• ^^^^^^^ 
 
 ^CITY OF SHEFFIELD 
 
 anxa 
 88-B 
 7383 
 
 MAPPIN ART GALLERY 
 
 CATALOGUE. 
 
From the Library of 
 Frank Simpson 
 
City of mMh. 
 
 MAPPIN ART GALLERY. 
 
 CATALOGUE 
 
 OF THE 
 
 PERMANENT COLLECTION 
 
 OF 
 
 Pictures and other Works of Art. 
 
 SEVE N TH E DITIO N. 
 
 PUBLISHED UNDER THE DIRECTION OF THE 
 MAPPIN ART GALLERY COMMITTEE. 
 
 SHEFFIELD : 
 
 WILKINSONS (printers) LIMITED, FURNIVAL STREET. 
 
 I914. 
 
MAPPIN ART GALLERY. 
 
 COMMITTEE OF THE CORPORATION. 
 
 Councillor G, E. BRANSON, Lord Mayor. 
 At.derman SAMUEL OSBORN, J. P., Chairman. 
 Councillor H. BOETON, Deputy Chairman. 
 Alderman W. H. BRITTAIN, J. P. 
 
 ED. HARGREAVES. 
 Councillor A. ASHMORE. 
 
 „ G. E. STEMBRIDGE. 
 
 „ \V. C. FENTON. 
 
 „ ALFRED SHORT. 
 S. G. HARRIvSON. 
 Sir FRANK MAPPIN, Bart. 
 
 TOWN CLERK. 
 
 W. E. HART 
 
 CURATOR. 
 
 TC. HOWARTH 
 
 THE GET 
 
iii. 
 
 REGULATIONS 
 
 FOR 
 
 MAINTAINING ORDER IN THE GALLERY. 
 
 The Gallery shall be open to the public on Mondays, Tuesdays, 
 Wednesdays, Thursdays, and Saturdays, from lo a.m. to sunset, from 
 March to October ; and from lo a.m. to 5 p.m., from November to 
 February ; and on Sundays from 2 p.m. to 5 p.m., all the year round ; 
 also on Good Friday from 10 a.m. to dusk ; and shall be closed on all 
 other Fridays, except between the hours of 10 a.m. and 4 p.m., when 
 it shall be open to Students and to such other persons only as may be 
 admitted by tickets obtained from the Curator, and shall also be 
 closed on such other days as may be ordered for the purpose of clean 
 ing, or any other special purpose. 
 
 No eating, drinking, smoking, or loud conversation shall be 
 allowed in the Gallery. 
 
 Visitors must be cleanly in person and dress ; and no child 
 under 8 years of age will be admitted, nor any child under 14 years 
 of age, unless in charge of an adult. 
 
 Visitors shall not touch, or with any stick or other instrument 
 point at any picture, statue, or other work of art in the Gallery, 
 and shall not bring wet umbrellas or other objectionable articles 
 into the Gallery. 
 
 No pictures shall be photographed or copied in any way, 
 except under the regulations applicable to Students, copies of which 
 may be had from the Curator. 
 
 Any person guilty of disorderly conduct in the Gallery may be 
 removed therefrom by order of the Curator, and for the remainder 
 of the day on which such conduct shall take place be excluded from 
 the Gallery. 
 
 On Fridays, visitors to Sheffield are admitted between the 
 hours of 10 a.m. and 4 p.m., on ringing the bell at the front 
 entrance of the Museum. 
 
iv. 
 
 REGULATIONS FOR STUDENTS. 
 
 Each Student desirous of copying a picture or pictures in 
 the Gallery must fill in a form to be obtained from the Curator. 
 If approved by the Committee, a Student's ticket will be issued, 
 which must be renewed annually. 
 
 Students will be allowed to use easels or seats for copying on 
 Wednesdays and Fridays from lo a.m. to 4 p.m., and on other days 
 (except Sundays and special occasions) from 10 a.m. to i p.m. 
 
 All pictures belonging to the permanent collection, as to 
 which the copyright is not reserved or vested in some other owner 
 than the Corporation, may be copied by Students possessing tickets, 
 provided that in the case of a picture by a living artist, the written 
 permission of the artist must first be obtained and produced to the 
 Curator. Every copy must be marked on the back of the canvas 
 that it is copied from a picture in the permanent collection, Mappin 
 Art Gallery. Pictures in the Gallery shall only be copied for 
 purposes of study, and not for sale. 
 
 Any lady Student desiring to be accompanied by a companion 
 during her studies, must give notice to that effect in a letter to the 
 Curator, and when the Gallery is not open to the public such 
 companion will only be admitted when provided with a ticket, and 
 in company with the lady Student who has apphed. 
 
 All copies made must be at least one-fourth smaller than the 
 original picture. Not more than two Students will be allowed to 
 copy from the same picture at one time. 
 
 vStudents desiring to copy from a picture, the places before 
 which are already occupied, should leave their names with the 
 Curator, wlio will assign them places in the order of the date of 
 their application. 
 
 No pictures exhibited on loan can be copied, except by 
 written permission of the owner. 
 
RULES FOR ADMISSION OF WORKS 
 OF ART, &c. 
 
 That no addition to the permanent collection of pictures or 
 works of art in the Gallery, whether bequeathed or offered as gifts, 
 shall be finally accepted without the approval of the Committee 
 of Selection, and no pictures or works of art or other things shall 
 be exhibited in the Gallery without the like approval, and that no 
 pictures or works of art or other things shall, under any pretence, 
 be exhibited in the Gallery for the purpose of or with a view to sale. 
 
 That the Committee of Selection shall be entitled to meet 
 at the Gallery, and inspect the buildings and contents whenever 
 they shall think proper ; and the Curator shall twice in every year, 
 at such times as may be required by them, submit to them a Report 
 on the number of visitors to the Gallery, the additions to the collection, 
 and the general work done during the preceding half-year. 
 
lEappm ^rl Salkrg 
 
 This Building has been erected, and the Paintings and 
 Works of Art placed in the Central Gallery, in accordance 
 with the terms of the Will of the late John Newton 
 Mappin, of Birchlands, Sheffield, Esquire, from which the 
 following is an Extract : — 
 
 " I bequeath my large Florentine bronze, now in my dining 
 room, called ' The Keppel Shepherd and his three Dogs,' and the 
 black ebony stand for the same, and all my oil paintings (hereinafter 
 referred to as ' the said paintings and things ') except such of them 
 as are hereby or shall by any codicil to this my Will be otherwise 
 disposed of unto my trustees. 
 
 " Upon trust that they shall at any time before the expiration 
 of five years next after my death, or before the expiration of such 
 further period as my trustees may under any circumstances think 
 fit to appoint or take for the purpose, make over the same to the 
 Mayor, Aldermen, and Burgesses of the Borough of Sheffield 
 aforesaid, hereinafter called the said Corporation (if they shall be 
 willing to accept the bequest), if a suitable building in vSheffield, 
 with proper furniture and fittings, shall, without any expense to 
 my estate and to the satisfaction in all things of my trustees, have 
 been provided by or assured to the said Corporation for the 
 reception and exhibition thereof (either alone or together with 
 any other pictures, drawings, engravings, or works of art), and a 
 proper deed, to the satisfaction of my trustees, shall have been 
 executed by the said Corporation, declaring the trusts of the said 
 building and pictures and things, it being my wish to assist, by 
 this bequest, in the formation in Sheffield of a gallery or exhibition 
 of pictures and works of art, which may be o])en to the ])ublic 
 in perpetuity, without any charge, and subject to such rules and 
 
vii. 
 
 rcgnlaticHis (other than any regnhition for iniposint; a charge for 
 adniissioi)) as niy trustees shall sanction and shall think re(iuisite 
 and proper with a view to the carrying out of ni}^ wishes. 
 
 " I bequeath to such of them, the said Frederick Thorpe 
 INIappin, John Yeonians Cowlishaw, and Francis Arnold Collcy, 
 as shall be living at my death, and if more than one, in equal 
 shares, the sum of 15,000, and declare that such bequest is made 
 to each of them who shall be so living as an individual, and 
 withont reference to his office of trnstee or executor of this my will. 
 
 " But it is my wish that the said sum of 5,000 shall be 
 applied in or towards the purchase of land for the erection thereon, 
 and in the erection on such land of such a suitable building as 
 is hereinbefore mentioned, in relation to and for the purpose of 
 being used for the reception and exhibition of the said paintings 
 and things (either' alone or together with any other pictures, 
 drawings, engravings, or works of art, as aforesaid), or in or towards 
 the purchase of a suitable building previously erected, or in or 
 towards the purchase of a building and subsequent alteration of 
 or addition to the same, so as to adapt it to be used for the purpose 
 aforesaid, and that the building which shall be so purchased, 
 erected, or altered shall be assured to the said Corporation for 
 such purpose ; and in case the said Corporation shall decline to 
 accept the aforesaid bequest of the said pictures and things, or 
 having accepted it shall not, wdthin the said space of five years 
 next after my death, or within such further period as aforesaid, 
 have complied with tlie aforesaid requirements in relation thereto, 
 then that the said sum of 5,000 shall sink into and form part 
 of my residuary estate. 
 
 " Nevertheless, I declare that the foregoing expression of 
 m}' wishes in relation to the said sum of 5,000 shall be precatory 
 only, not imposing on the persons or person or any of the persons 
 who under the bequest hereinbefore contained of the same sum 
 shall become entitled thereto any legal or equitable obligation, 
 condition, trust or election whatsoever, or interfering with their 
 or his full and absolute right of property in relation thereto. 
 
viii. 
 
 The Gallery was opened to the public on July 27tli, 
 1887, when Sir Frederick T. Mappin, Bart., M.P., most 
 generously presented 48 Oil Paintings of great value, and 
 representing many of the leading artists of the modern 
 British school. He has since supplemented these by 
 further gifts of Pictures, and has been throughout a noble 
 benefactor to the Institution. 
 
 The total number of Works of Art in the permanent 
 Collection is now about 400, nearly all by modern British 
 artists, the whole of which have been acquired by gift or 
 bequest. 
 
 During the 25 years the Gallery has been open it has 
 been visited by more than 7^ millions of people. 
 
 CE.NXKAL GALLERY, 
 
(Ktt5 of MtBM 
 
 MAPPIN ART GALLERY. 
 
 CATALOGUE. 
 
 The Pictures and Bronze numbered i to 154 were 
 bequeathed by John Newton MAPPiN,of Birchlands, 
 Sheffield. 
 
 1. LANDSCAPE. WILLIAM MULLER. 
 
 Signed and dated 1843. Canvas 2$in.H. T^iin.W. 
 
 2. THE SICK CHILD. FREDERICK GOODALL, R.A. 
 
 Signed and dated Sept. ist, 1856. Canvas i^in.H. 2o^in.W. 
 
 The scene is the interior of a peasant's cabin in Brittany. 
 
 3. ENTRANCE TO THE GRAND CANAL, VENICE: SUNSET. 
 
 J. VURAM. 
 
 Canvas iiin.H. 2gin.W . 
 
 4. COUNT D ORSAY'S CHARGER. SIR EDWIN LANDSEER, R.A. 
 
 Signed E.H.L. 1822. Panel uin.H. lyin.W. 
 
 This is an unfinished sketch for a larger picture. In addition 
 to the figure of the horse, which is almost finished, there is the 
 fore-leg of a larger horse outlined in pencil in the foreground. 
 
2 
 
 NEWTOX MAPPIN?BEQUEST— CONTINUED. 
 
 5. THE PIAZZA NAVONA AT ROME. DAVID ROBERTS, R.A. 
 
 Signed and dated 1857. Canvas ^yin.H. 48in.W. 
 
 The Piazza Navona is an oblong square about 750 feet in 
 length, decorated with three fountains, that in the centre 
 supporting an obelisk 54 feet high, brought from the Circus of 
 Romulus or Maxentius, where it was erected by Domitian. 
 Opposite the fountain is the Church of St. Agnes, the front of 
 which opens upon the Piazza. The Palace to the right of the 
 Church is the Palazzo Pamf ili, built by Rainaldi for Innocent X. 
 in 1650. The Piazza has been used as a market and place of 
 recreation. 
 
 Exhibited in the Royal Academy in 1857. 
 
 6. WHEN TRUMPETS CALL THEN HOMES ARE BROKEN. 
 
 GEO. HILLYARD SWINSTEAD. 
 
 Canvas nin.H. 62in.IV. 
 Exhibited in the Royal Academy in 1883. 
 
 7. A VIEW ON THE COLNE. J. M. W. TURNER, R.A. 
 
 Canvas 26in.H. $6in.W. 
 
 This is one of the sober- coloured English landscapes that 
 belong to Turner's first period, between 1800 and 1820. The 
 other picture by Turner (No. 42) also belongs to this period. 
 The colours used are few and simple, and laid on with rather 
 a heavy touch. 
 
 8. THE PERCH FISHERS. ERSKINE NICOL, A.R.A. 
 
 Signed and dated 1857. Canvas 2^in. H. 42m. W^. 
 
 9. THE GOOD SHEPHERD. W. C. T. DOBSON, R.A. 
 
 Canvas ^.Gin.H. 2^in.W. 
 
 An Eastern scene, with our Saviour as the Good Shepherd 
 holding a crook and bearing a lamb in His arms. 
 
 10. AMONG THE RUSHES. J. SYER. 
 
 Signed and dated 1868. Canvas 2pn.H. ^6in. W. 
 
 11. THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICE. 
 
 DAVID ROBERTS, R.A. 
 
 Signed and dated 1862. Canvas 2Sin.H. 4Sin.W. 
 
 This Church was founded by the Republic in 163 1 as a 
 thanksgiving offering for the staying of the plague, which slew 
 60,000 people in Venice. It is situated on a strip of land at the 
 broadest part of the Grand Canal, and has a handsome fa9ade, 
 ornamented with numerous statues, the building being 
 surmounted by a massive dome and two campaniles. Inside 
 the Church are three noted pictures by Titian. 
 
 The picture was exhibited in the Royal Academy in 1859, and 
 was probably afterwards re-touched and dated later. 
 
NEWTON MAPPIX BEQUEST— CONTINUED. 
 
 3 
 
 12. ON THE BEACH AT SCHEVENINGEN, HOLLAND. 
 
 HENRI BOURCE. 
 
 Signed and dated 1872. Canvas ^2in.H. s8in.W. 
 
 The time is evening in autumn, when the fishing boats have 
 just set out. 
 
 13. INVIAGGIO. WILLIAM LINNELL. 
 
 Signed and dated 1875. Canvas 2'jin.H. ^gin.W. 
 
 14. IRISH EMIGRANTS WAITING FOR THE TRAIN. 
 
 ERSKINE NICOL, A.R.A. 
 
 Signed and dated 1864. Canvas igin.H. 22in.W. 
 Exhibited in the Royal Academy in 1864. 
 
 15. IN THE WHITEHALL MEADOWS, CANTERBURY. 
 
 T. SIDNEY COOPER, R.A. 
 
 Signed and dated 1854. Canvas 26in.H. T^Gin.W. 
 
 16. A FLOOD ON A WELSH RIVER : BETTWS-Y-COED. 
 
 B. W. LEADER, A.R.A. 
 
 Signed and dated 1872. Canvas ^Gin.H. s^in.W. 
 
 Exhibited in the Royal Academy in 1872. 
 
 The houses of Bettws-y-Coed are on the left of the picture, at 
 the base of a richly- wooded hill, while in the foreground is the 
 River Uedr at the Pont-y-Pair Falls. 
 
 17. WINTER SCENE. C. BRANWHITE. 
 
 Initialed and dated 1857. Canvas T)i\in.H. ^^.in.W. 
 
 18. IN FRONT OF THE SCHOOL. EDOUARD FRERE. 
 
 Signed and dated 1881. Panel 22in.H. iS^in.W. 
 
 A winter's morning, with snow on the ground, depicting one 
 of those scenes of boy-life so characteristic of this artist. 
 
 Exhibited in the Royal Academy in 1881. 
 
 19. SOIFTH STACK LIGHTHOUSE, HOLYHEAD. 
 
 THOMAS CRESWICK, R.A. 
 
 Initialed T. C. Canvas i2in.H. i6in.W. 
 
 20. SHEEP AND POULTRY. C. VAN LEEMPULLEN. 
 
 Canvas 22in.H. iSin.W. 
 
 21. THE VALLEY^ OFt THE DEE. ROBERT TONGE. 
 
 Signed and dated April, 1852. Canvas i6in.H. 2$in.W. 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 22. CHRIST CALLING THE APOSTLES JAMES AND JOHN. 
 
 E. ARMITAGE, R.A. 
 
 Signed and dated 1869. Canvas 26in.H 42in.W. 
 
 Our Saviour is standing on a rocky ledge by the Sea of 
 Galilee, with the Apostles Peter and Andrew, whom He has 
 just called from their fishing, and He is speaking to James and 
 John, who are with their father Zebedee mending nets in their 
 fishing boat on the sea, as described in Matt. c. 4, v. 2 1 . 
 
 23. TROUT FISHING NEAR RICHMOND, YORKSHIRE. 
 
 E. J. NIEMANN. 
 
 Signed and dated 1859. Canvas i^in. H. 4 z,in.W. 
 The River Swale is in the foreground, and on a hill in the 
 middle distance are the ruins of Richmond Castle. 
 
 24. AN ENGLISH COTTAGE HOME. J. AUMONIER. 
 
 Signed and dated 1873. Canvas 2oin.H. ;^4in.W. 
 Exhibited in the Royal Academy in 1873. 
 
 25. CLAUDIO, DECEIVED BY DON JOHN, ACCUSES HERO. 
 
 MARCUS STONE, R.A. 
 
 Initialed and dated 1861 . Canvas S4in. H. 44m. W. 
 Exhibited in the Royal Academy in 1861. 
 
 The picture represents the scene in the Church where 
 Claudio, refusing to marry Hero on account of her supposed 
 infidelity, she swoons and falls into the arms of Beatrice. 
 Behind Claudio are the Prince Don Pedro and Don John, the 
 latter of whom regards with a sinister look the resvdt of his 
 malicious plot to separate the lovers. The grouping of the 
 picture was arranged by Charles Dickens, and the incident is 
 taken from " Much Ado about Nothing," Act iv., sc. r. 
 
 Friar. You come hither,- my lord, to marry this lady ?2 
 Claudio. No. 
 
 Leonato. To be married to her; friar, you come to marry her. 
 Friar. Lady, you come hither to be married to this Count ? 
 Hero. I do. 
 
 Friar. If either of you know any inward impedimeot why you shoald not be 
 conjoined, I charge you on your souls to utter it. 
 Claudio. Know you any, Hero ? 
 Hero. None, my lord. 
 Friar. Know you any, Count ? 
 Leonato. I dare make his answer ; none. 
 
 Claudio. O, what men dare do ! what men may do 1 what men dailjr do^ not 
 knowing what they do. 
 
 Claudio. O Hero I what a Hero hadst thou been. 
 
 If half thy outward graces had been placed 
 About thy thoughts, and couasels of thy heart 
 But, fare thee well, most foul, most fair I farewell 
 Thou pure impiety, and impious purity 1 
 For thee I'll lock up all the gates of love. 
 And on my eyelids shall conjecture hang, 
 To turn all beauty into thoughts of harm, 
 And never shall it more be gracious. 
 
 .......... {Hero twtons.) 
 
NEWTON MAPl'IN BEQUEST— CONTINUED^ 
 
 5 
 
 26. GLENGARIFF, COUNTY CORK. 
 
 Initialed and dated 1837 
 
 27. THE APPROACH TO CAIRO. 
 
 T. CRESWICK, R.A. 
 
 Canvas 26in.H. ^8in.W. 
 
 A. SCHREYER, 
 
 Canvas 22in.H. 4^in.W. 
 
 Some mounted Arabs are stealthily approaching Cairo, the 
 walls and buildings of which are seen in the background. 
 
 28. LANDSCAPE. JAMES STARK. 
 
 Panel iS^in.H. 2Sin.W. 
 
 29. THE FISHERMAN'S COTTAGE. E. ZIMMERMAN. 
 
 Panel 2o^in. H. 2g^in. W, 
 
 SO. CHEVY CHASE. SIR E. LANDSEER, R.A. 
 
 Panel igin.H. 2<)in.W. 
 
 This is an unfinished picturefrom theBallad of Chevy Chase, 
 and represents the field after the battle, with heaps of dead 
 bodies of men, horses, and stags intermingled. According to 
 the ballad. Earl Percy organized a grand hunt on the Border 
 marches in defiance of Douglas of Scotland, and after having 
 slain a great nimiber of stags, Douglas appeared with a large 
 Scottish army, when there ensiied a sanguinary battle. 
 
 This battle began in Cheviot 
 
 An hour before the noon, 
 And when evensong bell was rang, 
 
 The battle was not half done,. 
 Of fifteen hundred archers of England, 
 
 Went away but fifty and three ; 
 Of twenty hundred spearmen of Scotland, 
 
 But even five and fifty. 
 
 81. LANDSCAPE. 
 
 82. LANDSCAPE. 
 
 88. THE VILLAGE INN. 
 
 84. LANDSCAPE IN WILTSHIRE. 
 
 Signed and dated 1875, 
 
 85. PACKING FISH. 
 
 DAVID COX. 
 
 Canvas i^in.H. igin.W. 
 
 J. BEETON. 
 
 Panel i2in.H. i6^in.W. 
 
 GEO. MORLAND. 
 
 Canvas 23m. if. loin.W. 
 
 H. W. B. DAVIS, R.A. 
 
 Canvas i6in.H. 27in.W. 
 
 EDWARD HUME. 
 
 Canvas 1 6in .H. 2$tn.W. 
 
6 
 
 NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 86. LANDSCAPE. JAMES 0 CONNOR. 
 
 Canvas i$in.H. igtn.H'. 
 
 87. THE TIMID SUITOR. A. SOLOMON. 
 
 Signed and dated 1856. Canvas 40m. H. 5 lin.W. 
 
 88. THE LANDING OF THE PILGRIM FATHERS. 
 
 G. H. BOUGHTON, A.R.A. 
 
 Initialed and dated 1869. Canvas ^oin.H. 40in.IV. 
 
 The Pilgrim Fathers were the founders of New E^ngland. At 
 the beginning of the 17th Century there was a considerable 
 secession from the Church of England of persons who objected 
 to the liturgy and offices of the Church. Dissenting congrega- 
 tions were thus formed which established Churches of their 
 own, one of these being in Nottinghamshire and another in 
 Yorkshire. Owing to severe persecution by the Church 
 Authorities, these dissenters left their native country for 
 Holland, and established themselves at I^eyden from 1609 to 
 1620. In 1620 a goodly company of them sailed for North 
 America, and landed at Cape Cod, on the New England 
 Coast, on Nov. nth, where they founded a successful and 
 flourishing colony. In the picture the Pilgrim Fathers have 
 just landed ; and, as described in Mrs. Heman's poem on 
 this subject — 
 
 * ' They shook the depths of the desert gloom 
 With their hymns of lofty cheer." 
 
 89. LANDSCAPE. PATRICK NASMYTH. 
 
 Signed and dated 1828. Canvas 2^in. H. ^zin.W. 
 
 In the background of this picture are the buildings of a large 
 city, conspicuous among them being a very high dome. It is 
 probably a view outside London with that city in the distance. 
 
 40. GRANDMAMMA S CHRISTMAS VISITORS. 
 
 G. A. STOREY, A.R.A. 
 
 Signed and dated 1873. Canvas 34in. H. zyin.W. 
 Exhibited in the Royal Academy in 1874. 
 
 41. THE CALM. P. J. CLAYS. 
 
 Signed and dated 1870, Panel 2$in.H. ssin.W. 
 
 42. DUNBAR CASTLE. J. M. W. TURNER, R.A. 
 
 Canvas 24in. H. $4in. W. 
 
 48. INTERIOR OF A COTTAGE, WITH FIGURES. 
 
 Panel lyin.H. i4in.W. 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 7 
 
 44. WINNOWING CORN IN BRITTANY. F. GOODALL, R.A. 
 
 Signed and dated 1859. Canvas i sin. H. 22in.W. 
 
 45. A WATER MILL IN NORTH WALES. J. J. WILSON. 
 
 luitialed J. J. W. 1847. Canvas i4in.H. loin.W. 
 
 46. A SAVOYARD IN THE TIME OF LOUIS XV. T. CERIEZ. 
 
 Panel loin.H. i6in.W. 
 
 47. SCENE IN MOROCCO. W. MULLER. 
 
 Canvas 2sin.H. ^yin.W. 
 
 48. SATURDAY EVENING IN CONNEMARA. F. W. TOPHAM. 
 
 Canvas 20m. H. ^6in. W. 
 
 49. LANDSCAPE. W. MULLER. 
 
 Canvas 2$in.H. 2,7 in. W. 
 
 50. A COMING STORM. B. C. KOEKKOEK. 
 
 Signed and dated 1855. Panel igin.H. 2yin.W. 
 
 The Rhine is seen in the brighter lights of the picture, with 
 the buildings of a town situated on its banks. 
 
 51. GIRL BLOWING SOAP BUBBLES. VAL. C. PRINSEP, R.A. 
 
 Canvas 2iin. H. 2 lin. W. 
 
 52. SCENE IN AN IRISH CABIN. E. NICOL, A.R.A. 
 
 Signed and dated 185 1.. Canvas i6in.H. 22in.W . 
 
 53. LANDSCAPE IN WALES. HENRY BRIGHT. 
 
 Canvas i^in.H. 2iin.W. 
 
 54. THE EMPTY SADDLE. ERNEST CROFTS, A.R.A. 
 
 Signed and dated 1882. Canvas loin.H. isin.W. 
 
 There is a sharp encounter between Cavahy on the left of 
 the picture, and a riderless horse is rushing from the battle, 
 having left its owner wounded on the ground. 
 
 55. THE TIMBER WAGON. JOHN LINNELL. 
 
 Signed and dated 1871. Canvas 2gin.H. ^gin.W. 
 
 56. A MILLSTREAM IN ESKDALE. T. CRESWICK, R.A. 
 
 Signed and dated 1865. Canvas 2gin. H. ^Sin.W. 
 
8 
 
 NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 67. THE KNIFE GRINDER. N. CHAILLOU. 
 
 Canvas ^lin.H. 22tn.W. 
 
 68. TO THE DEATH. JOHN PETTIE, R.A. 
 
 Signed and dated 1877. Canvas ^yin.H. ssin.W. 
 
 The scene is on the edge of a wood, and the two men fighting 
 to the death with the sword and dagger are in strong contrast ; 
 the one in light dress on the right being an Englishman, while 
 the one in black, on the left, is a foreigner, with an intensely 
 malignant look flashing from his eye. The cloaks are folded 
 on the arm as a protection against dagger thrusts. E^xhibited 
 in the Royal Academy in 1877. 
 
 69. THE VILLAGE FESTIVAL. F. GOOD ALL, R.A. 
 
 Signed and dated 1843. Canvas $8in.H. siin.W. 
 
 This is a careful full-sized copy of the picture by Sir David 
 Wilkie. The original is in the National Gallery, and was 
 painted by Wilkie in 181 1, for Mr. Angerstein, with whose 
 pictures it was purchased by Parliament in 1824. It has been 
 several times engraved. 
 
 60. THE OLD HALL, LINCOLNSHIRE. HY. BRIGHT. 
 
 Canvas 2gin.H. $2in.W. 
 
 61. LANDSCAPE, WITH SHEEP. JOHN LINNELL. 
 
 Signed and dated 1869. Canvas 2gin. H. ^lin.W. 
 
 62. SEA PIECE. COPLEY FIELDING. 
 
 Signed and dated 1826. Canvas 2^in.H. ^^in.W. 
 
 In the background, extending from the left to the open sea on 
 the right, are tall white chffs, with a castle ; very probably the 
 cliffs of Dover and Dover Castle. 
 
 68. SAVOYARD, WITH CLARIONET. 
 
 64. THE ROYALIST. 
 
 Painted in 1870 
 
 65. SCENE IN ALGIERS. 
 
 66. THE PURITAN. 
 
 Painted in 1870. 
 
 E. BARNES. 
 
 Canvas ^lin.H. 2iin.W. 
 
 JOHN PETTIE, R,A. 
 
 Canvas 2ylin.H. \8in.W. 
 
 WILLIAM MULLER. 
 
 Canvas 2<.in.H. ^yin.W. 
 
 JOHN PETTIE, R.A. 
 
 Canvas 28in.H. loin.W. 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 9 
 
 67. WHERE THE NIBBLING FLOCKS DO STRAY. 
 
 WM. LINNELL. 
 
 Signed and dated 1857. Canvas 41m. H. 64in . W. 
 Exhibited in the Royal Academy in 1857. 
 
 68. A STREET IN BRUGES. R. P. BONINGTON. 
 
 Panel i2in.H. iiin.W. 
 
 69. LANDSCAPE. E. J. NIEMANN. 
 
 Signed and dated 1863. Canvas 2 pn. H. iSin.W. 
 
 70. ORIENTAL AND GIRL. WM. MULLER. 
 
 Panel 1 2 in . H. Sin. W 
 
 71. A PEEP UP THE VALLEY OF LLANGOLLEN. 
 
 ROBERT TONGE. 
 
 Signed and dated. 185 1 . Canvas i^in. H. 2/^in.W. 
 
 72. CARNIVAL TIME, SEVILLE 1860. JOHN PHILLIP, R.A. 
 
 Initialed and dated i860. Canvas 2gin..H. 22in.W. 
 
 The Carnival is a season of festivity observed with much 
 pomp and ceremony in the chief cities of the Catholic coimtries 
 of Europe. It begins on the day of the Epiphany, and ends on 
 Ash Wednesday, and its most characteristic recreation is that 
 of masquerades, which take place generally on the three or 
 four days immediately preceding I^ent. The picture shows an 
 incident of one of these masquerades in Spain, where a gentle- 
 man holding a guitar has immasked and is asking a lady, who 
 has captivated his fancy, to favour him with a view of her 
 face. 
 
 73. MARINE PIECE. J. B. PYNE. 
 
 Signed and dated 1847. Canvas 2oin. H. 26in.W. 
 
 74. THE STORM. P. J. CLAYS. 
 
 Canvas $2in.H. ^gin.W. 
 
 75. A LADY OF THE EIGHTEENTH CENTURY. 
 
 JOHN PETTIE, R.A. 
 
 Painted in 1877, and presented to John Newton Mappin by 
 the Artist. Canvas i$in.H. gin.W. 
 
 76. AGRICULTURE IN THE VALLEY OF THE NILE. 
 
 F. GOODALL, R.A. 
 
 Initialed and dated 1874. Canvas i^^in.H. ^lin.W. 
 Exhibited in the Royal Academy in 1875. 
 
 77. LANDSCAPE, WITH FIGURE. W. MULLER 
 
 Canvas isiu.H. iiin.W 
 
IG 
 
 NKV. TON' MAPPIN BEQIJE.ST— COM j N L ED. 
 
 78. THE INTRUDER ON THE BEDOUIN S PASTURES. 
 
 F. GOOD ALL, R.A. 
 
 Initialed and dated 1876. Canvas ^oin.H. 98m. W. 
 
 The intruder is a Negro, mounted on a camel, who has just 
 arrived in front of two Bedouins who are rechning on the 
 ground, while their camels, sheep, and goats are feeding on 
 a scanty pasture near some water in a large desert scene. 
 
 Exhibited in the Royal Academy in 1876. 
 
 79. THE RAINBOW. ROBERT TONGE. 
 
 Signed and dated 1854. Canvas i6in. H. 2sin.W. 
 
 80. THE WATER DRINKERS. JOHN PHILLIP, R.A. 
 
 Initialed and dated 1862. Canvas 2iin.H. 2/in.W. 
 Exhibited in the Royal Academy in 1862. 
 
 81. THE HIGHLAND GILLIE. JOHN PHILLIP, R.A. 
 
 Cafivns iSin.H. ziin.W. 
 
 This picture is much earlier than any of the other works in 
 the Gallery by Phillip, being painted before the artist paid his 
 first visit to Spain, which visit had a powerful effect on the 
 style of his work. It is interesting to compare this picture 
 with the two near to it (Nos. 72 and 80), representing scenes in 
 Spain, 
 
 82. VIEW IN SUFFOLK. GEO. VINCENT. 
 
 Canvas i,6in.H. ^'^in.W. 
 
 83. ON THE SEA SHORE. A. MAUVE. 
 
 Canvas \yin.H. i4in.W. 
 
 84. THE DRUMHEAD COURT MARTIAL. J. PETTIE, R.A. 
 
 Signed and dated 1865. Canvas 28in. H. 42in. W. 
 Exhibited in the Royal Academy in 1865. 
 
 86. LITTLE NELL AND HER GRANDFATHER IN THE WOOD. 
 
 W. Q. ORCHARDSON, R.A. 
 
 Initialed W.Q.O. Canvas 2pn.H. zoin.W. 
 
 " A bird," said the child, " flying into the wood, and lead- 
 ing the way for us to follow. You remember that we said we 
 would walk in the woods and fields, and by the sides of rivers, 
 and how happy we would be — you remember that ? But here 
 while the sun shines above our heads and everything is bright 
 and happy, we are sitting sadly down and losing time. See 
 what a pleasant path : and there's the bird — the same bird — 
 now he flies to another tree, and stays to sing. Come ! " 
 
 " Old Curiosity Shop." 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 11 
 
 86. THE HAYMAKERS. J. T. LINNELL. 
 
 Signed and dated 1862. Canvas 37 in. H. 6iin.W. 
 Exhibited in the Royal Academy in 1862. 
 
 87. CUPIDS, WITH BIRDS. LUTZENS. 
 
 Canvas loin.H. i2in.W. 
 
 88. THE SALMON TRAP. HARRY JOHNSON. 
 
 Canvas 2oin.H. i6in.W. 
 
 Copy of picture by W. Miiller. 
 
 89. CUPIDS, WITH FLOWERS. LUTZENS. 
 
 Canvas loin.H. izin.W. 
 
 90. LANDSCAPE. T. CRESWICK, R.A. 
 
 Canvas 2 pn. H. $oin.W. 
 
 91. CORNFIELD, OR COUNTRY LANE. J. CONSTABLE, R.A. 
 
 Canvas 4oin. H. ^lin.W. 
 This is a replica of the picture in the National Gallery. 
 
 92. LANDSCAPE. J. CONSTABLE, R.A. 
 
 Canvas ;^oin. H. 2 ^in.W. 
 
 93. WELLINGTON'S MARCH FROM QUATRE BRAS TO WATER- 
 
 LOO. ERNEST CROFTS, R.A. 
 
 Signed and dated 1878. Canvas 4iin. H. jSin.W. 
 
 Quatre Bras is a small village at the junction of four roads, 
 where the great road from Charleroi to Brussels intersects that 
 from Namur to Nivelles, and is about 20 miles from Brussels. 
 On Jime i6th, 181 5, the AlUed Army, under Wellington, was 
 attacked by the French, under Marshal Ney, at Quatre Bras, 
 and, after a fiercely -contested battle, both armies remained on 
 the field. The next morning Wellington withdrew his forces 
 in a masterly manner to Waterloo, where he expected to join 
 Blucher, who, on the previous day, had been engaged with 
 his Prussian Army against Napoleon at Ligny. The picture 
 shows the AUied Army on the march, with Welhngton in the 
 foregroimd at the head of a long line of Infantry, cheered by 
 his Cavalry who are waiting to cover the rear, while in the 
 background the Artillery are keeping the French in check. A 
 companion picture to this (No. 203) shows the Field of Water- 
 loo on the morning of the battle, with the French headquarters. 
 
 Exhibited in the Royal Academy in 1878. 
 
12 
 
 NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 94. CHRIST'S REPROOF TO THE PHARISEES. 
 
 E. ARMITAGE, R.A. 
 
 Signed and dated 1873. Canvas 44m. H. jzin.W. 
 
 ' ' And it came to pass on the second sabbath after the first, 
 that He went through the com fields ; and His disciples 
 plucked the ears of com, and did eat, rubbing them in their 
 hands. 
 
 " And certain of the Pharisees said imto them, Why do ye 
 that which is not lawful to do on the sabbath day ? 
 
 " And He said unto them, that the Son of Man is Lord also 
 of the sabbath." — I^uke c. vi., verses i, 2, and 5. 
 
 Exhibited in the Royal Academy in 1873. 
 
 96. THE WINDMILL. W. J. MADLINER. 
 
 Signed and dated 1843. Panel iiin.H. i^in.W. 
 
 96. SANTA MARIA MAGGIORE— MOONLIGHT. J. VURAM. 
 
 Canvas iiin.H. 2^\in.W. 
 This Church is situated near to the Grand Canal, Venice. 
 
 97. IN MONSAL DALE, DERBYSHIRE. A. VICKERS. 
 
 Panel iiin.H. lyin.W. 
 
 98. THE LAST OF THE CREW. C. STANFIELD, R.A. 
 
 Signed and dated 1852. Canvas 2c,in.H. ^yin.W. 
 
 99. SCENE FROM " THE FAIR MAID OF PERTH. 
 
 JOHN PHILLIP, R.A. 
 
 Canvas 4gin.H. ^^in.W. 
 This is an imfinished picture, and was purchased from the 
 artist's studio after his death. It represents the scene described 
 at the opening of Chapter 14 of Scott's novel : — " Instead of 
 a Gothic and darkened apartment in a monastery, one of the 
 most beautiful prospects in Scotland lay extended beneath the 
 hill of Kinnoul, and at the foot of a rock which commanded 
 the view in every direction sat the Fair Maid of Perth, listen- 
 ing in an attitude of devout attention to the instructions of a 
 Carthusian Monk, in his white go\^^l and scapular, who con- 
 cluded his discourse with prayer, in which his proselyte 
 devoutly joined." 
 
 100. THE WIND MILL. 
 
 JOHN CROME. 
 
 Canvas 30m. H. 2$in.W. 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 18 
 
 101/. THE RELIEF OF LUCKNOW ("JESSIE'S DREAM. ) 
 
 F. GOODALL, R.A. 
 
 Signed and dated 1858. Canvas 24in.H. $oin. W. 
 
 The Siege of Lucknow was one of the most thrilling incidents 
 of the Indian Mutiny. On June 8th, 1857, 1,000 Europeans 
 and about 700 natives were besieged by a numerous horde of 
 Sepoys, never less than 30,000 and sometimes as many as 
 100,000 in number. These kept up a constant cannonade 
 against the place, and for four months only once was a mes- 
 senger able to go out and return. The place held out till Sept. 
 25th, when it was relieved by General Havelock and Sir James 
 Outram, but with a force insufficient to take away the garrison; 
 so for another eight weeks the siege continued, being finally 
 raised by Sir Colin Campbell in Nov., 1857. The picture 
 shows some of the defenders of I^ucknow who have heard the 
 sound of the approach of the relieving army, and is taken 
 from an incident of the siege described in a poem called 
 " Jessie's Dream." 
 
 102. DOG AND RABBIT. T. EARLE AND H. BRIGHT. 
 
 Signed and dated 1862. Canvas iiin.H, 4iin.W. 
 The Landscape was painted by H. Bright, and the Dog and 
 Rabbit by T. Earle. 
 
 103. WINTER SCENE. L. MUNTHE. 
 
 Canvas 2iin.H. ^$in.W, 
 
 104. « IT IS NEVER TOO LATE TO MEND." J. BURR. 
 
 Signed and dated 1863. Canvas ^^'^n.H. ^oin.W . 
 Exhibited in the Royal Academy in 1863. 
 
 105. SEA PIECE. G. CHAMBERS. 
 
 Signed and dated 1834. Canvas 2Sin.H. ^6in.W. 
 
 106. LANDSCAPE. M. A. KOEKKOEK. 
 
 Signed and dated 1864. Canvas 2yin. H. ^2in.W. 
 
 107. HUDIBRAS AND RALPHO IN THE STOCKS. 
 
 J. PETTIE R.A. 
 
 Signed and dated 1867. Canvas lyin.H. 24in.W. 
 This Scene is from Part I., Canto III., of the satirical poem 
 of " Hudibras," by Samuel Butler, born 1612, died 1680. 
 Hudibras and his Squire Ralpho, in quest of adventures, 
 attacked a party of bear-baiters, one of whom they put into 
 the stocks ; but the following day they were overpowered bj 
 the rabble, who released their companion and placed the 
 Knight and his Squire in the stocks. 
 
 But Hudibras, who scom'd to stoop 
 
 To Fortune, or be said to droop, 
 
 Chear'd up himself with ends of verse, 
 
 And sayings of Philosophers. 
 
14 
 
 NEWTON MAPPIN BEQUEST— CONTIN UED. 
 
 108. HUNT THE SLIPPER. F. GOOD ALL, R.A. 
 
 Signed and dated i860. Panel igin.H. 26in.W. 
 
 109. THE NOTARY PUBLIC. A. ANKER. 
 
 Signed and dated 1 876. Canvas 2^in. H. 2 1 in.W. 
 
 110. COAST SCENE. C. STANFIELD, R.A. 
 
 Canvas i6in.H. 22in.W. 
 
 111. FLORA MACDONALD S INTRODUCTION TO PRINCE 
 
 CHARLIE. A. JOHNSTON. 
 
 Canvas ^^in.H. 62in.W. 
 After the Battle of CuUoden, which was fought in April, 
 1746, when the English Army defeated the Highland adherents 
 of Prince Charles, that Prince was hidden for several months in 
 the Highlands and Islands of Scotland, where diligent search 
 was made for him by the British Government, and a reward of 
 ;^3,ooo offered for his capture. In May, 1746, when in South 
 Uist, General Campbell appeared and subjected the island to a 
 rigorous search. It was at this time that Flora Macdonald was 
 introduced to the Prince, as we see her in the picture, just 
 entering the Cabin, attended by her maid, Betty Burke, and 
 her servant, Neil MacEachan, and being conducted by a 
 Jacobite Chief to the Prince, who is seated by the fire. Flora 
 Macdonald imdertook to convey the Prince to the Island of 
 Skye, and this she succeeded in doing in the guise of her maid. 
 Her share in this transaction afterwards became known to the 
 Government, and she was seized and sent to I^ondon, where 
 she was imprisoned for a year. On her release, the ladies of 
 London subscribed for her nearly ;^i,5oo. She was 24 years 
 of age at the time of this adventure, and soon after her hbera- 
 tion she married and resided in the Isle of Skye, where she 
 died in 1790. At the left of the picture, on the floor, with a 
 dagger resting on it, is a copy of the proclamation offering a 
 reward for the capture of the Prince. In the engravings of 
 this picture the printing on the proclamation is shown, but 
 this was afterwards painted out by the artist, the document 
 itself only being indicated. 
 
 112. WINTER. H. R. ROBERTSON. 
 
 Canvas 4oin. H. 6sin.IV. 
 
 113. SKATING IN HOLLAND. 
 
 Panel i$in.H. $8in.W. 
 
 114. VINTAGE OF SEVILLE. J. PHILLIP, R.A. 
 
 Canvas $2in.H. ^Sin.W. 
 An unfinished picture purchased from the artist's studio 
 after his death. 
 
 115. GRAPES AND VINE LEAVES. W. J. MUCKLEY. 
 
 Signed and dated 1869. Canvas igin. H. 2sin.IV. 
 
 116. SEA FIGHT. F. MliSIN. 
 
 Canvas 22in.H. s4in.IV 
 
NEWTON MAPPIN BEQUEST— COKTL\ UED. 
 
 15 
 
 117. THE FALL OF CLARENDON. E. M. WARD, R.A. 
 
 Signed and dated 1861. Canvas 2?>in. H. T^^iiLW. 
 Lord Clarendon was Chancellor under Charles II., and for 
 many years his chief favourite, but during the war with 
 Holland in 1667, when the Dutch Fleet sailed up the Thames, 
 sunk the shipping, and bombarded the coasts, there was a 
 great popular outcry against Clarendon's administration as 
 being the cause of these disasters. Clarendon also excited the 
 anger of the King by condenming the licentiousness of the 
 Court, and when the Chancellor waited upon the King to seek 
 his support, and reminded him of his long and faithful services, 
 his majesty quitted the room without giving him any reply, and 
 this was the last interview Clarendon had with him. In the 
 picture we see the King approaching the gate of the garden, 
 while Clarendon is descending the steps, and Lady Castlemaine, 
 the King's mistress, with Lord Arlington, watch him from the 
 balcony, delighted at his fall. The scene occurred at Whitehall 
 Palace in 1667. Clarendon was banished from the kingdom, 
 and died at Rouen in 1674. 
 A smaller copy of this picture is in the National Gallery. 
 
 118. FLOWERS. ADRIAN A HAANEK. 
 
 Panel iSin.H. 2 2,in.W. 
 
 119. THE LAST OF THE SPANISH ARMADA : A SCENE ON THE 
 
 WEST COAST OF SCOTLAND. IN 1587. C. E. JOHNSON. 
 Signed and dated 1869. Canvas I'^in.H. ^^in.W. 
 Exhibited in the Royal Academy in 1869. 
 
 120. LADY JANE GREY IN THE TOWER. W. F. YEAMES, R.A. 
 
 Signed and dated 1867. Canvas iiin.H. lyin.W. 
 
 This imfortunate Lady (whose mother was niece of Henr}^ 
 Vm.,) was at the age of 16, proclaimed Queen much against 
 her o\ATi inclination, on the death of King Bdward in July, 
 1553, her ambitious father-in-law, the Duke of Northumberland, 
 having induced the King to name her in his will the successor 
 to the throne. The nation, however, decided on Mary, 
 daughter of Henry VIII., as the rightful Queen, and she was 
 accordingly proclaimed and crowned, the Lady Jane Grey 
 having been only nominally Queen for nine days. On her 
 entry into London, Queen Mary had Lady Jane Grey placed 
 in the Tower, and she was brought to trial on Oct. 13th, when 
 she was condemned to be beheaded or burnt at the Queen's 
 pleasure. Her father, the Duke of Suffolk, having headed a 
 rebellion in January, 1554, when a good deal of disaffection was 
 displayed on accoimt of the Queen's betrothal to Philip of Spain , 
 the Queen, to rid herself of a dangerous rival, had Lady J ane Grey 
 beheaded in February, 1 5 54. vShe firmly resisted all the efforts 
 made by the emissaries of Mary to induce her to change her 
 faith. Three da3'^s before her execution, Feckenham, the 
 Queen's Chaplain, engaged her in a learned disputation, from 
 which he was obliged to retire discomfited. 
 
 This is the finished sketch for a larger picture exhibited in the 
 Royal Academy in 1868. 
 
16 
 
 NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 121. THE PROPOSAL. SIR J. EVERETT MILLAIS, R.A. 
 
 Canvas 2 oin. H. i6in.W. 
 This picture was sent to Sir J. Everett Millais for his in- 
 spection early in 1889, and in a letter received fromiiim he says 
 that he painted it when he was about 15 or 16 years of age. It 
 bears his monogram on the left of the canvas. 
 
 122. BRIGHTON PIER. T. CRESWICK, R.A. 
 
 Initialed T.C. at end of pier. Panel loin.H. Sin.W. 
 
 123. FIGURE PIECE. PH. SADEE. 
 
 Canvas J2in.H. loin.W. 
 
 124. AULD ROBIN GRAY. T. FAED, R.A. 
 
 Panel S9'in.H. 2gin.W. 
 The ballad of " Auld Robin Gray " was written by Lady 
 Anne Lindsay about 1772, and describes how Jenny's lover 
 having gone to sea, she is pressed to marry Auld Robin Gray, 
 which she consents to do under the impression that her lover 
 is drowned. The scene in the picture is described in the 
 following lines of the poem : 
 
 My father urged me sair ; though my mother didna' speak, 
 She look'd in my face till my heart was like to break ; 
 So they gied him my hand, though my heart was at the sea. 
 And Auld Robin Gray is a gudeman to me. 
 
 This was the first picture by Faed exhibited in the Royal 
 Academy. It was painted about 1850. 
 
 125. A STRAY SHOT. 
 
 SIR E. LANDSEER, R.A., AND ROSA BONHEUR. 
 
 Canvas z^yin.H. ^6in.W. 
 The Roebuck was painted by Sir B. Landseer, and the Land- 
 scape by Rosa Bonheur. 
 
 126. GATHERING SEA-WEEDS. F. McCALLAM. 
 
 Canvas 2oin. H . lyin.W. 
 
 127. GRANDFATHER'S ADVICE. G, B. O'NEILL. 
 
 Panel i^in.H. i2in.W. 
 
 128. THE RIALTO, VENICE. JAMES HOLLAND. 
 
 Millboard i2in.H. i2in.W. 
 
 The Rialto is the oldest part of the City of Venice, and it is 
 the largest of all the islands on which the City now stands. 
 The Rialto Bridge, which is shown in the picture, is an impos- 
 ing structure, built towards the end of the i6th Century. The 
 span of the arch is about 90 feet, and the width of the bridge is 
 72 feet, which is divided longitudinally into 5 parts ; that is, 
 into 3 streets or passages, and 2 rows of shops. 
 
NEWTON MAPPIN BEQUEST— CONTINUED. 
 
 17 
 
 129. ROBERT BURNS AND HIGHLAND MARY. T. FAED, R.A. 
 
 Signed and dated 1852. Panel loin.H. i2in.W. 
 Many of Burns' poems are inspired by his love for Highland 
 Mary, and more than once he refers to sitting mider the Birch 
 with her, as we see them in the picture. 
 
 How sweetly bloom 'd the gay green birk ! 
 
 How rich the hawthorn's blossom. 
 As underneath their fragrant shade, 
 I clasp'd her to my bosom ! 
 
 The golden hours, on angel wings, 
 
 Flew o'er me and my dearie ; 
 For dear to me as light and life 
 
 Was my sweet Highland Mary ! 
 
 Exhibited in the Royal Academy in 1852. 
 
 130. OLIVER CROMWELL. ROLAND LE FEVRE. 
 
 Panel iiin.H. Sin.W. 
 
 131. THE RUSTIC CROP. A. H. BURR. 
 
 Initialed A. H. B. Canvas iSin.H. i6in.W. 
 
 132. HELPING THE POOR. 
 
 Panel iT,^in.H. iSin.W. 
 
 133. BOTHERED. M. RHODES. 
 
 Canvas 24in. H. 2 1 in. W. 
 
 134. A RATSELLER DURING THE SIEGE OF PARIS. 
 
 N. CHAILLOU. 
 
 Canvas 24in.H. igin.W. 
 
 135. JOHN KNOX REPROVING MARY QUEEN OF SCOTS. 
 
 W. P. FRITH, R.A. 
 
 Canvas 28lin. H. ^Slin.W. 
 
 John Knox, both in public and private, often upbraided the 
 Queen for her adhesion to the Roman Catholic Faith, and also 
 for what he regarded as levity in her general conduct and 
 habits ; and this he did in no measured terms. The interview 
 portrayed in the picture is well described in the following 
 passage from M. Crie's Life of Knox " : — " At these words 
 the Queen began to weep and sob with great bitterness. The 
 Superintendent, who was a man of mild and gentle spirit, tried 
 to mitigate her grief and resentment ; he praised her beauty, 
 accompHshments, &c. During this scene the severe and 
 inflexible mind of the Reformer displayed itself : he continued 
 silent and with unaltered countenance until the Queen had 
 given vent to her feelings." 
 
 This picture was exhibited in the Royal Academy in 1844, and 
 it is referred to in Frith' s " Autobiography and Reminiscences." 
 
18 
 
 XEWTOX MAPPIN BEQUEST 
 
 •—CONTINUED. 
 
 136. WHEN THE CAT'S AWAY THE MICE WILL PLAY. 
 
 T. DUVERGER. 
 
 Panel ijin.H. 2yin.W. 
 
 Boys in Schoolroom taking advantage to engage in play 
 during the master's temporary absence. 
 
 137. LANDSCAPE. B. C. KOEKKOEK. 
 
 Signed and dated 1853. Canvas 2i^\in. H. 42\in.W. 
 
 138. THE MUSICAL PARTY. A. H. BURR. 
 
 Signed and dated 1881. Canvas lyin.H. i^^in.W. 
 
 139. VENETIAN FISHING CRAFT ON THE ADRIATIC— SHORE 
 
 OF LIDO. E. W. COOKE, R.A. 
 
 Signed and dated 1857. ' Panel izin.H. lyin.W. 
 Exhibited in the Royal Academy in 1858. 
 
 140. THE DISTAFF. W. LINNELL. 
 
 Signed and dated 1868. Panel i6\in.H. i^^in.W. 
 
 141. THE FRENCHMAN PLAYING TO HIS BIRD. 
 
 W. ROEGGE. 
 
 Sig)icd and dated 1872. Canvas lylin.H. i4^m.TF. 
 
 142. A SALLY. JOHN PETTIE, R.A. 
 
 Canvas $2in.H. soin.W. 
 Exhibited in the Royal Academy in 1870. 
 
 143. MONT S. MICHEL, NORMANDY. JAMES WEBB. 
 
 Signed and dated 1873-4. Canvas 2^in.H. 40in.IV. 
 
 144. RESTING. EDWARD HUMPHERY. 
 
 Signed and dated 1875, Canvas ig^in.H. 2$hin.W. 
 
 145. THE FLAG OF TRUCE. J. PETTIE, R.A. 
 
 Canvas $pn.H. 42m. W. 
 Exhibited in the Royal Academy in 1873. 
 
 146. SALISBURY CATHEDRAL. J. CONSTABLE, R.A. 
 
 Canvas ^oin.H. ^oin.W. 
 
 147. TREASON. J. PETTIE, R.A. 
 
 Signed and dated 1867. Canvas ssin. H. 55zw.H^ 
 Exhibited in the Royal Academy in 1867. 
 
 148. VIEW AT HERTFORD. E. J. NIEMANN. 
 
 Signed and dated 1859. Canvas 2$in. H. 4sin.W. 
 
XEWTON MAPriX BEQUEST— CONTINUED. 
 
 19 
 
 149. AUTUMN FLOWERS. CHARLES GUSSOW. 
 
 Signed and dated 1873. Panel 22 lin. H. i7\in. W. 
 
 150. LANDSCAPE. PATRICK NASMYTH. 
 
 Sig)ied and dated- 1834. Canvas igin. H. 2$in.W. 
 
 151. THE PROMENADE AT VERSAILLES IN THE TIME OF 
 
 LOUIS XV. L. M. C. DANSAERT. 
 
 Canvas i6in.H. 24in.W. 
 
 152. THE DOJANA, VENICE— EARLY MORNING. J. VURAM. 
 
 Canvas iiin.H. zgin.W. 
 
 153. ITALIAN SOLDIER. E. T. CASTAGNOLO. 
 
 Signed and dated 1855. Water Colour i^^in.H. io\in.W. 
 
 154. KEPPEL SHEPHERD AND DOGS, WITH DEAD WOLF. 
 
 WAAGEN. 
 
 Signed and dated 1869. Bronze 4,7in.H. 
 
 End of J. Newton Mappings Bequest {Nos. 1 to 154). 
 
 The Pictures numbered 155 to 234 were presented by 
 Sir Frederick T. Mappin, Bart., M.P. 
 
 155. THE SPIRIT OF CHIVALRY. DANIEL MACLISE, R.A. 
 
 Canvas c^zin.H. 2,^in.W. 
 
 The Spirit of Chivalry is represented by the figure of a 
 woman standing beside an altar, while round about her are 
 several figures representing Religion, Music, Poetry, &c. 
 Below is a Knight kneeling, and with hands outstretched to the 
 woman is dedicating himself to her. This picture was one of 
 the competitive designs for a fresco in the House of Lords. 
 
 156. LANDSCAPE, WITH SHEEP CROSSING A BRIDGE. 
 
 F. R. LEE, R.A., AND T. S. COOPER, R.A. 
 
 Signed F. R. Lee, R. A., 1849. Canvas 26in.H. ^^in.W. 
 
 157. OFF THE COAST. EDWIN ELLIS. 
 
 Canvas igin.H. -^^in.W. 
 
20 
 
 SIR FREDEKICK T. MAPPIN'S GIFT— CONTINUED. 
 
 158. THE WHEEL OF FORTUNE. H. DE. CALLIAS. 
 
 Signed and dated iSyy. Canvas ii pn.H. jiin.W 
 An imaginative picture in a characteristic French style of 
 execution. Fortune is represented by a winged female figure 
 with a white gossamer garment floating about her, and a small 
 wheel under her foot. In her left hand she holds a cornucopia, 
 symbolical of plenty, out of which she is pouring golden coins 
 into the abyss below her, while her face is mockingly turned to 
 a lean and haggard man, who is climbing some steep rocks to 
 reach her, but only succeeds in clutching the hem of her gossa- 
 mer garment. 
 
 159. CARDPLAYERS. HERMAN TENKATE. 
 
 Panel i^in.H. 2oin.W. 
 
 160. SCENE FROM " LE DIABLE BOITEUX. " A. L. EGG, R.A. 
 
 Canvas loin.H. igin.W. . 
 
 The scene is where Patricio, having met two ladies who had 
 been to secure a place for witnessing the bull fight, has taken 
 them to a tavern to have breakfast. 
 
 161. LANDSCAPE, WITH CATTLE. L. CHIALIVA. 
 
 Panel i^in.H. 2oin.W. 
 
 162. SISTERLY HELP. EDOUARD FRERE. 
 
 Signed and dated 1882. Canvas i8in. H. i c,in.W. 
 
 163. THE GUARDSHIP OF THE NORE. E. J. NIEMANN. 
 
 Canvas igin.H. 2^in.W. 
 
 164. THE FRENCH IN CAIRO. WALTER C. HORSLEY. 
 
 Signed and dated 1884, Canvas ^6in. H. ^oin.W. 
 
 The incident represented is one that took place during the 
 occupation of Cairo by the French in and about the year 1 799. 
 Napoleon gave orders that French names should be carved 
 on the principal towers and gates of the town, and here the 
 name "Napoleon" is being carved by one of the French soldiers 
 very much to the satisfaction of his comrades, whose rather 
 ragged condition bears evidence to the great hardships 
 suffered by the French army after the battle of Aboukir, 
 which shut up Buonaparte in Egypt, cut off from all commimi- 
 cation with France. Their feeling towards Nelson is shown by 
 the figure chalked out on the lower part of the tower with the 
 letters " Sir Nelson." The scene is on the wall looking over 
 the city near to the Bab-en-Nasr, and to give additional effect 
 to the proceedings the Sheikhs are compelled by Napoleon's 
 order to be present. 
 
 The picture was exhibited in the Royal Academy in 1884, and is 
 figured in the " Art Journal " for the folloiving year. 
 
SIR FREDERICK T. MAPI'IX'S GIFT— OONITNUBD. 
 
 21 
 
 165. CONISTON LAKE. S. R. PERCY. 
 
 "The rugged cradle of an infant stream.*' 
 
 Signed and dated 1875. Canvas 48m. H. "/^in.W, 
 
 166. GRANDMOTHER S PRESENT. J. C. HORSLEY, R.A. 
 
 Signed and dated 1865. Canvas 2oin. H. 2 $in.W. 
 
 167. LANDSCAPE, NORTH WALES. JOHN SYER. 
 
 Signed and dated 1864. Canvas 2iin. H. ^pn.W. 
 
 168. A HIGHLAND RIVER SCENE, WITH SALMON TRAP. 
 
 JAMES HOLLAND. 
 
 Canvas S2in.H. 42in.W. 
 
 169. CHARLES L LEAVING WESTMINSTER HALL AFTER 
 
 SENTENCE OF DEATH HAD BEEN PASSED. 
 
 SIR JOHN GILBERT, R.A. 
 
 Signed and dated 1872. Canvas 4gin. H. yT,in.W. 
 Exhibited in the Royal Academy in 1872. 
 The trial of Charles I. took place in January, 1649, before 
 Commissioners appointed as a High Court of Justice by the 
 Commons. The Commissioners appointed numbered 135, but 
 only 66 attended the Trial. In the picture the Trial has just 
 ended, and the King has been sentenced to death, and is now- 
 passing out of the Hall, preceded by a Parliamentarian soldier. 
 An enthusiastic loyalist kisses his robe as he passes. In the 
 background are the Commissioners, the one in the chair being 
 John Bradshaw, a native of Cheshire, who w^as elected Presi- 
 dent of the Court. 
 
 170. LANDSCAPE. W. MULLER. 
 
 Signed and dated 1836. Canvas ^lin.H. 6yin.W. 
 
 111. THE RIVALS. C. E. HALLE. 
 
 Canvas 44tn H. 35m. PF. 
 
 172. DUTCH FISHING BOATS. P. J. CLAYS. 
 
 Signed and dated 1872. Canvas 25m. H. ^^in.W. 
 
 173. MAN AND HARES. OTTO SCHOLDERER. 
 
 Initialed and dated 1880. Canvas 447^. H. t,6vii.W. 
 
 174. THE HALT ON THE HILLS. T. S. COOPER, R.A. 
 
 Signed and dated 1847. Canvas 6oin. H. g6in.W. 
 Cattle was the almost unvaried subject of Mr. Cooper's 
 brush through his whole career, and in 1895, at the age of 92, 
 lie exhibited some cattle pictures in the Royal Academy. His 
 groups of oxen, sheep and goats commingled are admirable 
 studies from life, and form his most successful compositions. 
 The Halt on the Hills, in which these animals appear, is one 
 of the finest examples of Cooper's best period of work. The 
 drovers are refreshing at the inn on the right, leaving their 
 flocks to foregather together in the excellent and natural 
 grouping sho^vn in the picture. 
 
22 Sm FREDERICK T. MAPPIN'S GIFT— CONTINUED. 
 
 175. HOW THE BOAT CAME HOME. C. NAPIER HEMY, A.R.A. 
 
 Signed and dated 1886. Canvas 5n';?. H. y^in.W. 
 
 176. MOTHER AND CHILD. J. T. PALING. 
 
 Signed and dated 1882. Canvas ■^lin.H. 26in.W. 
 
 177. HEAD OF A GIRL, WITH ROSES. C. BROCKY. 
 
 Canvas lyin.H. i^in.W. 
 
 178. THE FIRST-BORN. F. GOODALL, R.A. 
 
 Initialed and dated 1861. Canvas $2in.H. ^oin.W. 
 Exhibited in the Royal Academy in 1861. 
 
 The finished sketch of this picture in water-colour is in the 
 Jones' Bequest in the South Kensington Museum. 
 
 179. IN HORA MORTIS (IN THE HOUR OF DEATH). 
 
 W. C. SYMONS. 
 
 Signed and dated 1875, Canvas 6oin. H. 46m. W. 
 
 A pathetic and realistic scene outside a Monastery, where a 
 Monk, who has been on his errands of charity in the surround- 
 ing country has returned, exhausted and dying. He is sup- 
 ported and comforted by one of his comrades, while others are 
 descending the steps of the Monastery to administer the last 
 rites of the Church. On the back of the picture is the follow- 
 ing quotation : — " The time of my departure is at hand. I 
 liave fought a good fight, I have finished my course, I have 
 kept the faith : henceforth there is laid up for me a crown of 
 righteousness, which the Lord, the Righteous Judge, shall give 
 to me at that day." — 2 Tim. iv., v. 7 and 8. 
 
 180. A MOUNTAIN WATERFALL IN SNOWDONIA. 
 
 W. MULLER. 
 
 Canvas $oin.H. S^in.W. 
 
 181. A STREET IN CAIRO. J. VARLEY. 
 
 Signed and dated 1878. Canvas ^lin. H. 2iin.W. 
 
 182. IVY LEAVES. C. GOGIN. 
 
 Signed and dated 1^77. Canvas igin. H. 2\in.W. 
 
SIR FREDERICK T. MAPPIX'S GIFT— CONTINUED. 
 
 23 
 
 183. A SUMMER AFTERNOON. H. W. B. DAVIS, R.A. 
 
 Signed and dated 1873. Canvas siin.H. ggin.W. 
 1 IX /lib lied in the Royal Academy in 1873. 
 
 Cattle form the favourite subjects for this artist's work, and 
 the present picture is an exceptionally good representation of 
 his vigorous and life-like treatment of these animals. The lazy 
 attitude of the group on the right — some resting their heads on 
 their companions' backs, and others playfully butting one 
 another, while all seem desirous of experiencing the cooling 
 effects of the quiet weedy stream that meanders through their 
 pastures — vividly suggests the atmospherical conditions of a 
 hot summer's day. A comparison of this picture with Cooper's 
 fine Cattle Picture (No. 174), as showing the different way in 
 which these artists treat cattle, is interesting. 
 
 184. SHOEING FORGE. CHARLES FRERE. 
 
 Signed and dated 1886. Canvas K,2in.H. y^in.W. 
 
 185. ROBIN ADAIR. ALEX. JOHNSTON. 
 
 Canvas 4^in.H. 36m. H'. 
 
 Exhibited in the Royal Academy in 1864. 
 
 What made th' assembly shine ? 
 
 Robin Adair. 
 What made the ball so fine ? 
 
 Robin was there. 
 What, when the play was o'er, 
 What made my heart so sore ? 
 Oh ! it was parting with 
 
 Robin Adair. — Burns. 
 
 186. A DONKEY SURPRISED BY A WOLF. 
 
 A. F. A. SCHENCK. 
 
 Canvas 2c)in.H. j^oin.W . 
 
 A donkey is tethered by its collar to a stunted tree, and a 
 wolf has made its appearance through the trees in front of him, 
 frightening the donkey so much that he has kicked off his 
 pannier and is tugging hard at the rope to get free. On the 
 extreme right, the owner of the donkey comes into view, bear- 
 ing a bundle of faggots, which he has been gathering, and he 
 will no doubt reach his donkey in time to save him from the 
 evil intentions of the wolf. 
 
 187. THE EMIGRANTS. DOROTHY TENNANT. 
 
 Signed and dated 1S86. Canvas 45? w. H. T^oin.W. 
 This artist married vSir H. M. Stanley, the African Explorer. 
 
 188. CAPRI GIRLS WINNOWING CORN. H. GOODALL. 
 
 Canvas 4sin.H. soin.W. 
 
 189. DEAD STAG. R. ANSDELL, R.A. 
 
 Canvas 2^in.H. 4pn.IV. 
 
24 
 
 SIR FREDERICK T. MAPPIN'S GIFT— OO^^TINUED. 
 
 192. SEA PIECE. 
 
 Signed and dated 1879. 
 
 193. SHEEP. 
 
 194. RUSH CUTTERS. 
 
 190. THE DARGLE COUNTY. J. A. O'CONNOR. 
 
 Signed and dated 1829. Canvas 2gin. H. 38m. 1^. 
 
 191. DRESSING FOR THE MASQUERADE. 
 
 EUGENE DE BLAAS. 
 
 Canvas 30m. H. 4^in.W. 
 EDWIN HAYES, R.H.A. 
 
 Canvas T,oin.H. ^oin.W. 
 
 PEYROL BONHEUR. 
 
 Canvas 26in.H. ^oin.W. 
 
 ALICE HAVERS. 
 
 Canvas ^oin.H. $2{n.W. 
 Alice Havers afterwards became Mrs. Fred. Morgan. 
 
 195. " FOR BETTER FOR WORSE —ROB ROYANDTHE BAILIE. 
 
 J. WATSON NICOL. 
 
 Signed and dated 1886. Canvas -^lin.H. ^2in.W. 
 
 Exhibited in the Royal Academy in 1886. 
 
 This is the Scene at the Clachan of Aberfoyle where Bailie 
 Nicol Jarvie met Rob Roy to receive from him payment of a 
 debt. 
 
 196. NAMUR, BELGIUM. JAMES WEBB. 
 
 Signed and dated 1876-7-8. Canvas ■^lin. H. $iin.W. 
 
 The view is taken from the River Meuse, nearly opposite to 
 the Fortifications of Namur. 
 
 197. THE OLD OLD STORY. 
 
 F. ANDREOTTI. 
 
 Canvas 86in. H. $gin.W. 
 
 ROSE MAGNUS. 
 Canvas 2iin.H. ^lin.W. 
 EMILE C. LAMBINET. 
 
 Canvas isin.H. 2yin.W. 
 
 C. JACQUE. 
 
 Canvas igin.H. 2Hin..W. 
 
 201. MOUNTAIN PASS NEAR SUBIACO, ROMAN STATES. 
 
 W. HAVELL. 
 
 Canvas 2$in.H. T^oin.W. 
 
 202. SHIPS AT SEA. H. KOEKKOEK. 
 
 Signed atid dated 1858. Canvas i8in.H. 2j^in.\\'. 
 
 198. FLOWERS AND FRUIT. 
 
 Signed and. dated 1886. 
 
 199. LANDSCAPE. 
 
 Signed and dated 1876. 
 
 200. THE FLOCK. 
 
SIR FREDERICK T. MAPPIN'S GIFT— CONTINUED. 
 
 25 
 
 203. MORNING OF THE BATTLE OF WATERLOO. 
 
 E. CROFTS, R.A. 
 
 Signed and dated 1876. Canvas 42tn.H. ypn.W. 
 lu the foreground of the picture are the French headquartens, 
 where Napoleon is seated examining a chart and interrogating 
 a peasant. Round about him are the officers of his staff with 
 the stand of colours, and numerous soldiers in various posi- 
 tions, weary and mud-hespattered after their march from 
 Ouarte Bras on the previous day in rainy weather. In the 
 distance are seen the fires and lines of the English Army. The 
 battle was fought on Jime i8th, 181 5. 
 
 204. VIEW OF THE THAMES, LOOKING TOWARDS ST. PAUL'S. 
 
 HENRY DAWSON. 
 
 Signed and dated 1852. Canvas ^oin.H. y^in.W. 
 The view is taken near to the site of Charing Cross, where 
 the river takes a decided bend, so that though the river appears 
 to be running between the buildings on the left and right of the 
 picture they are really both on the same side of it. On the 
 right is Hungerford Pier, the site of the present Charmg Cross 
 Station and Footbridge, and on the left of the picture is the 
 Adelphi Pier, though both these piers are on the same side of 
 the river. Across the river the Shot Tower stands out con- 
 spicuously. The bridge in the middle distance is Waterloo 
 Bridge, and the one beyond it Blackfriars Bridge, with the 
 high dome of St. Paul's in the distance. The time is early 
 morning, and the sky is brilliantly illuminated by rays of the 
 rising sun reflected and coloured b}-- the clouds. The picture 
 represents the river before the construction of the Thames 
 embankment. 
 
 205. THE WRECK. E. DUNCAN. 
 
 Signed and dated 1S49. Canvas 1 5/;/. H. 2iin. W. 
 
 206. SEA PIECE. J. WILSON. 
 
 Canvas 28in.H. 2,Sin.W. 
 
 207. HARVEST TIME. J. C. ADAMS. 
 
 Signed and dated 1879. Canvas ^oin.H. y^in.W. 
 
 208. THE VALE OF TEMPE. F. DANBY, R.A. 
 
 Canvas 69/w. H. oginJV. 
 This is a beautiful and romantic valley in the north of 
 Thessaly, between mounts Olympus and Ossa, through which 
 the River Pencus winds on its course to the sea. The" valley is 
 rather less than five miles in length, and opens gradually to 
 the east into a spacious plain. Its lovely scenery was fre- 
 quently described by ancient poets, and it is also celebrated as 
 , one of the favourite haunts of Apollo. The picture represents 
 in the foreground a Festival, with Music and Dancing, in 
 classical stvle. 
 
26 SIR FREDERICK T. MAPPIN'S GIFT— CONTINUED. 
 
 209. LANDSCAPE, WITH CATTLE. T. CRESWICK, R.A. 
 
 T. S. COOPER, R.A., AND W. P. FRITH, R.A. 
 
 Canvas ^oin.H. y^in.W. 
 
 The Landscape is painted by Creswick, and the Cattle by 
 Cooper ; Frith having introduced the Figures. The picture is 
 signed by Creswick and Cooper. 
 
 210. MARKET CART CROSSING A RIVER. F. R. LEE, R.A. 
 
 Signed and dated 185 1 . Canvas 46111. H. 62m, IV. 
 
 211. VIEW ABOVE CAPUA, S. ITALY. W. L. LEITCH. 
 
 Canvas 2gin.H. 4^in.W. 
 
 E. NICOL, A.R.A. 
 
 Canvas i^in.H. 2oin.W. 
 
 T. FAED, R.A. 
 
 Panel 2iin.H. 2$in.W. 
 
 ED. ANDRE. 
 
 Canvas igin.H. i-^in.W. 
 
 L. HAGHE. 
 
 Canvas -^yin.H. 2Sin.W. 
 
 T. H. KOEKKOEK. 
 
 Canvas 2^in. H. ^lin.W. 
 
 PH. SADEE. 
 
 Canvas 2oin.H. 2,oin.W. 
 
 AUGUSTE BONHEUR.f 
 
 Canvas 4iin. H. ^yin.W. 
 
 C. N. KENNEDY. 
 
 Canvas $iin.H. ^jin.W. 
 Exhibited in Grosvenor Gallery in 1889. 
 
 220. SOLOMON EAGLE. P. F. POOLE, R.A. 
 
 .Signed and dated 1S43. Canvas 6iin. H. Sqin. W. 
 
 The very realistic incidents of the Great Plague of London 
 in 1665, shown in the picture, are described in De Foe's 
 " Memoirs of the Plague," where he speaks of Solomon Eagle 
 as " an Enthusiast, who, though not infected at all, but in his 
 head, went about denouncing of Judgment upon the City in a 
 frightful manner, .sometimes quite naked, and with a pan of 
 burning charcoal on his head." 
 
 212. COLLECTING HIS THOUGHTS. 
 
 Signed and dated 1865. 
 
 213. A GAME AT DRAUGHTS. 
 
 214. THE INTRODUCTION. 
 
 Signed and dated i8y2. 
 
 215. INTERIOR OF A CHURCH. 
 
 Signed and dated 1882. 
 
 216. SEA PIECE. 
 
 217. THE END OF THE DAY. 
 
 218. CATTLE IN AUVERGNE. 
 
 219. REST. 
 
SIR FREDERICK T. MAPPIN'S GIKT— CONTINUE !). 
 
 27 
 
 221. BOY UNLOADING VENETIAN MARKET BOAT. 
 
 HILDA MONTALBA. 
 
 Signed and dated 1880. Canvas 4gin. H . T^-^in.W . 
 
 222. CATTLE RAID. R. BEAVIS. 
 
 Signed and dated 1870. Canvas ^lin. H. 4sin.W. 
 
 223. JUDGE JEFFREYS BULLYING RICHARD BAXTER. 
 
 E. M. WARD, R.A. 
 
 Canvas iSin.H. 22m. TF. 
 " Towards the end of his busy, toil-worn life, occurred that 
 well-known scene at Guildhall, when Baxter, then an old man, 
 appeared before the notorious Chief Justice Jeffreys, accused of 
 advocating sedition in his writmgs. It was in a commentary 
 on the New Testament that the obnoxious words occurred. The 
 scene was a remarkable one. Never had that imrighteous 
 judge been more violent than when he tried Baxter. He did 
 not scruple to term the great Puritan an old rogue, an old 
 schismatical knave, an hypocritical villain ; and when the 
 counsel for the defence alluded to Baxter's noble record, and 
 how King Charles was willing to have conferred a Bishopric 
 upon him, if he would have consented to conform, ' Aye,' said 
 the judge, ' we know that, but w^hat ailed the old blockhead, 
 the unthankful villain, that he would not conform ? Is he wiser 
 or better than other men ? He hath been ever since the spring 
 of the faction. I am sure he hath poisoned the world with his 
 doctrine — a conceited, stubborn, fanatical dog ! ' As might 
 have been expected in such a court, Baxter was condemned 
 to a great fine and imprisonment, from which, however, after 
 two years, he was released, and his fme remitted." — The 
 Church of England, by Dr. Spence, Dean of Gloucester. 
 
 224. A CAPRI GIRL. P. F. POOLE, R.A. 
 
 Initialed and dated 1865. Canvas igin.H. i^in.W, 
 
 225. GLEANERS. FRED. MORGAN. 
 
 Signed and dated 1880. Canvas 44in.H. ^oin.W. 
 
 226. THE MODEL'S LUNCHEON. E. F. BREWTNALL. 
 
 Canvas 2iin. H. 3i?'/z.T'F'. 
 
 227. FOREST SCENE. C. JACQUE. 
 
 Canvas zSin.H. 4oin.W. 
 
 228. LANDSCAPE. G. COLE. 
 
 Signed and dated 1873. Canvas iGin.H. 22,in.W. 
 
 229. THE CRAB CATCHER. J. HENTZELL. 
 
 Canvas i^iji.H. i-jin.W. 
 
 230. PORTRAIT OF A LADY (Mrs. POTTER). 
 
 G. A. STOREY, A.R.A. 
 
 Canvas $2in.H. ^lin.W. 
 A sketch of this Portrait is in Sketches from Memory," by 
 G. A. Storey, p. 362, 
 
28 
 
 SIR FREDERICK T. MAPPIN'S GIFT— CONTIXUED. 
 
 231. RUBENS AND HIS WIFE. 
 
 COPIED BY J. VON WOHLGARTEN. 
 
 Canvas 53zh.//. 42in.W. 
 This is a copj^ of the famous picture by Rubens in the 
 Pinakothek at Munich. It represents the artist with his wife 
 (Isabel Brandt) in the bloom of youth, sitting under the shade 
 of a green arbour, with jasmine and honeysuckle peeping 
 through the foliage. The original was painted about 1610, 
 when Rubens was a fine manly looking fellow of three and 
 thirty. 
 
 232. REMBRANDT. COPIED BY J. GUTTMANN. 
 
 Canvas ^lin.H. 24in.W. 
 From the original picture by Rembrandt, at Vienna. 
 
 233. REMBRANDT S MOTHER. COPIED BY J. GUTTMANN. 
 
 Panel 2gin.H. 22in.W. 
 
 From the original picture by Rembrandt, at Vienna. 
 
 234. A BIT OF GOSSIP. J. L. WILLIAMS. 
 
 Initialed and dated 1873. Water Colour iiin.H. ipn.W. 
 Exhibited in the Royal Academy in 1873. 
 
 End of Sir Frederick T. Mappings Gift (Nos. 155 to 234). 
 
 235. JOHN NEWTON MAPPIN. T. J. BARKER, 1877. 
 
 Canvas ^6in.H. ^Siri.W. 
 
 Presented by his Nephew, J. Y. Cowlishaw, Esq. 
 
 236. CARNARVON CASTLE. 
 
 Canvas on Panel 221)1. H. T,oin.W. 
 Presented by Rey. J. G. Chester. 
 
 237. THE RECONCILIATION OF SIR JOSHUA REYNOLDS AND 
 
 GAINSBOROUGH. C. H. LUCY. 
 
 Signed and dated 1862. Canvas e^2in.H. jjin.W. 
 Exhibited in' the Royal Academy in 1863. 
 
 Presented by G. S. Taylor, Esq. 
 
 For some years before Gainsborough's death these two great 
 painters were estranged, Gainsborough haying been deeply 
 offeiuk'd by Reynolds toasting him, at an Academy dinner, as 
 the first landscape painter of the day, and thus entirely ignor- 
 ing his great position as a portrait painter, in which branch of 
 art some rivalry existed between the two. But in 17S8, when 
 Gainsborough felt that he was dying, he sent for Sir Joshua 
 Reynolds, and a reconciliation took place between them. 
 
20 
 
 " Reynolds bends his dull ear to catch Gamsborough's fail- 
 ing words, and grasps his hand in friendship — the one all 
 benevolence and tenderness, the other all forgiveness. 
 
 Gainsborough says : — ' His regret at losing life is chiefly his 
 regret at leaving his art.' And his last words were : — ' We 
 are all going to heaven and Vandyke is of the company.' " See 
 Fulchcr's Life of Gainshorough. 
 
 238. BIRDS, FROM NATURE. E. LADELL. 
 
 Canvas iSin.H. 28in.W. 
 
 Presented by Wm. Turner, Ksq. [Museum K. 1 1-5-75 — i.] 
 
 239. HERACLITUS. 
 
 Canvas ^4in.H. zgin.W. 
 Presented by Miss H. M. Deakin. [Museum K. 22-7-80. — ia.] 
 Heraclitus, a philosopher of Bphesus, who flourished about 
 B.C. 513, travelled extensively in his youth, but afterwards he 
 became a complete recluse, and retreated to the mountains, 
 where he lived the life of a hermit. He published a work on 
 Nature, which contained his philosophical views. In the 
 picture he is represented as weeping over the sorrows of the 
 world. 
 
 240. LANDSCAPE WITH CATTLE. 
 
 Canvas i/^in.H. i2in.W. 
 Presented by Miss H. M. Deakin. [Museum K. 22-7-80 — 5A.] 
 
 241. DUTCH LANDSCAPE, WITH FIGURES. 
 
 Canvas i/\.in.H. i2in.W. 
 
 Presented by Miss H. M. Deakin. [Museum K. 22-7-80 — 12 a.] 
 
 242. GRACE BEFORE MEAT. A. H. BURR. 
 
 Signed and dated 1871. Canvas 2,oin.H. 24.in.W. 
 
 Presented by Robert W. Moore, Esq. [Museum K. 83-4.] 
 
 243. THE BRIGAND'S CAVF. MICHELE CAMMARANO. 
 
 Canvas iG^in.H. 12 ^in.W. 
 
 Presented in Memory of Samuel Hanson, Esq. [Museum K. 84-37.] 
 The scene represents a Brigand's Cave which has been 
 entered by the Italian Military Police, but not before the 
 robbers have made their escape, and only some women and a 
 boy remain. The women have had their hands bound by the 
 soldiers, and the boy is being interrogated by an officer with 
 the evident intention of eliciting from him information as to the 
 whereabouts of the robbers. The trap-door in the floor, 
 partly hidden by an overturned chair and some rubbish, 
 appears to indicate the way the robbers have escaped. 
 
 244. GIPSIES IN A SPANISH CHATEAU. F. MEORMANS. 
 
 Signed and dated 1878. Canvas 37m. H. 2gin.W., 
 
 Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-28.] 
 
30 
 
 245. ABRAHAM ON HIS WAY TO THE SACRIFICE OF ISAAC. 
 
 A. VICKERS. 
 
 Canvas iSin.H. 2^in.W. 
 
 Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-30.] 
 
 A small copy of the original picture (No. 31) iu the National 
 Gallery by Gaspar Dughet, called Gaspard Poussin. 
 
 246. LA SOURIS (THE MOUSE). M. DE GARAY. 
 
 Canvas i$in.H. i gin. W. 
 
 Bequeathed by Thomas Heiffor, Esq. [Museum K, 86-29,] 
 
 Two French ladies are greatly alarmed by a mouse running 
 across the floor. 
 
 247. TOILET AVANT LA PROMENADE. M. DE GARAY. 
 
 Canvas iiin.H. i^in.W. 
 
 Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-31.] 
 
 A French lady has just completed her toilet prior to going 
 out for a walk. 
 
 248. DUTCH COURTSHIP. H. J. BURGENS. 
 
 Panel gin.H. iT^in.W. 
 Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-32.] 
 
 249. PYLADES AND ORESTES BROUGHT AS VICTIMS BEFORE 
 
 IPHIGENIA. B. WEST, P.R.A. 
 
 Canvas 4oin.H. soin.W. 
 
 Eent by the National Gallery. 
 
 Iphigenia entrusted with the care of the temple of Diana at 
 Taurica, was obliged, by the command of Diana, to sacrifice 
 all strangers who came into that country. When Orestes and 
 Pylades came to Taurica and were brought before Iphigenia, 
 she discovered that one of them was her brother. She then 
 conspired with the two friends, who were also cousins, to fly 
 from the barbarous country and carry away the statue of Diana. 
 This enterprise was successfully accomplished. 
 
 249a. THE LAST SUPPER. B. WEST, P.R.A. 
 
 Canvas yzin.H. io8m.H^. 
 
 Lent by the National Gallery. 
 
 Painted for George III. in 1784, and presented to the 
 National Gallery in 1828 by George IV. 
 
31 
 
 249b. PORTRAIT OF A LADY AS HEBE. B. WEST, P.R.A. 
 
 Canvas $0111. H. ^ghin.W. 
 
 Lent by the National Gallery. 
 
 Lady holding a cup resting on a table where an eagle has 
 planted one foot, while the other clasps the cup as it drinks, its 
 wmg spread out over the lady's shoulder. 
 
 250. CHRIST APPEARING TO MARY MAGDALEN, AFTER HIS 
 
 RESURRECTION. W. ETTY, R.A. 
 
 Millboard i^^in.H. 2^^in.W. 
 Lent by the National Gallery. 
 
 251. THE PHILOSOPHER. HENRY WYATT. 
 
 Canvas ^oin.H. 24in.W. 
 Lent by the National Gallery. 
 
 252. SHOWERY WEATHER, SUNRISE ON THE SEA COAST. 
 
 F. R. LEE, R.A. 
 
 Canvas ^4in.H. 43?m, W. 
 Lent by the National Gallery. 
 
 253. AMORET, AEMYLIA AND PRINCE ARTHUR IN THE 
 
 COTTAGE OF SCLAUNDER— (Slander). 
 
 F. R. PICKERSGILL, R.A. 
 
 Canvas 23m H. ^4^in.W. 
 
 Lent by the National Gallery. 
 
 " Then all that evening, welcomed with cold 
 
 And chearlesse hunger, they together spent ; 
 
 Yet found no fault, but that the hag did scold 
 And rayle on them with grudgefuU discontent 
 For lodging there without her owne consent. 
 
 Yet they endured all with patience milde, 
 And unto reste themselves all oneley lent, 
 
 Regardlesse of that queane so base and wilde. 
 
 To be im justly blamed and bitterly revilde." 
 
 — Spenser, Faerie Queene, viii., 28. 
 
 254.. THE PARTING OF HERO AND LEANDER. 
 
 J. M. W. TURNER, R.A. 
 
 Canvas $j^in.H. gpn.W. 
 
 Lent by the National Gallery, 
 
 A vast palace rises on the rocks to the left of the picture, 
 with a terrace and steps leading to the sea. On the terrace are 
 two figures, one holding torches to Hero and Leander who are 
 parting on the margin of the Hellespont. On the right are 
 
82 
 
 nymphs and cupids divSporting themselves in the spray of the 
 breaking waves, near to the rocks. Beyond the turbulent blue 
 waters, a red glow from the rising sun, the half moon seen 
 above in a break of the storm clouded sky, the lunar halo 
 denoting the coming storm. 
 
 Leander, deeply in love with Hero, a priestess of Venus at 
 Sestos, used to swim to her across the Hellespont from Abydos, 
 and was drowned one tempestuous night. 
 
 " The morning came too soon, with crimsoned blush 
 Chiding the tardy night and Cynthia's warning beam ; 
 But love yet lingers on the terraced vSteep, 
 Upheld young Hymen's torch and failing lamp. 
 The token of departure never to return — 
 Wild dash'd the Hellespont its straited surge. 
 And on the raised spray appeared L,eander's fate." 
 
 254a. WHALERS ENTANGLED IN ICE.— BOILING BLUBBER. 
 
 J. M. W. TURNER, R.A. 
 
 Canvas 35^m.if. 4yin.W, 
 
 Lent by the National Gallery. 
 
 255. A VIEW OF PAUL'S WHARF, THAMES. J. A. SLEAP. 
 
 Water Colour, circular, i$in. diam. 
 Lent by the National Gallery. 
 
 256. JOHN FOX, OF DORE, B. 1772, D. 1879. 
 
 SIR F. CHANTREY, R.A. 
 
 Canvas 24111. H. 2iin.W. 
 Presented by Mrs. Sarah Sellars. [Museum K. 87-4.] 
 
 257. EBENEZER RHODES (Author of " PEAK SCENERY ") 
 
 SIR F. CHANTREY, R.A. 
 
 Canvas 24171. H. 2iin.W. 
 Presented by W. Mitchell Eadon, Esq. [Museum K. 87-2.] 
 
 258. RICHMOND, YORKSHIRE. E. STIRLING HOWARD. 
 
 Signed and dated 1865. Water Colour 1 1 Un. H. igin. W. 
 Presented by Mrs. Wall. 
 
 259. PONTEFRACT CHURCH IN 1810. 
 
 DR. ROWLAND HIBBARD, M.A. 
 
 Water Colour z,\iu . H . Sin.W. 
 Presented by John Ilibbard, Ksn. 
 
38 
 
 260. WORTLEY HALL. DR. ROWLAND HIBBARD, M.A. 
 
 Water Colour sk^ii-H. Sin.W. 
 
 Presented by John Hibbard, E)sq. 
 
 261. MARKET VIEW IN ALGIERS. L. TESSON. 
 
 Signed and dated 1865, Water Colour 20^in.H. i^i;tn.W. 
 Presented by R. W. Moore, Esq. [Museum K. 83-6.] 
 
 262. OFF CAPE CLEAR, Co. CORK. JOHN FAULKNER. 
 
 Water Colour i8in.H. ^oin.W. 
 Bequeathed by Thomas Heiffor, Esq. [Museum K, 86-33.] 
 
 264. TO THE DEATH. 
 
 Artist's Proof iS^in.H. 2syn.W. 
 
 Engraved by Arthur Turrell from the original picture by 
 John Pettie in the Mappin Art Gallery, and published by 
 Arthur lyucas, London, March, 1891. (See 58.) 
 
 265. UNDINE. W. CALDER MARSHALL, R.A. 
 
 Original Plaster Model. 
 
 Presented by the Sculptor. 
 
 266. THE PRODIGAL SON. W. C. MARSHALL, R.A. 
 
 Original Plaster Model. 
 
 Presented by the Sculptor. 
 
 267. RT. HON. A. J. MUNDELLA, M.P. 
 
 SIR J. EDGAR BOEHM, R.A. 
 
 Plaster Bust. 
 
 268. SAMUEL ROBERTS, OF SHEFFIELD. THEO. SMITH. 
 
 Marbh Bust. 
 
 269. CUPID STUNG BY A BEE. R. GLASSBY. 
 
 Marble. 
 
 270. VULCAN. M. RAGGL 
 
 Plaster, 
 
 Presented by M. Raggi. 
 
 This is the original Model for the Bronze Figure on the 
 Sheffield Touti Hall. 
 
 271. SPRING-TIME, ITALY. E, DUBUFE. 
 
 Canvas 4^in.H. s^in.W. 
 
 Signed and dated 1872. 
 Presented by the Rt. Hon. A. J. Mundella, M.P. 
 
34 
 
 272. THE CRUCIFIXION. H. C. SELOUS. 
 
 Canvas g6in. H. i66in. W. 
 Presented by his daughters, Miss Jane P. Selous, and 
 Miss Emily E. Selous. 
 
 The artist has presented his subject as a whole, embracing the 
 accessories to the greatest incident in the history of Christian- 
 ity. A long ray of bright light streams from a rifted cloud, 
 behind which the sun stands yet high, it being a little past the 
 ninth hour of the day, and falls upon Jesus, who since the third 
 hour had hung upon the Cross. The dense clouds, which 
 brought " a darkness over the land " at the sixth hour, now 
 creep off the sky. At a short distance from the Cross is a 
 group of women, who bend before it, and to the left of these are 
 some of the restless population of the city, who fling stones and 
 quarrel amongst themselves. Nearer to the front is a dense 
 crowd of the people driven back by threats and blows from the 
 Roman soldiery. The great sweep of the architectural back- 
 ground has an axis at the Cross, the walls recede behind it to 
 the gate of the corner, and advance again to mc>^t the Gate of 
 Judgment, proceeding onwards to the angle of the fortifica- 
 tions, near which the labourers are at work upon the walls, 
 building and repairing. 
 
 Extending along the front of the picture is a line of a hundred 
 or more figures expressing divers incidents. Right in the 
 centre, clothed in golden armour, and riding upon a white 
 horse, is Herod Antipas, Governor of Judaea, ordering the 
 crowd to be dispersed. Close to him, and towards the right 
 hand, is the mounted Centurion, whose servant Jesus restored 
 to life. He is commanding gentle treatment for the swooning 
 mother of Christ, introduced near the front, attended by St. 
 John, Mary Magdalene, Martha, and other friends. In the 
 foregroimd is seen, kneeling and wringing her hands, the woman 
 whom Christ pardoned with the words, '* Go, and sin no more!" 
 She wears a dress of yellow and purple. In front of the.se 
 kneels a Nubian woman, offering water from a jar to revive 
 Virgin Mary, Near this group is Joseph of Arimathea, offer- 
 ing to a horseman money to redeem the body of the Saviour for 
 burial in his own new tomb. In front of him is a group com- 
 posed of those who have taken part in the Crucifixion it.self ; 
 the soldiers, executioners, lictors, and others of that class. 
 The first are wrangling for the garment without a seam ; one 
 holds out the dice jecringly to another, who complains of the 
 lot going against him, and is about to strike his taunting com- 
 panion with his fist. Near the.se are the executioner and his 
 assistants who bear the instruments of torture and death. 
 One carries a ladder, nails m a basket, and a hammer ; the 
 ropes are cast about bi'^ shoulders, and there is blood upon his 
 shirt. Close to this grouj), still further to tlu- right, are two of 
 
35 
 
 the false witnesses, kneeling, with writing materials in their 
 hands, as if taking notes of what goes on, A wondering crowd 
 is gathered about Veronica, as she displays the handkerchief 
 which Christ gave to her after passing it over Plis own features, 
 when she demanded of Him some token of remembrance. Fill- 
 ing up the remainder of the canvas to the right is a gathering of 
 Christ's followers, apostles, disciples, &c. Behind the first line 
 of figures on this right hand side of the picture is the Centurion 
 who was converted to Christianity when he "saw the earth- 
 quake and those things that were done," his comrades of the 
 legion roimd about him mocking and deriding him. Going now 
 to the left of the picture from Herod on the white horse, there 
 are two priests disputing about the application of the Law to 
 the case of Jesus, and further on, a false prophet, wild and 
 imperfectly clad, haranguing the mob. Near to him are a 
 Hebrew and an Egyptian merchant, both seated upon their 
 camels, eagerly chaffering upon a matter of trade. In front 
 of these a bo}^ has taken a doll from a little girl, and therewith 
 mimics the terrible scene that has just passed before his eyes, 
 having crucified the toy. In the next group, extending to the 
 extreme left, the artist has typified the parables of our Saviour, 
 the figures representing " L,azarus and Dives," " The Prodigal 
 Son," "The Widow who bestowed her mite," " The Labourer 
 in the Vineyard," and a personation of " the turning water 
 into wine " at Cana in Galilee. This completes the mass of 
 figures filling the foreground of the picture. Behind are the 
 buildings of Jerusalem. Of these the Gate of Benjamin betv/een 
 two towers is on the left ; next to it a little lower down is the 
 dome-shaped roof of Alexander's monument. The tall arcade 
 is Herod's Amphitheatre, capable of holding 80,000 persons. 
 The long lines of buildings with parallel walls that stretch near- 
 \j from the Amphitheatre to where a gateway spans the street 
 — (the gatev/ay being the arch now styled that of Ecce Homo, 
 where Pilate is said to have presented the scourged Saviour to 
 the people, and the street, the Via Dolorosa, or Road of Suffer- 
 ing, traversed by Christ, between the Castle of Antonio and 
 Calvary) is the Chariot and Horse race-course — the Hippo- 
 drome. A little more to the right in the distant wall of the 
 city, is the Gate of St. Stephen, or Sheep Gate, where the first 
 martyr underwent his sentence. The tall mass of solid stone 
 walls, seen above the Arch of Ecce Homo, is the Tower of 
 Antonio. The Hill that stretches behind all this, is the Mount 
 of Olives — on its lower portion is the Garden of Gethsemane, 
 rear St. Stephen's Gate. Perched upon the levelled summit of 
 Mount IMoriah, and encircled by its cloisters, is the Temple 
 with all its splendid towers and chambers, much as Herod the 
 Great built it. Lower down is the grand entrance to the 
 Temple, and the bridge below it — also the work of Herod — 
 connecting Mount INIoriah with ^Mount Zion, by crossing the 
 ravine, or cleft, between them. Near this is the High Gate, or 
 
36 
 
 Miph-Kad, where Jeremiah was tortured. Close to the en- 
 trance of the Temple is the Armoury of David. The tower 
 that rises up against the distant landscape, and looks do^vn the 
 valley, is the Tower of Ophel, built originally by Manasseh, or 
 by Jotham. Right up this valley, a pale gleam of light falls 
 upon the water of the Dead Sea, which, in very clear weather, 
 although (as the crow flies) about twenty -five miles off, may be 
 discerned through that pure atmosphere, from the high places 
 of Jerusalem. Beyond it are the Mountains of ]\Ioab, grey in 
 the distance. More to the right still, and lower down, is a 
 tower, denominated by Herod the Great, its builder, the Tower 
 of Mariamne, after his unhappy wife. Then appear the Towers 
 of Hippicus and of Phasaelus. The last, that nearest to 
 Mariamne's Tower, named after Herod's brother, the former 
 after his dear friend who Avas slain in war. The height of the 
 Tower of Phasaelus was one hundred and twenty feet. It was 
 the tallest building in all Jerusalem, and, like its companion 
 towers, was formed of enormous stones, so skillfully joined 
 together that their junctures could not be seen. The gate 
 below the Tower of Mariamne is the Corner Gate, which was 
 one of the boundaries set by the Lord for the extent of Jeru- 
 salem within which there shoiild be "no more utter destruc- 
 tion." Before the Avail, and below the Tower of Phasaelus, is 
 the Pool of Hezekiah. Almost against the margin of the 
 picture is the Tomb of David. Above all this mass of buildings 
 rises the Hill of Evil Counsel ; so called because here is said to 
 have stood the country house of Caiaphas, the High Priest, 
 wherein, tradition reports, the bargain with Judas for our 
 Saviour's betrayal was completed. 
 
 273. EDWARD LAW. FRANK STONE, A.R.A. 
 
 Caiwas 24717. H. 2oin.W. 
 
 Presented by Joseph Lrw, Esq., M.D, 
 
 This portrait was painted by Frank Stone while on a brief 
 visit to Kdward Law, Sculptor, in vShcffield, who at the same 
 time modelled a bust of Mr. Stone. 
 
 274. THE FLAG OF TRUCE. 
 
 Artist's Proof ^oUn.H. 24in.IV. 
 
 Engraved by Arthur Turrell, from the original picture by 
 John Pettie, R.A., in the Mappin Art Gallery, and published by 
 Arthur Lucas, London. (See 145.) 
 
 275. PLAYMATES. ST. GEORGE HARE. 
 
 Pastel 35m. i/. 4<)in.W. 
 Presented by the Proprietors of the " Sheffield Weekly 
 Telegraph." 
 
37 
 
 276. ARIEL. W. CALDER MARSHALL, R.A. 
 
 Plaster Figure. 
 
 Presented by H. Calder Marshall. 
 
 277. CONCEALMENT OF THE FUGITIVES BY ALICE LISLE, 
 
 AFTER THE BATTLE OF SEDGEMOOR IN THE REIGN 
 OF JAMES II. Original design for the fresco in the Houses 
 of ParUament. E. M. WARD, R.A. 
 
 Canvas So^in.H. Sgin.W. 
 
 Exhibited in the Royal Academy in 1858. 
 
 Presented by Sir Frederick T. Mappin, Bart., M.P. 
 
 " John Hickes, a non-conformist divine, and Richard Nel- 
 thorpe, a lawyer, who had been outlawed for his share in the 
 Rye House Plot, had sought refuge at the house of Alice, 
 widow of John Lisle The same womanly kind- 
 ness which had led her to befriend the Royalists in their time 
 of trouble, would not suffer her to refuse a meal and a hiding 
 place to the wretched men who now entreated her to protect 
 them. She took them into her house, set meat and drink 
 before them, and showed them where they might take rest. 
 The next morning her dwelling was surrounded by soldiers. 
 Strict search was made. Hickes was found concealed in the 
 malt-house, and Nelthorpe in the chimney." — Vide Lord 
 Macaulay's History of England." 
 
 278. THE PROCESSION TO CALVARY— CHRIST FALLING UNDER 
 
 THE WEIGHT OF THE CROSS. G. PAPPERITZ. 
 
 Signed and dated 1885. Canvas g4in.H. i6pn.W. 
 Presented by Sir Frederick T. Mappin, Bart., M.P. 
 
 279. TO VERSAILLES ! AN INCIDENT IN THE FRENCH 
 
 REVOLUTION, 1789. VAL. C. PRINCEP, R.A. 
 
 Canvas g6in.H. i4$in.W. 
 
 Exhibited in the Royal Academy in 1894. 
 
 Presented by Sir Frederick T. Mappin, Bart., M.P. 
 
 An incident of the earlier days of the French Revolution, 
 when the women armed themselves with various implements, 
 and set out from Paris to Versailles where the National Assem- 
 bly and Court were held. The mounted gun and arms were 
 taken from the Hotel de Ville. Carlyle thus describes the 
 scene in his " History of the French Revolution " : — " To 
 
38 
 
 Versailles ! All women gather and go. Robust dames of the 
 Halle, slim mantua-makers, assiduous, risen with the dawn ; 
 ancient virginity tripping to matins ; the housemaid with 
 early broom ; ail must go. No carriage lady, were it with 
 never such hysterics, but must dismount in the mud roads^ 
 in her silk shoes, and walk." 
 
 280. LILITH LEAVING THE GARDEN OF EDEN. 
 
 W. CALDER MARSHALL, R.A. 
 
 Plaster Figure. 
 
 Exhibited in the Royal Academy in 1889. 
 
 Presented by H. Calder Marshall. 
 
 " Lilith, Adam's first wife, jealous of Eve, by aid of the ser- 
 pent tempts her, then leaves the Garden with the serpent. 
 She afterwards becomes the mother of the demons." — Legend 
 of the Rabbins. 
 
 281. RETURNED FROM THE WARS. W. C. SYMONS. 
 
 Canvas y2in.H. S4in.W. 
 
 Presented by John Eadon, Esq. 
 
 The scene is in the Barrack room of the ist Life Guards at 
 Chelsea, where the men are preparing to celebrate Christmas. 
 Some are putting up decorations, amongst which the word 
 " Waterloo " is prominent. The group in the foreground con- 
 sists of a returned woimded trooper, who, with his arm in a 
 sling, is describing a hand-to-hand fight in w^hich he received 
 his wound, making with his pipe the " head guard." Other 
 troopers are listening, one of whom has just come in from duty 
 in Queen's Guard uniform. It is a little bit of real barrack 
 life, as witnessed by the artist. The men are all portraits. 
 Some of them fought at Tel-el-Kebir, which is also noted in 
 the decorations. 
 
 282. THE FARNESE BULL. 
 
 Reproduction in Bronze. 
 
 The original in the Naples Museum is hewn out of a single 
 block of marble, and was discovered in 1547 in the Baths^;of 
 Caracalla at Rome, and set up in the Palazzo Farnese, being 
 removed to Naples in 1786. It is supposed to be the workj^of 
 the brothers Apollonius and Tauriscus, of the Rhodian School, 
 which flourished in the third Century, B.C. 
 
 It represents the two sons of Antiope, Amphion and Zethus, 
 avenging the wrongs of their mother by binding Dirce, who 
 had treated her with the greatest cruelty for many years, to the 
 horns of a wild bull. Antiope in the background exhorts them 
 to forgiveness. 
 
 Presented by Philip H. Ashberry, Esq. 
 
283. MOORLAND CATTLE, HIGGAR TOR, FOX HOUSE, NEAR 
 
 SHEFFIELD. W. H. PIGOTT. 
 
 Signed. Water Colottr 2oin. H. 38/n. IK. 
 
 284. PITY ! OH THE PITY. W. OLIVER. 
 
 Signed 1883. Canvas 24in. H. iSin.W. 
 Bequeathed by Thomas Waterhouse, Ksq. 
 
 285. AT THE WELL. W. OLIVER. 
 
 Signed 188$. Canvas 26in.H. iglin.W. 
 
 Bequeathed hy Thomas Waterhouse, Esq. 
 
 286. A SPANISH LADY. W. OLIVER. 
 
 Portrait of the artist's wife. 
 
 Initialed and dated 1880. Canvas $6in.H. 24lin.W. 
 Bequeathed by Thomas Waterhouse, Esq. 
 
 287. RED RIDING HOOD. W. OLIVER. 
 
 Signed 1866. Canvas ^^in.H. 2y-^in.W. 
 
 Bequeathed by Thomas Waterhouse, Esq. 
 
 288. CALAIS OLD PIER. J. J. WILSON. 
 
 Signed 1850. Canvas 24in. H. 4^lin.lV. 
 
 Bequeathed by Thomas Waterhouse, Esq. 
 
 The Etchings and Engravings numbered 289 to 321 
 have been presented by C. D. Pettinger, Esq., in 
 commemoration of the Coronation of King Edward VII. 
 
 289. STIRLING CASTLE. 
 
 Original Etching by DAVID LAW. 
 
 iiin.H. i6in.W 
 
 290. THE QUESTION. 
 
 From the Picture by MARCUS STONE, R.A. 
 
 I slin. H. I olin. W. 
 Engraved in Mezzotint by Normax Hirst. 
 
 291. LADY SLIGO. 
 
 From the Original Painting by GEORGE ROMNEY. 
 
 J4^in.H. i^lin.W. (Oval). 
 
 Engraved in Mezzotint by Gerald Robinson. 
 This is a portrait of Catterina Louisa, first Marchioness of Sligo 
 
40 
 
 292. A CORNER OF OLD ENGLAND. 
 
 From the Painting by C. E. JOHNSON, R.L 
 
 iSlin.H. 27\in.W. 
 Etched by A. BruneT-DebaineS. 
 
 293. THE SWAN INN, PANGBOURNE. 
 
 Original Etching by DAVID LAW. 
 
 Sin.H. i2in.W. 
 
 This subject forms one of the series by David Law of views 
 of favourite boating resorts on the Upper Thames. 
 
 294. BRACKLINN BRIDGE. 
 
 Original Etching by DAVID LAW. 
 
 i6in.H. iiin.W. 
 
 A representation of the beauty of the Highlands of Western 
 Scotland during the Autumn. 
 
 295. THE HERO'S TARGE, GLENFINLAS. 
 
 Original Etching by DAVID LAW. 
 
 win. H. i6in.W. 
 
 " That huge cliff, whose ample verge, 
 Tradition calls the hero's targe." 
 
 296. THE BRIG O'TURK. 
 
 Original Etching by DAVID LAW. 
 
 iiin.H. i6in.\V. 
 
 " When the Brig o'Turk was won 
 
 The headmost horseman road alone." 
 
 297. COILANTOGLE FORD. 
 
 Original Etchmg by DAVID LAW. 
 
 I iin,H. i6in.W. 
 
 298 THOUGHTS 
 
 From the Painting by MARCUS STONE, R.A. 
 
 i^\in. H. loin.W. 
 
 Engraved in Mezzotint by E. Gii,BERT Hester. 
 This forms a companion to " The Question," by the same 
 artist (No. 290). 
 
41 
 
 299. THE PARSON'S DAUGHTER. 
 
 From the Original Picture by GEORGE ROMNEY, R.A. 
 
 in the National Gallery. i4ltn.H. i^lm.W. (Oval). 
 
 Engraved in Mezzotint by Gerai^d Robinson 
 
 300. IN THE VALLEY OF DESOLATION. 
 
 From the Painting by CECIL LAWSON. 
 
 i4^in.H. iS^in.W. 
 
 Etched by David I^aw. 
 
 Cecil Lawson painted this picture for Mr. Mason's Gallery 
 at Bingley in the Autumn of i88o, and it was first exhibited at 
 the Grosvenor Gallery in the following year. It represents a 
 scene in the neighbourhood of Wharfedale, Yorkshire. As a 
 " remarque " Mr. Law has scratched a head of Cecil Lawson, 
 the artist. 
 
 301. THE WINDMILL. 
 
 From the Painting by JOHN LINNELL in the National Gallery. 
 
 i^^in.H. iSin.W. 
 
 Etched by David Law. 
 
 302. HARROW-ON-THE-HILL. 
 
 Original Etching by DAVID LAW. 
 
 ii^in.H. i^in.W. 
 
 Showing the Church, School Buildings, &c. 
 
 303. A PASSING CLOUD. 
 
 From the Painting by MARCUS STONE, R.A. 
 
 iS\in. H. 2gin.W. 
 Engraved in Mezzotint by E. Gii^bert Hester. 
 
 The scene is in a garden, a lady and her lover being the 
 subject. They have had a tiff. The lady has left her lover 
 seated at a table in pensive mood, looking very much as if he 
 were suffering from a fit of the sulks, while she, already 
 repentant, walks away. 
 
 304. WESTMINSTER ABBEY. 
 
 Etching by MONS. DELAUNEY. 
 
 24\in.H. ig\in.W. 
 
 305. A LITTLE FLIRT. 
 
 From the Painting by J. HAYNES WILLIAMS. 
 
 2oin.H. isiin.W. 
 
 Engraved by E. Gilbert Hester. 
 
 The scene is a ball room, or rather its vestibule, where a 
 lively girl in a satin dress sits on a couch and laughingly teases 
 her lover, who stands by her side in a diffident attitude 
 looking both vexed and piqued. 
 
42. 
 
 306. THE PASS OF ACHRAY. 
 
 Original Etching by DAVID LAW. 
 
 iiin.H. i6in.W. 
 " In the deep Trossachs wildest Nook." 
 
 307. THE FIRST LOVE LETTER. 
 
 From the Painting by MARCUS STONE, R. A. 
 
 Engraved in Mezzotint by B. Gii^BERT HESTER. 
 
 The young girl has got her first love letter, and is reading it 
 to a friend of whose sympathy she feels sure and on whose 
 experience she can rely. Both are seated at a rustic round 
 table under the shade of trees, and beyond them can be seen 
 the terraces and walks of the garden. 
 
 308. THE LADY OF THE WOODS. 
 
 From the Painting by JOHN MACWHIRTER, R.A. 
 
 22hn.H. is^in.W. 
 Engraved in line by John Saddi^er. 
 
 309. LORD OF THE GLEN. 
 
 From the Painting by JOHN MACWHIRTER, R.A. 
 
 22^in.H. islin.W. 
 
 Engraved in line by E. P. Brandard and Arthur Wiumore. 
 
 The scene of " The I^ady of the Woods," stands near 
 Ivoch Katrine, Perthshire, and that of the " Lord of the Glen " 
 in the neighbourhood of Loch Maree, Ross-shire. 
 
 310. THISBE. 
 
 From the Painting by EDWIN LONG, R.A. 
 
 ly^in.H. loin.W. 
 
 Engraved in line by Mons. G. Bertinot, Membre de 
 rinstitut de France. 
 
 " An envious wall the Babylonian maid. 
 From Pyramus, her gentle lover, stayed. 
 Yet here a tiny clink none else had seen, 
 Sufficed to bear Love's messages between, 
 They kissed its stony mouth like lovers true 
 But neither side would let the kisses through," 
 Ovid Met. 4, 55, seq. 
 
 The type the painter has chosen is that of a high-bom 
 Oriental, and his sitter on this occasion was a Castemerian 
 Princess, Her Highness the Princess Helen Rhundir Singh of 
 Kuppoorthalla. 
 
43 
 
 311. ALETHE. 
 
 Attendant of the sacred Ibis in the great temple of Isis at Memphis. 
 
 From the Painting by EDWIN LONG, R.A. 
 
 22 in. H. I ^^in.W. 
 
 Engraved by E. Gilbert Hester. 
 
 Alethe, the beautiful young priestess beloved by Alciphron 
 and the heroine of Moore's poem of The Epicurean," suffered 
 martyrdom at the hands of Orcus, High Priest of Memphis, for 
 embracing Christianity, circa. 255 A.D. 
 
 312. A HARROW GIPSY. 
 
 From the Painting by GEORGE ROMNEY, R.A. 
 
 ii'}in.H. glin.lV. 
 
 Engraved in Mezzotint by Miss E. E. Mii^neR. 
 
 The picture was exhibited in the " Old Masters " Exhibition, 
 Royal Academy, 1894, and was not engraved before then. The 
 picture is unfinished, but Miss Milner has mezzotinted the 
 plate with great skill, softness and fidelity, 
 
 313. MRS. WHATMAN. 
 
 From the Painting by GEORGE ROMNEY, R.A. 
 
 ii\in.H. g\in.W. 
 
 Engraved in Mezzotint by Miss E. Gui,];and. 
 
 314. THE ENTRANCE TO THE TROSSACHS. 
 
 Original Etching by DAVID LAW. 
 
 iiin.H. i6in.W. 
 
 *' As when the setting sun has given 
 Ten thousand hues to summer even." 
 
 315. A PEACEMAKER. 
 
 From the Painting by MARCUS STONE, R.A. 
 
 i'j\in. H. 2gin.W. 
 
 Engraved by E. Gli,BERT Hester. 
 
 A couple of lovers have quarrelled, and a reconciliation is 
 about to be effected by a yoimg sister. The peacemaker 
 coaxingly takes the arm of the petulant girl, and is about to 
 lead her back to her affianced, who stands a little way off half 
 inclined to quit the scene. 
 
 316. HE BEARS HIS BLUSHING HONOURS THICK UPON HIM." 
 
 From the Painting by W. H. TROOD. 
 
 Etched by C. O. Murray. i4fm.H. lofm.T'T. 
 
 An Artist proof upon Japan paper. 
 
44 
 
 317. MARGARETTE. 
 
 From the Painting by SIR THOMAS LAWRENCE, P.R.A. 
 
 22 |r« . H. 1 7f m . W. 
 
 Engraved in Mezzotint by E. Gii^BERT HESTER. 
 
 318. A WELCOME FOOTSTEP. 
 
 From the Painting by MARCUS STONE, R.A. 
 
 2$m.H. i^Un.W. 
 
 Engraved in Mezzotint by E. GiivBERT HESTER. 
 The original of this painting is in the possession of Mr. James 
 Murray, M.P., Glenburnie Park, Aberdeen. 
 
 319. BEATRICE. From the Painting by W. E. MILLER. 
 
 iglin.H. i6^in.W. 
 
 Engraved in Mezzotint by Mrs. M. Cormack. 
 
 " Such eyes were in her head 
 And such grace and power." 
 
 320. THE LITTLE FORTUNE TELLER. 
 
 From the Painting by SIR JOSHUA REYNOLDS, P.R.A. 
 
 22Un.H. lyin.W. 
 
 Engraved in Mezzotint by R. S. Clouston. 
 
 321. THE PASS OF BEAL-NAM-BOO. 
 
 Original Etching by DAVID LAW. 
 
 iiin.H. i6in.W. 
 
 322. JEPHTHAH'S DAUGHTER : The Last Day of Mourning. 
 
 H. N. O'NEIL, A.R.A. 
 
 Signed and dated 1849. Canvas S4in.H. 72lin.IV. 
 
 Presented by Sir Frederick T. Mappin, Bart. 
 
 " And when the two months had expired she returned to 
 her father, and he did to her according as he had vowed." 
 
 — Judges, chap. xi. 
 
 323. ROCHE ABBEY, YORKSHIRE, 1768. 
 
 PAUL SANDBY, R.A. 
 
 Water Colour isin.H. igin.W. 
 Bequeathed by W. A. Sandby. 
 
 324. LANDSCAPE, WITH CASTLE AND WATERFALL. 
 
 PAUL SANDBY, R.A. 
 
 Water Colour S^in.H. ii^in.W. 
 Bequeathed by W. A. Sandby. 
 
4S 
 
 325. MIDDLEHAM CASTLE, YORKSHIRE, 1770. 
 
 PAUL SANDBY, R.A. 
 
 Water Colour ii^in.H. id^^in.W. 
 Bequeathed by W. A. Sandby. 
 
 326. KING JOHN'S PALACE AT ELTHAM. 
 
 PAUL SANDBY, R.A. 
 
 Water Colour jiyn.H. lylin.W. 
 Bequeathed by W. A. Sandby. 
 
 327. LANDSCAPE. PAUL SANDBY, R.A. 
 
 Water Colour ipn.H. 2oin.W. 
 Bequeathed by W. A. Sandby. 
 
 328. RIVER SCENE. PAUL SANDBY, R.A. 
 
 Water Colour 1 1 in. H. 15 \in. W. 
 Bequeathed by W. A. Sandby. 
 
 329. FORT ROUGE, CALAIS. 
 
 From the Painting by CL ARKS ON STANFIELD, R.A. 
 
 Coloured Engraving i^in.H. loin.W. 
 Presented by W. H. Booth. 
 
 330. AN OFFERING TO MARS. 
 
 PIETER BREUGHEL, the younger. 
 
 On Metal 2iin.H. 2gin.W. 
 Presented by W. Mercer. 
 
 331. SCENE FROM " THE BRIDE OF LAMMERMOOR. " 
 
 W. P. FRITH, R.A. 
 
 Canvas 1 7 ^^in .H. 13 ^in. W. 
 Bequeathed by H. Herbert Andrew. 
 
 ' ' Lucy returned the scornful glance of her lover with a gaze, 
 from which perception seemed to have been banished ; yet she 
 seemed partly to have understood his meaning, for she raised 
 her hands as if to undo a blue ribbon which she wore around 
 her neck. She was unable to accomplish her purpose, but 
 Lady Ashton cut the ribbon asunder, and detached the broken 
 piece of gold, which Miss Ashton had till then worn concealed 
 in her bosom ; the written counterpart of the lovers' engage- 
 ment she for some time Jiad had in her own possession. With 
 a haughty courtesy she delivered both to Ravenswood, who 
 was much softened when he took the piece of gold." — Scott. 
 
46 
 
 332. LATHKILL DALE, DERBYSHIRE. YEEND KING. 
 
 Canvas isiin.H, 2ol^in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 333. FIRELIGHT REVERIES. FRANCIS C. JONES. 
 
 Canvas 26in.H. 2j^in,W. 
 Bequeathed by H. Herbert Andrew. 
 
 334. WINTER SCENE : SHEEP. ERNST MEFFSNER. 
 
 Canvas 26in.H. 4oin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 335. THE LETTER. W. OLIVER. 
 
 Canvas ^6in.H. 28in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 335. AMERICAN RIVER SCENE. R. W. van BOSKERCK. 
 
 Canvas 2oin.H. 30/;^. IF. 
 Bequeathed by H. Herbert Andrew. 
 
 337. WAITING FOR THE KING'S FAVOURITE. 
 
 LASLETT J. POTT. 
 
 Signed and dated 187 y. Canvas 36m. H. 6oin. W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 333. THE CONNOISSEURS. HOWARD KELIvIICK. 
 
 Canvas 2di}uH. 2oin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 339. THE LAST GLEAM : VIEW NEAR WORCESTER. 
 
 B. W. LEADER, R.A. 
 
 Signed and dated 1 87 1 . Canvas 4 1 \in. H. 59m. W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 310. THE GIRL AT THE WELL. ANTONIO PAOLETTI 
 
 Panel iSin.H. i2in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 311. THE^SINGING LESSON. A. LUDOVICI. 
 
 Canvas 28in.H. 46in.IV. 
 Bequeathed by H. Herbert Andrew. 
 
47 
 
 342. THE TOILET. S. LEWIN. 
 
 Signed and dated 1889. Panel i2\in.H. g^in.W 
 
 Bequeathed by H. Herbert Andrew. 
 
 343. A LADY. W. OLIVER. 
 
 Canvas 13m. i/. g^in.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 344. THE GIPSY. W. OLIVER. 
 
 Canvas lyin.H. loin.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 345. LANDSCAPE— SUNSET : NEAR CANTERBURY. 
 
 D. SHERRIN. 
 
 Canvas ig^in.H. ^g^in.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 346. FORTY WINKS. S. LEWIN. 
 
 Signed and dated 1888. Panel 2^in.H. iSin.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 347. THE GOSSIPS. HOWARD HELMICK. 
 
 Signed and dated 1S77. Canvas iSin.H. 22in.IV. 
 
 Bequeathed b}'^ H. Plerbert Andrew. 
 
 348. A BREEZY BIORN, GLEN MASS AN, ARGYLESHIRE. 
 
 W. WATSON. 
 
 Signed and dated 1894. Canvas 2^\in.H. SSiz^.I-F. 
 
 Bequeathed by H. Herbert Andrew. 
 
 349. THE DUNMOV/ FLITCH. R. HILLINGFORD. 
 
 Canvas ly-Hn.H. 24111. W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 350. SCENE FROM " THE LAY OF THE LAST MINSTREL." 
 
 R. BEAVIS. 
 
 Signed and dated 1864-70. Canvas jojvz. /f . ^^in.W. 
 Bequeathed by 11. Herbert Andrew. 
 
 The Ladye of Branksome gathered a band 
 Of the best that ^^'Ould ride at her coniniand. 
 The Trysting place was N^.wark Lee " — Scott. 
 
 351. ON THE RIVER SEVERN. B. W. LEADER, R.A. 
 
 Signed and duted 1897. Canvas i2in.H. liii.i.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
43 
 
 852. A RHODE ISLAND RIVER. R. W. van BOSKERCK. 
 
 Canvas 44^in.H. 6sin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 363. PLACE DE LA CONSTITUCION A JEAN, SPAIN. 
 
 F. BOSSUET. 
 
 Signed and dated i88o. Canvas 2>^\in.H. $^\in.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 354. SPORT. G. JACQUET. 
 
 Panel i2\in.H. Slin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 355. MUSIC. G. JACQUET. 
 
 Panel i2\in.H. g\in.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 356. GOOD NEWS. G. JACQUET. 
 
 Panel ii^in.H. g^in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 357. THE QUEEN AND HER MARIES. G. G. KILBURNE. 
 
 Water Colour i2in.H. ie,in.W. 
 
 Bequeathed by H. Herbert Andrew. 
 
 The personal attendants of Mary Queen of Scots were all 
 named Mary, hence the title. 
 
 358. COAST SCENE. T. B. HARDY. 
 
 Signed and dated 1879. Water Colour i2in.H. 2oin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 359. SIR PETER LELY PAINTING THE PORTRAIT OF MARY OF 
 
 MODENA. G. G. KILBURNE. 
 
 Initialed and dated 1874. Water Colour Shn.H. i^in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 360. EDWINSTOWE, NOTTS. FRANK SALTFLEET. 
 
 Signed and dated 1888. Water Colour i^^in.H. 20!.n.W. 
 Bequeathed by H. Herbert Andrew. 
 
 361. OFF BOULOGNE. T. B. HARDY. 
 
 Signed and dated 1878. Water Colour \6\in.H. 28/;?. U'. 
 Bequeathed by H. Herbert Andrew. 
 
40 
 
 362. LINCOLN. FRANK SALTFLEET. 
 
 Signed and dated 1888. Water Colour i^in.H. 2iin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 363. PEASANT, WITH CATTLE. R. BEAVIS. 
 
 Signed and dated 1864. Water Colour iS^in.H. 24]-fwJr. 
 Bequeathed by H. Herbert Andrew. 
 
 364. THE MOUTH OF THE HARBOUR. T. B. HARDY. 
 
 Water Colour gin.H. 22in.W. 
 Bequeathed by H. Herbert Andrew. 
 
 365. OFF THE MUMBLES, near SWANSEA. T. B. HARDY. 
 
 Water Colour 28in.H. 41 in . W. 
 Bequeathed by H. Herbert Andrew. 
 
 366. NEAR TORQUAY. T. B. HARDY. 
 
 Signed and dated 1895. Water Colour 28in. H. ^lin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 367. RIVER AND WINDMILL. Etched by W. H. SHELTON 
 
 from the picture by R. W. van BOSKERCK. 
 
 Etching i2in.H. 2oin.W. 
 Bequeathed by H. Herbert Andrew. 
 
 368. THE ALCHYMIST. HOWARD HELMICK. 
 
 Signed and dated 1883. Canvas 2oin.H. 24/77. IF. 
 Presented by Mrs. E. G. Wragg. 
 
 369. SIR FREDERICK THORPE MAPPIN, Bart. 
 
 WILLIS EADON. 
 
 Water Colour iT^lin.H. oMn.W, 
 Presented by Councillor F. A. Kelley, J. P. 
 
 370. PORTRAIT OF THE ARTIST. 
 
 SIR FRANCIS CHANTREY, R.A. 
 
 Canvas i6Hn.H. i^^in.W, 
 Bequeathed by Mrs. Wm. Smith. 
 
 371. THE FORD. T. CRESWICK, R.A. 
 
 Canvas 2iin.H. 2^\in.W. 
 Bequeathed by H. C. Brunuing. 
 
372. SIR FREDERICK THORPE MAPPIN, Bart., M.P. 
 
 W. W. OULESS, R.A. 
 
 Signed and dated 1S92. Canvas $oin.H. 4oin.W. 
 
 " In grateful recognition of the many valuable services 
 rendered by him this portrait of Sir Frederick Thorpe Mappin, 
 I'art., M.P., vvas presented to his native town of Sheffield by 
 his fellow townsmen," 
 
 373. FALLS NEAR PONT-Y-CEFN, NORTH WALES. 
 
 JAMES POOLE. 
 
 Canvas i4in.H. 2ofzn.IF. 
 Bequeathed by William La vers. 
 
 374. CLOGWYN MAWR, NEAR CAPEL CURIG. 
 
 JAMES POOLE. 
 
 Canvas 26in.H. ^6in.W. 
 Bequeathed by William La vers. 
 
 375. LAGO MAGGIORE. JAMES POOLE. 
 
 Water Colour <,lin.H. g^in.W. 
 Bequeathed by William Layers. 
 
 376. VIEW OF BLABBIN MOUNTAIN, FROM SHORE OF LOCH 
 
 SLAPIN, ISLE OF SKYE. JAMES POOLE. 
 
 Signed and dated 1866. Water Colour i^^in. H. 2i^in.W. 
 Bequeathed by William Lavers. 
 
 377. THE WOMEN AT THE SEPULCHRE. 
 
 GEORGE JONES, R.A. 
 
 Sepia Drawing. jS^in.H. i4^in.W. 
 Presented by Miss J. Keightley. 
 
 378. THE DAY OF JUDGMENT. GEORGE JONES, R.A. 
 
 Initialed " G. J. i86y." Sepia Drawing. ()\in.H. i2in.W. 
 Presented by Miss J. Keightley. 
 
 "And there shall be "signs in the sun, and in the moon, and 
 in the stars ; and upon the earth distress of nations, with 
 perplexit}^ ; the sea and the waves roaring ; 
 
 Men's hearts failing them for fear, and for looking after 
 those things which are coming on the earth : for the powers 
 of heaven shall be shaken." 21s/ St. Lithe, 25, 26 verses. 
 
5k 
 
 379. THE PASSAGE OF THE RED SEA. GEORGE JONES, R.A. 
 
 Sepia Drawing gin.H. iiin.W. 
 Presented by Miss J. Keightley, 
 
 380. THE PEOPLE LEAVING ROME DURING THE CONFLAGRA- 
 
 TION OF THE CITY IN THE REIGN OF NERO. 
 
 GEORGE JONES, R.A. 
 
 Brown Sepia Draiving gin.H. i2\in.W. 
 
 Presented by Miss J. Keightley. 
 
 381. THE DROWNING OF AGRIPPINA. 
 
 GEORGE JONES, R.A. 
 
 Signed and dated 1837. Sepia Drawing S\in. H. ii^in.W. 
 Presented by Miss J. Keightley. 
 
 382. THE PUNISHMENT OF LOKE. GEORGE JONES, R.A. 
 
 Signed. Sepia Drawing i^^^in.H. izin.W. 
 Presented by Miss J. Keightley. 
 Norse Mythology E^dda 21, Table 224. 
 
 383. THE ENTOMBMENT. GEORGE JONES, R.A. 
 
 Initialed. Sepia Drawing 1 1 ^in. H. g\in. W. 
 Presented by Miss J. Keightley. 
 
 384. PERI AT THE GATE OF PARADISE. GODFREY SYKES. 
 
 Canvas zS^in.H. iG^in.W. 
 
 ''One morn a Peri at the gate 
 Of Kden stood disconsolate." — Moore's " Lalla Rookh." 
 
 Purchased. 
 
 335. PORTRAIT OF MISS BRAMMALL. 
 
 SIR FRANCIS CHANTREY, R.A. 
 
 Canvas ^oin.H. 2c,\in.W. 
 Bequeathed by Mrs. A. J. Milner. 
 
 336. TWO FAVOURITE CHICKENS GOING TO MARKET. 
 
 From the painting by W. R. BIGG, A.R.A. 
 
 2oin.H. 2^\in.W. 
 
 Engraved in mezzotint by W. Pether, F.S.A. 
 Bequeathed by Mrs. A. J. Mihicr. 
 
S2 
 
 387. SCENE FROM THE "VICAR OF WAKEFIELD." 
 
 E. 6USTAVE GIRARDOT. 
 
 Canvas ^oin .H. 5 1 ^ m . W. 
 
 Presented by Mrs. J. Dickinson Baton. 
 
 "And art thou returned to me, my darling, cried I to be 
 my comfort in age ? ' That she is ' cried Jenkinson, ' and 
 make much of her, for she is your own honourable child and 
 as honest a woman as any in the whole room, let the other be 
 who she will — And as for you Squire, as sure as you stand 
 there this young lady is your lawful wedded wife, and to 
 convince you that I speak nothing but the truth, here is 
 the licence by which you were married together.' So saying 
 he put the licence into the Baronet's hand." 
 
 The scene is in the gaol where Dr. Primrose had been in- 
 carcerated by Thornhill. Here his family is restored to him. 
 He is embracing his daughter, OHvia, whom he supposed was 
 dead. It is the last scene in the book before the double 
 wedding. 
 
5. THE PIAZZA NAVONA AT ROME. 
 
 DAVID ROBERTS, R.A, 
 
' 23. TROUT FISHING NEAR RICHMOND, YORKSHIRF. 
 
 E. J. NIEMANN. 
 
 33. THE VILLAGE INN. 
 
 GEO. MORLAND. 
 
57 
 
114, 
 
 VINTAGE OF SEVILLE, 
 
 J. PHILLIP, 
 
121. THE PROPOSAL. 
 
 SIR J. EVERETT MILLAIS, R.A. 
 
 180. A MOUNTAIN WATERFALL IN SNOWDONIA. W. MULLER. 
 
63 
 
155. THE SPIRIT OF CHIVALRY. DANIEL MACLISE, R.A. 
 
164. THE FRENCH IN CAIRO. 
 
 WALTER C. HORSLEY. 
 
 145. THE FL'VG OF TRUCE. 
 
 J. PETTIE, 
 
 R.A. 
 
179. IN MORA MORTIS (IN THE HOUR OF DEATH). 
 
 W. C. SYMONS. 
 
00 
 
70 
 
203. MORNING OF THE BATTLE OF WATERLOO. 
 
 E. CROFTS, R.A. 
 
72 
 
 227. FOREST SCENE. 
 
 C. JACQUE. 
 
219. REST. 
 
 C. N. KENNEDY. 
 
223. JUDGE JEFFREYS BULLYING RICHARD BAXTER. 
 
 E. M. WARD, R.A. 
 
124. 
 
 AULD ROBIN GRAY. 
 
 T. FAED, R.A. 
 
INDEX OF ARTISTS. 
 
 ADAMS J. CLAYTON 207 
 
 Died June 20, 1906, aged 66. 
 
 ANDRE, ED. 214 
 
 ANDREOTTI, F 197 
 
 ANKER, A 109 
 
 ANSDELL, R., R.A. ... 189 
 
 Born at Liverpool in 1815 ; was elected A. R.A. in 1861, and R.A. in 1870. He 
 died at Farnborough in 1885. Ansdell's name as an artist is entirely associated with 
 the delineation of animals and incidents of a sportsman's life, many of his pictures 
 being well-known by engravings. He first exhibited in the Royal Academy in 1840. 
 
 ARMITAGE, EDWARD, R.A 22, 94 
 
 Born in London 1817 ; died May 24, 1896. At the age of 26 he was awarded a 
 prize of £300 in the competition for the decoration of the House of Parliament, and 
 ultimately painted two frescoes in the upper Waiting Hall. He was elected an 
 Associate of the Royal Academy in 1867, and a full member in 1872. In 1875 he was 
 appointed lecturer on painting. His pictures chiefly relate to Historical and Scrip- 
 tural Subjects. 
 
 AUMONIER, JAMBS 24 
 
 Born in London, where he died Oct. 4, 1911. Whoi a young man be was employed 
 as designer for printed cahcoes by a London firm, and never had any special art 
 training. He was a member of the Royal Institute of Painters in Water Colours, 
 received Heywood Gold Medal from the Council of the Manchester Royal Institution 
 in 1876 ; medal of the First Order of Merit at Melbourne in 1887, and a gold medal 
 at the Paris International Exhibition in 1889. 
 
 BARKER, T. JONES 235 
 
 Born at Bath in 1815, the son of Thomas Barker, the painter of landscape and 
 rural life, known as "Barker of Bath," he received his early art training from his 
 father. At the age of 19 he went to Pa ris, and entered the studio of Horace Vernet. 
 He painted military subjects chiefly, and died on March 29, 1882 
 
 BARNES, E. 63 
 
 BEAVIS, RICHARD 222, 350, 363 
 
 Born at Exmouth in 1824, owing to parental restrictions it was not until he was 
 22 years of age that he became an art student on entering the Government School of 
 Design, Somerset House, London, in 1846. Four years later he became designer to 
 a firm of decorators in London, then continued to occupy his leisure in the practice 
 of painting both in oils and water colours, until the success of his pictures enabled 
 him in 1862 to devote himself entirely to painting. He died on November 13, 1896. 
 
 BEETON, J. 32 
 
 BERTINOT, G 310 
 
 A French engraver, born at Louviers (Eure), June 22, 1822. He wa.5 a pupil of 
 Drolling and Martinet, gained the ' Prix de Rome ' in 1850, a medal of the first class 
 and the Cross of the Legion in 1867. He succeeded his master. Martinet, at the 
 Acad^mie des Beaux Arts in 1878, and died on April 19, 1888. 
 
 BLAAS, EUGENE VON DE 191 
 
 Professor of Painting at the Vienna Academy. 
 
 BOEHM, SIR JOSEPH EDGAR, R.A. 267 
 
 Bom in Vienna, July 6, 1834, where he received his early education. He studied 
 also in Italy and Paris, but settled in England in 1862, where he was soon recognised 
 as a sculptor of great abUity. He executed various commissions for the Queen, and 
 many pubUc statues in England and India. He was elected A.R.A. in 1878, and R.A. 
 in 1882. He died suddenly in his studio December 12, 1890. 
 
u 
 
 BONHEUR, FRANCOIS AUGUSTS 218 
 
 Born at Bordeaux in 1824, and was taught painting by his father, with his sister, 
 Rosa Bonheur. He was best known by his landscapes with cattle. His death 
 occurred in Paris on February 21, 1884. 
 
 BONHEUR, PEYROL 193 
 
 BONHEUR, ROSA 125 
 
 Born at Bordeaux, March 22, 1822, and died in Paris in July, 1899. Was un- 
 rivalled amongst her own sex for her delineation of the various forms of animal life. 
 She dressed in male attire, and visited horse fairs and other places, where she could 
 study the various forms and actions of animals, many of which she kept alive in close 
 contiguity to her studio. 
 
 BONINGTON, RICHARD PARKES 68 
 
 A landscape painter. Born near Nottingham in 1801 ; and died in 1828. He 
 spent a great part of his short career in France and Italy, where most of his pictures 
 were painted. 
 
 BOSKERCK, R. W, van 336, 352, 367 
 
 BOSSUET, F 353 
 
 BOUGHTON, GEORGE H., R.A 38 
 
 Born near Norwich in 1836, but went to the United States when three years of 
 age, and remained there until 1860. One of his earliest pictures, exhibited in 
 England, related to the same subject as the one in this Gallery. He was elected 
 A.R.A. in 1879, R.A. in 1896. He died on January 19 1905. 
 
 BOURCE, HENRI 12 
 
 BRANDARD, E. P 309 
 
 Born in 1819, he worked with his elder brother, R. Brandard, the eminent hne- 
 engraver. He engraved several of the works of J. M. W, Turner, who often visit-ed 
 the engraver's studio to touch up the proofs. He died on April 3. 1898. 
 
 BRANWHITE, CHARLES 17 
 
 A native of Bristol, born in 1818, he was a pupil of his father, a miniature 
 painter. A close friendship with Miiller, with whom he studied, had marked in- 
 fluence on Branwhite's style. He died in 1880. 
 
 BREUGHEL, PIETER, the younger 330 
 
 Son of an artist, he was born at Brussels in 1564, and died at Antwerp, 1638. 
 
 BREWTNALL, EDWARD FREDERICK 226 
 
 Born in 1847, he became a well-known painter in water colours, and was a 
 frequent exhibitor at the Royal Society of British Artists, of which he was elected 
 a member in 1882. Later he worked in oils and contributed to the Royal Academy 
 up to the time of his death in 1902. 
 
 BRIGHT, HENRY 53, 60, 102 
 
 Bom at Saxmundham, Suffolk, in 1814, he was at first apprenticed to a chemist, 
 becoming later dispenser in the Norfolk and Norwich Hospital. In the latter city he 
 became associated with Crome, Cotman and others of the Norfolk School, and 
 adopted art as a profession, removing to London where he joined the Institute of 
 Water-Colour Painters. He painted in oils as well as water colours, his first oil 
 painting being exhibited at the Royal Academy in 1845. He died at Ipswich in 1873. 
 
 BROCKY, CHARLES 177 
 
 Born at Banat in Hungary in 1808, he died in 1855. After many vicissitudes, in- 
 cluding that of a strolling player, he was at length placed in a free drawing school 
 at Vienna, whence he went to Paris and studied at the Louvre. When about 30 years 
 of age he came to London, exhibited his first picture in the Royal Academy and was 
 
 afterwards a regular contributor to the annual exhibitions. 
 
 BRUNET-DEBAINES, A 292 
 
 BUBGENS, H. J 243 
 
 BURR, ALEXANDER HOHENLOHE ... 131, 138, 242 
 
 Brother of .John Burr, with whom he received his art instruction at the Trustees' 
 Academy, Edinburgh. The brothers removed to London in 1861. He first exhibited 
 at the Royal Academy in 1860, and his last contribution was in 1888. 
 
lii. 
 
 BURR, JOHN" lot 
 
 Born in Edinburgh in IS.M, he received his training at the Trustees' Academy in 
 that city, and first exhibited at the Royal Scottish Academy in 1850. With hi; 
 brother he removed to London in 1861, where he exhibited frequently at tlio Jloyal 
 Academy and other exhibitions. He was for soma time president of tin IJoyal 
 Society of British Artists. He died on February 8, 1893. 
 
 CALLIAS, H. DB 158 
 
 CA3IMARAN0, MICHELE 243 
 
 CASTAGNOLO, E. T 153 
 
 CERIEZ, T. 46 
 
 CHAILLOU, 57, 134 
 
 CHAMBERS, GEO ... 105 
 
 Son of a seaman of Whitby, Yorksliire, where he was born in 1803. At a very 
 early age he was sent to sea, and soon displayed his talent for art by making sketches 
 of shipping for the gratification of the seamen. Afterwards coming to London, he 
 achieved considerable fame as an excellent painter of shipping. He died in 1840. 
 
 CHANTREY, SIR FRANCIS LEGGATT, R.A 256, 257, 370, 385 
 
 Born at Norton, near Sheffield, April 7, 1781. At the age of 16 he was apprenticed 
 to Ramsay, carver, of Sheffield, for seven years, and soon disi)layed considerable 
 talent by drawing portraits and landscapes in pencil. In 1802 he made a compo'^ition 
 with Ramsay for the remaining period of his articles, and set up as a portrait painter, 
 having his studio at 24, Paradise Square. About this time he also oommcnced 
 studying at the Royal Academy, and had a studio in London. After 1804 lie devoted 
 himself almost exclusively to sculpture. His first picture was exhibited in the Royal 
 Academy in 1804 : and the first bust which he executed in marble M-as that of tlie 
 Rev. J. Wilkinson, now in the Sheffield Parish Church. Hi3 professional \i«its to 
 Sheffield ceased about 1808, and he afterwards resided in London, viuting I'aris in 
 1814, and Italy in 1819. He was elected A.R.A. in 1815, and ll.A. in 1818, and died 
 suddenly Nov. 25, 1842. He left the bulk of his property to the Eoyal Academy to 
 found the fund known as the Chantrey Bequest, with the view of establishing a 
 national collection by the purchase of the most valuable works in sculpture and 
 painting by artists of any nation residing in Great Britain. 
 
 CHIALIVA, L 161 
 
 CLAYS, PAUL JEAN 41, 74, 172 
 
 Belgian marine painter, born at Bruges in 1819. He completed his art education 
 in Paris, and afterwards estabUshed himself in Brussels. Following the methods of 
 the old Dutch masters, with his fine sense of colour, and broad simple style, he soon 
 
 made a name for himself. He was an officer of the Legion of Honour. His death 
 took place at Brussels, on February 10, 1900. 
 
 CLOUSTON, R. S 320 
 
 COLE, GEORGE ... 228 
 
 Born in 1808, he started his artistic career at Portsmouth as a painter of ])ortraits 
 and animals, without any special tuition. After settling in London, where he first 
 exhibited in 1840, he devoted himself to landscape painting up to the time of his 
 death in September, 1883. 
 
 CONSTABLE, JOHN, R.A ... 91, 92, 146 
 
 Bom in Suffolk in 1776, he early evinced a taste for landscape painting, a branch 
 of art to which he exclusively devoted himself. He is described by C. R. Leslie, 
 R.A., as the most genuine painter of English cultivated scenery, leaving untouched 
 its mountains and lakes. He was elected A.R.A. in 1829, and 10 years later he 
 became a full member. He lived much in the open air, receiving in^iiiration for his 
 pictures direct from nature, though it was many years before his genius was apprec- 
 iated in England. Three of his pictures, placed in the Salon in 1824, by a French 
 speculator, who had purchased them at the Royal Academy, created a sensation in 
 Paris, and the King of the French awarded Constable a gold medal. In 1827 he took 
 up 'his abode at Hampstead, where he says " my little studio commands a view 
 without an equal in all Europe," His death came suddenly in London, on April lat, 
 1837. 
 
iv. 
 
 COOKE, EDWARD WILLIAM, R.A. 139 
 
 Born in London in 1811, he became at an early age, the pupil and assistant of 
 his father, who was well-known as an engraver of Turner's pictures. As the result 
 of this training, young Cooke early published a set of etched i)lates, but at the age of 
 21 he determined to adopt oil painting instead of engraving. He exhibited for the 
 first time in the Royal Academy in 1835, and was afterwards a regular contributor to 
 the Academy, of which he became an Associate in 1851, and a full member in 1864. 
 Sea pieces and fishing craft form the chief subjects of his paintings, many of them 
 being views on the Thames, the Medway and the English Coast, but he also painted 
 in Holland, France, as well as scenes from the lagoons of Venice. He died at 
 Groombridge, near Tunbrldge Wells in 1880. 
 
 COOPER, THOMAS SIDNEY R.A 15, 156, 174, 209 
 
 Born at Canterbury in 1803, he early attracted attention by his delineation of 
 cattle. He was specially noted as a cattle painter, and his pictures soon gained the 
 popular taste. At the age of 20 he went to London, and became a student at the 
 Royal Academy. From 1827 to 1831 he resided in Brussels, then settled in London, 
 exhibiting his first picture at the Academy in 1833, afterwards contributing annually 
 until the year of his death. He was elected A.R.A. in 1845, and R.A. in 1867. To 
 his native city of Canterbury he was a generous benefactor, his most notable gift 
 being the " Sidney Cooper Art Gallery," erected on the site of the house in which 
 he was born. He died on February 7, 1902 at the ripe age of 98. 
 
 CORMACK, Mrs M 319 
 
 COX, DAVID 31 
 
 Born in Birmingham in 1783, he began his career as a colour-grinder to the 
 Birmingham Theatre, and was ])romoted to the post of a scene painter. He removed 
 to London in 1803, and in 1805 paid his first visit to Wales, which was afterwards 
 the favourite scene of his labours. He received a few lessons in water-colour 
 painting from John Varley. Late in life he began to practice oil painting, after some 
 lessons from William Miiller, but his fame chiefly rests upon his water-colour 
 drawings, and as early as 1813 he was elected a member of the Society of Painters 
 in Water- Colours. In 1814 he removed to Hereford, where he was drawing master 
 in a ladies' school, and while there he published a "Treatise on Landscape Painting 
 and Effect in Water-Colours." In 1827 he returned to London, but only for a few 
 years, liis homely habits craving a quieter residence, and he finally settled at 
 Harborne, near Birmingham, where he died on the 7th of June, 1859. 
 
 CRESWICK, THOMAS. R.A 19, 26, 56, 90, 122, 209, 371 
 
 A native of Sheffield, born in 1811, he was sent when young to study under 
 J. V. Barber, of Birraiugham. In 1828, he went to London and at once became an 
 exhibitor at the Royal Academy, and was a regular contributor to the annual ex- 
 hibitions until his death in 1869. He was a landscape painter of singular power and 
 refinement, with a mastery of colour and atmospherical eflects that was scarcely 
 excelled, specially delighting in the quiet beauties of inland scenery, with its ripphng 
 streams, riverside noolcs, glens and dells. He painted many pictures in conjunction 
 with contemporary artists, and took an active part in the proceedings of the Royal 
 Academy after he becanie an Academician in 1851. In 1842 he was awarded a 
 premium of fifty guineas by the British Institution, and the same year was elected 
 A.R.A. His R.A. diploma is in the Sheffield Museum. 
 
 CROFTS, ERNEST, R.A 54, 93, 203 
 
 Bom at Leeds in 1847. Elected A.R.A. in 1878, R.A. in 1896. Died March 
 19, 1911. His chief works were pictures of mihtary events, in which he records the 
 practical facts of war with careful accuracy, and the closest attention to detail, while 
 the accuracy of the uniforms and accoutrements can always be reUed upon. 
 
 OROME, JOHN 100 
 
 Known as Old Crome, to distinguish him from his son, also a painter. Born at 
 Norwich in 1769, the subjects of his pictures are chiefly taken from his native county, 
 though he also painted in the Lake District, on the Wye, and in Holland and France. 
 He died in 1821. He rarely exhibited in the Royal Academy, his works being eagerly 
 purchased at moderate prices in his native city, where he founded "The Norwich 
 Societv of Painters," which brought out the distinguished group of painters known 
 as "The Norwich School." 
 
 DANBY, FRANCIS, A.R.A 208 
 
 Born near Wexford, Ireland, in 1793, he studied under a landscape painter named 
 O'Connor, in Dublin, where his first picture was exhibited in 1812. In the following 
 
V. 
 
 year he came to Bristol, where he resided for some years, and sent his first picture 
 to the Royal Academy in 1824, being elected an Associate in 1825. He spent 11 years, 
 from 1830 to 1841, in Switzerland, devoting little time to his art, which, however, he 
 took up with renewed enthusiasm on his return to England. He died in 1861 at 
 Exmouth, where he had resided since 1847. 
 
 DANSAERT, L. M. C 151 
 
 DAVIS, HENRY WILLIAM BANKS, R.A 34, 183 
 
 Born in 1833, he was elected A.R.A. in 1873, and R.A. in 1877. His pictures of 
 cattle and sheep always have a setting of landscape of a very high order of beauty, 
 with skilful delmeation of atmospheric effects, especially in the varied range of his 
 Scotch scenes. 
 
 DAWSON, HENRY 204 
 
 Born at Hull in 1811, he began life in a Nottingham lace factory. He adopted 
 art as a profession in 1835, but for a long time he met with scant encouragement from 
 the public. In 1844, he removed to Liverpool, where he remained for five years, and 
 then took up his residence in London. He died in 1878. 
 
 DELAUNEY 304 
 
 DOBSON, WILLIAM CHARLES THOMAS, R.A 9 
 
 Born at Hamburg in 1817, his father being an English merchant in that city, and 
 came to London in 1825. Dobson entered the Royal Academy as a student in 1836. 
 For a couple of years he was head master of the School of Design in Birmingham, 
 resigning that post in 1845 when he went to Italy. From there he went to Germany, 
 where he remained for several years. He painted both in oil and water-colours, the 
 subjects of his pictures being chiefly scriptural. In 1867 he was elected A.R.A., and 
 R.A. in 1872. His death occurred at Ventnor in 1898. 
 
 DUBUFE, EDOUARD 271 
 
 Son of the French historical and portrait painter, he was born in Paris in 1820, 
 where he studied art under his father and Paul Delaroche. He exhibited his first 
 picture at the Salon in 1839, his earlier works being mostly of a religious nature, 
 while later he became a famed and fashionable portrait painter. He died at 
 
 VersaiUes in 1883. 
 
 DUNCAN, EDWARD 205 
 
 Marine painter, born 1802, died 1882. 
 
 DUVERGBR, THBOPHILE ... ... 136 
 
 French artist, born at Bordeaux, September 17, 1821. 
 
 EADON, WILLIS (Sheffield) 369 
 
 JEARLE, T 10?, 
 
 EGG, AUGUSTUS LEOPOLD, R.A 160 
 
 Born 1816, and entered the Ptoyal Academy as a student in 1836. Was elected 
 A.R.A. in 1848, and R.A. in 1860. He painted comparatively few pictures, the 
 subjects being historical or fancy compositions from classic fable and fiction, and 
 altogether only exhibited 28 works at the Royal Academy. He died at Algiers in 1863. 
 
 ELLIS, EDWIN 157 
 
 Born at Nottingham in 1843, and died in 1895. He received no regular art 
 training, but early developed a sincere appreciation of the motion and moods of the 
 sea, ultimately developing into a very powerful painter of sea effects. 
 
 ETTY, WILLIAM, R.A 250 
 
 Born at York, March 10, 1787, where he died on the 13th of November, 1849, 
 He was first apprenticed to a letterpress printer at Hull, with whom he served seven 
 years. In 1806 he removed to London, and aft^r entering the schools of the Royal 
 Academy he was for a year, a pupil of Sir Thomas Lawrence. After many re- 
 jections, one of his pictures was accept-ed for the Royal Academy in 1811, and from 
 that time he was a regular contributor. He was elected A.R.A. in 1824, and R.A. 
 in 1828. A visit to Italy in 1822 greatly influenced his style of art, and aroused a 
 higher appreciation of colour. While in London he regularly attended the Life school 
 at the Academy, decUning to discontinue this practice even after he had been elected 
 an Academician. He returned to his native city of York in failing health in 1848. 
 
vi. 
 
 FAED, THOMAS, R.A 124, 129, 213 
 
 Born in Kirkcudbright, Scotland, 1826, elected A.R.A. in 1859, and R.A. in 1864. 
 His subjects are generally chosen from homely incidents of Scottish life. At the 
 age of 15 he entered the Art School in Edinburgh, and eight years later was elected 
 an Associate of the Royal Scottish Academy. In 1852 he went to London, where he 
 regularly contributed to the Academy until failing sight compelled him to reUnquish 
 his membership in 1893, and for the seven last years of his life he was blind. He 
 died August 17, 1900. 
 
 FAULKNER, JOHN 262 
 
 FIELDING, ANTHONY VANDYKE COPLEY 62 
 
 Born in 1787, he became distinguished as a water-colour painter of landscapes 
 and sea-pieces, though he also painted in oils. He was, for some time. President of 
 the Society of Painters in Water Colours, and died at Brighton, March 3, 1855. 
 
 FRERE, CHARLES 184 
 
 Son and pupil of Edouard Fr^re, he was born in Paris, July 10, 1837. 
 
 FRERE, EDOUARD 18 162 
 
 Born in 1819, near Paris, and resided nearly all his life at Ecouen, a quiet village 
 about eight miles from the French capital. Frdre has painted the history of the child 
 life of his time from babyhood upwards. He obtained medals at the Salons of 1851, 
 1852, 1855, and was decorated with the Legion d'Honneur. He died on May 20, 1886. 
 
 FRITH, WILLIAM POWELL, R.A 135, 209, 331 
 
 Bom at Studley, near Ripon, in 1819. Elected A.R.A. in 1845, and R.A. in 1853. 
 Died Nov., 1909. He is popularly known by his pictures of "Ramsgate Sands," 
 purchased by Queen Victoria, "Derby Day" in the National Gallery, and "The 
 Railway Station" in the Royal Holloway College. These are familiar to the public 
 by numerous engravings, and represent h!s dexterous groupina;, skilful drawing, and 
 the capacity of entering into the spirit of humour and pathos pervading human 
 nature. 
 
 GARAY, M. de 216, 247 
 
 GILBERT, SIR JOHN, R.A 169 
 
 Born at Blackheath in 1817, he was, as a youth, put to his father's business of 
 an estate agent, but soon relinquished it, and after studying under Geo. Lance, he 
 exhibited his first picture at the Society of British Artists in 1836. Tm'o years later 
 he exhibited at the Royal Academy, and continued to do so irregularly for the rest 
 of his life. His most popular work was that of an illustrator, and many of his 
 sketches were reproduced in Punch, and most of the standard novels and dramas. 
 In 1871, when President of the Old Water Colour Society, he was Knighted by 
 Queen Victoria, and in 1893, he received the Freedom of the City of London, pre- 
 senting at the same time his sketch books, and many of his oil paintings to the 
 Guildhall Art Gallery. He was elected A.R.A. in 1872, and R.A. in 1876. His death 
 occurred in 1897. 
 
 GIRARDOT, E. GUSTAVE 387 
 
 GLASSBY, R 269 
 
 Died August 3, 1802. A native of Mexborough, near Sheffield, he worked for 
 many years in the studio of Sir E. Boehm, R.A. 
 
 GOGIN, C 182 
 
 GOOD ALL, FREDERICK, R.A. ... 2, 44, 59, 76, 78, 101, 108, 178 
 
 Born in London, Sept 17, 1822, his father being an eminent engraver. He won 
 a silver medal of the Society of Arts for his first painting, and had a picture exhibited 
 in the Royal Academy when he was 17. At first he painted figure groups of English 
 pastimes, &c., but after a visit to Egypt his subjects turned to desert scenes. He 
 was elected A.R.A. in 1852, and R.A. in 1863. His death occurred on July 28, 1904. 
 
 GOODALL, HOWARD 188 
 
 Second son of Frederick^Goodall, R.A., was born in 1849. His picture, "Capri 
 Girls Winnowing," was exhibited in the Royal Academy in 1873, being the second 
 picture he contributed tx) that institution. His promising career was cut short 
 by death at Cairo in 1874. 
 
 GULLAND, Miss E. 
 
 313 
 
vu. 
 
 GUSSOW, CARL 149 
 
 Bora at- Havelberg, Braudenberg, in 1843, he became a pupil at the Weimar Art 
 School, and in 1867 went to Munich. After a visit to Italy he returned to Weimar, 
 was appointed Professor at the Art School, then at the Berlin Academy, of which 
 he became a member in 1883. 
 
 GUTTMAXN, J 232, 233 
 
 HAANETf, ADEIANA 118 
 
 HAGHB, L 215 
 
 Hon. President of Royal Institute of Painters in Water-CoIours. Born at 
 Tournav in 1806, he came to England while still a young man, and aicd at Stockwell, 
 March 9, 1885. 
 
 HALLE, C. B 171 
 
 Son of the eminent musician Charles Halle. 
 
 HARDY, THOMAS BUSH 358, 361, 364, 365, 366 
 
 A native of Sheffield, he painted marine subjects chiefly, and was about the 
 most rapid and prolific water-colour painter of his day. He died suddenly in 
 London, on December 15, 1897. 
 
 HARE, ST. GEORGE 275 
 
 HAVELL, WILLIAM 201 
 
 Landscape painter, born at Reading in 1782, and died at Kensington in 1857. 
 He travelled in China and India, and also visited Italy. 
 
 HAVERS, ALICE MARY (Mrs. Fred Morgan) 194 
 
 A South Kensington student, born in 1850, she married Fred Morgan in 1872. 
 She exhibited at the Royal Academy and Salon between 1873 and 1889, and died 
 September, 1890. 
 
 HAYES, EDWIN, R.H.A. 192 
 
 Died jN'ovember 7th, 1904, aged 84. The theme of his brush was the sea. 
 
 HELMICK, HOWARD 338, 347, 368 
 
 HEMY, C. NAPIER, A.R.A 175 
 
 Born at Newcastle-on-Tyne, May 25, 1841, and became a pupil of the School of 
 Art there, afterwards entering the Dominican Monastery at Newcastle, from whence 
 he was sent to a branch at Lyons, France, but left at the age of 21 and became a 
 painter, studying for about 3 years under Henry Leys at Antwerp. Then he came 
 to England and painted his first picture when he was 28. His subjects are marine, 
 and most of his pictures are painted from his yacht. 
 
 HENTZELL, J 229 
 
 HESTER, E. GILBERT 298, 303, 305, 307, 311, 315, 317, 318 
 
 HIBBARD, Dr. ROWLAND 259, 260 
 
 HILLINGFORD, R. 349 
 
 A painter of military and other subjects, distinguished by their adherence to fact. 
 
 HIRST, NORMAN 290 
 
 HOLLAND, JAMES 128, 168 
 
 Born at Burslem in 1800, in his boyhood he painted flowers on pottery in the 
 Davenport factory. In 1819 he came to London and still went on painting fliowero, 
 exhibiting in the Royal Academy from 1824. Went to Paris in 1831, then devoted 
 himself to landscape painting. Later he visited Italy, Switzerland, Holland, 
 Normandy and Portugal, his best pictures being painted in Venice and Milan. He 
 died in London in 1870. 
 
 HORSLEY, JOHN CALLCOTT, R.A 166 
 
 Born in London in 1817. Son of Wilham Horsley, the musician, and grandson 
 of Sir Augustus Callcott, the eminent painter. He was a pupil of the Royal 
 Academy and his first work, exhibited in 1837, was "Rent Day in Haddon Hall." 
 He received prizes in the Westminster Hall Competition in 1843, was engaged to 
 paint one of the pictures for the House of Lords, and another in the Poets' Hall, 
 in Westminster Palace. He was elected R.A. in 1864, His death, at the age of 86, 
 occurred in London, on October 18, 1903, when his book entitled "Recollections of 
 a Royal Academician" was being published. 
 
vffi. 
 
 HORSLEY, WALTER C 164 
 
 Born in 1855, and entered the Royal Academy Schools in 1873. Son of J. C. 
 Horsley, R.A. 
 
 HOWARD, E. STIRLING 258 
 
 At one time Master of the Sheffield School of Art. 
 
 HUME, EDWARD 35 
 
 HUMPHERY, EDWARD J 144 
 
 JACQUE, CHARLES EMILE 200, 227 
 
 Born in Paris, May 23, 1813. he began as an engraver, but subsequently took to 
 painting also, liis speciaUty being sheep and scenes of rustic life, practising both 
 classes of work throughout his Ufe. He was made Chevalier of the Legion of 
 Honour 1867, and at the Universal Exhibition of 1889 he received a gold medal as 
 a painter and a Grand Prix as an engraver. He died in his native city on May 7, 
 1894. 
 
 JACQUET, G 354, 355, 356 
 
 Died July 11, 1909, aged 63. 
 
 JOHNSON, C. E 119 
 
 A landscape painter. Born 183G. He was a regular exhibitor at the Royal 
 Academy between 1855 and 1893. He died in 1913. 
 
 JOHNSON, HARRY 88 
 
 A landscape painter in oil and water-colours, born at Birmingham in 1826, he 
 came to London in 1843 and studied under William Miiller and David Cox. Elect-ed 
 Associate Institute Painters in Water-Colours, 1868 ; full member, 1870 ; died 1884. 
 
 JOHNSTON, ALEX Ill, 185 
 
 Born in Scotland in 1815, he was a pupil of the Trustees' Academy of Edinburgh, 
 and later came to London, where he studied at the Academy Schools. He began to 
 exhibit in 1835, and continued to do so up to the time of his death in 1891. 
 
 JONES, FRANCIS C 333 
 
 JONES, GEORGE, R.A 377, 378, 370, 380, 381, 382, 383 
 
 Born in London in 1786, he entered the Schools of the Royal Academy in 
 1801, and first exhibited there in 1803. Was elected an Associate in 1822, and an 
 Academician in 1824. He held the office of Librarian to the Academy from 1834 to 
 1840, was keeper from 1840 to 1850, and during the illness of Sir Martin Archer, he 
 acted as president. He held a commission in the Militia at the time of Napoleonic 
 Wars, and was with the Army of Occupation in Paris, resuming his artistic profession 
 on the return of peace. He painted battle scenes, landscapes, and subject pictures. 
 He was one of the executors of J. M. W. Turner, and in 1849 published a memoir of 
 Sir Francis Chantrey. His death occurred in London, 1869. 
 
 KATE, HERMAN TEN 159 
 
 Born at the Hague, February 16, 1822, pupil in Amsterdam, where he won a 
 medal at the Academy v>'hen 19 years of age. Went to Paris for a year, then settled 
 at the Hague. 
 
 KENNEDY, 0. N 219 
 
 KILBURNE, G. G., R.I 357, 359 
 
 Born in Norfolk, July 24, 1839. After first working for a few years as a wood- 
 engraver, he finally adopted the profession of a painter. 
 
 KING, YEEND 332 
 
 Born in Loudon, August 21, 1855. He firot studied painting under WilUara 
 Bromley, R.B.A., afterwards in Paris under Bonnat and Cormon. He is Vice- 
 President of the Royal Institute of Painters. 
 
 KOEKKOEK, BAREND CORNELIS 50, 137 
 
 Born at Middleburg, Holland, in 1803, and studied under his father, J. H. 
 KoekL'oek, the marine painter, and afterwards in the Academy of Amsterdam. He 
 frequently exhibited at Paris, where he obtained medals in 1840 and 1843, as well as 
 at the International Exhibition in 1855. In his later years he resided at Cleve, 
 where he founded a drawing academy, and died in 1862. 
 
 KOEKKOEK, JAN HERMANN 216 
 
 \ Dutch marine painter, bom at Vere in 1778. His sea and river scenes procured 
 Iiim the membership of the Amsterdam Academy He died at Amsterdam in 1851. 
 
Ik. 
 
 KOEKKOEK, HERMANITS 202 
 
 Born at Middlehurg.WoUand, IVLarch 13, 1815, died at Haarlem, Nov. 5 1882, 
 Son and pupil of J. Hermann Koekkoek, and brother of B. C. Koekkoek. 
 
 KOEKKOEK, M. A 106 
 
 LADELL, E 238 
 
 LAMBINET, EMILE C lOn 
 
 French landscape painter, born at Versailles in 1815, and died at Bougivall 
 in 1877. 
 
 LANDSEER, SIR EDWIN HENRY, R.A 4, 30 125 
 
 Born in London on March 7, 1802, he received his early art training from his 
 father, and soon showod evidence of remarkable genius. At the age of 13 he 
 obtained a medal froi i tlie Society of Arts for a drawing of a mastiff, and in his 
 sixteenth year he exhibited the "Portrait of a Dog," at the Royal Academy. He 
 established an unrivalled reputation as a painter of animals, especially dogs, and 
 his pictures have been po numerously engraved as to be familiar to everybody. Sir 
 Edwin was awarded the large gold medal at the Paris Universal Exhibition of 1855, 
 and the medal for Fhie Arts at the Vienna Exhibition of 1873. Was elected R.A. 
 in 1830, and received the honour of knighthood in 1850. He died in 1873, and was 
 interred in St. Paul's Cathedral. 
 
 LAW, DAVID ... 289. 293, 294, 295, 296, 297, 300, 301, 302, 306, 314, 321 
 Born in Edinburgh in 1831, he was apprenticed in early life to a landscape 
 engraver, studying alio at the Trustees' Academy, and afterwards emploved in the 
 Ordnance Survey OtHce as a map engraver for 20 years. He then came to London, 
 devot-ed himself to art and exhibited in the Royal Academy and other Galleries, 
 chiefly in water-colour. His chosen medium, however, was etching, and he 
 produced a great number of plates, many after i)ictures, but mostly original 
 landscapes. He died in 1902. 
 
 LEADER, BENJAMIN WILLIAMS, R.A 16, 339. 351 
 
 Born in 1831 ; elected A.R.A. in 1883, and R.A, in 1898. A landscai)o painter, 
 very skilful in dealing with the difficult effect of sunlight in noonday brilliance or 
 evening glow. 
 
 LEE, FREDERICK RICHARD, R.A 156, 210, 252 
 
 Born at Barnstaple, Devon, in 1799, and entered the army at a very early age. 
 but after serving a campaign in the Netherlands, retired from the service, and 
 became a student at the Roval Academy, where he first exhibited in 1824. He was 
 elected A.R.A. in 1834, and R.A. in 1838, and died at the Cape of Good Hoi)e in 1879. 
 
 LEEMPULLEN, CORNELIUS VAN 20 
 
 LEFI3VRE, ROLAND 130 
 
 Born at Anjou in 1608, he spent considerable time in Venice and London, and 
 died in the latter city in 1677. He painted portraits and historical subjects of a 
 small size. 
 
 LEITCH, W. L 211 
 
 Vice-President of the Institute of Painters in Water-Colours, born at Glasgow, 
 in 1804 ; died April 25, 1883. 
 
 LSWIN, STEPHEN 342, 346 
 
 LINNELL, JAMES THOMAS 86 
 
 Second son of the late John LinncU. First exhibited in the Royal Academy in 
 1850, died November 26, 100:i. 
 
 LINNELL, JOHN 55, 61 
 
 Born in London, 1792. Was pre-eminently a colourist, and his pictures are 
 generally characterised by warm and glowing atmospherical effects. He entered the 
 schools of the Royal Academy in 1805, and exhibited his first picture in 1807, but 
 although his works are highly esteemed, he never attained academic rank. His last 
 picture in the Royal Academy was exhibited a year or two before his death, which 
 occurred in January, 1882, in his 90th year. His two sons, William and James T., 
 are both well-known artist^, and their style much resembles tlieir fatlier's in com- 
 position and colour. 
 
 LINNELL, WILLIAM 13, 67, 140 
 
 LUCAS, ARTHUR 264, 274 
 
z 
 
 LUCY, CHARLES 237 
 
 Born at Hereford ia 1814, he commenced life as an appreutic? to his uncle, a 
 druggist, but soon proceeded to Paris and entered the Ecole des Beaux Arts, 
 subsequently becomin? a student in the Royal Academy. He afterwards lived for 
 several years near FonUineblcau. He received a premium of £200 for a cartoon in 
 the Westminster Hall Competition. Historical subjects were his special theme. He 
 
 died in London in 1873. 
 
 LUDOVICI, A. Jun 341 
 
 LUTZENS 87, 89 
 
 MAGLISE, DANIEL, R.A ... ... ... 155 
 
 Born at Cork in 1811. Was an able painter of subjects of poetic and historical 
 incident. He first pursued his studies at the Cork School of Art, bat cams to 
 London at an early age, and entered the schools of the Royal Academy in 1828 ; 
 he was elected A.R.A. in 1835, and R.A. in 1840. He painted several of tlie cirtoons 
 for the decoration of the Houses of Parliament. Besides his numerous paintings 
 Maclise is well-known as a book illustrator. He died at Chslsea, April 25, 1870. 
 
 MADLINER, W. J 95 
 
 MAGNUS, ROSE 198 
 
 MARSHALL, WILLIAM CALDER, R.A 265, 266, 276, 280 
 
 Sculptor. Born at Edinburgh in 1813. Studied in London under Chantrey and 
 Bailey ; was elected A.R.S. A. in 1842, A.R.A. in 1844, and R.A. in 1852. Died in 1894. 
 
 MAUVE. ANTON 83 
 
 Born at Zaandam, Holland, in 1838. Family opposition to an artistic career 
 limited his early studies to nature, but later he became a pupil under Van Os. He 
 was also much influenced by Millet, and his rendering of pastoral scenes, in which 
 he chiefly deUghted, is marked by a s'lbtle atmospheric quahty in deUcate soft 
 tones beautifully harmoui-ied, and great skill and sympathy is displayed in the 
 
 animals introduced. He died at Arnheim in 1888. 
 
 McCALLAM, F 126 
 
 MEFFSNER, ERNST 334 
 
 MEORMANS, F 244 
 
 MILLAIS, SIR JOHN EVERETT, Bart. ... 121 
 
 Born at Southampton in 1829. At thi age of ten he won the first medal of the 
 Society of Arts, and in the following year became a student at the Royal Academy 
 where in 1847 he was awarded the Gold medal. Elected A.R.A. in 1853, and R.A. in 
 1864 ; he succeeded Lord Leighton as President of the Royal Academy in 1896, and 
 died on August 13 of the same year. Millais was one of the originators of the Pre- 
 Raphaelite Brotherhood founded in 1843, and he continued liis connection with it 
 until 1884. He was made a member of the Legion of Honour in 1878, and was 
 created a baronet in 1885. He was a man of immense energy, his work being of a 
 very comprehensive character, embracing subjects oi the most diverse kind, and 
 his influence on British Art was deep and abiding. 
 
 MILNER, Miss E. E 312 
 
 MONTALBA, HILDA 221 
 
 MORGAN, FRED 225 
 
 MORLA.VD, GEORGE 33 
 
 Born in London in 1763, was the son of an artist and a acudeat of tiie Royal 
 Academy. In early life he practised landscape painting chiefly, but afterwards 
 confined himself mainly to rustic subjects, in which domestic animals form the 
 ))rincipal feature. In 1799 he resided in the Isle of Wiaht, where he produced his 
 well-known pictures of coast scenes, fishermen and smugglers. He died in 1804. 
 
 MUCKLEY, W. J 115 
 
 MULLER, WILLIAM JAMES 1, 47, 49, 65, 70, 77, 170, 180 
 
 Born at Bristol in 1812, he received his first instruction in art under J. B. Pyne, 
 and during his short life executed a large number of pictures, both in oils and 
 WAter-colours. He first exhibited in the Royal Academy in 1833. He travelled in 
 Germany, Switzerland and Italy, and later visit-^d Greece and Egypt, bringing home 
 a largj number o! sketches, A 'tout tiie end of 1839 he settled in London, and in 1841 
 
xi. 
 
 joinei the Government, expedition to Lycia, producing from the valuable sketches 
 then made most of the pictures exhibit^'d at the Royal Academy and Ikitish InstKu- 
 tion during tiio la:5t three years of his life. Aft«r his death, tlie sale of his pictures, 
 finished and unfinished, excited a keen competition. He died September 8, 1845. 
 
 MUNTHE, LUDWIG 103 
 
 A Norwegian painter, born at Aaroen, near Bergen, March 11, 1841. He was a 
 pupil of Schiertz in Norway, and of A. Flamm in Dtisseldorf, where he settled after 
 travelling in Italy, France, and the Netherlands. As Swedish Court painter he 
 obtained the Olaf Order, also the Leopold Order, the Legion of Honour, a first- 
 class medal at the Paris exhibition of 1878, and gold medals at Amsterdam, Loudon, 
 
 Vienna and Berlin. He died March 30, 1898. 
 
 MURRAY, CO , 316 
 
 MijSEN, F 116 
 
 NASMYTH, PETER (Commonly called Patrick) 39, 150 
 
 Born at Edinburgh, 1786, son of Alexander Nasmyth (also an excsUent landscape 
 and portrait painter). He worked with his left hand, owing to an injury to his right, 
 and his homoly raral landscapes are painted with great fidelity and attention to- 
 detail. He came to London at the age of 20, and his first picture was exhibited in 
 the Royal Academy in 1809. and in 1824 he became one of the original members of 
 the Society of British Artists. He died in 1831. 
 
 NICOL, ERSKINE, A.R.A 8, 14, 52, 212 
 
 Born at Leith in 1825. When about 20 he went to Dublin, where he remained 
 for four years, and acquired that intimate acquaintance with IrLsh life and character 
 so humorously and faithfully portrayed in manv of his pictures. He settled finally 
 in England, and for many years contiibuted to the Royal Scottish Academy, of which 
 he became a [iill msmbei in 1859, and to the Roval Academy, which elected liim an 
 Associate in 1867. He died at Feltha-n, Middlesex, on the 9th March, 1904. 
 
 NICOL, J. WATSON 195 
 
 NIEMANN, EDMUND JOHN ... 23, 69, 148, 163 
 
 Born at Islington in 1813, was engaged at "Lloyd's" in the early part of his 
 life, but relinquished business in 1839, to adopt art as a profession, and became an 
 eminent landscape painter. His first work at the Royal Academy appeared in 1844. 
 He died in 1876, and during the last few years of his life suffered from failing health, 
 which shewed its effects in his later pictures. 
 
 O'CONNOR, JAMES A 36, 190 
 
 Born at Dublin in 1793, he was brought up as an engraver by his father. In 1813 
 he came to London with Francis Danby, but soon returned to Dublin. In 1822 he 
 returned to England and chiefly resided in London, paying visits from there to 
 Brussels, Paris, and Rhenish Prussia. He occasionally exhibited at the Royal 
 Academy after 1822, and died in 1841. 
 
 OLIVER, W 284, 285, 286, 287, 335, 343, 344 
 
 O'NEIL, HENRY NELSON, A.R.A 322 
 
 Born at St. Petersburg in 1817, he came to England and entered the Royal 
 Academy Schools in 1833. He travelled in Italy with A. Elmore, R.A., and became 
 a frequent contributor to the Royal Academy, of which body he was elected 
 an Associate in 1860. He died on the 13th of March, 1880. 
 
 O'NEILL, G. B 127 
 
 ORCHARDSON, SIR WILLIAM QUILLER. R.A 86 
 
 Born at Edinburgh in 1838. He first exhibited in the Royal Academy in 1863, 
 but prior to that date had frequently exhibited at the Royal Scottish Academv. 
 Was elected A.R.A. in 1868, and R.A. in 1877. Died April 13, 1910. 
 
 OULESS, W. W., R.A 372 
 
 Bom 1848, elected A.R.A. 1877, R.A. 1881. 
 
 PALING, J. T 176 
 
 PAOLETTI, ANTONIO 340 
 
 PAPPERITZ, G 273 
 
xii. 
 
 PERCY, SIDXEY RICHARD 165 
 
 Son of Edward Williams the landscape artist, who assumed the name of Percy. 
 He was born in 1821 and died at Sutton in Surrey in 1886. He was the founder 
 of the so-called School of Barnes, the name of their birth place, which comprised 
 the Williams family who painted under the assumed names of Percy, Boddington 
 and Gilbert. 
 
 PETHER, W., F.S.A 386 
 
 Painter and mezzotint engraver, bom at Carlisle in 1731, He painted portraits 
 and miniatures and exhibited in the Royal Academy between 1781 and 1794. He 
 died in London about 1795. 
 
 PETTIE, JOHN, R.A., H.R.S.A. ... 58, 64, 66, 75, 84, 107, 142, 145, 147 
 Born at Edinburgh inl889, and at the age of 17 he entered the Trustees' Academy, 
 where Orchardson was a fellow pupil. His first exhibited picture was in the Royal 
 Scottish Academy in 1858. In 1862 he removed to London and shared a studio with 
 Orchardson, and from that date contributed regularly to the Royal Academy, of 
 which he became an Associate in 1866, and a full member in 1873. His pictures were 
 always dramatic, richly glowing in colour, and dealt chiefly with the deeper passions 
 of human nature. 
 
 PHILLIP, JOHN, R.A 72. 80, 81, 99, 114 
 
 Born at Aberdeen in 1817, he went to London in 1834 and became a student of 
 the Royal Academy in 1837. He returned to his native city in 1840, where he was 
 principally employed painting portraits till 1846 when he took up his permanent 
 residence in London. In consequence of severe illness he went to Spain in 1851, 
 and resided there for five years, this event materially changing the character of hh 
 work, which became much richer and stronger in colour and modelling. He was 
 elected R.A. in 1859, and died in 1867. 
 
 PICKERS GILL, FREDERICK RICHARD, R.A 253 
 
 Born in London, the son of an artist, and nephew of H. W. Pickersgill, R.A., 
 he first studied under F. Witherington, the landscape painter, an uncle on his 
 mothers' side, and in 1840 he became a pupil in the Royal Academy. His first work, 
 "The Brazen Age," was exhibited in 1839, and for many years he was a regular 
 contributor to the Academy, the themes for his productions being largely taken from 
 the works of Spencer and Shakespeare. In 1843 he gained a prize with "The Death 
 of King Lear," at the Exhibition of cartoons in Westminster Hall, and in 1847 he 
 was awarded a premium of £500 for "The Burial of Harold," which was afterwards 
 purchased for the decoration of the Hou^e? of Parliament. He was elected a Royal 
 Academician in 1858, and held the keepership of that institution from 1873 till 1887. 
 He died at Yarmouth, Isle of Wight, on the 20th December, 1900. 
 
 PIGOTT, W. H 283 
 
 Sheffield artist. Died 1901. 
 
 POOLE, JAMES 373, 374, 375, 376 
 
 Was born in Birmingham, but spent the greater part of his Hfe in Sheffield, 
 where he was much esteemed as a landscape painter who paid special attention 
 to mountain scenery. 
 
 POOLE, PAUL FALCONER, R.A 220, 224 
 
 Born at Bristol in 1810, he was almost entirely self-taught in art, but came to 
 London early, and first appeared at the Royal Academy in 1830. Hia first picture to 
 attract special notice was "Solomon Eagle's Exhortation to Repentance during the 
 Great Plague of London," exhibited in 1843, and now in this gallery. In 1846 he was 
 elected A.R.A., and R.A. in 1861. At the Westminster Hall Competition of 1847 he 
 won a prize of £300, and he was awarded a medal at the Paris Universal Exhibition 
 of 1855, He led a very retired life and died at Hampstead in 1879. 
 
 POTT, LASLETT J :J37 
 
 Born at Newark in 1837, he was afterwards articled to an architect in 
 Nottingham, and later studied art in London under Alexander Johnstone and W P. 
 Frith, R.A. He died in London August Ist, 1898. 
 
 PBINSEP, VALENTINE CAMERON, R.A 51, 279 
 
 Bom in 1836, was elected A.R. A. in 1879, and R.A. in 1894. Died Nov. 11th, 1904. 
 
 PYNE, JAMES BAKER 73 
 
 Bom at Bristol, December, 1800. was first articled to an attorney, but 
 abandoned the law for iwinting. In 1839 he became a member of the Society of 
 
xilf. 
 
 British Artists, and afterwards its vice-president. He painted landscapes, chiefly 
 river and lake subjects, and his pictures are esteemed for their delicate aprial 
 perspective. He died July 29, 1870. 
 
 RAGGI, M 270 
 
 Died Nov. 26, 1907, aged 86. 
 
 IIHODES, M 133 
 
 ROBERTS, DAVID, R.A. 5, U 
 
 Born near Edinburgh in 1796, he commenced his career as a decorative painter, 
 and was for several years scene painter at Drury Lane and Covent Garden Theatres, 
 London. He sent his tirst picture to the Royal Academy in 1826 ; was elected A.R. A. 
 in 1839, and R.A. in 1841. The subjects for his art were chiefly interesting and 
 notable buildings, and the two pictures in this Gallery were the result of a visit 
 to Italy, a country he saw for the first time in 1851. He died in London, 
 
 November 25, 1864. 
 
 ROBERTSON, H. R 112 
 
 ROBINSON, GERALi:» 291, 299 
 
 ROEGGE, W 141 
 
 SADDLES, JOHN ... ... 308 
 
 A line engraver, born in 1813, and became a pupil of George Cooke. He 
 engraved pictures by Turner, Landseer, Millai?*, Poynter and many of the noted 
 artists of his time. He was one of the last who worthily carried on the traditions of 
 English line engraving. His death occurred at Wokingham, Berkshire, on 
 March 29, 1892. 
 
 SADEB, PHILIP 123, 217 
 
 Born at the Hague, February 7, 1837, he became a pupil of the Hague Academv, 
 and later visited France and Germany. He at tirst painted historical subjects, 
 then scenes fi-om peasant and fisherman's life. 
 
 SALTFLEET, FRANK (Sheffield) 360, 362 
 
 SANDBY, PAUL, R.A 323, 324, 325, 326, 327, 328 
 
 Born at Nottingham in 1725, he received his early art education in the Military 
 Drawing School at the Tower, London. With his brother, he was engaged as 
 draughtsman in the survey of the Highlands, and subsequently resided with hiin for 
 some time at Windsor. He was nominated by the King as one of the foundation 
 members of the Royal Academy. In the early part of his career he ])ractised 
 engraving on copper and etching on steel, and was one of the first painters in water 
 colours, being styled the father of that method. He died in London in 1809. 
 
 SCHENCK, AUGUST FRIEDRICH ALBRECHT 186 
 
 Danish animal painter; born at Gliickstadt (Holstein), April 23, 1828. After 
 working in England and Portugal he entered the Ecole des Beaux Arts, Paris, and 
 
 finally settled at Ecouen, near Paris. Besides animals he painted effective land- 
 scapes, especially snow scenes. He died Jan. 1, 1901. 
 
 SCHOLDERER, OTTO 173 
 
 A German painter, born in 1834, at Frankfort-on-the-Maine, where he first 
 •studied. Was for some years resident in London, and died at Frankfort, 1902. 
 
 SCHREYER, ADOLF 27 
 
 A German painter, bom May 9, 1828, at Frankfort-on-the-Maine, where he 
 became a pupil at the Staedel Institute, and also studied at the Munich Academy. 
 He was war-artist in the Crimean campaign, also in the Franco-German war of 1870, 
 and obtained distinction as a painter of battle-pieces and horses. He lived chiefly 
 in Paris, where he obtained medals in 1864, 1865, and 1867, but died at Cronberg, 
 Jaly 29, 1899. 
 
 SELOUS, HENRY COURTNEY 272 
 
 Born in London, of Jersey Huguenot family, 1802, died in London, September 24, 
 1890. Student at the Royal Academy, where his first picture, painted at the age of 
 14, was exhibited. Obtained silver medal of R.A., and two gold and two silver 
 medals from the Society of Arts before he was twenty years of age. Distinguished 
 himseh in original outline designs from the "Pilgrim's Progress," "Robert Bruce," 
 and "Herevvard the Wake," and from the Life of Moses. Illustrated various well- 
 known books. His oil paintings comprised marine, landscape, and figure subjects. 
 
xiv. 
 
 The largest of these are "Jerusalem, Ancient and Modern," "The Cruciflxion." 
 in this Gallery, and a painting of the opening of the Great Exhibition of 1851 with 
 portrait* from life of Queen Victoria, the Prince Consort, and members of the Royal 
 Family. He produced what at that time was the only example of genuine fresco, in 
 his competitive work of "Alfred the Great." 
 
 SHELTON, W 367 
 
 SHERRIN, D 345 
 
 SLBAP, JOSEPH AXE 256 
 
 A painter in water-colours, born in Wapping Street, London, 30th May, 1808. 
 He died in London on the 16th October, 1859. 
 
 SMITH, THEOPHILUS 268 
 
 Native of Sheffield. 
 
 SOLOMON, ABRAHAM 37 
 
 Born in London in 1824, and was admitted to the Royal Academy Schools in 1839. 
 From 1343 he contributed pictures to the Royal Academy and British Institute. 
 He died at Biarritz in 1862. 
 
 STANFIELD, WILLIAM CLARKSON, R.A 98, 110, 329 
 
 Born at Sunderland in 1794, and brought up to the sea, where he passed many 
 years of his life, and gained that nautical knowledge which distinguishes his 
 marine work. After relinquishing a seafaring life, he becatne, for a time, scene 
 painter at Drury Lan3 Tlieatre. He first exhibited at the Royal Academy in 1829, 
 was elected A.R.A. in 1832, and R.A. in 1835. He died at Hampstead, May 18, 1867. 
 
 STANLEY, LADY (n6e Dorothy Tennant) 187 
 
 Daughter of Charles Tennant. Widow of Sir H. M. Stanley, and now wife 
 of Henry Curtis. 
 
 STARK, JAMES 28 
 
 Born at Norwich in 1794, was for some years a pupil of John Crorae, and 
 afterwards a student at the Royal Academy. His subjects were woodland, river, 
 and coast scenes, many of which were exhibited at the Royal Academy and British 
 Institution, where in 1818 he won a premium of ^50. He died in London, 
 March 24, 1859. 
 
 STONE, FRANK, A.R.A 273 
 
 Born in Manchester, August 22, 1800 ; died in London, November 18, 1859. 
 He was a self-taught painter, first in water-colours, then in oils, his first picture 
 being exhibited at the Academy in 1837. He was elected A.R.A. in 1851. He was 
 the father of Marcus Stone, R.A. 
 
 STONE, MARCUS, R.A 25 
 
 Born in 1840, son of Frank Stone, A.R.A. Exhibited his first picture at the 
 Royal Academy when only 17. Was elected A.R.A. in 1877 and R.A. in 1887. 
 In the early part of his career he devoted his brush to historical scenes, but later 
 years he has chiefly painted subjects of a sentimental character. 
 
 STOREY, GEORGE ADOLPHUS, A.R.A 40, 230 
 
 Born in 1834, became a student at the Royal Academy, and exhibited his first 
 picture there in 1852, was elected A.R.A. in 1876, and teacher of perspective in 1900. 
 
 SWINSTEAD, GEORGE HILLYARD 6 
 
 Born in 1860, he entered the Royal Academy Schools in 1881, exhibited his first 
 picture there in the next year, and has been a regular contributor since. 
 
 SYER, JOHN 10, 167 
 
 Born in 1815, at Atherstone, Warwickshire. He came to Bristol in 1848, and 
 painted many views in and around the city. His pictures are bold, free representa- 
 tions of Welsh and English scenery. He was a member of the Royal Institute of 
 Painters in Water- Colours, and exhibited several times at the Royal Academy. He 
 died suddenly on June 26th, 1885, at Exeter, whilst on a sketching tour, at the age 
 of 70. 
 
XV. 
 
 SYKBS, GODFREl" 384 
 
 Born at Malton in 1825, and educated at the School of Art, Sheffield. He was 
 also a pupil and oo-worker with Alfred Stovens. He was employed on the decoration 
 of the South Kensington Museum and died in London in 1866. 
 
 SYMONS, W. C 179, 281 
 
 TENNANT, DOROTHY, see Stanley. 
 
 TESSON. L 281 
 
 TOXGE, ROBERP 21, 71, 79 
 
 Born at Long ton, near Preston, in 1823, the son of the Vicar of the parish. He 
 came to Liverpool to study painting and became a member of the Liverpool Academy 
 in 1851, contributing regularly to their exhibitions. He was a gifted landscape 
 painter, popular in his day, and his works have grown in esteem since his death, 
 v/hicb occiir'*ed 0!i Jan. 14, 1856, in a tent in the temple of Luxor, Egypt, where he 
 had gone in search of health. 
 
 rOPHAM, FRANCIS WILLIAM 48 
 
 Born at Leeds in 1808, and died in 1877. For many years he pursued the calling 
 of a line engraver, picking up his education as a painter in a cursory fashion, and had 
 60 far advanced that he was able to exhibit in 1832. ■ In 1844 he went to Ireland, 
 where his special feeling for character, for picturesqueness and for colour, which 
 dominate his work received ample stimulus from the scenes surrounding him, and 
 his reputation was established. In the winter of 1852-3 he went to Spain, where he 
 found still richer and more congenial material for his pencil. Ireland was visited 
 again with his son, Frank W. W. Topham, in 1860. A further visit to Spain in search 
 iff health, saw the end at Cordova in 1877. 
 
 rURJTER, JOSEPH MALLORD WILLIAM, R.A 7, 42, 254, 254a 
 
 Born in London on the 23rd of April, 1775, he became a student at the Royal 
 Academy in 1789, and exhibited a picture at the Academy in the following year. In 
 the early part of his career, he explored nearly the whole of England in search 
 of subjects for his drawings, and devoted considerable attention to the subject of 
 landscape composition ; his well-known Libr.r Studiorum being intended as an 
 illustration of this branch of art. He first visited Italy in 1819, and from that time 
 dates the commencement of his bolder use of colour. He was elected A.R.A. in 
 1 799, and R.A. in 1802. He died at Chelsea, December 19, 1851, and bequeathed all 
 
 the pictures in liis possession at death to the nation. 
 
 CURRELL, ARTHUR ., 264, 274 
 
 VARLEY, J. 181 
 
 VICKERS, A. ... 97, 245 
 
 Bom at Ne^vington, Surrey, in 1786. He exhibited at the Royal Academy and 
 British Institution from 1814 until the year of his death in 1868. In his painting 
 of the sea he evinced considerable mastery in rendering its movement, and aU his 
 pictures display high finish and delicacy. 
 
 VIJfCENT, GEORGE 82 
 
 Bom at Norwich in 1796, was a pupil of John Crome. He first exhibited in the 
 Royal Academy in 1814, and became recognised as an able landscape and marine 
 painter. His death is supposed to have occurred in 1832. 
 
 VURAM, J 3, 96, 152 
 
 'WAAGEN 154 
 
 WARD, EDWARD MATTHEW, R.A 117, 223, 277 
 
 Bom at PimUco in 1816. Under the advice of Sir David Wilkie, he became a 
 student of the Royal Academy in 1835, having, in the previous year, exhibited his 
 first picture. He also studied in Rome and Munich. In 1852 he received a com- 
 mission to paint eight historical pictures for the corridor of the House of Commons. 
 Was elected A.R.A. in 1844 ; R.A. in 1855 ; and he died on the 15th of January, 1879. 
 
 WATSON, W. 
 
 348 
 
WEBB, JAMES 
 
 143, 196 
 
 WEST, SIR BENJAMIN, P.R.A 249, 219a, 249b 
 
 Born at Springfield, in Peiuisyhania. North An\erica, the lad obtained some 
 instruction from a painter in Philadeii)liia, named WilHams. While a youth he 
 began to paint portraits in Pliiladelphia, thereafter he removed to New York, and in 
 his twenty-second year, by the aid of friends, he was enabled to proceed to Italy. 
 In 1763 he came to England, where he was received with such distinguished favour 
 that lie settled in London, and for thirty-five years he was continuously employed 
 by George III. West was an original member of the Eoyal Academy, and in 1792 he 
 succeeded Sir Joshua Reynolds in the presidential chair. He painted principally 
 historical and scriptural comj)ositions, many being on the scale of life size. West 
 was the first to employ contemporaneous costume in modern historical pictures. He 
 died March 11th, 1820, and was buried in St. Paul's Cathedral. 
 
 WILLIAMS, JOSEPH LIONEL 234 
 
 An English engraver and water-colour painter, born early in the 19th Century. 
 He contributed to the "Art Journal," "Illustrated London News," and executed 
 many book engravings. His water-colours, chiefly domestic in subject, appeared at 
 the Royal Academy and other London exhibitions between 1834 and 1874. He died 
 September 19, 1877. 
 
 WILLMORE, A 309 
 
 Engraver, bom at Birmingham, June 6th, 1814, and served his apprenticeship 
 with his elder brother, J. T. Willmore. He first exhibited at the Royal Academy in 
 1838 ; was a frequent contributor to the *' Art Journal," and engraved designs by 
 distinguished contemporary artists for the illustration of books. He died 
 November 3rd, 1888. 
 
 WILSON, J. J 45, 288 
 
 WILSON, JOCK 206 
 
 Born near Ayr, August 13, 1774, he was apprenticed to a decorator in Edinburgh, 
 and afterwards received some teaching in landscape painting from Alexander 
 Nasmyth. He moved to London in 1798, and was one of the founders of the 
 Society of British Artists, to which he constantly contributed. He kept up his art 
 connection with Scotland, and was made an honorary member of the Scottish 
 Academy. His death occurred at Folkestone, on April 29, 1855. 
 
 WOHLGARTEN, JOSEPH VON 231 
 
 WYATT, HENRY 251 
 
 Born near Lichfield, in 1794, tie was sent at an early age to l^ondon, owing to 
 the death of his father, and in 1812 he became a student at the Royal Academy. In 
 1815 he was engaged as private assistant to Sir Thomas Lawrence, and subsequently 
 he practised as a portrait painter at Binningham, Liverpool, and Manchester. 
 Thereafter he lived some years in London, but by ill-health he was compelled to 
 retire to Leamington, and thence he went to Manchester, where he died in 1840, at 
 the early age of forty-five. 
 
 YEAMES, WILLIAM FREDERICK, R.A 120 
 
 Born at Tanganrog, South Russia, in 1835, he became a painter of romantic 
 and dramatic interest. His first picture was exhibited at the Academy in 1859. 
 He was elected A.R.A. in 1866 and R.A. in 1878. 
 
 ZIMMERMANN, ERNST 29 
 
 German painter, born April 24, 1852, at Munich, studied with his father, and 
 subsequently at the Munich Academy, of which he was created a member. After 
 travelling in Italy and Belgium he settled at Munich, where he painted historical 
 and genre pictures. He died in 1899.