal it appeared with a long letter animadverting on ,haydon and his pupils4 ,if anybodies' merits were certain to be recorded in ,elmes's 8,annals10 they were those of ,haydon and his pupils2 but the editor1 in order1 as he stated1 to show his impartiality1 did not hesitate to publish the satire on his friends2 he was doubtless assured that there was nothing ,haydon enjoyed so much as notoriety4 8,mr4 ,e4 ,landseer0 is named with his brother in the 8,annals10 for #ahah1 p4 #cfj1 as among those who drew in chalk from the ,cartoon of 8,the ,beautiful ,gate40 ,according to the 8,annals10 ii4 #dcc1 the brothers1 ,thomas and ,charles1 drew the lictors and the figure of ,elymas in the 8,elymas struck blind0 in #ahag4ca ,some of these drawings were exhibited by ,haydon1 #ahai1 in ,pall ,mall4 8,messrs4 ,thomas ,christmas and the two ,landseers have taken their canvases to the ,academy 7,british ,institution71 to make drawings from the ,ananias10 c41 so says the 8,annals10 ,no4 #f1 p4 #dcf2 and there seems to have been a tolerably unwise squabble about the pupils of ,haydon and their drawings from this cartoon4 7,see pp4 #ddb-c of the same volume47 8,the ,cat disturbed0 was a picture of the year #ahai1 contributed to the ,british ,institution1 and afterwards engraved with the title of 8,the ,intruder40 ,it1 we believe1 reappeared at the ,gallery of the ,society of ,british ,artists in #ahbf1 with the title of 8,the intrusive ,visitor10 and represents a cat hunted to a high place in a stable by a dog1 into whose quarters she had ventured4 ,this was probably the work belonging to ,sir ,c4 ,coote1 of which ,dr4 ,waagen wrote1 in complete harmony with the opinion intimated in these pages1 that ,landseer at an early stage painted with greater solidity than in later days4 ,it is now in the possession of ,sir ,philip de ,malpas ,egerton4 ,dr4 ,waagen says1 8,this picture exhibits a power of colouring0--by this he doubtless meant depth of tone1 for colouring is simply out of the question in ,landseers's art--8and a solidity of execution recalling such masters as ,snyders and ,fyt40 ,here we may as well say that no one has a true and complete1 or even a satisfactory1 notion of the spirit and vigour of our painter's powers at this time unless he has studied these triumphs4 ,they possess qualities not discoverable in his later works1 but1 of course1 lack extraordinary merits which predominated when he grew older4 ,the preference often exhibited by ,landseer for the ,british ,institution appeared strongly in #ahbj1 when a picture1 which had been much talked about in professional circles1 was shown at the gallery in ,pall ,mall1 and attracted more admiration than the foregoing works4 ,this was the famous 8,alpine ,mastiffs re-animating a distressed ,traveller10 afterwards engraved by ,john ,landseer1 and due to studies of the magnificent dog of ,st4 ,bernard1 to which we have referred as the property of 8a gentleman of ,liverpool10 according to the catalogue of the ,spring ,gardens gallery of #ahag4 ,this picture now belongs to ,mr4 ,s4 ,addington4 7,see below on the ,exhibition in #ahce of 8,a ,sleeping ,bloodhound10 now at ,south ,kensington47 ,it must not be supposed that ,landseer1 so young as he was1 produced small pictures only2 on the contrary1 the ,british ,institution contained two paintings1 one of which measured six feet by seven feet six inches2 while its companion1 8,a ,lion disturbed at his ,repast10 was six feet by eight feet1 8landscape way10 as artists say2 i4e4 the longer dimension was horizontal4 ,at the same gathering appeared 8,a ,lion enjoying his ,repast40 ,we have observed ,landseer with his brothers copying parts of the ,cartoons of the same sizes as the originals4 ,at this period--#ahba--;he exhibited at the ,british ,institution 8,the ,seizure of a ,boar10 with life-sized figures1 which belongs to the ,marquis of ,landsdowne2 it is full of action and worthy of the artist's rising fame4 ,we believe it has not been engraved4 ,haydon's advice had been adopted--large works were undertaken1 and a lion was dissected4 ,an opportunity for the latter study occurred through the death of a lion in the ,exeter ,change ,menagerie2 this chance was seized1 and the results were several lion pictures1 as the above1 and 8,a prowling ,lion10 which was at the ,royal ,academy ,exhibition of #ahbb4 ,after these1 lion subjects were not produced for a considerable time2 opportunities for anatomizing such costly and rare animals as lions do not often occur2 yet1 as we may presently observe1 our artist was at a later day fortunate in obtaining at least one other chance of this kind4 ,the history of this matter1 and an anecdote respecting it1 are narrated further on4 ,in #ahba the progress of our subject was continued with rapidity and honour4 ,the pictures of that year were1 at the ,royal ,academy1 8,ratcatchers10 which is now at ,lambton ,castle1 the property of the ,earl of ,durham1 and may be taken to illustrate ,landseer's admirable inventive powers at this period1 although it is by no means the most important of his productions of the kind and date4 ,three dogs are in an old barn1 and as if they had gone wild with passion and anxiety1 because a fourth1 whose extreme latter end is visible1 is 8scurrying0 rats in depths below the broken floor of the ,illustration3 ,the ,highland ,mother4 place4 ,his tail gives expressive signals of excitement and rage1 and1 beyond all misunderstanding1 indicates his furious desire to get at his foes4 ,it is but slight comfort to the eager creatures that several of their enemies are already stretched on the floor1 or that a living rat1 half conscious of impending doom1 springs and dances at the wires of a trap near his dead brethren--he is at once confined and fortified in bars of iron4 ,a maltster's shovel1 birch broom1 old cart-harness1 traces of cart-gear1 a bottle1 and stray wisps of straw1 litter the ground and aid the composition4 ,this composition1 as regards the dogs1 is worthy of admiration4 ,the three entirely visible dogs1 may be described as follows3 ,a big white terrier1 in whom one fancies the 8,brutus0 of former pictures1 plunges and 8scurries0 round the hole where the sunken comrade is at work2 he grovels with his nose near the floor1 and thrusts his head and chest forward in fierce action2 his jaws are set1 and his breath goes quickly in and out of his nostrils2 his ears are thrown to the front as if to listen for squeaks in the region of the rafters2 his eyes protrude and glitter with ravenous desire2 his fore feet are spread widely apart1 and his hind legs thrust far behind4 ,the chiaro scuro is disposed so that the white body of this dog is the chief object2 the light falls powerfully on him1 so that his colour aids the effect in the manner of the great masters of chiaro scuro--which is much more than mere 8light and shade0 in the common sense of that term4 ,behind1--with a white mark1 like a splash of chalk on the back of his head and between his ears1 his figure coming above that of the last-named animal1--squats on his haunches a black dog of less demonstrative but equally excitable temperament2 his back is arched in a bow1 he quivers1 and bends his head over the searching terrier with an eager gaze that is very finely expressed4 ,he seems to whimper now and then2 but 8,brutus10 if it be he1 yelps1 snaps1 barks1 and almost howls in his ardour4 ,one sees that if the hole were big enough to admit the bigger dog he would swiftly pull out the pioneer and go in himself1 confident in his own resources1 in an emergency like this2 but with all this valour he has discretion enough to know that the hole would never admit a bulky carcass like his own1 and that the sole chance for him consists in the possibility that a rat may appear at some apparently unguarded crevice1 or1 delirious with fear1 rush between the legs of the half-buried hunter4 ,farthest off is a smaller and younger terrier1 who has the air of an amateur or representative of the 8lay-element0 of rat-catching4#cb ,this dog sits in a formal1 affected manner1 his ears are uncropped and hang like lappels#cc quaintly above his head1 with no unapt likeness to the decorations on a cap of a fool of the ,middle ,ages4 ,this is a younger dog1 and as eager as his fellows1 although less impressionable4 ,the joys of rat combating are as yet untasted by him1 or he may be the dilettante he seems4 ,this picture was1 like many more by ,landseer1 engraved by his brother ,thomas2 it was published in #ahbc4 ,in the same year #ahba1 which produced the 8,ratcatchers0 for the ,royal ,academy1 the ,british ,institution was enriched with a picture that was engraved for 8,the ,sporting ,magazine10 or 8,annals of ,sporting10 and styled 8,pointers ,to-ho60 ,the background shows a long level landscape1 which is evidently a piece of nature2 two pointers stand in the front1 at the 8foot0 of the picture2 behind them is a man with a gun3 it is a thoroughly 8sporting picture10 and as true to life as it is possible to be4 ,a pen and ink sketch for 8,to-ho60 was sold at the artist's sale1 ,may #aa1 #ahgd1 for twenty guineas4 ,of ,landseer's paintings of this year at the ,british ,institution1 ,wilkie wrote to ,sir ,george ,beaumont1 who was interested as the purchaser of a former picture3 8,ward1 ,etty1 ,stark1 ,crome1 and ,landseer are successful1 but in no great work40 ,the year #ahbb was to be marked with a white stone in the annals of a young artist like ,edwin ,landseer1 because he then received the premium of one hundred and fifty pounds from the ,directors of the ,british ,institution for 8,the ,larder invaded10 which was contributed to this exhibition of that date4 ,in the same year ,mr4 ,george ,jones1 ,r4,a41 late ,keeper of the ,royal ,academy1 obtained two hundred pounds in acknowledgment of the merit of his 8,battle of ,waterloo40 ,in #ahba1 ,john ,martin received two hundred pounds on account of his 8,belshazzar's ,feast40 ,as to ,martin1 there is a story1 originally told by himself1 to the effect that he contributed a picture to the ,royal ,academy in #ahab1 and before sending it1 and while washing his brushes in an adjoining room1 had the pleasure of hearing the framemaker's men dispute as to which was the top and which the bottom of the painting4 ,this work is one of ,martin's finer productions1 the poetical 8,sadak in search of the ,waters of ,oblivion40 ,in #ahbb1 our painter likewise contributed 8,the watchful ,sentinel0 to the ,british ,institution4 ,this picture is in the possession of ,mr4 ,chapman1 of ,manchester1 and represents a large black dog watching packages by a road side2 a post-chaise is in the distance4 ,there is an interesting passage in a letter by ,wilkie to ,sir ,george ,beaumont1 dated from ,no4 #bd1 ,lower ,phillimore ,place1 #adth ,february1 #ahbc2 it throws a double light on the writer and our artist4 ,the passage refers to what ,sir ,david called a 8niggling touch0 in painting1 as 8very common of late in our pictures10 a defect1 if such it was1 that was due1 no doubt1 to over anxiety on the part of the artists1 and to the desire 8for fulness of subject10 whatever that may be4 ,the writer stated3 8,i have been warning our friend ,collins against this1 and was also urging young ,landseer to beware of it40 ,the fact was1 ,wilkie's health1 then breaking up1 precluded that extreme care which distinguished his early and good pictures2 moreover1 his reputation was made1 and he wanted to make money2 this could not be done by 8niggling10 so he aimed at breadth1 as he called it1 went abroad for health1 came back over head and ears in asphaltum1 and never painted a sound picture afterwards4 ,unfortunately1 his better pictures1 such as 8,the ,blind ,fiddler10 and 8,the ,village ,festival10 now in the ,national ,gallery1 have been repaired on account of excessive cracking4 ,edwin ,landseer's early practice is thus curiously illustrated by ,wilkie's advice4 ,at a later time1 no one could caution the former against 8niggling10 or enjoin cultivation of 8breadth40 ,nor was this required since the ,highland subjects were taken up after the northern journey with ,leslie in #ahbd2 to the first of these we shall presently refer1 under the title of 8,highlanders returning from ,deer-,stalking10 exhibited in #ahbg1 the first contribution of the artist as an ,associate of the ,royal ,academy4 8,neptune10 a picture of #ahbd1 represents the head and shoulders of a huge ,newfoundland dog1 in full front view1 with his mouth open and tongue shown2 the head is black1 with a white stripe dividing it1 and having an oval spot of black on the white of the forehead2 it is superbly designed1 and treated in honour of the noble animal4 ,it was painted for ,mr4 ,ellis ,gosling1 and has been admirably engraved by the artist's brother4 ,the best known of ,edwin ,landseer's early pictures is 8,the ,cat's ,paw10 which was exhibited at the ,british ,institution in #ahbd1 and now hangs in the dining-room at ,cassiobury1 the seat of the ,earl of ,essex4 ,this work1 which is painted on a panel1 was bought of the artist for one hundred pounds1 and sold a few days afterwards to the late ,earl of ,essex1 a great patron of the arts1 for one hundred and twenty pounds1 and would probably be worth1 if now sold1 about three thousand pounds4 ,this was ,sir ,edwin's estimate1 made some years since1 when1 soon after the fever caused by ,mr4 ,bicknell's remarkably well-managed sale of pictures1 the present ,earl of ,essex met the painter1 and asked what he thought 8,the ,cat's ,paw0 would produce if it were sold4 8,about three thousand pounds10 was the answer4 ,at the sale1 which occurred in #ahfc1 appeared illustrations of the increase in the value of ,landseer's pictures2 thus 8,the ,prize ,calf10 which is by no means one of his best works1 and for which he four years earlier received four hundred and twenty pounds1 was resold for one thousand eight hundred and ninety pounds2 8,the ,twa ,dogs10 purchased for three hundred pounds1 was sold for two thousand four hundred and fifteen pounds2 8,the ,highland ,shepherd10 exhibited in #ahej1 and bought for three hundred and fifty pounds1 brought back again two thousand three hundred and forty-one pounds1 ten shillings4 ,as 8,the ,cat's ,paw0 now appears1 it is hot and dark in tone1 if compared with some silvery and more solid productions4 ,it scarcely needs a description1 yet we may point out how admirably the incident is told4 ,the scene is a laundry1 or ironing-room1 probably in some great house1 to which a monkey of most crafty and resolute disposition has access4 ,the place is too neat and well-maintained to be part of a poor man's house4 ,the 8ironing-woman0 has left her work1 the stove is in full combustion1 and the hand of some one who appreciated the good things of life has deposited on its level top1 together with a flat iron1 half-a-dozen ripe sound chestnuts4 ,to the aromatic1 appetizing odour of the fruit was probably due the entrance of the monkey1 a muscular1 healthy beast1 who came1 dragging his chain1 and making his bell rattle4 ,he smelt the fruit and coveted them2 tried to steal them off the cooking-place with his own long1 lean digits1 and burnt his fingers4 ,he looked about for a more effective means and--heedless of the motherhood of a fine cat who1 with her kittens1 was ensconced in a clothes-basket1 where she blandly enjoyed the coverings and the heat--pounced upon ,puss1 entangled as she was in the wrappings of her ease4 ,puss resisted at first with offended dignity and wrath at being thus treated before the faces of her offspring4 ,she resisted as a cat only can1 with lithe and strenuous limbs2 the muscular1 light1 and vigorous frame of the creature quivered with the stress of her energy2 she twisted1 doubled her body1 buckled herself1 so to say1 in convulsions of passion and fear1 but still1 surely1 without a notion of the object of her captor4 ,yet he had by far the best of the struggle1 for her tiger-like claws were enveloped in the covering which erst served her so comfortably2 and1 kicking1 struggling1 squalling1 and squealing as strength departed from her1 she flounced about the room1 upset the coal-scuttle on the floor1 and hurled her mistress's favourite flower-pot in hideous confusion on the 8ironing-blanket40 ,it was to no purpose1 for the quadruped with muffled claws was no match for her four-handed foe4 ,he dragged her towards the stove1 and dreadful notions of a fate in its fiery bowels must have arisen in her heart1 as nearer and still more near the master of the situation brought his victim4 ,stern1 resolute1 with no more mercy than the cat had when some unhappy mouse felt her claws--claws now to be deftly1 yet painfully employed1 ,pug grasped her in three of his powerful hands1 and1 as reckless of struggles as of yells1 squeals1 and squalls1 with the fourth stretched out her soft1 sensitive1 velvety fore-paw--the very mouse-slayer itself--to the burning stove and its spoils4 ,what cared he for the bowed backs or the spiteful mewlings of her miserable offspring1 little cats as they were8 ,he made their mother a true 8,cat's ,paw40 ,this picture was engraved by ,c4 ,g4 ,lewis4 ,shortly after its exhibition ,sir ,walter ,scott came to ,london1 and took the young painter to ,abbotsford on his return1 8where10 said ,illustration3 ,mare and ,foal4 ,leslie1 recording the circumstance1 8he will make himself very popular1 both with master and mistress of the house1 by sketching their doggies for them40 ,it was probably due to the vein of thought and fancy most cultivated by ,scott1 and sure to affect his young visitor1 that ,landseer after this painted ,scotch subjects and romantic themes1 such as he had not previously indulged in4 8,chevy ,chase0 was commenced shortly afterwards1 and exhibited with marked effect on young ,landseer's fortunes4 ,leslie had been with ,sir ,walter1 taking his portrait1 and found the novelist to 8dislike sitting very much10 and to be fonder of dashing out of doors with the 8doggies10 rabbit-killing1 and landscape hunting4 ,the incident referred to by the picture at the ,british ,institution in #aheh 7see the ,catalogue7 probably occurred at this time4 ,landseer's first visit to the ,highlands was made in #ahbd4 ,leslie and he went in the ,london and ,leith steamer4 ,they visited ,glasgow1 and ,loch ,lomond and ,loch ,katrine1 and crossed the mountains on foot to ,loch ,earn1 in order to be present at an annual meeting of ,highlanders1 which occurred under the patronage of ,lord ,gwydyr1 and included performances on bagpipes1 dancing1 broadsword exercise1 and the like pastimes2 the painters traversed ,loch ,earn in a large row-boat1 with ,highland rowers1 who told them1 says ,leslie1 in his 8,autobiography10 stories of the fairies who haunted the shores4 ,to this visit to ,abbotsford was due the well-known 8,scene at ,abbotsford10 by ,landseer1 and from it he derived inspiration for ,highland pictures4 ,after this period he rarely failed to visit the north annually1 and the catalogue of his works bears evidence of his studies there4 8,taking a ,buck10 and 8,the ,widow10 were ,landseer's contributions to the ,royal ,academy in #ahbe1 with a portrait4 8,the ,poacher0 appeared in the same year at the ,british ,institution4 8,the ,hunting of ,chevy ,chase10 an important work1 which has been repeatedly exhibited1 was shown in the following season at the ,academy4 ,the affectionate deference paid by ,edwin ,landseer to his father at this time has been illustrated by the account of the difficulty he experienced in leaving the paternal roof4 ,no one who knew the painter believes that he was likely to be weakly subservient to his father or any one else2 or that in #ahbd1 when in his twenty-second year1 and already the possessor of a very considerable reputation1 he was in any respect a timid recluse4 ,nevertheless1 it is recorded that when one interested in bringing his pictures into note1 called on the painter in the dingy studio he occupied in the ,fitzroy ,square region--it was1 we believe1 ,upper ,conway ,street1 now ,southampton ,street1 ,fitzroy ,square1 near where ,mulready lodged in ,cleveland ,street--the visitor asked1 8,why are you in this place1 without a table1 carpet1 or proper chairs8 why not have a place where you can keep a dog or two1 and have a garden1 and so on80 ,the answer was that the painter lived with his father1 and occupied the place only to paint in4 ,the offer of a hundred pounds for 8,the ,cat's ,paw10 then just finished1 a price satisfactory to the artist1 did not induce him to conclude the bargain and set himself free from the paternal control4 ,john ,landseer managed his son's affairs1 settled the prices of his pictures1 received the money1 and treated ,edwin in his twenty-second year as he had done when he was twelve years old4 ,john ,landseer did what ,mr4 ,jacob ,bell1 many years afterwards1 did for his friend1 i4e4 managed his affairs with zeal and discretion1 and1 perhaps1 the father kept a tighter hold on the painter than the friend was able to maintain4 ,this affectionate arrangement was proof against the second offer of one hundred pounds in a crisp bank-note for 8,the ,cat's ,paw10 which thus came into the possession of the ,earl of ,essex1 and not into that of the young artist's friend4 ,the same affection for his parent appeared in 8,sketch of my ,father10 #ahdh1 the pathos of which was as simple as it was kindly4 ,of the same vein of feeling we find it recorded that in #ahag or #ahah1 the ,landseers1 in order to make a present to ,haydon1 when they were about to quit his tutelage1 prepared a copy of one of the ,cartoons which were at the ,british ,institution2 this copy--we are not certain if it was more than an important group--was a gift to ,haydon4 ,sir ,edwin bought and carefully preserved ,haydon's 8,judgment of ,solomon10 not only on account of the fineness of the picture1 but1 it is said1 in kindly remembrance of his old adviser4 ,illustration ,illustration ,,chapter ,,iv4 ,a4,d4 #ahbe ,,to ,a4,d4 #ahcd4 ,,at ,,st4 ,,john',s ,,wood--,,made ,,royal ,,academician--,,facility ,,at ,,work--,,technical ,,dexterity--,,jack ,,in ,,office4 8,the ,cat's ,paw0 was sold1 and soon after a renewed offer of pecuniary aid that he might establish himself1 was accepted by the painter1 and he found1 near ,regent's ,park1 a small house with a garden2 here a large barn was converted to a studio1 and he set up his staff independently--not1 however1 without qualms of heart at thus quitting the 8old house at home40 ,the fact is1 he was not a man of business1 nor a man of the world2 he had remained so long in tutelage1 and owed so much to his father1 that it needed more than ordinary impulses ere he was induced to plunge into the world as the chief of a household4 ,this diffidence was so strongly marked that1 on learning that a premium of one hundred pounds was demanded for the house1 ,landseer was about to break off the negotiation in despair4 ,but his adviser1 who had endeavoured to buy 8,a ,cat's ,paw10 came to his aid4 8,well10 said he1 on learning the difficulty which seemed insurmountable1 8if that is the only obstacle1 ,i will remove it4 ,go to the lawyers1 and tell them to make out the lease1 and that as soon as it is ready for signatures1 you will pay the sum required1 and ,i will lend you the money1 which you can repay when it suits you1 without interest40 ,this was agreed to1 the lease was made out1 and the money paid4 ,edwin ,landseer returned the money by instalments of twenty pounds each1 and this transaction concluded the history of the obtaining the house1 which was enlarged as his means permitted and his convenience demanded4 ,this is the house in which he lived for nearly fifty years1 and in which he died4 ,here his sister1 ,mrs4 ,mackenzie1 to whom the reader is much indebted1 long acted as his housekeeper4 ,here the greater part of his life's work was done1 and in it1 as we believe1 ,john ,landseer died4 ,it was for many years the centre of the kindly painter's entourage1 where his friends were summoned to meet by hasty messages bidding them to pleasant parties1 and it is the house which of all others in ,london belonging to artists has received the greatest number of distinguished visitors1 always excepting that of ,sir ,joshua ,reynolds in ,leicester ,square4 ,not long before1 the district was open and the locality pertained to ,red ,hand ,farm4#cd ,in those days deer were in ,hyde ,park1 where one would now as soon expect to see a phnix1 or be gored by the stag that was painted in our artist's next picture1 as to encounter even a doe4 ,the 8,portrait of ,lord ,cosmo ,russell10 #ahbe1 represents a boy in a ,highland dress1 holding a whip and galloping on a pony over a moor1 with a dog running by his side4 8,taking a ,buck0 shows three deer-hounds chasing a buck2 one of the dogs has leaped at and seized its prey by the ear1 and thus checked the progress of the latter1 giving a keeper an opportunity for throwing a noose over his antlers1 so that he may be pinioned and secured4 ,in #ahbf appeared 8,the ,dog and the ,shadow0 now at ,south ,kensington4 ,this is an illustration of the old fable2 a dog with a piece of flesh in his mouth is crossing a brook by means of a fallen tree1 and stops to gaze at the reflected image of himself and his prize4 ,a worsted cap and a pair of shoes on the bank indicate that a butcher's boy1 who loitered to fish or bathe1 has been plundered of part of his charge4 ,such is the official description4 ,we believe it was about this time that ,sydney ,smith's humorous reply was given to an invitation that he should sit to ,edwin ,landseer4 ,he said1 with that dashing readiness which characterized the man of jokes1 8,is thy servant a dog that he should do this great thing80 ,this was a not very reverent paraphrase of the speech of ,hazael1 the messenger of ,ben-hadad1 king of ,syria1 to ,elisha4 ,there have been more than one claimant for the honour of saying this good thing2 like many others of its kind1 it was probably never 8said0 at all1 but deliberately invented1 with toil of brain and mental throes4 ,there is another story of ,sydney ,smith1 which is very good1 and not less characteristic of the wit4 ,landseer said to the clerical dignitary1 8,with your love of humour1 it must be an act of great self-denial to abstain from going to the theatres40 8,the managers10 he replied1 8are very polite2 they send me free admissions1 which ,i can't use1 and1 in return1 ,i send them free admissions to ,st4 ,paul's40 ,in #ahbf1 when ,landseer was twenty-four years of age1 several of his works were etched by his pupil1 ,georgina1 ,duchess of ,bedford4 ,the exhibition of the picture of 8,chevy ,chase0 can hardly be said to have led to ,landseer's election as an ,associate of the ,academy4 ,this honour was long anticipated1 and the election occurred1 as a matter of course1 immediately on his attaining the age of twenty-four years1 that being the limit prescribed by the laws of the artistic body4 ,sir ,thomas ,lawrence and ,mr4 ,millais were among the few to whom similarly early elections have been vouchsafed4 8,chevy ,chase0 is at ,woburn ,abbey1 and the property of the ,duke of ,bedford1 whose ancestor was the original purchaser4 ,in this picture we see the fruits of ,landseer's visit to ,sir ,w4 ,scott and to the ,highlands1 a district of which he may be said to have been the artistic prophet1 and from which he derived more subjects than any other2 its men1 animals1 and landscapes he illustrated from the picture next before us up to the 8,flood in the ,highlands0 of #ahfj4 ,illustration3 ,shepherd's ,dog and ,pups4 8,the ,chief's return from ,deer-stalking0 7#ahbg7 is not only the first important ,highland picture by our painter1 but the first of his contributions to the ,royal ,academy as an ,associate4 ,it is one of the best of his compositions1 the subject giving scope to all his powers in dealing with dogs1 deer1 and horses4 ,across the backs of a white and a black pony two magnificently antlered deer are bound4 ,a young chief and his old companion1 a mountaineer--with traces of the wear and tear of a hard life on his cheeks and in his gaunt eyes--step by the head of one of the horses4 ,they go slowly and heedfully down the hill4 ,two dogs pace with them2 one of these turns to a deer's skull which lies in the herbage4 ,with this picture is connected a more noteworthy point than those we have observed in the history of our subject4 ,with it his style of execution was changed from the sound and deliberate firmness of youthful practice to the broader1 freer1 and more effective mode which next characterized his later work4 ,the careful studies of earlier life enabled him to paint broadly1 and with precision1 and gave power to indicate at once that which1 ere this time1 was the result of ardent and long-sustained consideration4 ,amassed knowledge made the artist a master4 ,it must not be concealed1 however1 that with this attainment of 8mastery0 no small sacrifice was made in solidity and elaboration of modelling4 ,facility that was marvellous1 and dexterity which had the charm of magic1 astounding to the observer1 are somewhat dearly1 though in a pecuniary sense profitably1 purchased by the sacrifice of qualities which are higher and rarer than facility and dexterity4 ,with 8,the ,chief's return0 appeared 8,the ,monkey who had seen the ,world10 which was engraved by ,gibbon as 8,the travelled ,monkey10 and is a well-known design1 showing the reunion of ,pug and his untravelled friends4 ,the latter are in their natural costume of hair1 the former is dressed as a 8beau10 with his head in powder and covered by a cocked hat of the most audacious mode2 a cravat embraces his neck1 and its widely-spreading ends cover his chest2 a long-skirted1 deep-pocketed1 laced1 stiff-collared coat holds his lean body1 a large lapelled vest hangs nearly to his knees2 breeches1 stockings1 and buckled shoes enclose his lower extremities2 his tail is nowhere1 but he carries1 instead of it1 a splendid cane1 and bears round his neck a most superfluous eye-glass4 ,his unsophisticated comrades contemplate this figure with expressions which may be readily imagined4 ,the pendant eye-glass bothers them more than all the rest of his bedizenments4 ,a few of the less bold monkeys squat and gibber behind the principal group4 ,this picture belongs to the ,baring ,collection4 ,the ,british ,institution comprised in this year 7#ahbg7 with 8,chevy ,chase10 the well-known picture of a dog--,sir ,walter ,scott's 8,maida0--reclining by a piece of armour2 a work which is entitled 8,scene at ,abbotsford10 and was1 no doubt1 designed during the visit of which we have spoken before4 ,it is well known by ,westwood's capital engraving for the 8,keepsake40 ,the year #ahbh was for our subject one of comparative rest1 so far as exhibitions were concerned2 #ahbi produced 8,the ,illicit ,whisky-,still in the ,highlands10 an admirable work1 familiar to most readers1 and 8,a ,fireside ,party10 which is now at ,south ,kensington1 and shows how in a rude bothy several serious-looking terriers are lying and sitting in various attitudes of thoughtfulness and ease before the fire4 ,these dogs belong to ,malcolm ,clarke1 ,esq41 of ,inverary1 and are said to have been the original 8,peppers0 and 8,mustards0 described by ,sir ,walter ,scott in 8,the ,antiquary20 a descendant appeared in the picture of #ahcc1 which represented ,sir ,walter himself and companions4 ,the year #ahcj witnessed the election of our artist to the full honours of the ,royal ,academy4 ,having attained this point in his life1 it will not be needful to follow his yearly steps2 suffice it that it is our purpose to deal chiefly with ,landseer's more important productions1 and to note his accessions to honours4 ,in 8,high ,life0 and 8,low ,life10 which are in the ,vernon ,gift1 and now in the ,national ,gallery1 we have contrasted conditions4 ,the gentle1 gentlemanly stag-hound1 apparently the dog of the 8,scene at ,abbotsford10 appears in the former of these paintings1 which were first exhibited at the ,british ,institution in #ahca1 and are noteworthy on account of their size1 being not more than eighteen inches by thirteen inches and a half4 ,they are among the smallest of celebrated pictures1 and1 comparatively1 mere sketches4 ,the second subject is a broad and brawny bull-dog1 the aide of a butcher1 by whose block1 and guarding whose hat1 pipe1 boots1 and pot1 he sits4 ,our dog here is in a state of satisfaction with the recent past and the soon to come3 he has had a capital meat breakfast--note the beef bone in front of the step2 the sun is bright and warm1 so that it makes him lazily blink one eye1 while the other1 being shaded1 is watching4 ,fat1 he lounges against the jamb of the door2 the savour1 nay the very flavour of the bone and its adjuncts1 lingers about his muzzle1 which he licks gently and unctuously4 ,his prospects are almost as agreeable as his experiences2 for is he not about to have a ride in the cart--note the whip hanging on the door-latch1 and the boots--to market1 where there will be company and canine sports4 ,mr4 ,ruskin has studied 8,low ,life0 from his proper point of view1 which is1 of course1 not that to be adopted in this book4 ,see 8,modern ,painters10 v4 #bga4 8,cunning signifies especially a habit or gift of over-reaching1 accompanied with enjoyment and a sense of superiority4 ,its essential connections with vulgarity may be at once exemplified by the expression of the butcher's dog in ,landseer's #8,low ,life4' ,cruikshank's #8,noah ,claypole1' in the illustrations to #8,oliver ,twist1' in the interview with the ,jew1 is1 however1 still more characteristic4 ,it is the intensest rendering of vulgarity absolute and utter with which ,i am acquainted40 8,poachers ,deer-,stalking10 another famous picture1 appeared in this year 7#ahca71 with 8,too ,hot60 8,a ,lassie herding ,sheep10 sent to the ,british ,institution in #ahcb1 was at the ,art ,treasures ,exhibition in #aheg1 and at that time the property of ,william ,wells1 ,esq4 ,it needs no description here4 ,in #ahcb was exhibited a picture1 which most fortunately illustrates the perfect command of the brush and the extraordinary facility which long-continued and severe studies gave to our painter4 ,this was 8,spaniels of ,king ,charles's ,breed10 which is now in the ,vernon ,gift1 in the ,national ,gallery4 ,it is sometimes styled 8,the ,cavalier's ,pets10 and represents two dogs lying on a table1 by the side of a grey hat with a large drooping ostrich feather stuck in its band4 ,the dogs were pets of ,mr4 ,vernon's1 and the sketch was made in his house as a commission to ,landseer1 but1 after a short sitting1 not continued for some time4 ,one day ,mr4 ,vernon met the artist in the street1 and reminded him of the commission4 ,two days later the work as it now appears was delivered at ,mr4 ,vernon's house1 although it was not begun when the meeting happened4 ,it is due to not more than two days' labour1 and a triumph of dexterity in brush working1 showing as much facility as the ancient fresco painters exhibited when they dealt with and completed an important head of a man in one day4 ,the sweeping touches by which the feather in the felt hat is expressed have been placed with exquisite precision1 and deserve the most careful consideration of all students and amateurs in dexterous art4 ,this kind of execution1 of which ,landseer's pictures exhibit innumerable illustrations1 is magical2 it is really more like penmanship1 in which the artist astounds us by elaborate and super-skilful flourishes and the flow of lines in lines1 than downright painting of the stricter order1 which is not contented with exquisite craftsmanship alone4 ,in this category of triumphs must be classed the countless imitations of hair and feathers which consummate 8dragging0 of the brush and incomparable skill enabled ,landseer to produce rapidly and frequently4 ,it is said1 although our memories cannot verify the statement1 that ,landseer sent a picture of 8,rabbits0 to the ,british ,gallery1 i4e4 the ,british ,institution1 under which he wrote1 8,painted in three-quarters of an hour40#ce ,both the dogs in ,mr4 ,vernon's picture came to violent ends1 so says our authority for this matter4#cf ,the white ,blenheim spaniel fell from a table and was killed2 the true 8,king ,charles0 fell through the railings of a staircase in his master's house1 and was picked up dead at the bottom4 ,the history of another ill-fated dog1 a subject of ,landseer's art1 will be found in our account of 8,the sleeping ,bloodhound10 which was exhibited at the ,british ,institution in #ahce1 and is now in the ,national ,gallery4 ,this anecdote likewise illustrates ,landseer's amazing facility4 ,hardly less remarkable is the fact that the ,hon4 ,w4 ,russell's picture 8,odin10 which was exhibited in #ahcf1 was painted within twelve hours1 or at 8one sitting40#cg ,as to ,landseer's facility of execution1 ,mr4 ,redgrave truly wrote thus3--8,that happy facility which has already been alluded to is fairly to be illustrated in the works of ,sir ,edwin ,landseer4 ,examine carefully #8,a ,fireside ,party1' ,no4 #ij 7,sheepshanks ,gift72 here the hairy texture of the veritable race of #8,pepper' and #8,mustard' is given1 as it were1 hair for hair1 yet it was achieved at once by a dexterous use of the painter's brush4 ,or turn from this work to #8,the tethered ,rams' 7,no4 #ie1 ,sheepshanks ,gift71 where the fullest truth of a woolly texture is obtained by simply1 with a full brush1 applying the more solid pigment into that which has already been laid on as a ground1 with a large admixture of the painter's vehicle2 days might be spent endeavouring to arrive at a result which the painter has achieved at once4 ,the early works of this painter are a complete study for light-handed and beautiful execution2 they look intuitively perfect1 yet many instances are known of his extreme rapidity of execution40 ,it should be noted that ,mr4 ,redgrave must refer to pictures which might be truly1 if relatively1 styled 8early works0 of ,landseer4 ,the works to which we have called attention as produced before #ahbf are examples of happily directed labour1 not drudgery1 and anything rather than displays of tact in painting and dexterity in handling4 ,note the passage we have quoted from ,wilkie's letter to ,sir ,george ,beaumont4 ,it is needful to interpose this statement1 because too many persons admire such facility as an end1 whereas it is but a felicitous means in art4 ,the extraordinary felicity and skill of our painter followed more than twenty years hard study4 ,foolish ideas often rise in the minds of those who read stories such as we have just given1 which stories are truer than the tale of the exasperated painter--was it ,rubens or ,zeuxis8--who dashed the foam in a pictured horse's mouth by angrily casting his brush at the painting4 ,mr4 ,redgrave continues3-- 8,in the collection of the late ,mr4 ,wells1 of ,redleaf1 among many other works by this artist 7,landseer7 are two which are peculiarly illustrative of this quality2 one is a spaniel rushing out of a thicket with a wounded rabbit4 ,the rabbit and dog are of the size of life1 they have the fullest appearance of completeness1 yet the picture was painted in two hours and a half4 ,the other picture is of a fallow deer1 and of the size of life1 painted down to the knees4 ,mr4 ,wells used to relate that on leaving the house to go to ,penshurst ,church1 the panel for this picture was being placed on the easel by his butler1 and1 on his return in about three hours1 the painting was complete2 so complete1 indeed1 that it is more than doubtful if equal truth of imitation could have resulted from a more ---- execution40 ,this picture was in the ,royal ,academy1 #ahgd1 ,no4 #cej4 ,finally1 as to this astonishing facility in painting1 let us write that in the ,national ,portrait ,exhibition of #ahfh1 was a portrait of the second ,lord ,ashburton 7,no4 #dfg71 a three quarters view1 painted on a canvas thirty-six inches high1 by twenty-eight inches wide1 and said to have been executed1 like 8,odin10 in one sitting4 ,of course it is not highly-finished4 ,as a vigorous sketch1 the thinking and power of execution involved in such rapid production are marvellous4 ,a picture1 8,spaniel and ,rabbit10 ,no4 #dje1 at the ,manchester ,art ,treasures ,exhibition1 was inscribed by the artist 8painted in two hours and a half40 ,but by far the most amazing instance of the technical powers of our subject is that which is in itself1 without regard to ,landseer1 a subject of extraordinary interest to physiologists1 and inquirers into the nature of the action of the brain and the distribution of nerve power4 ,our informant is ,mr4 ,solomon ,hart1 a ,royal ,academician remarkable for his accomplishment and acute observation4 ,a large party was assembled one evening at the house of a gentleman in the upper ranks of ,london 8society10 crowds of ladies and gentlemen of distinction were present1 including ,landseer1 who was1 as usual1 a lion2 a large group gathered about the sofa where he was lounging2 the subject turned on dexterity and facility in feats of skill with the hand4 ,no doubt the talk was ingeniously led in this direction by some who knew that ,sir ,edwin could do wonders of dexterous draughtsmanship1 and were not unwilling to see him draw1 but they did not expect what followed4 ,a lady1 lolling back on a settee1 and rather tired of the subject1 as ladies are apt to become when conversation does not appeal to their feelings or their interests1 exclaimed1 after many instances of manual dexterity had been cited1 8,well1 there's one thing nobody has ever done1 and that is draw two things at once40 ,she had signalized herself by quashing a subject of conversation1 and was about to return to her most becoming attitude1 when ,landseer said1 8,oh1 ,i can do that2 lend me two pencils1 and ,i will show you40 ,the pencils were got1 a piece of paper was laid on the table1 and ,sir ,edwin1 a pencil in each hand1 drew simultaneously1 and without hesitation1 with the one hand the profile of a stag's head and all its antlers complete1 and with the other hand1 the perfect profile of a horse's head4 ,both drawings were full of energy and spirit1 and although1 as the occasion compelled1 not finished1 they were1 together and individually1 quite as good as the master was accustomed to produce with his right hand alone2 the drawing by the left hand was not inferior to that by the right4 ,this showed that the artist's brain was acting in two directions at once1 controlling two distinct limbs in similar but diverse operations1 for it was observed by our informant that the acts of draughtsmanship were strictly simultaneous and not alternate4 ,had the latter been the case the feat would have been of deft draughtsmanship1 about which no one would have questioned the ability of ,landseer4 ,this feat far surpasses that of chess-players who continue six games at chess at one sitting1 without seeing any board4 ,feats like that of the chess-players1 however wonderful1 differ in kind from the unparalleled one we have described4 ,these are efforts of astoundingly powerful memories and acts of the clearest mental vision combined with that faculty with which chess-players seem to be specially endowed1 possession of which1 however1 by no means proves superior mental ability4 ,landseer's feat was another sort1 and proved him capable of 8doing two things at once10 things which singly were1 no doubt1 easy of accomplishment by an artist of his faculties1 but when simultaneously performed in duplicate were such as have not hitherto been recorded4 ,mrs4 ,mackenzie has enabled us to confirm this account of her brother's feats in draughtsmanship4 8,the ,stone-breaker's ,daughter10 a picture of the year #ahcj1 engraved by ,j4 ,burnet1 shows a group by a ,highland roadside2 an old man1 with a plaid over his head1 squats on the ground1 hammer in hand1 snuff-mull by his side2 his pretty daughter1 of twelve years or thereabouts1 has brought the old fellow's dinner in a basket2 a dog licks her hand affectionately1 as the damsel loiters to gossip with her father4 ,this is an agreeable picture1 but possesses no particular interest of sentiment or technical value4 ,illustration3 ,cow and ,calf4 ,chal4 ,g4 ,l4 #ahdg4 8,waiting for the ,deer to rise10 #ahca1 otherwise 8,poachers ,deer-stalking10 represents three ,highlanders crouching near the summit of a hill1 one of whom holds a dog round the neck to restrain him1 while another1 with a gun in one hand and a branch in the other1 looks for the coming of the game4 ,it was painted for ,mr4 ,e4 ,holden1 of ,aston ,hall1 ,derbyshire1 and some years afterwards sold for #hail4 ,it measures two feet three inches by one foot eight inches and a half4 8,hawking10 #ahcb1 shows a lady mounted on a white horse1 with attendants riding and on foot1 with dogs and hawks2 the group is on the border of a lake2 a falconer in the mid-distance flies a hawk at a soaring heron on our left2 a bare-headed page stands at the head of the lady's palfrey1 holding its bridle4 8,waiting for the ,countess10 a portrait of a dog belonging to ,lady ,blessington1 engraved by ,wass1 was painted in this year4 ,in #ahcc ,sir ,edwin painted the figures of 8,the ,harvest in the ,highlands10 of which ,callcott produced the landscape4 ,this combination was sent to the ,academy in the same year1 when an unusual number of ,landseer's pictures were exhibited4 ,for our present purpose1 the most important is the inimitable 8,jack in ,office0 7in the ,south ,kensington ,museum1 ,sheepshanks ,gift74 ,the faculty of ,landseer's mind which is most popular1 because most obvious in its manifestations1 was humour1 of which few painters possessed a greater share4 ,true humour1 however1 contains pathos1 and sets us thinking even when we smile4 ,this sort of humour is shown in 8,a ,jack in ,office40 ,an itinerant dealer in dog's-meat has left his barrow in an alley1 and under the guardianship of a satiated mongrel1 whilst he transacts business1 probably across the counter of a tavern4 ,the tight-skinned custodian has seated himself on the barrow1 as on a throne1 where he receives the courtier-like attentions of his hungry and less fortunate fellow-creatures4 ,one wretched beast exhibits his lean carcase1 pleading for pity2 another1 seated on his tail1 begs in form pauperis1 with dropped paws1 and adulatory whine2 a third appeals to the guardian's gallantry and devotion to her sex3 but in vain2 he sits in calmness and pride2 a half-twinkle is in his eye1 as though he saw the motives of all1 and scorned the meaner supplicants4 ,also1 he seems experienced in the canine world1 for under his half-closed and disdainful eyelids is a sharp look at the self-degrading beggar3 he thus watches because he feels this beast to be devoid of principle1 a rascal who might1 if the eye should only wink1 dash upon the spoil and fly4 ,a coup d'tat of this kind must1 let it be noted1 be successful2 and1 by dogs of bolder spirits than these1 could be attempted4 ,one must1 in that case1 sacrifice himself for the common good2 there is none to do so4 ,the meagre beast in front is a pointer1 and all about him is pitiable2 he must have lost his character ere he sunk so low as this2 his drivelling mouth1 sunk chaps1 nervous and imploring eyes1 shaking limbs and quivering tail indicate a born gentleman driven to implore charity1 with signs of utter famishing as the utmost appeal4 ,a contrast is seen in the person of a dark puppy1 who1 having devoured his 8ha-porth10 nervously gnaws the skewer which held it1 and quivers with unsatisfied greed4 ,one discerns that the guardian is a thorough dog of business1 because he pays not the slightest attention to this little customer1 who1 having legally acquired his portion1 is not under surveillance4 ,besides1 if he did anything wrong1 has he not a responsible master8 ,there is such a hateful disdain about the 8,jack in ,office10 that the spectator1 heedless of morality1 and reckless of the rights of property1 hopes one of the dogs will sacrifice himself for the general luck1 and engage the watcher in combat1 while the others fall to4 ,there are volumes of character in this picture1 which are sustained even by the placing of a dog in the distance1 looking on1 as if in hopes to profit by the chances of a mle4 8,the naughty ,boy10 exhibited at the ,british ,institution in #ahcd as 8,a naughty ,child10 and well known by means of ,finden's engraving1 was a portrait of a sulky little urchin whom ,landseer essayed to paint on account of the determination his features exhibited and the sturdiness of his handsome face and frame4 ,the boy being in a rebellious frame of mind1 was brought straight from his school to the workshop of the painter2 sulky at first1 he became outrageous when he saw his enemy seated with a kindly laugh on his face2 pouting1 the boy frowned and hugged himself with his own arms1 blew bubbles between his compressed lips1 scowled1 and obstinately turned his knees in4 ,pending the preliminaries of the picture1 the irate young gentleman was left standing alone in the centre of the room4 ,wrath overcame him at seeing resistance would be useless2 with dreadful clangour1 he flung down his slate like the shield of a wounded ,homeric hero and1 skulking into the corner1 savagely cried1 8,i won't be painted60 and was painted for the admonition of all 8naughty0 boys1 so that 8his knit and furrowed forehead0 gathers itself under a fine head of flaxen hair1 twisted into ,gorgonian curls1 and quivering with determination and wrath4 ,it is right to notice how the self-devouring passion of the child makes him shrink into the smallest possible space1 and turn his toes in1 huddling his feet together1 while his arms are pressed against his sides1 and his shoulders raised1 as though every power of body and mind concentrated itself4 ,the artist introduced accessories from an infants' school1 including a book lying on a form1 c4 ,illustration ,illustration ,,chapter ,v4 ,a4,d4 #ahcd ,,to ,a4,d4 #ahdb4 ,,suspense--,,highland ,,shepherd ,,dog--,,bolton ,,abbey--,,drover',s ,,departure--,,shepherd',s ,,chief ,,mourner--,,dignity ,,and ,,impudence--,,otters ,,and ,,salmon--,,the ,,sanctuary4 ,in #ahcd many place the attainment of ,sir ,edwin ,landseer's highest level in art2 8,suspense0 then appeared at the ,academy1 with 8,a ,highland ,shepherd ,dog rescuing ,sheep from a ,snowdrift10 8,a ,scene of the olden ,time at ,bolton ,abbey10 and other works4 ,of these1 to our minds1 8,suspense0 is by far the best picture1 and aptest illustration of genius2 on this1 if we chose1 his honour should rest4 8,in some cases10 says ,mr4 ,redgrave1 with reference to it1 8the invention of the artist is exerted rather to exercise and call forth the imagination of the spectator than to display his own40 8,suspense0 is an excellent example of the pictures of this class4 ,a noble bloodhound is watching at a closed door1 shut out1 one may imagine1 from the wounded knight1 his master4 ,there are the steel gloves removed from the now powerless limbs--the torn eagle-plume tells of the deadly strife1 and the continuous track on the floor shows how his life-blood flowed away drop by drop as he was borne within4 ,who does not watch with the faithful hound in deep 8suspense0 for some token that his master yet lives8 ,others1 again1 can read the picture far differently3 these may imagine that the dog has tracked the author of some act of violence or deed of blood2 the plume1 torn from the casque of the struggling man1 lies on the floor sprinkled with the blood shed in the struggle ere the victim was borne within the now closed portal2 we recognize the scuffle of the moment1 his hand clutching the door-post with fearful energy to prevent the closing1 the stifled cries1 the hopelessness of resistance4 ,yet there1 like a watchful sentinel1 waiting in silence1 the animal crouches1 whose instinct teaches him to follow untiringly the object of his search2 the spectator himself waits in anxious eagerness for the reopening of the door1 anticipates the spring of the animal and the renewed struggle that will ensue4 ,in the course of ,mr4 ,ruskin's magnificent criticism on ,tintoret1 ,titian1 ,velazquez1 ,veronese1 and ,landseer1 as dog-painters1 are remarks on the last-named artist which1 however true they are in respect to ,landseer's 8drawing-room0 pictures1 award but scanty justice to the masculine author of 8,suspense0 and its class4--,see 8,modern ,painters10 #ahfj1 v4 pp4 #bfj-c4 8,the ,highland ,shepherd ,dog rescuing a ,sheep from a ,snow-drift0 tells its own tale1 and needs no explanation from us4 ,the sheep is almost smothered1 its struggles avail little1 but the sagacious 8collie0 aids it by clearing away the snow4 8,bolton ,abbey in the olden ,time10 engraved by ,mr4 ,s4 ,cousins1 has been interpreted in many ways4#ch ,it is1 perhaps1 the most popular of the painter's productions1 and yet1 except 8,windsor ,castle10 it is that which least satisfies the critic4 ,primarily1 the difficulty of fairly and naturally interpreting it1 the lack of imagination it evinces1 and the artificial posing of the figures1 are defects which the analytical mind hardly overcomes2 secondly1 it has the air of a collection of portraits of modern folks1 and so belies its title4 ,the dogs and game pertain to another category1 and deserve differing judgment4 ,the work belongs to the ,duke of ,devonshire4 ,of this our artist said that it was the first picture for which he got #djj4 ,it looks as if it had been 8done on purpose10 is really only less spontaneous than the deplorable 8,windsor ,castle40 ,the monk was a portrait of ,sir ,a4 ,w4 ,callcott2 ,mrs4 ,mackenzie sat for the girl with the fish2 the falconer's boy was one ,sidney ,smith1 a frequent model of ,sir ,edwin's--not the ,canon of ,st4 ,paul's4 ,the picture has been engraved three times1 and1 separately1 more than one of its elements4 ,in the ,sheepshanks ,gift is a picture exhibited in #ahcd1 the humorous and characteristic 8,highland ,breakfast10 showing several sheep dogs and terriers anxiously waiting the cooling of a mess of hot milk1 which has been put before them in a pan4 ,that impatient beast whose back is towards us risks his nose and vainly demurs to the delay2 the next1 a canine mother1 yields a meal to her puppies1 but gets none herself2 another1 longing but prudent1 sniffs1 and feeding in imagination1 licks his mouth2 beyond1 a staid1 experienced1 and dignified retriever is content to bide his time1 knowing that he1 at least1 will get a lion's share2 a little white terrier1 toady to the last1 vainly imitates his self-command4 ,the mistress of the shieling1 a fair young mother1 nourishes her babe in the most approved fashion4 8,the ,drover's ,departure1 ,scene in the ,grampians10 was at the ,royal ,academy in #ahce2 a picture arising out of the departure of herds from the ,highlands4 ,in the foreground the grandfather has his horn filled with 8mountain dew0 by his daughter1 whose husband1 just behind1 caresses their youngest child4 ,the plighted lovers in the background discuss probabilities4 ,the droves are assembled1 the old dog suckles her puppies for the last time1 the old white pony has lost his front teeth1 therefore bites sideways the last meal of home grass1 the hen defends her chickens against an aggressive and hilarious puppy1 the boy promotes the strife1 the old woman 8fidgets0 every one about her4 ,note the position of the lovers' hands4 ,for the old shepherd on our left of the foreground of the composition1 ,mr4 ,john ,landseer was the model1 ,mr4 ,r4 ,leslie1 the marine painter1 son of the first ,r4,a4 of that name1 sat for the boy1 who1 in front1 is engaged with the puppies4 ,this picture is at ,south ,kensington1 part of the ,sheepshanks ,gift2 8,the tethered ,rams0 is a study for part of it4 ,the last-named work was at the ,royal ,academy in #ahci1 is now part of the ,sheepshanks ,gift1 and may be referred to here4 ,the official description is the best1 8,two rams are tethered to an old and fallen tree1 and watched by two sheep dogs2 in the mid-distance the flock is feeding under the care of a shepherd1 who is talking with a ,scottish lassie near him4 ,a loch and mountains form the background40 ,we have remarked that ,landseer contributed some of the most popular as well as some of the best pictures to the ,british ,institution2 an instance1 which has a very interesting anecdote attached to it1 occurred in respect to 8,a sleeping ,bloodhound0 78,countess071 sent to ,pall ,mall in #ahce1 a date to which our remarks have reference4 ,this work is now in the ,national ,gallery1 bequeathed by ,mr4 ,jacob ,bell1 ,landseer's constant friend and zealous 8man of business40 ,it represents 8,countess10 a dog of the kind indicated by the title1 lying as if asleep1 with the body slightly curved1 the jowl resting on the floor and the forepaws extended4 ,the picture has been admirably engraved by ,mr4 ,t4 ,landseer4 ,the following is its history3--,the hound whilst lying on a parapet at the ,clock-,house1 ,west-hill1 ,wandsworth1 ,mr4 ,jacob ,bell's house1 overbalanced herself1 and falling between twenty and thirty feet1 died during the night1 and was taken on the following morning 7,monday7 to ,st4 ,john's ,wood1 in hopes of securing a sketch of his old favourite1 who had long been waiting for a sitting4 ,speaking of ,sir ,edwin1 ,mr4 ,bell said3--8,the sight of the unfortunate hound suddenly changed an expression of something approaching vexation 7at the interruption during his work7 into one of sorrow and sympathy1 and after the first expression of regret at the misfortune1 the verdict was laconic and characteristic--#8,this is an opportunity not to be lost2 go away2 come on ,thursday1 at two o'clock4' ,it was then about midday1 ,monday4 ,on ,thursday1 two o'clock1 there was #8,countess' as large as life1 asleep1 as she is now40 ,another authority states that she knew ,mr4 ,jacob ,bell1 and lived in the house at ,wandsworth1 from the balcony of which the dog fell4 ,she had often heard ,mr4 ,bell give the following version of the circumstances3--8,the hound was1 one dark night1 anxiously watching her master's return from ,london4 ,she heard the wheels of his gig and his voice1 but in leaping from the balcony where she watched1 she missed her footing and fell all but dead at her master's feet4 ,mr4 ,bell placed the hound in his gig and returned to ,london1 called ,sir ,edwin ,landseer from his bed1 and had a sketch made then and there of the dying animal40 ,the rapidity with which this picture was produced is another illustration of the facility of ,sir ,edwin's brush2 the canvas is no little one1 it measures three feet three inches high1 by four feet one inch wide4 8,comical ,dogs10 now at ,south ,kensington1 shows two large1 rough terriers1 who have been decorated by their master1 the one with an old woman's cap1 and a pipe in its mouth1 the other with a great ,scotch bonnet4 ,there is a good deal of humour in this picture1 but it is not one of the artist's best paintings4 8,odin10 engraved by ,mr4 ,w4 ,h4 ,simmons1 a fine picture of a famous dog1 and others1 were exhibited in #ahcf4 8,odin0 belongs to ,mr4 ,w4 ,russell4 ,we have already related an anecdote of its execution4 8,odin0 was a smooth mastiff1 the property of ,mr4 ,russell4 ,in #ahcf was published ,illustration3 ,donkey and ,foal4 8,the ,sportsman's ,annual10 with illustrations by ,edwin ,landseer1 ,a4 ,cooper1 and ,c4 ,hancock1 thirteen lithographs of dogs1 with a descriptive text4 ,in #ahcg came 8,the ,highland ,shepherd's ,chief ,mourner10 which is far more touching than direct appeals to the imagination3 a lonely shepherd has finished a long life1 and the picture represents his coffin covered by his maud for a pall1 with his dog1 the trusty companion of his later years1 and chief mourner1 the single and faithful guardian of the dead4 ,the expression and attitude of the friendless animal suggest almost human woe2 his limbs seem relaxed and without life1 as1 pressing close to the coffin and resting his head on it1 he broods over his loss4 ,the pious life of the shepherd is hinted by a ,bible on a stool in front1 his age and infirmities by the spectacles beside the book1 never more to be used4#ci 8,the ,shepherd's ,grave10 painted in #ahcg--which appeared with the ,art ,treasures at ,manchester1 in #aheg--was a picture of similar inspiration4 ,a sheep dog lingers by his master's grave1 his head declines over the fresh heap of earth1 with its bindings of withy4 ,the moon is rising on the horizon1 yet the dog remains4 ,to show how recent has been the master's decease1 the white stone displays an incomplete inscription2 the carver will return in the morning1 his tools lie ready1 but the dog will remain all night1 and until there is no more day for him4 ,the picture belongs to ,mr4 ,w4 ,wells1 ,m4,p4 8,the ,portrait of the ,marquis of ,stafford1 and the ,lady ,evelyn ,gower10 placed before the public in #ahch1 is a pretty picture of a girl with a fawn1 round the neck of which she has placed a garland2 a spaniel sits 8begging0 before her2 a boy in a short dress1 with bare shoulders and legs1 is seated on the grass in front and looks up1 while a noble deer-hound lolls against a tree2 it is probably ,landseer's best portrait-picture4 ,it was beautifully engraved by ,samuel ,cousins4 8,the ,life's in the old ,dog yet10 exhibited in #ahch1 and now the property of ,mr4 ,john ,naylor1 is poetical and pathetic4 ,an old deer-hound1 champion of many a hunting1 was over-eager in pursuit of the deer which lies shattered at the foot of a cliff4 ,the deer fell in a desperate leap1 the dog1 being close on his haunches1 overran himself and fell4 ,when the hunters came the difficulty was to recover the old dog and bring up the deer4 ,an ancient sportsman was let down by a rope1 and1 in the words which give a title to the picture1 hails the folks above1 while he sustains the head of the dog4 ,when this picture was comprised in the ,art ,treasures ,exhibition at ,manchester1 in #aheg1 it hung close to ,mr4 ,j4 ,r4 ,herbert's1 8,lear disinheriting ,cordelia10 a subject the artist had treated with sufficient demonstrativeness in the action and expression of the king4 ,a humorous mistake was made by a person who was attracted by the effective design of ,landseer's brother ,academician4 ,in the broadest 8,yorkshire0 he demanded of a companion1 8,what's #cbi80 ,the latter blundered1 and read from the catalogue the title of ,no4 #cca1 8,there is life in the old ,dog yet40 8,so there is1 to be sure60 ejaculated the inquirer1 in happy ignorance4 ,the year #ahch was remarkable in the annals of ,landseer1 for in the ,exhibition of that year was one of the finest of his works1 8,a ,distinguished ,member of the ,humane ,society0--the large ,newfoundland dog1 with a black head and a white muzzle1 reclining on the last stone of a quay1 while the summer ripples slowly rise at the sea-wall1 where the mooring-ring catches the lapsing wavelet as it runs along the stone4 ,the likeness of the dog is a wonderful representation2 this may be truly said1 notwithstanding all that can be averred in respect to the chic and dexterity1 of the painter4 ,the trick of an earnest expression1 the semi-human pathos of the dog's eyes1 is not less effective than truthful4 ,he lies in the broad sunlight1 and the shadow of his enormous head is cast sideways on his flank as white as snow4 ,he looks seaward with a watchful eye1 and his quickness of attention is hinted at by the gentle lifting of his ears4 ,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 quay2 and the fine sense of chiaroscuro displayed in the whole1 induce us to rank it with the painter's masterpieces4 ,superbly engraved by ,mr4 ,t4 ,landseer1 it now belongs to ,mr4 ,newman ,smith4 8,dignity and ,impudence0 was at the ,art ,treasures ,exhibition1 ,manchester1 and first shown at the ,british ,institution in #ahci1 with the title 8,dogs40 ,the noble bloodhound of the ,duke of ,grafton's breed who calmly regards an approaching person1 has received on terms of intimacy a snappish little ,scotch terrier1 whose irritability is not soothed by grand companionship4 ,the big dog's name was 8,grafton10 a name of his family2 that of the little one is unknown to fame4 ,the picture was bequeathed by ,mr4 ,jacob ,bell to the ,national ,gallery4 ,it was engraved admirably by ,mr4 ,t4 ,landseer1 and1 again1 severally1 by ,mr4 ,zobel and ,mr4 ,davey4 ,in the year #ahci appeared 8,van ,amburgh and his ,animals10 a different work from that which belongs to the ,duke of ,wellington and was at the ,academy in #ahdg4 ,the latter is the less acceptable of the two2 both have merits1 but in the eyes of critics neither1 nor any of ,landseer's later paintings of lions1 approach those works of his youth we have named1 8,a prowling ,lion10 and 8,a ,lion enjoying his ,repast40 ,the artist had1 during a considerable portion of his life1 continued his studies from lions1 and whenever ,mr4 ,mitchell1 ,secretary of the ,zoological ,society1 had a dead lion on his hands1 the refusal of the corpse was offered to ,landseer4 ,until the painter was consulted1 there was small chance of a zoologist dissecting 8a king of the beasts40 ,there is a story1 told originally by ,charles ,dickens1 or at least so often fathered on that writer that it may belong to him4 ,it is the counterpart of the tale of ,sydney ,smith1 on 8,is thy servant a dog80 ,some of our artist's ways were strange to visitors1 and stories float about them which are untrue1 but there is strong probability in that which tells how one evening1 while a few friends were assembled at the house in ,st4 ,john's ,wood1 the door of the room was suddenly opened by a man-servant1 who said1--with sang-froid which indicated volumes as to the nature of a speaker to whom nothing seemed unreal1--8,did you order a lion1 sir80 ,if such beasts had arrived daily at the door1 the question could not have been uttered with more imperturbability4 ,the guests looked to their host for an answer4 ,it is said that some were afraid1 or pretended to fear1 that a living lion was loitering at the gate1 waiting ,sir ,edwin's word to enter4 ,no one could be quite sure2 but none present expected to be given to the lion4 ,the explanation that calmed all real or pretended fears was soon obtained2 ,landseer was no more prepared than his company for the question of the henchman4 ,a lion had died suddenly at the ,zoological ,gardens1 ,regent's ,park--a lion well known to ,sir ,edwin4 ,it was evening when this occurred1 and the ,secretary had the dead beast put in a cart1 and driven to ,no4 #a1 ,st4 ,john's ,wood ,road1 where the party was assembled1 as a present acceptable to the host4 ,as lions do not die daily in this country1 the gift was worthy of the ,society and the receiver4 ,it was from this model that the picture 8,nero0 was painted2 and it is said that the lion of that name left his skin to the ,british ,museum2 at any rate it is certain that1 being duly stuffed with straw1 his hide received popular admiration in a glass case in one of the upper galleries of ,bloomsbury4 ,sir ,edwin's lion pictures were by no means numerous4 8,a ,lion disturbed at his ,repast10 #ahba1 before alluded to1 was the first1 and accompanied by 8,a ,lion enjoying his ,repast40 ,the next was 8,van ,amburgh and his ,lions10 #ahci2 the other1 derived from the same materials1 appeared in #ahdg4 ,the lions of ,trafalgar ,square were the last we owe to ,sir ,edwin4 ,our readers remember how tardy was the appearance of these sculptures--how long ,nelson's monument remained unfinished4 ,besides the above1 ,landseer painted a picture which has not been exhibited1 styled 8,the ,lion's ,den40 ,this was engraved by ,john ,landseer4 8,the ,lion-,dog of ,malta--the last of his ,tribe10 was exhibited at the ,royal ,academy in #ahdj1 and shows the white flossy little creature1 with a hawk's-bell at his neck1 lying on a table close to the head of a huge ,newfoundland dog1 on whose nose the smaller beast has placed a puny1 long-fringed paw4 ,the latter looks with glittering ferret's eyes through its overhanging mane4 ,the enormous head of the larger dog is bigger than the whole carcase of the little one2 and his eyes have the trick of a deep1 earnest expression1 which none caught so well as ,landseer4 ,on the front of the group are instruments for drawing1 a porte-crayon1 brushes1 pencils1 a stump1 and quill pen4 ,before these lies a piece of bread for rubbing out2 a mouse has stolen into light1 and hastily nibbles at the bread4 ,many stories have been told of ,landseer's bonhomie in general company1 but probably the best was that ,leslie related of a dinner-party at which the two friends met in ,sir ,francis ,chantrey's house4 ,this meeting happened in one of the later years of the life of ,sir ,francis1 some time before his death in #ahda4 ,this story is best related in ,leslie's words1 and as follows1 from 8,the ,autobiography0 of that artist3--8,edwin ,landseer1 the best of mimics1 gave a capital specimen of ,chantrey's manner1 and at ,chantrey's own table4 ,dining at his house with a large party1 after the cloth was removed from the beautifully polished table1--,chantrey's furniture was all beautiful1--,landseer's attention was called by him to the reflections1 in the table1 of the company1 furniture1 lamps1 c4 #8,come and sit in my place and study perspective1' said our host1 and went himself to the fire4 ,as soon as ,landseer was seated in ,chantrey's chair1 he turned round1 and imitating his voice and manner1 said to him1 #8,come1 young man1 you think yourself ornamental2 now make yourself useful1 and ring the bell4' ,chantrey did as he was desired2 the butler appeared1 and was perfectly bewildered at hearing his master's voice1 from the head of the table1 order some claret1 while he saw him standing before the fire40 ,the 8,roebuck and rough ,hounds10 a picture of #ahdj1 represented a broken hill-side1 where a young deer has fallen from one of its ledges to a lower table of rock1 where the dogs have found it1 and now guard the spoil until the huntsmen come4 ,there are four dogs2 one behind the prone head of the prey has the vantage-ground for watching1 and looks out with globe-like1 glistening eyes4 ,lower is a rough deer-hound1 lapping blood as it flows from the buck4 ,in front1 and at the foot1 are the heads of the other dogs1 one with a placid expression1 the other expectant of a step4 ,it is now at ,south ,kensington4 ,another work of this year was the famous 8,laying down the ,law40 ,the picture belongs to the ,duke of ,devonshire1 and is too well known to need description here2 suffice it that1 in our opinion1 it shows one of the best of ,landseer's designs of that class1 by investing animals with human expressions and feelings2 it is to be looked on less as an animal-picture proper than as a representation of human passions in animal forms4 ,we must accept this non-natural characteristic1 this artistic heresy1 otherwise the work is naught2 notwithstanding all possible objections1 it is never less than a fascinating satire1 one of those works which override principles by innate strength4 ,in #ahda ,sir ,edwin did not contribute to the ,academy4 ,in #ahdj1 #ahda1 #ahdb1 #ahdc1 and #ahdd1 the ,queen and ,prince ,albert amused themselves by etching certain designs by ,landseer3 impressions from these plates are very scarce4 ,these transcripts are named in ,mr4 ,algernon ,graves' catalogue of ,sir ,edwin's works1 p4 #da4 8,otters and ,salmon10 one of the pictures of #ahdb1 shows the fruit of one of those visits to the ,highlands which1 since the tour was made with ,leslie1 were annual3 it has been finely engraved by ,mr4 ,gibbon4 ,it exhibits a huge silver salmon lying on its flank1 and a long-bodied1 long-waisted1 brown otter1 cringing stealthily at the side of the fish1 showing his teeth1 and turning half round1 snarling in the fashion of his kind4 ,the year #ahdc found the painter at work on the fresco for the garden-house at ,buckingham ,palace2 it represents 8,the ,defeat of ,comus10 of which the sketch in oil was given to the nation by ,mr4 ,jacob ,bell4 ,but to return to the otter4 ,this proved the artist at work on a novel theme1 which he made his own by the well-known 8,otter speared0 of #ahdd4 ,so various had been the painter's studies in sporting subjects1--including wild cattle1 dogs of all kinds1 horses of all sorts1 fish1 deer1 ptarmigan1 swans1 rats1 ducks1 eagles1 hawks1 falcons1 otters1 to say nothing of lions2 and huntsmen of all ,english ranks--that people naturally fancied ,sir ,edwin was a keen sportsman4 ,nevertheless1 such was by no means the case2 in truth1 he often carried the gun as an introduction to the sketch-book4 ,this is proved by the story we obtain from a painter1 who1 while sketching in the ,highlands1 fell in with ,ewen ,cameron1 an old forest-keeper of ,glencoe1 who for more than four-and-twenty years accompanied ,landseer with the sketch-book and the gun2 he had been with him from his first shooting excursion1 and described the knight as but a poor shot at first1 but one who improved as he grew older4 ,he was1 nevertheless1 often laughed at4 ,but one day ,sir ,edwin had the laugh at all the party1 for1 knowing that he was not the best of shots1 they had deliberately posted him where the herd was not expected1 8when10 as the old forester said1 8it so happened that the greater number of the stags went his way1 and he just made by far the biggest bag of the party20 in fact1 8we found him surrounded with dead stags lying all about40 ,on another occasion the gillies were astonished1 just as a magnificent shot came in the way1 to have ,sir ,edwin's gun thrust into their hands1 with 8,here1 take1 take this10 hastily ejaculated1 while the sketch-book was pulled out4 ,the gillies were often disgusted by being led about the moors1 walking with more sketching than shooting2 and they grumbled dreadfully in their own tongue2 8but10 said ,ewen1 8,sir ,edwin must have had some ,gaelic in him1 for he was that angry for the rest of the day1 it made them very careful of speaking ,gaelic in his hearing after40 8,the last time he was here10 repeated the forester1 referring to but a few years ago1 8,i could not but observe to him1 #8,sir ,edwin1 ye're becoming like the ptarmigan1'0 alluding to that bird's turning white as the winter approaches4 ,another picture of the year #ahdb was the pathetic 8,highland ,shepherd's ,home10 which was engraved by ,mr4 ,gibbon1 and is very popular4 ,this was at the ,academy2 but a not inferior picture1 painted in the ,highlands1 is1 8,be it ever so humble1 there's no place like ,home10 which was at the ,british ,institution in that year1 and is now comprised in the ,sheepshanks ,gift at ,south ,kensington2 it was bought by ,mr4 ,sheepshanks from ,landseer1 ,a spaniel cowers at the entrance ,illustration3 ,goat and ,kids4 of his home in a quiver of glad recognition of the shelter2 he looks up with a whimper1 and gleefully wags his tail1 for the beast has been a vagrant4 ,in the foreground occurs one of those little points of by-play such as often occur in ,landseer's designs4 ,here a snail1 who does not quit his home1 but rather carries it on his back1 is travelling slowly and noiselessly towards the water-dish of the spaniel4 ,in #ahdb there likewise appeared1 but at the ,academy1 the most dexterously painted 8,pair of ,brazilian ,monkeys1 the property of the ,queen10 the dashing form of 8,breeze10 a retriever1 which has been engraved by ,mr4 ,c4 ,g4 ,lewis1 and the ever-beautiful figure of 8,eos10 that model of grace1 a greyhound belonging to ,prince ,albert1 which ,mr4 ,t4 ,landseer engraved faultlessly4 ,in this picture ,sir ,edwin must have been happy1 for the grace1 fulness of refinement1 high feeling for beauty1 and that defect of the animal which arose from over-civilization1 were here1 and he painted them perfectly4 ,the very defect of his art suited the truth of the subject1 and 8,eos0 in the engraving seems the finest example of the finest strain of ,landseer's art4 8,the ,sanctuary0 was of this year1 and akin in its inspiration to those which showed ,landseer at work in snow and ice1 with new subjects1 and hardly ever tried by an artist of his standing4 ,the latter are the admirable 8,coming ,events cast their ,shadows before them10 of #ahdd1 and 8,night and ,morning10 the noble designs of #ahec4 8,the ,sanctuary0 illustrated the refuge of a long-hunted stag on an island1 or on the coast of ,loch ,maree2 the swimming beast approaches the shore1 and perfectly represents the pathos of the verses3-- 8,see1 where the startled wild-fowl screaming rise1 ,and seek in marshall'd flight those golden skies2 ,yon wearied swimmer scarce can win the land1 ,his limbs yet falter on the watery strand4 ,poor hunted hart6 the painful struggle o'er1 ,how blest the shelter of that island shore6 ,there1 whilst he sobs1 his panting heart to rest1 ,nor hound nor hunter shall his lair molest40 ,we all remember the water dripping from the flanks of the beast1 the swerving line1 a little too mechanically drawn1 of the flying fowl1 the even colour of the twilight sky1 the gleaming of the water1 a surface broken only by the track of the ripples the exhausted swimmer's shoulders had set in motion4 ,the picture belongs to the ,queen1 and was in the ,international ,exhibition1 #ahfb1 and at the ,exposition ,universelle1 ,paris1 #ahec2 and while there attracted much less attention than it deserved from the ,french1 who demand qualities which ,landseer did not always succeed in furnishing4 ,we do not think it was on account of the pathos of this picture that the jury awarded him the great gold medal1 he being the only ,english painter to receive it2 many ,englishmen desired that ,mulready should obtain this distinction1 and the award in ,landseer's favour puzzled many1 because he was much less a painter per se than ,mulready1 who expected a decision in the reverse direction4 ,illustration ,illustration ,,chapter ,,vi4 ,a4,d4 #ahdc ,,to ,a4,d4 #ahej4 ,,windsor ,,castle--,,not ,,caught ,,yet--,,the ,,otter ,,speared--,,shoeing--,,the ,,random ,,shot--,,dialogue ,,at ,,waterloo--,,landseer ,,knighted4 ,the pictures contributed to the ,academy in #ahdc were not very important3 one was a scene in ,windsor ,castle1 with portraits of ,her ,majesty1 ,prince ,albert1 the ,princess ,royal1 and four of the ,queen's dogs2 another was 8,not caught yet0--a fox examining a trap4 ,most visitors to the ,academy1 who recal 8,the ,otter speared0 of #ahdd1 which appeared with 8,coming ,events cast their ,shadows before them10 remember the profound impression caused by these works4 ,the former is an 8upright0 picture1 showing a huntsman standing to mid-leg in a stream1 surrounded by a numerous pack of yelping dogs1 while he1 having driven his spear through the loins of the poor otter1 raises that ignoble prey on high1 in his last agonies1 transfixed1 writhing1 biting the staff of the spear1 and helplessly contorted in the air4 ,the dogs follow their nature1 and the man follows his2 the otter will be thrown to the hounds1 and torn to pieces4 ,there is an immense amount of diverse action and intense passion in the dogs1 who leap1 yell1 yelp1 bark1 struggle1 bound1 howl1 and even fight each other in their fury for the prey4 ,the design was admirable1 but the execution of the picture was a little flat--a defect which strongly affected the public--the colour was cold1 not improved by the introduction of the crude scarlet coat of the man in the centre without an effectual echo or compensating piece of colour4 ,the flatness of the execution made the perspective of the group of dogs look incorrect1 which was not really the case4 ,the drawing of the dogs was worthy of ,sir ,edwin's skill3 they belonged to the ,earl of ,aberdeen4 8,coming ,events cast their ,shadows before them10 sometimes called 8,the ,challenge10 and now in the collection of the ,dowager ,duchess of ,northumberland1 was another of the pictures of #ahdd4 ,although it has not appeared since its display at the ,academy in this year1 it is well known by means of engravings1 and therefore the subject being as simple as it was effectively told1 it will not be needful to describe it here4 8,shoeing10#dj another picture of this year1 was painted for ,mr4 ,jacob ,bell1 and is now comprised in the ,bell ,gift in the ,national ,gallery 7,no4 #fjf74 ,the scene is a forge1 with its open door and anvil1 and utensils lying about the place4 ,a bay mare1 a portrait of 8,old ,betty10 the property of ,mr4 ,bell1 stands near the anvil1 while a farrier tries a new shoe on her near hind hoof1 the other animals being an ass and a bloodhound1 the name of which was 8,laura20 these1 like the figure of the man1 are portraits4 ,the painting of the mare is worthy of ,landseer's peculiar skill2 her skin is glossiness itself1 while the likeness is so completely faithful that she stands exactly as she was accustomed to appear 8at ease10 and without a halter2 the latter1 ,mr4 ,wornum told us1 was an appendage the creature would never tolerate4 ,mrs4 ,mackenzie adds1 that the mare was so fond of being shod that she would go of her own will to the farrier4 ,mr4 ,lewis engraved this picture three times1 an extraordinary proof of its popularity4 ,in #ahde appeared a nameless work1 signalized in the ,academy catalogue as 8#ada 99 99 9910 and now described as 8,the ,shepherd's ,prayer10 which has been engraved by ,mr4 ,t4 ,l4 ,atkinson4 ,the pictures 8,peace0 and 8,war10 both of #ahdf1 now in the ,national ,gallery1 require only the briefest mention4 ,the scene of the former is the summit of a high chalk cliff looking over ,dover harbour--not too faithfully painted1 by the way--with the calm blue sea1 a little defective in clearness of colour1 the whole lying in sunlight1 as ,sir ,edwin was accustomed to paint that effect4 ,a cannon has been tumbled from its place1 and is here topsy-turvy on the grass2 in its harmless muzzle a pretty lamb is grazing2 other sheep and a few goats are browsing near2 close by are three bright-faced1 heedless children1 the shepherds of the flock1 one of whom has placed grass in the cannon's mouth for the lamb4 ,these elements complete the design1 of which the idea is a little too melodramatic to be acceptable to critics1 but it is most welcome to less fastidious judges4 8,war0 is simpler still1 and a design of less challengeable quality2 there has been a battle1 a cottage is in ruins1 lurid smoke dashes the still sunny walls with shadows1 the torn roses of the porch shine in the desolation1 a dying horse and his dead rider1 a dragoon in steel1 and sword in hand1 lie near the door2 a dead horse and a second dead man lie close to the others4 8,the ,stag at ,bay10 belonging to the ,marquis of ,breadalbane1 which appeared in the same year1 had a more energetic design than that of 8,war20 it is one of the strongest of ,sir ,edwin's pictures1 and well known by ,mr4 ,t4 ,landseer's engraving4 8,the ,drive10 produced in #ahdg1 was a hunting-piece1 representing the shooting of deer in a pass of ,glenorchy ,forest2 it is the property of the ,queen1 and was engraved by ,mr4 ,t4 ,landseer4 ,at the same exhibition some readers remember the large but not very fortunate 8,portrait of ,mr4 ,van ,amburgh1 as he appeared with his animals at the ,london theatres40 ,many years had passed since ,sir ,edwin had painted a 8lion picture10 and his reputation was uninjured in that respect1 although there were not lacking grumblers who averred that his earlier works far surpassed in artistic qualities the more attractive1 more popular and1 it must be admitted1 far more poetical productions of his middle life4 ,at this date our artist had hit the chords in popular feeling to which it would best suit him to appeal1 and he did so vigorously and constantly2 the chords were two--that of sad pathos and that of gentle1 semi-human satire4 ,the pictures of #ahdh1 to which we now turn1 being 8,a random ,shot0 and 8,alexander and ,diogenes10 were apt illustrations of the concurrent powers of ,landseer's mind at the best4 ,technically speaking1 he had lost prodigiously by this period2 his works were not half so solid as when his spurs were won1 but in the higher intellectual and imaginative qualities they now far surpassed their forerunners1 notwithstanding occasional dashes of melodramatic taste4 8,van ,amburgh10 was injurious to the reputation of the painter4 ,the works of the next year--#ahdh--set this higher than ever4 ,in #ahdh we were presented with 8,a random ,shot10 one of the most pathetic and epical of ,landseer's works4 ,it is a snow-piece1 the scene high on the mountain1 whose more distant ridges rise above the mist4 ,the snow lies smooth2 and for miles1 so far as the eye can penetrate the vapour1 there is nothing but snow1 which covers1 but does not hide1 the shapes of the hill-tops4 ,a few foot-prints show that a doe has come hither1 attracted1 doubtless1 by her knowledge of a pool of unfrozen water which would assuage her thirst4 ,some careless shooter1 firing into a herd of deer1 had hit the doe whose fawn was with her1 and1 mortally wounded1 she came to die2 the poor fawn had followed4 ,there the victim fell1 there the innocent one strove1 long after the mother's form was cold1 to obtain milk where an unfailing source had been4 ,the mother has fallen on her side1 the long limbs1 that once went so swiftly1 are useless1 and the last breath of her nostrils has melted the snow1 so that1 stained with her blood1 the water trickled downwards until it froze again4 ,this year was one of unusual good fortune for ,sir ,edwin's admirers2 two of his best pictures were exhibited1 besides the beautiful 8,old ,cover ,hack10 a horse standing with an air of being at home1 at the door of a stable4 8,alexander and ,diogenes10 another of the pictures of #ahdh1 is well known2 the big white bulldog ,alexander pays a visit to the philosopher in his tub1 personified by a dingy1 meditative little beast in inferior condition of health and of poor belongings4 ,he appears to be a farrier's tyke1 to judge by the box of nails1 with its thumb-hole1 and the hammer1 which lie before the tub2 and he is undoubtedly of abstemious habits1 if we may judge by the 8rope0 of onions and the herbs suspended at the side of his place of shelter1 and the potatoes which lie on the flag-stones4 ,the big white bully1 with his 8military0 collar1 stands before the tub1 and1 regarding its cynical occupant askant1 knits his brows--not a dog's action1 by-the-bye--at once inquiringly and with hauteur4 ,the courtiers are commonplace2 two are whining1 with hypocritical mouths turned down1 the one has upcast eyes1 the other is self-absorbed in meditation1 and with his eyes dreamily half-closed1 occupies part of the background4 ,a greyhound1 of the gentler sex1 whose collar is decorated with a hawk's bell1 and is herself a courtier1 is courted by the sneaking little spaniel with the set smile on his lips1 and adulatory eyes as lustrous as globes of glass4 ,a contumelious spaniel of another breed is near1 and1 with nose upturned and scornful1 looks at the more scornful and not less insincere cynic1 who1 with greater pride1 tramples on the pride of ,alexander4 ,this year 7#ahdh7 produced the 8,sketch of my ,father10 that capital portrait of ,john ,landseer to which we have already alluded4 ,in the same year appeared a series of etchings by ,c4 ,g4 ,lewis1 styled 8,the ,mothers1 by ,edwin ,landseer10 from drawings made in #ahcg4 ,this publication was the last in which our artist had direct concern4 ,in #ahdh ,landseer received from the 8,commissioners on the ,fine ,arts0 a charge to paint in oil three subjects connected with the chase1 for compartments of the ,peers' ,refreshment ,room in the ,houses of ,parliament2 the absurdly inadequate price was not to be more than #ejjl4 each4 ,it is evident that ,landseer accepted these tasks patriotically rather than in hope of profit4 ,however1 the matter came to nothing1 for after a sharp debate1 rather a skirmish than a fight1 when this great sum of #aejjl4 was proposed as the national payment to a great artist for three important pictures1 the ,house of ,commons1 piqued at the conduct of the scheme for decorating the ,palace of ,westminster1 struck the sum from the estimates1 and put an end to the affair2 more to the artist's profit than ours4 ,the pictures of #ahdi1 although comprising 8,the ,free ,church0 and 8,the ,evening ,scene in the ,highlands10 ,illustration3 ,sow and ,pigs4 present no features which need detain us4 ,it was at this period ,landseer made his first visit to ,belgium1 to procure studies and sketches for the capital 8,dialogue at ,waterloo10 which appeared in #ahej1 and is now comprised in the ,vernon ,gift2 it represents the ,duke of ,wellington and his daughter-in-law1 the ,marchioness of ,douro1 at the scene of 8the famous victory40 ,this visit naturally attracted a great deal of attention from the ,dutch and ,belgian artists1 who listened to strange stories of ,landseer's mode of painting1 and his1 to their notions1 luxurious mode of life2 that he went out into the woods near the place of his sojourn1 ,brussels1 accompanied by a man servant1 and made careful studies on millboard1 was not so surprising to our neighbours as that he was reported to regale himself with champagne4 ,it had been the artist's custom during the greater part of his life1 especially during that period which has now been described1 to make his studies on millboards of a generally uniform size2 great numbers of works of this size exist1 and their artistic qualities are of a high order4 ,the sale of his artistic remains brought to light numerous millboard studies1 including first thoughts for not a few of ,landseer's finest designs1 studies for pictures1 and bold versions of thoughts which were never elaborated into pictures1 or placed before the world4 ,these studies realized a considerable sum1 and thus increased the handsome fortune which he obtained by means of a long life's labours4 99 99 99 99 99 ,in #ahej ,edwin ,landseer was made a knight4 ,illustration ,,chapter ,,vii4 ,a4,d4 #ahea ,,to ,a4,d4 #ahfa4 ,,sir ,,edwin ,,landseer--,,the ,,monarch ,,of ,,the ,,glen--,,midsummer ,,night',s ,,dream--,,maid ,,and ,,magpie--,,the ,,flood ,,in ,,the ,,highlands4 8,the ,monarch of the ,glen10 exhibited in #ahea1 was a stag1 executed with vigour and soundness of modelling1 which recalled some of the finest works of the artist4#a ,the group styled 8,geneva10 which appeared with this1 was a large painting of several asses1 a bull1 a mule1 c41 gathered under an arch4 ,the head of the mule struck us as the best part1 where all portions were worthy of the painter4 8,the last ,run of the ,season0 showed a fox leaving his earth2 the texture of the beast's hide was rendered with dexterity1 and the head characterized the painter's peculiar craft in such subjects1 but there was not enough of the 8varmint0 in its expression4 8,titania and ,bottom--,fairies attending10 was a happy specimen of ,sir ,edwin's poetical invention1 and one of the most agreeable pictures which illustrate ,shakespeare4 ,the graceful nature of the ,queen of the ,fairies was shown in ,titania1 whose figure expresses the love-languor of her absurd dream2 she leans with a confiding caress against the most complacent ,bottom1 who extends his huge paw to handle a fairy4 ,the head of ,titania is decorated with a diadem of leaves and glow-worms4 ,fairies mounted on white rabbits add quaintness to the whole4 8,a ,highlander in a ,snow-storm1 holding an ,eagle he has just shot10 and 8,lassie10 were summer and winter scenes which effectively contrast each other4 ,these concluded the pictures of #ahea4 ,the year #aheb gave us nothing of immediate profit1 but the year after made ample amends4 ,what one may call the progress of ultra-facility1 the decline of ,sir ,edwin's power of solid painting1 was illustrated by the pictures of #ahec1 being the dramatic designs--they were little more--styled 8,the ,combat10 and1 severally1 8,night0 and 8,morning10 the subjects being a duel of stags1 and the ruin of both4 ,the pictures were at the ,academy1 and1 later1 at the ,international ,exhibition of #ahfb4 ,the contrasted effects were those of1 #a1 romantic gloom1 much less than twilight1 with a dim moon1 with screens of rain flying by a tumultuous lake1 and1 #b1 dawn growing rosier as the day grows over the fields2 the subject of the death struggle1 and of death4 ,in the one picture the beasts were fighting1 with such intensity of action as no one but ,landseer could have given1 so that they are 8locked horn in horn in fight40 ,the second picture shows the combatants still locked together by their horns--indeed it was this which decided their fate2 they are both dead on the hill-side1 the day has come1 the gusty night winds are hushed and the lake is a mirror again2 growing light reveals the outlines of the hills1 grey mist creeps on the strand1 the bird of prey wheels in the air above the dead1 and the fox has come from his lair in the rotting fern2 the royal dead are carrion prey4 ,here is a moral forcibly depicted1 on which we need not enlarge4 ,the pictures belong to ,viscount ,hardinge1 and have been engraved by ,mr4 ,t4 ,landseer1 to whom not a little is due on their account1 for it is certain that the magnificent design lost little in translation1 and that the picture was not pre-eminent4 8,the ,children of the ,mist10 a group of deer on a cloud-laden moor1 was exhibited with these more powerful examples which we have just described4 ,whatever may be the defects of the ,royal ,academy as a society--and most of these are1 we trust1 in the course of correction--there can be no doubt that collectively it has done many fine things2 the members have often acted in a noble manner2 the number of instances of sacrifice of cherished advantages to fellows or rivals is considerable1 and the story has been told of many ,academicians who have taken their own pictures from the walls in order to place those of others in good situations4 ,we believe it was about #ahec1 or it might have been at an earlier date1 that ,sir ,edwin was one of the ,hanging ,committee for the ,royal ,academy ,exhibition2 it does not signify who was his fellow1 but it is certain that he was a landscape painter1 and therefore no rival of ,m4 ,gudin1 an animal painter4 ,sir ,edwin found among the contributions which had been set aside as 8doubtful10--i4e4 its chance of being hung was but a poor one1--a work which pleased him greatly1 but which had no artist's name4 ,taking it to his fellow-hanger1 ,sir ,edwin found that both agreed as to its merits1 and that it ought to be hung1 and well hung4 ,the difficulty was where to put it2 at last the other hanger found that a place accorded to a painting of his would suit this one extremely well1 he therefore took down his own and put ,m4 ,gudin's production in its stead4 ,thus the animal painter found an animal painter's work1 and was the means of inducing a considerable sacrifice in order that it might be seen4 ,it may be asked1 why did not ,sir ,edwin take down one of his own paintings instead of allowing his companion to do so8 ,the answer is1 that it is possible that ,sir ,edwin had no pictures at that gathering2 or it is still more probable that ,m4 ,gudin's contribution would not fit one of the places occupied by ,landseer4 ,we have an impression that ,sir ,edwin's generous companion was ,w4 ,daniell1 ,r4,a41 in which case this circumstance must have happened long before #ahec2 but this date has been given as that of the circumstance4 ,the year #ahed was not one of those in which ,sir ,edwin's powers shone at the ,exhibition2 in #ahee he gave nothing2 in #ahef he contributed the capital 8,saved60--a fine picture1 good enough to have made the reputation of another artist--to the ,royal ,academy4 ,in #aheg we had the grandest stag which came from his hands1 being 8,scene in ,brae-mar--,highland ,deer1 c410 a magnificent stag1 standing in the mist1 but not concealed by the vapour1 and on the brow of a hill1 bellowing defiance to the hunter or to other males of his own kind2 a group of does are about him2 a rabbit appears on the grass4 ,the stag is superbly drawn1 and his action instinct with pride4 8,rough and ,ready0 was of this year2 a portrait of a favourite mare1 in the yard of her stable4 ,the humour of the picture1 one of those capital pieces of by-play which none introduced more happily than ,landseer1 was presented by the passionate emotion of a hen1 who1 having just laid an egg1 calls all the world to witness the fact4 8,rough and ,ready0 turns a questioning eye on the bird1 but is not deeply moved by the event2 indeed she looks a little bored by the uproarious mother-bird4 ,this was a good example2 but 8,uncle ,tom and his ,wife for sale10 which accompanied it at the ,academy1 showed that ,landseer had occupied some of his time during the years before this one in reading a now almost-forgotten ,united ,states novel4 8,uncle ,tom0 is a dog of humble breeding and sturdy constitution2 he has been brought to the market for sale1 and is chained to his wife1 for whom a similar fate is purposed4 ,the best part of the picture was the tearful look of the wife at the dog of her heart4 ,this was a masterpiece wherein ,sir ,edwin often triumphed--the humanizing of animal expression1 or rather1 the animalization of human expression4 8,the ,maid and the ,magpie10 given by ,mr4 ,bell to the nation1 with better pictures1 is1 however1 by no means unworthy of ,landseer4 ,the scene is a shed1 where a pretty ,belgian girl1 with a gay red cap on her head1 has come a-milking2 the cow is willing1 and turns with affectionate docility to her friend2 but the girl1 whose expression is happy1 is ardently listening to her lover1 who1 leaning against a post1 sighing and longing1 speaks to her4 ,thus far she neglects her immediate duties4 ,she is supposed to get into further trouble1 because1 having placed a silver spoon in one of the wooden shoes at her side1 she did not observe how a malicious magpie pilfered the treasure1 which1 being missed1 cause her to suffer grievously4 ,the story belongs to that of ,rossini's 8,la ,gazza ,ladra10 with an older source1 as ,mr4 ,wornum said1 in the ,french ,causes ,clbres4 ,a calf and some goats were ,landseerian1 one cannot have a better word4 ,the most remarkable work which ,landseer had for some years exhibited was the immense cartoon styled 8,deer ,browsing40 ,it is in coloured chalks1 black1 red1 and white1 used in a manner analogous to that which ,mulready employed for his famous studies from 8the life10 and it represented a herd of deer grazing1 while hunters have stolen on them from the heights of the mountains1 and prepare to fire from behind rocks4 ,a royal stag browses unsuspiciously2 but two does have detected the intruders1 and1 looking up with startled air and erected ears1 are about to take to their heels4 ,in the same year we found at the ,british ,institution1 to which gathering ,sir ,edwin had not then contributed for a considerable period1 the humorous and characteristic 8,twa ,dogs10 an illustration of ,burns' poem with the same name4 ,the gentlemanly dog1 8they ca'd him ,csar10#da had all the marks of his education about him2 not only in 8his lockit1 letter'd1 braw brass collar10 but in the gravity and cleared-eyed dignity of his face1 which is wonderfully represented4 ,the other dog1 8that gash and faithful tyke10 is evidently for rougher service2 and if not so much to be admired1 is perhaps to be liked more4 ,there is not the slightest doubt that 8,his honest1 sonsie1 braws'nt face ,ay got him friends in ilka place4 ,in the same exhibition appeared the portrait of ,sir ,walter ,scott to which we have referred1 styled 8,extract from a ,journal whilst at ,abbotsford40 ,the poet sits laughing at the gambols of his dogs4 ,maida1 the old deer-hound1 famous in his master's verses1 is looking with 8inane benevolence10 the humour of which is exquisite1 on a little puppy on the floor2 the little dog nibbles his senior's tail4 ,at their side is a letter directed to ,sir ,walter4 ,in this1 as the catalogue lets us infer1 a proof of one of the ,waverley novels had been received4 ,by means of this1 ,landseer was convinced that the authorship of those novels was1 as many suspected1 due to ,scott4 ,this was1 relatively1 not a good picture4 ,as a sketch of canine character and a dexterous piece of painting it had great merits2 but the story was incomprehensible without the catalogue4 ,in this respect it was less explicable at sight than 8,the ,maid and the ,magpie20 for the latter might be taken for no more than it really was1 a picture of lovers gossiping1 and the incident of the magpie and the spoon ignored4 8,doubtful ,crumbs10 at the ,academy in #ahei1 was hardly equal to its origin2 a mastiff lolls at the door of his kennel1 and a smaller dog looks anxiously for permission to pick up scraps4 ,the picture1 with a title in ,highland jargon1 in the catalogue of the ,royal ,academy ,exhibition of this year1 displayed how a hunted stag escaped two dogs by taking to the water4 ,one of the dogs is hurt to death2 the other is about to leave the stag4 ,it was finely and vigorously designed1 not less slight than of late from the painter4 8,the ,prize ,calf0 showed1 with a slight touch of humour1 a frightened girl leading a calf through a mountain pass4 8,a kind ,star0 illustrated a ,highland superstition1 but in such a manner as proved that the designer's mind was not in its usual fine tone when it was conceived4 ,the superstition is that hinds are under the protection of beneficent stars3 a hind lies dying on the banks of a lake4 ,so far nothing could be said2 but the introduction of a spirit1 with a star in its hair1 to bend over the poor beast1 was of quite another order of invention4 ,the production of this idea was the first decided sign of decay in the powers of our artist4 ,those who owed him much delight stood aghast before it4 ,some of these tried to ascribe its exhibition1 and even its production1 to obedience to some unfrequent impulse--deference to some inferior mind1 subservience to some vulgar taste4 ,however this might be1 there1 unfortunately1 it was4 ,the year #ahfj put the artist before us as effectively as before1 and gave what is probably the strongest of all his pictures1 the 8,flood in the ,highlands10 as to which ,i cannot do better than borrow from the 8,athenum0 of the time the following description1 which has the freshest impression because ,i wrote it on the day when1 in the well-known ,st4 ,john's ,wood studio1 and before the picture was sent to the ,royal ,academy1 ,mr4 ,millais introduced me to ,sir ,edwin ,landseer3--8,by right of seniority let ,landseer come first4 ,his subject is a flood in the ,highlands1 one of those catastrophes to which villages situated in gorges of a mountain country are exposed by the sudden melting of snow on the hills1 or heavy falls of rain1 which1 swelling the little rivulets1 often overwhelm a valley-hamlet at a sweep4 ,the great flood1 rushing from the hill-side1 rages through the street2 up to the very thresholds of the houses it pours along1 a torrent irregular and resistless4 ,behind the village a range of low hillocks bear a few scanty trees1 in the boughs of which some black birds have taken refuge1 telling the wide extent of the inundation4 ,the water has drowned the adjacent country1 bearing along with it multitudes of farming implements and the dbris of the swept district4 ,the inhabitants have taken refuge on the roofs of their cottages4 ,upon one1 in the mid-distance1 are men urgently endeavouring to save a team1 which1 borne onwards by the torrent1 struggles relentlessly against its force1 and1 mad with fear1 nigh baffles the efforts of the rescuers1 straining to the utmost a rope held by them1 whose entire strength fails to check the terrified animals that have already been swept past ,illustration3 ,sheep and ,lambs4 the place of safety1 and come driving full on to another cottage1 nearer the front of the picture2 an exhausted ox has reached this spot1 and now1 breathless1 with bloody nostrils and eyes possessed with the madness of fear1 strives in vain to save itself4 ,the dumb agony of this beast is fearful2 being nigh spent with the violence of the flood which sweeps over its flanks1 the forefeet wrestle fruitlessly1 and the animal will soon be borne away to destruction4 ,the principal group1 in which the chief interest of the picture concentrates1 is placed on the roof of the nearest cottage4 ,the people have saved themselves1 but little else1 so sudden was the coming of the flood4 ,right in the front sits a woman with a cradle beside her1 of which the clothes are tossed aside1 and the infant who occupies it lies in her lap2 round her neck the child clings1 ignorant1 but yet alarmed4 ,the woman's action tells the horror and fear predominating in her soul4 ,fear for herself and fear for the infant relax even her grasp on its body1 letting it rest almost wholly on her knees 7the hands1 however1 instinctively making a guard71 which terror has drawn up towards her2 while1 with forth-thrust neck and head1 she glares at the approaching torrent out of large1 rounded and dilated eyes1 that have no glance for the infant now1 but see in the struggling beast a presage of death for both4 ,her jaw is set back1 paralyzed with dread2 her mouth is open1 the lips are retracted and hard1 the eyebrows are up and yet compressed1 the cheek pallid and rigid with lines of fear1 her hair is dishevelled and her dress is disarranged4 ,in short1 this figure is a perfect study of expression1 the success of which does honour to the artist4 ,he has done well to show her momentary indifference to the child2 for this is a new point of character1 beyond question just and natural1 which alone would remove the picture from the conventional order of works of ,art4 8,behind this group sits an aged man1 half imbecile1 and scarcely recognizing the danger which threatens his family2 but1 with his dress drawn about him1 keeping steadfastly in the seat where their heedful affection has placed him4 ,beyond1 squats a boy1 wrapped in a plaid wet from the flood1 and caressing a dog he has rescued from the water1 and now holds it1 shivering1 in his bosom4 ,on a ladder raised against the side of the house1 by which the people have ascended to the roof1 are perched some poultry1 fussily alarmed at the distress about them2 a hen--as is the wont of such creatures when terrified--has laid an egg1 which1 falling on a step below her perch1 much astonishes a cat that has established herself there1 and now rises to examine the phenomenon4 ,here is a point some hypercritical people will get hold of4 ,the egg is broken by the fall1 the shell being hard and set4 ,no egg is otherwise than soft at this moment of exclusion1 these critics will say4 ,let us leave them their discovery1 and proceed to point out an incident of the design that marks the genius of the artist4 ,close under the eaves of the house1 and just emerging from the water1 is a poor hare1 endeavouring to burrow a way into the thatch1 with struggling feet and ears laid back2 the flood has brought this timorous beast into the neighbourhood of man1 and it is pitiful to see its frantic efforts to make a place of refuge in the very habitation of its enemies4 ,above1 grey wreaths of rain-clouds haste along1 and the whole aspect of the picture bespeaks terror and desolation4 ,the very fault of its execution aids this appearance1 for the want of appreciation of colour1 which is alone to be lamented1 helps the motive of the theme by a certain chilly opacity4 ,this1 under another aspect1 would seriously mar the credit of so marvellous a work4 ,sir ,edwin has done his best in the picture1 and the result of many years' study shows how profitably they have been employed in ensuring him fresh honour40 ,so far the critic1 and present writer1 sees no reason for changing his opinion of this masterpiece of ,sir ,edwin's4 ,if it was not his finest work1 it was at any rate his culminating one2 he painted none so good afterwards--indeed1 even before it was finished1 the painter1 always a man of extreme nervous susceptibility1 had hints that the human mind and the body which surrounded it are mortal4 ,he was constitutionally subject to nervous depression1 but these attacks accumulated force as years went on1 and threatened the end which came with all its painfulness4 ,i remember him1 during the painting of this picture1 on the ,tuesday before it was sent to the ,academy--putting a few touches on the canvas4 ,he looked as if about to become old1 although his age by no means justified the notion2 it was not that he had lost activity or energy1 or that his form had shrunk1 for he moved as firmly and swiftly as ever1 indeed he was rather demonstrative1 stepping on and off the platform in his studio with needless display1 and his form was stout and well-filled4 ,nevertheless1 without seeming to be overworked1 he did not look robust1 and he had a nervous way remarkable in so distinguished a man1 one who was usually by no means unconscious of himself1 and yet1 to those he liked1 full of kindness4 ,the wide green shade which he wore above his eyes1 projected straight from his forehead1 and cast a large shadow on his plump1 somewhat livid features1 and in the shadow one saw that his eyes had suffered4 ,the grey 8,tweed0 suit1 and its sober trim1 a little emphatically 8quiet10 marked the man2 so did his stout1 not fat nor robust1 figure2 rapid movements1 and utterances that glistened with prompt remarks1 sharp1 concise1 with quick humour1 but not seeking occasions for wit1 and imbued throughout with a perfect frankness1 distinguished the man4 ,even in #ahfg there was little outward change1 although not long after that date the attacks occurred with fewer and briefer intervals4 ,these intervals caused the reports which flew about1 8,sir ,edwin is better10 8much better10 as some would have it1 and1 anon1 8much worse10 as many said4 ,after the 8,flood in the ,highlands0 had set ,landseer's reputation on a basis which was apparently firmer than ever1 he produced pictures of value1 even judging them by the standard proper to our estimate4 ,in #ahfa we had 8,the ,shrew tamed0--8la jument dompte0 of its ,french admirers1 in #ahfg--;a riding-mistress1 who1 having overcome a vicious thoroughbred mare1 7for1 this picture echoed the wandering voices of the hour1 and 8horse-tamers0 were then in vogue7 has made the beast lie on straw1 and triumphantly reclines her own head on the mare's flank1 as the dame1 supine and smiling1 rests beside the steed1 while the latter gently and obediently caresses her hand2 the former1 conscious of her victory1 pats the animal's head4 ,the horse is exquisitely faithful in the handling1 the glossy muscle-binding hide is all a-shine with health and horsehood2 her powerful hoofs2 her eye of fire1 subdued but not depressed1 and full of vigour2 the strong1 unmastered neck1 that turns gracefully in its vigour towards the slender lady resting among the dreadful feet1 as if there were no more harm in them than in her own1 that peep daintily beneath the blue riding-robe4 ,among the straw1 and painted as only ,landseer could paint lapdogs1 was a saucy little beast of that kind4 ,besides this very telling picture1 ,sir ,edwin contributed three large cartoons in distemper1 a triptych of 8stag subjects40 ,in the centre was 8,the fatal ,duel10 two mighty stags that have been fighting to the very death3 here was an echo of a former picture1 the noble notion again worked out4 ,they lie in the snow on a mountain side1 the surface of which1 crisped by frigid winds after a thaw1 was given with power and truth4 ,one stag1 wounded to the death1 is prostrate1 and dying on the ensanguined snow1 while the torn and bleeding fragment of a horn attests the stubbornness of his defence4 ,over him the conqueror1 with gory flank and limbs1 bellows victory to the mountain side4 ,the wings of the triptych are styled1 8,scenes in the ,marquis of ,breadalbane's ,highland ,deer ,forest20 the first1 stags and hinds traversing snow-covered hills2 the second1 a similar subject in mist4 ,all these were capitally drawn and designed4#db ,illustration ,,chapter ,,viii4 ,a4,d4 #ahfb ,,to ,a4,d4 #ahgc4 ,,man ,,proposes1 ,,god ,,disposes--,,the ,,connoisseurs--,,the ,,swannery ,,invaded--,,closing ,,years--,,death ,,of ,,landseer4 ,the years #ahfb and #ahfc were1 so far as the ,exhibitions were concerned1 significantly void of the fruits of ,sir ,edwin's art4 ,but #ahfd brought good news and good work again2 and we all rejoiced over the vigour which was apparent in 8,man proposes1 ,god disposes10 an ,arctic incident suggested by the finding of the relics of ,sir ,john ,franklin4 ,the scene is a piece of rugged ice1 the coast-line of that remote land1 broken by inlets of dark water4 ,over all is the greenish light of an ,arctic noon2 a purple veil of mist is drawn aside1 as if a secret were displayed1 and in order that we might see what had become of our long-lost countrymen4 ,the veil gone1 the rose tints of sunlight fall on the nearest and the highest points of rock-like ice1 while light itself penetrates the sea-green blocks1 and lurid shadows appear among the masses that strew the shore4 ,right across the front lies the mast of a boat1 covered with brine as hard as a stone1 and with a hoary fringe of icicles4 ,a rag of tarpaulin--that may at one time have been the roof of a hut formed amongst the angular blocks--lies over this spar4 ,beneath this spar are a few planks1 bleached in the long frost2 and from below them peer a few bones--the rib bones of a man2 above these lies a coat of navy blue4 ,a huge white bear1 her head on high1 holds between cruel jaws a whitened bone4 ,at the other side of the picture1 and at the back of the so-called hut1 sprawls the formless bulk of a larger bear1 whose flattened head is laid along the ice1 dragging between its jaws and from beneath the spar the ragged length of a piece of bunting1 part of a ,union ,jack4 ,this work now belongs to ,mr4 ,e4 ,v4 ,coleman4 ,with this painful picture we received that charming piece of manual dexterity1 and keenest feeling for animal character1 8,a ,piper and a ,pair of ,nutcrackers10 a bullfinch perched on a bough1 just above the seat of a pair of squirrels4 ,it is now in the possession of ,mr4 ,c4 ,booth4 ,at the ,british ,institution for this year 7#ahfd7 we had 8,well-bred ,sitters1 that never say they are bored10 a large painting of dogs1 produced with all ,sir ,edwin's dexterity although1 it may be1 not showing all his soundness of drawing1 or that finish in which1 of yore1 he delighted4 ,an enormous black dog sits1 as if before an artist1 a model of dignity and self-possession2 in his mouth is a badger-hair brush1 such as painters style a 8softener40 ,by his side a fawn-coloured dog is posed with great elegance4 ,in the foreground are several dead doves1 a pheasant1 a purple velvet cigar-case1 the colour of which serves as a chromatic echo to that of the pheasant's neck4 ,this was a vigorous picture1 showing all we were accustomed to find in ,sir ,edwin's later works4 ,the most interesting1 if not the best1 picture of #ahfe by ,landseer was his own portrait1 styled 8,the ,connoisseurs10 a humorous piece1 comprising portraits of two dogs1 who look appreciatively over his shoulder while he makes a drawing4 8,the flesh painting is too white as well as pinky to be true to nature1 opaque and rather coarse1 but the dogs who look over his shoulder at the sketch he is making1 supply the title to the picture4 ,canine meditation and the result on a dog's face of critical habits were never even thought of before1 much less ever painted1 as they are here4 ,the dog on our right will not1 it seems1 give a hasty verdict in favour of his master's work1 that on our left will1 like other critics1 follow his neighbour4 ,if anything could justify a man's wish to be a dog it would be that ,sir ,edwin might paint him4 ,what a gentle dog is he on our right60 8,djener la ,fourchette10 a donkey feeding1 a boy near1 was not a fortunate picture4 8,adversity0 and 8,prosperity0 had contrasted subjects in the life of a horse4 ,in the latter we had a superbly elegant bay horse2 his hide has an inner glow such as would delight ,titian to paint it2 he sniffs the air gladly and looks from on high far off2 his limbs are perfectly formed1 and his body is a model for a ,greek sculptor1 and although too small in proportion for the body1 his head is elegant4 ,by his side is a dandy groom1 the least satisfactory part of the picture4 8,adversity0 gives the other side of the same medal4 ,a cab-horse in a low inn-yard sniffs wearily a mass of corn that is locked up2 the shabby collar of servitude is about his neck1 and1 worse than all1 has rubbed to bleeding some of that golden bay skin1 which1 a little too perfectly it may be1 remains to the poor beast of all his beauty1 pride1 and delight in life2 he sniffs in vain1 almost afraid to go too near the locked food1 and feebly1 apologetically1 paws the stones with worn hoofs4 ,the artist never told a tale better than by these pictures1 and probably never painted a horse's hide better than that of the youthful model4 ,these works were sold with ,mr4 ,albert ,grant's pictures1 ,april #bh1 #ahgg2 the former for #adhj1 the latter for #aeja4 ,the next year1 #ahff1 produced the unfortunate 8,lady ,godiva's ,prayer20 the finely painted white 8,mare and ,foal0 lying on the grass by the side of an ,indian tent2 8,odds and ,ends1 a ,trophy for a ,hall10 a collection of bucks heads1 hunting weapons1 c41 grouped with three living dogs1 an unlucky grouping4 ,there was likewise a large cartoon1 recalling the triptych we have described1 and showing a stag rushing at full speed1 and followed hard by a great hound1 both full of action4 ,in this year ,sir ,edwin made his first appearance as a sculptor with the vigorous 8,stag at ,bay10 the fruit of practice of which the then long-delayed ,lions for ,trafalgar ,square were expected to have the benefit4 8,wild ,cattle at ,chillingham ,park1 ,northumberland10 one of the pictures of #ahfg1 gave a fine painting of a magnificent bull1 companied by a cow and a calf1 standing among heather and rocks4 ,this and a companion picture1 8,deer in ,chillingham ,park10 were destined for a chamber at ,chillingham ,castle1 the seat of the ,earl of ,tankerville4 ,in ,january of this year the ,lions were placed in ,trafalgar ,square3 they had been commissioned from ,sir ,edwin ,landseer so long before as #ahei4 ,they have monumental poses1 with by no means wholly fortunate realistic execution4 ,their attitudes are undeniably grand1 the surface treatment of each figure is excellent2 but the incongruity of the two characteristics is injurious to examples of architectonic art4 ,this may be admitted by those who have recognized in the statues from the pediments of the ,parthenon1 similar characteristics combined in works which1 like the ,lions1 were intended for architectonic service4 ,the pictures of #ahfh do not call for any particular mention4 ,on the other hand1 there was one in the ,academy in #ahfi which recalled to our minds all the artist's power4 ,this was entitled 8,the ,swannery invaded by ,sea-,eagles10 and came a great deal nearer to ,snyders's manner than any ,landseer had produced for many years2 indeed1 since youth had ceased with him he rarely worked with so much solidity1 firmness1 and with such skill as in that which we think his last noble picture4 ,it shows a group of swans' nests near the mouth of a mountain river4 8,from the hills that overlook the ocean1 the fierce brown birds have descended on the white brood1 and attacked them with beaks and claws4 ,one has a big wader by the throat1 and just below the bill that vainly bites his thigh1 while with a yellow dreadful claw he tears the downy breast of the victim1 so that the red blood streams over it1 dashing the plumage of snow to the black foot-webs themselves1 which vainly quiver on the ground4 ,yet the swan fights well1 and delivers smashing blows with his wings at his tyrant4 ,the effect of this mode of defiance is seen on the body of another eagle1 which1 with the ravenous yelp of his kind1 returns to the attack on a second swan1 and will certainly get the best of it4 ,already dead between her still fighting fellows1 a third swan lies prone1 with a grey cygnet beside her4 ,in the air above the nest1 other swans flutter away1 but in vain1 for other eagles are there to destroy the last of those who built near the robbers4 ,the design of the picture may be thus explained1 but it would be hard to illustrate the painting of the plumage1 or the largeness of the style which pervades this1 one of the best painted of ,sir ,edwin's works4 ,it belongs to ,lord ,northampton4 ,with this noble painting ,sir ,edwin's artistic biography1 his auto-biography1 may well be closed4 ,succeeding works added nothing to our knowledge of his skill1 nor were they calculated to illustrate his genius more fortunately than those which have been enumerated and described4 ,an exceptional painting may fitly have place here2 it is described by a correspondent to the 8,athenum10 ,no4 #bcif3 8,to your list of distinguished ,english artists who have practised scene painting1 should be added the name of ,sir ,edwin ,landseer4 ,i have myself seen1 in the theatre at ,woburn ,abbey1 a scene painted by him4 ,in the time of the late ,john1 ,duke of ,bedford1 private theatricals were much in vogue at ,woburn1 and ,sir ,edwin was then a frequent and honoured visitor1 and on one of these occasions he painted the scene in question1 which represents the interior of a room1 opening in the centre on to a terrace or balcony4 ,in the doorway stands a lady's dog1 marvellously touched1 in a listening attitude1 with one of the fore-paws uplifted1 exhibiting1 in a striking degree1 all the artist's wondrous power1 even in the coarse and hasty manner incidental to a scene-painter's art4--,h4,b40 99 99 99 99 99 ,a few notes of the prices said to have been obtained for some of the artist's works may not be unwelcome to the reader1 especially as these will show how greatly they increased in value as popular applause justified his labours1 and did honour to his achievements4 ,we believe the sums named are substantially correct1 but1 of course1 cannot verify every statement4 ,in #ahca ,edwin ,landseer conveyed the copyrights of 8,lassie and ,sheep10 and 8,the ,widow10 to ,john ,burnet for #aej guineas4 ,in #ahej ,sir ,i4 ,k4 ,brunel gave #dej for 8,scene from a ,midsummer ,night's ,dream40 ,it was sold with his pictures1 ,april #ba1 #ahfj1 for #bhjj4 ,mr4 ,pender gave #cejj for each of the pair of pictures by ,sir ,edwin1 which were in his collection4 ,mr4 ,coleman gave the artist #bejj for 8,man proposes1 ,god disposes20 ,mr4 ,huth gave him #ajjj guineas for 8,a ,piper and a ,pair of ,nutcrackers40 ,the painter received #djj for 8,bolton ,abbey10 #ajj for 8,a ,cat's ,paw20 ,mr4 ,vernon gave him #aejj for 8,peace0 and 8,war40 ,for the copyright of these the publisher of the engravings gave1 it is said1 #cjjj4 #cfjj is said to have been paid for the copyright of 8,a ,dialogue at ,waterloo40 8,the waiting ,horse0 cost #bejj4 ,the four pictures at the ,academy in #ahdf1 i4e4 8,peace10 8,war10 8,the ,stag at ,bay10 and 8,refreshment10 cost1 it is said1 for copyright and engraving1 at least #aj1jjj4 8,the tired ,reaper10 which measures #ad #aj inches1 was sold in #aheh for #bjj guineas4 ,in ,august1 #ahfj1 on the dispersion of ,mr4 ,houldsworth's collection at ,glasgow1 8,uncle ,tom and his ,wife0 sold for #hjj4 ,in #ahfa this picture obtained no higher bidding than #eij4 8,a ,study of a white ,horse10 given by ,landseer to ,leslie1 sold at the latter's sale for #dd guineas2 8,a ,goat's ,head10 for #bdj guineas4 ,in ,april1 #ahfj1 8,the ,stone-breaker's ,daughter0 was sold1 with the ,redleaf ,collection1 for #ajjj guineas2 and a 8,portrait of ,lord ,alexander ,russell0 for #hbe guineas4 ,at ,mr4 ,windus's sale1 ,march1 #ahei1 ,lord ,ward bought 8,a ,river ,scene10 which has not been exhibited1 for #ddj guineas2 8,the ,sentinel0 was sold for #abf1 in #ahfa4 ,the sale of ,mr4 ,gillott's ,collection1 ,april1 #ahgb1 comprised several works by ,landseer2 the prices obtained for these are interesting to us2 for examples1 take 8,a ,landscape10 with a monk proceeding to a cell1 an illustration to one of ,scott's novels1 #ahc2 8,a ,view in ,scotland1 with a ruined ,abbey10 #aaj2 8,waiting for the ,deer to rise10 #adab2 8,mount ,st4 ,bernard ,dogs10 #ahbg2 the 8,pointers1 ,to ,ho60 7exhibited in #ahba7 obtained the enormously disproportioned price of #bjaf4 8,the ,otter ,hunt10 #ahdd1 painted for ,lord ,aberdeen1 was sold with ,mr4 ,albert ,grant's pictures1 ,april #bh1 #ahgg1 for #eicb 7874 ,landseer's 8remaining works0 were sold by ,messrs4 ,christie1 ,manson1 and ,woods1 ,may #h1 #i1 #aa1 #ab1 #ac1 #ad1 and #ae1 #ahgd4 ,on this occasion 8,lady ,godiva's ,prayer10 #ahff1 sold for #ccfj4 ,it was amusing to read the lamentations of an 8able editor0 at the time of the selling of 8,peace0 and 8,war40 ,there was a gentleman of this class who expressed his horror and wrath at the facts in question1 and stated himself to be in dread lest ,sir ,edwin's success would swallow up all other art1 and he declared it to be gravely injurious1 as tending to 8lock up0 the capital of publishers of prints6 ,it is necessary to add here that most of ,landseer's earlier pictures1 show deterioration2 others1 among which 8,bolton ,abbey0 has prominence1 are in a deplorable condition4 ,extensive cracking1 or parting of the outer layer of pigments into what resemble irregular tesser1 is the common defect4 ,in a less degree ,wilkie's works have suffered in the same manner1 and show1 notwithstanding repairs1 too obvious signs of crack4 99 99 99 99 99 ,with this our subject is exhausted4 ,further1 as to the honours won by ,sir ,edwin ,landseer1 and to enumerate them at once3 he was knighted in #ahej1 and received the large gold medal from the authorities of the ,paris ,universal ,exhibition of #ahec1 being the only ,english artist who was so distinguished4 ,he declined the ,presidency of the ,royal ,academy when the death of ,sir ,charles ,eastlake and the modesty of ,mr4 ,maclise--who would not receive an honour he merited--induced most of the artists to beg ,landseer's acceptance of the dignity4 ,when ,eastlake was elected on the death of ,shee1 ,edwin ,landseer had one vote given in his favour as ,president of the ,royal ,academy1 ,mr4 ,george ,jones obtained two votes1 ,eastlake twenty-six4 99 99 99 99 99 ,the closing years of ,sir ,edwin's long1 otherwise not unhappy1 and generally laborious life were darkened in the manner we have already indicated rather than described4 ,he died on the morning of the #ast of ,october1 #ahgc1 and on the #aath of the same month was buried in ,st ,paul's with full honours4 ,illustration ,,chronological ,,list ,,of ,,pictures ,,by ,,sir ,,edwin ,,landseer1 ,,mentioned ,,in ,,this ,,volume4 ,,page #ahji ,drawings and ,etchings made before ,edwin ,landseer was to thirteen years of age #bj-bh #ahad #ahae4 ,portrait of a ,mule #bi ,portraits of a ,pointer ,bitch and ,puppy #bi #ahag4 ,portrait of 8,brutus0 #da ,portrait of an ,alpine ,mastiff #db #ahah4 ,fighting ,dogs getting ,wind #db ,portrait of a ,donkey #dd ,white ,horse in a ,stable #dd #ahai4 ,the ,cat disturbed #dg #ahbj4 ,alpine ,mastiffs re-animating a distressed ,traveller #dg ,a ,lion disturbed at his ,repast #dh ,a ,lion enjoying his ,repast #dh #ahba4 ,seizure of a ,boar #dh ,a prowling ,lion #dh ,the ,ratcatchers #dh ,pointers ,to-ho6 #ej #ahbb4 ,the ,larder invaded #ea ,the watchful ,sentinel #ea #ahbd4 ,neptune #eb ,the ,cat's ,paw #eb #ahbe4 ,taking a ,buck #ee-ei ,the ,widow #ee ,the ,poacher #ee ,portrait of ,lord ,cosmo ,russell #ei #ahbf4 ,the ,dog and the ,shadow #ei ,the ,hunting of ,chevy ,chase #ee-fj #ahbg4 ,the ,chief's ,return from ,deer-stalking #fa ,the ,monkey who had seen the ,world #fa ,scene at ,abbotsford #fb #ahbi4 ,the illicit ,whisky-still in the ,highlands #fb ,a ,fireside ,party #fb #ahcj4 ,the ,stone-breaker's ,daughter #fh #ahca4 ,high ,life #fc ,low ,life #fc ,waiting for the ,deer to rise4 7,poachers ,deer-stalking7 #fc-fi ,too ,hot #fc #ahcb4 ,a ,lassie herding ,sheep #fc ,spaniels of ,king ,charles's breed #fd ,hawking #fi ,waiting for the ,countess #fi #ahcc4 ,the ,harvest in the ,highlands #fi ,jack in ,office #fi #ahcd4 ,the ,naughty ,boy #gj ,suspense #gb ,highland ,shepherd-dog rescuing a sheep from a snowdrift #gb ,bolton ,abbey in the ,olden ,time #gb ,a ,highland ,breakfast #gd #ahce4 ,the ,drover's departure #gd ,a ,sleeping ,bloodhound #ge #ahcf4 ,comical ,dogs #gf ,odin #gf #ahcg4 ,the ,highland ,shepherd's ,chief ,mourner #gg ,the ,shepherd's ,grave #gg #ahch4 ,portraits of the ,marquis of ,stafford and ,lady ,evelyn ,gower #gh ,the ,life's in the old ,dog yet #gh ,a ,distinguished ,member of the ,humane ,society #gi #ahci4 ,dignity and ,impudence #gi ,van ,amburgh and his ,animals #hj #ahdj4 ,the ,lion-dog of ,malta #ha ,roebuck and rough ,hounds #hb ,laying down the ,law #hb #ahdb4 ,otters and ,salmon #hc ,the ,highland ,shepherd's ,home #hd ,eos #he ,pair of ,brazilian ,monkeys #he ,breeze #he #ahdc4 ,the ,defeat of ,comus #hc-he ,not ,caught yet #hg ,the ,sanctuary #he #ahdd4 ,otter ,speared #hc #ahdd4 ,shoeing #hh ,coming ,events cast their ,shadows before them2 or1 the ,challenge #he-hh #ahde4 ,the ,shepherd's ,prayer #hi #ahdf4 ,peace1 ,war #hi ,the ,stag at bay #ij #ahdg4 ,the ,drive #ij ,portrait of ,van ,amburgh #ij #ahdh4 ,a random ,shot #ij ,alexander and ,diogenes #ij ,old ,cover ,hack #ia ,sketch of my ,father #ib #ahdi4 ,the ,free ,church #ib ,evening ,scene in the ,highlands #ib #ahej4 ,dialogue at ,waterloo #ic #ahea4 ,the ,monarch of the ,glen #id ,geneva #id ,the last ,run of the ,season #id ,titania and ,bottom #id ,a ,highlander in a ,snowstorm #ie ,lassie #ie #ahec4 ,the ,combat #ie ,night #ie ,morning #ie ,the ,children of the ,mist #ie #ahef4 ,saved #ig #aheg4 ,scene in ,brae-mar #ig ,rough and ,ready #ig ,uncle ,tom and his ,wife for ,sale #ig ,the ,maid and the ,magpie #ig ,deer browsing #ih ,twa ,dogs #ih ,portrait of ,sir ,walter ,scott #ii #ahei4 ,doubtful ,crumbs #ii ,a kind ,star #ii ,the ,prize ,calf #ii #ahfj4 ,flood in the ,highlands #ajj #ahfa4 ,the ,shrew tamed #ajc ,the ,fatal ,duel #ajd ,scenes in the ,marquis of ,breadalbane's ,highland ,deer ,forest #ajd #ahfd4 ,man proposes1 ,god disposes #aje #ahfd4 ,a ,piper and a pair of ,nutcrackers #ajf ,well-bred ,sitters #ajf ,the ,connoisseurs #ajf ,djener la ,fourchette #ajg ,adversity #ajg ,prosperity #ajg #ahff4 ,lady ,godiva's ,prayer #ajg ,mare and ,foal #ajg ,odds and ,ends #ajg #ahfg4 ,wild ,cattle at ,chillingham ,park #ajh #ahfi4 ,a ,swannery invaded by ,sea ,eagles #ajh ,,index ,,of ,,names4 ,bell1 ,mr4 ,jacob1 #ef1 #ge ,boydell's ,shakespeare1 #e ,byrne1 ,william1 #b ,christmas1 ,mr4 ,t41 #df ,cust1 ,sir ,edward 7letter from71 #bd ,fuseli1 #db ,haydon1 #cb ,hayter1 ,j41 #cj ,hunt1 ,w4 ,h41 #ai ,landseer1 ,charles1 #ad 8 ,john1 #b-ab 8 ,thomas1 #d1 #ac ,leslie1 ,c4 ,r41 #cj1 #fe ,lewis1 ,c4 ,g41 #ed ,macklin's ,bible1 #f ,mackenzie1 ,mrs41 #ah1 #ei1 #fh ,meteyard1 ,eliza1 #ag ,potts1 ,miss1 #f ,raphael's ,cartoons1 #de ,redgrave1 ,mr4 ,r4 7,crit4 c471 #fe1 #gb ,romilly1 ,peter1 #a 8 ,sir ,samuel1 #a ,ruskin1 ,mr4 7,criticisms71 #fc1 #gc1 #gg1 #hh ,simpson1 ,mr4 ,w4 ,w4 7letter to71 #da ,smith1 ,sydney 7anecdote of71 #fj ,vernon1 ,mr41 #fd ,wilkie1 ,sir ,david1 #ea ,wornum1 ,mr4 ,r41 #ag ,,gilbert ,,and ,,rivington1 ,,printers1 ,,st4 ,,john',s ,,square1 ,,london4 ,,footnotes3 #a ,an ,edition de luxe1 containing #ad extra plates from rare engravings in the ,british ,museum1 and bound in ,roxburgh style1 may be had1 price #ajs4 #f;d4 #b ,according to another and generally excellent authority that event occurred in ,lincoln eight years later4 #c ,it is interesting to trace what may be called the technical descent of these artists4 ,thus1 ,aliamet was a pupil of ,j4 ,p4 ,le ,bas1 who studied under ,nicholas ,tardieu1 who learnt his art from ,le ,pautre and ,jean ,audran4 ,the master of the last was his uncle ,gerard of the same name1 who1 again1 was instructed by his own father ,claude and his uncle1 ,charles ,audran1 all of them men in the foremost ranks of the engravers4 ,charles1 the first of the great family of 8graveurs0 named ,audran1 formed his style upon that of ,cornelius ,bloemaert1 a member of another famous line of artists on metal1 well known by his superb plate of ,guercino's 8,st4 ,peter raising ,tabitha from the ,dead10 and transcripts of ,raphael's1 ,titian's1 ,parmigiano's and his own father's 7,abraham ,bloemaert's7 pictures4 ,now1 to trace the stream of skill a little farther1 and1 it must be admitted1 to find it getting shallow at this point1 let us add that ,cornelius ,bloemaert's master was ,crispin de ,pass1 the younger1 about whom centres the third family of engravers to whom we have occasion to refer in this long line of tutorage4 ,this ,de ,pass had a brother1 ,william1 who came to ,england1 as also did a third brother1 ,simon1 the reproducer of so many 8,van ,dycks0 and 8,van ,somers40 ,crispin de ,pass the younger studied his craft under his father1 ,crispin the elder1 who had for a master ,theodore ,cuernhert1 beyond whom1 as he was born in #aebb1 it is needless to carry our recollections1 or trace the art-genealogy of the instructor of ,john ,landseer--who1 almost three hundred years after the line is first brought into sight here1 taught his sons ,edwin1 ,charles1 and ,thomas4 #d ,boydell and ,macklin maintained so close a rivalry that they contended not only as publishers but by means of picture exhibitions1 the former as promoter of the 8,shakespeare ,gallery10 the latter as proprietor of the 8,gallery of the ,british ,poets40 ,these exhibitions contained originals of the engravings which both 8patrons0 published4 #e ,a relation1 probably1 of the distinguished surgeon1 one of whose benevolent labours was that of trying to revive the hanged ,dr4 ,dodd4 ,see ,wraxall's 8,posthumous ,memoirs10 #ahcf1 ii4 #bh4 #f ,this picture is now in the possession1 says ,mr4 ,tom ,taylor in 8,life and ,times of ,sir ,joshua ,reynolds10 of ,mr4 ,gosling1 of ,portland ,place4 #g ,queen ,anne ,street ,east was the thoroughfare now called ,langham ,street and ,foley ,street1 and distinct from ,queen ,anne ,street ,west1 where ,turner lived1 which retains its name4 ,when ,portland ,place was extended to ,oxford ,street1 and the new thoroughfare became part of the freshly made ,regent ,street1 ,foley ,house1 which till then closed the southern end of ,portland ,place1 was removed4 ,the gardens of this house had separated ,queen ,anne ,street ,west from ,queen ,anne ,street ,east2 the latter extended to ,cleveland ,street1 and when the changes in question were complete1 received the name of ,foley ,street1 which it now bears with the addition of ,langham ,street4 ,the numbers have been altered4 ,at the back of the present #cc1 ,langham ,street is a fine large room with a north light1 used as a studio by ,mr4 ,eyre ,crowe1 ,a4,r4,a4 ,in regard to ,landseer's birthplace see a note to ,chapter ,,ii41 below4 #h ,this defect was the more remarkable because the ,french ,academy1 on which the ,english one relied for some of its rules1 as well as the ,academies of ,milan1 ,venice1 ,florence and ,rome1 admitted engravers to the highest grades4 ,the effect of ,british narrowness was to drive ,woollett1 ,sharp1 and ,strange from the ranks of the ,royal ,academy1 and to evoke from the last of these noteworthy artists an important criminatory tract called 8,an ,inquiry into the ,rise10 c41 8of the ,royal ,academy of ,arts10 #agge4 #i 8,diary10 c41 of ,h4 ,c4 ,robinson1 #ahfi1 i4 #eje-f4 #aj ,evidence before the ,select ,committee of the ,house of ,commons on ,arts1 c41 #ahcf4 ,question and ,reply1 ,no4 #bjdf4 #aa 8,the ,literary ,gazette10 ,no4 #ahcd4 #ab ,for this locality1 see above4 ,the number1 #hc for #cc1 may or may not be a misprint4 ,on this point the testimony of ,mrs4 ,mackenzie is all-important1 as conveyed thus to the author3--8,the house in which my brothers were born stands in the bend of ,foley ,street1 not far from ,portland ,street2 and at the time my father lived in it there was a long garden where the dog was kept4 ,among some old letters of my mother's ,i found the enclosed little note1 showing that before my father's marriage he lived in ,queen ,ann ,street1 altered to ,foley ,street afterwards1 but not the same house1 but a smaller one nearer ,cleveland ,street1 which house1 when my father left1 was occupied by ,mr4 ,f4 ,lewis1 father of ,john ,lewis1 who was born there4--,yours truly1 ,,emma ,,mackenzie40 #ac ,mrs4 ,mackenzie 7born ,emma ,landseer7 has a capital drawing1 made in these fields1 of a hollow oak1 with horses gathered about it1 and standing gaunt and branchless in a field1 which was doubtless executed at the time in question1 and from this tree1 which still remains 7#ahhj74 #ad ,at ,south ,kensington is a very interesting collection of early drawings and etchings1 of various dates1 by ,edwin ,landseer4 ,these were1 for the most part1 presented to the nation with the ,sheepshanks ,gift of ,pictures and ,drawings4 ,some of them1 we believe1 came with the ,vernon ,gift1 and many were undoubtedly for a considerable time in the possession of ,mr4 ,vernon before they passed into the hands of ,mr4 ,sheepshanks4 ,in the ,exhibition of ,landseer's works1 held at the ,royal ,academy in #ahgd1 were several sketches executed when he was ten years old4 ,see ,no4 #acc1 likewise ,nos4 #acf1 #aci4 #ae ,it ought to be noted here that the ,queen has a considerable number of drawings by ,sir ,e4 ,landseer1 which1 with examples from other collections1 have been carefully described by ,mr4 ,cosmo ,monkhouse1 in a richly illustrated work called 8,the ,studies of ,sir ,e4 ,landseer10 n4 d4 #af ,mr4 ,algernon ,graves's excellent catalogue of the works of ,sir ,e4 ,landseer enumerates1 under 8,etchings10 p4 #dj1 a class of examples of this nature1 the earliest instance of which is dated #ahji1 and appears to be that named at the beginning of the next paragraph of our text as 8,heads of a ,lion and ,tiger40 #ag ,the author is indebted to ,sir ,edward ,cust for a correction of statements on this head1 made in a former edition of this work4 ,as ,sir ,edward's letter is interesting on its own account1 the reader will accept it entire3-- 8,leasowe ,castle1 near ,birkenhead1 ,oct4 #ba1 #ahgd4 8,,sir1--,i am induced to believe that you will thank me for pointing out to you some errors in your #8,memoirs of ,sir ,e4 ,landseer' in a matter in which ,i am naturally well conversant4 8,at page #cb you speak of #8the etching of ,mr4 ,thomas ,landseer of an ,alpine mastiff of the great ,st4 ,bernard breed' that had been #8imported to this country by a gentleman residing in the neighbourhood of ,liverpool1' and by a note to this you refer to the ,exhibition at ,spring ,gardens in #ahag of #8,brutus1' the property of ,w4 ,h4 ,simpson1 ,esq41 as following another and that is asserted to be an earlier work of ,landseer's--#8a mule' in #ahae4 8,at page #fj you speak of #8the magnificent dog to which we have formerly referred' as #8the property of a gentleman in ,liverpool or a ,mr4 ,bullock1 having reference to the famous picture1 #8,travellers in the ,snow4' 8,without giving any opinion as to #8the minor works of the painter1' when #8he was little more than an infant1' of which of course ,i know nothing1 but ,i unhesitatingly claim a precedence of the dog before the ,mule and ,pointer of ,w4 ,h4 ,simpson1 ,esq41 in #ahae1 as well from the facts ,i will state as from the intercourse with ,sir ,edwin ,landseer himself4 #8,the dog' was the property of my mother-in-law1 who resided here1 and who received it in #ahad from a ,swiss gentleman who had obtained #8,lion' and another direct from the ,monastery of ,st4 ,bernard4 ,you will perceive that ,thomas ,landseer records1 in his etching #8from the drawing by his brother ,edwin1 that he did it1 aged thirteen2' as he was born in #ahjb1 consequently1 the etching was made in #ahae4 ,now1 ,sir ,edwin himself told me that it was his first work1 and of course could not forget any of the circumstances2 #8that he met the dog in ,london streets under the care of a man servant1 whom he followed to ,mrs4 ,l4 ,w4 ,borde's residence1 who permitted him to make a sketch of it4' ,your remark that the drawing was done by ,sir ,edwin when he was nineteen years of age1 and in the year #ahba1 is clearly a mistake1 for #8,lion' was never in ,london since #ahae1 and died in #ahba4 ,there were several litters of puppies in that interval1 one of which1 a brindled dog that was named #8,csar1' is with #8,lion' in the picture of #8,travellers in the ,snow1' and ,i myself sold this one at ,tattersall's1 where he fetched thirty-five guineas at open sale1 but ,i never heard who bought him4 ,the breed is now quite extinct4 8,i had the pleasure of often speaking with ,sir ,edwin on this subject1 and he told me he had the original sketch somewhere1 and that if he could find it ,i should have it1 but of course this was some years ago4 8,yours truly1 8,,edwd4 ,,cust40 #ah ,at ,landseer's sale1 #ahgd1 lot #caf1 8,old ,brutus0 realized #fcjl4 ,it must not be forgotten that there are many pictures and studies which bear the names of this dog1 and that of his son1 another 8,brutus40 ,see below4 #ai ,in #ahgd 8,a ,french ,hog10 #ahad1 belonged to the late ,mr4 ,j4 ,hogarth1 who then owned another early picture of ,sir ,edwin's1 called 8,british ,boar10 #ahad1 which is doubtless the same as the 8,english ,hog0 of the text2 the animal belonged to ,squire ,western4 ,as these works were painted in #ahad and etched by ,e4 ,landseer in #ahah1 we have but to remember the national circumstances of that period in order to recognize them as political satires4 #bj ,the 8,h40 is always understood as indicating an ,honorary ,exhibitor1 in which capacity the young artist is thrice represented in the catalogue of this the ,academy ,exhibition for #ahae4 ,see below4 8,queen ,anne ,street ,east0 had become 8,foley ,street0 between #ahjb and #ahae4 ,landseer1 as his sisters tell me1 was accepted as an 8,honorary ,exhibitor0 on account of his youth1 which was supposed to preclude him from being considered an artist in full4 #ba ,see 8,autobiographical ,recollections of the late ,c4 ,r4 ,leslie1 ,r4,a40 #ahfj1 vol4 ii4 p4 #dd4 #bb ,at the ,academy ,exhibition1 ,winter1 #ahgd1 ,no4 #add4 was 8,sir ,e4 ,landseer when a ,boy40 ,drawn by ,j4 ,hayter1 ,esq4 ,pencil1 ,j4 ,hayter1 ,esq4 #bc ,there appear to be doubts of the extent of ,e4 ,landseer's obligations to ,haydon1 and the terms employed by the former on this subject 7see his 8,correspondence10 #ahgf1 ii41 p4 #bhh7 affirm that the writer had been serviceable to ,landseer in making him known1 rather than by direct teaching3--8,i lent him my dissections from the lion1 which he copied1 and when he began to show real powers1 ,i took a portfolio of his drawings to ,sir ,george ,beaumont's one day at a grand dinner1 and showed them all round to the nobility when we retired to coffee4 ,when he painted his 8,dogs10 ,i wrote to ,sir ,george and advised him to buy it40 8,in short1 ,i was altogether the means of bringing him so early into notice4 ,these things may be trifles1 but when ,i see a youth strutting about and denying his obligations to me1 ,i may as well note them down40 8,his genius was guided by me40 ,again1 p4 #cah of the same volume1 ,haydon averred3--8,my influence upon ,english art has certainly been radical4 ,edwin ,landseer dissected animals under my eye1 copied my anatomical drawings1 and carried my principles of study into animal painting4 ,his genius1 thus tutored1 has produced sound and satisfactory results40 ,p4 #dgb of the same repeats the same claims1 and discriminates between the degree of instruction said to have been given to the ,landseers generally3--8,this was the principle ,i explained to my pupils2 to ,eastlake first1 and to the ,landseers and others afterwards4 ,to ,edwin ,i lent my anatomical studies of the ,lion1 which guided him to depict dogs and monkeys4 ,charles and ,thomas1 ,bewick1 ,harvey1 ,prentice1 ,lance1 were all instructed in the same principle40 ,we may add that ,mrs4 ,mackenzie 7born ,landseer7 still owns a human skeleton which was prepared and articulated by her brothers1 ,thomas and ,charles1 who occupied a studio at ,blenheim ,steps1 ,oxford ,street1 where they dissected a 8subject40 #bd ,forty years before these recollections of ours begin1 ,foley ,street1 of the history of which we have already written1 was comparatively splendid1 and inhabited by persons of distinction4 ,fuseli had lived in ,queen ,ann ,street ,east4 ,the neighbourhood was much affected by artists4 ,mulready had lodged in ,cleveland ,street1 not far off2 ,newman ,street1 always artistic1 but now so dull and grimy1 was then thronged with painters and sculptors2 ,benjamin ,west had built himself a gallery there2 ,stothard 7at ,no4 #bh7 and ,banks were numbered among its past1 and then present inhabitants4 ,a4 ,e4 ,chalon was living at ,no4 #ga in ,great ,titchfield ,street2 ,shee was in ,cavendish ,square1 in the house which had been occupied by ,f4 ,cotes and ,g4 ,romney2 ,collins1 who was born in ,great ,titchfield ,street1 was then at #aah1 ,great ,portland ,street1 and had a house in ,new ,cavendish ,street in #ahae2 ,northcote still worked in his gloomy den1 #ci1 ,argyll ,street2 and ,edridge1 then a fashionable miniature-painter1 was at #fd1 ,margaret ,street1 ,cavendish ,square2 ,constable at #fc1 ,upper ,charlotte ,street1 now #gf1 ,charlotte ,street1 next house on the north side to the church2 ,w4 ,daniell resided in ,cleveland ,street1 ,no4 #i4 ,thompson was at ,no4 #aa2 ,james ,ward at #f1 ,jackson at #g1 ,dawe at #bb1 and ,howard at ,no4 #e1 in ,newman ,street2 ,leslie1 as well as ,flaxman1 in ,buckingham ,street1 ,fitzroy ,square2 the former1 with ,allston1 was at ,no4 #h1 the latter at ,no4 #g2 ,hilton was not remote1 at #aj1 ,percy ,street2 ,de ,wint in the same house2 ,james ,heath in ,russell ,place1 ,fitzroy ,square1 ,no4 #ae2 ,hazlitt1 then painting portraits in considerable numbers1 lived at #aji1 ,great ,russell ,street1 ,bloomsbury4 ,even so early in the century as the period of which we now write1 some painters had flown to the then far west region of ,kensington2 thus1 ,wilkie sought the quiet of ,phillimore ,gardens2 and ,mulready had settled in the ,gravel ,pits on the ,bayswater ,road4 #be ,see1 on a later page of this volume1 ,mr4 ,ruskin's criticism on 8,shoeing10 quoted with the account of the pictures painted in #ahdf4 #bf ,it has been stated1 and probably with truth1 that ,edwin ,landseer obtained a medal1 or a silver palette1 from the ,society of ,arts1 and at an earlier date than that in question here4 ,but as artists rarely set much store on lay awards of similar kinds to this1 it is only necessary to mention this matter4 ,contributing a work in a competition like that in view can hardly be classed with the act of exhibiting pictures in the ,royal ,academy4 #bg ,it is amusing to see how ,wilkie puts the ,scotchman first in this note1 and of a piece with that story of his having1 when a 8hanger0 of one of the ,royal ,academy exhibitions1 actually filled the 8line10 or best part of the whole wall-space in the best room1 with pictures by ,scotch artists4 ,this piece of injustice was too shameless to be allowed to stand1 so when ,wilkie's fellow 8hangers0 discovered the attempted trick1 he was told1 8,this will never do1 we must change all this20 and that was done4 ,at another time ,wilkie was observed to be carrying a picture through the rooms1 and trying to fix it into one place after another1 always proceeding from a good to a better position1 until attention was attracted by his earnestness1 and the question asked1 why he was so anxious to promote the work in question4 8,oh10 he replied1 with exquisite sang-froid1 8,it's ,geddes's60 #bh ,etty's pictures of this year were1 #ei1 8,the ,blue ,beetle2 ,portraits30 #bcb1 8,portrait of the ,rev4 ,w4 ,jay of ,bath20 #cbj1 8,ajax ,telamon20 and1 #cge1 8,a ,study40 #bi ,the 8,elymas0 was not one of the ,cartoons exhibited in #ahah1 the two shown in that year being 8,the ,beautiful ,gate0 and 8,christ's ,charge to ,peter40 8,elymas0 appeared in #ahag4 #cj ,at a later date1 when appointments were given to ,dyce and others to superintend the ,schools of ,design1 ,haydon--who believed himself not only the originator of all modern ,english movements for promoting the ,fine ,arts1 but the one competent authority respecting them--was bitterly indignant that he was not invited to accept the directorship of the new institution4 ,he asserted the peculiar incompetence of ,dyce1 and spoke very frankly of his colleagues4 ,see ,haydon's 8,correspondence10 #ahgf1 ii41 p4 #dge4 ,no doubt ,haydon rightly estimated his own powers in this respect2 his real vocation was teaching1 which was at that time a faculty rarer than it is now1 when we are by no means overstocked with good teachers1 practical or literary1 in art4 ,he was never so happy as when giving technical counsel1 or in lecturing2 his published 8,lectures0 are probably the most practical and potent of their class4 #ca ,on ,mr4 ,charles ,christmas1 ,sir ,edwin's brother-in-law1 see 8,notes and ,queries10 #eth series1 ,,xii4 #chc4 ,by this it appears that he was an animal painter1 who1 discovering the superiority of ,e4 ,landseer in that line1 gave up the race4 ,there were two brothers of this name1 ,thomas and ,charles1 7see before74 ,the latter was not a painter1 but1 we believe1 an architect4 #cb ,the phrase1 8lay-element0 is already1 #ahhj1 passing out of recognition2 when this book was formerly published it was in vogue1 and understood to refer to those gentlemen who were willing to share the honours of the ,royal ,academicians2 conferring1 in return1 the prestige which was due to their 8distinguished social position and love of art40 ,these persons were the 8lay-element0 of the ,commission of the ,royal ,academy4 ,see 8,report10 #ahfd4 #cc ,our readers will recollect that1 owing to the protest of ,sir ,edwin ,landseer and others1 the idiotic practice has abated of cropping from dogs' ears those flaps which kindly nature placed to keep earth from the organs of earth-burrowing creatures4 #cd ,since ,landseer's death this house and studio have been occupied by ,mr4 ,h4 ,w4 ,b4 ,davis1 ,r4,a4 #ce ,this example of extraordinary facility in artistic work may be paralleled1 if not surpassed1 by the feat which ,smith1 in his 8,nollekens10 ii4 p4 #adc relates of ,sherwin1 who engraved1 in four days 7671 the fine plate from the portrait of the ,earl of ,carlisle1 now at ,castle ,howard1 by ,romney4 ,sherwin engraved ,mrs4 78,perdita07 ,robinson's portrait at once upon the copper1 without a drawing4 #cf 8,art ,journal10 where the picture is represented by an engraving4 #cg ,mr4 ,william ,russell was ,accountant-,general of the ,court of ,chancery1 fourth son of ,lord ,william ,russell1 who1 ,may #f1 #ahdj1 was murdered by ,b4 ,e4 ,courvoisier1 his valet4 #ch ,it has been said that many years ago the ,queen and her ,consort made etchings after ,landseer's designs1 especially from parts of 8,bolton ,abbey40 ,her ,majesty and her ,consort made at least a dozen etchings from other works of ,landseer's4 7,see ,mr4 ,algernon ,graves's ,catalogue1 p4 #da47 ,speaking of copies of engravings from pictures by our artist1 it may be mentioned that many of foreign origin1 including a large proportion of piracies1 have appeared2 among these are1 repeatedly1 8,bolton ,abbey20 8,favourites0 7#ahce71 ponies belonging to the ,duke of ,cambridge2 8,dogs of the ,great ,st4 ,bernard20 8,dignity and ,impudence20 8,the ,return from ,hawking20 8,laying down the ,law20 8,the ,lion ,dog of ,malta20 8,a distinguished ,member of the ,humane ,society10 and 8,a ,jack in ,office40 #ci ,one of the finest and most pathetic of ,mr4 ,ruskin's criticisms applies to this picture so happily that we ought to quote it here3--8,take1 for instance1 one of the most perfect poems or pictures 7,i use the words as synonymous7 which modern times have seen--the #8,highland ,shepherd's ,chief ,mourner4' ,here the exquisite execution of the crisp and glossy hair of the dog1 the bright sharp touch of the green bough beside it1 the clear painting of the wood of the coffin and the folds of the blanket1 are language--language clear and expressive in the highest degree4 ,but the close pressure of the dog's breast against the wood1 the convulsive clinging of the paw which has dragged the blanket off the trestle1 the total powerlessness of the head laid1 close and motionless1 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 nor 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 sleep2--these are all thoughts--thoughts by which the picture is separated at once from hundreds of equal merit1 as far as mere painting goes1 by which it ranks as a work of high art1 and stamps its author not as a neat imitator of the texture of a skin1 or the fold of a drapery1 but as the man of mind40--8,modern ,painters10 ii41 #ahea1 p4 #h4 #dj ,on this picture ,mr4 ,ruskin delivered an admirable criticism3--8,again1 there is capability of representing the essential character1 form1 and colour of an object1 without external texture4 ,on this point much has been said by ,reynolds and others2 and it is1 indeed1 perhaps1 the most unfailing characteristic of a great manner of painting4 ,compare a dog of ,edwin ,landseer with a dog of ,paul ,veronese4 ,in the first1 the outward texture is wrought out with exquisite dexterity of handling1 and minute attention to all the accidents of curl and gloss which can give appearance of reality1 while the hue and power of the sunshine1 and the truth of the shadow on all these forms is necessarily neglected1 and the larger relations of the animal as a mass of colour to the sky or ground1 or other parts of the picture1 utterly lost4 ,this is ,realism at the expense of ,ideality1 it is treatment essentially unimaginative40 ,in a note to this paper the critic added3--8,i do not mean to withdraw the praise ,i have given1 and shall always be willing to give1 such pictures as the #8,highland ,shepherd's ,chief ,mourner1' and to all in which the character and inner life of the animals are developed4 ,but all lovers of art must regret to find ,mr4 ,landseer wasting his energies on such inanities as the #8,shoeing1' and sacrificing colour1 expression1 and action to an imitation of a glossy hide10--8,modern ,painters10 ii41 #ahdf1 p4 #aid4 ,there is a grain of fallacy mixed with the noble truth of this--it did not follow that the sacrifices here enumerated were due to love for painting the horse's glossy hide4 ,the picture was defective as stated here1 but not because of the realism it exhibited4 ,the defects were inherent1 not due to the imitation4 ,lacking the nobler qualities1 the meaner ones became unworthily and ungracefully prominent4 ,the superb tour de force in the painting of the feathers of 8,spaniels of ,king ,charles ,breed0 7see above7 does not appear mean1 although it is at least equal in successful imitation to the hide in question4 #da ,his name 8in the world0 was 8,neptune20 8in society0 his female companion's name was 8,venus40 #db ,several of the descriptions here given have been adapted from fuller ones made by the author before the pictures1 and for previous publication in the ,athenum journal1 during a long series of years4 ,they thus partake of the character of studies from nature4