ay 
 
 PRE 
 
From the Library of 
 
 Frank Simpson 
 
Masterpieces of Art. 
 
Masterpieces of 
 Att. 
 
 REPRODUCTIONS BY THE COLLOTYPE PROCESS 
 OF SOME OF THE WORKS IN THE LOAN EXHIBITION OF PICTURES 
 HELD IN THE ART GALLERY OF THE CORPORATION 
 OF LONDON, AT THE GUILDHALL, 1894. 
 
 WITH DESCRIPTIVE AND BIOGRAPHICAL LETTERPRESS BY 
 
 A. G. TEMPLE, F.S.A., 
 
 DIRECTOR OF THE ART GALLERY OF THE CORPORATION 
 OF LONDON. 
 
 THE NEGATIVES BY MESSRS. HY. DIXON & SON. 
 
 LONDON: 
 BLADES, EAST & BLADES, 
 FINE ART PRINTERS TO THE CORPORATION, 
 23, ABCHURCH LANE, E.C. 
 
 1894. 
 
Blades, East & Blades, 
 
 Fine Art Printers, 
 
 23 Abchurch Lane, London, E.C. 
 
Index. 
 
INDEX. 
 Kx 
 
 Title of Picture. Name of Artist. Page 
 A Young Lady reading a Letter to her Mother - GERARD TERBURG - - - = 2, 
 
 Portraits of George Digby, second Earl of 
 
 Bristol, and William Russell, fifth Earl 
 
 and first Duke of Bedford - 2 ss - SIR ANTHONY VAN DYCK - - 4 
 A View in the back Court of a House’ - - PIETER DE HOOGH 2 = - 6 
 
 A View on the Maas during a fine day in 
 
 Winter - - - - - - - ALBERT CUYP - - - - 8 
 Interior, with figures - - - - - HENDRIK SORGH - - - - 10 
 The Glass of Lemonade - - - - GERARD TERBURG - - - = 12 
 A Herdsman and a Woman tending Cattle - ALBERT CUYP - = 2 = 
 Temptation  - - - - - - - JAN MIENSE MOLINAER- - = ie) 
 Le Chevalier Amoureux - - - - FRANZ VAN MIERIS (the Elder) - 18 
 View on the Coast of Schevening - - - JACOB VAN RUISDAEL - - EZ © 
 Interior of a Kitchen ; or, Frying Cakes - - JAN STEEN - - - - = 22 
 Portrait of a Jewish High Priest - - - REMBRANDT VAN RHYN - - 24 
 Horses drinking at a Spring - - - - THOMAS GAINSBOROUGH, R.A. > 26) 
 Portrait of Mary Isabella, Duchess of Rutland SIR JOSHUA REYNOLDS, P.R.A. - =) 26 
 Portrait of Miss Mellon, afterwards Duchess of 
 
 St. Albans = = - - - - GEORGE ROMNEY - - - - 30 
 The Pirates of Istria carrying off the Brides 
 
 of Venice - - - = - - - J. R. HERBERT, R.A. - - 2 3) 
 The Monarch of the Glen - - - - SIR EDWIN LANDSEER, RA. - - 34 
 Edward II and Piers Gavaston - - - MARCUS STONE, R.A. - - = 36 
 Weaving the Wreath - - - - - SIR FREDERIC LEIGHTON, BT., PRA. 38 
 Herod’s Birthday Feast - - - = - EDWARD ARMITAGE, R.A. - - 40 
 Lear and Cordelia - - - - - - FORD MADOX BROWN - - = AP 
 Lost Sheep - - - - = - - H. W. B. DAVIS, R.A. - - - 44 
 The Sick Call - - - - - - MATTHEW JAMES LAWLESS - - 46 
 Joli Coeur - - 2 : = = - DANTE GABRIEL ROSSETTI — - - 48 
 
 Lorenzo and Isabella = = - = - SIR J. E. MILLAIS, BART., R.A. - 2 Ge) 
 
Title of Picture. Name of Artist. Page 
 
 The Escape of a Heretic = + = - SIR J. E. MILLAIS, BART., R.A. - - 52 
 Sir Isumbras at the Ford fm & = - SIR J. E. MILLAIS, BART., R.A. - - 54 
 Strayed Sheep - - - - - - W. HOLMAN HUNT, R.W.S. - - 56 
 The Hesperides - - - = = - SIR EDWARD BURNE-JONES, BART. - 58 
 The Sleepers, and the one that waketh - SIMEON SOLOMON - - - - 60 
 La Belle Dame sans merci a . = - J. W. WATERHOUSE, A.R.A. - 62 
 The Setting Sun - - - - = - ADRIAN STOKES” - - - - 64 
 Miss Alexander - - - - - - J. MCNEILL WHISTLER - - - 66 
 k Her Mother’s Voice = 2 2 = - W. Q. ORCHARDSON, R.A. - - - 68 
 The Gander - = = 5 = . - G, H. MASON, A.R.A. - - - a O) 
 | Eve = = = = = a = - M. GREIFFENHAGEN - - Se 
 Scotland for Ever! - = = = = - LADY BUTLER - - - - 74 
 he Mocileraa:- = é - & @ - ALBERT MOORE = - - = 76 
 Morte d’Arthur = a 3 a = - JAMES ARCHER, RSA. - - = ES 
 
 A Silent Adieu - = = = = - C. NAPIER HEMY,RI - = - 80 
 
 | 
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 | 
 
Prefatory Notice. 
 
PREFATORY NOTICE. 
 
 DSO 
 
 HE present volume, illustrative of the Loan Exhibition 
 
 of Pictures at the Guildhall in 1894, has been 
 prepared upon similar lines to the volume published in 
 relation to the Exhibition of 1892, by the kind permission 
 of the owners of the pictures, and with the sanction of 
 the Library Committee of the Corporation of London. 
 The concurrence of Artists and of others interested in 
 the copyright of several of the pictures has also been 
 
 generously given. 
 
 ‘The Loan Exhibition of 1894 was the third of its kind 
 held in the permanent Art Galleries at the Guildhall. The 
 
 first, held in 1890, consisting of examples of the British 
 
| 
 q 
 A | 
 
 School and of a selection of the works of the early Masters, 
 was visited by 109,000 persons; the second, similar in 
 character, held in 1892, was visited by 236,000 persons. 
 The Exhibition of 1894, confined to representative works 
 of the British School and a selection of Dutch Master- 
 
 pieces, was visited by 300,366 persons. 
 
 The Exhibitions, open on each occasion for three 
 months, were free, and the expenses were borne by the 
 
 Corporation of London out of its private funds. 
 
 In the case of the Exhibition of 1894, the public were 
 
 also admitted on alternate Sundays from 3 to 8 p.m. 
 
 Lonpon, 
 
 July, 1894. 
 
Reproductions and Descriptions. 
 
A YOUNG LADY READING A 
 LETTER TO HER MOTHER. 
 
 Painted by GERARD TERBURG. 
 Canvas 31% x 26% inches. 
 
 Kent by HER MAJESTY THE QUEEN. 
 
 HE scene is in a handsome apartment, with brass chandelier 
 suspended from the ceiling. The elder lady, in dark blue 
 velvet jacket bordered with ermine, is seated at a table with a pen in 
 her hand. She has ceased writing in order to listen to her daughter, 
 who stands on the opposite side of the table reading from a paper 
 which she holds. She has light hair, white satin robe, blue bodice. 
 Behind her a page is seen approaching, with a gold salver and ewer. 
 A spaniel lies on a velvet-covered stool in front. 
 The fancy compositions of this Master are comparatively few in 
 number, and this, together with their peculiar excellence and beauty, 
 have at all times rendered them difficult of attainment, and many 
 
 important collections are destitute of a single example. 
 
 Collection of mM. BEAUJOU, 1787. 
 Collection of M. GELDERMEESTER, 1800. 
 British Institution, 1826. 
 
 Burlington House, 1884. 
 
 Smith’s Catalogue Raisonné, No. 29. 
 
 GrRARD TERBURG was born about 1617. He was taught drawing by his father at 
 Zwolle. In 1632 he was at Amsterdam, and afterwards studied at Haarlem under 
 the elder Pieter Molyn. In 1635 he visited England, travelling then through France, 
 Italy and Germany. In 1646 he repaired to Miinster, where the memorable Congress 
 
 [2] 
 
was then sitting. And it was there he painted the marvellous little picture of the 
 “ Ratification of the Treaty of Peace,” now in the National Gallery. In 1648 he visited 
 Spain, and acquainted himself with the works of Velasquez. In 1654 he married, and 
 settled in Deventer, where he became burgomaster, and where he painted the greater 
 number of his pictures of social life, and portraits on a small scale, full of distinction. 
 He died 1681. 
 
 Es] 
 
A VIEW IN THE BACK COURT 
 OF A HOUSE. 
 
 Painted by prETER DE HOOGH. 
 Canvas 3034 x 25% inches. 
 Lent by LORD WANTAGE, K.C.B., V.C. 
 
 HE picture shows the back part of a house having an open door 
 
 at the end of it, showing two steps ascending to a garden. 
 
 Near the centre of the court a gentleman is seated. He is about to 
 enjoy his tankard of ale and pipe, with which a woman, standing before 
 him, has provided him; he has invited her to take a glass, which she 
 is in the act of drinking. A child is crossing the court with a pot of 
 
 embers in her hand. 
 
 Collection of JOHN SMITH, ESQ., 1822. 
 
 Collection of WILLIAM WELLS, EsQ., of Redleaf, 1848. 
 Collection of LORD OVERSTONE. 
 
 Smith’s Catalogue Raisonné, No. 30. 
 
 PIETER DE HooGu, or Hoocs, was born, probably, in 1630. Very little is known of his life; 
 only a few details can be gathered from occasional dates on his pictures. He excelled in the 
 painting of full and clear sunlight, and the figures he introduces into his pictures are 
 generally placed in the open air in courtyards. The atmospheric effects attained in his 
 pictures are their chief characteristics. He lived at Delft, and also at Haarlem, at which 
 latter place he is believed to have died in 168r. 
 
 [4] 
 
| 
 | 
 a | 
 | 
 
 PORTRAITS OF GEORGE DIGBY, 
 SECOND EARL OF BRISTOL, AND 
 WILLIAM RUSSELL, FIFTH EARL AND 
 FIRST DUKE OF BEDFORD. 
 
 Painted by stk ANTHONY VAN DYCK. 
 Canvas 99 x 62 inches. 
 Lent by the RIGHT HON. THE EARL SPENCER, K.G. 
 
 HE Earl of Bristol is standing with his right arm on the base of 
 le a column and his left holding the hem of his cloak ; light hair, 
 fair complexion, black silk costume, rich lace ruff on the shoulders. 
 The Duke of Bedford is standing with his right hand on his hip, a red 
 mantle slung across the arm; his left hand holding his hat hangs 
 negligently at his side; brown bushy hair, red figured vest embroidered 
 with gold; scarlet hose, the knee-bands adorned with gold lace and 
 
 cords; buff boots; gold belt across the body with sword attached. 
 
 Bust portraits from this picture engraved by JAcoBUS HOUBRAKEN, 
 born 1698, died 1780. 
 
 Earl of Bristol’s portrait engraved from this picture by THOMAS WRIGHT, 
 born 1792, died 1849, for Lodge’s Memoirs. 
 
 Duke of Bedford’s portrait engraved from this picture by CHARLES 
 PICART, born 1780, died 1837. 
 
 Smith’s Catalogue Raisonné, No. 515. 
 
 John Smith, in his Catalogue Raisonné (date 1831), observes, “ This 
 example of the Art would of itself have been sufficient to have 
 
 immortalized the painter.” 
 
 Str ANTHONY vAN Dyck was born at Antwerp, 1599. At the age of ten he became the 
 pupil of Hendrik van Balen, but his great instructor was Rubens, with whom he lived for 
 
 [6] 
 
ue eae 
 
our years. Before his twentieth birthday he was admitted a Master of the Antwerp 
 Corporation of Painters. By the advice of Rubens, he visited Italy, and remained there 
 five years. On his return he painted, among others, his celebrated picture of “The 
 Crucifixion” for the church of St. Michael, at Ghent, and this it was which established 
 his reputation as one of the Masters of the age. He soon acquired, too, an unrivalled 
 reputation as a portrait painter. In 1630 he visited England, but not meeting with the 
 reception he had anticipated, he returned to his own country; but in 1632, Charles I, 
 who had seen a portrait of his Chapel-master by Van Dyck, sent an express invitation to 
 
 im to come to England, and on this occasion he was most courteously received, being 
 odged by the king at Blackfriars, and in the following year knighted. He was also 
 granted a pension of £200 per annum for life. He settled in England, where his success 
 as a portrait painter enabled him to live in great style. He had a country house at 
 
 Eltham, and kept great state when in town; “he always went magnificently dressed, had a 
 numerous and gallant equipage, and kept so good a table in his apartment that few princes 
 were more visited or better served.” He died in London, 1641, at the age of forty-two, 
 and was buried in the old church of St. Paul, near the tomb of John of Gaunt. 
 Notwithstanding his expensive style of living, he left property to the value of about 
 £20,000 sterling. In freshness, force, and vigour of handling, his works are unsurpassed. 
 In his portraits he stands a Master among Masters. 
 
 er 
 
VIEW ON THE MAAS DURING 
 A FINE DAY IN WINTER. 
 
 Painted by ALBERT CuypP. 
 Panel 25% x 35% inches. 
 
 Lent by the RIGHT HON. THE EARL OF YARBOROUGH. 
 
 N the right are the ruins of a castle, close to which are sledges, 
 
 horses, and a great company of people, many of whom are 
 | under a tent. Three men are chatting near a grey horse, and a fourth 
 person, dressed in red and nearer the spectator, is skating. Beyond 
 is a broad expanse of ice and groups of skaters, a few buildings and a 
 line of flat coast. The sky is varied with mottled clouds, and the 
 influence of a bright winter sun gilds the scene. 
 
 Of this picture, Waagen said: ‘‘ The happy composition, the striking 
 
 effect of sunlight and the broad and masterly treatment render this 
 
 one of the finest works of the best time of the Master.” 
 
 Signed “a. cuyp.” 
 
 Collection of M. VANDER Ss. V. SLINGELANDT, 1785. 
 Exhibited at the British Institution, 1832. 
 Burlington House, 1875 and 1890. 
 
 Pi Smith’s Catalogue Raisonné, No. 19. 
 
 ALBERT Cuyp was born at Dort, his father’s native town, 1620. He became the pupil 
 of his father, but further particulars of his early life are wanting, but it is probable he 
 visited other parts of Holland before commencing practice on his own account at Dort. 
 | He was many-sided in his Art, but ever taking Nature as his guide and model escaped all 
 reproach to mannerism. His temperament led him to seek calm and sunny scenes, and 
 his extraordinary mastery in rendering light and the effects of hazy morning or of glowing 
 | afternoon has become proverbial. He met with but limited recognition in his day, and 
 | Holland is not particularly rich in his works. The portraits he painted are good in 
 character, and as little conventional as his other work. He died at Dort, 1691. 
 
 | [8] 
 
INTERIOR, WITH FIGURES. 
 
 Painted by HENDRIK MARTENSZOON SORGH. 
 D . 1 ~ 
 
 Panel 19% x 27% inches. 
 
 Lent by ALFRED C. DE ROTHSCHILD, ESQ. 
 
 IX persons are seated at a table, one of them a woman, behind 
 whom a man is standing near a fireplace. The chief figure is 
 seated on a tub, wearing a red cap and having in his hands a large 
 
 jug of beer. 
 
 ) 
 
 Signed ‘mM. sorGH, 1642.’ 
 
 HENDRIK MARTENSZOON SorGH, called also Rokes, was born at Rotterdam, 1611. He 
 was the son of Martin Rokes, the Master of the passage boat between Rotterdam and 
 Dordrecht, who, on account of his care and attention to passengers, acquired the 
 appellation of “Sorgh” or “Careful,” and the name descended to his son. Hendrik 
 studied at Antwerp under David Teniers the younger, and under Willem de Buytenweg, 
 and painted, in the manner of Adriaan Brouwer, views of humble interiors, fishmarkets, 
 fairs, &c., and, in later years, scenes on the sea and on rivers. He is well represented in 
 the principal Galleries in Holland. He died at Rotterdam about 1670. 
 
 exon) 
 
THE GLASS OF LEMONADE. 
 
 Painted by GERARD TERBURG. 
 
 Canvas 26 x 21 inches. 
 
 Lent by ANTONY GIBBS, ESQ. 
 
 COMPANY of two ladies and a gentleman in a handsome 
 
 apartment; the elder lady is standing with her hand upon the 
 
 shoulder of the other, who is seated, and dressed in a yellow velvet 
 
 négligé bordered with ermine, white satin petticoat trimmed with gold, 
 
 and black hood tied under the chin; she has a glass of lemonade in 
 
 her hand, which a cavalier, sitting opposite to her, in green coat, 
 
 auburn hair and large brown hat, is stirring with a silver knife; to the 
 
 right is a table, on which is a plate and a bottle. 
 
 Novar Collection. 
 
 Exhibited at Burlington House, 1880. 
 Engraved in the Choiseul Gallery. 
 Smith’s Catalogue Raisonné, No. 8. 
 
 GERARD 
 In 1632 
 Molyn. 
 
 In 1646 
 
 TERBURG was born about 1617. He was taught drawing by his father at Zwolle. 
 ne was at Amsterdam, and afterwards studied at Haarlem under the elder Pieter 
 In 1635 he visited England, travelling then through France, Italy and Germany. 
 he repaired to Miinster, where the memorable Congress was then sitting. And 
 
 it was there he painted the marvellous little picture of the “ Ratification of the Treaty of 
 Peace,” now in the National Gallery. In 1648 he visited Spain, and acquainted himself 
 
 with the 
 became 
 life, and 
 
 works of Velasquez. In 1654 he married, and settled in Deventer, where he 
 burgomaster, and where he painted the greater number of his pictures of social 
 
 portraits on a small scale, full of distinction. He died 1681, 
 
 [ 12 ] 
 
A HERDSMAN AND A WOMAN 
 TENDING CATTLE. 
 
 Painted by ALBERT CUYP. 
 Canvas 25 x 33% inches. 
 Lent by stR HENRY ST. JOHN MILDMAY, BART., J.P. 
 
 HE scene is a hilly country, a river on the right and in the 
 distance the tower of a castle. In a meadow in front are seven 
 
 cows, guarded by a herdsman who is in a red coat, and stands with 
 his back to the spectator, conversing with a woman who is sitting on 
 the ground near him. The aspect of a fine summer evening lends a 
 
 delightful lustre to the scene. 
 
 Signed “a. cuyp.” 
 
 Collection of HENRY PENTON, ESQ., until 1800. 
 Engraved by Francors vivares, born 1709, died 1780. 
 Smith’s Catalogue Raisonné, No. 75. 
 
 AvBerr Cuyp was born at Dort, his father’s native town, 1620. He became the pupil of 
 his father, but further particulars of his early life are wanting, but it is probable he visited 
 other parts of Holland before commencing practice on his own account at Dort. He was 
 many-sided in his Art, but ever taking Nature as his guide and model escaped all 
 reproach to mannerism. His temperament led him to seek calm and sunny scenes, and 
 his extraordinary mastery in rendering light and the effects of hazy morning or of glowing 
 afternoon has become proverbial. He met with but limited recognition in his day, and 
 Holland is not particularly rich in his works. The portraits he painted are good in 
 character, and as little conventional as his other work. He died at Dort, 1691. 
 
 [ 14 ] 
 
TEMPTATION. 
 
 Painted by JAN MIENSE MOLINAER, 
 Panel 10% x 10% inches. 
 Lent by HENRY PFUNGST, ESQ., F.S.A. 
 
 HE girl, habited in red, with brown fur and white headgear, frill 
 
 and apron, is holding in her hand a long lighted pipe, as if her 
 companion were persuading her to smoke. He, in dark grey pleated 
 cloak, deep white frill and broad brimmed brown hat with feather, has 
 a flagon in one hand, against which lies an overturned glass, while 
 
 with the other he offers her wine. 
 
 Jan Miense Mowinarr was born at Haarlem early in the seventeenth century. He is 
 regarded as the best of the Molinaers (the surname of a large family of artists of the 
 Dutch School). He painted country scenes in the manner of Steen and Brouwer. There 
 are three Etchings by him—‘“ A Festival,” ‘‘The Violinist,” and “A Pastry Cook with 
 Children,” the two former being very rare. He died at his native town in 1668. 
 
 [ 16 ] 
 
LE CHEVALIER AMOUREUX. 
 
 Painted by FRANZ VAN miERIS (the Elder). 
 Panel 1634 x 13% inches. 
 Lent by &. STEINKOPFF, ESQ. 
 
 NTERIOR of a room. A cavalier, habited in a striped jacket, a 
 cuirass and a scarlet cloak, is seated, looking fixedly at a pretty 
 
 girl, who is filling his glass from a silver tankard; she is dressed 
 in a cream-coloured jacket, white satin petticoat, small black apron 
 and a white kerchief over her head. On the right of the apartment is 
 a gentleman sleeping, with his head resting on a table; at the exterior 
 
 of a doorway, at the end of a room, is seen a couple embracing. 
 
 Signed “F. m.” and dated “1658.” 
 
 Imported by mr. CHAPLIN, 1838. 
 
 Collection of CHARLES BREDEL, ESQ. 
 
 Collection of ALBERT LEVY, ESQ. 
 
 Collection of the EARL OF DUDLEY. 
 
 Exhibited at the British Institution, 1839 and 1851. 
 Smith’s Catalogue Raisonné, Supplement No. 44. 
 
 FRANZ vAN MIERIS was born in 1635 at Leyden. His father was a goldsmith, and he 
 was one of a family of twenty-three children. In early life he studied with Gerard Dow, 
 who said he was the prince of his pupils, and in many respects he was not inferior to his 
 Master. His talents were much appreciated during his lifetime, his pictures realising 
 large sums. His works were small in size, and he loved to represent silks, plate and 
 jewels, and, like all ‘‘The Little Masters” of Holland, gave much thought to the painting 
 of hands, and made them full of beauty and meaning. He died at Leyden in 1681. 
 
 [ 18 ] 
 
n 
 = 
 } 
 
| VIEW ON THE COAST OF 
 SCHEVENING. 
 
 Painted by JACOB VAN RUISDAEL. 
 Canvas 33 x 42 inches. 
 Lent by the RIGHT HON. THE EARL OF CARLISLE. 
 
 4] VIEW on the coast of Schevening, during a fresh breeze and 
 
 the appearance of approaching rain. The lofty ridges of sand 
 called the Dunes, peculiar to that coast, rise on the left, and extend 
 receding into the distance, forming a boundary to a wide beach, over 
 which are distributed a number of persons. Of these a group, 
 composed of two men, a woman and a child, is close to the front, and 
 
 near them is a lady in black walking towards a gentleman. Nearer 
 
 i the sea are two fishermen wading through a pool. Beyond these are 
 two smacks drawn up on the beach, and still more remote may be 
 
 \ counted five other vessels. On the opposite side the eye looks over a 
 
 \} wide expanse of sea, in a distant part of which three ships are seen. 
 
 Exhibited at the British Gallery, 1836. 
 Smith’s Catalogue Raisonné, Supplement No. 28. 
 
 i 
 | JacoB vAN RuispDAEL was the nephew of the painter Solomon van Ruisdael, and was 
 born at Haarlem about 1625. His father, Isaac, gave him a good education and intended 
 | him for the medical profession, and he was sometimes styled Doctor. He probably 
 i studied under his uncle, but it is clear that he was powerfully influenced by Allaert van 
 Everdingen. He removed to Amsterdam in 1659, and the same year obtained the rights 
 of citizenship there. He remained unmarried in order to promote the comfort of 
 his aged father, but in spite of his activity his talents were not appreciated by his 
 contemporaries as they deserved to be. In 1681 his fellow religionists obtained from the 
 
 Burgomaster of Haarlem a place in the almshouse of Haarlem for him, by payment of a 
 
 ni 
 ih 
 | [ 20 ] 
 | 
 | 
 j 
 
 i 
 if 
 
certain sum. He died there soon after, and was buried May 14th, 1682. The landscapes 
 of Ruisdael are generally simple natural views, well selected, his favourite subjects being 
 woody scenes and waterfalls, though he sometimes painted marine pieces. ‘The artistic 
 importance of his work lies in the conception, and in the solemn earnestness of the 
 prevailing tone, founded upon a deep and continual observance of Nature. 
 
 Ea 
 
INTERIOR OF A KITCHEN; 
 OR, FRYING CAKES. 
 
 Painted by JAN STEEN. 
 Panel 32 x 20 inches. 
 Lent by sik HENRY ST. JOHN MILDMAY, BART., J.P. 
 
 WO girls are in a kitchen, one of whom is engaged in frying 
 cakes on a stove; a boy behind her is pinching a cat by the 
 
 ear, and its cries excite a poodle dog which is jumping upon the boy's 
 knees; another boy, an infant, seated in a chair, is much amused at 
 
 the scene. 
 
 Braam-camp Collection, 1771. 
 Holderness Collection, 1802, called then ‘“‘ The Pancake Girl.” 
 
 Smith’s Catalogue Raisonné, No. 23. 
 
 JAN STEEN was the son of a brewer, and was born at Leyden about 1626. He studied 
 at the Hague with Jan van Goyen, whose daughter he married there in 1649. He entered 
 the Corporation of Painters at Leyden in 1648, but he was absent from that city for several 
 years, returning to it in 1658. He then combined the business of a tavernkeeper with 
 the occupation of painting. He has been justly likened, for dramatic expression, to 
 Molitre. He drew human nature from the humorous side, often with grim satire, though 
 not without touches of pathos, which show deep sympathy with his kind. If he is some- 
 times unnecessarily coarse, some allowance must be made for his period and his 
 surroundings. ‘The character of his figures is typical and subtly true, his execution crisp 
 and brilliant, and his colour varied and uncommon. In composition he has never been 
 excelled, and he contrived to give to the most skilful arrangement the effect of accidental 
 
 combinations. 
 
PORTRAIT OF A JEWISH HIGH 
 
 PRIEST. 
 
 Painted by REMBRANDT VAN RHYN. 
 
 Canvas 39 x 31 inches. 
 
 Lent by HIS GRACE THE DUKE OF DEVONSHIRE, K.G. 
 
 N aged man with portly countenance and large gray beard, 
 
 represented full face, with his hands united in front. Large 
 
 white turban, brown mantle, attached on the breast by richly embossed 
 
 gold clasps. 
 
 Engraved by w. reruer, 1764 and 1766, and in small by spENcER. 
 GORLING has engraved a 
 
 bust of this portra 
 
 Smith’s Catalogue Raisonné, No. 290. 
 
 REMBRANDT VAN Ruyn was 
 
 to Art induced his fat 
 of an old Leyden fam 
 went to Amsterdam 
 
 ily, wit 
 o stud 
 
 it. 
 
 born at Leyden in 1606. He was the son of a miller, and his 
 parents were in good circumstances. He attende 
 
 incessantly, till at the age of twenty-two he final 
 married a lady possessed of some fortune, who has 
 he painted of her. His mot 
 
 become involved in h 
 
 her was also his model. 
 is circumstances, and all his e 
 
 the Latin School, but his tendencies 
 
 ner to place him with J. van Swanenburch, a painter, and a member 
 h whom he remained three years. At the age of fourteen he 
 y; three years later returned to his native town and worked 
 
 y settled at Amsterdam. He there 
 become famous through many portraits 
 After his wife’s death, in 1642, he 
 ffects were sold, including his collection 
 
 of works of Art and his large house at Amsterdam, where he had resided for many years. 
 His troubles, however, did not affect his professional career, and artists from all parts of 
 
 Holland came to stud 
 
 y in his studio, the most famous of whom were Gerard Dow and 
 
 Ferdinand Bol. Rembrandt died at Amsterdam in 1669. 
 
 [ 24 ] 
 
HORSES DRINKING AT A 
 SPRING. 
 
 Painted by THOMAS GAINSBOROUGH, R.A. 
 
 Canvas 49 x 39 inches. 
 
 Lent by stk CHARLES TENNANT, BART. 
 
 OCKY scene, richly wooded. On the right is a spring to which 
 
 two horses, one of them a brown and the other a grey, have 
 
 been brought to drink, the latter ridden by a man wearing a red jacket 
 
 and brown sleeves ; and a dog is seen lapping the water. 
 § 
 
 Collection of stR JOHN LEICESTER. 
 
 Collection of J. L. PARKER. 
 
 Collection of the EARL OF LONSDALE. 
 
 British Institution, 1814 and 1843. 
 
 Burlington House, 1876. 
 
 Tuomas GAINSBOROUGH was born at Sudbury, in Suffolk, in 1727. At an early age he 
 showed an aptitude for Art, and spent his time in sketching and in rambling about the 
 
 woods and lanes around his home. When fourteen years of age he came to London, and 
 
 London. H 
 came in so 
 
 andscapes 
 He died in 
 
 for several years studied Art. Before he was nineteen he married Miss Margaret Burr, a 
 young lady with an annuity of £200 a year, the memory of whose extraordinary beauty is 
 still, says Fulcher, preserved in Sudbury. For a period of twelve years they lived at 
 Ipswich, removing in 1759 to Bath. On the foundation of the Royal Academy in 1768 
 he became one of the thirty-six original members, and in 1774 left Bath to reside in 
 
 e was much patronised by George III. At the height of his popularity, when 
 
 nearly all the great men and celebrated women of the day were sitting to him, commissions 
 
 quickly that he was unable to keep up with the demand for his services. 
 1 y Pp UE 
 
 Gainsborough was also a musician, and used to say “‘he painted portraits for money, 
 
 secause he loved them, and was a musician because he could not help it.” 
 1788, of cancer, at the age of sixty, and was buried, at his own request, in 
 
 Kew Churchyard. He was of a kind and generous disposition, and Northcote writes : 
 
 “He was a natural gentleman, and, with all his simplicity, had wit.” His pictures are full 
 
 of grace an 
 
 beauty, and as a landscape painter he is at the head of the English School. 
 
 [ 26 ] 
 
MARY ISABELLA, DUCHESS 
 OF RUTLAND. 
 
 Painted by sik JOSHUA REYNOLDS, P.R.A. 
 Canvas 93% x 58 inches. 
 Lent by HIS GRACE THE DUKE OF RUTLAND, K.G, 
 
 ARY ISABELLA, Duchess of Rutland, wife of the fourth 
 
 Duke of Rutland and grandmother of the present Duke, 
 
 was the daughter of Charles Noel Somerset, fourth Duke of Beaufort. 
 She was called “ The Beautiful Duchess.” 
 
 Full length, life size, standing, leaning with her left arm on a 
 pedestal, on which lies some rich crimson drapery. Pale pink robe 
 trimmed with ermine over a white dress, brown silk girdle; high 
 white turban, ornamented with pink feathers. Landscape back- 
 
 ground, with a glimpse of sky to the left. 
 
 Engraved by VALENTINE GREEN, born 1739, died 1813. 
 Another portrait of this lady is also at Belvoir, by the REV. W. M. PETERS, 
 A.R.A., life size, on oak panel, in a white dress, holding a garland of 
 
 flowers. 
 
 Str JosHua ReyNOLDs was born in 1723, and educated at Plympton St. Mary, Plymouth. 
 He came to London at the age of eighteen as a pupil of Hudson, and remained with this 
 Master less than two years. Returning home, he painted many portraits at low prices 
 (seventy shillings). In 1749 he sailed with Commodore Keppel to the Mediterranean, 
 and reaching Rome stayed there for two years, directing his studies chiefly to Michael 
 Angelo’s works in the Sistine Chapel. Working there during bad weather he caught cold 
 and became deaf, and was compelled thereafter to use an ear-trumpet. He returned to 
 London in 1752, and settling soon-after in St. Martin’s Lane, quickly rose in reputation. 
 In 1753 he painted the portrait of Commodore Keppel, which laid the foundation of his 
 
 [ 28 ] 
 
fortune. He painted many heads at this time at twelve guineas each. Henceforward 
 his progress was very rapid, and among his sitters were many of the famous men and 
 women of his time. In 1768 he was knighted, and became first President of the Royal 
 Academy. From this time he worked with almost uninterrupted assiduity and success, 
 producing many hundreds of pictures. He died February 23rd, 1792. 
 
 [ 29 ] 
 
MISS MELLON, AFTERWARDS 
 DUCHESS OF Si. ALBANS: 
 
 Painted by GEORGE ROMNEY. 
 Canvas 28 x 22% inches. 
 Lent by F. Cc. PAWLE, ESQ., J.P. 
 
 ALF length, life size, almost full face; white dress, brown fur 
 HL boa round her neck; dark blue background. 
 
 Harriet Mellon, born about 1775, was the daughter of Lieutenant 
 Mellon, of the Royal Navy, and of the Irish wardrobe woman of a 
 strolling company of comedians. Her schooling was of the roughest, 
 but in her wanderings with her mother she picked up some education, 
 and after appearing as Little Pickle and Priscilla in “The Romp,” 
 she was introduced to Sheridan, whose Lydia Languish she was 
 permitted to play. Drury Lane, at that time, numbered amongst its 
 company Mrs. Siddons, Miss Farren, Mrs. Jordan and John Kemble. 
 By degrees her beauty made an impression, and she was allowed to 
 play Yiolante in “The Honeymoon,” and drs. Ford in the “ Merry 
 Wives of Windsor.” She became the friend of Lady Burdett, whose 
 father, Thomas Coutts, married her, as his second wife, and at his 
 death in 1821 he left her all his property for distribution among her 
 step-children, and this trust she fulfilled in the handsomest manner. 
 Six years after her husband’s death she married William Aubrey, 
 ninth Duke of St. Albans. Lady Morgan recording a morning visit 
 to her writes:—“‘Her gown much too fine for the morning, all 
 ridiculously bespattered with large jewels; and duke’s coronets on 
 
 all the footstools.” She had no children, and died in 1837. 
 
 [ 30 ] 
 
Exhibited at Burlington House, 1889. 
 
 GrEorGE RomNry was born at Dalton-in-Furness, Lancashire, 1734. His father was a 
 cabinet-maker, and brought Romney up to his own business, but the son showed so 
 decided an ability for drawing that he was placed at the age of nineteen with a portrait 
 painter named Steele, then established at Kendal. At the age of two-and-twenty Romney 
 married. In the following year he commenced painting on his own account, and in 1762 
 came to London. In 1773 he visited Italy, and returning in 1775 took up his residence 
 in Cavendish Square. From this time he divided with Reynolds and Gainsborough 
 the patronage of the famous and wealthy, but his wife and family never participated in 
 his success ; they remained at Kendal, and during thirty-seven years he paid, it is said, 
 only two visits to them. It was in 1782, when in his forty-eighth year, that he became 
 acquainted with Lady Hamilton. After her first appearance on his horizon he seems to 
 have relied almost solely on her for inspiration. He was miserable when away from 
 “the divine lady,” and reduced the number of his sittings in order to devote more time to 
 
 studies of her beauty. At the age of sixty-five he broke up his London establishment and 
 rejoined his family at Kendal, where he died in 1802. His best characteristics are 
 grace and pleasant colour. As a draughtsman he gave evidence of higher gifts than either 
 Reynolds or Gainsborough. On the other hand he was far below Reynolds in intellectual 
 
 vigour, and below Gainsborough in spirituality, and below both in richness of chiaroscuro. 
 
THE PIRATES OF ISTRIA 
 CARRYING OFF THE BRIDES 
 OF VENICE. 
 
 Painted by J. R. HERBERT, R.A. 
 Canvas 57 x 45 inches. 
 Lent by JamEs DOLE, ESQ., of Bristol. 
 
 T was an ancient usage among the Venetians that every year, on St. 
 | Mary’s eve, twelve poor virgins, endowed by the State, should be 
 united to their lovers, in the church of San Pietro, at Olivolo. On the 
 auspicious day the kinsfolk and friends of the betrothed assembled 
 at Olivolo, and from an early hour gaily dressed boats, with flowers 
 and flags, might be seen skimming the canals towards San Pietro. 
 In a.p. 939, the Corsairs of Istria, who were well acquainted with this 
 annual custom, resolved to profit by the helpless state of the joyous 
 train, and to carry off the daughters of San Marco. Under the 
 conduct of their chief, Gaiolo, a renowned freebooter, they quitted their 
 hiding-place as soon as the procession had entered the church, crossed 
 the canal and leaped ashore. The doors of San Pietro were suddenly 
 burst open, and the place was filled with armed Corsairs, who, tearing 
 the terrified maidens from the foot of the altar, lifted them across the 
 sacred threshold, and depositing them, almost bereft of sense, in their 
 barques, set sail for Istria. The pirates were in the lagoon of Caorlo, 
 when they beheld their pursuers close behind them, and the Venetians, 
 profiting by their local knowledge and dexterity, overtook the 
 
 marauders in a creek known as the Porto delle Donzelle. The contest 
 
 [ 32 ] 
 
was long and sanguinary, but the vengeance of the bridegrooms was 
 complete. Hardly an Istrian escaped, and the girls, rescued from the 
 rude hands of their ravishers, were led back to Olivolo, where, as the 
 narrative runs, “they endeavoured to forget their fright and alarm in 
 the customary festivities.” 
 
 Exhibited at the Royal Academy, 1841. 
 Art Treasures Exhibition, Manchester, 1857. 
 
THE MONARCH OF THE GLEN. 
 
 Painted by sik EDWIN LANDSEER, R.A. 
 Canvas 64 x 66 inches. 
 Lent by T. J. BARRATT, ESQ. 
 
 | | STAG, crowned with his twelve tines, stands among the clouds on 
 | an eminence of rock and heather. His quick ear has caught a 
 sound, and the wide-open nostrils seem to scent danger. 
 
 | The picture was intended to fill a panel on the walls of the House of 
 Lords, in those days when the leading artists of the country were 
 invited to submit works for that purpose. It was sent on approval to 
 
 the “Committee of Fine Arts,” but was declined. It appeared in the 
 
 ensuing Royal Academy Exhibition, where it evoked universal 
 
 admiration. 
 
 Royal Academy, 1851. 
 LORD LONDESBOROUGH'’S Collection. 
 LORD CHEYLESMORE’S Collection. 
 
 i Engraved in 1852 by THOMAS LANDSEER, A.R.A., born 1795, died 1880. 
 
 Engraved in 1894 by Jj. B. PRATT. 
 
 Str Epwin LANDSEER was born in London in 1802. He was the youngest son of John 
 Landseer, the well-known engraver. His father taught him, and is said to have sent the 
 
 boy at an early age into the fields to sketch from nature any animals he came across. 
 Some drawings in South Kensington Museum were executed by him when five years old. 
 His first exhibited picture was painted when thirteen years of age. Three years later he 
 
 entered the schools of the Royal Academy. In 1826 he became an Associate, and a few 
 
 Wil years after an Academician. His pictures are universally known, and he is “the 
 unrivalled painter of animal life.” In 1850 he received the honour of knighthood. He 
 
 died at his house in St. John’s Wood in 1873, and was interred in St. Paul’s Cathedral. 
 
By permission of Messrs. 
 
 Henry Graves & Co—th 
 
 e Owners o 
 
 of 
 
 the Copyri 
 
EDWARD II. AND PIERS | 
 GAVASTON, a.p. 1308. 
 
 Painted by MARCUS STONE, R.A. 
 
 Canvas 48 x 84 inches. 
 Lent by GEORGE Fox, ESQ., of Lichfield. 
 
 IERS GAVASTON was the son of a Gascon Knight. He 
 insinuated himself into the affections of the King by his 
 agreeable behaviour, and by supplying him with those frivolous 
 amusements which suited his capacity and intelligence. He became 
 the King’s favourite, and in that position rendered himself peculiarly 
 displeasing to the English nobles, whom he was accustomed to deride 
 and mimic for the amusement of his thoughtless sovereign, and even 
 the Queen was not exempted when he was disposed to display his 
 sarcastic powers. To the left of the picture the King and his favourite 
 are approaching. To the right are some nobles indignantly regarding 
 the pair, while seated near them are the Queen and some ladies of the 
 
 Court. The scene is on the terrace, with view of broad park lands. 
 
 Royal Academy, 1872. 
 Manchester Jubilee Exhibition, 1887. 
 
WEAVING THE WREATH. 
 
 Painted by stk FREDERIC LEIGHTON, BART., P.R.A. 
 Canvas 25 x 23% inches. 
 Lent by GEorGE HOLT, ESQ., of Liverpool, J.P. 
 
 IGURE of a young girl, seated on an Oriental mat, weaving a 
 wreath. She is amply clad in dark blue drapery, a piece of 
 white raiment showing. A similar wreath to that she is weaving is 
 
 round her own head ; background, sculptured white marble. 
 
 Royal Academy, 1873. 
 
HEROD’S BIRTHDAY FEAST. 
 
 Painted by EDWARD ARMITAGE, R.A. 
 
 Canvas 61 x 109 inches. 
 
 Presented by the Artist to the permanent Gallery of the Corporation of 
 London, 1894. 
 
 - Hi EROD on his birthday made a supper to his lords and high 
 captains ; and when his step-daughter Salome (daughter of 
 
 i} Herodias by her first husband) came in and danced and pleased Herod 
 and them that sat with him, the King said unto the damsel, ‘‘ Ask of 
 | me whatsoever thou wilt and I will give it thee.” And she asked the 
 |) | head of John the Baptist. 
 
 | || Exhibited at the Royal Academy, 1868. 
 
 [ 4° ] 
 
LEAR AND CORDELIA. 
 
 Painted by FORD MADOX BROWN. 
 Canvas 31 x 44 inches. 
 Lent by ALBERT woop, ESQ., of Conway. 
 
 EAR, King of Britain, in his old age resolves to divide his 
 kingdom among his three daughters, Goneril, Regan and 
 Cordelia, and to give the “ largest bounty ” to the one who “ doth love 
 us most.” Goneril and Regan make great profession of their love, but 
 Cordelia’s love for him is too deep for words. 
 Lear, So young, and so untender ? 
 Cordelia. So young, my Lord, and true. 
 Lear, in his rage, casts her off, and divides the kingdom between her 
 two sisters. In the picture Goneril and Regan stand on the left, 
 their husbands kneeling at Lear’s feet, all four eagerly grasping at the 
 old king’s crown, which he has bidden them part between them. On 
 the right is the Duke of Burgundy, biting his fingers in vexation ; 
 
 he had sought Cordelia in marriage, but now discards her. In the 
 
 background to the extreme left is seen the Duke of Kent, who has 
 just been banished for speaking in favour of Cordelia. The King of 
 France is taking her by the hand and is saying— 
 “Thy dowerless daughter, King, thrown to my chance, 
 Is queen of us, of ours, and our fair France ; 
 
 Not all the Dukes of waterish Burgundy 
 
 Can buy this unprized, precious maid from me.” 
 
 Painted, 1875. 
 Purchased from the Artist by the present owner. 
 
 [42] 
 
Forp Mapox Brown was born at Ca 
 
 ais in 1821. He was educated on the Continent, 
 
 and studied Art at the Academy at Bruges, and also at Ghent and Antwerp, and at the 
 
 age of twenty-three submitted cartoon 
 
 s for the competition for the wall decoration at 
 
 Westminster. In 1848 he was sought out by Rossetti, with the intention of being received 
 
 by him as a pupil, and a strong friend 
 he exhibited fifty of his pictures in a 
 considered to be one entitled “‘ Work, 
 
 ship was formed between the two men. In 1865 
 Gallery in Piccadilly. His greatest production is 
 ” now in the Corporation of Manchester Gallery. 
 
 It was in the first Guildhall Exhibition in 1890. For many of the later years of his life 
 
 he was engaged in decorating in fresco 
 
 he Town Hall of Manchester. He died in 1893. 
 
LOST SHEEP. 
 
 Painted by H. w. B. DAVIS, R.A. 
 Canvas 24 x 36 inches. 
 Lent by c. T. HARRIS, ESQ, C.C. 
 
 HE sheep have strayed from their pasture, and, night coming on, 
 finds them on a strange and sterile soil. Their dazed look 
 
 expresses with remarkable truth the consciousness that they are lost. 
 
 Exhibited at the Royal Academy, 1885. 
 
THE SICK CALL. 
 
 Painted by MATTHEW JAMES LAWLESS. 
 Canvas 25 x 4034 inches. 
 Lent by wILL1aM CoLTaRT, ESQ., of Birkenhead. 
 
 “Ts any man sick among you? Let him bring in the priests of the church and 
 let them pray over him.” 
 
 BOAT is crossing a Belgian river with a priest seated in the 
 
 | stern, his hands folded on his knees and his staff beside him. 
 ] 
 
 ii | His acolytes in white, with scarlet bands, attend him. A weeping 
 woman, poorly clad, is hiding her face in her hands, and a youth 
 
 seated behind the priest, the sick person’s son probably, is looking 
 
 anxiously at the spot to which they are journeying, his clenched hand 
 
 on the gunwale of the boat. They are going with the Host to render 
 the last office to a sick person. The stalwart rower, sorrowful of 
 aspect, works with a steady pull, and on the bank the quaint buildings 
 
 of the old Belgian town rise into a placid sky, and reverential figures 
 
 watch the boat in its course. 
 
 Exhibited at the Royal Academy, 1863. 
 
 MatrHEew James LAwLess was born in 1836. He studied at the Langham School of Art, 
 and was a pupil of Cary and Leigh. He executed drawings for wood engravings for 
 “Good Words” and “Once a Week,” and was a member of the Etching Club. He 
 HIT | exhibited at the Royal Academy, his last contribution being the picture here presented. 
 HI) He died at Bayswater, 1864, at the age of twenty-seven. 
 
 i 
 i [ 46 ] 
 
JOLI CCEUR. 
 
 Painted by p. G. ROSSETTI. 
 
 Panel 15 x 12 inches. 
 Lent by MIss HORNIMAN. 
 
 | MALL half-length figure of a girl, face slightly turned to right, 
 
 rich auburn hair with circular pearl ornament in it. Purple 
 
 | robe edged with brown fur, thrown open and displaying the white 
 dress. Right hand drawing back the robe; left hand playing with the 
 coral necklace round her neck, to which is attached a crystal heart ; 
 coral bracelet on left wrist ; deep peacock-blue background. 
 
 In the left corner of the picture are the words “ Joli Cceur,” in the 
 
 | right corner “‘D. G. R. (in monogram) 1867.” 
 
 Collection of WILLIAM A. TURNER, ESQ. 
 
 GABRIEL CHARLES Dante Rosserri was born in London in 1828. He was the son of 
 Gabriele Rossetti, who was exiled from Italy for his political opinions and came to London. 
 He entered the Schools of the Royal Academy in 1846, and in 1848 became the prime 
 || mover in the famous Pre-Raphaelite revolt. In 1850 he edited “The Germ,” a periodical 
 which demonstrated the principles of the brotherhood ; but it was short lived. Among the 
 \| works painted according to its principles was the ‘‘ Ecce Ancilla Domini,” now in the 
 | National Gallery. For the next ten years his chief productions were a series of water 
 colours inspired by passages in the “ Vita Nuova” and the “ Divina Commedia.” In 
 
 HF] 1860, after along engagement, he married Elizabeth Eleanor Siddall, a girl of characteristic 
 | beauty and the model for some of his most famous works. She died in 1862 from an 
 | | over-dose of laudanum, and on the day of her burial Rossetti placed the manuscript of al 
 i} his poems, as a last gift, in her coffin, In the autumn of that year he removed to Cheyne 
 {| Walk, Chelsea, and between that time and 1869 produced some of his finest paintings, 
 achieving a splendour of colour that may be compared with the productions of the grea 
 
 Venetians, and has seldom been surpassed in modern times. In 1869 he was prevaile 
 upon to permit the exhumation of his buried manuscripts, and in the following year the 
 first collection of his poems appeared. At this time symptoms of weak health appeared, 
 and he suffered terribly from insomnia. ‘To obtain relief he resorted to chloral, with the 
 customary results. Early in 1882 he went to Birchington, where, on the Easter Sunday o 
 that year, he died. 
 
 [ 48 ] 
 
ISABELLA; OR LORENZO 
 ISABELLA. 
 
 Painted by sir JOHN EVERETT MILLAIS, BART., R.A. 
 Canvas 39 x 55% inches. 
 Lent by the Corporation of Liverpool. 
 
 “Fair Isabel, poor simple Isabel ! 
 
 Lorenzo, a young palmer in love’s eye ! 
 They could not in the self-same mansion dwell 
 Without some stir of heart, some malady ; 
 They could not sit at meals, but feel how well 
 
 It soothed each to be the other by.” 
 
 ORENZO is holding a plate with a half cut orange upon it, 
 
 which he is offering to Isabel. Her brothers, sitting opposite, 
 
 and who later murder Lorenzo, are moved to spite and rage at 
 
 witnessing the evident relationship between the two. The one cracking 
 
 the nut is cruelly kicking the hound which his sister tenderly caresses, 
 
 while the other, lifting his wine-glass to his lips, regards the lovers 
 with a look of malice. 
 
 The model for Lorenzo was Mr. William Michael Rossetti; for the 
 man with the table napkin to his lips, Mr. Millais, the painter’s father ; 
 while Dante Gabriel Rossetti was the model for the man at the 
 extreme end of the table, who is draining his glass. 
 
 This was the first pre-Raphaelite picture painted by Millais. He 
 
 was then in his twentieth year. 
 
 Exhibited at the Royal Academy, 1849. 
 Collection of THOMAS WOOLNER, ESQ., R.A. 
 
 50 | 
 
THE ESCAPE OF A HERETIC, 
 AID. ISRO} 
 
 Painted by str JOHN EVERETT MILLAIS, BART., R.A. 
 Canvas 43 x 31 inches. 
 Lent by str WILLIAM H. HOULDSWORTH, BART., M.P., of Kilmarnock. 
 
 NDER the disguise of a familiar of the prison, a young Spanish 
 
 noble has contrived to gain entrance to the Inquisition, and 
 
 having bound the dangerous monk in the inner cell and gagged him 
 with his own hood and rosary, he hurries the monk’s dress on to the 
 terrified prisoner, who has already been robed in her hideous gaberdine 
 for the auto-da-fé. The poniard in the lover's hand is ready for use 
 as a last resource. Free air and green country are indicated through 
 
 the small window on the right. 
 
 Exhibited at the Royal Academy, 1857. 
 
SIR ISUMBRAS AT THE FORD. 
 
 Painted by sik JOHN EVERETT MILLAIS, BART., R.A. 
 Canvas 50 x 67 inches. 
 Lent by mrs. ROBERT BENSON. 
 
 N aged knight in golden armour, riding home in the twilight, is 
 crossing a river at the ford. He is carrying across with him 
 two peasant children, one of whom, a little girl, is looking wonderingly 
 at him, as she holds with one hand a piece of the horse’s black mane ; 
 the other, a little boy, riding behind the knight, has a bundle of wood 
 tied to him, which he has been gathering. On the bank of the river 
 two nuns are walking, one of them with a book, and they are both 
 regarding with interest the kindly act of the old warrior. A stone 
 archway, trees and houses are seen in mid-distance and low hills 
 beyond, dark blue against the clear evening sky. 
 
 The landscape was painted on the Tay. 
 
 Exhibited at the Royal Academy, 1857; partly repainted the same year, 
 after its return from the Academy ; retouched and slightly altered, 1893. 
 Grosvenor Gallery, Millais Exhibition, 1886. 
 
 Collection of CHARLES READE, ESQ., the Author. 
 
 Collection of JOHN GRAHAM, ESQ. 
 
 [ 54 ] 
 
STRAYED SHEEP. 
 
 Painted by w. HOLMAN HUNT, R.W.S. 
 Canvas 17% x 23 inches. 
 Lent by GEORGE LILLIE CRAIK, ESQ. 
 
 AINTED on the cliffs near Hastings. The artist had received a 
 P commission to repeat the group of sheep from his picture 
 “The Hireling Shepherd,” but an original group was afterwards 
 decided upon, and the present picture was painted. On this work 
 Mr. Ruskin said, ‘‘It at once achieved all that can ever be done in that 
 kind : it will not be surpassed—it is little likely to be rivalled—by the 
 best efforts of the times to come.” 
 
 Painted for c. T. MAUD, ESQ., 1852. 
 
 Exhibited at the Royal Academy, 1853. 
 Paris, 1855. 
 
 [ 56 ] 
 
THE HESPERIDES. 
 
 Painted by sR EDWARD BURNE-JONES, BART, 
 Water colour 47 x 38% inches. 
 Lent by FREDERICK CRAVEN, ESQ., of Bakewell. 
 
 HE Hesperides were the beautiful guardians of the tree with the 
 golden apples, which Ge had given to Hera at her marriage 
 
 with Zeus. The poets describe them as possessing the power of sweet 
 song. According to the earliest legends they lived on the river 
 Oceanus, but later accounts have located them in the neighbourhood 
 of Cyrene, Mount Atlas, or the islands on the western coast of Libya. 
 In their watch they were assisted by the dragon Ladon, who had been 
 appointed by Juno to watch in the garden of the Hesperides, and who 
 
 never slept. 
 
 Manchester Jubilee Exhibition, 1887. 
 
THE SLEEPERS AND THE ONE 
 THAT WAKETH. 
 
 Painted by sImEON SOLOMON. 
 Water colour 14 x 18 inches. 
 Lent by FREDERICK CRAVEN, ESQ., of Bakewell. 
 
 Manchester Jubilee Exhibition, 1887. 
 
LA BELLE DAME SANS MERCI. 
 
 Painted by J. W. WATERHOUSE, A.R.A. 
 Canvas 43% x 32 inches. 
 
 Lent by GEORGE WOOoDIWISS, ESQ., of Bath, J.P. 
 
 ADY in mauve, kneeling, long fair hair, a loose tress of which 
 she has wound round the neck of an armed knight who stoops 
 before her, and into whose face she passionately gazes. Scene, a lone 
 
 wood with glimpse of a stream between the tall dark stems. 
 
 “T met a lady in the woods 
 Full beautiful—a faery’s child ; 
 Her hair was long, her foot was light, 
 And her eyes were wild. 
 She found me roots of relish sweet, 
 And honey wild, and manna dew, 
 And sure in language strange she said— 
 
 29 
 
 “T love thee true. 
 
 Exhibited at the Royal Academy, 1893. 
 
 I. ©@ J) 
 
THE SETTING SUN. 
 
 Painted by ADRIAN STOKES. 
 Canvas 47 x 72 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 CLIFF from which is seen an expanse of sea. A milkmaid 
 A is seated to the left—brown dress, blue sun bonnet—milking a 
 cow; another cow to the right is lying down. The sun, a lurid ball, 
 is to the right of the picture throwing its reflections on the sea. 
 
 Exhibited at the New Gallery, 1891. 
 Chicago Exhibition, 1893. 
 
 [ 64 ] 
 
MISS ALEXANDER. 
 
 Painted by JAMES MCNEILL WHISTLER. 
 Canvas 75 x 39 inches. 
 Lent by WILLIAM C. ALEXANDER, ESQ. 
 
 ULL length, life-size portrait of a child standing towards the 
 kK left, her head turned to the spectator; white muslin frock, 
 short gray polonaise, pale green sash; black rosette on the sash, 
 another in her fair hair, and a black bow in her large gray felt hat, 
 which she holds in her left hand hanging down at her side; white 
 stockings, black shoes with pale green rosettes. Background, gray 
 wall with black frieze, gray drapery on bench to left, marguerites to 
 
 right, two pale yellow butterflies high up to the left. 
 
 [ 66 
 
HER MOTHER’S VOICE. 
 
 Painted by WILLIAM QUILLER ORCHARDSON, R.A. 
 Canvas 40 x 58 inches. 
 Lent by HENRY TATE, ESQ., J.P. 
 
 ‘“* But O for the touch of a vanish’d hand, 
 And the sound of a voice that is still!” 
 
 Royal Academy, 1888. 
 
 [ 68 ] 
 
THE GANDER. 
 
 Painted by G. H. MASON, A.R.A. 
 Canvas 19 x 33 inches. 
 
 Lent by WILLIAM COLTART, ESQ., of Birkenhead. 
 
 GRACEFUL peasant child with arms uplifted is keeping back 
 
 a sturdy gander that threatens her. She wears a dark blue 
 
 frock, light blue pinafore, and yellow kerchief round her neck. Her 
 companion in darker clothing is behind her, and a short distance off 
 are more geese, and beyond them the land rises dark against the rich 
 red light of evening, reflected partly in the pond near which the child 
 
 stands. 
 
 Exhibited at the Royal Academy, 1865. 
 Manchester Jubilee Exhibition, 1887. 
 
 GEORGE Hemminec Mason was born at Wetley Abbey, in Worcestershire, in 1818. He 
 studied, by his parents’ wish, for the medical profession, but abandoned it, at the age of 
 twenty-six, for Art. He travelled on the Continent with his brother, and eventually settled 
 in Rome for several years, from which place he contributed many pictures to the 
 Exhibitions of London and Paris. While there, news of financial disaster at home reached 
 him, and for a time he was thrown entirely on his own resources. In 1857 he returned 
 to England, and thenceforward all his subjects were taken from the neighbourhood of his 
 birthplace, where he partially resided. In 1865 he settled in London, and was elected 
 Associate of the Royal Academy in 1868. He died in 1872. 
 
EVE. 
 
 Painted by MAURICE GREIFFENHAGEN. 
 Canvas 69 x 27 inches. 
 Lent by the Artist. 
 
 IFE-SIZE, nude figure, facing the left; long auburn hair. 
 She is turning in indecision, as she hears the voice of the 
 serpent which curls at her feet among the grasses and flowers, and 
 whose head rises behind her. The ripe forbidden fruit hangs near, 
 and a deeply coloured sky is seen between the leaves and trunks of the 
 
 ReeS: 
 
 [72 ] 
 
“SCOTLAND FOR EVER.” 
 
 Painted by Lapy BUTLER (Miss Elizabeth Thompson). 
 Canvas 39 x 76 inches, 
 Lent by the Corporation of Leeds. 
 
 HARGE of the Scots Greys at Waterloo. On the afternoon 
 G of the 18th June, the 92nd Regiment, which was then reduced 
 to two hundred men, found it necessary to charge a column of the 
 enemy which was coming down upon them, numbering from two to 
 three thousand men. The two hundred men broke into the centre of 
 this column with the bayonet, and the instant they pierced it, the 
 Scots Greys dashed in to their support, when they and the men of 
 the 92nd cheered and shouted “ Scotland for Ever.” The enemy, to a 
 man, were put to the sword or taken prisoners, after which the Greys 
 
 charged through the enemy’s second line and took the Eagles. 
 
 Lye | 
 
By permission of Messrs. S. Hildesheimer & Co., Ltd. 
 
 Art Publishers, London and Manchester—the Owners of the Copyright. 
 
: | PHELOILE I. 
 
 | Painted by ALBERT MOORE. 
 
 | Canvas 16% x 9 inches. 
 
 | Lent by w. GRAHAM ROBERTSON, ESQ. 
 | Painted 1886. 
 
 EATED figure, ex déshabille; white and pale fawn drapery about 
 her; pale green cushions, and background of light varied 
 greens. Her hands are clasped behind her head on which she wears 
 some deep yellow drapery. White floor, green vase; green mat with 
 
 yellow drapery lying on it. 
 
 Grafton Gallery, Albert Moore Exhibition, 1894. 
 
 [ 76 ] 
 
| 
 | 
 
 MORTE D’ARTHUR. 
 
 Painted by JAMES ARCHER, R.S.A. 
 Wood 16% x 19% inches. 
 
 Lent by ABRAHAM HAWORTH, ESQ., of Altrincham. 
 
 ING ARTHUR, wounded in the “last great battle,” was 
 | received into a barge by three queens with great mourning, 
 
 and carried to the island of Avilion ; 
 
 “Deep meadowed, happy, fair with orchard-lawns, 
 And bowery hollows crowned with summer sea, 
 Where I will heal me of my grievous wound.” 
 
 Queens attend him, and on the right is seen an angel bearing the holy 
 Grail. 
 
 Collection of F. P. RICHARDS, 1864. 
 
 Ee J 
 
ERT a ETS 
 
i tin 
 
A SILENT ADIEU. 
 
 Painted by c. NAPIER HEMY, R.I. 
 Canvas 36 x 48 inches. 
 
 Lent by REGINALD BUSHELL, ESQ., F.R.A.S., J.P. 
 
 COTTAGE garden of poppies, geraniums, wallflower, lavender 
 and cloves. Ona box-bordered path a girl is standing ; fawn 
 gown, white apron, black and white kerchief over her shoulders. She 
 
 is turning to her right, where lies the sea and a departing ship, which 
 
 is disappearing from her sight beyond a distant headland. 
 
 Exhibited in the New Gallery, 1890. 
 
 F [ 80 ] 
 
By permission of The Fine Art Society—the Owners of the Copyright. 
 
GETTY RESEARCH INSTITUTE 
 
 iii ii