* 
 
 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/descriptivecatalOOtemp 
 
CORPORATION or LONDON 
 *v ART GALLERY. 
 
 D escR.Pfiufc ^f/\[ j OGt) E 
 
 OF thc LOAN collection 
 
 OF 
 
 PICTURES 
 
 I894. 
 
 PRICE SIXPENCE 
 
CORPORATION OF LONDON 
 
 ART GALLERY. 
 
 DESCRIPTIVE 
 
 CATALOGUE 
 
 OF THE 
 
 LOAN COLLECTION 
 
 OF PICTURES. 
 
 Prepared by A. G. TEMPLE, F.S.A., 
 Diredlor of the Art Gallery of the 
 Corporation of London. 
 
 JOHN JAMES BADDELEY, ESQ 
 

 Blades , East & Blades , 
 Printers , 
 
 23, Abchurch Lanc ) London , 2 s\C. 
 
 
Committee* 
 
 I 
 
 THE RIGHT HONOURABLE THE LORD MAYOR. 
 JOHN JAMES BADDELEY, Esq., Chairman. 
 
 Sir REGINALD HANSON, Bart., M.P., LL.D., Alderman. 
 
 Sir STUART KNILL, Bart., LL.D., Alderman. 
 
 GEORGE FAUDEL PHILLIPS, Esq., Alderman, 
 
 JAMES THOMSON RITCHIE, Esq., Alderman. 
 
 WILLIAM PURDIE TRELOAR, Esq., Alderman. 
 
 JAMES WALLINGER GOODINGE, Esq., F.R.G.S., Deputy. 
 RICHARD OSMOND IIEARSON, Esq. 
 
 EDWARD LEE, Esq. 
 
 JAMES SHEPPARD SCOTT, Esq., Deputy. 
 
 ALFRED JORDAN HOLLINGTON, Esq. 
 
 FRANCIS MONTIER MERCER, Esq., F.C.S., F.I.C. 
 ROWLAND NEATE PERRIN, Esq. 
 
 HENRY WILLIAM BROWN, Esq. 
 
 FREDERICK STANLEY, Esq. 
 
 OWEN EDWARDS, Esq. 
 
 WILLIAM THORNBURGH BROWN, Esq., Deputy. 
 
 WALTER OWEN CLOUGH, Esq., M.P. 
 
 HENRY HUGH THOMPSON, Esq. 
 
 SIDNEY MATTHEWS, Esq. 
 
 SAMUEL ELLIOTT ATKINS, Esq., Deputy. 
 
 RICHARD IRISH COLLIER, Esq. 
 
 JOSEPH DOUGLAS MATHEWS, Esq., F.R.I.B.A., F.S.I. 
 CHARLES JONES CUTHBERTSON, Esq. 
 
 BANISTER FLETCHER, Esq., J.P., F.R.I.B.A. 
 
 HORACE BROOKS MARSHALL, Esq., J.P., F.R.G.S. 
 
 JOHN BERTRAM, Esq., Deputy. 
 
 WILLIAM HENRY LIVERSIDGE, Esq. 
 
 OCTAVIUS DIXIE DEACON, Esq. 
 
 WHINFIELD HORA, Esq., Deputy. 
 
 CHARLES JOHN TODD, Esq. 
 
 JAMES PERKINS, Esq., F.R.G.S. 
 
 Captain WILLIAM CHARLES SIMMONS. 
 
 HOWARD CARLILE MORRIS, Esq. 
 
 AUGUSTUS ALFRED WOOD, Esq., A.K.C., F.C.S. (Past Chairman). 
 

 
 % 
 
 
HE Library Committee of the Corporation of 
 
 London desire to express their thanks to the 
 owners of works of Art for the kindness with which 
 many famous and valuable productions have been placed 
 at their disposal for the present Exhibition. 
 
 The Exhibition will open at io a.m. from Monday, 
 the 2nd April, to Saturday, the 30th June, and will close 
 at 6 p.m. during April, and at 8 p.m. during May and 
 June. 
 
 The Admission will be free. 
 
 A. G. TEMPLE, 
 
 Director. 
 
 ART GALLERY OF THE 
 
 CORPORATION OF LONDON, 
 
 GUILDHALL, LONDON, E.C. 
 
 27th March , 1S94. 
 

 
 
GALLERY I. 
 
 & 
 
 SIR LANCELOT DU LAKE. 
 
 Painted by sir John gilbert, r.a. 
 
 Canvas 36 x 48 inches. 
 
 Presented by sir john gilbert to the Corporation 
 of London Permanent Gallery, with seventeen other 
 paintings and thirty sketches. 
 
 HE incident depicted is taken from the ballad in 
 
 the “Reliques of Ancient English Poetry/ 7 by 
 Thomas Percy. Sir Lancelot, riding “in a forest wide, 77 
 meets a damsel, who tells him of a mighty knight who 
 has in prison three score and four of King Arthur’s 
 knights. Being over-joyed that it is Sir Lancelot whom 
 she has met, she brings him to where by the river-side 
 stands a tree, 
 
 Sir Lancelot strikes and breaks the copper bason, and 
 thereupon the false knight, Tar quin, appears driving 
 before him a horse whereon a knight lay tied. The two 
 engage in combat, first on their horses, and then on 
 foot ; Sir Lancelot is ultimately the victor, and, having 
 slain his antagonist, releases King Arthur's knights from 
 their imprisonment. 
 
 Royal Academy, 1887. 
 
 “ Whereon a copper bason hung, 
 And many shields to see.” 
 
8 
 
 GALLERY I. 
 
 2 DANAE 
 
 Painted by JOHN D. BATTEN. 
 
 Canvas 36 x 36 inches. 
 
 Lent by the Artist. 
 
 CRISIUS and Proteus, twin brothers, lived in the 
 
 pleasant vale of Argos. When they had grown 
 up Acrisius expelled his brother Proteus from his 
 inheritance; but Proteus returned and compelled Acrisius 
 to share the kingdom with him. An oracle had 
 declared that Danae, the daughter of Acrisius, should 
 give birth to a son who would kill her father. For 
 this reason Acrisius shut her up in a brazen tower. But 
 here, notwithstanding her fathers precautions, she 
 became the mother of Perseus, according to some 
 accounts by her uncle Proteus, and according to others, 
 by Zeus. Acrisius ordered mother and babe to be 
 exposed on the wide sea in a chest : — 
 
 but the chest floated toward the island of Seriphus, one 
 of the Cyclades, where both were rescued. 
 
 As to the manner in which the oracle was fulfilled, 
 Acrisius coming to Seriphus was detained there by storms, 
 and during certain funeral games the wind carried a disk, 
 thrown by Perseus, against the head of Acrisius and 
 killed him. Perseus then proceeded to Argos and 
 took possession of the kingdom of his grandfather. 
 
 New Caller}’, 1892. 
 
 “ Stricken with terror when the wind swept by 
 And the main heaved beneath the carven chest, 
 She drew her little Perseus to her breast 
 
 With loving hand and weeping bitterly ” — 
 
GALLERY I. 
 
 9 
 
 3 EDWARD II. AND PIERS 
 GAVASTON, A.D., 1308. 
 
 Painted by marcus stone, r.a. 
 
 Canvas 48 x 84 inches. 
 
 Lent by george fox, eso., of Lichfield. 
 
 IERS GAVASTON was the son of a Gascon Knight. 
 
 He insinuated himself into the affections of the 
 King by his agreeable behaviour, and by supplying him 
 with those frivolous amusements which suited his 
 capacity and intelligence. He became the King's 
 favourite, and in that position rendered himself pecu- 
 liarly displeasing to the English nobles, whom he was 
 accustomed to deride and mimic for the amusement of 
 his thoughtless sovereign, and even the Queen was not 
 exempted when he was disposed to display his sarcastic 
 powers. To the left of the picture the King and his 
 favourite are approaching. To the right are some nobles 
 indignantly regarding the pair, while seated near them 
 are the Queen and some ladies of the court. The scene 
 is on a terrace, with view of broad park lands. 
 
 Manchester jubilee Exhibition, 1887. 
 
10 
 
 GALLERY I. 
 
 4 THE SETTING SUN. 
 
 Painted by Adrian stokes. 
 
 Canvas 47 x 72 inches. 
 
 Lent by george mcculloch, esq. 
 
 A CLIFF from which is seen an expanse of sea. A 
 milkmaid is seated to the left — brown dress, blue 
 sun bonnet — milking a cow ; another cow to the right is 
 lying down. The sun, a lurid ball, is to the right of 
 the picture throwing its reflections on the sea. 
 
 New Gallery, 1891. 
 
 Chicago Exhibition, 1893. 
 
 5 his only friend. 
 
 Painted by briton riviere, r.a. 
 
 Canvas 26 ^ x 37 inches. 
 
 Lent by jesse haworth, esq., of Altrincham. 
 
 S EATED by the wayside, leaning against a bank, is 
 a poorly-clad boy asleep. Lying close to him is 
 his dog, “ his only friend/' weary too, but awake, keep- 
 ing guard. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 Engraved by L. J. steele. 
 
GALLERY I. 
 
 II 
 
 6 VENETIAN FAN SELLERS. 
 
 Painted by henry woods, r.a. 
 
 Canvas 27 x 39 inches. 
 
 Lent by james barrow, esq., of Liverpool. 
 
 T O the left is a merry company, in the centre of 
 which is a man with a tray of fans to sell ; close 
 beside him, three girls in bright costume are gathered 
 round a well, and two more are seated to his right, one 
 of them mending a fishing-net. They are all regarding 
 a young passer-by who carries a large basket of fruit on 
 her head, and is coming along a path to the right of the 
 picture. In the background are stone buildings, and at 
 an open door a woman is standing. 
 
 Painted in 1882. 
 
 7 THE LAST MUSTER. 
 
 Painted by Hubert herkomer, r.a. 
 
 Canvas 84 x 63 inches. 
 
 Lent by w. cuthbert quilter, esq., m.p. 
 
 H AVING stood side by side many times before, on 
 parade or on the field of battle, these veterans 
 come at last to muster as pensioners of the State, at 
 the service in the church adjacent to the Hospital at 
 Chelsea. 
 
 Royal Academy, 1874. 
 
 Chicago Exhibition, 1893. 
 
12 
 
 GALLERY I. 
 
 8 ISRAEL IN EGYPT. 
 
 Painted by E. J. poynter, r.a. 
 
 Canvas 53 J x 1 inches. 
 
 Lent by j. c. hawkshaw, esq., f.g.s. 
 
 “ They did set over them taskmasters to afflict them with their burdens. ’* 
 
 “ All their service wherein they made them serve was with rigour.” 
 
 CCORDING to the almost unanimous voice ot 
 
 those most conversant with Egyptian antiquities, 
 the “ great oppressor” of the Hebrews was Rameses II. 
 Seti, his father, may have been the originator of the 
 scheme for crushing them by hard usage, but it must 
 have been continued under his son, for monuments show 
 that he erected his buildings chiefly by forced labour. 
 He constructed the Great Wall for the protection of 
 Egypt towards the east, the canal which united the 
 Nile with the Rea Sea, and countless buildings, ex- 
 cavations, obelisks, colossal statues and sphinxes and 
 other great works with which Egypt was adorned from 
 one end to the other during his reign, which lasted for 
 sixty-seven years. 
 
 Royal Academy, 1867. 
 
 “ And they made their lives bitter with hard bondage.” 
 
GALLERY I. 
 
 13 
 
 9 PROCRIS. 
 
 Painted by MRS. ernest normand (Henrietta Rae). 
 Canvas 55 x 78 inches. 
 
 Lent by george woodiwiss, esq., of Bath, j.p. 
 ROCRIS, a daughter of Erechtheus, King of Athens, 
 
 married Cephalus, son of the King of Thessaly. 
 She was told that her husband paid visits to a mistress 
 whose name was Aura. Secretly following him into the 
 woods whither he had gone to hunt, she saw him, tired 
 with the chase, lay himself down in the cool shade and 
 call earnestly for Aura, meaning the refreshing breeze. 
 At the name of Aura, Procris lifted her head in order to 
 see her expected rival ; the movement occasioned a 
 rustling among the leaves that concealed her, and 
 Cephalus, thinking it to be an animal of the chase, let fly 
 a dart and pierced her to the heart. She died in his 
 arms confessing the ill-grounded jealousy that was the 
 cause of her death. 
 
 Royal Academy, 1889. 
 
14 
 
 GALLERY I. 
 
 IO JOCHEBED. 
 
 Painted by Frederick goodall, r.a. 
 
 Canvas 72 x 61 inches. 
 
 Lent by mrs. JOHN bowring. 
 
 ND when she could not longer hide him, she took 
 
 for him an ark of bulrushes, and daubed it with 
 slime and with pitch, and put the child therein ; and she 
 laid it in the flags by the river’s brink.” 
 
 The tall Israelitisli woman looks anxiously about her, 
 the child, Moses, nestled asleep on her arm. Dark blue 
 drapery hangs from her head, lighter blue from her 
 waist. She is standing in shallow water among the tall 
 Nile reeds, her right hand resting on a rock. To the 
 left a basket floats with ample soft drapery for the 
 reception of the child. Palm trees and pyramids are 
 seen beyond the winding Nile, and the shades of evening 
 are closing over the scene. 
 
 Royal Academy, 1870. 
 
GALLERY I. 
 
 
 ii HEROD’S BIRTHDAY FEAST. 
 
 Painted by edward armitage, r.a. 
 
 Canvas 61 x 109 inches. 
 
 Presented by the Artist to the permanent Gallery of 
 the Corporation of London. 
 
 H EROD on his birthday made a supper to his lords 
 and high captains ; and when his step-daughter 
 Salome (daughter of Herodias by her first husband) 
 came in and danced and pleased Herod and them that 
 sat with him, the King said unto the damsel, “ Ask of 
 me whatsoever thou wilt and I will give it thee/' And 
 she asked the head of John the Baptist. 
 
 Royal Academy, 1868. 
 
 12 A SOUVENIR OF SCUTARI. 
 
 Painted by edward armitage, r.a. 
 
 Canvas 48 x 72 inches. 
 
 Lent by the Artist. 
 
 GROUP of Eastern women, all in gaily coloured 
 
 raiment, are congregated in a grove of tall trees, 
 the dark blue waters of the Bosphorus in view, and 
 purple mountains beyond. 
 
 Royal Academy, 1857. 
 
GALLERY I. 
 
 A VENETIAN AL FRESCO. 
 
 Painted by w. logsdail. 
 
 Canvas 41 x 66 inches. 
 
 Lent by Joseph ruston, esq., of Lincoln. 
 
 SUNNY THAMES. 
 
 Painted by Frederick walker, a.r.a. 
 
 Canvas 49 x 59 inches. 
 
 Lent by sir Charles tennant, bart. 
 
 A GROUP of peasant children are on a high bank 
 by the river ; one of them, a boy, is lying on the 
 grass fishing, his bare legs overhanging the rich loose 
 earth wherein are growing brambles, thistles, foxglove, 
 convolvulus. Two girls are standing behind him, and in 
 the foreground waterlilies lie on the shallow water. 
 
 Graham Collection, 1886. 
 
 Frederick Walker was born at Marylebone in 1840, and early in 
 life became a student at the Royal Academy. He had already begun 
 to draw on wood, and received employment on the periodicals 
 “Once a Week,” “The Cornhill Magazine,” and other illustrated 
 publications. In 1866 he was elected a Member of the Society of 
 Painters in Water Colours, and in 1871 an Associate of the Royal 
 Academy. He died in 1875 at the early age of thirty-five, and was 
 buried at Cookham, where his brother artists erected a tablet to his 
 memory. Cookham was in the midst of his favourite sketching 
 haunts. Elis pictures have great feeling, and any incident he painted 
 was clothed by him with an intensely poetic beauty. lie is repre- 
 sented in the National Collection by “The Vagrants,” and by 
 “The Harbour of Refuge.” 
 
GALLERY I. 
 
 17 
 
 15 FEBRUARY. 
 
 Painted by J. l. Pickering. 
 Canvas 38 x 60 inches. 
 
 Lent by the Artist. 
 
 16 AFTER WATERLOO, “ SAUVE 
 QUI PEUT.” 
 
 Painted by a. c. gow, r.a. 
 
 Canvas 48 x 66 inches. 
 
 Lent by george mcculloch, esq. 
 
 “ INFANTRY, cavalry, artillery, were all mixed and 
 A jammed together in one dreadful struggle to 
 escape; ammunition and baggage-wagons, stores and 
 hospital carts full of wounded men, plunging horses and 
 private carnages blocked the roads and bridges. All 
 union at an end, each man sought only his individual 
 safety by endeavouring to escape from the dark uproar.” 
 
 Royal Academy, 1890. 
 
i8 
 
 GALLERY I. 
 
 17 “ AT EVENING TIME IT SHALL 
 BE LIGHT. 55 
 
 Painted by b. w. leader, a.r.a. 
 
 Canvas 46 x 81 inches. 
 
 Lent by sir JOHN pender, k.c.m.g. 
 
 A STRETCH of low flat country over which the sun 
 is setting. A decayed church, tile roofed, is to the 
 left, with its ancient graveyard and a spreading yew- 
 tree. Tall trees, destitute of leaves, are near, with a 
 group of farm buildings beyond. To the right, the 
 brown furrowed lands, where the crow alights, lie much 
 under water, and another group of farm buildings is seen 
 some distance away. 
 
 Royal Academy, 1882. 
 
 18 LADY GARVAGH. 
 
 Painted by G. F. watts, r.a. 
 Canvas 26 x 19^ inches. 
 
 Lent by the Artist. 
 
GALLERY I. 
 
 19 
 
 19 AN IDYLL. 
 
 Painted by sir Frederick leighton, bart., p.r.a. 
 Canvas 42 x 48 inches. 
 
 Lent by mrs. james watney. 
 
 O the right of the picture two women are reclining 
 
 one against the other, their fair and ample forms 
 robed, one in amber, the other in white. They rest 
 on dark blue and purple drapery, at the base of a tree, 
 whose branches overhang them, 11 thick leaved, ambro- 
 sial/' A dark-skinned shepherd is sitting piping at their 
 feet, his flock of sheep are near, and beyond is seen a 
 foaming river that winds away through low lands 
 towards the distant sea, beyond which is a range of 
 mountains. 
 
 Royal Academy, 1881. 
 
20 
 
 GALLERY I. 
 
 20 MARIAMNE. 
 
 Painted by j. w. Waterhouse, a.r.a. 
 
 Canvas 105 x 72 inches. 
 
 Lent by w. cuthbert quilter, esq., m.p. 
 
 M ARIAMNE, the wife of Herod and daughter of 
 Alexander, son of Aristobulus, was eminent for 
 her beauty and chastity. She was greatly loved by 
 Herod, whose suspicions, however, became excited by 
 the liberty she took in regard to State matters, and the 
 imperious way in which she treated him by reason of 
 his inferior birth. His love was turned to wrath, and 
 he listened to the calumnies which were brought him by 
 his mother and sister. Finally he was induced to bring 
 her to trial on a charge of adultery, and she was 
 condemned to death. Even then Herod desired that 
 the sentence should not be hastily carried out, but that 
 she should be laid in prison in one of his fortresses, but 
 Salome and her party prevailed upon the King to put 
 her to death, and she was led to execution. “ She went 
 to her death with unshaken firmness of mind and with- 
 out changing the colour of her face, thereby ardently 
 discovering the nobility of her descent to the spectators, 
 even in the last moments of her life.’' 
 
 Chicago Exhibition, 1893. 
 
 21 P. H. CALDERON, ESQ^, R.A. 
 
 Painted by G. F. watts, r.a. 
 
 Canvas 26 x 21 inches. 
 
 Lent by the Artist. 
 
GALLERY I. 
 
 2 1 
 
 22 MANGOLDS. 
 
 Painted by david Murray, a.r.a. 
 
 Canvas 48 x 72 inches. 
 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 A BROAD field of mangolds beneath a fair white 
 clouded sky ; crows are alighting and poppies are 
 seen among the mangolds. Away to the left is a wheat- 
 field and a quiet hamlet with its church tower, over 
 which is seen a flight of birds. To the right, rich 
 agricultural land, and in the distance long low hills. 
 
 Chicago Exhibition, 1893. 
 
 23 HER MOTHER’S VOICE. 
 
 Painted by william ouiller orchardson, r.a. 
 Canvas 40 x 58 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 “ But O for the touch of a vanish’d hand, 
 
 And the sound of a voice that is still ! ” 
 
 Royal Academy, 1888. 
 
GALLERY I. 
 
 NEWS OF THE SPANISH 
 ARMADA. 
 
 Painted by j. Seymour lucas, a.r.a. 
 
 Canvas 65 x 48 inches. 
 
 Lent by the Artist. 
 
 “C OR some weeks there was the prolonged agony of 
 
 i uncertainty, till the remnant of the shattered 
 ships reappeared, bringing ‘ testimonial on their sides 
 from what banquet they came, with loss of half their 
 men in flight, famine and sickness, crying out on Sir 
 Francis Drake, saying he was a devil and no man.’ . . . 
 On Philip himself the news broke slowly. The next 
 instalment of the truth was the return of Sidonia with a 
 third of the fleet. It affected Philip so much that ‘he 
 shut himself up in the Escurial, and no one dared to 
 speak to him.’ ” 
 
 Royal Academy, 1893. 
 
 O the left is a group of fir trees, amid which a 
 
 cottage is discerned. To the right a long reach 
 of low hills is seen, and in the foreground of stubble 
 and thistles a flock of sheep are passing, followed by a 
 dog and by an old woman laden with a bundle of straw. 
 Night is gathering over the scene. 
 
 THE ARMS OF PEACE. 
 
 Painted by Alfred east, r.i. 
 
 Canvas 40 x 60 inches. 
 
 Lent by the Artist. 
 
GALLERY I. 
 
 
 26 A VENETIAN FERRY. 
 
 Painted by miss clara montalba. 
 Canvas 33^ x . 59-J inches. 
 
 Lent by lord manners. 
 
 27 AN IDYLL, 1745. 
 
 Painted by sir John everett millais, bart., r.a. 
 Canvas 54^ x 74^ inches. 
 
 Lent by Frederick wigan, esq. 
 
 A PI PER boy in regimental costume of the middle 
 of the last century is playing on a fife, while three 
 Scottish girls reclining on the grass near him are 
 listening. A foot soldier stands near and regards the 
 scene with interest. Part of an encampment appears on 
 the right. The incident is supposed to have occurred 
 while the English Guards were in Scotland pursuing the 
 young Pretender and his allies. 
 
 Royal Academy, 1884. 
 
 Grosvenor Gallery, Millais Exhibition, 1886. 
 
24 
 
 GALLERY I. 
 
 28 A SWEET MEADOW IN 
 ENGLAND. 
 
 Painted by J. w. NORTH, a.r.a. 
 
 Canvas 35 x 42 inches. 
 
 Lent by albert wood, eso., of Conway. 
 
 S PRING landscape, edge of stream, with green 
 banks and trees. 
 
 New Gallery, 1889. 
 
 O the right a young lady in white, with orange 
 
 sash, is seated at the piano. On a couch behind 
 her is a lady in black leaning against a crimson cushion, 
 a large dog at her feet. Asleep on a footstool and 
 resting against her, is a beautiful fair-haired child. 
 Through the window, to the left, a garden is seen, in 
 the fading light of a summer evening. 
 
 29 MEMORIES. 
 
 Painted by frank dicksee, r.a. 
 Canvas 37^ x 50^ inches. 
 
 Lent by w. gillilan, esq. 
 
 “ Thy tuneful strains wake memories.” 
 
 Painted 1886. 
 
GALLERY I. 
 
 25 
 
 “HER EYES ARE WITH HER 
 THOUGHTS, AND THEY ARE 
 FAR AWAY . 55 
 
 Painted by P. H. calderon, r.a. 
 
 Canvas 36 x 25^ inches. 
 
 Lent by george holt, esq., of Liverpool, j.p. 
 
 IGURE of a young girl, lightly clad in white, care- 
 
 lessly leaning against a fallen sculptured column, 
 other ruins lie near, and beyond them is warm 
 shadowed foliage and blue hills. 
 
 WEAVING THE WREATH. 
 
 Painted by sir f. leighton, bart., p.r.a. 
 
 Canvas 25 x 23^ inches. 
 
 Lent by george holt, esq., of Liverpool, j.p. 
 
 F IGURE of a young girl seated on an Oriental mat 
 weaving a wreath. She is amply clad in blue 
 drapery, a piece of white raiment showing. A similar 
 wreath to that she is weaving is round her own head ; 
 background, sculptured white marble. 
 
 Royal Academy, 1873. 
 
26 
 
 GALLERY I. 
 
 32 THE PHANTOM SHIP. 
 
 Painted by w. l. wyllie, a.r.a. 
 
 Canvas 44 x 54 inches. 
 
 Lent by the Artist. 
 
 T O the left a large barque, becalmed, is drifting 
 towards a rocky coast. The crew in boats are 
 endeavouring to tow her off. A heavy squall from 
 seaward is fast approaching, and to the dismay of her 
 crew, the phantom ship appears, “The Flying Dutch- 
 man/' doomed by the blasphemies of her skipper, 
 Phillip Vanderdecken, to perpetually sail the South 
 Atlantic, making futile attempts to round the Cape of 
 Good Hope. The sighting of this weird vessel and 
 spectral crew is always regarded by mariners as 
 portentous of disaster. 
 
 Royal Academy, 1889. 
 
GALLERY I. 
 
 27 
 
 “ SCOTLAND FOR EVER .’ 5 
 
 Painted by lady Elizabeth butler (Miss Elizabeth 
 Thompson). 
 
 Canvas 39 x 76 inches. 
 
 Lent by the Corporation of Leeds. 
 
 HARGE of the Scots Greys at Waterloo. On the 
 
 afternoon of the 18th June, the 92nd Regiment, 
 which was then reduced to two hundred men, found it 
 necessary to charge a column of the enemy which was 
 coming down upon them, numbering from two to three 
 thousand men. The two hundred men broke into the 
 centre of this column with the bayonet, and the instant 
 they pierced it, the Scots Greys dashed in to their 
 support, when they and the men of the 92nd cheered 
 and shouted “ Scotland for Ever." The enemy, to a 
 man, were put to the sword or taken prisoners, after 
 which the Greys charged through the enemy’s second 
 line and took the Eagles. 
 
 MR. BANCROFT. 
 
 Painted by w. w. ouless, R.a. 
 Canvas 26 x 22 inches. 
 
 Lent by MR. BANCROFT. 
 
 Royal Academy, 1884. 
 
28 
 
 GALLERY I. 
 
 5 MORETTA. 
 
 Painted by sir Frederick leighton, bart., p.r.a. 
 Canvas 21x15 inches. 
 
 Lent by Joseph ruston, esq., of Lincoln. 
 
 A YOUNG Venetian girl, three-quarter face to the 
 left, dark hair, red flower in it, dark eyes and 
 eyebrows, green dress open slightly at the neck, white 
 frill, warm brown background. 
 
 Painted by G. h. boughton, a.r.a. 
 
 Canvas 42 x 34 inches. 
 
 Lent by the Artist. 
 
 AIR girl, life size, three-quarter length, dark brown 
 
 hair, black hat trimmed with pink ribbons flying 
 in the air, pink cloak, edged with white fur round the 
 throat, white fur muff; snowy landscape, and gray 
 frosty sky in background ; skaters in the distance. 
 
 Chicago Exhibition, 1893. 
 
 36 LOVE IN WINTER. 
 
GALLERY I. 
 
 29 
 
 37 A SILENT ADIEU. 
 
 Painted by c. napier i-iemy, r.i. 
 
 Canvas 36 x 48 inches. 
 
 Lent by Reginald bushell, eso., f.r.a.s., j.p. 
 
 A COTTAGE garden of poppies, geraniums, wall- 
 flower, lavender and cloves. On a box-bordered 
 path a girl is standing; fawn gown, white apron, 
 black and white kerchief over her shoulders. She is 
 turning to her right, where lies the sea and a departing 
 ship, which is disappearing from her sight beyond a 
 distant headland. 
 
 38 POOR ARE THE FRIENDS OF 
 THE POOR. 
 
 Painted by J. R. reid. 
 
 Canvas 49 x 75 inches. 
 
 Lent by george mcculloch, esq. 
 
 A POOR woman with three children, one in her 
 arms, and all poorly clad, are receiving food as 
 they pass by from a little girl who has come with her 
 mother and two children from the adjacent house to 
 the left. Leafless trees and haystack near ; wide lands- 
 cape to the right, in which a water-mill is seen, and a 
 distant flat country. 
 
3 ° 
 
 GALLERY I. 
 
 39 THE ROSES OF HELIOGABALUS. 
 
 Painted by L. alma tadema, r.a. 
 
 Canvas 52 x 84 inches. 
 
 Lent by John aird, esq., m.p. 
 
 H ELIOGABALUS, or Elogabalus, was Roman 
 Emperor a.d. 218, being then thirteen years of 
 age. He had that plastic beauty which the Greeks 
 regarded as the gift of the gods. When clad in the 
 purple, his head encircled with a crown of precious 
 stones, the people believed they beheld “ a child of 
 destiny/' but he rendered himself odious and contemp- 
 tible by all manner of follies and abominations. Had 
 he confined himself to the absurd practical jokes of 
 which so many are recorded, men might have laughed 
 good-naturedly by anticipating an increase of wisdom 
 with increasing years, for innocent indeed were some of 
 his jests, such for instance, as inviting to his table 
 companies of guests, all of whom were fat, or all lean, 
 or all bald, or all gouty, and then serving up a mock 
 repast, or, as in the scene before us, where a heavy 
 canopy being loosened, roses in overwhelming profusion 
 descend unexpectedly on a gay company. He was 
 slain by the people, a.d. 223, at the age of eighteen. 
 
 Royal Academy, 1888. 
 
GALLERY I. 
 
 31 
 
 CHECKMATE. 
 
 Painted by J. c. horsley, r.a. 
 
 Canvas 33^ x 47 inches. 
 
 Lent by william jessop, esq., of Sheffield. 
 
 A BARONIAL hall lit by a large window, through 
 which pours the setting sun. An elderly couple 
 are seated at chess, a faithful hound at their feet, and a 
 young lady standing by ; another young lady is sitting 
 at work by the window, with a youthful cavalier bend- 
 ing over her, while a page is regarding the couple from 
 a screen. 
 
 SINDBAD ENTERING THE 
 CAVERN, SIXTH VOYAGE. 
 
 Painted by albert goodwin, r.w.s. 
 
 Canvas 39^ x 56^ inches. 
 
 Lent by the Maidstone Museum. 
 
 FTER Sindbad had been wrecked, on a spot so 
 
 desolate that no one who ever was cast on that 
 shore returned to his own home, he lost all his com- 
 panions by death. He was unable to escape in any 
 way, but Allah had pity on him. Sindbad determined 
 to construct a raft, and follow the course of a river 
 which lost itself in the recesses of a cavern. He loaded 
 it with rubies, emeralds, ambergris, crystal and gold 
 and silver stuffs, and embarked on his vessel, guiding it 
 with two little oars which he had provided ; and, 
 driving along with the current, he resigned himself to the 
 will of God. Falling asleep, he awoke to find himself 
 jn safety in an open and hospitable country. 
 
GALLERY II. 
 
 ¥ 
 
 INTERIOR OF A KITCHEN ; 
 OR, FRYING CAKES. 
 
 Painted by JAN STEEN. 
 
 Panel 32 x 20 inches. 
 
 Lent by sir henry st. john mildmay, bart., j.p. 
 
 WO girls are in a kitchen, one of whom is engaged 
 
 in frying cakes on a stove ; a boy behind her is 
 pinching a cat by the ear, and its cries excite a poodle 
 dog which is jumping upon the boy's knees; another 
 boy, an infant, seated in a chair, is much amused at the 
 
 Braam-camp Collection, 1771. 
 
 Holderness Collection, 1802, called then “The Pan- 
 cake Girl.” 
 
 Smith, No. 23. 
 
 Jan Steen was the son of a brewer, and was born at Leyden about 
 1626. He studied at the Hague with Jan van Goyen, whose 
 daughter he married there in 1649. He entered the Corporation of 
 Painters at Leyden in 1648, but he was absent from that city for 
 several years, returning to it in 1658. He then combined the 
 business of a tavernkeeper with the occupation of painting. He has 
 been justly likened, for dramatic expression, to Moliere. He drew 
 human nature from the humorous side, often with grim satire, 
 though not without touches of pathos, which show deep sympathy 
 with his kind. If he is sometimes unnecessarily coarse, some 
 allowance must be made for his period and his surroundings. The 
 character of his figures is typical and subtly true, his execution crisp 
 and brilliant, and his colour varied and uncommon. In composition 
 he has never been excelled, and he contrived to give to the most 
 skilful arrangement the effect of accidental combinations. 
 
 scene, 
 
GALLERY II. 
 
 n ^ 
 30 
 
 43 BATTLE PIECE : HORSEMEN 
 
 AND INFANTRY. 
 
 Painted by P. wouwerman. 
 
 Canvas 26 x 32^ inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 Collection of the king of Holland. 
 
 Philips Wouwerman was bom at Haarlem, 1619. He was first 
 taught by his father, and subsequently studied landscape painting 
 under Jan Wynants, but Jan Both and Van Lear are supposed to 
 have influenced him. He entered the Guild of Painters at Haarlem 
 in 1640, and served the office of Dean in 1645-6. He was a Master 
 of the forms and actions of men and animals, and so acquainted with 
 details that he dispensed with the use of models. Horses were his 
 favourite study. A white horse often served as his principal mass of 
 light. His work is always conscientious and careful, but what 
 appears to be needed is more variety in the handling ; all is too 
 neat, too perfectly rounded and wanting in that contrast with which 
 Nature abounds. He died at Haarlem, 1668. 
 
 C 
 
34 
 
 GALLERY II. 
 
 43A LANDSCAPE. 
 
 Painted by jan breughel. 
 
 Panel 20 x 28J inches. 
 
 Lent by william h. ward, esq. 
 
 IGH ground to the left with houses, trees and a 
 
 roadway, with people passing to and fro. Be- 
 neath, to the right, is a winding river, with numerous 
 buildings and trees on its opposite side. 
 
 Jan Breughel was born at Brussels in 1568 ; he was also known 
 as Velvet Breughel, on account of his partiality for dressing in that 
 material. In his early life he painted flowers and fruit, but after- 
 wards landscapes, with small figures, which were correctly drawn 
 and touched with spirit. His daughter, Anna, became the wife of 
 David Teniers. He died at Antwerp in 1625. It may be remembered 
 that in several of the easel-pictures by Rubens the landscapes are 
 painted by Breughel. 
 
GALLERY II. 
 
 35 
 
 44 DEAD FAWN AND FRUIT, WITH 
 MONKEY. 
 
 Painted by FRANS SNYDERS. 
 
 Canvas 70 x 55 inches. 
 
 Lent by william rome, esq., f.s.a. 
 
 Frans Snyders was a native of Antwerp. He was born about 
 1579, and studied under Peter Brueghel the younger, and afterwards 
 under Hendrick van Balen. He was an intimate friend of Rubens. 
 He painted chiefly dead game, fish, fruit and vegetables, generally the 
 natural size. As his father owned a large eating-house, he had ample 
 opportunity for obtaining models. Later, he introduced figures and 
 the living forms of animals into his pictures, and produced powerful 
 incidents of the chase, for which he became celebrated. These were 
 no doubt suggested or inspired by Rubens. In the painting of fruit 
 he is unsurpassed ; with his broad touch and his clear colour he 
 reproduced with great truth the characteristic surface of each product 
 of the garden. He ranks next to Rubens as a painter of animals. 
 His fame was great, and princes and nobles were anxious to secure 
 his paintings. He died at Antwerp, 1657. 
 
GALLERY II. 
 
 A LANDSCAPE WITH RIVER. 
 
 Painted by albert cuyp. 
 
 Canvas 60 x 96 inches. 
 
 Lent by the marquess of bute, k.t. 
 
 A LARGE river is on the left, on the farther side 
 of which is a small town, and beyond it rises a 
 lofty hill. Close to the side, in front, is a spoilsman, 
 secreted behind some bushes, in the act of shooting at 
 ducks. On the opposite side is seen a road between 
 lofty trees, on which is a gentleman with a gray horse 
 with his back to the spectator, and a herdsman at his 
 side ; near these are two cows standing and a bull and 
 two cows lying down ; and at some distance on the road 
 are peasants and a flock of sheep. The brilliant effect of 
 the morning sun pervades this lovely scene. 
 
 Engraved by w. elliot. 
 
 Exhibited at the British Gallery, 1815. 
 
 Smith, No. 264. 
 
 {For notice of the Painter's life see No. 51 .) 
 
GALLERY II. 
 
 37 
 
 46 LANDSCAPE. 
 
 Painted by nicolas berghem. 
 
 Canvas 24 x 34 inches. 
 
 Lent by J. L. rutley, esq. 
 
 A ROADWAY running by some high rocks, with 
 trees and a waterfall to the right; trees to the 
 left and land sloping to a river; some buildings in mid- 
 distance and mountains beyond descending in the far 
 distance into a warm golden sky. 
 
 Nicolas Berghem (or Berciiem) was born at Haarlem in 1620. 
 He was taught by his father and other artists, and married the 
 daughter of the painter Jan Vils. He is said to have visited Italy, 
 and at one time in his life sold his labour, from early morning until 
 four in the afternoon, for ten florins a day. His wife allowed him to 
 keep little of his earnings, as his practice w 7 as to spend it all in buy 
 ing pictures. His father’s name was Pieter Claaz, and several 
 reasons are given to account for his signature of Berchem, by some 
 thought to have been a nickname, but as he used it on all his pictures 
 it may be considered as a surname. His landscapes are very beauti- 
 ful, adorned with groups of figures, cattle, and sometimes ruins. 
 His contemporary and rival was Jan Both. A burgomaster of 
 Dordrecht, a patron ol Art, engaged Both and Berchem to each 
 paint a picture, and the one whose painting was considered best was 
 to have a sum of money over and above the remuneration paid to 
 each artist. When their work was finished, the burgomaster did 
 not know which picture to prefer, but told them they had both 
 reached perfection in their Art, and that both w r ere entitled to the 
 prize. Berchem died at Amsterdam in 16S3. 
 
38 
 
 GALLERY II. 
 
 47 PORTRAIT OF A JEWISH HIGH 
 PRIEST. 
 
 Painted by rembrandt van rhyn. 
 
 Canvas 39 x 31 inches. 
 
 Lent by the duke of Devonshire, k.g. 
 
 N aged man with portly countenance and large 
 
 gray beard, represented full face, with his hands 
 united in front. Large white turban, brown mantle, 
 attached on the breast by richly embossed gold clasps. 
 
 Engraved by w. pether, 1764 and 1766, and in 
 
 small by spencer. 
 
 gorling has engraved a bust of this portrait. 
 
 Smith, No. 290. 
 
 Rembrandt van Rhyn was bom at Leyden in 1606. He was the 
 son of a miller, and his parents were in good circumstances. He 
 attended the Latin School, but his tendencies to Art induced his 
 father to place him with J. van Swanenburch, a painter, and a 
 member of an old Leyden family, with whom he remained three 
 years. At the age of fourteen he went to Amsterdam to study; 
 three years later returned to his native town and worked incessantly, 
 till at the age of twenty-two he finally settled at Amsterdam. He 
 there married a lady possessed of some fortune, who has become 
 famous through many portraits he painted of her. His mother was 
 also his model. After his wife’s death, in 1642, he became involved 
 in his circumstances, and all his effects were sold, including his 
 collection of works of Art and his large house at Amsterdam, where 
 he had resided for many years. His troubles, however, did not 
 affect his professional career, and artists from all parts of Holland 
 came to study in his studio, the most famous of whom were Gerard 
 Dow and Ferdinand Bob Rembrandt died at Amsterdam in 1669, 
 
GALLERY II. 
 
 39 
 
 THE OVERSHOT MILL. 
 
 Painted by Jacob van ruisdael. 
 
 Panel 2i\ x 27 inches. 
 
 Lent by samuel montagu, esq., m.p. 
 
 HE buildings of the mill occupy the centre and right 
 
 of the picture, and the water is seen rushing over 
 the dam between the two mill-wheels into the pond 
 below in the foreground. Two men are on the dam 
 lifting up the hatches ; trees behind the mill ; landscape 
 on the left ; gray clouded sky. 
 
 Signed “ J. v. ruisdael ” ( j. V. and R. connected.) 
 
 Collection of m. m. francken. 
 
 Collection of Barclay field, esq. 
 
 Collection of george field, esq. 
 
 Art Treasures Exhibition, Manchester, 1857. 
 
 Burlington Plouse, 1871. 
 
 Smith, No. 111. 
 
 Jacob von Ruisdael was the nephew of the painter Solomon van 
 Ruisdael, and was born at Haarlem about 1625. His father. Isaac, 
 gave him a good education and intended mm lor the medical pro- 
 fession, and he was sometimes styled Doctor. He probably studied 
 under his uncle, but it is clear he was powerfully influenced by 
 Allaert van Everdingen. He removed to Amsterdam in 1659, and 
 the same year obtained the rights of citizenship there. He remained 
 unmarried in order to promote the comfort of his aged father, but 
 in spite of his activity his talents were not appreciated by his con- 
 temporaries as they deserved to be. In 1681 his fellow religionists 
 obtained from the Burgomaster of Haarlem a place in the almshouse 
 of Haarlem for him, by payment of a certain sum. He died there 
 soon after, and was buried May 14th, 1682. The landscapes of 
 Ruisdael are generally simple natural views, well selected, his 
 favourite subjects being woody scenes and waterfalls, though he 
 sometimes painted marine pieces. The artistic importance of his 
 work lies in the conception, and in the solemn earnestness of the 
 prevailing tone, founded upon a deep and continual observance of 
 
 Nature. 
 
4 o 
 
 GALLERY IT. 
 
 49 A YOUNG LADY READING A 
 LETTER TO HER MOTHER. 
 
 HE scene is in a handsome apartment, with brass 
 
 chandelier suspended from the ceiling. The 
 elder lady in dark blue velvet jacket, bordered with 
 ermine, is seated at a table with a pen in her hand. 
 She has ceased writing in order to listen to her daughter, 
 who stands on the opposite side of the table reading 
 from a paper which she holds. She has light hair, 
 white satin robe, blue bodice. Behind her a page is 
 seen approaching, with gold salver and ewer. A spaniel 
 lies on a velvet-covered stool in front. 
 
 The fancy compositions of this Master are compara- 
 tively few in number, and this, together with their 
 peculiar excellence and beauty, have at all times 
 rendered them difficult of attainment, and many im- 
 portant collections are destitute of a single example. 
 
 Collection of M. beaujou, 1787. 
 
 Collection of m. geldermeester, 1800. 
 
 British Institution, 1826. 
 
 Burlington House, 1884. 
 
 Smith, No. 29. 
 
 Gerard Terburg was born about 1617. lie was taught drawing 
 by his father at Zwolle. In 1632 he was at Amsterdam, and after- 
 wards studied at Haarlem under the elder Pieter Molyn. In 1635 
 he visited England, travelling then through France, Italy and 
 Germany. In 1646 he repaired to Munster, where the memorable 
 Congress was then sitting. And it was there he painted the 
 marvellous little picture of the “ Ratification of the Treaty of Peace, 5 ’ 
 now in the National Gallery. In 164S he visited Spain, and 
 acquainted himself with the works of Velasquez. In 1654 he 
 married, and settled in Deventer, where he became burgomaster, 
 and where he painted the greater number of his pictures of social 
 life, and portraits on a small scale, full of distinction. He died 1CS1. 
 
 Painted by gerard terburg. 
 Canvas 31^- x 26 \ inches. 
 
 Lent by her majesty the queen. 
 
GALLERY II. 
 
 41 
 
 50 A VIEW IN THE BACK COURT 
 OF A HOUSE. 
 
 HE picture shows the back part of a house having 
 
 an open door at the end of it, showing two steps 
 ascending to a garden. Near the centre of the court a 
 gentleman is seated. He is about to enjoy his tankard 
 of ale and pipe with which a woman, standing before 
 him, has provided him; he has invited her to take a 
 glass, which she is in the act of drinking. A child is 
 crossing the court with a pot of embers in her hand. 
 
 Collection of john smith, esq., 1822. 
 
 Collection of william wells, esq., of Redleaf, 1848. 
 
 Smith, No. 30. 
 
 Pieter de Hoogh, or Ilooch, was born, probably, in 1630. Very 
 little is known of his life ; only a few details can be gathered from 
 occasional dates on his pictures. He excelled in the painting of full 
 and clear sunlight, and the figures he introduces into his pictures are 
 generally placed in the open air in courtyards. The atmospheric 
 effects attained in his pictures are their chief characteristics. He 
 lived at Delft, and also at Haarlem, at which latter place he is 
 believed to have died in 1681. 
 
 Painted by pieter de iioogh. 
 Canvas 30! x 25J inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 ,~3D» 
 
42 
 
 GALLERY II. 
 
 51 A HERDSMAN AND A WOMAN 
 TENDING CATTLE. 
 
 Painted by albert cuyp. 
 
 Canvas 25 x 33^ inches. 
 
 Lent by sir henry st. john mildmay, bart., j.p. 
 
 T HE scene is a hilly country, a river on the right and 
 in the distance the tower of a castle. In a meadow 
 in front are seven cows, guarded by a herdsman who is 
 in a red coat and stands, with his back to the spectator, 
 conversing with a woman who is sitting on the ground 
 near him. The aspect of a fine summer evening lends 
 a delightful lustre to the scene. 
 
 Signed i( A. cuyp.” 
 
 Smith, No. 75. 
 
 Collection of henry penton, eso., until 1800. 
 Engraved by franqois vivares, 1709 — 1780. 
 
 Albert Cuyp was born at Dort, his father’s native town, 1620. 
 He became the pupil of his father, but further particulars of his 
 early life are wanting, but it is probable he visited other parts of 
 Holland before commencing practice on his own account at Dort. 
 He was many-sided in his Art, but ever taking Nature as his guide 
 and model escaped all reproach to mannerism. His temperament 
 led him to seek calm and sunny scenes, and his extraordinary 
 mastery in rendering light and the effects of hazy morning or of 
 glowing afternoon has become proverbial. He met with but 
 limited recognition in his day, and Holland is not particularly 
 rich in his works. The portraits he painted are good in character, 
 and as little conventional as his other work. He died at Dort, 
 1691. 
 
GALLERY II. 
 
 43 
 
 MARY ISABELLA, DUCHESS OF 
 RUTLAND. 
 
 Painted by sir joshua Reynolds, p.r.a. 
 
 Canvas 93-J x 58 inches. 
 
 Lent by the duke of Rutland, k.g. 
 
 M ARY Isabella, Duchess of Rutland, wife of the 
 fourth Duke of Rutland, was the daughter of 
 Charles Noel Somerset, fourth Duke of Beaufort. She 
 was called “ the beautiful Duchess.” Full length, life 
 size, standing. White dress, edged with ermine, white 
 turban and feather. Landscape background. 
 
 Engraved by valentine green, 1739-1813. 
 Another portrait of this lady is also at Belvoir, by 
 the rev. w.. m. peters, a.r.a., life size, on oak 
 panel, in a white dress, holding a garland of flowers. 
 
 Sir Joshua Reynolds was born in 1723, and educated at Plympton 
 St. Mary, Plymouth. He came to London at the age of eighteen 
 as a pupil of Hudson, and remained with this Master less than two 
 years. Returning home, he painted many portraits at low prices 
 (seventy shillings). In 1749 he sailed with Commodore Keppel to 
 the Mediterranean, and reaching Rome stayed there for two years, 
 directing his studies chiefly to Michael Angelo’s works in the Sistine 
 Chapel. Working there during bad weather he caught cold and 
 became deaf, and was compelled thereafter to use an ear-trumpet. 
 He returned to London in 1752, and settling soon after in St. 
 Martin’s Lane, quickly rose in reputation. In 1753 he painted the 
 portrait of Commodore Keppel, which laid the foundation of his 
 fortune. He painted, many heads at this time at twelve guineas 
 each. Henceforward his progress was very rapid, and among his 
 sitters were many of the famous men and women of his time. In 
 1768 he was knighted, and became first President of the Royal 
 Academy. From this time he worked with almost uninterrupted 
 assiduity and success, producing many hundreds of pictures. He 
 died February 23rd, 1792. 
 
44 
 
 GALLERY II. 
 
 53 INTERIOR, WITH TWO SEATED 
 CAVALIERS. 
 
 WO cavaliers are seated in a well-appointed room ; 
 
 one of them, in black, with large high-crowned 
 hat, and a pipe in his left hand, is being addressed by a 
 woman in a blue gown, trimmed with red ribbons, and a 
 white apron, with white kerchief round the head, who 
 is holding up a glass of wine. The other is in buff, and 
 wears some armour ; his scarlet cloak hangs over the 
 back of his chair. Open doorway in the rear, beyond 
 which another room is seen and the red roofs of some 
 
 Painted by peter de hoogh. 
 Canvas 31 x 26 inches. 
 
 Lent by antony gibbs, eso. 
 
 houses. 
 
 (For notice of the Painter's life see No. 50 .) 
 
GALLERY II. 
 
 45 
 
 54 VIEW ON THE MAAS DURING 
 A FINE DAY IN WINTER. 
 
 N the right are the ruins of a castle, close to which 
 
 are sledges, horses, and a great company of 
 people, many of whom are under a tent. Three men 
 are chatting near a gray horse, and a fourth person, 
 dressed in red and nearer the spectator, is skating. 
 Beyond is a broad expanse of ice and groups of skaters, 
 a few buildings and a line of flat coast. The sky is 
 varied with mottled clouds, and the influence of a bright 
 winter sun gilds the scene. 
 
 Signed “ A. cuyp.” 
 
 Collection of m. vander s. v. slingelandt, 1785. 
 
 British Institution, 1832. 
 
 Burlington House, 1875. 
 
 Smith, No. 19. 
 
 {For notice of the Painter's life see No. 51 .) 
 
 Painted by albert cuyp. 
 
 Panel 2 5^ x 35^ inches. 
 
 Lent by the earl of yarborough. 
 
4 6 
 
 GALLERY II, 
 
 55 INTERIOR, WITH FIGURES. 
 
 Painted by hendrik sorgh. 
 
 Panel 19^- x 27^ inches. 
 
 Lent by Alfred c. de roti-ischild, esq. 
 
 Signed “M. sorgh, 1642." 
 
 IX persons are seated at a table, one of them a 
 
 woman, behind whom a man is standing near a 
 fireplace. The chief figure is seated on a tub, wearing 
 a red cap and having in his hands a large jug of beer. 
 
 Hendrik Martenszoon Sorgh, called also Rokes, was born at 
 Rotterdam, 1611. He was a pupil of Willem de Buytenweg, and 
 painted, in the manner of Adriaan Brouwer, views of humble 
 interiors, fishmarkets, fairs, &c., and in later years scenes on the 
 sea and on rivers. He died in 1682. 
 
 56 THE GLASS OF LEMONADE. 
 
 Painted by gerard terburg. 
 
 Canvas 26 x 21 inches. 
 
 Lent by antony gibbs, esq. 
 
 COMPANY of two ladies and a gentleman in a 
 
 handsome apartment ; the elder lady is standing 
 with her hand upon the shoulder of the other, who is 
 seated, and dressed in a yellow velvet neglige bordered 
 with ermine, white satin petticoat trimmed with gold, 
 and black hood tied under the chin ; she has a glass of 
 lemonade in her hand, which a cavalier, sitting opposite 
 to her, in green coat, auburn hair and large brown hat, 
 is stirring with a silver knife ; to the right is a table, on 
 which is a plate and a bottle. 
 
 Novar Collection. 
 
 Burlington House, 1880. 
 
 Engraved in the Choiseul Gallery. 
 
 Smith, No. 8. 
 
 {For notice of the Painter's life see No. 49.) 
 
GALLERY II. 
 
 47 
 
 57 PORTRAIT OF MARIA ALEWYN 
 (SCHURORMANNS). 
 
 HREE- QUARTER length, life size, standing; 
 
 facing the spectator. Black dress richly orna- 
 mented in front, white ruff, high white cap ; right hand 
 holding the end of a thick chain that passes round her 
 waist, and to which a heavy bauble is attached. 
 
 Paul Moreelse was born at Utrecht, 1571. He is best known by 
 his portraits, but he was also an engraver and architect. He 
 studied at Rome for some time, and on his return to Holland he 
 executed some historical subjects. He died at his native town, 1638. 
 
 58 FLOWERS AND FRUIT. 
 
 Painted by jan davidsz de heem. 
 
 Canvas 22 x 23 inches. 
 
 Lent by Joseph ruston, esq., of Lincoln. 
 
 Tan Davidsz De Heem was born at Utrecht about the year 1600, 
 and is said to have died at Antwerp in 1674. He was the pupil of his 
 father, the flower painter, and was the first Master who developed 
 the Art of fruit painting and still life generally. He is thought by 
 some to be “ the greatest Master of the class the School produced.” 
 His works are held in much estimation, but there are few examples 
 in England. He is believed to have died at Antwerp in 1674. 
 
 Painted by Paul moreelse. 
 
 Panel 47^ x 35^ inches. 
 
 Lent by Joseph ruston, esq., of Lincoln. 
 
GALLERY II. 
 
 59 FROZEN RIVER: SKATING 
 
 SCENE. 
 
 Painted by jan beerestraaten. 
 
 Panel 20 \ x 39 inches. 
 
 Lent by h. c. erhardt, eso., f.r.g.s. 
 
 N the left is a large boat with brown sail, full 
 
 of brightly dressed people ; to the right are 
 sledges and many richly attired skaters, one party 
 appearing to be very merry. On the right bank is a 
 large red house, and houses are seen on the opposite 
 bank ; town in the distance, church steeples rising into 
 a glowing wintry sky. 
 
 Jan Beerestraaten was born at Amsterdam in 1622. Many of 
 his pictures are to be seen at the present day in public buildings 
 in that city. Most of his works had for their subject views and 
 scenes in Amsterdam ; he also painted coast scenes. He died in 
 his native city in 1687. 
 
GALLERY II. 
 
 49 
 
 6o A WOMAN FEEDING A 
 SPANIEL. 
 
 Painted by GABRIEL METSU. 
 
 Panel 19 x 13 inches. 
 
 Lent by the marquess of bute, k.t. 
 
 A N old woman dressed in a brown jacket and blue 
 apron is seated on a form at the door of a house 
 feeding a spaniel. This scene attracts the attention of 
 an elderly man who stands on the upper step of the 
 house, leaning one hand on the half-door, which is partly 
 open. A portion of a reel lies on the seat, and a grind- 
 stone, an earthen pan and a wooden spoon are on the 
 ground in front. 
 
 Collection of m. braamcamp, 1771. 
 
 Smith, No. 22. 
 
 Gabriel Metsu was born at Leyden, 1630. Iiis first teacher in 
 Art was probably his father, but he afterwards studied under Gerard 
 Dow, though in his style he more resembled Terburg, for his 
 pictures deal, as a rule, with the more refined side of domestic life. 
 At the age of twenty he left Leyden and settled in Amsterdam, where 
 he probably spent the rest of his life. He died and was buried 
 there in 1667. 
 
5 ° 
 
 GALLERY II. 
 
 6 1 DUTCH BOORS. 
 
 Painted by adriaan j. van ostade. 
 
 Panel 9 I- x 8 inches. 
 
 Lent by her majesty the queen. 
 
 N interior with six figures ; three are round a large 
 
 fireplace conversing, one standing with a pipe in 
 his hand, the other two seated. At the further end of 
 the room, in shadow, are three more figures at a table, 
 which is placed beneath an arched, square paned window. 
 A dog in the foreground, to the left, is licking an earthen 
 
 Adriaan Jansz van Ostade was born at Haarlem, 1610. His 
 father, a weaver, left the hamlet of Ostade, near Eindhoven, to 
 settle at Haarlem, and there his son became the pupil of Franz Hals. 
 Adriaan was twice married, the second time to a daughter of Jan 
 van Goyen, the landscape painter ; he lived and died at Haarlem, 
 and was interred there 2nd May, 1685. His scenes, taken from 
 the ordinary peasant life in his neighbourhood, are well known. 
 The subjects are trivial and sometimes treated with needless 
 coarseness. These characteristics are, however, redeemed by artistic 
 qualities of a high order, by consummate skill in composition, 
 delicacy of colour, and by appropriate and never unduly strained 
 action in the figures. It is for these merits that his works are justly 
 prized. His brother Isack, Cornelis Bega, and Michael ran 
 Musscher, were direct pupils of his, and he greatly influenced Jan 
 Steen. 
 
 pot. 
 
GALLERY II. 
 
 51 
 
 62 GIRL AND CAVALIER. 
 
 Painted by jan miense molinaer. 
 
 Panel 10 \ x ioi inches. 
 
 Lent by henry pfungst, esq., f.s.a. 
 
 HE girl, habited in red, with brown fur and white 
 
 headgear, frill and apron, is holding in her hand a 
 long lighted pipe, as if her companion were persuading 
 her to smoke. He, in dark gray pleated cloak, deep 
 white frill and broad brimmed brown hat with feather, 
 has a flagon in one hand, against which lies an over- 
 turned glass, while with the other he offers her wine. 
 
 Jan Miense Molinaer was born at Haarlem early in the seven- 
 teenth century. He is regarded as the best of the Molinaers (the 
 surname of a large family of artists of the Dutch School). 
 He painted country scenes in the manner of Steen and Brouwer. 
 He died at his native town in 1668. 
 
 63 VIEW OF A TOWN ON A CANAL. 
 
 Painted by jan van goyen. 
 
 Panel 29 x 42 inches. 
 
 Lent by the earl of Carlisle. 
 
 A TOWN, with its walls and towers, stands on rising 
 ground against a warmly clouded sky. Below, 
 in the foreground, runs a canal to which cattle are 
 descending to drink, and on which a boat is seen full of 
 people about to land ; in the foreground, to the extreme 
 left, a man is fishing, with his back to the spectator. 
 
 Jan van Goyen was born at Leyden in 1596, and studied under 
 various Masters of little note. While still young he made a tour 
 through France, and on his return home received some instruction 
 from Essias van de Velde. He was one of the earliest Dutch 
 landecape painters, and his works are marked by great truth and 
 observance of Nature, and the drawing is admirable. His daughter 
 married Jan Steen. He died at the Hague in 1666. 
 
GALLERY II. 
 
 64 LADY HAMILTON SEATED AT 
 THE SPINNING-WHEEL; 
 CALLED FORMERLY “THE 
 SPINSTRESS.” 
 
 Painted by george romney. 
 
 Canvas 68 x 50 inches. 
 
 Lent by lord iveagei. 
 
 L IFE-SIZE figure in white, with white drapery round 
 the head, seated to the right, face turned to the 
 spectator. A spinning-wheel is in front of her, at which 
 she is working ; hen and chickens on the ground to the 
 right. 
 
 Emma Lyon, afterwards Lady Hamilton, was born at 
 Denhall, Cheshire, in 1764. Her father was a labourer, 
 who died when she was quite a child, and she removed 
 with her mother to Hawarden, where her relatives lived, 
 who were colliers. Tradition says she used to assist her 
 mother in carrying coals about on donkey-panniers. 
 She was afterwards engaged as a nursery-maid in a 
 surgeon's family in Hawarden, and at sixteen years of 
 age migrated to London and took a similar situation in 
 the house of a physician at Blackfriars. Her beauty 
 attracted the notice of a lady of fashion, who engaged 
 her as a humble companion, and while with her she 
 acquired the rudiments of the accomplishments for 
 which she was subsequently famous. She shortly 
 after formed a liaison with the Hon. Charles Greville, 
 who exerted himself to develop her intellectual and 
 artistic gifts. He introduced her to Romney, on whom 
 her beauty made a deep impression. Her social and 
 artistic education was completed under Mr. Greville' s 
 
GALLERY II. 
 
 53 
 
 uncle, Sir William Hamilton, whose main object was to 
 avert her marriage with his nephew, but who shortly 
 afterwards married her himself and took her with him 
 to Naples, where he was English Minister. Here Lady 
 Hamilton acquired and retained a powerful influence 
 over the Oueen of Naples, and exerted it with success 
 for the promotion of British interests. Later on the 
 well-known intimacy sprang up between Lady Hamilton 
 and Nelson. In a codicil to his will, executed 
 immediately before Trafalgar, Nelson wrote, “ I leave 
 Emma, Lady Hamilton, a legacy to my King and 
 country,” but neither King nor country paid any atten- 
 tion to the bequest, and after Nelson’s death her affairs 
 fell into irretrievable confusion. In 1813 she was 
 confined as a prisoner for debt in the King’s Bench. 
 Released by the kindness of a generous Alderman of 
 London,* she fled with Nelson’s daughter Horatia to 
 Calais, and, after eighteen months of penury and 
 struggle, died in the greatest poverty in the fifty-first 
 year of her age. 
 
 The present portrait was painted when she was twenty- 
 four years of age, to the order of Mr. Greville, but his 
 limited finances prohibited his completing the purchase, 
 and it passed to a Mr. Christian Curwen, on the under- 
 standing that in the event of Mr. Greville being in a 
 position eventually to purchase it, it should be his. 
 
 Collection of Christian curwen, eso. 
 
 Collection of j. browne, eso. 
 
 Collection of earl of normanton. 
 
 Burlington House, 1876. 
 
 Engraved by bartolozzi and cheeseman. 
 
 * J . J. Smith, Aldei'nian for the Ward of CastJehaynard—Lord Mayor in 1S10. 
 
54 
 
 GALLERY II. 
 
 George Romney was born at Dalton-in-Furness, Lancashire, 1734. 
 His father was a cabinet-maker, and brought Romney up to his own 
 business, but the son showed so decided an ability for drawing that 
 he was placed at the age of nineteen with a portrait painter named 
 Steele, then established at Kendal. At the age of two-and-twenty 
 Romney married, and in the following year commenced painting on 
 his own account, and in 1762 came to London. In 1773 he visited 
 Italy, and returning in 1775 took up his residence in Cavendish 
 Square. From this time he divided the patronage of the famous and 
 wealthy with Reynolds and Gainsborough, but his wife and family 
 never participated in his success ; they remained at Kendall, and 
 during thirty-seven years he paid, it is said, only two visits to them. 
 It was in 1782, when in his forty-eighth year, that he became 
 acquainted with Lady Hamilton. After her first appearance on his 
 horizon he seems to have relied almost solely on her for inspiration. 
 He was miserable when away from “ the divine lady,” and reduced 
 the number of his sitters in order to devote more time to studies of 
 her beauty. At the age of sixty-five he broke up his London 
 establishment and rejoined his family at Kendall, where he died in 
 1802. His best characteristics are grace and pleasant colour. As a 
 draughtsman he gave evidence of higher gifts than either Reynolds 
 or Gainsborough. On the other hand he was far below Reynolds in 
 intellectual vigour, and below Gainsborough in spirituality, and 
 below both in richness of chiaroscuro. 
 
 65 PORTRAIT OF AN OLD LADY. 
 
 HREE-QUARTER length, seated in an arm chair, 
 
 facing the spectator. Black dress, white cap and 
 ruff handkerchief in her left hand, the other hand on 
 the arm of the chair. A table at her side with a book 
 upon it. 
 
 Painted by rembrandt van rhyn. 
 Canvas 50 x 41 inches. 
 
 Lent by captain piolford. 
 
 [For notice of the Painter's life see No. 47. ) 
 
GALLERY II. 
 
 55 
 
 66 BOORS PLAYING AT DRAUGHTS. 
 
 Painted by adriaan j. van ostade. 
 
 Panel 14 x i2\ inches. 
 
 Lent by martin h. colnaghi, esq. 
 
 I NTERIOR of a tavern with five Dutch Boors, four 
 of them seated round a table, two playing tric-trac, 
 the others looking on ; a woman to the right of the 
 picture, with a white kerchief round her head, is taking 
 a glass of beer while she talks to one of the men seated 
 at the head of the table ; a dog is lying on the floor to 
 the left. 
 
 From the braamcamp and caloune Collections. 
 Collection of e. h. Lawrence, eso. 
 
 {For notice of the Painter's life see No. 61.) 
 
 67 INTERIOR OF A KITCHEN. 
 
 Painted by peter van den bos. 
 
 Panel i2\ x 16^ inches. 
 
 Lent by henry pfungst, esq., f.s.a. 
 
 V ARIOUS kitchen utensils and some vegetables are 
 scattered on the floor around a large copper 
 vessel, beyond which a woman is at work, in red jacket 
 and dark blue gown ; in the background a man is seated 
 at a fire, and to the right another woman is discerned 
 busy at work. 
 
 Peter Van den Bos (or Bosch) was born in 1613. He appears 
 to have been a very fashionable painter, and the Great Elector of 
 Brandenburg was his patron. After his death he seems to have been 
 forgotten, and his works were taken to be those of Slingelandt, who 
 was then much in vogue ; but they are superior to Slingelandt’s, for 
 though similar in subject, they are broader in touch, and more har- 
 monious in colour. His signed pictures are very scarce. In his 
 early works he approached Gerard Dow in style, but later he leaned 
 to the manner of Rembrandt or Nicholas Maas. 
 
56 GALLERY II. 
 
 68 LE CHEVALIER AMOUREUX. 
 
 Painted by franz van mieris (the Elder). 
 
 Panel i6f x 13 J inches. 
 
 Lent by E. steinkopff, esq. 
 
 I NTERIOR of a room. A cavalier, habited in a striped 
 jacket, a cuirass and a scarlet cloak, is seated, look- 
 ing fixedly at a pretty girl, who is filling his glass from a 
 silver tankard ; she is dressed in a cream-coloured 
 jacket, white satin petticoat, small black apron and a 
 white kerchief over her head. On the right of the 
 apartment is a gentleman sleeping, with his head 
 resting on a table ; at the exterior of a doorway, at the 
 end of a room, is seen a couple embracing. 
 
 Signed “ F. M.” and dated “1658." 
 
 Imported by MR. ceiaplin, 1838. 
 
 Collection of CHARLES BREDEL, ESQ. 
 
 Collection of albert levy, esq. 
 
 Collection of the earl of Dudley. 
 
 British Institution, 1839 and 1851. 
 
 Smith, Supplement No. 44. 
 
 Franz van Mieris was born in 1635 at Leyden. Elis father was 
 a goldsmith, and he was one of a family of twenty-three children. 
 In early life he studied with Gerard Dow, who said he was the 
 prince of his pupils, and in many respects he was not inferior to his 
 Master. His talents were much appreciated during his lifetime, his 
 pictures realising large sums. His works were small in size, and he 
 loved to represent silks, plate and jewels, and, like all “ The Little 
 Masters” of Holland, gave much thought to the painting of hands, 
 and made them full of beauty and meaning. He died at Leyden in 
 1681. 
 
GALLERY II. 
 
 57 
 
 INTERIOR, WITH FIGURES. 
 
 Painted by adriaan j. van ostade. 
 
 Panel i 6 \ x 22 inches. 
 
 Lent by george salting, esq. 
 
 A GROUP of three persons in the foreground, a 
 woman and two men drinking ; to the left of 
 them is a large fireplace, beside which a man is seen. 
 At the further end of the room, and near a high window, 
 a party of five men are drinking and smoking, and 
 listening to a man who is playing on the hurdy-gurdy. 
 
 THE ARTIST AND HIS WIFE: 
 LE MARI AMOUREUX. 
 
 Painted by franz van mieris, the elder. 
 
 Panel 10-i- x 9^ inches. 
 
 Lent by henry pfungst, eso., f.s.a. 
 
 WOMAN wearing a light brown dress and white 
 
 sleeves and cap is seated at a crimson-covered 
 table, on which is a flagon of wine and some broken 
 biscuit. She holds a glass of red wine in one hand, 
 while the other is laid on the arm of a man who is 
 tenderly regarding her. 
 
 {For notice of the Painter's life see No. 61 .) 
 
 {For notice of the Painter's life see Nc. 68 . ) 
 
58 
 
 GALLERY II. 
 
 71 A PHILOSOPHER. 
 
 Painted by Cornelius bega. 
 
 Panel 14-J x nf inches. 
 
 Lent by martin el colnaghi, esq. 
 
 MAN in dark brown and gray clothing, with his 
 
 hands folded on his knee and holding a pair of 
 glasses, is seated before a large open volume that stands 
 upright before him on a chest, propped up by other 
 books. Behind him is a table heavily laden with books 
 and papers, its rich heavy cover hanging down to 
 the left ; a large jar at his side, lid partly off ; dark 
 shadowed background, in which an arch is discerned 
 and a globe. 
 
 Collection of e. h. Lawrence, esq., 1892. 
 
 Cornelius Bega was born at Haarlem in 1620, and Houbraken 
 tells us that he changed his family name to Bega on account of 
 some irregularities of conduct, which had occasioned his father to 
 disown him. He was a pupil of Adrian van Ostade, and was at 
 first a close imitator of that Master, but he subsequently distinguished 
 himself by his tasteful compositions and superiority of drawing. He 
 became a member of the Guild of St. Luke in 1654 ; and died at 
 Haarlem in 1664, of the plague, which he caught while attending a 
 lady suffering from that disease, to whom he was to have been 
 married. 
 
GALLERY II. 
 
 59 
 
 PORTRAITS OF GEORGE DIGBY, 
 SECOND EARL OF BRISTOL, 
 AND WILLIAM RUSSELL, FIFTH 
 EARL AND FIRST DUKE OF 
 BEDFORD. 
 
 HE Earl of Bristol is standing with his right arm on 
 
 the base of a column and his left holding the hem 
 of his cloak ; light hair, fair complexion, black silk 
 costume, rich lace ruff on the shoulders. The Duke of 
 Bedford is standing with his right hand on his hip, a red 
 mantle slung across the arm ; his left hand holding his 
 hat hangs negligently at his side ; brown bushy hair, red 
 figured vest embroidered with gold ; scarlet hose, the 
 knee-bands adorned with gold lace and cords ; buff 
 boots ; gold belt across the body with sword attached. 
 
 Bust portraits from this picture engraved by jacobus 
 HOUBRAKEN, 1698-1780. 
 
 Earl of Bristol’s portrait engraved from this picture by 
 THOMAS WRIGHT, 1792-1849, for Lodge’s Memoirs. 
 Duke of Bedford's portrait engraved from this picture by 
 CHARLES PICART, 1780-1837. 
 
 Smith, No. 515. 
 
 John Smith, in his Catalogue Raisonne (date 1831), 
 observes, “ This example of the Art would of itself 
 have been sufficient to have immortalized the 
 painter.” 
 
 Painted by SIR ANTHONY VAN DYCK. 
 Canvas 99 x 62 inches. 
 
 Lent by earl spencer, k.g. 
 
6o 
 
 GALLERY 11 . 
 
 Sir Anthony van Dyck was born at Antwerp, 1599. At the age 
 of ten he became the pupil of Hendrik van Balen, but his great 
 instructor was Rubens, with whom he lived for four years. Before 
 his twentieth birthday he was admitted a Master of the Antwerp 
 Corporation of Painters. By the advice of Rubens, he visited Italy, 
 and remained there five years. On his return he painted, among 
 others, his celebrated picture of “ The Crucifixion” for the church of 
 St. Michael, at Ghent, and this it was which established his repu- 
 tation as one of the Masters of the age. He soon acquired, too, an 
 unrivalled reputation as a portrait painter. In 1630 he visited 
 England, but not meeting with the reception he had anticipated, he 
 returned to his own country ; but in 1632, Charles I, who had seen 
 a portrait of his Chapel-master by Van Dyck, sent an express invi- 
 tation to him to come to England, and on this occasion he was most 
 courteously received, being lodged by the king at Blackfriars, and in 
 the following year knighted. He was also granted a pension of ^200 
 per annum for life. He settled in England, where his success as a 
 portrait painter enabled him to live in great style. He had a country 
 house at Eltliam, and kept great state when in town, “he always 
 went magnificently dressed, had a numerous and gallant equipage, 
 and kept so good a table in his apartment that lew princes were 
 more visited or better served.” He died in London, 1641, at the 
 age of forty-two, and was buried in the old church of St. Paul, near 
 the tomb of John of Gaunt. Notwithstanding his expensive style 
 of living, he left property to the value of about ^20,000 sterling. 
 In. freshness, force, and vigour of handling, his works are unsur- 
 passed. In his portraits he stands a Master among Masters. 
 
GALLERY 11. 
 
 6 1 
 
 73 VIEW ON THE COAST OF 
 SCHEVENING. 
 
 Painted by Jacob van ruisdael. 
 
 Canvas 33 x 42 inches. 
 
 Lent by the earl of Carlisle. 
 
 A VIEW on the coast of Schevening, during a fresh 
 breeze and the appearance of approaching rain. 
 The lofty ridges of sand called the Dunes, peculiar to 
 that coast, rise on the left, and extend receding into the 
 distance, forming a boundary to a wide beach, over 
 which are distributed a number of persons. Of these a 
 group, composed of two men, a woman and a child, is 
 close to the front, and near them is a lady in black 
 walking towards a gentleman. Nearer the sea are two 
 fishermen wading through a pool. Beyond these are 
 two smacks drawn up on the beach, and still more 
 remote may be counted five other vessels. On the 
 opposite side the eye looks over a wide expanse of sea, 
 in a distant part of which is seen three ships. 
 
 British Gallery, 1836. 
 
 Smith, Supplement No. 28. 
 
 (For notice of the Painter's life see No. 48 .) 
 
62 
 
 GALLERY II. 
 
 74 LANDSCAPE AND MILL. 
 
 Painted by meindert hobbema. 
 
 Canvas 3 x 51 J inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 N tlie right of the picture is a mill, with the falling 
 
 mill-stream reflected in the dark water below. 
 In the middle distance are houses surrounded with trees, 
 before which a lady and gentleman are walking. On 
 the left is a view of a field, with sheaves of corn, and a 
 sunny village with church tower, and a roadway along 
 which people are passing. Sky lightly covered with 
 gray and silvery clouds. 
 
 Collection of baron verstolk. 
 
 Meindert Hobbema was born in 1638, probably at Amsterdam, 
 and is said to have been the pupil of Jacob van Ruysdael. Very 
 few details are recorded of his life. He resided at Amsterdam and 
 was married there in 1668, and died there in 1709. “He died 
 poor ; his last lodging was in the Roosegraft, the street that 
 Rembrandt died in, just as poor, forty years before.” 
 
 75 THE SLEEPING CHILD. 
 
 Painted by George romney. 
 
 Canvas 40 x 50 inches. 
 
 Lent by a Gentleman. 
 
 A CHILD unclothed, lying asleep on white drapery ; 
 
 thick foliage behind and distant blue hills to 
 the left. 
 
 {For notice of the Painter's life sec No. 64. ) 
 
GALLERY II. 
 
 THE MONARCH OF THE GLEN. 
 
 Painted by sir edwin Landseer, r.a. 
 
 Canvas 64 x 66 inches. 
 
 Lent by T. j. barratt, esq. 
 
 STAG, crowned with his twelve tines, stands among 
 
 the clouds on an eminence of rock and heather. 
 His quick ear has caught a sound, and the wide open 
 nostrils seem to scent danger. 
 
 The picture was intended to fill a panel on the walls 
 of the House of Lords, in those days when the leading 
 artists of the country were invited to submit works for 
 that purpose. It was sent on approval to the “ Com- 
 mittee of Fine Arts," but was declined. It appeared in 
 the ensuing Royal Academy Exhibition, where it evoked 
 universal admiration. 
 
 Royal Academy, 1851. 
 
 lord londesborougiTs Collection. 
 
 lord cheylesmore's Collection. 
 
 Engraved by Thomas landseer, a.r.a. 
 
 Sir Edwin Landseer was born in London in 1S02. He was the 
 youngest son of John Landseer, the well-known engraver. 1 1 is 
 father taught him, and is said to have sent the boy at an early age 
 into the fields to sketch from nature any animals he came across. 
 Some drawings in South Kensington Museum were executed by him 
 when five years old. His first exhibited picture was painted when 
 ihirteen years of age. Three years later he entered the schools of 
 the Royal Academy. In 1826 he became an Associate, and a few 
 years after an Academician. His pictures are universally known, 
 and he is “the unrivalled painter of animal life.” In 1850 he 
 received the honour of knighthood. He died at his house in St. 
 John’s Wood in 1873, and was interred in St. Paul’s Cathedral. 
 
6 4 
 
 GALLERY IT. 
 
 77 A FROST SCENE. 
 
 Painted by A. van der neer. 
 
 Panel 19 x 28 inches. 
 
 Lent by captain holford. 
 
 IEW of a river with many persons skating. On 
 
 the left bank are leafless trees, and houses snow- 
 covered ; on the right, some distance away, are other 
 houses and a church tower. Luminous wintry sky, 
 with warm pink clouds lying close on the horizon. 
 
 Aert Van der Neer was born at Amsterdam in 1603. Very little 
 is known of his life. He excelled in moonlight views, towns and 
 groups of cottages. He frequently painted winter pieces with 
 figures on the ice, in which he is scarcely surpassed. He died, very 
 poor, at his native town in 1677. 
 
 Painted by J. m. w. turner, r.a. 
 
 Canvas 24 x 36 inches. 
 
 Lent by T. H. miller, esq., of Poulton-le-fielde, 
 Lancashire. 
 
 L OOKING towards the Doge’s Palace and the Riva 
 Schiavone, with the Custom House on the left. 
 Numerous gondolas on either side and in the distance. 
 
 o 
 
 {For notice of the Painter's life see No. 97.) 
 
 78 VENICE. 
 
GALLERY II. 
 
 65 
 
 79 TROWSE HALL, NORWICH. 
 
 Painted by Alfred stannard. 
 
 Panel 2 9| x 40 J inches. 
 
 Lent by sir J. c. robinson. 
 
 I N the foreground is a shadowed pond, on the opposite 
 side of which, in the centre of the picture, is a house 
 with large trees in front of it, extending in a line away 
 to the left, by a meadow in which sheep are lying. A 
 girl in red is turning away from the pond with her 
 pitcher, and a boy is preparing to bathe. Blue sky with 
 large white and gray clouds. 
 
 80 COTTAGE INTERIOR, WITH 
 THREE FIGURES. 
 
 O the right, beside the fire, an old woman is seated, 
 
 apparently listening to the man seated opposite, 
 who is reading from a paper ; another man is standing 
 by his side filling a pipe. 
 
 {For notice of the Painter's life see No. 92 . ) 
 
 Painted by edmund bristow. 
 Panel 9x11 inches. 
 
 Lent by h. waterman, esq. 
 
 d 
 
66 
 
 GALLERY II. 
 
 8 1 NEAR BINGHAM, NORFOLK. 
 
 Painted by JOHN crome (called “Old Crome”). 
 Panel 25 J x 33 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 Painted 1813. 
 
 Collection of Joseph gillott, esq. 
 
 Collection of madame bischoffshein. 
 
 Etched by JOHN crome. 
 
 John Crome was born in a small public-house in Norwich, 
 lie started in life as an errand boy to a physician in that town, but 
 soon gave it up, and apprenticed himself to a house and sign painter. 
 He is said to have been the first who practiced graining in imitation 
 of the natural marks in wood. About this time he formed an 
 intimate friendship with Ladbrooke, and the two youths spent all 
 their spare time in drawing, studying chiefly from Nature. In 1803, 
 in conjunction with several young artists and amateurs, he founded 
 “ The Norwich Society of Artists,” whose first exhibition was held 
 in 1805, when twenty-three of the works were contributed by Crome, 
 and in 1810 he was elected President of the Society. He died, after 
 only a few days illness, 1821. 
 
GALLERY II. 
 
 67 
 
 82 THE HOMERIC DANCE. 
 
 Painted by william etty, r.a. 
 
 Canvas 48 x 68 inches. 
 
 Lent by sir Charles tennant, bart. 
 
 T HREE men and three women, hand in hand, are 
 circling in a dance. Others standing by are 
 observing them, and one is playing on a lyre. A man 
 in the foreground with a red cap is kneeling and pouring 
 wine into a vessel which a woman holds to him. Blue 
 sea in the distance and to the right a rocky coast. 
 
 Royal Academy, 1842. 
 
 International Exhibition, 1862. 
 
 Collection of — bacon, esq., of Nottingham. 
 Collection of — colls, eso. 
 
 This famous painter was born at York in 1787. “Like Rembrandt 
 and Constable,” writes Etty, “ my father was also a miller.” When 
 a compositor to a printer at Hull, to whom he was apprenticed in 
 1798, he says, “ to which business I served seven full years faithfully 
 and truly .... but I had such a busy desire to be a painter 
 that the last years of my servitude dragged most heavily. I counted 
 the years, days, and weeks and hours till liberty should break my 
 chains and set my struggling spirit free.” His uncle, William Etty, 
 helped him during his lifetime, and at his death left him the necessary 
 means to pursue his artistic studies. Etty tells us, “I drew from 
 prints or from nature, or from anything I could.” Among his fellow 
 students at the Academy were Hilton and Haydon, and in 1808 he 
 became a pupil of Sir Thomas Lawrence, who often employed him 
 to make copies of his portraits. He studied from the Old Masters 
 in the British Gallery, which he found easy after his year with Sir 
 Thomas Lawrence ; his work, too, as a student was clever and 
 painstaking, though he never carried off a medal, and for many years 
 his pictures were rejected at the Royal Academy. Industry and 
 perseverance at length prevailed and good fortune crowned his efforts. 
 He visited Paris in 1822, and later went to Italy, Venice being his 
 chief attraction. “Venice, the birthplace and cradle of colour, the 
 hope and idol of my professional life.” Etty lived in London from 
 the year 1826 till 1848, when, as his health began to fail, he removed 
 to his native city of York, and died there in the following year. An 
 exhibition of his works was held in 1S49, an d a life of him was 
 written in 1855 by Alexander Gilchrist. 
 
 D 2 
 
68 
 
 GALLERY II. 
 
 83 VICE - ADMIRAL SIR JOSEPH 
 SIDNEY YORKE AT THE AGE 
 OF THIRTEEN. 
 
 Painted by george romney. 
 
 Canvas 35^ x 27^ inches. 
 
 Lent by captain the hon. j. manners yorke, r . n . 
 ALF length, life size, in naval uniform, facing 
 
 the right, with face turned towards the spectator ; 
 long brown hair falling on the shoulder ; left hand on 
 hilt of sword ; background — heavy clouds above, sea 
 fight below. Born 1768. Midshipman of Rodney’s 
 flagship the “ Formidable,” at the battle of Dominica, 
 12th April, 1782, Lieutenant 1789, Rear-Admiral and 
 knighted 1810, Vice-Admiral 1814, K.C.B. 1815, a Lord 
 Commissioner of the Admiralty 1810- 1818. Died 1831, 
 
 {For notice of the Painter'' s life see No. 64 .) 
 
GALLERY II. 
 
 6 9 
 
 84 THE LETTER OF 
 INTRODUCTION. 
 
 Painted by sir david wilkie, r.a. 
 
 Panel 24 x 20 inches. 
 
 Lent by Thomas brocklebank, esq., of Cheshire. 
 
 I T is said that the origin of this beautiful picture arose 
 out of the artist’s personal experiences upon his first 
 arrival in London. A friend had furnished him with a 
 letter of introduction to a person of the name of Caleb 
 Whiteford, the discoverer of “the cross readings” in 
 newspapers. Caleb asked the young painter how old he 
 was ; Wilkie hesitated. “ Ha ! ” exclaimed Caleb, “ intro- 
 duce a man to me who does not know how old he is,” 
 and regarded him with that dubious look which is the 
 chief charm of the picture. 
 
 Royal Academy, 1814. 
 
 Purchased from the artist by Samuel dobree, esq. 
 Collection of samuel mendel, esq. 
 
 Collection of Ralph brocklebank, esq. 
 
 Sir David Wilkie was born at Cults, in Fifeshire, in 1785, his 
 father being the minister of the parish. His whole life from a very 
 early age was devoted to his Art. In his memoirs he says — “ I could 
 draw before I could read, and paint before I could spell.” After 
 studying in Edinburgh, he came at the age of twenty to London, 
 and worked in the Royal Academy Schools, exhibiting and selling 
 many of his pictures. He was elected Royal Academician in 1811. 
 In 1830 he was appointed painter-in-ordinary to the King, and in 
 1836 was knighted. Four years, later he went on a pilgrimage to 
 the East, from which he was destined never to return, for on his way 
 home, just after the ship had left Malta, he was seized with illness, 
 died, and was buried at sea within sight of Gibraltar. His burial is 
 the subject of one of Turner’s most beautiful pictures. 
 
;o 
 
 GALLERY II. 
 
 85 THE YOUNG SOLDIER. 
 
 Painted by gerard terburg. 
 
 Canvas 17^ x 15^ inches. 
 
 Lent by t. Humphry ward, esq. 
 
 F IGURE of a young man in bufi uniform standing 
 towards the left; white shirt, broad brimmed hat and 
 white feather ; spurred boots ; long hair descending to 
 the shoulder. He is smoking a long thin pipe. A flag 
 and a drum are on the floor behind him ; dark 
 background. 
 
 {For notice of the Painter's life see No. 49.) 
 
 86 LIONESS AND PREY. 
 
 Painted by james ward, r.a. 
 
 Canvas 45 x 53 inches. 
 
 Lent by J. S. forbes, esq. 
 
 James Ward was born in Thames Street, London, in 1769. He 
 was a frequent exhibitor at the Royal Academy, and became 
 esteemed as a clever painter of animals. A characteristic portrait 
 painted by himself at the age of seventy-nine is in the National 
 Portrait Gallery. He died at Cheshunt in 1859, in his ninety-first 
 year. 
 
GALLERY II. 
 
 7 1 
 
 87 SALISBURY CATHEDRAL. 
 
 Painted by John constable, r.a. 
 
 Canvas 60 x 76 inches. 
 
 Lent by Thomas ashton, esq., of Manchester, j.p. 
 HE cathedral rises in the centre of the picture with 
 
 heavy clouds about it ; to the left stand high 
 rugged trees by a shadowed stream, through which a 
 heavy waggon is passing, drawn by three horses. To 
 the right the stream flows into light, and washes against 
 the meadows, beyond which are trees and the red- 
 roofed houses of the town. Briars partially cover the 
 bank of the stream in the foreground, and a girl is seen 
 with a red cloak; to the right, near where a dog is 
 standing, are the rough wooden remains of a bridge. 
 
 International Exhibition, 1862. 
 
 This eminent landscape painter was the son ot a wealthy miller, and 
 was born at East Bergholt, Suffolk, in 1776. As a boy he attended 
 schools at Lavenham and Dedham, but showed little talent for any 
 book-learning, and was always drawing. His parents had wished 
 him to enter the Church, but Constable showing no inclination in 
 that direction, his father took him into his own business. Growing 
 into manhood, he was known throughout the country as “the hand- 
 some miller,” because of his fine face and figure. He and his great 
 friend, Dunthorne, used to paint together in the fields, and his father, 
 acknowledging at last his great talent, reluctantly allowed him to go 
 to London to study Art, but it was not until the year 1799 that 
 Constable became a student at the Royal Academy. During the 
 years following the summer months were spent in the country, living 
 nearly always in the fields, and seeing nobody but field labourers. 
 Nature was his great instructor, and though he attempted historical 
 and portrait painting, in landscape is best shown his marvellous 
 excellence. His whole life and letters testify to his love and apprecia- 
 tion for the country. In 1816 Constable married Miss Mary 
 Bicknell, in 1819 was elected Associate of the Royal Academy, and 
 ten years later Academician. Though he was a hard worker, for 
 many years his pictures were not popular, but about the year 1829 
 he began to meet with success. Three pictures of his, exhibited at 
 
72 
 
 GALLERY II. 
 
 the French Salon, won for him the gold medal, and were much 
 praised. Living at Hampstead, his “ dear sweet Hampstead,” in 
 1827, he writes : — “My little studio commands a view without an 
 equal in all Europe.” The neighbourhood afforded him many studies 
 for paintings, as did Asmington, the home of his wife when a girl, 
 and Salisbury, where his friend Fisher lived. Constable often 
 lectured on the study of Nature, and sometimes painted in water-colour. 
 He died suddenly in London in 1837. A memoir of him, with much 
 of his correspondence, was published 1843 by G. R. Leslie, R.A. 
 
 88 INTERIOR, WITH TEN FIGURES. 
 
 Painted by adriaan j. van ostade. 
 
 Panel 18 x 15 inches. 
 
 Lent by antony gibbs, esq. 
 
 I N the foreground six figures are round a table, 
 smoking and drinking ; to the left is a window, and 
 a little distance off, also near a window, is another table 
 at which are three men, upon whom a woman is 
 waiting, and for one of whom she is filling a glass. 
 
 wynn ellis Collection. 
 
 (For notice of the Painter s life see No. 6 1.) 
 
GALLERY II. 
 
 73 
 
 MISS MELLON, AFTERWARDS 
 DUCHESS OF ST. ALBANS. 
 
 Painted by george romney. 
 
 Canvas 28 x 22 \ inches. 
 
 Lent by f. c. pawle, esq., j.p. 
 
 H ALF length, life size, almost full face ; white dress, 
 brown fur boa round her neck, dark blue background. 
 Harriet Mellon, born about 1775, was the daughter 
 of Lieutenant Mellon of the Royal Navy and of 
 the Irish wardrobe woman of a strolling company of 
 comedians. Her schooling was of the roughest, but in 
 her wanderings with her mother she picked up some 
 education, and after appearing as Little Pickle and 
 Priscilla in “ The Romp/' she was introduced to 
 Sheridan, whose Lydia Languish she was permitted 
 to play. Drury Lane, at that time, numbered amongst 
 its company Mrs. Siddons, Miss Farren, Mrs. Jordan 
 and John Kemble. By degrees her beauty made an 
 impression, and she was allowed to play Violante in 
 “The Honeymoon," and Mrs. Ford in the “Merry 
 Wives of Windsor." She became the friend of Lady 
 Burdett, whose father, Thomas Coutts, married her, as 
 his second wife, and at his death in 1821 he left her all 
 his property for distribution among her step-children, 
 and this trust she fulfilled in the handsomest manner. 
 Six years after her husband’s death she married William 
 Aubrey, ninth Duke of St. Albans. Lady Morgan 
 recording a morning visit to her writes : — “ Her gown 
 much too fine for the morning, all ridiculously be- 
 spattered with large jewels, and duke’s coronets on all 
 the footstools." She had no children, and died in 1837. 
 
 Burlington House, 1889. 
 
 {For notice of the Painter's life see No. 64 .) 
 
74 
 
 GALLERY II. 
 
 90 THE PIRATES OF ISTRIA 
 
 CARRYING OFF THE BRIDES 
 
 OF VENICE. 
 
 Painted by j. r. Herbert, r.a. 
 
 Canvas 57 x 45 inches. 
 
 Lent by james dole, esq., of Bristol. 
 
 I T was an ancient usuage among the Venetians that 
 every year, on St. Mary’s eve, twelve poor virgins, 
 endowed by the State, should be united to their lovers, 
 in the church of San Pietro, at Olivolo. On the 
 auspicious day the kinsfolk and friends of the betrothed 
 assembled at Olivolo, and from an early hour gaily 
 dressed boats, with flowers and flags, might be seen 
 skimming the canals towards San Pietro. In a.d. 939, 
 the Corsairs of Istria, who were well acquainted with 
 this annual custom, resolved to profit by the helpless 
 state of the joyous train, and to carry off the daughters 
 of San Marco. Under the conduct of their chief* 
 Gaiolo, a renowned freebooter, they quitted their hiding- 
 place as soon as the procession had entered the church, 
 crossed the canal and leaped ashore. The doors of 
 San Pietro were suddenly burst open, and the place was 
 filled with armed Corsairs, who, tearing the terrified 
 maidens from the foot of the altar, lifted them across 
 the sacred threshold, and depositing them, almost bereft 
 of sense, in their barques, set sail for Istria. The pirates 
 were in the lagoon of Caorlo, when they beheld their 
 pursuers close behind them, and the Venetians, profiting 
 by their local knowledge and dexterity, overtook the 
 marauders in a creek known as the Porto delle Don- 
 zelle. The contest was long and sanguinary, but the 
 
GALLERY II. 
 
 75 
 
 vengeance of the bridegrooms was complete; hardly an 
 Istrian escaped, and the girls rescued from the rude 
 hands of their ravishers were led back to Olivolo, where, 
 as the narrative runs, “they endeavoured to forget 
 their fright and alarm in the customary festivities." 
 
 Royal Academy, 1841. 
 
 Art Treasures Exhibition, Manchester, 1857. 
 
 “TRAIN UP A CHILD IN THE 
 WAY HE SHOULD GO, AND 
 WHEN HE IS OLD HE WILL 
 NOT DEPART FROM IT. 5 ’ 
 
 Painted by william mulready, r.a. 
 
 Panel 26 x 31 inches. 
 
 Lent by Ralph brocklebank, esq., of Tarporley. 
 
 E NCOURAGED by two ladies who attend him, a 
 child is giving alms to two beggars who are sitting 
 by the wayside. They are foreigners and brightly clad. 
 The child is holding a large dog with his right hand. 
 To the left is an avenue of trees, and in the centre is 
 seen the ruins of a castle, with view of fields and trees 
 beyond. 
 
 Painted 1841. 
 
 Art Treasures Exhibition, Manchester, 1857. 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 William Mulready was born at Ennis, Ireland, 1786. From 
 the age of fifteen he supported himself, and is believed to have tried 
 scene-painting, for in later years he was wont to say that he painted 
 
76 
 
 GALLERY II. 
 
 on a very large scale when he was young. At the age of fourteen he 
 entered the Academy Schools, and showed great perseverance. In 
 these early days he taught drawing to many persons of note, one of 
 them being Miss Milbanke, afterwards Lady Byron. He was elected 
 Associate and Royal Academician in one year, his name never 
 appearing in the catalogue with the lesser title. Among his earliest 
 friends was John Varley, whose sister he married when he was little 
 more than seventeen years of age, but the union was an unhappy 
 one, resulting in early separation, and this sad experience remained 
 a trouble to him all his life. He died in 1863. His early works 
 were in imitation of the Dutch School, and he tried to rival Sir 
 David Wilkie in his style, and it was not until he was fifty years of 
 age that his Art culminated in those works of beauty, originality and 
 colour, of which he himself considered the present example to be his 
 masterpiece. 
 
 Painted by edmund bristow. 
 
 Panel 17 x 14 inches. 
 
 Lent by G. hilditch, esq. 
 
 Edmund Bristow was born at Eton in 1787. Pie exhibited only 
 on one occasion, viz., at the British Gallery; it was a sort of notoriety 
 it is said he despised. It is believed to have been Landseer’s opinion 
 that there was no one to equal him in the painting of a horse. Few 
 details are known concerning his life, but he appears to have been an 
 eccentric character. It is reported that on one occasion he refused 
 to sell a picture to a distinguished lady of the aristocracy when she 
 paid a visit to his studio, on the ground that he had a horror of being 
 patronised. The Queen possesses several of his paintings. He died 
 at Windsor in 1876, having outlived all his old friends, and passing 
 his latter years in such retirement that he was scarcely known to the 
 greater part of his fellow townsmen. 
 
 92 INCREDULITY. 
 
GALLERY II. 
 
 77 . 
 
 PORTRAIT OF MISS 
 MACARTNEY. 
 
 Painted by sir henry raeburn, r.a. 
 
 Canvas 30 x 24 inches. 
 
 Lent by f. c. pawle, esq., j.p. 
 
 H ALF length, slightly turned to left. Fair hair, 
 white dress open at neck, blue sash, light blue 
 fillet in hair, rich dark back-ground. 
 
 Painted in Edinburgh, 1794. 
 
 Sir Henry Raeburn was born in 1756 at Stockbridge, Edin- 
 burgh. His father was a manufacturer, but both his parents died 
 when he was little more than six years old. Apprenticed at the age 
 of fifteen to a goldsmith, he showed such taste for drawing that his 
 master introduced him to a friend, named Martin, who was a 
 portrait painter, and subsequently, in the kindness of his heart, 
 released him for the rest of the time of his apprenticeship. Raeburn 
 supported himself by miniature painting, and as his knowledge of 
 Art increased he applied himself entirely to the study of painting. 
 At the age of twenty-two he married a lady of fortune, and came to 
 London, where he made the acquaintance of Sir Joshua Reynolds, 
 who counselled him to go to Italy and study the works of Michael 
 Angelo ; so he and his wife departed for Rome, and after two years 
 spent in Italy, they returned to Scotland, and settled in Edinburgh, 
 where he soon took the lead as a portrait painter, and received full 
 employment. For years he reckoned among his sitters and friends 
 the most distinguished men of his time in Scotland, and may be said 
 to rank next to Reynolds and Gainsborough as a portrait painter. 
 In 1814 he became an Associate, and the year following a Royal 
 Academician. When George IV. visited Scotland in 1822 he was 
 knighted, and appointed “ His Majesty’s Limner ” for Scotland, 
 lie died in 1823, in the sixty-eighth year of his age. 
 
GALLERY II. 
 
 HORSES DRINKING AT A 
 SPRING. 
 
 Painted by tpiomas Gainsborough, r.a. 
 
 Canvas 49 x 39 inches. 
 
 Lent by sir Charles tennant, bart. 
 
 Collection of sir john Leicester. 
 
 Collection of j. l. Parker. 
 
 Collection of the earl of lonsdale. 
 
 British Institution, 1814 and 1843. 
 
 Burlington House, 1876. 
 
 Thomas Gainsborough was born at Sudbury, in Suffolk, in 17 27. 
 At an early age he showed an aptitude for Art, and spent his time in 
 sketching and in rambling about the woods and lanes around his 
 home. When fourteen years of age he came to London, and for several 
 years studied Art. Before he was nineteen he married Miss Margaret 
 Burr, a young lady with an annuity of £ 200 a year, the memory of whose 
 extraordinary beauty is still, says Fulcher, preserved in Sudbury. 
 For a period of twelve years they lived at Ipswich, removing in 1759 to 
 Bath. On the foundation of the Royal Academy in 1 768 he became 
 one of the thirty-six original members, and in 1774 left Bath to reside 
 in London. He was much patronised by George III. At the height 
 of his popularity, when nearly all the great men and celebrated 
 women of the day were sitting to him, commissions came in so 
 quickly that he was unable to keep up with the demand for his 
 services. Gainsborough was also a musician, and used to say “ he 
 painted portraits for money, landscapes because he loved them, and 
 was a musician because he could not help it.” He died in 1788, of 
 cancer, at the age of sixty, and was buried, at his own request, in Kew 
 Churchyard. He was of a kind and generous disposition, and 
 Northcote writes : “ He was a natural gentleman, and, with all his 
 simplicity, had wit.” His pictures are full of grace and beauty, and 
 as a landscape painter he is at the head of the English School. 
 
GALLERY II. 
 
 79 
 
 A CHAT ROUND THE BRASERO. 
 
 HIS everyday scene in Spanish life shows a com- 
 
 pany sitting round a brasero, or charcoal warming 
 pan, chatting. A priest, in large clerical hat, is telling a 
 story. He is about to light a fresh cigarette at the copa, 
 or metal cup, which is usually kept in Spanish houses, 
 with a piece of live charcoal in it, or for fumigating the 
 rooms with lavender. The woman leaning back in 
 unrestrained amusement is very brightly clad, and the 
 black shawl she wears across her right shoulder falls 
 about a guitar, which rests against her, and attached to 
 which is a dazzling red ribbon. The three other 
 listeners are all in rich colour, and a girl, in red shawl 
 and white kerchief on her head, is entering the doorway 
 to the right with refreshments. Picture of the Madonna 
 and Child on the plaster wall, and beneath it a cross. 
 
 Royal Academy, 1866. 
 
 John Phillip was bom at Aberdeen in 1817; he was of humble 
 parentage, and very early in life showed a capacity for Art. When 
 about seventeen he came to London as a stowaway in a coasting vessel, 
 visited the National Gallery and the Royal Academy, and re- 
 turned in a few days to Aberdeen, l>y the kindness of friends he 
 was enabled to become a student at the Royal Academy, and his 
 pictures of Scottish life soon attracted attention. In 1851 he went 
 to Seville for the restoration of his health ; and from that time 
 resided mostly in Spain on account of his delicate constitution, paying 
 annual visits to his native town of Aberdeen. In Spain he produced 
 many brilliant works, most of which were exhibited at the Royal 
 Academy, lie was elected Associate of the Royal Academy in 
 1857, and Royal Academician in 1859. In the Spring of 1866 he 
 went on a visit to Rome, but failing health compelled him to return 
 to London, where he died in 1867, 
 
 Painted by John phillip, r.a. 
 
 Canvas 36 x 48 inches. 
 
 Lent by sir john fowler, bart., k.c.m.g. 
 
So 
 
 GALLERY II. 
 
 96 A SPANISH PEASANT GIRL. 
 
 Painted by John phillip, r.a. 
 
 Canvas 45 \ x 31 J inches. 
 
 Lent by G. w. lloyd, esq. 
 
 {For notice of the Painter's life see No. 95 ). 
 
 97 THE MARRIAGE OF THE 
 ADRIATIC. 
 
 Painted by J. M. w. TURNER, R.A. 
 
 Canvas 59 x 44 inches. 
 
 Lent by Ralph brocklebank, esq., of Tarporley, 
 Cheshire. 
 
 T HIS custom is said to date from the twelfth century. 
 
 Zidni, then Doge of Venice, having on behalf of 
 Pope Alexander III. attacked the fleet of Barbarossa, 
 and obtained a complete victory, the Pope in acknow- 
 ledgment gave him a ring, ordaining that henceforth 
 the governing Doge, as representing the city of Venice, 
 should annually, with a ring, espouse the sea. It is 
 recorded that a.d. 1177 this pompous ceremony took 
 place for the first time. About eight in the morning on 
 Ascension Day, the Venetian Senators in their scarlet 
 robes walk with the Doge in procession to the shore, 
 the Pope’s Nuncio on his right, the Patriarch of Venice 
 on his left ; they then embark on the barge Bucentoro 
 from the Piazza of St. Mark, and proceed slowly to the 
 Isle of Lido, surrounded by a world of piottas and 
 gondolas, richly covered with canopies of silks. Here 
 the Doge, taking a ring from his finger, gives it to his 
 
GALLERY II. 
 
 8l 
 
 betrothed, the Adriatic, by dropping it into her bosom, 
 uttering the words, “ Desponsamus te, mare ; in signum 
 perpetui dominii." We espouse thee, O sea ! in token 
 of our just and perpetual dominion. 
 
 In the picture the company is seen embarking, and a 
 monk on the left is blessing the sea. 
 
 Joseph William Mallord Turner was bom in 1775 at 26, 
 Maiden Lane, Covent Garden. His father was a hairdresser, and 
 his mother, a native of Islington, was, like her son, small in stature, 
 and an early portrait of her, by Turner, gives her a masculine aspect. 
 It is recorded that she had a bad temper, and led her husband a sad 
 life. She became insane in later years, and from her, it may be, 
 Turner inherited his melancholy and reserved disposition. He 
 began his career as a sort of infant prodigy in his father’s shop, and 
 there is a drawing of Margate Church in existence, executed by him 
 when nine years old. His first school was at Brentford, and at the 
 age of fourteen he became a student at the Royal Academy. Four 
 years later he received commissions for drawings to be engraved, 
 and took a studio in Maiden Lane, close to his father’s house. At 
 the age of twenty-four he was elected an Associate of the Royal 
 Academy. During the next few years he travelled over nearly the 
 whole of England and Wales searching for subjects for his drawings, 
 and made many acquaintances, who were afterwards his best friends. 
 Becoming Royal Academician in his twenty-seventh year, he 
 practically ceased then to draw for the engraver, and took a house 
 in Harley Street. The same year he made his first tour on the 
 Continent, and exhibited six pictures of foreign subjects. His Liber 
 Studiorum was begun in 1807, and forms, perhaps, the most satisfac- 
 tory monument of his genius. In 1812 he migrated to Queen Anne 
 Street, which was known as his address to the end of his life, 
 although he later had a country house at Twickenham. He made 
 yearly visits to all the most picturesque parts of the country, and in 
 1819 went on his first visit to Italy, and from that time dates the 
 commencement of his bolder excursions into colour. In 1830 his 
 first subjects from Venice were exhibited, and in 1839 his last picture 
 at the Royal Academy was seen, “ The fighting Temeraire tugged 
 to her last berth. ” During the latter ten years of his life he became 
 interested in the then new art of photography, and paid several 
 visits, incognito, to the studio of Mr. Myall, calling himself a 
 “Master in Chancery,” and generously helping him, unasked, with 
 a loan of £300. He received two offers of ,£100,000 each for the 
 contents of his house in Queen Anne Street, but declined them, 
 having already, in his will, bequeathed his pictures to the nation. 
 Towards the end of 1851 he was discovered living, under the name 
 of Booth, in a small house at Chelsea, and he there died the same 
 year, and was buried in St. Paul’s Cathedral. 
 
82 
 
 GALLERY II. 
 
 98 WOODCUTTERS. 
 
 Painted by john linnell, sen. 
 
 Canvas 39 x 50 inches. 
 
 Lent by Ralph brocklebank, esq., of Tarporley. 
 
 A VIGOROUS wooded landscape, in the foreground 
 of which several men are at work on trees that 
 have been felled. A man on horseback is directing 
 them. Broad woodlands are beyond, with a roadway 
 along which a waggon laden with timber is moving. 
 Distant flat country ; bold clouded sky. 
 
 John Linnell was born in 1792. His father was a picture dealer 
 and wood carver. lie very early evinced a taste for Art, and became 
 a pupil of Benjamin West and John Varley, and also attended the 
 Royal Academy Schools, where he learnt much from his fellow student 
 Mulready. For a period of seventy years he sent contributions 
 to the Academy, and many hundreds of his paintings are in public 
 or private galleries in England. The last thirty years of his life he 
 resided at Redhill, where he died in 1882. 
 
 99 LANDSCAPE AND CATTLE. 
 
 Painted by T. Sidney cooper, r.a. 
 
 Canvas 42 x 56^ inches. 
 
 Painted 1847. 
 
GALLERY IT. 
 
 83 
 
 IOO 
 
 THE WOUNDED SMUGGLER. 
 
 Painted by Charles landseer, r.a. 
 
 Canvas 44J x 56^ inches. 
 
 Lent by G. h. judd, esq. 
 
 Charles Landseer (brother of Sir Edwin) was born in 1799. 
 lie studied with Haydon and also with his father. He became 
 Associate of the Royal Academy in 1837 and Academician in 1845. 
 Six years later he was made Keeper of that Institution. He died in 
 London in 1879, leaving ^10,000 to the Academy for the foundation 
 of a Landseer Scholarship. 
 
GALLERY III. 
 
 i o i THE COFFEE-BEARER. 
 
 Painted by j. f. lewis, r.a. 
 
 Panel 12 x 7I inches. 
 
 Lent by t. h. miller, esq. 
 
 S MALL full-length figure of a Turkish girl in Orien- 
 tal dress ; she is approaching beneath an archway, 
 through which a garden is seen and the minaret of a 
 distant mosque. She is carrying a tray with coffee cups. 
 Crimson robe over white dress, red girdle ; richly worked 
 jacket and turban. 
 
 Signed “ J. F. L., 1857.” 
 
 John Frederick Lewis was born in London in 1805. He 
 received his early tuition in Art from his father, who was an engraver 
 and landscape painter. He exhibited at the Royal Academy in 1821, 
 and his first achievements were in animal painting and chiefly in 
 water colour. In 1843 he went to the East and remained there for 
 several years, during which time he executed many of his best 
 works. On his return to England in 1851 he resided at Walton-on- 
 Thames. He died in 1876. 
 
GALLERY III. 
 
 S5 
 
 102 ALL THAT REMAINS OF THE 
 GLORY OF WILLIAM SMITH. 
 
 Painted by sir edwin landseer, r.a. 
 
 Canvas n| x 9 inches. 
 
 Lent by lord cheylesmore. 
 
 “ A NIMATED by the organ of combativeness and by 
 ** a love of glory, William, in 1814, enlisted in the 
 105th Regiment of Foot. On the 18th June following, 
 in the battle of Waterloo, a cannon ball carried off one 
 of his legs, and laid him on the battle-field helpless. 
 While there, a foreign dog, of singular character, blind 
 with one eye, and lame in one leg, came and lay beside 
 him, as though it was moved by sympathy. On 
 William’s removal from the field, he sought to possess, 
 and ultimately obtained possession of the dog, which 
 became the solace of his cares. When a grateful country 
 brought William home and rewarded his services with a 
 pension and a wooden leg, he stumped about, accom- 
 panied by his dog, forgot his cares, and often made 
 groups of juvenile listeners joyous by telling them 
 stories of his military career. But, in 1828, William 
 died, and his merits never having been recorded in a 
 military gazette, in 1829 the genius of Edwin Landseer's 
 pencil created this likeness of the dog, and of all other 
 objects by which, at the time of his death, he was sur- 
 rounded." This description was written by John Pye 
 on a sheet of paper, which is attached to the back of 
 the picture. 
 
 Engraved by JOHN pye. 
 
 Collection of john pye 1874. 
 
 {For notice of the Painter's life see No. 76 .) 
 
86 
 
 GALLERY III. 
 
 103 THE RETURN OF TORELLO. 
 
 Painted by james clarke hook, r.a. 
 
 Canvas 36 x 49 inches. 
 
 Lent by albert wood, esq., of Conway. 
 
 I LLUSTRATIVE of Boccacio’s story of Signor Torello, 
 A an Italian gentleman, who, having in his journey ings 
 been captured by the Turks and detained a long time 
 from his home, returns at last to find his fair young wife 
 about to be again wedded. He sits as a guest at the 
 marriage feast, unrecognised by his wife, till having 
 startled her by a winecup which he has handed to her 
 with a ring which he had placed in it, he gravely 
 uncovers his head and reveals himself to the astonished 
 bride. 
 
 Royal Academy, 1852. 
 
 Paris Exhibition, 1855. 
 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 104 THE GOAT-HERD. 
 
 Painted by mrs. Adrian stokes. 
 
 Canvas 18 J x 30 inches. 
 
 Lent by george mcculloch, esq. 
 
 A SWISS peasant child, barefooted, is leading her 
 goats to pasture, and knitting as she walks along ; 
 coarse brown cloth thrown over her shoulders ; bright 
 red cap on her head ; blue mountains beyond her, their 
 summits touched with snow. 
 
GALLERY III. 
 
 87 
 
 105 THE CONVENT GARDEN. 
 
 Painted by g. d. Leslie, r.a. 
 
 Canvas 18 x 24 inches. 
 
 Lent by George holt, esq., of Liverpool, j.p. 
 
 GIRL in the costume of the fourteenth century is 
 
 stooping down gathering tulips for a glass vase 
 which stands near her ; blue skirt, black tunic, yellow 
 sleeves, crimson band round waist, high white head-gear. 
 She is looking up at a nun in black who is coming along 
 a side path, book in hand. Low-roofed, red-brick 
 building beyond to the left, and a graveyard to the 
 
 right. 
 
88 
 
 GALLERY III. 
 
 106 THE PROSCRIBED ROYALIST. 
 
 Painted by SIR JOHN EVERETT MILLAIS, BART, R.A. 
 Canvas 40 x 29 \ inches. 
 
 Lent by sir john pender, k.c.m.g. 
 
 HE gray-barked hollow tree is the hiding-place 
 
 of a fugitive cavalier in the disturbed times 
 following the death of Charles I. His betrothed, 
 evidently, by her attire, the daughter of a wealthy 
 house, is surreptitiously bringing him provisions. She is 
 engaged in drawing them from her pocket with one 
 hand, while the other is surrendered to his caresses. 
 Rich amber satin gown, black shawl, white kerchief 
 over shoulders, black kerchief over the head ; brown 
 decayed leaves between the knarled moss-covered roots 
 of the tree, tall ferns about and foxglove, with depths of 
 forest beyond. 
 
 The model for the lady was Miss Ryan, who stood for 
 the lady in “The Huguenot/' and the model for the 
 cavalier was Mr. Arthur Hughes, the painter of “The 
 Eve of St. Agnes " in this collection. The back- 
 ground was painted in a small wood near Hayes 
 Common, in Kent. 
 
 Royal Academy, 1853. 
 
 Collection of T. e. plint, esq. 
 
 Engraved by w. h. simmons. 
 
GALLERY III. 
 
 89 
 
 107 THE SICK CALL. 
 
 Painted by Matthew james lawless. 
 
 Canvas 2 5 x 40I inches. 
 
 Lent by william coltart, esq., of Birkenhead. 
 
 “ Is any man sick among you? Let him bring in the priests of the 
 church and let them pray over him.” 
 
 A BOAT is crossing a Belgian river with a priest 
 seated in the stem, his hands folded on his knees 
 and his staff beside him. His acolytes in white, with 
 scarlet bands, attend him. A weeping woman, poorly 
 clad, is hiding her face in her hands, and a youth seated 
 behind the priest, the sick person’s son probably, is 
 looking anxiously at the spot to which they are 
 journeying, his clenched hand on the gunwale of the 
 boat. They are going with the Host to render the 
 last office to a sick person. The stalwart rower, 
 sorrowful of aspect, works with a steady pull, and 
 on the bank the quaint buildings of an old Belgian 
 town rise into a placid sky, and reverential figures 
 watch the boat in its course. 
 
 Royal Academy, 1863. 
 
 Matthew James Lawless was born 1836. He studied at the 
 Langham School of Art, and was a pupil of Cary and Leigh. He 
 executed drawings for wood engravings for “Good Words” and 
 “ Once a Week,” and was a member of the Etching Club. lie 
 exhibited at the Royal Academy, his last contribution being the 
 picture before us. He died at Bays water, 1864, at the age of 
 twenty-seven. 
 
90 
 
 GALLERY III. 
 
 108 LEAR AND CORDELIA. 
 
 EAR, King of Britain, in his old age resolved 
 
 to divide his kingdoms among his three daughters, 
 Goneril, Regan and Cordelia, and to give the “ largest 
 bounty ” to the one who “doth love us most." Goneril 
 and Regan make great profession of their love, but 
 Cordelia's love for him is too deep for words. 
 
 ’Lear, in his rage, casts her off, and divides the entire 
 kingdom between her two sisters. In the picture 
 Goneril and Regan stand on the left, their husbands 
 kneeling at Lear’s feet, all four eagerly grasping at the 
 old king’s crown, which he has bidden them part 
 between them. On the right is the Duke of Burgundy, 
 biting his fingers in vexation ; he had sought Cordelia 
 in marriage, but now discards her. In the background 
 to the extreme left is seen the Duke of Kent, who has 
 just been banished for speaking in favour of Cordelia. 
 The King of France is taking her by the hand and is 
 saying — 
 
 “ Thy dowerless daughter, King, thrown to my chance, 
 
 Is queen of us, of ours, and our fair France ; 
 
 Not all the Dukes of waterish Burgundy 
 Can buy this unprized, precious maid from me.” 
 
 Painted, 1875. 
 
 Purchased from the Artist by the present owner. 
 
 Painted by ford madox brown. 
 
 Canvas 31 x 44 inches. 
 
 Lent by albert wood, esq., of Conway. 
 
 Lear . So young, and so untender ? 
 Cordelia. So young, my Lord, and true. 
 
 Ford Madox Brown was born at Calais in 1821. He was 
 educated on the Continent, and studied Art at the Academy at 
 
GALLERY III. 
 
 91 
 
 Bruges, and also at Ghent and Antwerp, and at the age of twenty- 
 three submitted cartoons for the competition for the wall decoration 
 at Westminster. In 1848 he was sought out by Rossetti, with the 
 intention of being received by him as a pupil, and a strong friendship 
 was formed between the two men. In 1865 he exhibited fifty of his 
 pictures in a Gallery in Piccadilly. Plis greatest production is 
 considered to be one entitled “Work,” now in the Corporation of 
 Manchester Gallery. It was in the first Guildhall Exhibition in 
 1890. For many of the later years of his life he was engaged in 
 decorating in fresco the Town Flail of Manchester, lie died in 
 1893. 
 
 09 THE SURGEON’S DAUGHTER. 
 
 Painted by w. lindsay windus. 
 
 Canvas 14 x 13 inches. 
 
 Lent by albert wood, esq., of Conway. 
 
 HE outlaw has been struck by an arrow, and the 
 
 woman who is befriending him has now the 
 hopeless task of shielding him from the hounds that are 
 on his track, one of which has just appeared on the 
 hillside. 
 
 o8a THE TOILETTE. 
 
 Painted by albert moore. 
 
 Canvas 16J x 9 inches. 
 
 Lent by w. graham robertson, esq. 
 Painted 1886. 
 
 Painted by w. L. windus. 
 
 Panel 18 x 14 inches. 
 
 Lent by John bibby, esq., of St. Asaph. 
 
 10 the outlaw. 
 
92 
 
 GALLERY III. 
 
 hi THE EVENING HYMN. 
 
 Painted by G. H. mason, a.r.a. 
 
 Canvas 31 x 73 inches. 
 
 Lent by the hon. Percy wyndham. 
 
 GROUP of six peasant girls, colored cotton 
 
 dresses, gipsy bonnets ; one is holding an open 
 hymn book, and another in white, a little behind the 
 others, her young lover at her side, has a rose in one 
 hand and hymn book in the other ; another of the 
 group with both hands to her head is arranging her 
 fallen hair, her companion to her left holding her hat 
 for her. One of the girls, a little apart from the rest, 
 has also an open hymn book in her hand. They are 
 singing as they walk along. To the right, two shep- 
 herds, one with a crook, are regarding the group, a 
 shepherd’s dog with them. The rich golden light of 
 evening suffuses the scene. Not far distant is the 
 church, from whose portals the congregation is issuing, 
 and following the path the girls are taking. 
 
 Royal Academy, 1867. 
 
 {For notice of the Painter's life see No. 123 .) 
 
 112 DAWN. 
 
 Painted by e. j. Gregory, a.r.a. 
 
 Canvas 69 x 45 inches. 
 
 Lent by c. J. galloway, esq., of Knutsford. 
 
GALLERY III. 
 
 93 
 
 13 EVE ; THE VOICES. 
 
 Painted by ROBERT fowler, r.i. 
 
 Canvas 30 x 70 inches. 
 
 Lent by the Artist. 
 
 ' UDE figure reclining, listening to the many voices 
 
 that surround her, chief among them being that 
 of the serpent that lies before her. 
 
 14 ISABELLA 5 OR, LORENZO AND 
 ISABELLA. 
 
 Painted by sir john everett millais, bart., r.a. 
 Canvas 39 x 55 J inches. 
 
 Lent by the Corporation of Liverpool. 
 
 “ Fair Isabel, poor simple Isabel ! 
 
 Lorenzo, a young palmer in love’s eye ! 
 
 They could not in the self-same mansion dwell 
 Without some stir of heart, some malady ; 
 
 They could not sit at meals, but feel how well 
 It soothed each to be the other by.” 
 
 L ORENZO is holding a plate with a half cut orange 
 upon it, which he is offering to Isabel. Her 
 brothers, sitting opposite, and who later murder Lorenzo, 
 are moved to spite and rage at witnessing the evident 
 relationship between the two. The one cracking the 
 nut is cruelly kicking the hound which his sister 
 tenderly caresses, while the other, lifting his wine-glass 
 to his lips, regards the lovers with a look of malice. 
 
 This was the first pre-Raphaelite picture painted by 
 Millais. He was then in his twentieth year. 
 
 Royal Academy, 1849. 
 
 Pollection of Thomas woolner, esq., r.a. 
 
94 
 
 GALLERY III. 
 
 1 15 GATHERING FAGGOTS. 
 
 1 16 SIR ISUMBRAS AT THE FORD; 
 OR, “ A DREAM OF THE PAST, 55 
 
 Painted by sir j. e. millais, bart., r.a. 
 
 Canvas 50 x 67 inches. 
 
 N aged knight in golden armour, riding home in the 
 
 twilight, is crossing a river at the ford. He is 
 carrying across with him two peasant children, one of 
 whom, a little girl, is looking wonderingly at him, as she 
 holds with one hand a piece of the horse’s black mane ; 
 the other, a little boy, riding behind the knight, has a 
 bundle of wood tied to him, which he has been gather- 
 ing. On the bank of the river two nuns are walking, 
 one of them with a book, and they are both regarding 
 with interest the kindly act of the old warrior. A stone 
 archway, trees and houses are seen in mid-distance and 
 low hills beyond, dark blue against the clear evening 
 sky. The landscape painted on the Tay. 
 
 Royal Academy, 1857; partly repainted the same 
 year, after its return from the Academy; retouched 
 and slightly altered, 1893. 
 
 Grosvenor Gallery, Millais Exhibition, 1886. 
 
 Collection of Charles reade, esq., the Author, 
 Collection of john graham, esq. 
 
 Painted by Alexander mann. 
 Canvas 36 x 30 inches. 
 
 Lent by the Artist. 
 
GALLERY III. 
 
 95 
 
 1 17 POPPIES. 
 
 Painted by George henry, a.r.s.a. 
 Canvas 24 x 20 inches. 
 
 Lent by w. wilson, esq., of Paisley. 
 
 1 18 MONNA VANNA; OR, THE 
 LADY WITH THE FAN. 
 
 Painted by D. G. ROSSETTI. 
 
 Panel 35 x 31 inches. 
 
 Lent by george rae, esq., of Birkenhead. 
 
 H ALF-LENGTH figure of a lady seated to the left, 
 holding a fan in her left hand ; yellow figured 
 dress, coral necklace, green background. 
 
 Signed with monogram, and dated 1866. 
 
 Repainted, 1873. 
 
 Burlington House, 1883. 
 
 Gabriel Charles Dante Rossetti was born in London in 1828. 
 He was the son of Gabriele Rossetti, who was exiled from Italy for 
 his political opinions and came to London. He entered the Schools 
 of the Royal Academy in 1846, and in 1848 became the prime 
 mover in the famous Pre-Raphaelite revolt. In 1850 he edited 
 “The Germ,” a periodical which demonstrated the principles of the 
 brotherhood ; but it was short lived. Among the works painted 
 according to its principles was the “Ecce Ancilla Domini,” now in 
 the National Gallery. For the next ten years his chief productions 
 were a series of water colours inspired by passages in the “Vita 
 Nuova” and the “ Divina Commedia.” In i860, after a long 
 engagement, he married Elizabeth Eleanor Siddall, a girl of charac- 
 teristic beauty and the model for some of his most famous works. 
 She died in 1862 from an over-dose of laudanum, and on the day of 
 her burial Rossetti placed the manuscript of all his poems, as a last 
 gift, in her coffin. In the autumn of that year he removed to 
 Cheyne Walk, Chelsea, and between that time and 1869 produced 
 
9 6 
 
 GALLERY III. 
 
 some of his finest paintings, achieving a splendour of colour that 
 may be compared with the productions of the great Venetians, and 
 has seldom been surpassed in modern times. In 1869 he was pre- 
 vailed upon to permit the exhumation of his buried manuscripts, and 
 in the following year the first collection of his poems appeared. At 
 this time symptoms of weak health appeared, and he suffered terribly 
 from insomnia. To obtain relief he resorted to chloral, with the 
 customary results. Early in 1882 he went to Birchington, and on 
 the Easter Sunday of that year he died. 
 
 1 19 THE FINDING OF THE 
 SAVIOUR IN THE TEMPLE. 
 
 Painted by w. holman hunt, rav.s. 
 
 Canvas 35 x 56 inches. 
 
 Lent by Messrs. T. ag.new and sons. 
 
 JOSEPH and Mary have brought the child Jesus to 
 J Jerusalem for the feast of the Passover. The 
 parents on their way back to Nazareth find that the 
 child is not with them in the company, and returning 
 to Jerusalem they, after three days’ search, find him in 
 the Temple in the midst of the doctors, “both hearing 
 them and asking them questions.” His mother, draw- 
 ing him aside, is saying to him, “ Son, why hast thou 
 thus dealt with us ? behold thy father and I have sought 
 thee sorrowing” ; to which he is replying, “How is it 
 that ye sought me ? wist ye not that I must be about 
 my Father’s business ? ” 
 
 The seven rabbis, seated on a divan in a semi-circle^ 
 have been astonished at his understanding and answers. 
 The aged blind rabbi, his arm round the large roll of the 
 law, with its polished sticks and elaborate covering, has, 
 with all his years of learning, been worsted in his 
 argument with the child, and is receiving from the rabbi 
 
GALLERY III. 
 
 97 
 
 beside him some reassuring words, which, however, do 
 not seem to lessen his discomfiture. This rabbi is holding 
 in his left hand a phylactery which he has unbound from 
 his own forehead, as though to appeal to one of the four 
 texts contained in its four cells. The rabbi beyond, with 
 black hair and beard, is attempting by reference to the 
 written law which he is unrolling to verify or refute 
 what the child has said, while the two next him are 
 consulting together in evident perplexity, the one seated 
 resting the point of his stylus upon the thumb of his 
 right hand. By the side of the aged rabbi is a child, 
 brightly dressed, kneeling, with a fan of rushes, and behind 
 are three of the Temple choristers, with musical instru- 
 ments, looking with interested expression on the 
 strange scene, while one of the Levite boys is raising 
 the covering of the roll of the law reverently to his 
 lips. 
 
 The scene is in an open loggia approached by 
 steps from one of the courts of the Temple. Other 
 courts beyond are screened by gilded lattice-work, 
 and among the pillars, varied in ornamentation, a man 
 is seen lighting the hanging lamps, and a boy is 
 occupied with a long streamer of silk disturbing the 
 doves ; further away still, a man is entering with a 
 lamb for sacrifice, a woman walking at his side with a 
 babe in her arms. Round the circular ornamentation 
 on the door runs the inscription in Latin and Hebrew, 
 “ Behold the Lord whom ye seek shall suddenly come 
 to His Temple"; and at the foot of the door sits a 
 lame beggar crying for alms. Below in the court 
 builders are at work on Herod’s still unfinished Temple. 
 
 Painted at Jerusalem ; begun in 1854, finished in i860. 
 
 Collection of c. f. Matthews, esq. 
 
 e 
 
93 GALLERY III. 
 
 120 PANDORA. 
 
 Painted by D. G. ROSSETTI. 
 
 Panel 51 \ x 31 inches. 
 
 Lent by Charles butler, esq., f.s.a. 
 
 HREE-QUARTER length female figure, life size, 
 
 long dark auburn hair, full on either side, red 
 drapery, holding in her left hand a casket, on which 
 are the words, “ Nescitur ignescitur,” and from which 
 issues the destroying fire, taking as it rises the form of 
 winged messengers of evil. 
 
 When Prometheus had stolen the fire from heaven, 
 Zeus in revenge caused Hephaestus, the god of fire, to 
 make a woman out of earth, who by her charm and 
 beauty should bring misery on the human race. 
 Aphrodite adorned her with beauty, Hermes gave her 
 boldness and cunning, and the gods called her Pandora, 
 as each of the Olympians had given her some power 
 by which she was to work the ruin of man. 
 
 Signed with monogram, and dated 1871. 
 
 Burlington House, 1883. 
 
 Collection of John graham, esq. 
 
 (For notice of the Painter's life see No. 11S.) 
 
GALLERY III. 
 
 99 
 
 12 1 THE ESCAPE OF A HERETIC, 
 A.D., 1559. 
 
 Painted by sir j. e. millais. bart., r.a. 
 
 Canvas 43 x 31 inches. 
 
 Lent by sir william h. houldsworth, bart., 
 m.p., of Kilmarnock. 
 
 NDER the disguise of a familiar of the prison, a 
 
 young Spanish noble has contrived to gain 
 entrance to the Inquisition, and having bound the 
 dangerous monk in the inner cell and gagged him with 
 his own hood and rosary, he hurries the monk's dress 
 on to the terrified prisoner, who has already been robed 
 in her hideous gaberdine for the auto-da-fe '. The 
 
 poinard in the lover's hand is ready for use as a last 
 resource. Free ail and green country are indicated 
 through the small window on the right. 
 
 Royal Academy, 1857. 
 
100 
 
 GALLERY III. 
 
 122 LA BELLE DAME SANS MERCI. 
 
 Painted by j. w. Waterhouse, a.r.a. 
 
 Canvas 43^ x 32 inches. 
 
 Lent by george woodiwiss, esq., of Bath, j.p. 
 
 ADY in mauve, kneeling, long fair hair, a loose tress 
 
 of which she has wound round the neck of an 
 armed knight who stoops before her, and into whose 
 face she passionately gazes. Scene, a lone wood with 
 glimpse of a stream between the tall dark stems. 
 
 “ I met a lady in the woods 
 
 Full beautiful — a faery’s child ; 
 
 Her hair was long, her foot was light, 
 And her eyes were wild. 
 
 She found me roots of relish sweet, 
 
 And honey wild, and manna dew, 
 And sure in language strange she said— 
 ‘ I love thee true.’ ” 
 
 Royal Academy, 1893. 
 
GALLERY III. 
 
 IOI 
 
 123 THE GANDER. 
 
 Painted by G. H. mason, a.e.a. 
 
 Canvas 19 x 33 inches. 
 
 Lent by william coltart, esq., of Birkenhead. 
 GRACEFUL peasant child with arms uplifted is 
 
 keeping back a sturdy gander that threatens her. 
 She wears a dark blue frock, light blue pinafore, and 
 yellow kerchief round her neck. Her companion in 
 darker clothing is behind her, and a short distance off 
 are more geese, and beyond them the land rises dark 
 against the rich red light of evening, reflected partly in 
 the pond near which the child stands. 
 
 Royal Academy, 1865. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 George Hemming Mason was born at Wetley Abbey, in 
 Worcestershire, in 1818. He studied, by his parents’ wish, for the 
 medical profession, but abandoned it, at the age of twenty-six, for 
 Art. He travelled on the Continent with his brother, and eventually 
 settled in Rome for several years, from which place he contributed 
 many pictures to the Exhibitions of London and Paris. While there 
 news of financial disaster at home reached him, and for a time he 
 was thrown entirely on his own resources. In 1857 he returned 
 to England, and thenceforward all his subjects were taken from the 
 neighbourhood of his birthplace, where he partially resided. In 
 1865 he settled in London, and was elected Associate of the Royal 
 Academy in 1868. He died in 1872. 
 
102 
 
 GALLERY III. 
 
 124 WE WERE THE FIRST THAT 
 EVER BURST INTO THAT 
 
 SILENT SEA. 
 
 HREE Polar bears swimming past in the cold, 
 
 gray water of an Arctic sea. Icebergs and mist 
 
 Painted by maurice grieffenhagen. 
 
 Canvas 69 x 27 inches. 
 
 Lent by the Artist. 
 
 IFE-SIZE, nude figure, facing the left; long auburn 
 
 hair. She is turning in indecision, as she hears 
 the voice of the serpent which curls at her feet among 
 the grasses and flowers, and whose head rises behind 
 her. The ripe forbidden fruit hangs near, and a deeply 
 coloured sky is seen between the leaves and trunks of 
 the trees. 
 
 Painted by J. M. swan, a.r.a. 
 Canvas 18 x 36 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
 beyond. 
 
GALLERY III. 
 
 I0 3 
 
 6 MORTE D’ARTHUR. 
 
 Painted by james archer, r.s.a. 
 
 Wood 16^ x 1 92 inches. 
 
 Lent by abraham haworth, esq., of Manchester. 
 ING ARTHUR, wounded in the “ last great battle,” 
 
 was received into a barge by three queens with 
 great mourning, and carried to the island of Avilion ; 
 
 “ Deep meadowed, happy, fair with orchard-lawns, 
 
 And bowery hollows crowned with summer sea, 
 
 Where I will heal me of my grievous wound.” 
 
 Queens attend him, and on the right is seen an angel 
 bearing the holy Grail. 
 
 Collection of f. p. richards, 1864. 
 
 Painted by w. holman hunt, r.w.s. 
 
 Canvas 17^ x 23 inches. 
 
 Lent by george lillie craik, eso. 
 
 AINTED on the cliffs near Hastings. The artist 
 
 had received a commission to repeat the group of 
 sheep from his picture “The Hireling Shepherd,” but 
 an original group was afterwards decided upon, and the 
 present picture was painted. Of this work Mr. Ruskin 
 said, “ It at once achieved all that can ever be done in 
 that kind : it will not be surpassed — it is little likely to 
 be rivalled — by the best efforts of the times to come.” 
 
 Painted for c. T. maud, esq., 1852. 
 
 Royal Academy, 1853. 
 
 Paris, 1855. 
 
 7 STRAYED SHEEP. 
 
io4 
 
 GALLERY III. 
 
 128 THE HESPERIDES. 
 
 Painted by sir edward burne-jones, bart. 
 Canvas 47 x 38^ inches (water colour). 
 
 Lent by Frederick craven, eso., of Bakewell. 
 
 HE Hesperides were the beautiful guardians of the 
 
 tree with the golden apples, which Ge had 
 given to Hera at her marriage with Zeus. The poets 
 describe them as possessing the power of sweet song. 
 According to the earliest legends they lived on the river 
 Oceanus, but later accounts have located them in the 
 neighbourhood of Cyrene, Mount Atlas, or the islands 
 on the western coast of Libya. In their watch they 
 were assisted by the dragon Ladon, who had been 
 appointed by Juno to watch in the garden of the 
 Hesperides, and who never slept. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 Painted by mouat loudan. 
 
 Canvas 66 x 33 inches. 
 
 Lent by the Artist. 
 
 L IFE-SIZE figure in white dress, moving towards the 
 right ; red background. 
 
 129 A LADY IN WHITE. 
 
GALLERY III. 
 
 105 
 
 130 OUR LITTLE MAID. 
 
 Painted by madame louisa starr canziani. 
 Canvas 34 x 2o\ inches. 
 
 Lent by the Artist. 
 
 A PRETTY child, three-quarter length, fronting 
 spectator; blue serge frock, some nasturtiums 
 in her belt, her right hand hanging at her side holding a 
 piece of paper ; warm gray background. 
 
 HE sheep have strayed from their pasture, and, 
 
 night coming on, finds them on a strange and 
 sterile soil. Their dazed look expresses with remark- 
 able truth the consciousness that they are lost. 
 
 Royal Academy, 1885. 
 
 Painted by MRS. Adrian stokes. 
 
 Canvas 40 x 51 inches. 
 
 Lent by frau panizza, of Munich. 
 
 B ENDING over the cradle, the face of the mother is 
 illumined by the divine aureole around the head 
 of the sleeping Child. 
 
 13 1 lost sheep. 
 
 Painted by H. w. B. davis, r.a. 
 Canvas 24 x 36 inches. 
 
 Lent by c. T. Harris, esq., c.c. 
 
 132 light of light. 
 
io6 
 
 GALLERY III. 
 
 133 DAWN: LUTHER AT ERFURT. 
 
 Painted by sir j. noel paton, r.s.a. 
 
 Canvas 36 x 27 inches (arched). 
 
 “When men knew not whether night would prevail or day, 
 or which of the two was most divine, night with its starry 
 firmament of saints and ceremonies, or day with the single 
 lustre of the gospel sun.” 
 
 T the age of eighteen Luther’s father sent him to 
 
 Erfurt, then the best University in Germany. 
 He rose rapidly by the ordinary steps, became 
 Baccalaurius and Magister, and covered himself with 
 distinction. In the University Library he found, by 
 accident, a Latin Bible, which opened other views of 
 what God required of him. At the age of twenty-three 
 he was admitted into the Augustinian Monastery in 
 Erfurt, and later occupied himself with eagerly studying 
 the Bible, but “ his reading would not pacify his restless 
 conscientiousness.” 
 
 To the right of the picture is a massive golden 
 crucifix, the emblem of time on one side of it and of 
 mortality on the other; above is the open window 
 admitting the fresh incoming day, the dawning light 
 of which quenches the lamp that hangs near it, and 
 falls upon the hooded monk in his study of the 
 Holy Book, symbolizing the dawn of that light which 
 he was to herald in by the Reformation. 
 
GALLERY III, 
 
 107 
 
 34 JEAN, JEANNE AND JEANETTE. 
 
 Painted by MRS. stanhope forbes. 
 
 Canvas 22 x 18 inches. 
 
 Lent by george mcculloch, eso. 
 
 A NORM ANDY peasant girl seated by a wheel- 
 barrow; white cap, light striped jacket, light blue 
 gown ; her young white goat is eating the clover with 
 which the barrow is laden. A little distance off to the 
 right a boy is fishing in a narrow stream among a cluster 
 of pollard stems. 
 
 New Gallery, 1892. 
 
 35 SEASCAPE: “ HERNE BAY.” 
 
 By JAMES HOLLAND. 
 
 Canvas 27 x 36 inches. 
 
 Lent by william coltart, eso., of Birkenhead. 
 QUIET sunlit sea, washing gently to the beach 
 
 on the left of the picture, where people are seen — 
 fishers with their nets, and children in the water 
 bathing ; a rowing boat with two occupants is close in 
 shore, three fishing craft are a little further out, and 
 more are in the distance, their white sails glistening 
 against the sky. To the left a long pier is seen. 
 
 James Holland was born at Burslem in 1800, and came to London 
 in 1819. For some time he supported himself by painting flowers, 
 exhibiting his works at the Royal Academy. Not until 1831 did he 
 devote himself to landscape painting. His constant visits to the 
 Continent resulted in the production of many excellent works, both 
 in oil and water colours. In 1858 he was elected a member of the 
 Society of Painters in Water Colours. He died in London in 1870. 
 
GALLERY III. 
 
 136 MISS ALEXANDER. 
 
 Painted by james mcneill whistler. 
 
 Canvas 75 x 39 inches. 
 
 Lent by william c. Alexander, esq. 
 
 ULL length, life size portrait of a child standing 
 
 towards the left, her head turned towards the 
 spectator ; white muslin frock, short gray polonaise, 
 pale green sash ; black rosette on the sash, another 
 in her fair hair, and a black bow in her large gray felt 
 hat, which she holds in her left hand hanging down at 
 her side ; white stockings, black shoes with pale green 
 rosettes. Background, gray wall with black frieze, 
 gray drapery on bench to left, marguerites to right, two 
 pale yellow butterflies high up to the left. 
 
 137 STUDY FOR A PICTURE. 
 
 Painted by w. s. burton. 
 Canvas 14 x 10 inches. 
 Lent by mrs. cockerell. 
 
GALLERY III. 
 
 109 
 
 138 THE YOUNG DUKE. 
 
 Painted by w. L. WINDUS. 
 
 Millboard 15^ x io£ inches. 
 
 Lent by John bibby, esq., of St. Asaph. 
 
 EATED on a cream-coloured pony and clothed in 
 
 purple, the young duke is preceded in the pro- 
 cession by armour-clad men on horseback bearing 
 banners, and accompanied by richly arrayed musicians, 
 and children scattering flowers in his path. Through a 
 circular window is seen his widowed mother, rejoicing 
 in his popularity ; and over an archway to the left other 
 people gaily dressed are looking down upon the scene. 
 
 V 
 
no 
 
 GALLERY III. 
 
 139 SKETCH IN A CORNFIELD. 
 
 Painted by frank lioll ; r.a. 
 
 Canvas 13 x 22 inches. 
 
 Lent by mrs. pawle. 
 
 A PEASANT child lying in a cornfield ; warm gray 
 dress, bare feet, sheaves of corn near, and stand- 
 ing com beyond ; blue uplands in the distance. 
 
 Frank Holl was born in London in 1845. He was the son 
 of the engraver, Francis Holl, A. R.A. At the age of fifteen 
 he became a probationer at the Royal Academy Schools. In 
 1868 the picture of “ The Lord gave and the Lord taketh 
 away ” brought him into prominence. Ele availed himself only to 
 a very limited extent of the travelling studentship he obtained by it, 
 feeling that he did not profit by foreign travel. His pictures the 
 next ten years were for the most part scenes of domestic life, often 
 dramatic in their character, and always pathetic to an extent that 
 sometimes brought their realism almost too painfully home : as in 
 his pictures of “ Hush ” and “ Hushed,” and “ The Visiting Day at 
 Newgate.” He secured his reputation, however, by them, to be 
 increased in a manner unexpected by him, when, in 1879, 
 urgent request of an old and intimate friend, he undertook the paint- 
 ing of a portrait, the excellence of which at once discovered his true 
 vocation. From 1879 to his death in 1888, at the age of forty -three, 
 he painted the portraits of many of the most illustrious men of the 
 day, his most distinguished achievements being, perhaps, the full- 
 length portrait of H.R.Ii. the Duke of Cambridge, and the 
 three-quarter length of the fourth Duke of Cleveland. As evidence 
 of his industry, it may be remarked that, in the year he died he 
 had on exhibition at the Academy eight portraits, the fruit of his 
 previous year’s work, all of them painted with the same masterly 
 dexterity and decision, viz., a full-length of II. R. H. the Prince ot 
 Wales, and three-quarter lengths of Earl Spencer, Mr. Gladstone, 
 Baron Huddleston, Sir William Jenner, Sir Andrew Clark, Sir 
 Richard Webster, and Mr. Townsend, of New York. He was 
 elected an Associate of the Royal Academy in 1878, and an 
 Academician in 1884. 
 
GALLERY III. 
 
 Ill 
 
 40 LOVE IN AUTUMN. 
 
 By SIMEON SOLOMON. 
 
 Canvas 33 x 26 inches. 
 
 Lent by william coltart, esq. 
 
 S AD of aspect, the figure impersonating love is 
 passing to the left, his raiment and crimson wings 
 blown rudely by the autumn winds. His way is along 
 a leaf-strewn and rocky path. Trees are on either side 
 of him, and a cold blue sea and cheerless sky behind. 
 
 Painted in Florence, 1866. 
 
 41 THE CHURCFI POOL. 
 
 Painted by Walter goldsmith. 
 Canvas 24 x 18 inches. 
 
 Lent by the Artist. 
 
1 12 
 
 GALLERY III. 
 
 142 JOLI CCEUR. 
 
 Painted by D. G. ROSSETTI. 
 
 Panel 15 x 12 inches. 
 
 Lent by miss horniman. 
 
 MALL half-length figure of a girl, face slightly 
 
 turned to right, rich auburn hair with circular 
 pearl ornament in it. Purple robe edged with brown 
 fur, thrown open and displaying the white dress. Right 
 hand drawing back the robe ; left hand playing with 
 the coral necklace round her neck, to which is attached 
 a crystal heart ; coral bracelet on left wrist ; deep 
 peacock-blue background. 
 
 In left corner of the picture are the words “Joli 
 Coeur, ,, in the right corner “d. g. r. (in monogram) 
 1867." 
 
 Collection of william a. turner, esq. 
 
 (For notice of the Painter ' 1 s life see No. 118 .) 
 
GALLERY III. 
 
 ”3 
 
 143 THE SLEEPERS, AND THE ONE 
 THAT WAKETH. 
 
 Painted by simeon Solomon. 
 
 Canvas 14 x 18 inches (water colour). 
 
 Lent by Frederick craven, esq., of Bakewell. 
 Manchester Jubilee Exhibition, 1887. 
 
 Painted by george hilditch. 
 
 Panel 8x7 inches. 
 
 Lent by g. hilditch, esq. 
 
 Royal Academy, 1844. 
 
 George Hilditch was born in London in 1803. He was the 
 son of a silk mercer. At an early age he began to paint from 
 Nature, and exhibited his works at the Royal Academy. His first 
 contribution was in 1823, and he exhibited both there and at other 
 institutions until 1856. He died in 1857. 
 
 144 CORFE CASTLE. 
 
GALLERY III. 
 
 II 4 
 
 145 THE MUSIC PARTY. 
 
 Painted by a. palamedesz stevaerts. 
 
 Panel 21^ x 30J inches. 
 
 Lent by edward lee, esq., c.c. 
 
 I N a lofty apartment are a company of cavaliers and 
 ladies, some seated, others standing or dancing with 
 stately measure ; on a raised platform in the background 
 three musicians are stationed. 
 
 Anthonie Palamedesz Stevaerts was born at Delft in 1600. 
 lie was particularly successful in the rendering of groups of small 
 figures in interiors, in conversation or at musical entertainments, 
 lie frequently painted the figures in the architectural pieces of 
 Dirk Van Deelen. He died in 1673. 
 
GALLERY III. 
 
 “5 
 
 146 HARROWING. 
 
 Painted by william davis. 
 
 Canvas 17 x 26 inches. 
 
 Lent by albert wood, esq., of Conway. 
 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 Collection of JOHN miller, esq. 
 
 William Davis was born in Dublin, 1812. His father was a 
 solicitor, which profession he intended his son to follow, but the 
 natural taste for Art was too strong, and his son entered the Royal 
 Dublin Society as a student ; among his fellow workers was Foley, 
 the sculptor. When his studies were completed he set up at Dublin 
 as a portrait painter, but meeting with small success in that line, he 
 removed to the banks of the Mersey, where better fortune awaited 
 him. In due time he became a member of the Liverpool Academy, 
 at that period the most important Art Society in the provinces. He 
 exhibited constantly at the Royal Academy. In 1870 he removed to 
 London, where he died in 1873. His sketches of herbage are vividly 
 but harmoniously green. The subjects he peculiarly favoured were 
 wide stony wastes, terminating on seasands. He was a prominent 
 representative of the Liverpool School ot painters which flourished 
 in the first half ot the present century. This School was one of the 
 latest survivals of the social state prevailing in England before the 
 introduction of railways. 
 
GALLERY III. 
 
 1 1 6 
 
 147 THE EVE OF ST. AGNES. 
 
 Painted by ARTHUR hughes. 
 
 Canvas — centre panel 25 x 22\ inches, side panels 
 23 J x 12 inches. 
 
 Lent by j. G. kershaw, esq. 
 
 T HE left panel of this tryptych shows the young 
 lover Porphyro approaching the castle where 
 Madeline dwells. 
 
 “ Beside the portal doors 
 
 Buttressed from moonlight stands he, and implores 
 All saints to give him sight of Madeline.” 
 
 In the centre panel is seen the awakening Madeline. 
 She takes her lover's presence to be but a vision, sent 
 by St. Agnes, for old dames have told her how 
 
 “ Upon St. Agnes eve, 
 
 Young virgins might have visions of delight, 
 
 And soft adorings from their loves receive, 
 
 Upon the honeyed middle of the night ” — 
 
 but Porphyro tells her it is no vision, and induces her 
 to fly with him. 
 
 The right panel shows the lovers silently escaping 
 from the castle. 
 
 “Awake, arise, my love — and fearless be, 
 
 For o’er the southern moor I have a home for thee.” 
 
 Collection of T. e. plint. 
 
GALLERY III. 
 
 II 7 
 
 148 ON THE RIVER AT TROWSE, 
 NEAR NORWICH. 
 
 Painted by Joseph stannard. 
 
 Panel 8 -i- x 12 inches. 
 
 Lent by sir j. c. robinson. 
 
 A BROADENING river in the foreground, beyond 
 which dark trees are seen, with cattle. The river 
 winds to the left and disappears in a wooded country. 
 More cattle are visible, and a boat with two people in it. 
 Bright though clouded sky. 
 
 Joseph Stannard was born at Norwich in 1797* He was a pupil 
 of Robert Ladbrooke, and also studied in Holland. He was a 
 member of the Norwich Society of Artists. His works are chiefly 
 coast and river scenes, but he also painted some portraits. He died 
 in 1830. 
 
1 1 8 
 
 GALLERY III. 
 
 149 PORTRAIT : MRS. SHEPPARD 
 SCOTT. 
 
 Painted by miss julia b. folkard. 
 
 Canvas 24 x 16 inches. 
 
 Lent by mr. deputy sheppard scott, c.c. 
 
 150 A MOORLAND FARM. 
 
 Painted by e. A. waterlow, a.r.a. 
 Canvas 10 x 15 inches. 
 
 Lent by John shearman, esq. 
 
 15 1 A STUDY FROM NATURE. 
 
 Painted by E. H. FAHEY, R.l. 
 
 Panel 6 x 10 inches. . 
 
 Lent by george shaw, esq., c.c. 
 
GALLERY III. 
 
 1 19 
 
 152 A LANDSCAPE WITH CATTLE. 
 
 Painted by JOHN linnell, senr. 
 
 Panel 16 x 24 inches. 
 
 Lent by w. permain, esq. 
 
 A RIVER runs through the landscape, by the side of 
 which are cattle. The ground rises to a high 
 hill in the distance, clothed with green sward. 
 
 (For notice of the Painter's life see No. 98 .) 
 
Index of Contributors 
 
 HER MAJESTY THE QUEEN, 49, 6 1 
 
 AGNEW, MESSRS. T. AND SONS, 1 1 9 
 AIRD, JOHN, ESQ., M.P., 39 
 ALEXANDER, W. C., ESQ., 1 36 
 ARMITAGE, E., ESQ., R.A., 12 
 ASHTON, THOMAS, ESQ., 87 
 
 BANCROFT, S. B., ESQ., 34 
 BARRATT, T. J., ESQ., 76 
 BARROW, JAMES, ESQ., 6 
 BATTEN, J. D., ESQ., 2 
 BIBBY, JOHN, ESQ., IO9, 1 38 
 BOUGHTON, G. H., ESQ., A.R.A., 36 
 BOWRING, MRS., IO 
 BROCKLEBANK, R., ESQ., 9 1 , 97 , 98 
 BROCKLEBANK, T., ESQ., 84 
 BUSHELL, R., ESQ., 37 
 BUTE, MARQUESS OF, K.T., 45, 60 
 BUTLER, C., ESQ., I 20 
 
 CANZIANI, MADAME, I30 
 CARLISLE, EARL OF, 63, 73 
 CHEYLESMORE, LORD, 102 
 COCKERELL, MRS., 1 37 
 COLNAGHI, MARTIN H., ESQ., 66,71 
 
 COLTART, W., ESQ., 107 , 1 23, I 35, 
 I40 
 
 CRAIK, G. LILLIE, ESQ., 1 27 
 CRAVEN, FREDERICK, ESQ., 1 28, 
 
 M3 
 
 DEVONSHIRE, DUKE OF, K.G., 47 
 DOLE, JAMES, ESQ., 90 
 DUNLOP, W., ESQ., 1 33 
 
 EAST, ALFRED, ESQ., R.T., 25 
 ERHARDT, H. C., 59 
 
 FORBES, J. S., ESQ., 86 
 FOX, GEORGE, ESQ., 3 
 FOWLER, SIR JOHN, BART., K.C.M.G. 
 
 95 
 
 FOWLER, R., ESQ., R.L, I I 3 
 
 GALLOWAY, C. J., ESQ., 1 12 
 GIBBS, ANTONY, ESQ., 53, 56, 88 
 GILLILAN, W., ESQ., 29 
 GOLDSMITH, W., ESQ., I4I 
 GRIEFFENHAGNN, M., ESQ., 12 5 
 
122 
 
 INDEX OF CONTRIBUTORS. 
 
 HARRIS, C. T., ESQ., 1 3 1 
 HAWKSHAW, J. C., ESQ., 8 
 HAWORTH, JESSE, ESQ., 5 
 HAWORTH, A., ESQ., 126 
 KILDITCH, G., ESQ., 92, 1 44 
 HOLFORD, CAPTAIN, 65, 77 
 HOLT, GEORGE, ESQ., 30, 31, 105 
 HORNIMAN, MISS, I42 
 HOULDSWORTH, SIR WILLIAM H., 
 BART., M.P., 12 1 
 
 IVEAGH, LORD, 64 
 
 JESSOP, W., ESQ., 40 
 JUDD, G. H., ESQ., IOO 
 
 KERSHAW, J. G., ESQ., 1 47 
 
 LEE, E., ESQ., I45 
 
 LEEDS, CORPORATION OF, 33 
 
 LIVERPOOL, CORPORATION OF, 1 1 4 
 
 LLOYD, G. W., ESQ., 96 
 
 LOUDAN, M., ESQ., I 29 
 
 LUCAS, J. SEYMOUR, ESQ., A.R.A.,24 
 
 MAIDSTONE MUSEUM, 4 1 
 MANN, A., ESQ., 1 1 5 
 MANNERS, LORD, 26 
 MCCULLOCH, G., ESQ., 4, 1 6, 22, 
 
 38, 104, 134 
 
 MILDMAY, SIR HENRY ST. JOHN, 
 BART., 42, 51 
 
 MILLER, T. FI., ESQ., 78, IOI 
 MONTAGU, S., ESQ., M.P., 48 
 
 PANIZZA, FRAU, 1 32 
 
 PAWLE, F. C., ESQ., 89, 93 
 PAWLE, MRS., I39 
 PENDER, SIR JOHN, K.C.M.G., 1 7 , 
 106 
 
 PERM AIN, W., 152 
 
 PFUNGST, HENRY, ESQ., 62, 67, 7 O 
 
 PICKERING, J. L., ESQ., 1 5 
 
 QUILTER, W. CUTHBERT, ESQ., 
 M.P., 7, 20 
 
 RAE, GEORGE, ESQ., Il8 
 ROBERTS, HUMPHREY, ESQ., 1 24 
 ROBERTSON, W. GRAHAM, ESQ., 
 
 108a 
 
 ROBINSON, SIR J. C., 79, 148 
 ROME, W., ESQ., 44 
 ROTHSCHILD, ALFRED C. DE, 55 
 RUSTON, JOSEPH, ESQ., 13, 35 , 57, 
 
 58 
 
 RUTLAND, DUKE OF, K.G., 52 
 RUTLEY, J. L., ESQ., 46 
 
 SALTING, GEORGE, ESQ., 69 
 SHAW, GEORGE, ESQ., I 5 I 
 SHEARMAN, JOHN, ESQ., I50 
 STEINKOFF, E., ESQ., 68 
 SPENCER, EARL, K.G., J 2 
 SHEPPARD-SCOTT, J., ESQ., DEPY., 
 I49 
 
 TATE, HENRY, ESQ., 23, 8 1 
 TENNANT, SIR CHARLES, BART., 
 
 14, 82, 94 
 
INDEX OF CONTRIBUTORS. 
 
 12 3 
 
 WANTAGE, LORD, V.C., K.C.B., 43 
 
 50 , 74 
 
 WARD, T. HUMPHRY, ESQ., 85 
 WARD, W. M., ESQ., 43a 
 WATERMAN, H., ESQ., 80 
 WATNEY, MRS. JAMES, 1 9 
 WATTS, G. F., ESQ., R.A., 1 8, 21 
 WIGAN, F., ESQ., 27 
 WILSON, WILLIAM, ESQ., 1 1 7 
 
 WOOD, ALBERT, ESQ., 28, I03, 
 
 108, no, 146 
 
 WOODIWISS, GEORGE, ESQ., 9, 122 
 WYLLIE, W. L., ESQ., A.R.A., 32 
 WYNDHAM, THE HON. PERCY, 1 1 1 
 
 YARBOROUGH, EARL OF, 54 
 YORKE, CAPT. HON. J. M., 83 
 
Index of Artists 
 
 ARCHER, JAMES, R.S.A., 126 
 ARMITAGE, E., R.A., II, 12 , 
 
 BATTEN, J. D., 2 
 BEERESTRAATEN, JAN, 59 
 BEGA, CORNELIUS, 7 1 
 BERGHEM, JAN, 46 
 BOS, P. VAN DEN, 67 
 BOUGHTON, G. H., A.R.A., 36 
 BRISTOW, E., 80 , 92 
 BROWN, F. MADOX, 108 
 BRUEGEL, JAN, 43a 
 BURNE-JONES, SIR E., 128 
 BURTON, W. S., 137 
 BUTLER, LADY, 33 
 
 CALDERON, P. H., R.A., 30 
 CANZIANI, LOUISA STARR, 130 
 CONSTABLE, J., R.A., 87 
 COOPER, T. S., R.A., 99 
 CROME, JOHN, 8l 
 CUYP, ALBERT, 45, 5 1 , 54 
 
 DAVIS, H. W. B., R.A., 1 3 1 . 
 DAVIS, WM., 146 
 DE IiEEM, J. D., 58 
 
 DE HOOGH, P., 50, 53 
 DICKSEE, F., R.A., 29 
 
 EAST, ALFRED, R.I., 25 
 ETTY, WM., R.A., 82 
 
 FAHEY, E. ID, 1 5 1 
 FOLKARD, JULIA B., 1 49 
 FORBES, MRS. STANHOPE, 1 34 
 FOWLER, ROBERT, R.I., II3 
 
 GAINSBOROUGH, T., R.A., 94 
 GILBERT, SIR J., R.A., I 
 GOLDSMITH, W., 141 
 GOODALL, F., R.A., 10 
 GOODWIN, ALBERT, R.W.S., 4 1 
 GOW, A. C., R.A., l6 
 GREGORY, E. J., A.R.A., 112 
 GRIEFFENHAGEN, M., 1 25 
 
 HEMY, C. NAPIER, 37 
 HENRY, G., 1 17 
 HERBERT, J. R., R.A., 90 
 HERKOMER, H. } R.A., 7 
 HILDITCP, Q-EO., SENR., 144 
 
INDEX OF ARTISTS, 
 
 125 
 
 HOBBEMA, M., 74 
 HOOK, J. C., R.A., 103 
 HOLL, FRANK, R.A., 1 39 
 HOLLAND, JAS., 1 35 
 HORSLEY, J. C., R.A., 40 
 HUGHES, A., I47 
 
 HUNT, W. HOLMAN, R.W.S., 1 1 9, 1^7 
 
 LANDSEER, SIR E., R.A., 76, 102 
 LANDSEER, C., R.A., 100 
 LAWLESS, M. J., 107 
 LEADER, B. W., A.R.A., 1 7 
 LEIGHTON, SIR F., BART., P.R.A., 
 
 19, 3 h 35 
 
 LESLIE, G. D., R.A., I05 
 LEWIS, J. F., R.A., IOI 
 LINNELL, J., SENR., 98, 1 52 
 LOGSDAIL, W., 13 
 LOUDAN, MOUAT, 1 29 
 LUCAS, J. SEYMOUR, A.R.A., 24 
 
 MANN, A., 1 15 
 
 MASON, G. H., A.R.A., III, 1 23 
 METSU, G., 60 
 
 MIERIS, F. VAN, THE ELDER, 68, 
 
 70 
 
 MILLAIS, SIR J. E., BART., R.A., 
 
 27, 106, 1 14, 1 1 6, 1 2 I 
 
 MOLINAER, J. M., 62 
 MONTALBA, CLARA, 26 
 MOORE, ALBERT, I08a 
 MOREELSE, PAUL, 57 
 MULREADY, W., R.A., 9 1 
 MURRAY, D., A.R.A., 22 
 
 NORM AND, MRS., 9 
 
 NORTH, J. W., A.R.A., 28 
 
 ORCHARDSON, W. Q., R.A., 23 
 OSTADE, A. VAN, 6 1 , 66, 69, 88 
 OULESS, W. W., R.A., 34 
 
 PATON, SIR J. NOEL, R.S.A., 1 33 
 PHILLIP, J., R.A., 95, 96 
 PICKERING, J. L., 15 
 POYNTER, E. J., R.A., 8 
 
 RAEBURN, SIR H., R.A., 93 
 REID, J. R., 38 
 
 REMBRANDT VAN RHYN, 47, 65 
 REYNOLDS, SIR JOSHUA, P.R.A., 52 
 RIVIERE, B., R.A., 5 
 ROMNEY, GEO., 64, 75, 83, 89 
 ROSSETTI, D. G., 1 1 8, 120, I42 
 RUISDAEL, J. VAN, 48, 73 
 
 SNYDERS, F., 44 
 SOLOMON, SIMEON, I40, 1 43 
 SORGH, H., 55 
 STANNARD, A., 79 
 STANNARD, J., I48 
 STEEN, JAN, 42 
 STEVAERTS, A. P., 1 45 
 STOKES, MRS. A., IO4, 1 32 
 STOKES, ADRIAN, 4 
 STONE, MARCUS, R.A., 3 
 SWAN, J. M., A.R.A., I24 
 
 TADEMA, L. ALMA, E.A., 39 
 TERBURG, GERARD, 49,. 56, 85 
 TURNER, J. M. W., R.A., 78, 9 J 
 
126 
 
 INDEX OF ARTISTS, 
 
 WATERLOW, E. A., A.R.A., ISO 
 WATTS, G. F., R.A., 1 8, 21 
 WHISTLER, J. M., 1 36 
 WILKIE, SIR D., R.A., 84 
 WINDUS, W. L., IO9, 110, 138 
 WOUWERMAN, P., 43 
 WOODS, HENRY, R.A., 6 , r 
 
 WYLLIE, W. L., A.R.A., 32 
 
 VANDYKE, SIR A., 72 
 VAN DER NEER, A., 77 
 VAN GOYEN, J., 63 
 
 WALKER, F., A.R.A., 14 
 WARD, JAS., R.A., 86 
 WATERHOUSE, J. W., A.R.A., 20 , 
 122 
 

 \- 
 
 
 f 
 
CORPORATION or LONDON 
 /IRt G/ILLeRY. ^ 
 
 of the lo/in COLLECTION 
 
 OF 
 
 PICTURES 
 
 18 ^ 5 . 
 
 PRICE SIXPENCE. 
 
CORPORATION OF LONDON 
 
 (Bafferg. 
 
 afafogtte of f0e 
 Soan Coffecftott 
 of (ptcfuree. 
 
 PREPARED BY A. G. TEMPLE, F.S.A., 
 f Director of the *Art Gallery of the 
 Corporation of London. 
 
 J. DOUGLASS MATHEWS, Esq., F.R.I.B.A., 
 
 CHAIRMAN'. 
 
 1895. 
 
‘ Blades , East & ‘'Blades , 
 
 Tr inters, 
 
 Jib church Lane , London , E,C. 
 
Committee 
 
 I 
 
 TI-IE RIGHT HONOURABLE THE LORD MAYOR. 
 
 JOSEPH DOUGLASS MATHEWS, Esq., F.R.I.B.A., Chairman 
 Sir REGINALD HANSON, Bart., M.P., LL.D., Alderman. 
 
 Sir STUART KNILL, Bart., LL.D., Alderman. 
 
 Sir GEORGE ROBERT TYLER, Bart. 
 
 GEORGE FAUDEL PHILLIPS, Esq., Alderman. 
 
 JAMES THOMSON RITCHIE, Esq., Alderman. 
 
 WILLIAM PURDIE TRELOAR, Esq., Alderman. 
 
 JAMES WALLINGER GOODINGE, Esq., F.R.G.S., Deputy. 
 
 RICHARD OSMOND HEARSON, Esq. 
 
 EDWARD LEE, Esq. 
 
 JAMES SHEPPARD SCOTT, Esq., Deputy. 
 
 ALFRED JORDAN HOLLINGTON, Esq., L.C.C 
 FRANCIS MONTIER MERCER, Esq., F.C.S. 
 
 ROWLAND NEATE PERRIN, Esq. 
 
 HENRY WILLIAM BROWN, Esq. 
 
 FREDERICK STANLEY, Esq. 
 
 JOHN KING FARLOW, Esq. 
 
 WILLIAM THORNBURGH BROWN, Esq., Deputy 
 WALTER OWEN CLOUGH, Esq., M.P. 
 
 HENRY HUGH THOMPSON, Esq. 
 
 JOHN FRANKLAND HEPBURN, Esq 
 SAMUEL ELLIOTT ATKINS, Esq., Deputy. 
 
 RICHARD IRISH COLLIER, Esq. 
 
 JAMES CALVERT COATES, Esq. 
 
 CHARLES JONES CUTHBERTSON, Esq 
 BANISTER FLETCHER, Esq., J.P., F.R.I.B.A. 
 
 WILLIAM COOPER, Esq. 
 
 JOHN BERTRAM, Esq., Deputy. 
 
 WILLIAM HENRY LIVERSIDGE, Esq. 
 
 OCTAVIUS DIXIE DEACON, Esq. 
 
 WHINFIELD HORA, Esq., Deputy. 
 
 CHARLES JOHN TODD, Esq. 
 
 JAMES PERKINS, Esq., F.R.G.S. 
 
 Captain WILLIAM CHARLES SIMMONS, Deputy. 
 
 HOWARD CARLILE MORRIS, Esq. 
 
 JOHN JAMES BADDELEY, Esq. (Past Chairman) 
 
 WILLIAM ROME, Esq., F.S.A., F.L.S. 
 
 A 2 
 
' | ‘'HE permanent Art Gallery of the Corporation of 
 * London, at the Guildhall, was established in 1885, and 
 the first Loan Exhibition was held in 1890. It was visited by 
 109,000 persons. The second was held in 1892, when 234,000 
 visitors were recorded. The third, held in 1894, brought to 
 it upwards of 300,000 visitors, and was open for the first time 
 on Sundays, the average attendance per hour on those days 
 being 641. 
 
'T^HE Library Committee of the Corporation of 
 * London desire to express their thanks to the 
 owners of works of Art for the kindness with which 
 many distinguished and valuable productions have been 
 placed at their disposal for the present Exhibition. 
 
 The Exhibition will be open from Tuesday, the 
 23rd April, to Sunday, the 21st July, inclusive. 
 
 Week Days 10 a.m. to 7 p.m. 
 
 Sundays 3 p.m. to 7 p.m. 
 
 The Admission will be free. 
 
 A. G. TEMPLE, 
 
 Director. 
 
 ART GALLERY OF THE 
 
 CORPORATION OF LONDON, 
 
 GUILDHALL, LONDON, E.C. 
 17th April , 1895. 
 

 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
Gallerg I. 
 
 PLOUGHING. 
 
 Painted by george clausen, a.r.a. 
 Canvas 47 x 72 inches. 
 
 Lent by george mcculloch, esq. 
 Exhibited at the Grosvenor Gallery, 1889. 
 Chicago Exhibition, 1893. 
 
 PREPARATIONS FOR FIRST 
 COMMUNION. 
 
 HE priest is questioning the child who stands 
 
 before him, surrounded by her friends and 
 relations, who listen interestedly to her serious 
 responses. The priest and child occupy the centre ol 
 the picture. To the left a man is seated and a dark 
 handsome woman stands behind him, and to the right 
 two girls are seen freely commenting on what is taking 
 place. A group is by the door of the house, just out- 
 side of which the whole company is assembled. Bright 
 costumes vivify the scene, and the genuine kindly 
 interest in the child is discerned on every face. 
 
 Exhibited at the Royal Academy, 1883. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
 Painted by henry woods, r.a. 
 Canvas 39-^ x 57 inches. 
 
 Lent by Alfred palmer, esq. 
 
8 
 
 GALLERY I. 
 
 3 PAST WORK. 
 
 Painted by J. c. hook, r.a. 
 
 Canvas 29 x 50 inches. 
 
 Lent by Humphrey Roberts, esq. 
 Exhibited at the Royal Academy, 1886. 
 
 4 RICHARD II RESIGNING THE 
 CROWN TO BOLINGBROKE. 
 
 Painted by sir JOHN gilbert, r.a., p.r.w.s. 
 
 Paper on Canvas. Water Colour. 50 x 40 inches. 
 Lent by w. Y. baker, eso. 
 
 R ICHARD was conveyed by Bolingbroke to London 
 and sent a prisoner to the Tower. “ Bolingbroke 
 at first told the King he only intended to assist him in 
 the government of the kingdom; but as soon as he 
 found him completely in his power, he openly declared 
 his own design upon the Crown, and obliged him to 
 sign a paper containing his resignation. The paper 
 was read and approved by the Parliament. A list of 
 crimes and errors of which the King had been guilty 
 was read and he was then declared formally deposed ; 
 and the Archbishops of Canterbury and York led 
 Bolingbroke to the empty throne.'' 
 
 Painted 1852. 
 
 Exhibited at the Chicago Exhibition, 1893. 
 
GALLERY I. 
 
 9 
 
 ORLANDO PURSUING THE 
 FATA MORGANA. 
 
 Painted by G. F. watts, r.a. 
 
 Canvas 65 x 47 inches. 
 
 Lent by the Corporation of Leicester. 
 
 F ATA MORGANA is the personification of Fortune 
 or Opportunity. She “ has a lock of hair on her 
 forehead, by which alone she may be captured ; she 
 leads her captive across rock and stream, dale and 
 desert, flowers and field — for even thus is man's life 
 the plaything of Fortune.” 
 
 Exhibited at the New Gallery, 1889. 
 
 Presented by the artist to the town of Leicester as a 
 mark of his high regard for Mr. John M. Cook, 
 formerly of Leicester, and especially in recognition of 
 his valuable work in Egypt. 
 
10 
 
 GALLERY I. 
 
 6 ROUGH WEATHER OUTSIDE 
 POOLE. 
 
 7 ACTION AND THE HOUNDS. 
 
 Painted by briton riviere, r.a. 
 
 Canvas 44 x 34 inches. 
 
 Lent by w. clarence watson, esq. 
 
 CThEON, son of Aristaeus and Autonoe, a daughter 
 
 of Cadmus, was trained in the art of hunting by 
 the Centaur Cheiron, and, according to some accounts, 
 being in love with Semele, Artemis caused him to be 
 tom in pieces on Mount Cithaeron by his own hounds, 
 to prevent his marrying her. 
 
 Exhibited at the Royal Academy, 1884. 
 
 Painted by henry moore, r.a. 
 Canvas 24 x 40 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
GALLERY I. 
 
 II 
 
 8 LA PROMESSA SPOSA. 
 
 Painted by henry woods, r.a. 
 
 Canvas 36^ x 2 oj inches. 
 
 Lent by george gurney, esq., of Eastbourne. 
 
 HREE Venetian girls are together on some semi- 
 
 circular stone steps that lead down to one of the 
 canals. One of the girls is showing the others the new 
 ring, which is on her finger, betokening betrothal, which 
 they regard with interest. To the right the course of 
 the canal is seen, spanned at some distance by a bridge. 
 Tall houses, with stone balconies and green lattices, 
 occupy the opposite side. 
 
 The natural attitudes of the girls, their richly colored 
 dresses, the effective position on the steps of the broad 
 piece of drapery, at which the betrothed maiden is 
 working, and the pieces of orange peel lying about, 
 constitute and complete a picture of great charm. 
 
 Painted for the present owner. 
 
 Exhibited at the Royal Academy, 1890. 
 
 Painted by CHARLES H. KERR. 
 
 Canvas 24 x 20 inches. 
 
 Lent by the Artist. 
 
 | IFE-SIZE head of a girl facing the right — head 
 falling over slightly to her left ; brown hair, black 
 dress, white collar ; right hand slightly showing. 
 
 Exhibited at the Royal Academy, 1886. 
 
 9 CLAIRE. 
 
1 2 
 
 GALLERY I. 
 
 io THE BIRTH OF A TITAN. 
 
 Painted by W. L. wyllie, A.R.A. 
 
 Canvas 24 x 40 inches. 
 
 Lent by george gurney, esq., of Eastbourne. 
 
 OWARDS the right of the picture the huge newly- 
 
 built ironclad has slid down the slips, and now 
 rests upon the water. Her heavy armaments not being 
 yet on board, she floats high, and her formidable ram 
 is plainly seen. 
 
 Painted for the present owner. 
 
 Exhibited at the Royal Academy, 1890. 
 
 II THE GATE OF THE KHALIF, 
 CAIRO. 
 
 Painted by william logsdail. 
 Canvas 44 x 32^ inches. 
 
 Lent by h. j. turner, esq. 
 Painted 1887. 
 
GALLERY 1. 
 
 13 
 
 FORGING THE ANCHOR. 
 
 Painted by stanhope a. forbes, a.r.a. 
 Canvas 84 x 68 inches. 
 
 Lent by george mc culloch, esq. 
 Exhibited at the Royal Academy, 1892. 
 
 ANSTYS COVE, SOUTH DEVON. 
 
 Painted by henry zimmerman, r.b.a. 
 
 Canvas 17^ x 36 inches. 
 
 Lent by the Artist. 
 
H 
 
 GALLERY I. 
 
 14 CLAUDE DUVAL. 
 
 Painted by w. p. frith, r.a. 
 
 Canvas 41J x 60 inches. 
 
 Lent by MRS. fielden. 
 
 I T was upon Bagshot Heath that this notorious 
 highwayman is said upon one occasion to have 
 stopped a coach, and while his companions pillaged 
 the occupants, besought the owner’s wife to alight 
 and dance a corranto with him in the road, before 
 the eyes of her husband, offering in return to retain 
 only a fourth part of the booty and suffering his fair 
 partner to ransom the rest by dancing with him. 
 The lady has just descended from the coach, and pallid 
 with fear and indignation, is about to commence her 
 constrained part. One of the subordinate thieves is 
 whistling the tune to which the strange couple dance. 
 
 Exhibited at the Royal Academy, i860. 
 
 Collection of Mr. W. Grapel until 1873. 
 
 Collection, anonymous until 1875. 
 
 15 SCANDAL. 
 
 Painted by G. a. storey, a.r.a. 
 Canvas 42 x 56 inches. 
 
 Lent by j. pierpont Morgan, esq. 
 
GALLERY I. 
 
 15 
 
 16 EASTWARD HO! AUGUST, 1857. 
 
 Painted by henry o’neil, a.r.a. 
 
 Canvas 54 x 42 inches. 
 
 Lent by e. a. leatitam, esq., j.p. 
 
 HE picture shows the huge black side of a 
 
 transport vessel bound w r itli troops for India, 
 called there b)^ the' mutiny. The w T ives, sweethearts 
 and friends of the soldiers are bidding farewell as they 
 descend the accommodation ladder for the last time. 
 The first in the descending group is a heart-broken 
 woman, whose foot is on the last step, and who is 
 gazing with wet eyes on the rough boatman in blue 
 shirt, who is holding out to her his strong hand. 
 Among others in the group should be noted the 
 soldier’s wife, her child on her arm ; the little girl 
 in black waving her handkerchief ; the young ensign in 
 red scarf and full regimentals kissing the pretty girl in 
 white muslin ; the stolid boatman smoking with stolid 
 indifference ; the cold insolent lieutenant cursing the 
 whole affair; and lastly the eager schoolboy faces of 
 the younger soldiers. 
 
 Exhibited at the Royal Academy, 1858, where it 
 made a great impression. 
 
 Henry Nelson O’Neil, A.R.A., was born at St. Petersburg, in 
 1817. In 1833 h e came to England and entered the Royal 
 Academy Schools. The present picture “ was painted in 1858 and 
 attracted great attention, and brought him into prominent notice as 
 an artist.” It has been engraved, as also its companion picture 
 “ Home Again,” painted in 1859. He was elected an Associate in 
 i860, ajid died in 1880. His great picture “ The death of 
 Raphael,” was exhibited here in 1890. 
 
1 6 
 
 GALLERY I. 
 
 17 IN ROSS-SHXRE. 
 
 Painted by h. w. b. davis, r.a. 
 
 Canvas 46 x 83 inches. 
 
 Lent by w. y. baker, esq. 
 
 C ATTLE and sheep are in the foreground, and to the 
 left is a stream that winds among heather-covered 
 hills toward a broad lake that lies to the right at the 
 foot of the more distant mountains. The rich effect of 
 early evening light suffuses this beautiful scene. 
 
 Exhibited at the Royal Academy, 1882. 
 
 Painted originally for Mr. Charles Neck. 
 
 Collection of Mr. Lees until 1884. 
 
 Engraved by M. Dormoy. 
 
GALLERY I. 
 
 17 
 
 18 FISHERS OF THE NORTH SEA. 
 
 Painted by colin hunter, a.r.a. 
 
 Canvas 38 x 73 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Royal Academy, 1888 
 
 19 WHERE DEEP SEAS MOAN. 
 
 Painted by peter graham, r.a. 
 
 Canvas 66 x 52 inches. 
 
 Lent by benjamin armitage, esq., of Manchester. 
 
i8 
 
 GALLERY I. 
 
 20 “ WIDE, WILD, AND OPEN TO 
 THE AIR . 55 
 
 Painted by j. w. Waterhouse, a.r.a. 
 
 Canvas 58^ x 36 J inches. 
 
 Lent by the Executors of the late Charles e. lees, 
 eso., of Oldham. 
 
 IRCE, a sorceress, lived in the Island of iEaea. 
 
 When Ulysses landed there she turned his com- 
 panions into swine. Seated in a golden chair with 
 head thrown back and drapery falling from her right 
 shoulder, both arms uplifted, a cup in her right hand, a 
 wand in her left. A circular mirror is behind her, from 
 the base of which on either side, the swine are seen. 
 
 Painted by william dicksqn. 
 
 Canvas 47-J x 72 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Royal Academy, 1894. 
 
 21 CIRCE. 
 
 “ Who knows not Circe 
 
 The daughter of the Sun, whose charmed cup, 
 Whoever tasted, lost his upright shape 
 And downward fell into a grovelling swine.” 
 
 Exhibited at the New Gallery, 1891. 
 
GALLERY I. 
 
 19 
 
 JEPHTHAH. 
 
 Painted by sir J. e. millais, bart., r.a. 
 
 Canvas 49 x 63 inches. 
 
 Lent by lord Armstrong, c.b. 
 
 1 A ND Jephthah vowed a vow unto the Lord, and 
 said, if Xhou shalt without fail deliver the children 
 of Ammon into mine hands, then it shall be, that 
 whatsoever cometh forth of the doors of my house to 
 meet me, when I return in peace . . shall surely be 
 the Lord's, and I will offer it up for a burnt offering. . . 
 And, behold, his daughter came out to meet him 
 and she was his only child . . and he rent his clothes 
 and said, ‘ Alas, my daughter ! thou has brought me 
 very low . . for I have opened my mouth unto the 
 Lord, and I cannot go back. 7 77 
 
 Exhibited at the Royal Academy, 1867. 
 
 Exhibition of Millais 7 works, at the Grosvenor 
 
 Gallery, 1886. 
 
 Collection of Mr. Samuel Mendel (Manley Hall), until 
 
 lS 75- 
 
 LANDSCAPE. 
 
 Painted by Alexander mann. 
 Canvas 38 x 60 inches. 
 
 Lent by the Artist. 
 
20 
 
 GALLERY I. 
 
 24 THE GARDEN OF THE 
 HESPERIDES. 
 
 Painted by sir Frederic leighton, bart., p.r.a. 
 Canvas, circular, 66 \ inches diameter. 
 
 Lent by george mcculloch, esq. 
 
 HE Hesperides were the beautiful guardians of the 
 
 tree w T ith the golden apples, which Ge had given 
 to Hera at her marriage with Zeus. The poets describe 
 them as possessing the power of sweet song. According 
 to the earliest legends they lived on the river Oceanus, 
 but later accounts have located them in the neighbour- 
 hood of Cyrene, Mount Atlas, or the Islands on the 
 western coast of Libya. In their watch they were 
 assisted by the dragon Ladon, who had been appointed 
 by Juno to watch in the garden of the Hesperides, and 
 who never slept. 
 
 Exhibited at the Royal Academy, 1892. 
 
 Chicago Exhibition, 1893. 
 
 Reproduced by the photo-engraving process, and 
 published by Messrs. Arthur Tooth & Sons, 6, Hay- 
 market, W. 
 
 Painted by J. mcwhirter, r.a. 
 
 Canvas 82 x 58 inches. 
 
 Lent by benjamin armitage, esq., of Manchester. 
 
 “ By the stone of Mora I shall fall asleep. The winds whistling 
 in my grey hair shall not awaken me. Depart on thy wings, 
 
 O wind ! Thou canst not disturb the rest of the Bard.” 
 
 Exhibited at the Royal Academy, 1882. 
 
 25 OSSIAN’S GRAVE. 
 
GALLERY I. 
 
 21 
 
 26 ROSALIND AND CELIA. 
 
 Painted by sir j. e. millais, bart., r.a. 
 
 Canvas 45 x 63 inches. 
 
 Lent by james c. bunten, esq., of Crieff, N.B. 
 
 S CENE: The forest of Arden. — Rosalind in boy’s 
 clothes and Celia, dressed as a shepherdess, are 
 seated facing the spectator — Touchstone, the clown, is 
 crouched at the right of the tree. 
 
 Rosalind. O Jupiter ! how weary are my spirits ! 
 
 Touchstone. I care not for my spirits, if my legs were not 
 weary. 
 
 Rosalind. I could find in my heart to disgrace my man’s 
 apparel, and to cry like a woman ; but I must 
 comfort the weaker vessel, as doublet and hose 
 ought to show itself courageous to petticoat : 
 therefore courage, good Aliena. 
 
 Celia . I pray you bear with me ; I can go no further. 
 
 “ As you like it ,” Act //, Scene IV. 
 
 Exhibited at the Royal Academy, 1868. 
 
 Exhibition of Millais’ works at the Grosvenor 
 Gallery, 1886. 
 
 Collection of A. G. Kurtz, of Liverpool. 
 
 Engraved in Mezzotint by W. H. Simmons, and 
 published by Messrs. Henry Graves & Co., 6, Pall 
 Mall. 
 
22 
 
 GALLERY I. 
 
 27 AUTUMN. 
 
 Painted by miss E. STEWART wood. 
 Canvas 40 x 60 inches. 
 
 Lent by GEORGE MCCULLOCH, esq. 
 
 28 AT THE GOLDEN GATE. 
 
 Painted by val c. prinsep, r.a. 
 
 Canvas 53J x 37 inches. 
 
 Lent by the Corporation of Manchester. 
 
 ILLUSTRATING the parable of the wise and foolish 
 * Virgins. She has arrived at the gate to find it shut ; 
 those with trimmed lamps have passed through ; on the 
 floor lies her own lamp untrimmed. 
 
 Exhibited at the Royal Academy, 1882. 
 
 Presented by W. A. Turner, Esq., to the Manchester 
 Art Gallery. 
 
GALLERY I. 
 
 2 3 
 
 A LOST CAUSE. FLIGHT OF 
 KING JAMES II AFTER THE 
 BATTLE OF THE BOYNE. 
 
 Painted by A. c. gow, r.a. 
 
 Canvas 46 x 59 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 J AMES II (a.d. 1691), who had looked on at the 
 battle from the neighbouring hill of Dunmore, when 
 he saw his troops give way, without making any effort 
 to retrieve the fortune of the day, turned his horse’s 
 head towards Dublin, and fled. In a few days he 
 sailed for France, and there lived for the rest of his 
 days, under the protection of the French King. In the 
 latter part of his life he practised all the austerities of a 
 monk, and died in 1701. 
 
 Exhibited at the Royal Academy, 1888. 
 
 A PEACEFUL VALLEY. 
 
 Painted by Alfred de breanski, r.b.a. 
 Canvas 36 x 66 inches. 
 
 Lent by graham king, esq., c.c. 
 Exhibited at the Royal Academy, 1884. 
 
24 
 
 GALLERY I. 
 
 31 SCHOOL REVISITED. 
 
 Painted by G. d. Leslie, r.a. 
 
 Canvas 40 x 74 inches. 
 
 Lent by james houldsworth, esq. 
 
 T O this ladies’ school, a girl, still young, has returned 
 upon a visit. She is extending her hand to two 
 young girls who are looking at her rings. The posy of 
 roses she has brought, lies on the bench beside her. 
 Two other pupils, one with a hoop, are standing by 
 regarding her with respectful admiration. “ English 
 girls by an English painter,” wrote John Ruskin, when 
 he first saw this work at the Academy. “ I came upon 
 this picture early, in my first walk through the rooms, 
 and was so delighted with it that it made me like 
 everything else that I saw that morning ; it is 
 altogether exquisite in rendering some of the sweet 
 qualities of English girlhood.” 
 
 Exhibited at the Royal Academy, 1875. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Engraved by F. Stacpoole, A.R.A. 
 
 32 “PREMIERE COMMUNION,” 
 DIEPPE. 
 
 Painted by P. R. morris, A.R.A. 
 
 Canvas 72 x 106 inches. 
 
 Lent by a. hicklin, esq. 
 
 Y OUNG girls, on a Sunday morning, in white dresses 
 and veils, are on their way in procession to the 
 church, to First Communion. 
 
 Exhibited at the Royal Academy, 1878. 
 
 Collection of Captain Henry Hill until 1892. 
 
GALLERY L 
 
 25 
 
 FIR FAGGOTS. A HAMPSHIRE 
 LANDSCAPE. 
 
 Painted by david Murray, a.r.a. 
 
 Canvas, 4 8 x 72 inches. 
 
 Lent by the Corporation of Glasgow. 
 
 Exhibited at the Royal Academy, 1893. 
 
 Purchased for the Corporation Galleries of Art, 
 Glasgow, 1893. 
 
 EARLY MORNING IN THE 
 WILDERNESS OF SHUR. 
 
 Painted by Frederick goodall, r.a. 
 
 Canvas 48 x 120 inches. 
 
 Lent by c. t. Harris, esq., c.c. 
 
 N Arab Sheikh is addressing his tribe on the break- 
 
 ing up of their encampment at the “Wells of 
 Moses" (Ayoun Moussa), on the eastern shore of the 
 Red Sea. The headland of Djebel Attaka, on the 
 opposite coast, is the point from which, by local tradi- 
 tion, the Israelites are believed to have crossed. 
 
 Exhibited at the Royal Academy, i860. 
 
26 
 
 GALLERY I. 
 
 5 SAMSON. 
 
 Painted by Solomon j. solomon. 
 
 Canvas 95 x 143 inches. 
 
 Lent by the Corporation of Liverpool. 
 
 A ND Delilah said, “ the Philistines be upon thee 
 Samson.” 
 
 Exhibited at the Royal Academy, 1887. 
 
 Purchased and presented to the Walker Art Gallery, 
 Liverpool, as a Jubilee gift, by James Harrison, Esq., 
 1887. 
 
 36 “ OVER THE HILLS AND FAR 
 AWAY.” 
 
 HIS beautiful landscape includes Strath Tay, as 
 
 seen from near Birnam, in Perthshire, with Ben- 
 y-Glow in the centre distance. In the foreground are 
 rugged boulders and pools of water, reflecting flowering 
 rushes and circled by mosses. Hills rise on. either 
 side, and between them is seen the vista of the Strath 
 with the winding river and a long range of distant 
 
 Collection of Mr. Kay Knowles, until 1887. 
 Exhibited at the Royal Academy, 1876. 
 
 Exposition Universelle, Paris, 1878, as “Dans les 
 
 Exhibition of Millais’ works at the Grosvenor Gallery, 
 1886. 
 
 Etched by B. Debaines. 
 
 Painted by SIR J. E. MILLAIS, BART., r.a. 
 Canvas 51 x 74 inches. 
 
 Lent by J. c. williams, esq. 
 
 hills. 
 
GALLERY I 
 
 27 
 
 RIPENING SUNBEAMS. 
 
 Painted by vicat cole, r.a. 
 
 Canvas 56 x 84 inches. 
 
 Lent by lord brassey, k.c.b. 
 
 “ Half- veiled in golden light of shimmering air 
 The landscape stretches wonderously fair, 
 
 No paling beauty anywhere; 
 
 Nature is in her prime. 
 
 In richest robes the hills and woods appear, 
 
 The lakes and springs lie motionless and clear 
 Ruled by the fairest Queen of all the year, 
 
 Beautiful harvest time.” 
 
 Exhibited at the Royal Academy, 1879. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Melbourne Centennial Exhibition, 1888. 
 
 Chicago Exhibition, 1893. 
 
 Vicat Cole, R.A., was born in 1833, anc ^ a t the age of sixteen 
 exhibited at the British Institution, and in 1853 at the Royal 
 Academy. He was elected an Associate of the Royal Academy 
 n 1870, and a Royal Academician in 1880. He died in 1893. 
 
28 
 
 GALLERY I. 
 
 38 SAVED. 
 
 Painted by frank bramley, a.r.a. 
 
 Canvas 59 x 77 inches. 
 
 Lent by Alfred morrison, esq., f.r.g.s. 
 
 “ Oft in a humble home, a golden room is found.” 
 
 T HE exhausted figure of a lady saved from a 
 wrecked vessel, is seated wrapped in blankets 
 before the welcome fire of a fisherman's cottage. Two 
 women are tending her, one of whom is pouring some 
 tea into a cup. To the right are two children, looking 
 on wonderingly. Beyond them, through the open door, 
 a glimpse of the fisherfolk and of the turbulent sea is 
 seen. The room is suffused with the ruddy glow from 
 the fire. 
 
 Exhibited at the Royal Academy, 1889. 
 
 39 DAPHNIS. 
 
 Painted by Alfred east, r.i. 
 Canvas 60 x 40 inches. 
 
 Lent by the Artist. 
 
 40 CRABBERS BAIT. 
 
 Painted by c. napier hemy, a.r.w.i. 
 Canvas 32 x 48 inches. 
 
 Lent by george mcculloch, esq. 
 
Gailerg II. 
 
 THE DAMSEL OF THE SANG 
 GRAEL. 
 
 Painted by D. G. ROSSETTI. 
 
 Canvas 37^ x 23^ inches. 
 
 Lent by GEORGE rae, esq., of Birkenhead 
 
 HREE quarter figure, life size, head turned to the 
 
 left ; abundant auburn hair ; purple cloak, worked 
 in gold, over a crimson robe. In her right hand she 
 holds the sacred cup, while her left is raised in reverence. 
 Above her hovers a dove, a small censer in its beak, 
 and beyond and near at hand appear the leaves of a 
 
 11 Anon there came a dove and in her bill a little censer 
 of gold, and therewithal there was such a savour as if 
 all the spicery in the world had been there. So there 
 came a damsel, passing fair and young, and she bare a 
 vessel of gold between her hands." 
 
 vine. 
 
 ( For notice of the Painter's life 3 see No. 47 . ) 
 
3 ° 
 
 GALLERY II. 
 
 42 MUSIC. 
 
 Painted by sir e. burne jones, bart., r.w.s. 
 Canvas 27 x 17 inches. 
 
 Lent by Stephen T. gooden, esq. 
 
 A SEATED figure, myrtle-wreathed, and clad in 
 purple, is holding an open scroll of music from 
 which another standing by, robed in crimson, and play- 
 ing on a stringed instrument, is reading. From the low 
 balcony a rich landscape is seen, with hills, and a castle, 
 the warm evening light suffusing the scene. 
 
 43 A FARM NEAR DUSSELDORF. 
 
 Painted by A. w. hunt, r.w.s. 
 
 Canvas 14 x 20 inches. 
 
 Lent by w. s. caine, esq., m.p. 
 
GALLERY II. 
 
 31 
 
 THE SCAPEGOAT. 
 
 Painted by w. holman hunt, R.w.s. 
 
 Canvas 34 x 55 inches. 
 
 Lent by w. cuthbert quilter, eso., m.p. 
 
 “And the goat shall bear upon him all their iniquities into a 
 land not inhabited .” — Levitiais xvi, v. 22. 
 
 T HE Day of Atonement was the greatest day of the 
 Jewish year. The part of the ceremony which 
 most absorbed the popular attention, consisted in the 
 choice of two young goats by the High Priest for a sin- 
 offering. They were presented before the Lord in the 
 door of the Tabernacle, and he cast lots upon them. 
 Upon one lot was inscribed 'For Jehovah/ on the 
 other 'For Azazel.' The goat on which fell the lot 
 'For Jehovah/ was slain, and its blood sprinkled seven 
 times before the Mercy-Seat. Over the head of the 
 goat ' For Azazel/ the High Priest laid his hands and 
 confessed all the sins of the nation." It was then led 
 away into a land "not inhabited" and there let loose, 
 a strip of red cloth being bound between its horns. 
 This scarlet cloth was said in course of time to turn 
 white, as an indication that the sins of the people 
 were forgiven, and presaging the utterance of Isaiah 
 " Though your sins be as scarlet they shall be as white 
 as snow." 
 
 The idea symbolized, was the complete removal of the 
 nation’s sins. The goat was regarded by the people as 
 a vicarious sufferer for their sins which it carried away 
 out of the sight of Jehovah. 
 
 According to the Talmud, everyone who saw the 
 scapegoat threw a stone at it to drive it further into its 
 mystical outlawry. 
 
32 
 
 GALLERY II. 
 
 The region of Usdum, where this picture was painted, 
 is at the southern end of the Dead Sea ; a scene so 
 dreary, so uninteresting, and so unhealthy, that it is 
 scarcely ever visited, and it is shunned by the super- 
 stitious Arabs who regard such spots as haunted by the 
 evil spirit. In the foreground is the salt bed of the 
 evaporated sea, “the pale ashes of Gomorrah," and, in 
 the distance, are the purple mountains of Moab, going 
 towards Petra. 
 
 Exhibited at the Royal Academy, 1856, when the 
 artist was 27 years of age. 
 
 Exhibition of Mr. Holman Hunt's Works at the Fine 
 Art Society's Rooms, New Bond Street, 1886. 
 Collection of J. Heugh until 1878. 
 
 A small finished study of this picture, formerly in 
 the Collection of William Graham, is now in the 
 Collection of Lord Brassey, K.C.B. 
 
GALLERY II. 
 
 33 
 
 45 ROMEO AND TULIET IN THE 
 VAULT. 
 
 Painted by MRS. w. M. ROSSETTI. 
 
 Canvas 24 x 32 inches. 
 
 Lent by william m. hardinge, esq. 
 
 I NTO the cold monument the moonlight streams and 
 sees Juliet lying extended on the rich crimson cloth 
 that covers her bier. At her head is the banished 
 Romeo who has broken open the door of the 
 monument, and finding Paris there (to whom Juliet 
 was betrothed), fights with and slays him ; then, 
 draining the phial of poison, dies. 
 
 11 O, true apothecary ! 
 
 Thy drugs are quick, — Thus, with a kiss I die.” 
 
 The flowers that Paris had brought to the monument 
 are strewn about the floor — lilies and poppies — 
 emblems of purity and sleep, and the two swords 
 with which the men have fought, lie beneath the 
 bier. 
 
 46 THE VOICE OF THE WOODS. 
 
 Painted by louisa starr canziani. 
 
 Canvas 26 x 18 inches. 
 
 Lent by the Artist. 
 
 “ In tender trouble cooed the wooing dove 
 Amid the wood. In silence and in song 
 The voice of nature, and of nature’s need 
 Of longing for the unknown, infinite, 
 
 The ache of life and of eternal love, 
 
 Was felt beneath the tremulous sighing leaves 
 The glint <?f sunlight, and the glciom of Shade.” 
 
34 
 
 GALLERY II. 
 
 47 THE LOVING CUP. 
 
 Painted by D. G. ROSSETTI. 
 
 Panel 26 x 18 inches. 
 
 Lent by T. h. ismay, esq., of Liverpool. 
 
 “Douce nuit et joyeux jour, 
 
 O chevalier de bel amour.” 
 
 S MALL half-length figure of a lady in red draper}^ 
 about to drink from a gold cup, the cover of which 
 she holds in her left hand ; diaper background, against 
 which a row of brazen plates is fixed. 
 
 Signed with monogram, and dated 1867. 
 
 Exhibition of Rossetti’s works at the Royal Academy, 
 1883. 
 
 Collection of Mr. William Graham, until 1886. 
 Collection of Mr. F. R. Leyland, until 1892. 
 
 Gabriel Charles Dante Rossetti was born in London in 1828. 
 He was the son of Gabriele Rossetti, who was exiled from Italy for 
 his political opinions and came to London. He entered the Schools 
 of the Royal Academy in 1846, and in 1848 became the prime 
 mover in the famous Pre-Raphaelite revolt. In 1850 he edited 
 “ The Germ,” a periodical which demonstrated the principles of the 
 brotherhood ; but it was short-lived. Among the works painted 
 according to its principles was the “ Ecce Ancilla Domini,” now in 
 the National Gallery. For the next ten years his chief productions 
 were a series of water colours inspired by passages in the “ Vita 
 Nuova ” and the “Divina Commedia.” In i860, after a long 
 engagement, he married Elizabeth Eleanor Siddall, a girl of charac- 
 teristic beauty and the model for some of his most famous works. 
 She died in 1862 from an overdose of laudanum, and on the day 
 of her burial Rossetti placed the manuscript of all his poems, as a last 
 gift, in her coffin. In the autumn of that year he removed to 
 Cheyne Walk, Chelsea, and between that time and 1869 produced 
 some of his finest paintings, achieving a splendour of colour that 
 may be compared with the productions of the great Venetians, and 
 has seldom been surpassed in modern times. In 1869 he was pre- 
 vailed upon to permit the exhumation of his buried manuscripts, and 
 in the following year the first collection of his poems appeared. At 
 this time symptoms of weak health appeared, and he suffered terribly 
 from insomnia. To obtain relief he resorted to chloral, with the 
 customary results. Early in 1S82 he went to Birchingtonj and on 
 Easter Sunday of that year he died. 
 
GALLERY II. 
 
 35 
 
 48 PROSERPINE. 
 
 Painted by d. g. rossetti. 
 
 Canvas 47 x 22 \ inches. 
 
 Lent by Charles butler, esq., f.r.g.s. 
 
 IFE-S 1 ZE figure representing Proserpine in Hades. 
 
 She is holding in her left hand the bitten pome- 
 granate (emblem of sorrow and pain), by partaking of 
 which she is precluded from returning to earth. 
 
 As she passes along a gloomy corridor of her palace, a 
 stream of light strikes on the wall from some inlet 
 suddenly opened and admitting for a moment the light 
 of the upper world. She glances furtively towards it, 
 immersed in thought. The incense -burner stands 
 beside her as the attribute of a goddess, and the ivy- 
 branch in the background may be taken as a symbol of 
 clinging memory. 
 
 In 1877, Rossetti, writing to Mr. George Rae, said, 
 “The present one (Proserpine) was begun before Mr 
 Leyland’s of 1873 (now Mr. Graham Robertson’s), and 
 thus had the immense advantage of the first inspiration 
 of nature . . . it is the very flower of my work.” 
 
 Signed and dated, Dante Gabriele Rossetti, ritrasse 
 nel capo d’anno del 1877. 
 
 Collection of Mr. W. A. Turner. 
 
 Exhibited at the Burlington Fine Arts Club, 1883. 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
 ( For notice of the Painter's life , see No. 4 7.) 
 
 B 2 
 
GALLERY II. 
 
 A TURKISH SCHOOL IN THE 
 VICINITY OF CAIRO. 
 
 Painted by J. F. lewis, R.a. 
 
 Canvas 26 x 32^ inches. 
 
 Lent by Stephen g. Holland, esq. 
 
 HE head of the school, white-bearded and white* 
 
 turbaned, is reclining to the right of the picture, 
 an open book before him, and a bamboo stick in his 
 hand. His pupils, in bright oriental garments are 
 clustered to the left, one child in the foreground has 
 fallen asleep. The sun pours into the room, and the 
 shadow of the lattice-work chequers the floor, where 
 pigeons are seen. On a green cushion, against an 
 inlaid box, a cat is lying. 
 
 Exhibited at the Royal Academy, 1865. 
 
 Collection of Mr. C. P. Matthews, until 1892, who 
 purchased it from the artist. 
 
 John Frederick Lewis was born in London in 1805. He 
 received his early tuition in Art from his father, who was an 
 engraver and landscape painter. He exhibited at the Royal 
 Academy in 1821, and his first achievements were in animal 
 painting and chiefly in water colour. In 1843 he went to the 
 East and remained there for several years, during which time he 
 executed many of his best works. On his return to England in 
 1851 he resided at Walton-on-Thames. He died in 1876. 
 
GALLERY II. 
 
 37 
 
 BRIGANDS OF THE DESERT. 
 
 Painted by Richard friese. 
 
 Canvas 18 x 28 inches. 
 
 Lent by edward t. Baldwin, esq. 
 
 A LION and lioness stealthily creeping over a 
 rocky mountain side, and watching an Arab 
 encampment below. 
 
 BAIN MAURE. 
 
 Painted by J. l. gerome, h.r.a. 
 
 Canvas 20 ^ x 15^ inches. 
 
 Lent by H. J. TURNER, ESQ. 
 
 N UDE figure of a girl seated near a bath let into the 
 floor of a lofty circular apartment. A Nubian 
 slave, habited from the waist in rich dark clothes, is 
 standing by holding a heavy brazen vessel of water. By 
 the door a narghile pipe is seen, and on the stonework, 
 the edge of which the girl's raised hand is touching, 
 richly coloured drapery is arranged. 
 
 Painted in London, in 1870, for the present owner, 
 in the time of the Paris Commune. Finished in 
 Paris, as the painter was unable to obtain a good 
 Nubian model in London. 
 
 Exhibited at the Vienna Exhibition, 1873. 
 Philadelphia Exhibition, 1876. 
 
GALLERY II. 
 
 EXPECTATION. 
 
 Painted by L. alma tadema, r.a. 
 
 Panel 23 x 12b inches. 
 
 Lent by sir Julian goldsmid, bart., m.p. 
 
 A YOUNG girl in white, is seated in a semi- 
 * * circular recess ; her hands shade her eyes as 
 she looks over the blue sea at the small craft, which 
 is approaching from the distant town. 
 
 A MOORISH GARDEN. A DREAM 
 OF GRANADA. 
 
 Painted by sir Frederic leighton, bart, p.r.a. 
 Canvas 40^ x 4 if inches. 
 
 Lent by sir Joseph pease, bart., m.p. 
 
 I N the foreground is a girl sumptuously clothed, and 
 wearing a large turban. She is passing to the right, 
 by tall dark cypresses and roses full-blown, carrying a 
 copper flagon, and followed by two peacocks, one of 
 them milk-white, with its head thrown back. Water 
 streams down over white marble through a straight 
 leafy alley, on either side of which are arches of 
 creeping plants. A Moorish palace rises beyond, on 
 which white pigeons have alighted. 
 
 Exhibited at the Royal Academy, 1874. 
 
GALLERY II. 
 
 39 
 
 AN EASTERN GIRL. 
 
 Painted by J. L. gerome, h.r.a. 
 Canvas 2o\ x 1 6 inches. 
 
 Lent by george mcculloch, esq. 
 
 N eastern girl leaning against the stone wall of a 
 
 * * portico, her head resting on her upraised arm, her 
 right hand holding a long oriental pipe. Her head is 
 covered with a green veil, and adorned with gold 
 ornaments ; round her neck is a coral necklace with 
 gold coins attached to it — purple bodice,, red robe falling 
 to her feet, embroidered shoes, bracelet on right hand, 
 figure turned to the right. Another form is seen passing 
 under an archway ; above is a lattice, through which is 
 seen a clouded sky. 
 
 HREE-QUARTER-LENGTH, facing the spectator 
 
 with her hands crossed before her. White dress 
 edged with black ; green mantle with wide sleeves from 
 which broad white lace hangs; large black and blue 
 turban, with thick blue tassel. She is standing in an open 
 balcony from which a rocky landscape, with buildings, 
 is seen. 
 
 AN ALBANIAN LADY. 
 
 Painted by J. F. lewis, r.a. 
 
 Canvas 14 x 10 inches. 
 
 Lent by Humphrey Roberts, esq. 
 
 Collection of MR. J. heugh, until 1878. 
 
 ( For notice of the Painter's life> see No. 49.9 
 
4 o 
 
 GALLERY II. 
 
 56 IN THE DESERT. 
 
 Painted by J. L. gerome, h.r.a. 
 
 Canvas 24 x 40 inches. 
 
 Lent by h. j. turner, esq. 
 
 T O the left of the picture a dying horse is lying, and 
 its owner, in a desperate position now, is apparently, 
 from his compassionate gaze, more concerned for the 
 animal than he is for himself. On one side is the bare 
 sterile mountains, on the other the illimitable desert. 
 
 57 THE COMEDIANS. 
 
 Painted by J. l. gerome, h.r.a. 
 Canvas 23^ x 18 inches. 
 
 Lent by sir JOHN pender, k.c.m.g. 
 Signed and dated 1863. 
 
GALLERY II. 
 
 41 
 
 “MY BELOVED IS GONE 
 DOWN INTO HIS GARDEN, TO 
 THE BEDS OF SPICES, TO 
 FEED IN THE GARDENS, AND 
 TO GATHER LILIES . 55 
 
 Painted by J. M. strudwick. 
 
 Canvas 28 x 15 inches. 
 
 Lent by the earl of wharncliffe. 
 
 F ULL length figure, clad in a blue tunic, with a narrow 
 crimson scarf, and wearing a wreath of roses. He 
 is standing at the foot of a stone stairway and carrying 
 the gathered lilies. At the top of the stairway is a 
 figure in pale crimson drapery, stretching out her hands 
 yearningly towards him. Six others are grouped in 
 graceful posture by the parapet to the right, and beyond 
 them dwelling houses and towers are seen among tall 
 poplar trees. 
 
 Exhibited at the Grosvenor Gallery, 1879. 
 
GALLERY II. 
 
 VENUS IN THE HAUNTS OF 
 DIANA. 
 
 IANA, seated near a marble fountain, with a 
 
 crescent in her hair, and robed in white, is seen 
 to the left of the picture, surrounded by five of her 
 maidens. The group is in consternation at the appear- 
 ance of Venus, who, draped in crimson and with a 
 white veil, presents herself before them. To the left 
 another figure is seen, holding a slender branch of a 
 tree. A bower of green is behind the group, and to 
 the left a glimpse of a field and distant hills is seen. 
 
 Painted by w. E. FROST, r.a. 
 
 Wood 7 x ii inches. 
 
 Lent by E. a. leatham, esq., j.p. 
 
GALLERY II. 
 
 43 
 
 6o SINDBAD IN THE VALLEY 
 OF DIAMONDS. 
 
 Painted by albert goodwin, r.w.i. 
 
 Canvas 36^ x 56^ inches. 
 
 Lent by the Trustees of the Maidstone Museum. 
 
 N his second voyage, Sindbad was left alone upon 
 
 an island, from whence he was carried, by a bird 
 of miraculous size, to a place that was encompassed on 
 all sides by mountains, that were So steep, there was 
 no possibility of getting out of the valley. As he 
 walked through, he perceived that the ground was 
 strewn with diamonds, some of which were of surprising 
 size. He spent the day in walking about the valley, 
 and began to collect together the largest diamonds he 
 could find, and to put them into the leather bag, in 
 which he used to carry his provisions. (Ai'abian Nights.) 
 
 Exhibition of Goodwin’s works, at the Fine Art 
 Society’s Galleries, New Bond Street, 1893. 
 
44 
 
 GALLERY II. 
 
 6 1 ARIADNE. 
 
 Painted by John la very, r.s.a. 
 
 Canvas 50 x 40 inches. 
 
 Lent by R. strathern, esq., of Edinburgh. 
 
 RIADNE was a daughter of Minos and Pasiphae. 
 
 When Theseus was sent by his father to convey 
 the tribute of the Athenians to Minotaurus, Ariadne, 
 in her love for him, provided him with the thread 
 (which she herself had received from Hephaestus), to 
 enable him to find his way out of the Labyrinth. 
 Theseus in return promised to wed her, and she accord- 
 ingly left Crete with him, and they arrived together at 
 the island of Naxos, in the iEgean Sea. Here, as 
 tradition states, Theseus forsook her, and she was left 
 in loneliness in Naxos. 
 
 The ancient writers give different accounts of the 
 ultimate fate of Ariadne. The prettiest legend makes 
 her the bride of Dionysus, and he is so enamoured of 
 her beauty that he flings the crown he has given her to 
 the sky, where it remains as a brilliant constellation in 
 her honour. 
 
 “ To her in loneliness and bitter tears 
 Bacchus brought love and aid — that she might be 
 Bright with unfading stars, he plucked the crown 
 From off her brow, and flung it to the skies, 
 
 Through the thin air it flies. 
 
 Sudden the gems are turned to fire ; and fixed 
 
 Remain, and keep the semblance of a crown. ” ( Ovid. ) 
 
GALLERY II. 
 
 45 
 
 6 2 THE EDGE OF THE 
 JUNGLE. 
 
 Painted by J. M. swan, a.r.a. 
 
 Canvas n x 12 inches. 
 
 Lent by Messrs, boussod, valadon and co. 
 
 T O the right of the picture a panther is lying, dense 
 jungle around, and a pool of water to the left. 
 
 63 A BRETON PEASANT GIRL. 
 
 Painted by George clausen, a.r.a. 
 
 Canvas 19 x nf inches. 
 
 Lent by henry l. Florence, esq. 
 
4 6 
 
 GALLERY II. 
 
 64 THE PYRRHIC DANCE. 
 
 MONG the warlike dances of the Greeks particu- 
 
 larfy adapted to the Doric character, the Pyrrhic 
 dance was the oldest and most in favour, and dates from 
 mythical times. It was performed by several men in 
 armour, and imitated the movements of attack and 
 defence. The various positions were defined by rule ; 
 hands and arms playing an important part in the mimetic 
 action. It formed the chief feature of the Doric 
 gymnopaidia and of the greater and lesser Panathenaia 
 at Athens. The value attached to it in Athens is proved 
 by the fact of the Athenians making Phrynichso 
 commander-in-chief, owing to the skill displayed by 
 him in the Pyrrhic dance. It is known, too, that both 
 the Emperors, Caligula and Nero, bestowed the right 
 of citizenship upon those Ephebse who danced the 
 Pyrrhic dance with grace and skill, so highly was the 
 performance valued. 
 
 The dancers here are Dorian warriors. Despite their 
 great bronze helmets, shields and corslets, they move 
 easily as if they hardly felt the weight of their accoutre- 
 ments, and, as they pass in the arena, they bow to 
 the notabilities in the amphitheatre. Behind the marble 
 columns to the left a dense mass of spectators is seen. 
 This work created a great impression when it appeared 
 at the Academy. 
 
 Exhibited at the Royal Academy, 1869. 
 
 Exhibition of AlmaTadema's works at the Grosvenor 
 
 Gallery, 1882. 
 
 Purchased from the Artist by the present owner. 
 
 Painted by L. alma tadema, r.a. 
 Panel 16 x 32 inches. 
 
 Lent by Charles gassiot, esq. 
 
GALLERY II. 
 
 4 7 
 
 65 MOUNTAIN SOLITUDE. 
 
 Painted by B. w. leader, a.r.a. 
 Canvas 16 x 24 inches. 
 
 Lent by myer salaman, esq. 
 
 66 LOVE’S WHISPER. 
 
 Painted by frank dicksee, r.A. 
 
 Canvas 40 x 59 inches (arched top). 
 
 Lent by s. g. Holland, esq. 
 
 “In whispers, like the whispers of the leaves 
 That tremble round a nightingale.” 
 
 Tennyson. 
 
 Exhibited at the Royal Academy, 1882. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 
4 8 
 
 GALLERY II. 
 
 67 LANDSCAPE. 
 
 Painted by Thomas creswick, r.a. 
 
 Canvas 28 x 48 inches. 
 
 Lent by mrs. nathan. 
 
 A ROCKY wooded valley, down which a stream 
 descends. On rising ground to the right a 
 cottage and water-mill are seen, and in the centre, 
 where the stream broadens, a man with a red cap 
 is standing in the water fishing. In the far distance 
 the mountains rise into the white clouded sky. 
 
 Thomas Creswick, R.A., was born at Sheffield in 1811. He 
 studied drawing at Birmingham, and in 1828 he exhibited pictures 
 in London at the Academy and at the British Institution. In 1842 
 he was elected an Associate of the Royal Academy, and in 1851 an 
 Academician. He died in London in 1869. 
 
GALLERY II. 
 
 49 
 
 68 THE UNWILLING PLAYMATE. 
 
 Painted by G. H. mason, a.r.a. 
 
 Canvas 18 x 34I inches. 
 
 Lent by mrs. wedgwood. 
 
 HREE peasant children are amusing themselves 
 
 with a donkey, which stands firm against the 
 vigorous pulling of one of the girls. All of them are in 
 frocks and pinafores ; one wears a hood and is drawing 
 some garment on to her shoulders ; another holds her 
 pinafore full of flowers ; all are in graceful positions. 
 The scene is on the edge of a wood, and a cornfield 
 and low hills are visible between the stems of the trees. 
 
 Exhibited at the Royal Jubilee Exhibition, 1887. 
 
 Etched by Mr. R. W. Macbeth, A.R.A. 
 
 Published by Mr. R. Dunthome, Vigo Street, W. 
 
 George Hemming Mason was born at Wetley Abbey, in 
 Worcestershire, in 1818. He studied, by his parents’ wish, for the 
 medical profession, but abandoned it, at the age of twenty-six, for 
 Art. He travelled on the Continent with his brother, and eventually 
 settled in Rome for several years, from which place he contributed 
 many pictures to the Exhibitions of London and Paris. While there 
 news of financial disaster at home reached him, and for a time he 
 was thrown entirely on his own resources. In 1857 he returned 
 to England, and thenceforward all his subjects were taken from the 
 neighbourhood of his birthplace, where he partially resided. In 
 1865 he settled in London, and was elected Associate of the Royal 
 Academy in 1868. He died in 1872. 
 
5 ° 
 
 GALLERY II. 
 
 69 MUSHROOM GATHERERS. 
 
 Painted by Frederick walker, a.r.a. 
 
 Paper, affixed to a Panel, 12 x 20 inches. 
 
 Lent by somerset beaumont, esq. 
 
 HP HE effect of early dawn is over the scene, and in 
 * the foreground, to the right, a man is stooping as 
 he traverses the field, basket in hand. A little distance 
 away is seen the bended form of a woman, also with a 
 basket, intent on her search for mushrooms. Trees rise 
 on the further edge of the field, and in the dim sky to 
 the right the pale moon is still visible. 
 
 “ It was intended to develope it into a composition of more im- 
 portant dimensions, and a large study for the landscape alone 
 was actually found in Walker’s studio after his death. ” 
 
 Claude Phillips . 
 
 Painted 1868. 
 
 Sold at Christie's, 1875, by his Executors, at the sale 
 
 of no of Walker's sketches. 
 
 Frederick Walker was born at Marylebone in 1840, and early in 
 life became a student at the Royal Academy. He had already begun 
 to draw on wood, and received employment on the periodicals 
 “Once a Week,” “ The Cornhill Magazine,” and other illustrated 
 publications. In 1866 he was elected a Member of the Society of 
 Painters in Water Colours, and in 1871 an Associate of the Royal 
 Academy. He died in 1875, at the early age of thirty-five, and was 
 buried at Cookham, where his brother artists erected a tablet to his 
 memory. Cookham was in the midst of his favourite sketching 
 haunts. His pictures have great feeling, and any incident he painted 
 was clothed by him with an intensely poetic beauty. He is repre- 
 sented in the National Collection by “ The Vagrants,” painted in 
 1868. 
 
GALLERY II. 
 
 51 
 
 THE WITCH. 
 
 Painted by mrs. stanhope forbes. 
 
 Canvas 31 x 36 inches. 
 
 Lent by george mcculloch, esq. 
 
 T HE peasant child, not without awe, watches the 
 witch as she disappears into the mysterious depths 
 of the wood ; broad and blossoming herbage occupies 
 the foreground on the right, and two ravens fly athwart 
 the space between the child and the witch. 
 
 Chicago Exhibition, 1893. 
 
 Paris Salon, 1894. 
 
 ERE SPRING BEGAN. 
 
 Painted by Walter goldsmith. 
 Canvas 2 ox 24 inches. 
 
 Lent by the Artist. 
 
 EARLY MORNING. VENICE. 
 
 Painted by miss clara montalba, rav.s. 
 Canvas 53 x 30 inches. 
 
 Lent by John aird, esq., m.p. 
 
 “ I saw from out the wave her structures rise, 
 
 As from the stroke of the enchanter’s wand.” 
 
 Exhibited at the Royal Academy, 1880. 
 
52 
 
 GALLERY II. 
 
 73 VOLTAIRE. 
 
 Painted by w. q. orchardson, r.a. 
 
 Canvas 30 x 44 inches. 
 
 Lent by lord burton. 
 
 A D. 1725. “The accomplished Due de Sulli is 
 • giving in his hotel a dinner, and a bright witty 
 
 company is assembled The brightest young 
 
 fellow in France is sure to be there, and with his 
 electric coruscations, illuminating everything and keep- 
 ing the table in a roar. To the delight of most, not to 
 that of a certain splenetic ill-given Due de Rohan. . . 
 ( Who is this young man who talks so loud then ' ? 
 exclaims the proud splenetic Due. ‘ Monseigneur/ 
 flashes the young man back, 1 It is one who does not 
 drag a big name about with him, but secures respect for 
 the name he has/ Figure that in the penetrating, 
 grandly clangorous voice and the momentary flash of 
 eyes that attended it. Due de Rohan rose in a 
 
 sulphurous frame of mind, and went his ways 
 
 About a week after, Voltaire was again dining with the 
 Due de Sulli and a fine company as before. A servant 
 whispers him that somebody has called and wants him 
 below. ... A carriage is in the court and a hackney 
 coach near it ; at the door of the carriage hands seize 
 the collar of him, hold him as in a vice ; diabolic visage 
 of Due de Rohan is visible inside, who utters ‘Voila, 
 now then’ — Whereupon the hackney coach opens, 
 gives out three hired bullies ; scandalous actuality of 
 horsewhipping descends on the back of poor Voltaire 
 who shrieks and execrates, but to no purpose, nobody 
 being near. . . With torn frills and deranged hair he 
 rushes upstairs again in such a mood as is easy to fancy. 
 
GALLERY II. 
 
 53 
 
 Everybody is sorry, inconsolable, everybody shocked 
 nobody volunteers to help in avenging. ‘ Monseigneur 
 de Sulli, is not such atrocity done to one of your guests 
 an insult to yourself'? asks Voltaire. ‘Well, yes, 
 perhaps, but' — Monseigneur de Sulli shrugs his shoulders 
 and proposes nothing. Voltaire withdrew of course in 
 a most blazing condition, to consider what he could, on 
 his own strength do in this conjuncture.” — Carlyle's 
 History of Frederick the Great , Book X , Chapter //. 
 
 The larger version of this picture was exhibited at the 
 Royal Academy in 1883, No. 271, and purchased by 
 Mr. George Schwabe who presented it to the Museum 
 at Hamburg, with other distinguished examples of the 
 British School. 
 
 EVANGELINE. 
 
 Painted by Leonard wyburd. 
 
 Canvas 18 x 14 inches. 
 
 Lent by ALDERMAN SIR JAMES CLARKE LAWRENCE, 
 BART. 
 
 L IFE-SIZED head, fair hair — face turned to the left, 
 white cap, brown dress with white frill at the 
 neck, grey background. 
 
 Painted 1890. 
 
54 
 
 GALLERY II. 
 
 75 THE CATAPULT. 
 
 Painted by E. j. poynter, r.a. 
 
 Canvas 61 x 72 inches. 
 
 Lent by sir Joseph w. pease, bart., m.p. 
 
 T HE catapult or tormentum, was used in ancient 
 warfare to shoot heavy bolts and other large 
 projectiles, some of which were ingot-shaped and 
 sharpened at both ends. These in Greece, were often 
 inscribed with a word in Greek which signified “ receive 
 this," as may be seen from several leaden specimens 
 which have been found in making excavations. 
 
 Exhibited at the Royal Academy, 1868. 
 
 Paris Exhibition, 1878. 
 
 76 OTTER EIOUNDS. 
 
 Painted by sir edwin landseer, r.a. 
 
 Canvas 23^ x 60 inches. 
 
 Lent by lord burton. 
 
 Purchased direct from the Artist by Mr. Jacob Bell. 
 Collection of Mrs. Spencer Bell. 
 
 Exhibition of Landseer’s works at Burlington House, 
 1874. 
 
 ( For notice of the Painter's life, see No. 77 .) 
 
GALLERY II. 
 
 55 
 
 THE SWANNERY INVADED 
 BY SEA EAGLES. 
 
 ROM the hills that overlook the ocean, the fierce 
 
 brown birds have descended upon these swans' 
 nests. With beak and claw they assail them at a 
 terrible advantage. But the swans fight well and 
 deliver heavy blows with their wings. Some of the 
 swans are seen in the air above the nests, but the 
 eagles are there also, to destroy the last of those 
 who foolishly built near the eyries of the robbers. 
 
 This picture was begun many years before its final 
 completion. It is the largest that Landseer painted, 
 and it was the last work he exhibited. 
 
 Exhibited at the Royal Academy, 1869. 
 
 Collection of the Marquis of Northampton. 
 
 Sir Edwin Landseer was born in London in 1802. lie was the 
 youngest son of John Landseer, the well-known engraver. His 
 father taught him, and is said to have sent the boy at an early age 
 into the fields to sketch from nature any animals he came across. 
 Some drawings in South Kensington Museum were executed by him 
 when five years old. His first exhibited picture was painted when 
 thirteen years of age. Three years later he entered the schools of 
 the Royal Academy. In 1826 he became an Associate, and a few 
 years after an Academician. His pictures are universally known, 
 and he is “ the unrivalled painter of animal life.” In 1850 he 
 received the honour of knighthood. He died at his house in St. 
 John’s Wood in 1873, and was interred in St. Paul’s Cathedral. 
 
 Painted by SIR EDWIN LANDSEER, R.A. 
 Canvas 70 x 108 inches. 
 
 Lent by lord masham. 
 
GALLERY II. 
 
 5 ^ 
 
 78 A COUNTRY LANE. 
 
 Painted by John crome. 
 
 Canvas 74 x 36 inches. 
 
 Lent by lord Hillingdon. 
 
 John Crome was born in a small public-house in Norwich, 1769. 
 He started in life as an errand boy to a physician in that town, but 
 soon gave it up, and apprenticed himself to a house and sign painter. 
 He is said to have been the first who practiced graining in imitation 
 of the natural marks in wood. About this time he formed an 
 intimate friendship with Ladbrooke, and the two youths spent all 
 their spare time in drawing, studying chiefly from Nature. In 1803, 
 in conjunction with several young artists and amateurs, he founded 
 ‘ £ The Norwich Society of Artists,” whose first exhibition was held 
 in 1805, when twenty-three of the works were contributed by Crome, 
 and in 1810 he was elected President of the Society. He died, after 
 only a few days’ illness, 1821. 
 
GALLERY II, 
 
 57 
 
 “LA GLORIA ; 5 a SPANISH 
 WAKE. 
 
 Painted by JOHN phillip, r.a. 
 
 Canvas 5 6J x 85^ inches. 
 
 Lent by sir john pender, k.c.m.g. 
 
 I N a letter to Sir John Pender asking that this picture 
 might be lent for the Paris International Exhibition, 
 1867, Phillip wrote “that, in his estimation, this would 
 be the picture on which his reputation, in the future, 
 would rest.” 
 
 Commenced in Seville, i860. 
 
 Exhibited at the Royal Academy, 1864. 
 
 International Exhibition, Paris, 1867. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Engraved by T. O. Barlow, R.A. 
 
 John Phillip was born at Aberdeen in 1817 ; he was of humble 
 parentage, and very early in life showed a capacity for Art. When 
 about seventeen he came to London as a stowaway in a coasting 
 vessel, visited the National Gallery, and the Royal Academy, and 
 returned in a few days to Aberdeen. By the kindness of friends he 
 was enabled to become a student at the Royal Academy, and his 
 pictures of Scottish life soon attracted attention. In 1851 he went 
 to Seville for the restoration of his health ; and from that time 
 resided mostly in Spain on account of his delicate constitution, paying 
 annual visits to his native town of Aberdeen. In Spain he produced 
 many brilliant works, most of which were exhibited at the Royal 
 Academy. He was elected Associate of the Royal Academy in 
 1857, and Royal Academician in 1859. In the Spring of 1866 he 
 went on a visit to Rome, but failing health compelled him to return 
 to London, where he died in 1867. 
 
58 GALLERY II. 
 
 80 AN APPROACHING STORM. 
 
 Painted by GEORGE morland. 
 
 Canvas 36 x 56 inches. 
 
 Lent by lord hillingdon. 
 
 George Morland, the son of H. R. Morland, a portrait 
 painter and engraver, was born in 1763, and many stories are 
 told of the boy’s early precocity. His father gave him a good 
 education, but was a severe man, and turned to his own advan- 
 tage the talents of his son. At the end of his apprenticeship he 
 left his father’s house, and took a lodging on his own account, 
 but falling into idle and dissolute habits, he became the prey of 
 his landlord, a picture dealer. Being freed at last, he went to 
 Margate, where he painted miniatures for a time, and afterwards 
 to France. Returning to London in 1785 he married the sister 
 
 of William Ward, the engraver, but he seems never to have 
 
 been free of pressing difficulties, and continually changed his 
 abode. Many of his best works were painted in the King’s 
 Bench prison, but in spite of all that has been said of his 
 dissipations he produced a number of good works during his 
 
 short term of life. He died at the age of forty-two in 1804. 
 
 As a painter of domestic and animal life he attained to great 
 popularity during his lifetime, and large sums were given for his 
 pictures, and his best work is still highly esteemed. 
 
GALLERY II. 
 
 59 
 
 8 1 THE FIRST DIP. 
 
 Painted by c. van haanen. 
 
 Canvas 37 £ x 2 2 \ inches. 
 
 Lent by h. j. turner, esq. 
 
 A CHILD, followed by a youth, is standing in the 
 * shallow water of the canal, at the foot of some 
 stone steps ; just out of reach of the water, a girl stands, 
 who holds the child by a rope. In the richly shadowed 
 recess beyond are two other children and a girl, all in 
 the picturesque Venetian costume. 
 
 82 WILLIAM TELL. 
 
 Painted by w. S. burton. 
 
 Canvas 25 x 14 inches. 
 
 Lent by the marquis of dufferin and ava, 
 
 G.C.B., K.P. 
 
 83 FACT AND FANCY. 
 
 Painted by sir noel paton, r.s.a. 
 
 Canvas 22 x 29 inches. 
 
 Lent by james cowan, esq., of Edinburgh, M.P. 
 Painted in 1865. 
 
6o 
 
 GALLERY II. 
 
 84 AQUA BENDITA. 
 
 Painted by John phillip, r.a. 
 
 Canvas 38 x 31 inches. 
 
 Lent by lord burton. 
 
 ( For notice of the painter's life , see No. 79 . ) 
 
 85 NAUSICAA. 
 
 Painted by SIR FREDERIC LEIGHTON, BART., P.R.A. 
 Canvas 60 x 25 inches. 
 
 Lent by colonel h. d. davies, Alderman. 
 
 N AUSICAA, daughter of Alcinous, King of the 
 Phaeacians, was playing at ball, when Odysseus, 
 who had been cast naked on the island, appeared to her. 
 She was dismayed at the moment, but subsequently 
 fell in love with him. 
 
 Collection of A. G. Kurtz, of Liverpool. 
 
 Exhibited at the Royal Academy, 1878. 
 
GALLERY II. 
 
 6l 
 
 86 THE DEATH OF CHATTERTON. 
 
 Painted by henry wallis, r.w.s. 
 
 Canvas x 36J inches. 
 
 Lent by Charles g. clement, esq. 
 
 T HOMAS CHATTERTON, the poet, was born in 
 1752, of humble origin. He was a native of 
 Bristol, and was educated at a Charity school. His first 
 poetical production was written at the age of ten. “ He 
 had been gloomy from the time he began to learn, but 
 he became cheerful when he began to write poetry." 
 He left school in his fifteenth year and was bound 
 apprentice to an attorney, and the greater part of the 
 poetical works of “the proud and lonely boy" were 
 composed in his hours of leisure at that time. In his 
 seventeenth year he left Bristol to try his fortune in 
 London. Here the vicissitudes of literary life awaited 
 him. He lodged for nine weeks at a house in Shore- 
 ditch — his golden visions being still “ the baseless fabric 
 of a dream." His finances became contracted, and the 
 liberality of booksellers proved a delusion. He removed 
 to Brook Street, Holbom, being friendless, lone and 
 unassisted. In his deep distress he proudly and angrily 
 refused to be “kept alive" by the bread of charity. 
 On the 24th August, 1770, he resolved to close his life 
 of misery and privation. On the following day his 
 room was broken open ; the body lay lifeless and the 
 floor was covered with a multitude of fragments of paper, 
 an evidence that he had destroyed all his unfinished 
 productions. He died the victim of despair and want 
 at the age of seventeen years and nine months. 
 
 Exhibited at the Royal Academy, 1856. 
 
62 
 
 GALLERY II. 
 
 International Exhibition, London, 1862. 
 
 Paris International Exhibition, 1867. 
 
 Collection of Mr. A. L. Egg, R.A., until 1863. 
 Collection of Mr. Grapel, until 1869. 
 
 Engraved by T. O. Barlow, R.A., published by R. 
 Turner, of Newcastle-on-Tyne. 
 
 This picture is bequeathed to the National Gallery by 
 its present owner. 
 
 87 THE SILKEN GOWN. 
 
 Painted by Thomas faed, r.a. 
 
 Canvas 37^ x 30 inches. 
 
 Lent by henry tate, esq., j.p. 
 
 “ And ye shall walk in silk attire, and siller ha’e to spare 
 Gin ye’ll consent to be his bride, nor think of Donald mair,” 
 
 “ Oh ! who wad buy a silken gown, wi’ a poor broken heart ? 
 
 Or what’s to me a siller crown, gin frae my love I part ? 
 
 Exhibited in the Royal Academy, 1863. 
 
 Royal Jubilee Exhibition, Manchester, 1887. 
 Collection of Mr. C. F. H. Bolchow (Marton Hall 
 Collection), until 1888. 
 
GALLERY II. 
 
 63 
 
 88 DOLLY VARDEN. 
 
 Painted by w. p. frith, r.a. 
 
 Wood 24 x 20 inches. 
 
 Lent by lord burton. 
 
 OLLY VARDEN is represented at the moment of 
 
 her casting a coquettish look back, over her left 
 shoulder, at Joe Willett, as she passes on her way 
 through the wood. 
 
 There are six pictures of Dolly Varden, by Mr. Frith. 
 The first was painted in 1842 and is known among 
 artists as “ The Dolly with the Bracelet." Mr. Frith 
 received £18 for it, and it was sold at Christie’s, at the 
 Gillott sale, in 1872, for ^735. It is now in America. 
 The second represented Dolly leaning, laughing, against 
 a tree ; it was painted immediately after the “ Bracelet" 
 picture, and was shown at an Exhibition in Birmingham, 
 where it was purchased by a picture dealer. 
 
 The third was a replica of the foregoing, and was 
 executed for Frank Stone, R.A. It was given by 
 Stone to John Forster, the biographer of Charles 
 Dickens, and is now in South Kensington Museum. 
 
 The fourth, also a replica of the second, was painted for 
 Thomas Creswick, R.A. 
 
 The fifth was likewise a replica of the second, and was 
 painted for a Mr. Phillips. 
 
 The sixth is the one here exhibited. Charles Dickens 
 chanced to see the one which was painted for Frank 
 Stone, and immediately commissioned Mr. Frith to 
 paint two pictures, — one to be a “ Dolly Varden." His 
 criticism of it was that it was “ exactly what he meant." 
 He paid Mr, Frith £20 for it It was sold at Christie’s 
 
6 4 
 
 GALLERY II. 
 
 in 1871, to Mr. Thomas Walker, of Berkswell Hall, 
 Warwickshire, for .£1,050, at whose sale in 1888 it 
 passed to its present owner. It was painted in 1843 
 and is considered to be by far the best of the Dolly 
 Vardens. 
 
 89 MAROONED. 
 
 Painted by e. j. Gregory, a.r.a. 
 
 Canvas 1 6^ x 22 \ inches. 
 
 Lent by c. J. galloway, esq., of Knutsford. 
 Exhibited in the Royal Academy, 1887. 
 
 90 THREE GENERATIONS. 
 
 Painted by R. T. minshull. 
 
 Canvas 14 x 18^ inches. 
 
 Lent by w. s. caine, esq., m.p. 
 
GALLERY II. 
 
 65 
 
 PORTRAIT OF SIR WALTER 
 SCOTT. 
 
 Painted by sir j. watson Gordon, r.a. 
 
 Panel 9 x 6| inches. 
 
 Lent by george shaw, esq., c.c. 
 
 John Watson, the eldest son of Captain James Watson, R.N., 
 was born in Edinburgh in 1790. He first turned his attention to 
 historical painting, but before long devoted himself to portraiture. 
 On the death of Raeburn, in 1823, he became the chief portrait 
 painter in Scotland, when he assumed the name of Gordon. lie 
 had a considerable share in the foundation of the Royal Scottish 
 Academy, of which he was one of the earliest members, and became 
 President of it in 1850; at the same time being knighted and 
 appointed Queen’s Limner for Scotland. His works were frequently 
 exhibited in London, where he was elected Associate of the Royal 
 Academy in 1841, and an Academician in 1851. He died at 
 Edinburgh in 1864. 
 
 WICKED 
 
 Painted by w. p. frith, r.a. 
 Canvas, oval, 14 x 12 inches. 
 Lent by mrs. nathan. 
 
CSallerg III* 
 
 ¥ 
 
 THE HON. MRS. CHARLES 
 YORKE. 
 
 Painted by sir joshua Reynolds. 
 
 Canvas 36 \ x 28 J inches. 
 
 Lent by captain the hon. j. manners yorke, r.n. 
 
 T HE Hon. Mrs. Charles Yorke, nee Agneta Johnstone, 
 was the eldest daughter and co-heiress of Henry 
 Johnstone, Esq., of Great Berkhampstead, Herts. Blue 
 dress, ermine on shoulders, seated in a red-covered chair, 
 facing the spectator, and playing the guitar. 
 
 Sir Joshua Reynolds was born in 1723, and educated at Plympton 
 St. Mary, Plymouth. He came to London at the age of eighteen 
 as a pupil of Hudson, and remained with this Master less than two 
 years. Returning home, he painted many portraits at low prices 
 (seventy shillings). In 1749 he sailed with Commodore Keppel to 
 the Mediterranean, and reaching Rome stayed there for two years, 
 directing his studies chiefly to Michael Angelo’s works in the Sistine 
 Chapel. Working there during bad weather he caught cold and 
 became deaf, and was compelled thereafter to use an ear-trumpet. 
 He returned to London in 1752, and settling soon after in St. 
 Martin’s Lane, quickly rose in reputation. In 1753 he painted the 
 portrait of Commodore Keppel, which laid the foundation of his 
 fortune. He painted many heads at this time at twelve guineas 
 each. Henceforward his progress was very rapid, and among his 
 sitters w T ere many of the famous men and women of his time. In 
 1768 he was knighted, and became first President of the Royal 
 Academy. From this time he worked with almost uninterrupted 
 assiduity and success, producing many hundreds of pictures. He 
 died February 23rd, 1792. 
 
GALLERY III. 
 
 67 
 
 LANDSCAPE. SNOW SCENE. 
 
 Painted by JACOB van ruisdael. 
 
 Canvas 15 J x 17 inches. 
 
 Lent by sir francis cook, bart. 
 
 O N the right are some houses and two wind-mills. 
 
 An open space is in the foreground, with several 
 people passing across it. In the distance a river is 
 discerned, with a boat and more people. The whole 
 landscape is snow-covered. 
 
 ( For notice of the Painter's life , see No. 112.) 
 
 LANDSCAPE, RIVER SCENE 
 AND RUINS. 
 
 WO large towers, with other buildings at their base, 
 
 are on the right of the picture on the bank of a 
 river, along which in the distance, a boat is seen. In the 
 foreground to the right, are two more boats, and men 
 engaged in their daily work. The horizon is low, giving 
 scope for a broad expanse of sky, which is heavily 
 clouded. 
 
 Jan van Goyen was bom at Leyden in 1596, and studied under 
 various masters of little note. While still young he made a tour 
 through France, and on his return home received some instruc- 
 tion from Essias van de Velde. He was one of the earliest Dutch 
 landscape painters, and his works are marked by great truth and 
 observance of nature, and the drawing is admirable. His daughter 
 married Jan Steen. He died at the Hague in 1 666. 
 
 Painted by JAN VAN goyen. 
 
 Panel 14 x 12 inches. 
 
 Lent by e. a. leatfiam, esq., j.p. 
 
68 
 
 GALLERY III. 
 
 96 EARLY MORNING. 
 
 Painted by A. van der neer. 
 Canvas 31^ x 25 J inches. 
 
 Lent by martin h. colnaghi, esq. 
 
 ( For notice of the painter's life , see No. 138 .) 
 
 97 LADY BEAUCHAMP. 
 
 Painted by sir joshua Reynolds, p.r.a. 
 
 Canvas 36 x 28 inches. 
 
 Lent by captain the hon. j. manners yorke, r.n. 
 
 L ADY Beauchamp, nee Letitia Johnstone, second 
 daughter and co-heiress of Henry Johnstone, of 
 Great Berkhampstead, Herts, and sister of Mrs. Charles 
 Yorke, 
 
 Three-quarter-length, standing facing the spectator with 
 hands crossed before her. White embroidered dress, 
 open at neck, red feather fan in her right hand. 
 
 Painted 1781. 
 
 (For notice of the Painter's life % see No. 93 .) 
 
GALLERY III. 
 
 69 
 
 LANDSCAPE AND FROZEN 
 RIVER. 
 
 Painted by Nicholas berghem. 
 
 Panel 19 x 15 inches. 
 
 Lent by sir Francis cook, bart. 
 
 A BROWN stone bridge spans a frozen river, and 
 abuts on the left against some large buildings. In 
 the foreground on the right two horses are seen at a 
 trough, and men are standing near them in conversa- 
 tion. Towards the centre are two children with a sledge, 
 followed by two dogs, and on the left three figures 
 are seen. Many other figures animate the scene ; 
 and a building on fire is visible in the distance to the 
 left. 
 
 Collection of Lockhorst, at Rotterdam. 
 
 Collection of Mr. Kinnear, of Edinburgh. 
 
 Smith’s Catalogue Raisonne, No. 244. 
 
 ( For notice of the Painter's life , see No. 106.9 
 
70 
 
 GALLERY III. 
 
 99 STILL LIFE. 
 
 Painted by j. davidsz de heem. 
 
 Wood io| x 8 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 O N a table from which a green cloth is draped, four 
 plums and a bunch of black grapes with an 
 opened oyster are arranged with great taste before a 
 glass half-filled with wine. This small work is painted 
 with exquisite finish, combined with artistic breadth 
 characteristic of this artist. 
 
 National Exhibition, Leeds, 1868. 
 
 Jan Davidsz De Heem was born at Utrecht about the year 1600, 
 and is said to have died at Antwerp in 1674. He was the pupil of his 
 father, the flower painter, and was the first master who developed 
 the art of fruit painting and still life generally. He is thought by 
 some to be “ the greatest Master of the class the School produced.” 
 His works are held in much estimation, but there are few examples 
 in England. He is believed to have died at Antwerp in 1674. 
 
 100 TOBIT. 
 
 Painted by rembrandt van rhyn. 
 Panel 17 x 2i\ inches. 
 
 Lent by sir francis cook, bart. 
 
 ( For notice of the Painter's life , see No. 134. J 
 
GALLERY III. 
 
 7 1 
 
 oi STILL LIFE. 
 
 Painted by jan anton van der bayren. 
 
 Canvas 40^ x 34^ inches. 
 
 Lent by sir Francis cook, bart. 
 
 A LARGE metal flagon and salver stand on a table 
 draped with heavy cloth. Other things are 
 cleverly grouped together — a bowl of fruit, a cut 
 melon, a lobster, &c., &c. 
 
 Jan Anton van der Bayren (or Baren) lived in the middle of the 
 seventeenth century. He was employed by the Archduke Leopold 
 William at Brussels, and in 1656, went with him to Vienna. In the 
 Vienna gallery are two pictures by him, female portraits, surrounded 
 with flowers. He succeeded David Teniers, as curator of the Arch- 
 duke’s collections of pictures. 
 
 02 FROZEN RIVER SCENE. 
 
 EVERAL persons are seen passing along on the ice, 
 
 and some are playing Hockey ; a glimpse of either 
 bank is seen, and in the foreground to the left is a fallen 
 leafless tree. Heavy grey clouds overhang the scene. 
 
 Painted by jan van der cappelle. 
 Panel 1 6 x 1 6 b inches. 
 
 Lent by SIR FRANCIS COOK, BART. 
 
 r ( For notice of the Painter's life , see No. 118.J 
 
72 
 
 GALLERY III. 
 
 103 STILL LIFE. 
 
 Painted by J. davidsz de heem. 
 
 Wood ioj x 8 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 W HITE grapes and a peach are skilfully arranged 
 in front of a half-filled glass of white wine, on 
 a table partially covered wfith a green cloth fringed with 
 gold. To the left are two prawns and to the right is 
 seen a gold ring with a ruby in it. 
 
 Signed and dated, “Utrecht, 1649/’ 
 
 Formerly in the Scarisbrick collection. 
 
 Collection of Mr. Henry Harvey. 
 
 National Exhibition, Leeds, 1868. 
 
 ( For notice of the Fainter 1 s life , see No. 99. J 
 
GALLERY III. 
 
 73 
 
 104 A SEA-PIECE. 
 
 Painted by philips wouwerman. 
 
 Panel 7-i- x 9J inches. 
 
 Lent by sir Francis cook, eart. 
 
 A GREY agitated sea and cloudy sky. Three vessels 
 are visible. The spray breaks over a rock on 
 the right. 
 
 t{ This singular little picture of the master is an admirable study 
 from nature.” Smith. 
 
 Collection Anonymous until 1778. 
 
 Collection of baron denons until 1826. 
 
 Collection of mr. w. wells (of Redleaf). 
 
 Collection of mr. william collins, r.a. 
 
 Smith’s Catalogue Raisonne, No. 150. 
 
 Philips Wouwerman was born at Haarlem, 1619. He was first 
 taught by his father, and subsequently studied landscape painting 
 under Jan Wynants, but Jan Both and Pieter van Laer are supposed 
 to have influenced him. He entered the Guild of Painters at Haarlem 
 in 1640, and served the office of Dean in 1645-6. He died at 
 Haarlem, 1668. 
 
GALLERY III. 
 
 THE EXCHANGE AT 
 AMSTERDAM. 
 
 Painted by job berkheyden. 
 
 Panel 9^ x 7J inches. 
 
 Lent by sir francis cook, bart. 
 
 Job Berkheyden was born at Haarlem in 1630. When a young 
 man he adopted Art as a profession, and in 1654, joined the Guild 
 of St. Luke. He travelled in Germany with his brother Gerrit, and 
 painted landscapes and views of the Rhine, being also employed by 
 the Elector Palatine, for whom he executed several paintings, and 
 received from him, in recognition of his services, a gold chain and 
 medal. On his return to Holland he soon became distinguished and 
 was much appreciated. He died at Haarlem in 1693. 
 
GALLERY III. 
 
 75 
 
 106 THE APPROACHING STORM. 
 
 Painted by Nicholas berghem. 
 
 Canvas 36^- x 35 inches. 
 
 Lent by E. A. leatham, esq., j.p. 
 
 H EAVY clouds are passing over a wooded and 
 mountainous country. In the foreground are two 
 women ; one of them in a blue skirt, is seated on a mule, 
 the other in a red skirt, is milking a goat. Near them 
 are a herdsman leaning on a cow, a man with a staff, 
 an ass kicking at a dog, and another dog which 
 appears to be running after a cow. More to the left 
 are a braying ass, a sheep and a goat — and a river is 
 seen on which are two boats, one of them laden 
 with hay. The heavily foliaged group of trees are 
 being boisterously blown by the wind. 
 
 Formerly in the possession of Lady Palmeston, and 
 known as “ The Palmeston Berghem." 
 
 Smith’s Catalogue Raisonne, No. 54. 
 
 Nicholas Berghem (or Berchem), was born at Haarlem in 1620. 
 He was taught by his father and other artists, and married the 
 daughter of the painter Jan Vils. He is said to have visited Italy, 
 and at one time in his life sold his labour, from early morning until 
 four in the afternoon, for ten florins a day. His wife allowed him to 
 keep little of his earnings, as his practice was to spend it all in buy- 
 ing pictures. His father’s name was Pieter Claaz, and several 
 reasons are given to account for his signature of Berchem, by some 
 thought to have been a nickname, but as he used it on all his pictures 
 it may be considered as a surname. His landscapes are very beauti- 
 ful, adorned with groups of figures, cattle, and sometimes ruins. 
 His contemporary and rival was Jan Both. A burgomaster of 
 Dordrecht, a patron of Art, engaged Both and Berchem to each 
 paint a picture, and the one whose painting was considered best was 
 to have a sum of money over and above the remuneration paid to 
 each artist. When their work was finished, the burgomaster did 
 not know which picture to prefer, but told them they had both 
 reached perfection in their Art, and that both were entitled to the 
 prize. Berchem died at Amsterdam in 1683. 
 
76 
 
 GALLERY III. 
 
 107 A WOMAN AT A SPINNING 
 WHEEL. 
 
 N old lady in a black jacket edged with ermine, 
 
 grey gown and green apron, is sitting in a red- 
 cushioned chair, working at a spinning wheel. A small 
 dog is in her lap. 
 
 Gerard Terburg was bom about 1617. He was taught drawing 
 by his father at Zwolle. In 1632 he was at Amsterdam, and after- 
 wards studied at Haarlem under the elder Pieter Molyn. In 1635 
 he visited England, travelling then through France, Italy, and 
 Germany. In 1646 he repaired to Munster, where the memorable 
 Congress was then sitting. And it was there he painted the 
 marvellous little picture ofi the" “ Ratification of the Treaty of 
 Peace,” now in the National Gallery. In I648 he visited Spain, 
 and acquainted himself with the works of Velasquez. In 1654 he 
 married, and settled in Deventer, where he became Burgomaster, 
 and where he painted the greater number of his pictures of social 
 life. He died 1681, 
 
 Painted by gerard terburg. 
 Panel 13^ x ioj inches. 
 
 Lent by sir Francis cook, bart. 
 
GALLERY III, 
 
 77 
 
 108 AN OLD WOMAN. 
 
 Painted by gerard dow. 
 
 Panel x 6^ inches. 
 
 Lent by sir francis cook, bart. 
 
 A N old woman in a black gown, white cap, frill, and 
 kerchief, almost full face, but turning slightly to 
 the left, one hand visible, dark back-ground. 
 
 Gerard Dow, one of the most celebrated of the Dutch genre 
 painters, was born at Leyden in 1613. His father was a glass 
 painter, and Gerard was at first taught by him. At the age of 
 fifteen he entered the school of Rembrandt, who did not set his 
 pupils their tasks in his own atelier, but penned each of them in a 
 box of his own in a top storey of the house, partitioned expressly 
 for the purpose. Here the young and promising artists successively 
 received instruction from their teacher ; here the models might be 
 seen wandering from box to box ; here the same subject was 
 represented, painted in the master’s form, but with the individuality 
 of the pupil. In three years Gerard had attained the position of an 
 independent artist. He reaped ample fruits from his great reputa- 
 tion. An amateur of the name of Spiering paid him a thousand 
 florins annually for the mere privilege of having the first offer of 
 his pictures. He died at Leyden, 1675. Among his pupils were 
 the eminent painters Franz van Mieris and Gabriel Metsu. 
 
78 
 
 GALLERY III. 
 
 109 PORTRAIT OF A CHILD 
 HOLDING AN APPLE. 
 
 HE child stands to the left of the picture. Black 
 
 cap with yellow ribbons ; white cape with 
 embroidered edging ; white apron ; brown brocaded 
 silk frock with white markings. In her left hand is an 
 apple, on her right a goldfinch. Low horizon, with red 
 brick house to the right, a wide gate beside it and a line 
 of trees. 
 
 Signed and dated “ zEtatis 2, anno 1664.” 
 
 Collection of Mr. J. Corley. 
 
 National Exhibition, Leeds, 1868. 
 
 Cesar van Everdingen was born at Alkmaar in 1606, and was a 
 pupil of Jan van Bronkhorst. His pictures are portraits and historical 
 scenes, and he was also an architect. In 1632 he was a member of 
 the Guild at Alkmaar, and in 1651 of that of Haarlem. He died 
 in 1679. 
 
 Painted by cesar van everdingen. 
 Canvas 39 x 32 \ inches. 
 
 Lent by william harvey, esq. 
 
GALLERY III. 
 
 79 
 
 no 
 
 A STORM AT SEA, 
 
 Painted by william van de velde. 
 Canvas 13 x 20 inches. 
 
 Lent by Charles butler, esq., f.r.g.s. 
 
 William van de Velde was bom at Amsterdam in 1633. He is 
 the most celebrated of the Dutch marine painters, and studied with 
 his father and also under Simon de Vlieger. From the year 1677 
 both he and his father were established in England, where they lived 
 at Greenwich. Charles II granted them each a salary of ^100 a 
 year for painting sea-fights, the father furnishing the drawings and 
 the son “putting the said draughts into colours.” Walpole, in his 
 “Anecdotes of Painting ” says, “ William van de Velde, the son, was 
 the greatest man that has appeared in this branch of painting, the 
 palm is not less disputed with Raphael for history, than with Van de 
 Velde for sea-pieces.” He died in London in 170 7, and was buried 
 in St. James’s Church, Piccadilly. His drawings are very numerous, 
 and his execution was so rapid that it is said he would frequently fill 
 a quire of paper in an evening with his drawings. “There are 
 abundance of fine works by this master in England, many of the best 
 are in the National Gallery.” It is no wonder that his pictures are 
 popular here, they are so calculated to please a seafaring nation, and 
 nearly all his works are in England and Holland, very few being in 
 other countries. 
 
8o 
 
 GALLERY III. 
 
 hi THE SLEEPING SOLDIER. 
 
 Painted by gerard terburg. 
 
 Canvas 25^ x 20 f inches. 
 
 Lent by william harvey, esq. 
 
 A STOUT military officer, wearing a cuirass over a 
 buff jerkin, is seated with folded arms, fast 
 asleep ; at his right stands a woman in a maroon- 
 colored velvet jacket, bordered with ermine, amusing 
 herself by tickling his lips with a hair, the effects of 
 which appear to amuse a trumpeter who stands on her 
 right, dressed in the rich costume of the period, and 
 holding a trumpet. 
 
 Collection of Mr. Brown until 1830. 
 
 Collection of Lord Myddleton. 
 
 Collection of Mr. Henry Harvey. 
 
 National Exhibition, Leeds, 1868. 
 
 Smith’s Catalogue, Raisonne, No. 43. 
 
 ( For notice of the Painter's life , see No. loy.J 
 
II 2 
 
 GALLERY III. 8 1 
 
 VIEW OF HAARLEM. 
 
 Painted by J. VAN ruisdael. 
 
 Canvas 1 6 \ x 13J inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 T HE spire of Plaarlem Cathedral rises in mid-distance, 
 in a low flat country. Heavy clouds are passing 
 across the blue sky, and a vivid gleam of light lies on 
 the meadow to the right. In the foreground, which is 
 in deep shadow, a river is discerned, on which is a boat, 
 and on either side the ruins of a building are seen, 
 around which trees cluster. 
 
 National Exhibition, Leeds, 1868. 
 
 Jacob van Ruisdael was the nephew of the painter Solomon van 
 Ruisdael, and was born at Haarlem about 1625. His father, Isaac, 
 gave him a good education and intended him for the medical pro- 
 fession, and he was sometimes styled Doctor. He probably studied 
 under his uncle, but it is clear he was powerfully influenced by 
 Allaert van Everdingen. lie removed to Amsterdam in 1659, and 
 the same year obtained the rights of citizenship there. He remained 
 unmarried in order to promote the comfort ot his aged father, bpt 
 in spite of his activity his talents were not appreciated by his con- 
 temporaries as they deserved to be. In 1681 his fellow religionists 
 obtained from the Burgomaster of Haarlem a place in the almshouse 
 of Haarlem for him, by payment of a certain sum. He died there 
 soon after, and was buried May 14, 1682. The landscapes of 
 Ruisdael are generally simple natural views, well selected, his 
 favourite subjects being woody scenes and waterfalls, though he 
 sometimes painted marine pieces. (The artistic importance of his 
 work lies in the conception, and in the solemn earnestness of the 
 prevailing tone, founded upon a deep and continual observance of 
 Nature.) 
 
82 
 
 GALLERY III. 
 
 1 13 A CAVALIER. 
 
 Painted by albert cuyp. 
 
 Canvas 48I x 33^ inches. 
 
 Lent by lord crawford and balcarres. 
 
 T HREE quarter length, life size, standing, and turned 
 slightly to the right ; broad brimmed hat, with 
 large feathers ; steel corslet ; blue sash ; leather gauntlets ; 
 walking stick in right hand. 
 
 Albert Cuyp was born at Dort, his father’s native town, 1620, 
 He became the pupil of his father, but further particulars of his 
 early life are wanting, but it is probable he visited other parts of 
 Holland before commencing practice on his own account at Dort. 
 “ He was many-sided in his Art, but ever taking nature as his guide 
 and model escaped all repioach to mannerism. His temperament 
 led him to seek calm and sunny scenes, and his extraordinary 
 mastery in rendering light and the effects of hazy morning or of 
 glowing afternoon has become proverbial.” He met with but 
 limited recognition in his day, and Holland is not particularly rich 
 in his works. The portraits he painted are good in character, 
 and as little conventional as his other work. He died at Dort, 1691. 
 
 WO sailing boats and one rowing boat are drawn 
 
 up on the sea-shore, and fishermen are about — 
 delicately painted grey clouds on a pale blue sky. 
 
 1 14 COAST SCENE. 
 
 Painted by william van de velde. 
 Panel 9J x 12 inches. 
 
 Lent by sir francis cook, bart. 
 
 ( For notice of the Painter's life> see No. no.) 
 
GALLERY III. 
 
 ^3 
 
 1 15 A YOUNG WOMAN WITH A 
 GLASS OF WINE. 
 
 PRETTY young woman, in light grey jacket, grey 
 
 petticoat, and bluish apron, is seated with a glass 
 of wine in her hand. She is listening to the gallantry 
 of an elderly peasant whose wife is watching their 
 movements from an opening above. Upon the door 
 of the opening is a little owl with a very serious 
 expression. 
 
 “A little gem, ... the colours are combined with the utmost 
 delicacy. The execution is of very solid impasto and of rare 
 finish. ” Waagen. 
 
 Collection of Mr. Edward Gray. 
 
 Collection of Lord Overstone. 
 
 David Teniers was born at Antwerp, 1610. He studied under 
 his father, David Teniers, the elder, whose style he adopted, but the 
 influence of Rubens and of Adriaen Brouwer is perceptible in his 
 pictures. He was admitted a Master into the Antwerp Guild of 
 Painters in 1632-3. He was twice married, his first wife being 
 Anna Brueghal, daughter of the painter Jan Brueghal In 1648 he 
 settled in Brussels, and became Court Painter and one of the 
 Chamberlains of the Archduke Leopold. He bought himself a 
 country seat at Perck, a village between Antwerp and Mechling, 
 which became the constant resort of the Spanish and Flemish 
 nobility, and it was there he died on 25th April, 1690. (His 
 colouring is very delicate, his handling of the brush light and 
 spirited, and he is reputed to be the greatest genre painter of all 
 times.) 
 
 Painted by david teniers, the Younger. 
 Wood 12x9 inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
GALLERY III. 
 
 A PORTRAIT. 
 
 Copper 6 \ x 5 inches. 
 
 Lent by banister fletcher, esq., c.c., j.p. 
 
 interior of a church in 
 
 HOLLAND. 
 
 Painted by ANTON de lorme. Figures by J. 
 
 LINGELBACH. 
 
 Canvas 34-^ x 29 inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 B ETWEEN the stately pillars several people are 
 moving about in the quaint costume of the time. 
 To the right the sun enters the tall windows, flecking 
 the walls and pillars with great truth of effect. 
 
 Collection of Lord North wick. 
 
 Anton De Lorme, who was bom at Rotterdam in the 17th 
 Century and was still living in 1660, was an architectural painter 
 who devoted himself to the interiors of churches and other public 
 edifices, in some of which Terburg painted the figures. His works 
 are very rare, and exact for perspective and illumination. 
 
 Jan or Johannes Lingelbach was born at Frankfort-on-the 
 Main, in 1625. Like many of the Dutch masters he visited Italy, 
 and remained for six years in Rome. He was very successful in his 
 drawing of numerous figures, all busily engaged, and gaily dressed, 
 according to their different nationalities, and was also fond of 
 architectural compositions. His pictures are embellished with 
 fountains, archways, ancient monuments and statues, and the scenes 
 depicted are seaports, fairs, and Italian markets. So great was his 
 fame as a painter of animated groups of men, women, horses and 
 dogs, often on a very minute scale, that other eminent artists as 
 Wynants, Wouwerman and Ruisdael sought his help in inserting 
 figures and horses into their paintings. He died at Amsterdam in 
 1687. 
 
GALLERY III. 
 
 85 
 
 1 1 8 SEA-PIECE. MAN-OF-WAR 
 FIRING A GUN. 
 
 Painted by jan van der cappelle. 
 
 Wood 19 x 23 inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 A QUIET sea with coast on the left hand and in 
 the foreground. In the centre are some small 
 vessels ; and on the right is a man-of-war firing a gun ; 
 in the distance other vessels are seen. The clouds 
 are brightly lighted on the left. 
 
 “ This picture is in all respects of such delicacy and transparency 
 and at the same time so picturesquely composed and carefully 
 finished that it belongs to the best works known to me of the 
 master. ’ ’ Waagen. 
 
 Collection of Lord Overstone. 
 
 Jan van der Cappelle was born at Amsterdam about 1630, and 
 received the freedom of that city on the occasion of his marriage in 
 1653. He was a painter of river and sea scenes, his favourite subject 
 being a quiet sea, “under the aspect of cheerful weather and warm 
 lighting, so that objects are clearly reflected in the water.” Of his 
 life little is known, as he is not commented upon by any Dutch 
 writer of the period. He was painting until the year 1680. 
 
86 
 
 GALLERY III. 
 
 1 19 PORTRAIT OF THE ARTIST. 
 
 Painted by JAN steen. 
 
 Panel 22 x 16^ inches. 
 
 Lent by the earl of Northbrook, g.c.s.i. 
 
 PORTRAIT of the Artist when about forty-five 
 
 years of age. He is represented sitting in a room 
 on a rush-bottomed chair with his right leg on the left 
 knee, playing on a mandolin, which he appears to 
 accompany with the voice ; and the drollery of his song 
 is unequivocally indicated in the exquisite humour which 
 animates his countenance. He is dressed in a brown 
 jacket with yellow sleeves, green slashed hose, dark 
 red cap ; a mantle hangs on the back of his chair. To 
 his left on a covered table are music books and a silver 
 tankard, and a large green curtain is suspended behind 
 
 “A most spirited representation of a thorough rake, though a 
 very clever one ; of masterly execution, in delicate broken 
 
 Collection of M. Brentaud, of Amsterdam, until 1822. 
 Collection of Baron Verstolk de Soelen, at the Hague. 
 Collection of the Hon. G. J. Vernon until 1830. 
 Engraved by C. W. Marr, as a frontispiece tor Vol. IV, 
 of Smith’s Catalogue Raisonne. 
 
 Smith’s Catalogue Raisonne, No. 12 1. 
 
 Jan Steen was the son of a brewer, and was born at Leyden about 
 1626. He studied at the Hague with Jan van Goyen, whose 
 daughter he married there in 1649. He entered the Corporation of 
 Painters at Leyden in 1648, but he was absent from that city for 
 
 him. 
 
 tones.” 
 
 Waagen. 
 
GALLERY III. 
 
 §7 
 
 I 20 
 
 several years, returning to it in 1658. He then combined the 
 business of a tavern-keeper with the occupation of painting. He has 
 been justly likened, for dramatic expression, to Moliere. (He drew 
 human nature from the humorous side, often with grim satire, 
 though not without touches of pathos, which show deep sympathy 
 with his kind. If he is sometimes unnecessarily coarse, some 
 allowance must be made for his period and his surroundings. The 
 character of his figures is typical and subtly true, his execution crisp 
 and brilliant, and his colour varied and uncommon. In composition 
 he has never been excelled, and he contrived to give to the most 
 skilful arrangement the effect of accidental combinations.) 
 
 LANDSCAPE AND CATTLE. 
 
 Painted by Nicholas berghem. 
 
 Panel io x 12 J inches. 
 
 Lent by captain holford. 
 
 ( For notice of the painter's life , see No. io 6.) 
 
GALLERY III. 
 
 i THE INTRUDER. 
 
 Painted by Gabriel metsu. 
 
 Panel z 6 \ x 23^ inches. 
 
 Lent by the earl of Northbrook, g.c.s.i. 
 
 HE scene is the interior of a bed-chamber, hung 
 
 with gilt leather, in which are two ladies, a maid- 
 servant and a cavalier. One of the ladies, wearing a 
 green velvet jacket bordered with ermine, is seated on 
 the right arranging her hair, and her attention is excited 
 by the eager endeavours of the gentleman to enter the 
 apartment and the maid-servant preventing him. The 
 other lady stands by the side of a bed and is only partly 
 dressed, having on a white satin skirt and a red corset 
 and sleeves ; her countenance expresses displeasure at 
 the rudeness of the intruder. A rich robe of scarlet 
 velvet, bordered with ermine, lies on an antique chair 
 in front, near which is a silver vase. 
 
 “This picture may with propriety be styled a chef-d’oeuvre of 
 the master.” Smith. 
 
 Collection of Colonel Way. 
 
 Collection of Baron Verstolk de Soelen at the Hague. 
 
 Collection of the Hon. G. J. Vernon until 1831. 
 
 Collection of Sir Charles Bagot until 1836. 
 
 Smith's Catalogue Raisonne, No. 94. 
 
 (For notice of the Painter's life , see No. 125.9 
 
GALLERY III. 
 
 89 
 
 2 PREPARING FOR A DUET. 
 
 Painted by Gabriel metsu. 
 
 Canvas 17 x 15 inches. 
 
 Lent by william harvey, esq. 
 
 A LADY in a scarlet corset and orange petticoat, 
 is sitting at a table covered with a rich Turkey 
 cloth. She holds a piece of music, and appears to be 
 waiting to accompany with the voice a gentleman who 
 stands on the further side of the table, tuning a violin. 
 A bass viol lies on the table, which is placed near a 
 large window hung with green curtains. A spaniel 
 stands by the lady. 
 
 Collection of the Due de Choiseul until 1772. 
 Collection of the Due de Plaslin until 1793. 
 
 Collection of M. Solirene until 1812. 
 
 Collection of Prince Talleyrand until 1817. 
 
 Engraved in the Choiseul Gallery, 1771. 
 
 Exhibited at the British Gallery, 1823. 
 
 National Exhibition, Leeds, 1868. 
 
 Smith’s Catalogue, Raisonne, No. 31. 
 
 ( For notice of the Painter's life , see No. 125.9 
 
90 
 
 GALLERY III. 
 
 123 PORTRAIT OF A LAWYER. 
 
 Painted by petier c. van slingelandt. 
 
 Wood 2o\ x i6-£- inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 A N OLD man seated in an arm-chair — facing the 
 right. He is clothed in black, and wears a black 
 cap with a red band to it. His right hand is on the arm 
 of the chair — his left hand is on his breast. 
 
 National Exhibition, Leeds, 1868. 
 
 Petier C. van Slingelandt, was born at Leyden, in 1640. The 
 pupil of Gerard Dow, he kept to the method of his master, and his 
 pictures have manifested in them great finish and care. He is said 
 to have taken so long a time as three years painting a family portrait 
 group, and would spend a month over finishing some small detail in 
 a picture. He died in 1691. 
 
 124 PORTRAIT OF A LADY. 
 
 Painted by jan anthonisz van ravesteijn. 
 Panel 4 6\ x 34 \ inches. 
 
 Lent by william rome, esq., f.s.a., c.c. 
 
 B LACK and gold dress, with lace cap and cuffs, 
 large white ruff, and pearl necklace. 
 
 Dated 1628. 
 
 Jan Anthonisz van Ravesteijn was born at The Hague about 
 the year 1572. He was a pupil of Frans Hals and executed 
 some important portraits. In 1598 he was admitted into the 
 Guild of St. Luke, at The Hague. All his life was spent in his 
 native city, and he died there in 1657. 
 
GALLERY III. 
 
 91 
 
 125 THE VIOLONCELLO PLAYER. 
 
 Painted by Gabriel metsu. 
 
 Canvas 25 x 18 j inches. 
 
 Lent by her majesty the queen. 
 
 A GENTLEMAN is seated near a harpsichord, 
 tuning a Violoncello, his attention is directed at 
 the same time to a lady, attired in a white satin skirt 
 and pale red bodice, who is descending some stairs on 
 his left, with a piece of music in her hand, and preceded 
 by a pet spaniel. Another gentleman is seen leaning 
 on the arched window of a corridor above. 
 
 “An admirable picture of the middle period of this master; of 
 a warm tone, great harmony, and, for him, remarkably delicate 
 execution.” Waagen. 
 
 Collection of M. Wierman, of Amsterdam, until 1762. 
 Collection of the Marquis Menars until 1781. 
 Collection of M. Robit until 1801. 
 
 Exhibited at the British Gallery, 1826 and 1827. 
 Smith’s Catalogue Raisonne, No. 45. 
 
 Gabriel Metsu was born at Leyden, 1630. His first teacher in 
 Art was probably his father, but he afterwards studied under Gerard 
 Dow, though in his style he more resembled Terburg, for his pictures 
 deal, as a rule, with the more refined side of domestic life. At the 
 age of twenty he left Leyden and settled in Amsterdam, where he 
 probably spent the rest of his life. He died and was buyied therq 
 in 1667. 
 
92 
 
 GALLERY III. 
 
 126 A LANDSCAPE WITH CATTLE. 
 
 Painted by willem van romeyn. 
 
 Panel 13^ x 17^ inches. 
 
 Lent by Charles butler, esq., f.r.g.s. 
 
 Willem van Romeyn was born at Haarlem, in 1624. He was 
 a pupil of Berghem. His pictures were generally small, well com- 
 posed and of harmonious color. He is represented in all the 
 principal galleries of Europe, but his works are frequently attributed 
 to Berghem, Karel du Jardin, or Adrian Van de Velde. He died 
 in his native town, 1693. 
 
 127 THE MUSIC MASTER, AND 
 PUPIL. 
 
 Painted by jan van der meer (of Delft). 
 
 Canvas 29 x 25 inches. 
 
 Lent by her majesty the queen. 
 
 I NTERIOR of a room, with a floor composed of black 
 and white marble squares. A lady is standing with 
 her back to the spectator at an open harpsichord which 
 is placed against the opposite wall. She wears a red 
 skirt with a black over-dress, and white bodice. Her 
 face is reflected in the mirror that hangs over the 
 harpsichord. A gentleman is standing by wearing a 
 black coat and white sash. The foreground to the 
 right is occupied by a table, with a rich cover ; beside 
 it is a blue covered chair and a viol which lies on the 
 floor. The room is lighted by leaded windows, from 
 the left. 
 
 Jan van der Meer, as he is commonly called, or more correctly 
 Vermeer, a scholar and imitator of Metsu, was born at Delft about 
 1632; he is supposed to have been the pupil of Karel Fabritius, and 
 
GALLERY III. 
 
 93 
 
 also of Leonard Bramer. In 1653 he married, and he died at Delft 
 in 1675. During his life he was one of the principal members of 
 the Delft Guild. In 1696 many of his pictures were sold at 
 Amsterdam. His subjects were portraits, landscapes, interiors, 
 and views of towns. His pictures were rare and of great value. 
 
 Painted by Arnold van boonen. 
 
 Canvas 17 x 14 inches. 
 
 Lent by E. A. leatham, esq., j.p. 
 
 MAN in a brown garment and wearing a furred 
 
 cap is seated at a table, to the right of the 
 picture. He is engaged in carefully weighing the gold 
 and silver coins that lie before him. Red drapery is 
 skilfully disposed to the left of the picture and a dark 
 blue curtain is dexterously arranged above the seated 
 
 Arnold van Boonen was born at Dordrecht in 1669, and was 
 instructed by Arnold Verbius and Godefreid Schalken ; he devoted 
 himself almost wholly to portrait painting, and painted a number of 
 the tamous men and women of his time, among whom were Peter 
 the Great, and the great Duke of Marlborough. He died in 1729. 
 
 8 THE BANKER. 
 
 figure. 
 
 9 A LANDSCAPE. 
 
 Painted by rembrandt van rhyn. 
 Panel 8J x 18 inches. 
 
 Lent by h. c. erhardt, esq., f.r.g.s. 
 
 ( For notice of the painter's life , see No. 134 . ) 
 
94 
 
 GALLERY III. 
 
 130 FROZEN RIVER SCENE. 
 
 Painted by a. van der neer. 
 
 Canvas 23 x 33 inches. 
 
 Lent by martin h. colnaghi, esq. 
 
 N UMEROUS figures are on the ice skating ; several 
 groups are on the bank in the foreground, among 
 them, a man about to hit a ball with a club ; near some 
 eel baskets, a man and woman are seated at the edge 
 of the ice ; cloudy sky. 
 
 Signed “ A.V. (connected) & D.N.” (connected). 
 
 ( For notice of the painter's life , see No. 138.9 
 
 13 1 PORTRAIT OF A LADY 
 SURROUNDED WITH 
 FLOWERS. 
 
 Painted by daniel seghers. 
 
 Canvas 39 x 29 inches. 
 
 Lent by col. j. l. rutley. 
 
 Daniel Seghers (or Zeghers) was born at Antwerp in 1590. 
 His taste led him to flowers and fruit, and he became a pupil of 
 Jan Brueghel, who, at that time, painted those subjects. He was 
 the friend of Rubens, for whom he painted garlands and borders of 
 flowers around portraits. He died at his native city in 1661. 
 
GALLERY III. 
 
 95 
 
 132 THE MOUTH OF THE 
 SCHELDT. 
 
 Painted by jan van de cappelle. 
 
 Wood 25 x 17 J inches. 
 
 Lent by e. a. leatham, esq., j.p. 
 
 { N the foreground, in the centre of the picture, is 
 a large boat, with sail up and flag flying from the 
 stern and one also from the mast. A little way out a 
 fisherman is standing in the water. In the mid-distance 
 is a low-lying island, and to right and left many craft are 
 seen. Grey clouds float across the tenderly painted sky 
 and the picture throughout contains the characteristically 
 aerial effects so engaging in this master. 
 
 ( For notice of the Painter's life , see No. 118.) 
 
 133 PORTRAIT OF AN 
 ECCLESIASTIC. 
 
 Painted by nicolas maas. 
 
 Canvas 27^ x 24 inches. 
 
 Lent by E. A. leatham, esq., j.p. 
 
 F ULL face, black robe, broad white lappet or collar, 
 black skull cap, thin gray beard and gray hair. 
 Dark background. 
 
 National Exhibition, Leeds, 1868. 
 
 Nicolas Maas (or Maes) was born at Dort in 1632. Early in 
 life he became the pupil of Rembrandt, and studied at Amsterdam 
 in the studio of this master, whose style he closely followed, more 
 particularly in his early paintings. In 1654 he returned to his 
 native town, where he died in 1693. 
 
9 6 
 
 GALLERY III. 
 
 134 PORTRAIT OF REMBFvANDT’S 
 MOTHER. 
 
 N aged woman seated facing the spectator. She is 
 
 attired in a red-figured silk gown and a black 
 cloak lined with fur ; an embroidered scarf is on her 
 head. She is resting her elbow on her mantle, with a 
 closed book under it, and her hand is raised to her 
 neck, holding between the fingers the pearls of her 
 necklace. A large book is open on the table, over 
 which a curtain is suspended. 
 
 Engraved by Edward Scerwen. 
 
 Smith's Catalogue Raisonne, No. 542. 
 
 Rembrandt van Rhyn was born at Leyden in 1606. He was 
 the son of a miller, and his parents were in good circumstances. He 
 attended the Latin School, but his tendencies to Art induced his 
 father to place him with J. van Swanenburch, a painter, and a 
 member of an old Leyden family, with whom he remained three 
 years. At the age of fourteen he went to Amsterdam to study ; 
 three years later returned to his native town and worked incessantly 
 till at the age of twenty-two he settled finally at Amsterdam. He 
 there married a lady possessed of some fortune, who has become 
 famous through many portraits he painted of her. His mother was 
 also his model. After his wife’s death, in 1642, he became involved 
 in his circumstances, and all his effects were sold, including his 
 collection of works of Art and his large house at Amsterdam, where 
 he had resided for many years. His troubles, however, did not 
 affect his professional career, and artists from all parts of Holland 
 came to study in his studio, the most famous of whom were Gerard 
 Dow and Ferdinand Bob Rembrandt died at Amsterdam in 1669. 
 
 Painted by rembrandt van rhyn. 
 Canvas 56 x 39 inches. 
 
 Lent by earl spencer, k.g. 
 
GALLERY III. 
 
 97 
 
 35 RIVER SCENE. 
 
 Painted by albert cuyp. 
 
 Canvas 15 \ x 21 inches. 
 
 Lent by william harvey, esq., of Leeds. 
 
 A LONG black boat with two men in it, is in the 
 ** foreground with a line of fishing floats. Tall- 
 masted vessels of war are to the left, and on the right 
 is a fortified town, with towers and castellated walls. 
 
 Collection of Mr. Henry Harvey. 
 
 National Exhibition, Leeds, 1868. 
 
 (For notice of the Painter’s life , see No. 1 1 3 .) 
 
9 8 
 
 GALLERY III. 
 
 136 LANDSCAPE, FIGURES AND 
 CATTLE. 
 
 Painted by adam pynaker. 
 
 Canvas 27 x 23 inches. 
 
 Lent by sir henry st. john mildmay, bart. 
 
 HE landscape is composed of clusters of trees on 
 
 a hilly ground, and objects peculiar to this 
 master, such as the stump of a beech, docks and other 
 weeds. Two peasants are introduced, with a dog, a 
 goat and several cows ; one of the latter is caught by 
 the leg in a bramble bush. “ The delightful influence 
 of a fine summer evening is diffused throughout the 
 
 Smith’s Catalogue Raisonne, No. 26. 
 
 Adam Pynaker or Pynacker was born at Pynacker, near Delft, 
 in 1621. Nothing is known of his family name, or the name of his 
 master. At an early age he visited Italy, and for three years 
 studied in Rome the works of the great landscape painters. On his 
 return to Holland he soon became known and was much sought 
 after and admired ; he found employment in ornamenting the 
 apartments of large buildings (the practice being at that time to 
 decorate the walls of important structures with landscapes executed 
 by distinguished artists). Most of his pictures contain trees and 
 animals, but he also painted sea-pieces. He died in 1673. 
 
 scene.” 
 
GALLERY III. 
 
 99 
 
 137 A HAWKING PARTY. 
 
 Painted by JAN WYNANTS. 
 
 Canvas 31 x 40 inches. 
 
 Lent by sir henry st. john mildmay, bart. 
 
 N the right is a winding road on which are several 
 
 gentlemen and a lady on horseback with atten- 
 dants and dogs, enjoying the recreation of hawking. 
 The foreground is painted in the artist's most engaging 
 manner, and is broken and diversified by two old oak 
 trunks, one of which is thrown down amongst docks, 
 thistles and other herbage. The figures, horses and 
 dogs are by the hand of philips wouwerman, by 
 whom the more brilliant and highly finished works 
 of Wynants were enriched. 
 
 Collection of M. le Brun until 1791. 
 
 Collection of Mr. Crawford, until 1801. 
 
 Smith’s Catalogue Raisonne, No. 44. 
 
 Jan Wynants was born about 1600, and resided at Haarlem until 
 1660. Of the many great landscape painters who distinguished the 
 School of Haarlem, none showed more originality than Jan Wynants. 
 He showed a preference for open scenery, where, “under a sky of 
 summer blue, the undulating soil reveals its origin through beaten 
 tracks and rugged roads, with their shelving sides of gold-coloured 
 sand.” Figures in his pictures were generally inserted by Adrian 
 van de Velde or Lingelbach, and occasionally by Wouwerman. 
 During the last years of his life he resided in Amsterdam, where he 
 died, 1679. 
 
 D 2 
 
100 
 
 GALLERY III. 
 
 138 DUTCH VILLAGE, CANAL, 
 MOONLIGHT. 
 
 Painted by aert van der neer. 
 
 Canvas 26 \ x 31I inches. 
 
 Lent by lord wantage, k.c.b., v.c. 
 
 A DUTCH Village on a canal surrounded with trees 
 on a bright moonlight night. In the foreground 
 are two hewers of wood at their occupation, and in the 
 middle distance are some fishermen. 
 
 “ The effect of moonlight is here rendered with admirable skill 
 in every portion. The treatment is highly solid and free, 
 proving that the picture belongs to his later time. ” IVaagen. 
 
 Collection of Lord Overstone. 
 
 Aert Van der Neer was born at Amsterdam in 1603. Very little 
 is known of his life. lie excelled in moonlight views, towns and 
 groups of cottages. He frequently painted winter pieces with 
 figures on the ice, in which he is scarcely surpassed. He died, very 
 poor, at his native town in 1677. 
 
Coffecfton of °PPoxU matnfg 
 ^ffueftdftno; ffk (gUf of f(je |&cufyfor;45ofb0tmffj 
 ditb <Eem=(EngrdSer. 
 
 £0 teffe of f0e 15f 0 anO I6f0 centuries. 
 
 Lent by Sir J. C. ROBINSON, F.S.A. 
 
 The objects contained in the jive cases labelled A, B, C, D, E, were previously 
 exhibited at the winter Exhibition of the Royal Academy this year ; and at the 
 request of the Worshipful Company of Goldsmiths , and with the concurrence 
 of the Corporation , they have been transferred , with some addition to the Guildhall 
 Gallery , for a further period of exhibition to the public . 
 
 Case A. In Gallery II. 
 
 1 a. BOOK OF PRAYERS. 
 
 Gold enamelled cover. Reputed to be the prayer-book of the Emperor 
 Charles V. The manuscript contents, in the Spanish language, are the 
 confession of faith of the Emperor, (“ Protestacion del Imperador Carlos f) 
 a prayer to the Virgin and to the Guardian Angel. On the inside of the 
 cover are two illuminations, the Virgin and Child, and a Saint with a 
 sword, c. 1550 — 1560. 
 
 b. TOMANDER or SCENT-CASE. 
 
 Enamelled gold. In the form of an armillary sphere, containing a bezoar 
 stone. Spanish, c. 1540 — 1550. 
 
 This jewel, kept for many generations as an heirloom in the family of the 
 Marqueses of Monroy, of Caceres in Spain, was reputed to have been given by 
 the Emperor Charles V to Hernan Cortes, the conqueror of Mexico. It was 
 brought into the Monroy family by intermarriage with a lady of the family of 
 the Marqueses de la Conquista, of the neighbouring city of Truxillo, lineal 
 descendants of Cortes. 
 
 c. PENDANT JEWEL. 
 
 “ The Lesser George ,” or, Badge of the Order of the Garter, worn 
 by the Earl of Strafford, Minister of King Charles I. The enamel of 
 St. George and the Dragon on the reverse was copied from the small 
 picture by Raphael in the royal collection, sold after the execution of the 
 king, and now in the Louvre. 
 
 This jewel, together with the “ Greater George," was preserved as an heirloom 
 by the descendants of Lady Anne Wentworth, eldest daughter of Strafford, 
 until c. 1860—1870. 
 
102 
 
 GALLERY II. 
 
 d. PENDANT JEWEL. 
 
 Enamelled gold. Badge of the Order of the Bath. This badge 
 of the Order is of English or Scottish work of the beginning of the reign 
 of James I, and is believed to have been made to be worn by the king. 
 
 2 a. RELIQUARY. 
 
 Silver-gilt and rock-crystal. In the form of a thurible. German, c. 1350. 
 B. SPOON. 
 
 Silver-gilt. The handle formed by a figure of St. Christopher; the bowl 
 elaborately engraved. German, c. 1450. 
 
 c. DIPTYCH. 
 
 Silver-gilt frame. On the front side a rilievo of the Angelic Saluta- 
 tion, in carved bone. Venetian, c. 1480. 
 
 3 a. PECTORAL CROSS. 
 
 Gold enamelled. English, c. 1530 — 1540. 
 
 b. PECTORAL CRUCIFIX. 
 
 Gold enamelled, set with table diamonds. A monk kneeling at the foot 
 of the Cross. Spanish, c. 1580. 
 
 c. PECTORAL CROSS. 
 
 Gold, enriched with cloisonne translucent enamels. Spanish, c. 1580. 
 
 D. PENDANT JEWEL. 
 
 Gold enamelled. Badge of the Order of St. Michel. French, c. 1540. 
 
 e. PENDANT JEWEL. 
 
 Gold enamelled. Diana with a Dog, Italian, c. 1570. 
 
 F. PENDANT JEWEL. 
 
 Gold enamelled. In the form of a lizard or chameleon, encrusted with 
 opals. Italian, c. 1560. 
 
 g. PENDANT. 
 
 Gold enamelled. In the form of a green lizard, set with rubies. Italian 
 c. 1560. 
 
 h. PENDANT JEWEL. 
 
 Gold enamelled. In the form of an anchor, set with table diamonds. 
 English, first quarter of the 17th century. 
 
 1. PENDANT JEWEL. 
 
 Gold enamelled, set with rubies. French or German, first half of the 
 17th century. 
 
 4 A series of eight Gold Enamelled Jewels of the 16th and 17th centuries. 
 
 A. PENDANT JEWEL. 
 
 Set with an onyx cameo of the Nativity. German work, c. 1600. 
 b. CAMEO. 
 
 Onyx. Head of Medusa. Antique Roman. The enamelled setting 
 of intertwined serpents is of Italian Cinque Cento work. 
 
GALLERY II. 
 
 IO3 
 
 c. PENDANT. 
 
 Two peach-stones, carved with minute scriptural subjects, set in 
 enamelled gold. The carved stones open on hinges and disclose an onyx 
 cameo and other ornaments in the interior. Italian, c. 1570. 
 
 D. PENDANT JEWEL. 
 
 Gold. Italian, first half of the 16th century. 
 
 This jewel was recently dredged up in one of the canals of Venice. It was 
 originally enamelled. 
 
 5 a. PENDANT JEWEL. 
 
 Gold enamelled. A phoenix in the centre. Italian, c. 1560. 
 
 b. PECTORAL CROSS. 
 
 Enamelled gold, set with shaped table diamonds. Spanish, c. 1540. 
 
 This jewel was one of the principal pieces in the collection of votive jewels pre- 
 served in the treasury of the Cathedral of Nuestra Senoradel Pilar, in Saragossa. 
 The entire collection was sold by the chapter of the cathedral about 1875, to 
 furnish funds for the completion of the fabric of the church. 
 
 c. MEDIAEVAL JEWEL. 
 
 Circular, gold enamelled. An Angel holding an Inscribed Scroll. 
 On the reverse an engraved half-length figure of St. John the Evangelist. 
 French or Spanish, c. 1350. 
 
 d. JEWEL. 
 
 Circular, silver-gilt enamelled, with translucent painted enamels of half- 
 length figures of saints, and religious inscriptions. North Italian work, 
 probably Milanese, by a goldsmith of the following of Leonardo da Vinci, 
 c. 1490. 
 
 E. PENDANT. 
 
 Enamelled gold. With a figure of a couchant lamb, the body formed by 
 a “ perle baroque .” Italian, c. 1540-1560. 
 
 f. PENDANT JEWEL. 
 
 French, c. 1500-1520. 
 
 Found in the Seine in Paris. 
 
 G. SMALL CROSS. 
 
 Enamelled gold, set with table diamonds. Italian or Spanish, c. 1580. 
 
 6 A. PENDANT JEWEL. 
 
 From a string of pearls, gold enamelled, set with an intaglio in helio- 
 trope. Italian, c. 1570. 
 
 b. PENDANT JEWEL. 
 
 Gold, decorated with cloisonne enamel work and gems. Spanish work, 
 probably by a goldsmith of Barcelona, c. 1500. 
 
 c. PENDANT. 
 
 In the form of a ship, the hull formed of mother-of-pearl. Spanish, 
 c. 1570-1580, 
 
 Brought from Ireland, and conjectured to have formed part of the spoil of the 
 Spanish Armada. 
 
104 
 
 GALLERY II. 
 
 D. PENDANT JEWEL. 
 
 Gold, with cloisonne enamel work. In the form of a ship, with a 
 cabochon balas ruby and two emeralds attached. Spanish, c. 1560. 
 
 7 A series of Ten objects, including four Pectoral Crosses of Spanish 16th 
 
 century work, and two engraved silver-gilt Devotional Medallions ; the 
 latter German work of the early part of the 16th century. 
 
 8 a. DESIGN. 
 
 Original design for three pendant jewels. German, c. 1530. 
 
 Probably a diploma Drawing (“ dessin de maitrise”) made on the reception of 
 the artist goldsmith as a member of his guild. 
 
 b. CAMEO. 
 
 Onyx. Regardant portraits of the Emperor Maximilian and his 
 Wife, Mary of Burgundy. Italian (?), c. 1480-1490. 
 
 c. CAMEO. 
 
 Onyx. Virgin and Child. German or Flemish, c. 1480. 
 
 d. SEAL. 
 
 Enamelled gold. The seal of King George I. when Elector of Hanover. 
 Believed to be by the Dresden goldsmith Dinglinger, c. 1700-1720. 
 
 e. THREE CAMEOS. 
 
 Onyx. Originally the centres of badges or “ Lesser Georges ” of Knights 
 of the Garter, taken from the jewels which have been surrendered and 
 dismounted on the deaths of the respective knights to whom they 
 belonged. 17th century. 
 
 F. JEWEL CAMEO. 
 
 In enamelled gold mount. Italian, 16th century. 
 
 9 A Series of Eight Gold Enamelled Jewels, &c., chiefly of Spanish 17th 
 
 century work. 
 
 A. PENDANT JEWEL. 
 
 Gold enamelled. The “Virgen del Pilar” of Saragossa, 
 b. TRIANGULAR JEWEL. 
 
 Both these are the work of Aragonese or Catalonian goldsmiths, probably of 
 Saragossa, of the early part of the 17th century. 
 
 10 a. PENDANT. 
 
 Enamelled gold. Badge of the Order of Malta. Italian, first 
 half of 17th century. 
 
 b. RELIQUARY. 
 
 Crystal and gold enamelled Jewel. Spanish, c. 1580. 
 
 c. RELIQUARY. 
 
 Oval jewel. Spanish, c. 1580, 
 
 D. “ LACIS ” JEWEL. 
 
 Spanish, c. 1660. 
 
GALLERY II. 
 
 105 
 
 E. “ LACIS” JEWEL. 
 
 Gold filigree, set with a sapphire. Spanish, c. 1660. 
 
 F. RELIQUARY. 
 
 Gold enamelled pendant. Spanish, c. 1600. 
 
 g. PENDANT JEWEL. 
 
 Gold enamelled. French, Louis XIII period. 
 
 H. RELIQUARY. 
 
 Spanish crystal, c. 1600. 
 
 I. LOCKET. 
 
 Cameo. Equestrian Figure of Gustavus Adolphus. German, 
 c. 1650. 
 
 j. LOCKET. 
 
 With a small crucifix. Spanish, 16th century. 
 
 11 A Series of Twelve Objects, chiefly Painted Enamels on Gold, 17th and 1 8th 
 
 centuries. 
 
 A. RELIQUARY. 
 
 Gold. Oblong, with a bas-relief enamel of the Nativity. Italian or 
 French, c. 1600-1630. 
 
 B. BAS-RELIEF. 
 
 Small oval enamel on gold. c. 1600-1630. 
 
 c. ARCHED TOP DEVOTIONAL PICTURE. 
 
 Enamel on gold. German, first half of 17th century. 
 
 D. PAIR OF BRACELET SNAPS. 
 
 Enamelled. French, c. 1750. 
 
 12 Nine Enamelled Gold Jewels of various origin. 16th and 17th centuries. 
 
 A. RELIQUARY. 
 
 Lantern-shaped. Spanish, c. 1580. 
 
 b. POMANDER or SCENT-CASE. 
 
 German, c. 1600. 
 
 c. d. TWO JEWELS. 
 
 Enamelled. In the form of skulls, opening on hinges, with devotional 
 subjects in the interior. 
 
 13 FIVE HAT-MEDALLIONS. 
 
 Enamelled gold and cameos. Italian, first half of 1 6th century. Of 
 these, A is from the design of Francesco Francia the painter. 
 
 14 TEN FINGER-RINGS. 
 
 Of various origin, chiefly 17th and 1 8th century work. 
 
 15 EIGHT FINGER-RINGS. 
 
 Enamelled gold. Italian and German, chiefly 16th century work. 
 
io6 
 
 GALLERY II. 
 
 16 SEVEN FINGER-RINGS. 
 
 Enamelled gold. Italian, 16th century work. 
 
 17 NINE FINGER-RINGS. 
 
 Enamelled gold. Of Italian, German, Spanish and other origin, chiefly 
 of the 1 6th century. 
 
 18 NINE FINGER-RINGS. 
 
 Enamelled gold. Italian, French and German, 17th century. 
 
 19 FOURTEEN FINGER-RINGS. 
 
 English, French and others, mostly of the 1 8th century. 
 
 20 SMALL METALLIC MIRROR. 
 
 In carved boxwood frame. By the Flemish sculptor Vriedeman de Vries, 
 middle of the 16th century. 
 
 21 STANDING RELIQUARY CROSS. 
 
 Reputed to contain a portion of the wood of the true Cross. The stem 
 silver gilt and enamelled, the upper portion, containing the relic, is gold 
 enamelled, and set with cabochon sapphires and rubies. The cross 
 bears the arms, several times repeated, of Robert of Anjou, King 
 of Hungary, 1309-1343. It also bears the Imperial Austrian arms, 
 probably added c. 1520. 
 
 This cross was probably made in France, by the order of Robert of Anjou, for 
 his private chapel, or for presentation to a church in Hungary, and on the 
 union of Hungary with Austria, under Ferdinand, King of the Romans, it was 
 removed to Vienna. 
 
 22 STATUETTE. 
 
 Carved wood gilt and painted (“ Estofado ”). Virgin and Child 
 By Alonso Cano. 
 
 23 STATUETTE. 
 
 Ivory. St. George and the Dragon. French or Burgundian 
 (Dijon), c. 1450. 
 
 24 PYX or CIBORIUM. 
 
 Gilt Metal. Italian, c. 1500. 
 
 25 CHALICE.— 
 
 Silver and gilt metal. Made at Anghiari, in Tuscany, 1572. 
 
 On this chalice being recently repaired there was found inside the foot a small 
 piece of paper, with an inscription in Italian, of which the following is a 
 translation : “ In the Annals of the town of Anghiari, vol. ii., p. 185, may be read 
 the following memoir : ‘ Whereas the Jews resident in Anghiari were compelled, 
 on the feast of St. Martin, to furnish a prize (“ correre un palio”) for a footrace 
 of the value of 90 soldi, therefore, to do away with the remembrance of that 
 folly, on the 10th August, 1572, the value of the prize was commuted into a 
 chalice, bearing the arms of the city, the bowl to be of silver gilt, and it was 
 presented to the sacristy of St. Francis of the Cross, where down to the present 
 day it may be seen.’ The present memoir was extracted by the Very Rev. 
 Signor Provost Niccola Tuti, and consigned to me for preservation, and to that 
 end, on the 15th of June of the year 1829, I placed it under the enamelled plaque 
 in the foot of the chalice in question, that by this means might be handed down 
 to posterity the memory of this fact, as it may be found in the annals of 
 Taglieschi. — Pietro Biagiotti, Capellano Sacristan, his signature in his own 
 handwriting.” 
 
GALLERY II. 
 
 107 
 
 26 EQUESTRIAN STATUETTE. 
 
 Silver. The Emperor Ferdinand II. of Austria. Vienna, 
 1619-1637. 
 
 27 B&NITIER. 
 
 Rock-crystal mounted in silver-gilt. Representing Christ and the 
 Samaritan Woman at the Well. French Renaissance, c. 1530. 
 
 28 KNIFE AND FORK. 
 
 With carved ivory hilts. Believed to be by Lucas Faidherbe, of Brussels, 
 a scholar of Rubens, c. 1630. 
 
 29 POMANDER or SCENT-CASE. 
 
 Silver inlaid with niello-work. In the interior are inscriptions in 
 Longobardic characters relating to classical deities. Italian, probably 
 Florentine, c. 1280. 
 
 30 BOX. 
 
 Gold, enamelled in relievo. French, Louis XIII period. 
 
 31 SEAL. 
 
 Set with a large engraved emerald, with the arms of the Marqueses of 
 Monroy of Caceres in Spain, c. 1600. 
 
 32 SMALL ONYX FLACON. 
 
 With stopper formed as a bunch of grapes, in emerald. French, second 
 half of 18th century. 
 
 33 HAND-MIRROR. 
 
 Silver engraved. French, first half of 17th century. 
 
 34 SNUFF-BOX. 
 
 Gold and mother-of-pearl. French, c. 1720. 
 
 35 SMALLER SNUFF-BOX. 
 
 Gold and mother-of-pearl. French, c. 1720. 
 
 38 CIRCULAR BOX. 
 
 Silver. With a group of shells on the cover. French work, c. 1750. 
 
 37 CASE FOR RINGS. 
 
 Stamped leather. French or German, c. 1600. 
 
 38 CASE. 
 
 Probably for a standing watch. Stamped leather. Italian (?) c. 1600. 
 
 39 PAIR OF TERMINAL FIGURES. 
 
 Silver-gilt. Spanish work, c. 1550. Believed to be fragments from 
 the Custodia, or sacrament shrine, of the Cathedral of Cuenca, in Spain, 
 the work of the celebrated goldsmith Becerril, of that city. 
 
 The Custodia was melted down by the French General, Caulaincourt, in 1808. 
 Other fragments of the work, saved at the time by the local goldsmith employed 
 to dismount the work, are in the South Kensington Museum. 
 
io8 
 
 GALLERY II, 
 
 40 HAND-MIRROR. 
 
 Filigree silver work. French or Italian, 17th century. 
 
 41 BONBONNIERE. 
 
 Gold enamelled. French, Louis XIV period. 
 
 42 HOURGLASS. 
 
 Gold embroidery work on cut paper. Italian, second half of 16th 
 century. 
 
 43 TRIPTYCH. 
 
 Carved boxwood. Veneto-Sclavonic, from Dalmatia, c. 1490. 
 
 44 PLAQUE. 
 
 Carved ivory. The Ordination of an Ecclesiastic. Probably 
 from a portable altar (“ superaltare ”). German, nth century. 
 
 45 TWO PLAQUES. 
 
 Carved ivory. The Twelve Apostles. Probably originally from a 
 portable altar. German, 10th or nth century. 
 
 46 THREE PLAQUES. 
 
 Carved ivory. Originally from book-covers, nth century. 
 
 47 TWO PLAQUES. 
 
 Carved ivory. A. German, 10th or 1 1 th century. B. Ancient Hindoo 
 work. 
 
 48 SMALL CASKET. 
 
 Old Chinese porcelain, mounted on or-moulu. French work, first half of 
 18th century. 
 
 Case B. In Gallery I. 
 
 49 LECTERN. 
 
 Gilt bronze. Spanish work, c. 1 520. Believed to be by the goldsmith 
 Becerril, of Cuenca. 
 
 Formerly belonging to one of the private chapels in the Cathedral of Valencia. 
 
 50 MANUSCRIPT BOOK. 
 
 Bound in crimson velvet, with mountings of silver-gilt. The ordering of 
 the admission of certain magistrates of the city of Toledo. Spanish, 
 dated 1590. 
 
 51 EMBROIDERED LECTERN CLOTH. (“ Antependium.”) 
 
 Spanish, c. 1530. 
 
 52 CASKET. 
 
 Silver parcel-gilt. Italian, c. 1520. 
 
GALLERY I. 
 
 109 
 
 53 CASKET. 
 
 Carved ivory, with lock and hinges in gold, set with cabochon sapphires. 
 Indo-Portuguese, made at Goa, c. 1540, to contain the consecrated oils 
 for baptism and extreme unction. 
 
 54 PYX or CIBORIUM. 
 
 Ivory, mounted in gilt and engraved metal. North of France or 
 Flanders, c. 1200-1250. 
 
 55 ENGRAVING. 
 
 Applique work on a gold ground, under glass, representing the Angelic 
 Salutation. German, c. 1480. 
 
 56 SERIES OF PLAQUES. 
 
 Champ leve enamel, mounted as a tablet. 12th century. Acquired at 
 Burgo de Osma, Spain. 
 
 57 PAX. 
 
 Venetian Gothic, c. 1450. 
 
 58 TABERNACLE. 
 
 Ivory carving. The Angelic Salutation. French work, second 
 half of 13th century. The carved wood tabernacle is of English origin, 
 of second half of 15th century. 
 
 59 SIX PLAQUES. 
 
 Carved Ivory. 13th and early 14th centuries. 
 
 A. A King and Queen on their thrones, under Gothic canopies. Believed to 
 be Edward II and his Queen Isabella of France. English, c. 1300-1320. 
 
 b. One Leaf of a pair of Writing Tablets. Romance subjects. French, 
 c. 1300. 
 
 60 SIX CARVED IVORIES of the 13th and early 14th centuries. 
 
 The series comprises a devotional Triptych and two circular Mirror- 
 covers. French work. 
 
 61 TWO PLAQUES. 
 
 Ivory. French Gothic. Second half of 13th century. 
 
 62 THIRTEEN SPECIMENS OF CUT STEEL WORK. 
 
 17th and 18th centuries. Italian, French and English. 
 
 63 MEDALLION. 
 
 Bronze. Louis XII and Anne of Brittany. French, first half 16th 
 century. 
 
 64 BOWL. 
 
 Silver. English, c. 1580. 
 
 65 EIGHT FINGER RINGS. 
 
 Gold. Of various epochs, chiefly Italian and German, 1 6th and 17th 
 centuries. 
 
no 
 
 GALLERY I. 
 
 66 EIGHT FINGER RINGS. 
 
 Gold. Mediaeval and Renaissance periods. 
 
 67 NINE RINGS. 
 
 Gold. Mediaeval, comprising several of English origin of the 13th, 14th, 
 15th and 1 6th centuries. 
 
 68 SMALL CASKET. 
 
 Silver filigree. German, c. 1520. 
 
 69 SMALL CUP. 
 
 Onyx. Antique Roman work. 
 
 70 SMALL CASKET. 
 
 White enamel and gold. French or German, second half of 17th 
 century. 
 
 71 PAIR OF CUPS. 
 
 Enamel on silver or copper. German, c. 1700. 
 
 72 BOX 
 
 Gold enamelled, in the form of a shell. Indian, 17th or 1 8th century. 
 
 73 SMALL FLACON. 
 
 Carved ivory. Italian, 17th century. 
 
 74 SNUFF-BOX. 
 
 Rock-crystal and gold. French, second half of 18th century. 
 
 75 SNUFF BOX. 
 
 “ Vernis Martin ” lac-work. French, early 1 8th century. 
 
 76 BONBONNI&RE. 
 
 Tortoiseshell and gold filigree. Italian, c. 1700. 
 
 77 CIRCULAR BOX. 
 
 “ Vernis Martin ” lac- work. French, 1 8th century. 
 
 78 ^TUI. 
 
 Incised leather. Italian, 1 6th century. 
 
 79 PRAYER-BOOK. 
 
 With silver mounts. French, c. 1660. 
 
 80 BOX. 
 
 Formed of a shell cut “ en camaieu ” and mounted in gold. French, 
 first half of 18th century. 
 
 81 FLACON. 
 
 Carved ivory. Grotesque heads. Italian second half of the 17th 
 century. 
 
 82 CIRCULAR BOX. 
 
 Carved ivory. Dutch, c. 1720. 
 
 83 SQUARE BOX. 
 
 Carved ivory. Dutch, c. 1750. 
 
GALLERY I. 
 
 Ill 
 
 84 CIRCULAR BOX. 
 
 Carved ivory. Dutch, c. 1720. 
 
 85 SMALL CYLINDRICAL FLACON. 
 
 Mounted in enamelled gold. French, c. 1600. 
 
 88 POMANDER. 
 
 Silver. German, c. 1580. 
 
 87 SMALL FLACON. 
 
 Onyx, gold mounted. Italian, 16th century. 
 
 88 BOX. 
 
 Massive gold, set with turquoise. Ancient Chinese. Part of the spoil 
 from the Summer Palace at Pekin. 
 
 89 CUP AND COVER. 
 
 Silver-gilt. English Elizabethan work. 
 
 90-91 TWO PURSES. 
 
 Embroidered. French, 17th century. 
 
 92 SNUFF-BOX. 
 
 Carved boxwood, in the shape of the head of a pug dog. English or 
 French, c. 1730. 
 
 93 SCENT- BOTTLE. 
 
 Dresden porcelain, with gold stopper, c. 1720. 
 
 94 SNUFF-BOX. 
 
 Agate, mounted in gold repousse work. French, c. 1730. 
 
 95 DEVOTIONAL PLAQUE. 
 
 Carved ivory. Spanish Gothic. Early 15th century. 
 
 93 SNUFF-BOX. 
 
 Carved boxwood, in the shape of the head of a pug dog. c. 1730. 
 
 97 SNUFF-BOX. 
 
 Tortoiseshell and gold pique work. French, c. 1720. 
 
 A. IVORY CARVING. 
 
 A skeleton. German work, first half of 17th century. 
 
 B. TWO PLAQUES. 
 
 Carved ivory. French, 13th century. 
 
 c. IVORY PLAQUE. 
 
 The Crucifixion. French, 13th century. 
 
 d. CARVING IN BONE. 
 
 Silenus. Originally part of a powder-flask. Copied from a bronze 
 rilievo ascribed to Donatello. 
 
II 2 
 
 GALLERY III. 
 
 Case C. In Gallery III. 
 
 98 APPLIQUE RILIEVO. 
 
 Repousse work in gold on a ground of black glass. In ebony frame, 
 enriched with arabesques in gold “ estofado ” work. By the Venetian 
 goldsmith Maestro Cesare di Treviso. Signed, “ Opus Cesaris Tar. 
 Veneti.” 
 
 This riiievo, which retains its original mounting and frame, was executed for 
 King Philip II. of Spain. It was presented by the king in the year 1566 to the 
 General of the Order of Augustinians in Spain, and by the latter at his death 
 bequeathed to the Augustinian convent at Ocana, province of Toledo, from 
 whence it was recently obtained. 
 
 99 ROSE-WATER SALVER. 
 
 Silver-gilt. Decorated “en repousse” in high relief. The figure 
 subjects in the raised centre represent combats betwixt Christian knights 
 and Moriscos. Spanish or Portuguese, c. 1490. 
 
 100 BOWL or SALVER. 
 
 Silver parcel-gilt. In repousse work. Spanish, c. 1450. 
 
 101 BOWL. 
 
 Silver, with ornamentation in repousse. Italian Quattro Cento work. 
 The “ imprint ” of arms in the centre, originally enamelled, was added 
 about the middle of the succeeding century. 
 
 This bowl was recently dredged up from one of the canals in Venice. 
 
 102 MEDALLION. 
 
 Bronze. Louis XIV of France. By the sculptor-goldsmith Bertinet, 
 c. 1700, 
 
 103 MEDALLION. 
 
 Gilt bronze. Isabella of Castille, Queen of Spain, c. 1500. The 
 face and bust “ cold enamelled,” or painted (“ estofado ”), in the Spanish 
 manner. Probably the work of one of the eminent Spanish sculptor- 
 goldsmiths of the period. This medal is a unique example. 
 
 104 GROUP. 
 
 Bronze. Hercules and Cacus. By Giovanni di Bologna, c. 1600. 
 
 105 STATUETTE. 
 
 Bronze. Anatomical figure. From the design of Michel Angelo, and 
 probably cast and chased from an original wax model by him. The 
 figure is that of one of the archers in the engraved composition, after 
 M. Angelo’s drawing, known as Gli Arcieri. First half of i6fch 
 century. 
 
 106 CASSOLETTE or PERFUME-BURNER. 
 
 Damascene work in gold and silver on bronze, 13th or 14th century. 
 
 107 DOOR-KNOCKER. 
 
 Bronze. Italian, c. 1560. 
 
GALLERY III. 
 
 II 
 
 n 
 
 108 CASSOLETTE or PERFUME-BURNER. 
 
 Gilt metal. Venetian, c. 1550. 
 
 109 CALVARY. 
 
 Carved boxwood. Flemish, c. 1500-1520. 
 
 110 Thirteen various objects in Goldsmith’s work, mainly of the 1 8th century. 
 
 111 Seven various objects, the most notable being — 
 
 A. RILIEVO. 
 
 Silver. The Crucifixion. Spanish, c. 1550. 
 b. PLAQUE. 
 
 Limoges enamel. In its original gilt-metal frame, engraved in arabesque 
 work at the back. French, c. 1530. 
 
 112 FOURTEEN OBJECTS OF BIJOUTERIE. 
 
 Mainly of the 17th century. 
 
 113 EIGHT WATCHES. 
 
 Enamelled. French and English work of the 18th century. 
 
 114 Six various objects. 
 
 A. DEVOTIONAL TRIPTYCH. 
 
 Gilt metal, with enamelled background. German Gothic, early 15th 
 century. 
 
 b. CIRCULAR ENAMEL ON COPPER. 
 
 St. Jerome. North Italian, c. 1480-1500. 
 
 115 Six Various Objects. 
 
 A. b. MARRIAGE MEDALS. 
 
 Silver. Flemish or Dutch, dated 1558. 
 
 116 THREE SNUFF-BOXES. 
 
 Gold chased. French, period of Louis XV. 
 
 TWO SMALL BOXES. 
 
 Enamelled on gold. French (?), Louis XIII period. 
 
 117 FIVE SNUFF-BOXES. 
 
 Enamelled and chased gold. French, Louis XV and XVI periods. 
 
 118 STATUETTE. 
 
 Bronze. Minerva. Antique Greek or Roman worx:, believed to have 
 been found at the site of the ancient Aquileia, near Venice. 
 
 119 SMALL STATUETTE OF A YOUNG GIRL. 
 
 Bronze. Antique Greek. 
 
 120 MINIATURE GROUP. 
 
 Bronze. Laocoon. Italian, first half of 16th century. 
 
 121 STATUETTE. 
 
 Bronze. Antique Roman. Victory. 
 
GALLERY III. 
 
 II 4 
 
 122 STATUETTE. 
 
 Bronze. Venus. Italian, first half of 16th century. 
 
 123 SMALL RELIQUARY CASKET. 
 
 Rock-crystal, mounted in gold. Spanish, second half of 16th century. 
 
 121 BONBONNI^RE. 
 
 Tortoiseshell, inlaid with gold arabesque ornamentation. In the interior 
 is a painted miniature of Philip V, the first Bourbon King of Spain, 
 c. 1720-1730. 
 
 125 CAMEO. 
 
 Onyx. Bust of Minerva. Antique Roman, on pedestal of lapis lazuli, 
 of 18th century adjustment. 
 
 126 ALTO-RILIEVO. 
 
 Bronze. The Crucifixion. By Donatello. Florentine, first half of 
 15th century. 
 
 127 BOXWOOD CARVING. 
 
 The Virgin and Child. By a German artist, c. 1500. 
 
 A. BOXWOOD RILIEVO. 
 
 The Baptism of Christ. Flemish, c. 1480. 
 
 128 TWO PANELS. 
 
 Arabesque, gold etched work on glass. German, c. 1600. 
 
 129 RILIEVO. 
 
 Lithographic stone. German, c. 1530. 
 
 130 SNUFF-BOX. 
 
 Agate, mounted in gold. French, 18th century. 
 
 131 ASTROLABE. 
 
 Enamelled silver. Indian, 17th or 18th century. 
 
 132 ALTO-RILIEVO. 
 
 Lead or pewter. Lucretia killing herself. With inscriptions in 
 engraved bronze. Italian, ascribed to Lorenzo Ghiberti, first half of 
 15th century. 
 
 133 BOX. 
 
 Enamelled in silver. Indian. 
 
 134 SNUFF-BOX. 
 
 Tortoiseshell and gold. In the form of a galley. Italian, c. 1700. 
 
 135 VINAIGRETTE. 
 
 Gold chased. French, c. 1790. 
 
 136 SMALL BOX. 
 
 Onyx. Italian, c. 1600. 
 
 137 CIRCULAR BOX. 
 
 Straw mosaic. Dutch, 18th century. 
 
GALLERY III. 
 
 115 
 
 138 BOX. 
 
 Shell carved. Italian, 16th century. 
 
 139 SHUTTLE. 
 
 Carved ivory. French or Dutch, 18th century. 
 
 140 BOX. 
 
 “Vernis Martin ” work. French, 1 8th century. 
 
 141 IiTUI. (Or Needle-case). 
 
 Carved ivory. French, 18th century. 
 
 142 BOAT-SHAPED BOX. 
 
 Agate, mounted in gold. 18th century work. 
 
 143 PIPE. 
 
 Carved ivory. Venetian. Second half of 17th century. 
 
 144 BOX. 
 
 Enamelled silver. Indian, 
 
 A. SMALL TWO-HANDLED CUP, or “TAZZA.” 
 
 Green jasper. Antique Roman. 
 
 B. SMALL BOAT-SHAPED CUP. 
 
 Fine Sardonyx. Antique Roman. 
 
 Case D. In Gallery II. 
 
 145 WAX MODEL, 
 
 Prepared for “cire perdue ” casting in bronze. Italian, 15th century 
 The original is by Donatello. 
 
 146 a. MEDALLION. 
 
 Bronze. Federigo, Duke of Urbino, c. 1475, made to commemorate 
 his election to the Order of the Garter. By the Florentine sculptor 
 Bertoldo, scholar of Donatello. Unfinished. 
 
 b. MEDALLION. 
 
 Boxwood. By or from a drawing by Albert Diirer. Dated 1526. 
 
 c. ORIGINAL MODEL. 
 
 Gilt bronze. For the great seal of Cardinal Giulio de’ Medici, afterwards 
 Pope Clement VII. Probably by Maestro Lautizio di Perugia. 
 
 D. MEDAL. 
 
 Bronze. By an Augsburg goldsmith, c. 1530. 
 
 147 RELIEVO. 
 
 Bronze. Bacchanalian subject. French, c. 1770. Attributed to Clodion- 
 
n6 
 
 GALLERY II. 
 
 148 PLAQUE. 
 
 Bronze. The lid of a casket, or “calamaio.” Attributed to Caradosso 
 of Milan, c. 1500. 
 
 149 A. RELIEVO. 
 
 Alabaster of Volterra. Probably prepared as a type for a bronze 
 plaquette. c. 1500. 
 
 B. ORIGINAL DESIGN FOR A RILIEVO. 
 
 By the same hand. A series of Drawings, of which the present specimen 
 formed one, is in the Museum at Lille. They are there ascribed to 
 Giacomo Francia. 
 
 c. PLAQUETTE. 
 
 Moulded blue glass. Italian, first half of 16th century. 
 
 150 SEVEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 1 6th centuries. 
 
 151 NINE PLAQUETTES. 
 
 Bronze. Italian, 1 5th and 16th centuries. 
 
 152 ELEVEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 153 THIRTEEN PLAQUETTES. 
 
 Bronze. Italian, 15th and 16th centuries. 
 
 154 FIFTEEN MEDALLION PLAQUETTES. 
 
 Bronze. These are cast from, or prepared models for, gold-enamelled 
 hat-medallions ( see Case A, No. 13). 
 
 155 CARVING IN WOOD. 
 
 The Virgin and Child, with Angels. Spanish, dated 1536. 
 
 156 DAGGER. 
 
 The hilt and sheath in chiselled and gilded steel, decorated with scroll 
 foliage ; the Imperial eagle, with escutcheons of the arms of Austria are 
 twice repeated on the hilt ; German work, c. 1520-30. The design is 
 believed to have been by Ilans Holbein, by whom several original 
 drawings of similar daggers are extant. From the armorial bearings, 
 there can be little doubt that the dagger was made for the Emperor 
 Charles V. It has been recently acquired from Madrid. 
 
 Case E. In Gallery II. 
 
 160 TWENTY-TWO CAMEOS. 
 
 Antique Greek and Roman. 
 
GALLERY II. 
 
 II 7 
 
 161 Ten Antique Greek and Roman Intaglios. 
 
 A. INTAGLIO. 
 
 Venus on a sea monster. Signed by the Graeco-Roman gem- 
 engraver, Hyllas. 
 
 B. INTAGLIO. 
 
 SCYLLA KILLING A MARINER. 
 
 C. INTAGLIO. 
 
 Venus. Roman work, in very low relief. 
 
 162 Fifteen Antique Greek, Roman, and Byzantine-Greek Cameos. The most 
 
 important are : — 
 
 A. CAMEO. 
 
 Warrior striking down a barbarian. From the Collection of 
 Lorenzo de Medici, and bearing his collector’s mark engraved upon it. 
 
 B. CAMEO. 
 
 Victory driving a Biga. 
 
 c. CAMEO. 
 
 Cupid bearing the ^Egis of Minerva. 
 
 d. CAMEO. 
 
 Head of Medusa, within an olive or myrtle wreath. 
 
 163 Ten Antique Greek and Roman Intaglios. 
 
 A. INTAGLIO. 
 
 The Helmet of Pyrrhus. A celebrated gem, long known under the 
 above appellation. The engraving is Greek work, and the stone is 
 unique, being a combination in two separate layers of red jasper and 
 plasma or chrysolite. 
 
 b. INTAGLIO. 
 
 Head of a young man. Greek work of the epoch of Pyrgoteles. 
 Engraved on beryl in very low relief. 
 
 c. INTAGLIO. 
 
 Head of a young man. Greek work, on an opaque black jasper. 
 
 D. INTAGLIO. 
 
 Victory writing on a Shield. Amethyst. Greek work. 
 
 164 SIXTEEN CAMEOS. 
 
 Antique Greek and Roman epochs. Of these, A, B, c, D, and E are the 
 most noteworthy. A is from Egypt. 
 
 165 TWENTY-EIGHT INTAGLIOS. 
 
 Antique Greek and Roman. 
 
 166 Thirteen Antique Greek and Roman Cameos. 
 
 A. CAMEO. 
 
 Head of Tiberius. In limestone, enamelled with the Egyptian green 
 cupreous glaze. Recently found in Egypt. 
 
1 1 8 
 
 GALLERY II. 
 
 b. CAMEO. 
 
 Onyx. Europa. Green work, obtained from Egypt. This is an 
 unfinished work showing the method or progress of cameo-cutting in 
 antiquity. 
 
 c. CAMEO. 
 
 Head of Medusa. Graeco-Roman work, in its original gold setting. 
 The material is green glass paste in imitation of emerald. 
 
 167 Nineteen Antique Greek and Roman Cameos. The most important are : — 
 
 a. CAMEO. 
 
 Head of Medusa. 
 
 b. CAMEO. 
 
 Head of Tiberius. 
 
 c. CAMEO. 
 
 Head of Drusus (?) 
 
 168 FORTY-ONE INTAGLIOS. 
 
 Antique Greek and Roman. 
 
 169 TWELVE SCARAB^I. 
 
 Early Greek and Roman. 
 
 170 TEN SCARABiEI. 
 
 Early Greek and Etruscan. 
 
 171 ELEVEN RINGS. 
 
 Antique Greek and Roman. In their original state as found. 
 
 172 TEN RINGS. 
 
 Antique Greek and Roman. In their original state as discovered. Of 
 these, A was found in the Greek island of Milo, in the place where the 
 marble statue known as the Venus of Milo had previously been found. 
 It is of Greek work, and in its original gold mounting. 
 
 173 TEN CAMEOS. 
 
 Chiefly of the i 6 th and 17 th centuries. 
 
 174 TEN CINQUE-CENTO CAMEOS AND INTAGLIOS. 
 
 175 THIRTEEN CAMEOS. 
 
 Chiefly of Italian origin, of the 1 6 th and 17 th centuries. 
 
 176 THIRTY-TWO CAMEOS AND INTAGLIOS. 
 
 Of various origin, 16 th, 17 th, and 18 th centuries. 
 
GALLERY I, 
 
 119 
 
 Case F. In Gallery I. 
 
 £evv<x;Coit<x Stgurea front Greece, 
 
 (pouf QB.e. 300. 
 
 Lent by WILLIAM ROME, Esq., F.S.A., C.C. 
 
 Top Shelf. 
 
 1 Cupid on Eagle. from Anthedon. 
 
 2 Two Cupids, flying and beating cymbals. ,, Tanagra. 
 
 3 Woman walking, her mantle (peplos) used as a hood, over which is placed a 
 
 large sun-hat. from Tanagra. 
 
 4 Woman running and carrying another upon her back (the penalty for the 
 
 loss of a game). 
 
 5 Matron (possibly Demeter) seated, her mantle used as a hood. 
 
 6 Youthful Eros (Cupid) flying and holding lyre. from Athens . 
 
 7 Woman seated on rocks, her hair enveloped in the sakkos. ,, Tanagra. 
 
 8 Woman standing ; her head encircled by a twisted wreath or diadem. 
 
 from Anthedon. 
 
 9 Woman walking ; she holds a writing table, and has her head covered with 
 
 her mantle, and wears a large circular sun-hat. from Anthedon. 
 
 10 Girl flying ; she holds a patera with fruit, and wears a short tunic. 
 
 from Anthedon. 
 
 11 Woman standing, her mantle fallen to the waist. ,, Tanagra. 
 
 12 Woman standing. ,, Anthedon. 
 
 Middle Shelf. 
 
 13 Europa carried away by bull (Jupiter). from Corinth. 
 
 14 Two girls kneeling and playing at the game of Astragalos. ,, Tanagra. 
 
 15 Woman, wearing curious head-dress, and with her hands clasped together 
 
 under her mantle. from Tanagra. 
 
 16 Female with amphora, standing before funereal stele. ,, Eretria. 
 
 17 Winged figure (Eros) holding lyre. ,, Eretria. 
 
 18 Two females in conversation seated upon a cippus. ,, Tanagra. 
 
 19 Cupid in car drawn by two geese. ,, Tanagra. 
 
 20-21 Two Erotes (Cupids) flying; one holds a lyre, the other a mirror-case. 
 
 from Eretria. 
 
 22 Thalia, the muse of Comedy, seated on rocks, and regarding a comic 
 mask. from Tanagra. 
 
120 
 
 GALLERY I. 
 
 23 Aphrodite (Venus) lying on a couch (Kline), at the hea 
 
 of Eros (Cupid). 
 
 24 Woman kneeling, as if playing with astragaloi. 
 
 25 Woman standing, wearing peplos and himation. 
 
 26 Old woman seated and nursing a child. 
 
 27 Eros asleep on back of lion. 
 
 ^tnftqwe QBron^e Stgurec. 
 
 EGYPTIAN. 
 
 28 Ra, the sun -god. 
 
 29 Osiris, mummiform, holding crook and flail. 
 
 30 Isis nursing her son, Horus. 
 
 31 The goddess Nit or Neith (the necklace of inlayed gold). 
 
 ETRUSCAN. 
 
 32 Archaic figure of Apollo ? 
 
 ROMANO-ETRUSCAN. 
 
 33 Vertumnus holding a basket of fruits. 
 
 34 Hercules standing and wearing the Nemsean lion’s skin. 
 
 ASIATIC GREEK. 
 
 35 Aphrodite standing. 
 
 GRiECO-ROMAN. 
 
 36 Terminal ornament with janiform heads of Satyr and Nymph. Found 
 at Torre del Greco. 
 
 37 Jupiter Conservator. 
 
 ROMAN. 
 
 38 Mercury, wearing winged diadem, and holding purse. 
 
 39 Boy holding cornucopia. 
 
 FLORENTINE, 15 th Cent. 
 
 40 Boy seated and picking thorn from foot. 
 
 41 1 6 th Cent. Dionysos (Bacchus). 
 
 42 Horse. 
 
 43-44 17 th Cent. Replies of the celebrated statues of the Venus de Medici 
 at Florence and the Antinous at Naples. 
 
 Note. — The Guildhall Museum containing some fine examples of 
 Roman and Medieval remains , chiefly found in the City of 
 London ) can be approached through the Library — where 
 will also be found a collection of the Medals struck by the 
 Corporation and Master's Badges of several of the Livery 
 Companies — together with an interesting exhibition of 
 Clocks and Watches belonging to the Clockmakers 
 Company. 
 
 of which a figure 
 from Tanagra . 
 ,, Tanagra . 
 ,, Tanagra. 
 ,, Tanagra. 
 „ Tanagra. 
 
of €onfttBu£or0 + 
 
 HER MAJESTY THE QUEEN, 1 25, 1 27. 
 
 AIRD, JOHN, ESQ., M.P., 72 
 ARMITAGE, BENJAMIN, ESQ., 1 9, 
 
 25 
 
 ARMSTRONG, LORD, C.B., 22 
 
 BAKER, W. Y., ESQ., 4, 1 7 
 BALDWIN, EDWARD J., ESQ., 50 
 BEAUMONT, SOMERSET, ESQ., 69 
 BOUSSOD, VALADON AND CO., 
 MESSRS., 62 
 BRASSEY, LORD, 37 
 BUNTEN, JAMES C., ESQ., 26 
 BURTON, LORD, 73, 76, 84, 88 
 BUTLER, CHARLES, ESQ., 48, 1 10, 
 126 
 
 CAINE, W. S., ESQ., M.P., 43, 90 
 CANZIANI, MME. LOUISA STARR, 46 
 CLEMENT, CHARLES G., ESQ., 86 
 COLNAGHI, MARTIN H., ESQ., 96, 
 130 
 
 COOK, SIR FRANCIS, BART., 94, 98, 
 IOO, IOI, 102, IO4, 105, 107, 
 108, 1 14 
 
 COWAN, JAMES, ESQ., M.P., 83 
 CRAWFORD AND BALCARRES, 
 EARL OF, 1 13 
 
 DAVIES, COLONEL H. D., ALD., 85 
 DICKSON, W., ESQ., 20 
 DUFFERIN AND AVA, H.E., THE 
 MARQUESS OF, 82 
 
 EAST, ALFRED, R.I., ESQ., 39 
 ERHARDT, H. C., ESQ., 1 29 
 
 FIELDEN, MRS., 1 4 
 FLETCHER, BANISTER, ESQ., 1 1 6 
 FLORENCE, HENRY L., 63 
 
 GALLOWAY, CHARLES J., ESQ., 89 
 GASSIOT ? CHARLES, ESQ., 64 
 
122 
 
 INDEX OF CONTRIBUTORS. 
 
 GLASGOW, CORPORATION OF, 33 
 GOLDSMID, SIR JULIAN, BART., 
 M.P., 52 
 
 GOLDSMITH, WALTER, ESQ., 7 1 
 GOODEN, STEPHEN T., ESQ., 42 
 GURNEY, GEORGE, ESQ., 8, 10 
 
 HARDINGE, WILLIAM M., ESQ., 45 
 HARRIS, C. T., ESQ., 34 
 HARVEY, WILLIAM, ESQ., IO9, 1 1 1, 
 122, 135 
 
 HICKLIN, A., ESQ., 32 
 HILLINGDON, LORD, 78, 80 
 HOLFORD, CAPTAIN, 120 
 HOLLAND, STEPHEN G., ESQ., 49, 
 66 
 
 HOULDSWORTH, JAMES, ESQ., 3 1 
 HUNTER, COLIN, ESQ., A.R.A., 1 8 
 
 ISMAY, T. H., ESQ., 47 
 
 KERR, CHARLES H., ESQ., 9 
 KING, GRAHAM, ESQ., 30 
 
 LAWRENCE, SIR JAMES CLARKE, 
 BART, ALD., 74 
 
 LEATHAM, E. A., ESQ., J.P., 1 6, 59, 
 
 95 , 99 , i° 3 , 1 12, 1 17, 
 
 123, 128, 132, 133 
 LEES, CHARLES E., ESQ., EXECU- 
 TORS OF, 21 
 
 LEICESTER, CORPORATION OF, 5 
 LIVERPOOL, CORPORATION OF, 35 
 
 MAIDSTONE MUSEUM, 60 
 MANCHESTER, CORPORATION OF, 
 28 
 
 MANN, ALEXANDER, ESQ., 23 
 MASH AM, LORD, JJ 
 MCCULLOCH, G., ESQ., I, 12, 24, 
 
 27 , 40 , 54 , 70 
 
 MILDMAY, SIR HENRY ST. JOHN, 
 BART., 136, I37 
 MORGAN, J. PIERPONT, ESQ., 1 5 
 MORRISON, ALFRED, ESQ., 38 
 
 NATHAN, MRS., 67, 92 
 NORTHBROOK, EARL OF, 1 1 9, 121 
 
 PALMER, ALFRED, ESQ., 2 
 PEASE, SIR JOSEPH, BART, M.P., 53, 
 
 75 
 
 PENDER, SIR JOHN, 57, 79 
 
 QUILTER, W. CUTHBERT, ESQ., 
 M.P., 44 
 
 RAE, GEORGE, ESQ., 4 1 
 ROBERTS, HUMPHREY, ESQ., 3, 6, 
 
 55 
 
 ROBINSON, SIR CHARLES, page 1 01 
 rome, w., esq., 1 24 (and page 1 1 9) 
 
 RUTLEY, COL., J , L. 1 3 1 
 
 SALAMAN, MYER, ESQ., 65 
 SHAW, GEORGE, ESQ., 9 1 
 
INDEX OF CONTRIBUTORS 
 
 I2 3 
 
 SPENCER, EARL, K.G., 1 34 
 STRATHERN, R., ESQ., 6 1 
 
 TATE, HENRY, ESQ., J.P., 29, 87 
 TURNER, H. J., ESQ., II, 5 1 , 56, 
 8l 
 
 WANTAGE, LORD, 1 1 5, II 8, 138 
 
 WATSON, W. CLARENCE, ESQ., 7 
 WEDGWOOD, MRS., 68 
 WHARNCLIFFE, THE EARL OF, 58 
 WILLIAMS, J. C., ESQ., 36 
 
 YORKE, CAPTAIN THE HON. J. 
 
 MANNERS, R.N., 93, 97 
 ZIMMERMAN, H., 1 3 
 
of @rftefe + 
 
 BAYREN, JAN, ANTON VAN DER, 
 IOI 
 
 BERGHEM, NICHOLAS, 98, 106, 120 
 BERKHEYDEN, JOB, 105 
 BOONEN, ARNOLD VAN, 1 28 
 BRAMLEY, FRANK, A.R.A., 38 
 BREANSKI, ALFRED DE, R.B.A., 30 
 BURNE-JONES, SIR E., BART., 
 R.W.S., 42 
 BURTON, W. S., 82 
 
 CANZIANI, MME. LOUISA STARR, 46 
 CAPPELLE, JAN VAN DER, 102 , 
 1 18, I32 
 
 CLAUSEN, GEORGE, A.R.A., I, 63 
 COLE, VICAT, R.A., 37 
 CRESWICK, THOMAS, R.A., 67 
 CROME, JOHN, 78 
 CUYP, ALBERT, 1 1 3, 1 35 
 
 DAVIS, H. W. B., R.A., 1 7 
 DE HEEM, J. D., 99, I03 
 DICKSEE, FRANK, R.A., 66 
 DICKSON, WILLIAM, 20 
 DOW, GERARD, I08 
 
 EAST, ALFRED, R.I., 39 
 EVERDINGEN, CA 2 SAR VAN, IO9 
 
 FAED, THOMAS, R.A., 87 
 FORBES, STANHOPE A., A.R.A., 12 
 FORBES, MRS. STANHOPE, 70 
 FRIESE, RICHARD, 50 
 FRITH, W. P., R.A., 14, 88, 92 
 FROST, W. E., R.A., 59 
 
 GEROME, JEAN LEON, H.R.A., 5 1 , 
 
 54 , 56 , 57 - 
 
 GILBERT, SIR JOHN, R.A., P.R.W.S., 
 
 4 
 
 GOLDSMITH, WALTER, 7 1 
 GOODALL, FREDERICK, R.A., 34 
 GOODWIN, ALBERT, R.W.S., 60 
 GORDON, SIR J. WATSON, R.A., 9 1 
 GOW, A. C., R.A., 29 
 GO YEN, JAN VAN, 9 5 
 GRAHAM, PETER, R.A., 1 9 
 GREGORY, E. J., A.R.A., 89 
 
 HAANEN C. VAN., 8 1 
 HEMY, C. NAPIER, 40 
 
INDEX OF ARTISTS. 
 
 125 
 
 HOOK, J. C., R.A., 3 
 HUNT, A. W., R.W.S., 43 
 HUNTER, COLIN, A.R.A., 1 8 
 HUNT, W. HOLMAN, R.W.S., 44 
 
 KERR, CHARLES H., 9 
 
 LANDSEER, SIR EDWIN, R.A., 76, 
 
 77 
 
 LA VERY, JOHN, R.S.A., 6 1 
 LEADER, B. W., A.R.A., 65 
 LEIGHTON, SIR F., BART., P.R.A., 
 
 S3, 85 
 
 LESLIE, G. D., R.A., 31 
 LINGELBACH, J., 1 1 7 
 LEWIS, J. F., R.A., 49, 55 
 LOGSDAIL, WILLIAM, 1 1 
 LORME, ANTON DE, 1 1 7 
 
 MAAS, NICHOLAS, 1 33 
 
 MANN, A., 23 
 
 MASON, G. H., A.R.A., 68 
 
 MCWHIRTER, J., R.A., 25 
 
 MEER, JAN VAN DER, I 2 J 
 
 METSU, GABRIEL, 1 2 1 , 122 , 125 
 
 MILLAIS, SIR J. E., BART., RA., 22 , 
 
 26, 36, 
 
 MINSHULL, R. T., 90 
 MONTALBA, MISS CLARA, R.W.S., J 2 
 MOORE, HENRY, R.A., 6 
 MORLAND, GEORGE, 80 
 MORRIS, P. R., A.R.A., 32 
 MURRAY, DAVID, A.R.A., 33 
 
 O’NEIL, HENRY, A.R.A., 1 6 
 ORCHARDSON, W. Q., R.A., 73 
 
 PATON, SIR J. NOEL, R.S.A., 83 
 PHILLIP, JOHN, R.A., 79, 84 
 POYNTER, E. J., R.A., 75 
 PRINSEP, VAL C., R.A., 28 
 PYNAKER, ADAM, 1 36 
 
 RAVESTEIJN, JAN A. VAN, 1 24 
 REMBRANDT, VAN RHYN, IOO, 1 29 
 
 134 
 
 REYNOLDS, SIR JOSHUA, P.R.A., 93 
 
 97 
 
 RIVIERE, BRITON, R.A., 7 
 ROMEYN, W. VAN, 1 26 
 ROSSETTI, D. G., 41, 47, 48 
 ROSSETTI, MRS. W. M., 45 
 RUISDAEL, JACOB VAN, 94, 1 1 2 
 
 SEGHERS, DANIEL, 131 
 SLINGELANDT, PETER VAN, 1 23 
 SOLOMON, SOLOMON J., 35 
 STEEN, JAN, 1 19 
 STOREY, G. A., A.R.A. 1 5 
 STRUDWICK, J. M., 58 
 SWAN, J. M., A.R.A., 62 
 
 TADEMA, L. ALMA, R.A., 52, 64 
 TENIERS, DAVID, 1 1 5 
 TERBURG, GERARD, 107 , III 
 
 NEER, A. VAN DER, 96, I30, 1 38 
 
126 
 
 INDEX OF ARTISTS. 
 
 VELDE, WILLIAM VAN DE, I IO, 1 1 4 
 
 WALKER, FREDERICK, A.R.A., 69 
 WALLIS, HENRY, 86 
 WATERHOUSE, J. W., A.R.A., 21 
 WATTS, G. F., R.A., 5 
 
 WOOD, MISS E. STEWART, 2 7 
 WOODS, HENRY, R.A., 2 , 8 
 WOUWERMAN, PHILIPS, IO4 
 WYBURD, LEONARD, 74 
 WYLLIE, W. L., A.R.A., IO 
 WYNANTS, JAN, 1 37 
 ZIMMERMAN, H., 1 3 
 

 
 
 
 
 
CORPORATION of LONDON 
 ■v/IRT CALLCRY.-^ 
 
 Catalogue 
 
 ofthc LOAN collection 
 
 OF 
 
 Wmr@lourDr/iwincs 
 
 I896. 
 
 Jt s* 
 
 PRICE SIXPENCE. 
 
Corporation of Condon 
 « * « Jlrt Gallery. « « « 
 
 Catalogue of tbe Eoan 
 Collection of Water Colour 
 Drawings, i$$6. 
 
 PREPARED BY A. G. TEMPLE, F.S.A., 
 DIRECTOR OF THE ART GALLERY 
 OF TIIE CORPORATION OF LONDON. 
 
 W. O. CLOUGH, ESQ., M.P., 
 CHAIRMAN. 
 
Blades, East & Blades, 
 Printers, 
 
 23, Abchurch Lane, E.C. 
 
Committee. 
 
 The Right Honourable The Lord Mayor. 
 
 Walter Owen Clough, Esq., M.P., Chairman. 
 
 Sir Reginald Hanson, Bart., M.P., LL.D., Alderman. 
 
 Sir Stuart Knill, Bart., LL.D., Alderman. 
 
 George Faudel Phillips, Esq., Alderman. 
 
 Lt.-Col. Horatio David Davies, M.P., Alderman. 
 
 Marcus Samuel, Esq., Alderman. 
 
 William Purdie Treloar, Esq., Alderman. 
 
 George Pepler, Esq., Deputy. 
 
 Richard Osmond Hearson, Esq. 
 
 Edward Lee, Esq. 
 
 James Gallaher, Esq., J.P., F.R.A.S. 
 
 Alfred Jordan Hollington, Esq., L.C.C. 
 
 Francis Montier Mercer, Esq., F.C.S. 
 
 Rowland Neate Perrin, Esq. 
 
 Henry William Brown, Esq. 
 
 James Stratten Thompson, Esq. 
 
 John King Farlow, Esq. 
 
 Arthur Byrne Hudson, Esq., F.S.I. 
 
 Henry Hugh Thompson, Esq. 
 
 John Frankland Hepburn, Esq. 
 
 Samuel Elliott Atkins, Esq., Deputy. 
 
 Richard Irish Collier, Esq. 
 
 Alfred Double, Esq., F.S.S. 
 
 Thomas Charles Royle, Esq., J.P. 
 
 Charles Jones Cuthbertson, Esq. 
 
 Banister Fletcher, Esq., J.P., F.R.I.B.A. 
 
 William Cooper, Esq. 
 
 John Bertram, Esq., Deputy. 
 
 Charles Thomas Harris, Esq. 
 
 Octavius Dixie Deacon, Esq. 
 
 Whinfield Hora, Esq., Deputy. 
 
 Charles John Todd, Esq. 
 
 James Perkins, Esq., F.R.G.S. 
 
 Captain William Charles Simmons, Deputy. 
 
 Howard Carlile Morris, Esq. 
 
 J oseph Douglas Matthews, Esq., F.R . I. B. A. (Past Chairman) 
 George Shaw, Esq. 
 
 William Rome, Esq., F.S.A., F.L.S. 
 
 A 2 
 
Library Committee of the Corporation 
 of London desire to express their thanks 
 to the owners of works of Art for the kindness 
 with which many distinguished and valuable 
 drawings have been placed at their disposal for 
 the present Exhibition. 
 
 The Exhibition will be open from Tuesday, 
 the 2 1 st April, to Friday, the 31st July, 
 nclusive. 
 
 Week Days 10 a.m. to 7 p.m. 
 
 Sundays 3 p.m. to 7 p.m. 
 
 The Admission will be free. 
 
Prefatory notice. 
 
 TT'IVE Exhibitions have now been held in the Art 
 Galleries at the Guildhall. In four of them examples 
 in Oil only have been shown (embracing works of the 
 Dutch, Flemish, Italian, and the modern British schools), 
 and in one, a selection of drawings by early masters. 
 Very nearly a million individuals, in the aggregate, have 
 availed themselves of the free access allowed to these 
 collections. On the present occasion it has been thought 
 desirable to confine the Exhibition to works in Water 
 Colour of the British School. 
 
 As these Exhibitions are undertaken by the Corpora- 
 tion with the single eye to the public good, in the 
 direction of instruction and study, at no profit to itself 
 but at considerable expense, it may be well, in furtherance 
 of its object, to briefly glance, in the present instance, at 
 the career of Water Colour Art as exemplified by the 
 collection it is now able to place before the public. 
 
 In some sense Water Colour painting is really the 
 oldest form of pictorial art. It was employed in fresco in 
 Egypt and Assyria, Greece and Italy, and appears in the 
 early papyri and manuscripts. In the middle ages the art 
 of illumination which had long been practised was carried 
 to a state approaching perfection, but as this beautiful 
 art faded before the printing press, Water Colour in a 
 certain form was tried for sketches and studies and some 
 of the early painters of Europe who were flourishing in the 
 fifteenth and sixteenth centuries adopted it in a form ex- 
 emplified in a certain degree by some of the drawings of the 
 early masters, exhibited recently in these galleries, from the 
 collection of Sir Charles Robinson. Albert Durer appears 
 to have been the only great artist of the time who felt 
 conscious of the use to which Water Colour might be 
 turned. It was carried out later with no slight amount of 
 finish by the great painters of the Dutch School, but as 
 
6 
 
 an independent Art it may certainly be said to be one of 
 English origin and development, having existed in this 
 country now for little over a century, passing during 
 that period through several distinct phases. The earliest 
 was the stained drawing, which was little more than a 
 design in brown or blue wash, strengthened by a pen 
 outline and touched over lightly, it might be said timidly, 
 with a little colour ; but a curiously pleasing character of 
 breadth and repose was sometimes secured, most often by 
 such men as Cozens and Girtin, who may be reasonably 
 regarded as the founders of the School, and of whom many 
 beautiful examples exist, the former practising the Art in 
 the most primitive fashion, the latter cautiously using 
 washes of colour, in which, however, decision of purpose 
 is conspicuously evident. Cozens died in 1794, Girtin in 
 1802, and we come then upon the period illustrated by 
 the present Exhibition, ranging from the beginning of 
 the century to the present time. 
 
 In 1804, the development of the Art had so far de- 
 monstrated itself as to lead to the formation of a Society 
 for the exclusive promotion of Water Colour Painting, 
 and this Society now flourishes as the Royal Water 
 Colour Society, in Pall Mall East, under the presidency 
 of Sir John Gilbert, R.A. Among its founders (or one of 
 its very earliest additions) was George Barret, examples 
 of whose work are seen in “ Sunrise ” and “ The 
 Embarkation” (Nos. 18 and 21), works of such per- 
 ception and skilful handling as to leave no room for 
 wonder at the Art demanding a position independently 
 of oil. The growth of the Ait from the starting of this 
 Society became rapid, and improvements in execution 
 were continuous. Turner had come upon the scene, 
 making his mark by Water Colour painting, and accord- 
 ing to Redgrave, gaining admission to the Royal 
 Academy as a Water Colour painter. He drew carefully 
 from nature with pen or pencil at first, or in grey or 
 brown tints, but, to use Mr. Ruskin’s words “ gradually 
 and cautiously the blues became mingled with delicate 
 green, and then with gold.” For the first twenty years 
 
7 
 
 of the century his style may be considered to have been 
 perfect and scarcely to have changed. It was midway 
 in this period, viz., in 1811, that the splendid “ Chryses 
 worshipping the Sun ” (No. 8), was painted. By the 
 time in fact that the Society was twenty years old, some 
 of the most brilliant exponents of Water Colour painting 
 had succeeded in developing the Art in a manner as 
 amazing as it was rapid. Contemporaneous with Turner 
 in this development were Cotman, De Wint, Samuel 
 Prout, David Cox, Copley Fielding, Robson, and 
 William Hunt, and the work of these eminent men 
 raised the Art to its true position in the Fine Arts. 
 Examples of all these painters are in the present Ex- 
 hibition. De Wint may be seen in one of his most 
 finished and elaborate drawings “On the Dart” (No. 39), 
 and again in one of an opposite character (No. 14), 
 with the gold of the wheatfield fresh as if painted, 
 as it probably was, out of doors and not touched 
 afterwards. Prout, with consummate draughtmanship 
 in architectural work of the greatest intricacy, coupled 
 with breadth of rendering, may be studied well in his 
 “Nuremberg” (No. 36), and David Cox whether in the 
 gloom of the forest (No. 34), in the wild rush of 
 water (as in No. 24), or in “ Carting Home the Plough ” 
 (No. 31), where the earth seems to teem with richness and 
 life — shows a rugged style differing widely from the deli- 
 cacy of Turner, but scarcely behind him in the profound 
 poetical impression he conveys. As in the works of Cuyp, 
 the aerial gradation shows the astonishing height to 
 which the Art of painting had attained in Holland in the 
 seventeenth century, so the works of Copley Fielding or 
 George Robson, reveal a sensitiveness and a capacity for 
 its expression in Water Colour remarkable at this com- 
 paratively early stage of the Art. The method of painting 
 moreover might be regarded as of a simple character. 
 Most in fact of the men above cited were wont to obtain 
 their extraordinary effects of atmosphere in a very deliberate 
 way, by the most delicate washes of transparent color, 
 “reaching” as Mr. Ruskin says, “subtleties of gradation 
 
8 
 
 in misty light which were wholly unthought of before 
 their time.” For examples of this “Bow Hill Downs” 
 and the large Scottish landscape (Nos. 16 and 29), and 
 “ Durham” (No. 22), may be studied. 
 
 Following rapidly on the heels of these pioneers came 
 David Roberts, James Holland, R. P. Bonington, 
 Edward Duncan, Frederick Tayler, Samuel Palmer, 
 J. F. Lewis, Louis Haghe, F. W. Topham, and others, 
 all men of varied style and of conspicuous capacity using 
 with effect every fresh appliance which the progress of 
 the Art had brought out. Practising too in a style 
 curiously original, both in design and tone, was Henry 
 Tidey, undertaking subjects of an abstruse character such 
 as Shelley’s “Queen Mab ” (No. 157), but his most 
 meritorious production is with reason considered to be 
 “The Feast of Roses” from Moore’s Lalla Rookh 
 (No. 151)? which was immediately purchased by the Queen 
 on its appearance at the New Society in 1859, and which 
 Her Majesty has graciously permitted to be shown in 
 the present Collection, the more fully to illustrate his work. 
 
 Considerable numbers were now practising the Art 
 and increased facilities for exhibition were demanded, to 
 meet which in 1831 the New Society was formed, and after 
 many vicissitudes and changes it was in 1863 remodelled 
 and renamed “ The Institute,” known now as the Royal 
 Institute of Painters in Water Colour under the presidency 
 at the present time of Sir James D. Linton. This Society, 
 whose galleries are in Piccadilly, has of late years 
 thrown open its Exhibitions to all workers in Water 
 Colours, whether members or not of the Society. 
 This politic step followed on their amalgamation with the 
 Dudley Society, which had held very successful Exhi- 
 bitions for the encouragement of rising talent, or in other 
 words, to enable the younger members of the profession to 
 come before the public, which they could not otherwise 
 do, all other societies providing space only for the works 
 of their own members. Attempts had in the meantime 
 been made to found other societies, but their career did 
 pot extepd beyond a period of two or three years, 
 
9 
 
 We arrive now at our own time and to the latest de- 
 velopments of the Art. As wide a view as practicable 
 has been taken of these developments in the formation of 
 the present Collection. The beautiful landscape art ot 
 Birket Foster, George and Alfred Fripp, Thorne Waite, 
 North, Goodwin, and others, will be found in association 
 with the poetical expressions of Rossetti, Burne-Jones, and 
 Madox Brown, while painters of long standing eminence 
 and of widely variable aim and style will be found equally 
 in evidence, Millais and Gilbert, Carl Haag, Pinwell, 
 Holman Hunt, Riviere, Goodall, Whistler and Fred 
 Walker, and in studying these and others of like merit 
 it is plainly discernible how widely the Art itself, in 
 methods and excellencies, has expanded and how broadened 
 throughout the land is the patronage of it. Yet with 
 grateful eye it will be well to revert at frequent intervals 
 to the work of that formidable early group, at the begin- 
 ning of the century, by whom the Art may be said to 
 have taken its firmest root, and through whose instru- 
 mentality it obtained its just recognition ; to reflect upon 
 the limited patronage which those painters had, at com- 
 paratively insignificant prices, and to regard with reverence 
 their ardent toil and their ultimate achievements, some of 
 the chief of which enrich the present collection. 
 
 In conclusion, it may be observed that the absence of 
 any great or distinctive painter from the Collection is 
 due, not to oversight, but to the inability of the Cor- 
 poration to obtain the particular example desired. In 
 several cases the works shown have been very difficult to 
 trace, and certain notable examples, to secure which 
 every effort has been made, have proved untraceable. 
 
 A. G. TEMPLE. 
 
 ART GALLERY OF THE 
 
 CORPORATION OF LONDON, 
 
 GUILDHALL. 
 
 April , 1896. 
 

Catalogue. 
 
 <5 
 
 BEN MORE. ISLE OF 
 MULL. 
 
 Painted by Copley Fielding. 
 
 Size 15 X 22 \ inches. 
 
 Lent by Sir James Joicey, Bart. 
 
 THE SNOWDON RANGE. 
 
 Painted by Copley Fielding, R.W.S. 
 
 Size 1I5 X i6£ inches. Date 1862. 
 
 Lent by Abraham Haworth, Esq. 
 
 o n , the Road from Aberglaslyn to 
 Festiniog. 
 
 APPLE BLOSSOM. 
 
 Painted by William Hunt, R.W.S. 
 
 Size 9 X 13! inches. 
 
 Lent by George Fenton Smith, Esq. 
 
 LANDSCAPE. 
 
 Painted by John Varley. 
 
 Size 10 X 8^ inches. Date 1830. 
 
 Lent by a Gentleman. 
 
 John Varley was born in London in 1778. From infancy 
 his favourite occupation was drawing, and he was also 
 famous among his youthful comrades for hts great muscular 
 strength. His father would not hear of his son becoming an 
 artist. “Limning,” he said, “was a bad trade;” but 
 it is a curious fact that it happened, nevertheless, that all 
 his three sons followed the arts, and their sister married 
 the artist Mulready. After his father s death his mother 
 gave him encouragement, and all the assistance sjie could, 
 
12 
 
 At the age of sixteen he joined an evening drawing class, 
 became acquainted with other artists, and began to rise 
 in his profession. About 1798 he joined the painter, George 
 Arnold, A.R.A., in a tour to Wales. On this visit may be 
 said to rest the beginning of his future fame as an artist. 
 It was at this time that his talent attracted the attention 
 of that kind and generous patron and friend of artists, 
 Dr. Munro. In 1804, he was elected to the Water Colour 
 Society, contributing to it, during his career, a great 
 number of drawings. His pupils were numerous, and many 
 of them became eminent. He died in 1842 after a life of 
 many vicissitudes. 
 
 5 THE GIPSY SISTERS. 
 
 Painted by Octavius Oakley, R.W.S. 
 
 Size 11^ X gh inches. Date 1857. 
 
 Lent by Mrs. Nathan. 
 
 Octavius Oakley, the son of a Wool Merchant in London, 
 was born in 1800. He showed an artistic faculty at an 
 early age, and began his career by making pencil likenesses 
 of his acquaintances, “and eventually on the advice of a 
 young lawyer, he began to turn his talents to account by 
 receiving payment for his portraits.” In this way he gained 
 many friends of influence and position, and in the year 1825 
 he was invited to Chatsworth, where he painted the Duke 
 of Devonshire. Successful as he was as a portrait painter, 
 Oakley, however, from his love of nature, preferred to paint 
 landscapes and rustic figures, particularly gipsies and their 
 picturesque surroundings ; of these latter he made a 
 spdcialitd which earned for him the sobriquet of “ Gipsy 
 Oakley.” He became a member of the Water Colour 
 Society in 1844. Many of his portraits were of distinguished 
 personages and men eminent in the literary and scientific 
 world. He died in 1867. 
 
 6 LUDLOW CASTLE. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 12X18 inches. 
 
 Lent by the Hon. W. F. D. Smith, M.P. 
 
 7 WINDERMERE. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 12 X 165 inches. Date 1821. 
 
 Lent by Sir Donald Currie, K.C.M.G. 
 
 Josefh William Mallord Turner was born in 1775, at 
 26, Maiden Lane. Covent Garden. He began his career as 
 a sort of infant prodigy in his father’s hairdressing shop, and 
 £here }s q drawing of Margate Church ip existence, 
 
*3 
 
 executed by him when nine years old. At the age of 
 fourteen he became a student at. the Royal Academy. 
 Four years later he received commissions for drawings to 
 be engraved, and took a studio in Maiden Lane, close to 
 his father’s house. At the age of twenty-four he was 
 elected an Associate of the Royal Academy. During the 
 next few years he travelled over nearly the whole of England 
 and Wales searching for subjects for his drawings, and 
 making many acquaintances, who were afterwards his best 
 friends. Becoming Royal Academician in his twenty- 
 seventh year, he practically ceased then to diaw for the 
 engraver, and took a house in Harley Street. The same 
 year he made his first tour on the Continent, and exhibited 
 six pictures of foreign subjects. His Liber Studiorum 
 was begun in 1807, and forms, perhaps, one of the most 
 satisfactory monuments of his genius. In 1812 he migrated 
 to Queen Anne Street, which was known as his address to 
 the end of his life, although he later had a country house at 
 Twickenham. He made yearly visits to all the most 
 picturesque parts of the country, and in 1819 went on his first 
 visit to Italy, and from that time dates the commencement 
 of his bolder excursions into colour. In 1830 his first sub- 
 jects from Venice were exhibited. He received two offers of 
 ,£100,000 each for the contents of his house in Queen Anne 
 Street, but declined them, having already, in his will, be- 
 queathed his pictures to the nation. Towards the end of 
 1851 he was discovered living, under the name of Booth, in 
 a small house at Chelsea, and he there died the same year, 
 and was buried in St. Paul’s Cathedral. 
 
 8 CHRYSES WORSHIPPING 
 THE SUN. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 26 X 39 a inches. Date 1811. 
 
 Lent by Thomas Ashton, Esq., J.P. 
 
 £HRYSES was a priest of Apollo at 
 Chryse, and was the father of the 
 beautiful Astynome. When he came to 
 the camp of the Greeks offering a rich 
 ransom for the liberation of his daughter, 
 who had been taken captive by them, he 
 was treated with harsh words, and told 
 that “To Argos shall the maid retire, Far 
 from her native soil and weeping sire.” 
 Chryses, returning, prayed in solitude to 
 
14 
 
 “ the God who darts around the world his 
 rays.” 
 
 “ God of the silver bow ! thy shafts employ, 
 
 Avenge thy servant, and the Greeks destroy.” 
 
 A plague raged in the camp of the Greeks 
 and did not cease until Astynome was 
 restored to her father. 
 
 Exhibited in the Royal Academy, 1811. 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 Collection of R. C. L. Bevan, Esq. 
 
 9 PART OF THE HALL OF 
 COLUMNS, THEBES. 
 
 Painted by David Roberts, R.A. 
 
 Size 13I X 9f inches. 
 
 Lent by J. W. Birch, Esq. 
 
 10 WORCESTER. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 12 X 18 inches. Date 1804. 
 
 Lent by the Hon. W. F. D. Smith, M.P. 
 Engraved by J. Basire. 
 
 IX VEVAY, LAKE OF GENEVA. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 1 X 16 inches. 
 
 Lent by Sir Donald Currie, K.C.M.G. 
 
 12 CHATHAM, FROM FORT 
 AMHERST. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 11 X 17! inches. Date 1831. 
 
 Lent by George Gurney, Esq., of Eastbourne. 
 Engraved by W. Miller, in “ England and Wales.” 
 
i5 
 
 1 3 SALLENCHES. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size ii X 16 inches. 
 
 Lent by Humphrey Roberts, Esq. 
 
 14 HARVESTING. 
 
 Painted by P. De Wint. 
 
 Size 15! X 285 inches. 
 
 Lent by George Fenton Smith, Esq. 
 Collection of J. Heugh until 1874. 
 
 15 SPRING FLOWERS AND 
 BIRDS’ NESTS. 
 
 Painted by William Hunt, R.W.S. 
 
 Size 8^ X 135 inches. 
 
 Lent by George Gurney, Esq., of Eastbourne. 
 From the Wade Collection. 
 
 16 BOW HILL DOWNS. 
 
 Painted by Copley Fielding. 
 
 Size 19 X 31 inches. Date 1832. 
 
 Lent by Abel Buckley, Esq. 
 
 lyiR. RUSKIN said in regard to this 
 phase of Copley Fielding’s art, “The 
 depth of far distant brightness, freshness 
 and mystery of morning air with which he 
 used to invest the ridges of the South 
 Downs, as they rose out of the blue Sussex 
 champaign remains, and I believe must 
 remain, insuperable.” 
 
 Collection of E. Bicknell, Esq., until 1863. 
 Collection of J. J. Clare, Esq., until 1867. 
 Collection of Mrs. Sara Austen, until 1889. 
 
i6 
 
 17 CYMON AND IPHIGENIA. 
 
 Painted by William Hunt. 
 
 Size 22f X 29 inches. 
 
 Lent by Charles Maw, Esq. 
 
 'Y'HE interior of a barn; a rustic boy 
 leaning on a hay-fork and gazing at 
 a girl asleep on the floor. 
 
 Collection of Sam Mendel, Esq., of Manley Hall, 
 until 1875. 
 
 In the Fleming Collection until 1879. 
 
 William Henry Hunt was born in London in 1790. He 
 was a pupil of John Varley, and a fellow student of 
 Mulready; he also received assistance in his early efforts 
 from Dr. Munro, at whose house he met Turner, Linnell 
 and other artists. At the age of seventeen he exhibited at 
 the Royal Academy, and was elected a member of the Old 
 Water Colour Society in 1824. In his earlier years he 
 painted landscapes, but first became known as a painter of 
 rustic figures and humorous studies of school boys. Towards 
 the close of his career he was almost entirely engaged in the 
 drawing of flowers, fruit, and all kinds of still life ; upon 
 these he expended the utmost care and delicacy, combined 
 with splendour of colour and fidelity of design. He died 
 in 1864. 
 
 18 SUNRISE. 
 
 Painted by G. Barret. 
 
 Size 13 X 19 inches. 
 
 Lent by Stephen G. Holland, Esq. 
 
 George Barret, the son of George Barret, R.A., was 
 among the first members of the Water Colour Society, and 
 acted for many years as Secretary to the Society. There 
 are several drawings of his at South. Kensington Museum. 
 He died after a long illness, and Copley Fielding wrote the 
 inscription on his tomb, which runs thus : “ This monument 
 was placed over his remains with the consent of his family 
 by the Society of Painters in Water Colours, in testimony 
 of their admiration of his talents as a landscape painter, and 
 of their esteem for him as a member of their Society. He 
 was one of its founders, and for near forty years the pro- 
 ductions of his genius were among its brightest ornaments.” 
 “The stone, which, like many round it, will soon be 
 illegible, lies flat in the grass beside a path in the north 
 division of the cemetery of St. Mary’s, Paddington Green.” 
 (Roget.) 
 
i7 
 
 1 9 A PALACE AND A PRISON. 
 
 Painted by Samuel Prout. 
 
 Size 25 X 18J inches. 
 
 Lent by the Duke of Devonshire, K.G. 
 
 “ I stood in Venice on the Bridge of Sighs 
 A Palace and a Prison on each hand.” 
 
 20 TIVOLI. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 26 X 40 inches. Date 1817. 
 
 Lent by Sir John Fowler, Bart., K.C. M.G. 
 
 qpHE beautiful Temple of Vesta stands 
 on the precipice which overhangs 
 the foaming torrent of the Anio. Sallust 
 and many other illustrious nobles had 
 houses at or near this lovely spot, and 
 Brutus and Cassius were said to have been 
 next door neighbours. 
 
 Forsyth, in his remarks on Tivoli, says : — 
 “It is all over, picture. The city, the 
 villas, the rocks, the cascades, the Sabine 
 hills, the Campagna, and, in the distance, 
 Rome. Tivoli cannot be described — no 
 true portrait of it exists — all views alter 
 and embellish it — they are poetical trans- 
 lations of the matchless original. Nature 
 gives the painter but scattered elements, 
 the composition must be his own.” 
 
 Engraved by E. Goodall. 
 
 Collection of Lord Ashbourne until 1863. 
 
 21 THE EMBARKATION. 
 
 Painted by George Barret. 
 
 Size 15J X 21 i inches. 
 
 Lent by George Fenton Smith, Esq. 
 
DURHAM. 
 
 Painted by G. F. Robson, 
 
 Size 13 X 19^ inches. 
 
 Lent by Stephen G. Holland, Esq. 
 
 '\/ r IEW looking across the river from 
 the West. 
 
 George Fennell Robson was born at Durham in 1788, 
 being the eldest of a family of twenty -five children. Early 
 in life he showed his talent as an artist, and at the age of 
 seventeen he came to London, where he earned his living by 
 his art. He exhibited at the Academy, and in 1813 became 
 a member of the Water Colour Society, becoming its 
 President in 1820. He was one of the Society’s most 
 energetic members, and it was due to him that the rooms in 
 Pall Mall were secured for the exhibitions. He sent to it 
 no less than 653 drawings during his nineteen years of 
 membership. It was while on a voyage in a fishing smack 
 to the north of England that he was taken dangerously ill ; 
 he was landed at Stockton-upon-Tees, and a few days later 
 after reaching his home in London, he died at the age of 
 only forty-five. 
 
 LAGO MAGGIORE. 
 
 Painted by Clarkson Stanfield, R.A. 
 
 Size 11 X 18 5 inches. 
 
 Lent by E. Steinkopff, Esq. 
 
 Collection of Mrs. Sara Austen until 1889. 
 
 WATERFALL, BETTWS-Y- 
 COED, VIEW LOOKING UP 
 THE FALLS. 
 
 Painted by David Cox. 
 
 Size 26 X 39I inches. 
 
 Lent by A. W. Nicholson, Esq. 
 
 A HAYFIELD. 
 
 Painted by David Cox. 
 
 Size 11 by 20 inches. 
 
 Lent by the Hon. W. F, D. Smith, M.P, 
 
19 
 
 26 POWIS CASTLE. 
 
 Painted by David Cox. 
 
 Size io X 14^ inches. 
 
 Lent by Colonel Sale, R.E. 
 
 27 “TOO HOT.” 
 
 Painted by William Hunt, R.W.S, 
 Size 15 X 10.^ inches. 
 
 Lent by George James, Esq. 
 Collection of C. Langton until 1862. 
 Collection of J. L. Clare until 1868. 
 Collection of W. Quilter until 1875. 
 
 28 HARBORNE RECTORY 
 AND CHURCH. 
 
 Painted by David Cox. 
 
 Size 11 X 14^ inches. Date 1843. 
 
 Lent by Messrs. Maclean. 
 
 David Cox is buried in the Churchyard of Har- 
 borne Church. 
 
 29 A GRAND SCOTTISH 
 LANDSCAPE. 
 
 Painted by Copley Fielding. 
 
 Size 30 X 46 inches. Date 1849. 
 
 Lent by Jesse Haworth, Esq. 
 
 Anthony Vandyke Copi.ey Fielding was one of a 
 family of artists, and as his name would infer he was 
 destined to be an artist. He was born in 1787. A pupil of 
 John Varley, he was eminent as a water colour painter, and 
 an able member of the Society whose President he after- 
 wards became. His subjects are landscapes and marine 
 pieces, the downs of Sussex, the wooded scenery 01 
 Yorkshire, and extended views of coast and sea. He 
 became very successful, amassed a large fortune, and died 
 at Worthing in 1855. 
 
 B 2 
 
20 
 
 3 o MOORS WITH 
 SPORTSMEN. 
 
 Painted by P. De Wint. 
 
 Size 13 X 28! inches. 
 
 Lent by George Fenton Smith, Esq. 
 
 Collection of Ayscough Fawkes. 
 
 3 x CARTING HOME THE 
 PLOUGH. 
 
 Painted by David Cox. 
 
 Size io£ X 14^ inches. 
 
 Lent by Alex. T. Hollingsworth, Esq. 
 
 Collection of William Leaf until 1875. 
 
 32 THE RESTLESS SITTER. 
 
 Painted by William Hunt. 
 
 Size 12 X 81 inches. 
 
 Lent by George James, Esq. 
 
 Collection of Thomas Addington, Esq., until 1886. 
 
 33 THE DOWNS, NEAR 
 BRIGHTON. 
 
 Painted by Thomas Collier, R.I. 
 
 Size 9.^ X 13! inches. 
 
 Lent by Alex. T. Hollingsworth, Esq. 
 
 34 SHERWOOD FOREST. 
 
 Painted by David Cox. 
 
 Size 29^ X 39 inches. 
 
 Lent by Frederick Nettlefold, Esq. 
 
 David Cox was born in 1773, at Birmingham, where his 
 father was a worker in iron. He was intended to follow in 
 his father’s footsteps, but owing to an accident, by which 
 he broke his leg, the course of his life was altered, and he 
 was sent to a drawing school. At the age of 17 he became 
 engaged at the theatre as a scene painter. Four years later 
 
21 
 
 he came to London, where he supported himself by scene 
 painting, and by making small sketches which he sold at 
 the print shops. After a time he entered the studio of John 
 Varley, and in 1808 married the daughter of his landlady, 
 and took a small cottage at Dulwich, where he obtained 
 pupils for drawing. In 1816 he removed to Hertford, 
 where he was installed as a drawing master for two days a 
 week at a ladies’ school. It was at this period that he 
 became a country member of the Water Colour Society, 
 and went on many sketching excursions in England and 
 Wales. Some years afterwards he returned to London, but 
 his love of rural life and retirement caused him two years 
 later to again take up his residence in the country. Green- 
 field House, Harborne, near his native Birmingham, was 
 his last abode, and he died there in 1859, being buried in 
 Harborne churchyard. (See No. 28.) 
 
 Painted by Samuel Prout. 
 
 Size 21 X 28 inches. 
 
 Lent by James Mason, Esq. 
 
 Collection of J. Leigh Clare, Esq., until 1868. 
 Collection of S. Addington, Esq., until 18S6. 
 Exhibited at the International Exhibition, 1862. 
 
 Samuel Prout was born in 1783 at Plymouth, and was 
 one of the earliest members of the Society of Painters in 
 Water Colours. He was educated at the Plymouth Gram- 
 mar School, and had as a fellow pupil B. R. Haydon. 
 When eighteen, he accompanied Mr. Britton on a sketching 
 tour into Cornwall, and later went to reside with him in 
 London as his assistant, remaining for two years. For some 
 years he painted the scenery of his native county, and in 
 1810 exhibited with the Associated Artists, and at the Royal 
 Academy. At the age of twenty-eight he returned to 
 London, being much employed as a teacher ; he also pub- 
 lished some of his studies, and wrote some small treatises 
 on painting. He first visited the Continent in 1819, and 
 sketched many of the picturesque buildings and market- 
 places in the North of France ; later in life he went to 
 Germany and Italy, and became famous as a painter of 
 foreign cathedrals, reproducing many of his sketches in 
 lithography. Towards the end of his life he resided, on 
 account of his health, at Hastings, from whence he wrote 
 
 HAYMAKING THE 
 MIDLANDS. 
 
 Painted by P. De Wint. 
 
 Size 14 X 21 inches. 
 
 Lent by Colonel Sale, R. E. 
 
 NUREMBURG. 
 
22 
 
 longingly of his “ dearest, sweetest London,” where in his 
 quiet studio he could keep himself, to use his own expression, 
 “ warm and snug.” He returned to London in 1845, and 
 after long years of suffering died at his home in Camberwell 
 at the age of sixty-eight. From early youth his health had 
 been delicate, but this, as the late S. C. Hall writes, 
 “ insteadof souring his temper made him more thoughtful 
 and considerate of the trials and troubles of others.” He 
 never dated his pictures “ except the day of the week,” so it 
 is difficult to assign to them the year of their production, but, 
 as Mr. Ruskin says in his article in the Art Journal , March, 
 1849, “the magnificent certainty and ease united obtained 
 by firmness of line always laid with positive intention are 
 only seen in drawings of his middle time.” 
 
 TITYRUS RESTORED TO 
 HIS PATRIMONY. 
 
 Painted by Samuel Palmer. 
 
 Size 20 X 272 inches. Date 1877. 
 
 Lent by George Gurney, Esq. , of Eastbourne. 
 
 “ O fortunate old man ! 
 
 Then these ancestral fields are yours again ; 
 
 * * * « 
 
 O fortunate, who now at last, among 
 
 Known streams and sacred fountain-heads have found 
 
 A shelter and a shade on your own ground.” 
 
 Samuel Palmer was born at Newington in 1805. In a 
 great measure he was self-taught, and at the age of fourteen 
 exhibited two pictures. When about eighteen he was 
 introduced by Linnell (whose daughter he afterwards 
 married) to William Blake, the poet painter, whom he ever 
 deeply reverenced. Suffering from indifferent health he 
 went to Shoreham, a village in Kent, where he lived for 
 seven years, painting the rural scenery in the neighbourhood. 
 He afterwards with his wife spent two years in Italy. He 
 resided for the latter part of his life at Reigate, where he 
 died in 1881. “ He is considered to be one of the most 
 
 poetical painters of the modern Water Colour School,” and 
 was a member of the Etching Club, producing in that branch 
 of art many highly prized works. 
 
 COUPLING HOUNDS. 
 
 Painted by Frederick Tayler, R.W.S. 
 
 Size 35.2 X 28 inches. Date 1856. 
 
 Lent by Sir Walter Gilbey, Bart. 
 
 Frederick Tayler was born near Elstree, in Hertford- 
 shire, in 1804. He was educated for his profession at Sass’s 
 Academy in Bloomsbury, became a student of the Royal 
 Academy, and also studied in Paris with Horace Vernct 
 
2 3 
 
 He also visited Rome. In 1834 he. was elected a member 
 of the Old Water Colour Society, being elected its President 
 in 1858, on the death of Copley Fielding. This office he 
 held until 1871, when he retired, and was succeeded by 
 Sir John Gilbert. He depicted animal subjects, and de- 
 lighted in hunting and hawking scenes, both of past and 
 present times. He was a great sportsman, and many of his 
 pictures were painted in Scotland, upon his numerous visits 
 to that country. He was a member of the Etching Club, 
 and many of his paintings have been reproduced. His work 
 was much praised by Ruskin in “ Modern Painters.” He 
 died at Hampstead in 1889, at the age of 87. 
 
 39 ON THE RIVER DART. 
 
 Painted by P* De Wint. 
 
 Size 22 X 36 inches. 
 
 Lent by Stephen G. Holland, Esq. 
 
 Peter de Wint was descended from a Dutch family, who 
 had settled in America. His father came from thence to 
 England, and his son Peter was born at Stone in Stafford- 
 shire, in 1784. He was intended to follow his father’s 
 profession of medicine, but finding that he had no taste for 
 it he was allowed at the age of eighteen to work under 
 Raphael Smith, an engraver, where his life-long friend, 
 W. Hilton (who was afterwards Keeper of the Royal 
 Academy, and whose sister he married) also studied. His 
 life to use the words of his biographer, was “uneventful as 
 the course of a Dutch river.” During his life he never 
 visited the Continent, and his greatest pleasure was to be in 
 the open air sketching the scenery of England, more par- 
 ticularly of his favourite county, Yorkshire, being personally 
 regardless of weather. He was often a visitor with his wife 
 at the country seats of wealthy patrons of art. He was one 
 of the first artists who instituted the now common custom 
 of inviting his friends and patrons to his studio to see his 
 pictures before sending them to the exhibitions. His last 
 drawing, one of a series of eleven, his final contribution to 
 the gallery of the “ Old Water Colour Society” was of his 
 beloved City of Lincoln, the home of his wife s family. The 
 City is seen in the solemn stillness of eve, when “ fades the 
 glimmering landscape on the sight,” and he borrowed for it 
 those exquisite lines of Gray. He died on the 30th June, 
 1849, from an illness acquired while sketching in the New 
 Forest. 
 
 40 SEA-WEED GATHERERS. 
 
 Painted by F. W. Topham. 
 
 Size 24 X 30 inches. Date 1872. 
 
 Lent by George Gurney, Esq. , of Eastbourne. 
 
 Francis William Topham was born at Leeds in 1808. 
 He was a water colour painter of figure subjects, and was 
 
24 
 
 mostly self-taught. He was also a line engraver, and 
 illustrated many of Sir Walter Scott's novels, Burns’ poems, 
 and Moore's melodies and poems, and other works too 
 numerous to mention. He became a member of the Old 
 Water Colour Society in 1848, and his subjects, many of 
 them foreign, were very attractive and popular. His ‘‘ best 
 works are remarkable for power and depth of colour.” He 
 died at Cordova, in Spain, in 1877. 
 
 41 THE SWOOPING TERROR 
 OF THE DESERT. 
 
 Painted by Carl Ilaag, R.W.S. 
 
 Size 26 X 52 inches. Date 1873. 
 
 Lent by Mrs. Wattenbach. 
 
 Exhibited at the Royal Water Colour Society, 1873. 
 
 Painted by Sir Francis Powell, P.R.S.W.S. 
 Size 16 X 26 inches. Date 1881. 
 
 Lent by Lockett Agnew, Esq. 
 
 HOMEWARD bound brigantine and 
 steam-tug seeking a tow. 
 
 43 THE ARAB SCRIBE. 
 
 44 HARLECH CASTLE. 
 
 42 NEARING PORT. 
 
 Painted by J. F. Lewis, R.A., R.W.S. 
 Size i8£ X 24 inches. 
 
 Lent by George Fenton Smith, Esq. 
 Collection of J. Harris until 1872. 
 
 Painted by E. M. Wimperis, R I. 
 Size 19 X 30 inches. Date 1875. 
 Lent by W. Y. Baker, Esq. 
 
25 
 
 45 VENICE. VIEW ON THE 
 GIUDECCA. 
 
 Painted by James Holland. 
 
 Size 13 X 21 inches. Date 1858. 
 
 Lent by Stephen G. Holland, Esq. 
 
 Collection of Birket Foster, Esq., until 1894. 
 
 James Holland was born at Burslem in 1800. and came 
 to London in 1819. For some time he supported himself 
 by painting flowers, exhibiting his works at the Royal 
 Academy. Not until 1831 did he devote himself to land- 
 scape painting. His constant visits to the Continent 
 resulted in the production of many excellent works, both in 
 oil and water colours. In 1858 he was elected a member of 
 the Society of Painters in Water Colours. He died in 
 London in 1870. 
 
 46 THE STAG HUNT. 
 
 Painted by Frederick Tayler, R.W.S. 
 
 Size 14 X 20 inches. 
 
 Lent by Sir Walter Gilbey, Bart. 
 
 47 SALT CREEK. 
 
 Painted by Thomas Collier, R. I. 
 
 Size gl X 13! inches. 
 
 Lent by Alex. T. Plollingsworth, Esq. 
 
 48 THE HAREEM OF A BEY. 
 
 Painted by J. F. Lewis, R.A., R.W.S. 
 
 Size 354 X 53 inches. Date, Cairo, 1849. 
 
 Lent by J. W. Birch, Esq. 
 
 Exhibited at the Royal Water Colour Society, 1S50. 
 Collection of Joseph Arden until 1879. 
 
 49 THE ARCH OF THE 
 RIALTO, VENICE. 
 
 Painted by James Holland. 
 
 Size 13 X 22 inches. 
 
 Lent by Stephen G. Holland, Esq. 
 
 Collection of Birket Foster, Esq., until 1894. 
 
26 
 
 jo A BORDER RAID. 
 
 Painted by Hubert Ilerkomer, R. A., R.YV.S. 
 Size 14 X 20 inches. Date 1876. 
 
 Lent by YV. S. Caine, Esq., M.P. 
 
 51 SHORE SCENE, CARDIGAN 
 BAY. 
 
 Painted by Thomas Collier, R.I. 
 
 Size 9.2 X 13I inches. 
 
 Lent by Alex. T. Hollingsworth, Esq. 
 
 52 LILIUM AURATUM. 
 
 Painted by J. F. Lewis, R.A., R.W.S. 
 
 Size 21 £ X 132 inches. 
 
 Lent by \V. Cuthbert Quilter, Esq., M.P. 
 
 '“jpHIS beautiful Oriental scene shows an 
 Odalisque and her attendant in the 
 garden of the harem. Both are richly 
 attired. The lady holds a costly Tchnak 
 vase with red and white roses in it, and the 
 young girl, evidently amused at something, 
 also carries flowers. The two have come 
 through a perfect wilderness of lilies, 
 poppies, pansies, and fuschia to a doorway, 
 over which is a climbing rose with number- 
 less blooms. In the background is seen 
 a low wall with a row of orange trees, 
 beyond which are the blue waters of the 
 Bosphorus. It is a gorgeous production, 
 and remarkable for minute finish through- 
 out. 
 
27 
 
 A larger version in oil was formerly in the collection 
 of the late David Price, and was exhibited at the 
 first Loan Exhibition at the Guildhall in 1890. 
 
 John Frederick Lewis was born in London in 1805. He 
 received his early tuition in Art from his father, who was an 
 engraver and landscape painter. He exhibited at the 
 Royal Academy in 1821, and his first achievements were in 
 animal painting and chiefly in water colour. In 1843 he 
 went to the East and remained there for several years, 
 during which time he executed many of his best works. On 
 his return to England in 1851 he resided at Walton-on- 
 Thames. He died in 1876. 
 
 53 PUY D’EVRAIGNE, 
 AUVERGNE. 
 
 Painted by G. P. Boyce, R.W.S. 
 
 Size 13 X 16 inches. 
 
 Lent by W. S. Caine, Esq., M. P. 
 
 54 DANGER IN THE DESERT. 
 
 Painted by Carl Haag, R.W.S. 
 
 Size 26 X 52 inches. Date 1872. 
 
 Lent by Mrs. Walter Field. 
 
 55 THE QUARRY PATH. 
 
 Painted by Alfred D. Fripp, R.W.S. 
 
 Size 19 X 30 inches. 
 
 Lent by Sir John Fowler, Bart., K.C.M.G. 
 
 56 A NORFOLK FERRY. 
 
 Painted by R. B. Macbeth, A.R.A. 
 
 Size 8| X 16 inches. Date 1895. 
 
 Lent by C. T. Harris, Esq. 
 
 57 CHANGING PASTURES. 
 
 Painted by R. Thorne Waite, R.W.S. 
 
 Size 26^ X 392 inches. 
 
 Lent by the Artist. 
 
28 
 
 58 VENICE. 
 
 Painted by Albert Goodwin, R.W.S. 
 
 Size II X 15 inches. Date 1882. 
 
 Lent by Colonel Sale, R.E. 
 
 59 SILENCE OVER THE SEA. 
 
 Painted by Albert Goodwin, R.W.S. 
 
 Size 10 X 13 inches. Date 1895. 
 
 Lent by Humphrey Roberts, Esq. 
 
 60 THE PULPIT OF ST. 
 ALPHEGE CHURCH, 
 GREENWICH. 
 
 Painted by Miss Ellen Gilbert. 
 
 Size 15! X 10 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Royal Society of British Artists, 
 1891. 
 
 61 PLUMS. 
 
 Painted by John Sherrin, R. I. 
 
 Size 12 X 17^ inches. 
 
 Lent by W. Y. Baker, Esq. 
 
 62 BEN NEVIS. 
 
 Painted by Birket Foster, R.W.S. 
 
 Size 29 X 45f inches. 
 
 Lent by John H. Foster, Esq. 
 
 Chicago Exhibition, 1893. 
 
 63 CHANGING PASTURES. 
 
 Painted by John Pedder. 
 
 Size 17 X 30 inches. 
 
 Lent by W. S. Caine, Esq., M.P. 
 
29 
 
 64 THE LOVE LETTER. 
 
 Painted by E. K. Johnson, R.W.S*, 
 
 Size 14I X 19J inches. 
 
 Lent by Samuel Elliott Atkins, Esq., Deputy. 
 
 A GIRL ascending the staircase is dis- 
 covered, by her father, reading a love 
 letter, which she endeavours to conceal. 
 
 65 ADDRESSING HIS 
 CONSTITUENTS. 
 
 Painted by A. C. Gow, R.A., R.I. 
 
 Size 17 X 11 inches. Date 1880. 
 
 Lent by S. T. Gooden, Esq. 
 
 66 DURHAM— EVENING. 
 
 Painted by Philip Norman, F.S.A. 
 
 Size 1 1 X 20 inches. 
 
 Lent by the Artist. 
 
 Exhibited in the New Gallery, 1895. 
 
 67 A TIGRESS. 
 
 Painted by John M. Swan, A.R.A. 
 
 Size 9! X 12 inches. Date 1895. 
 
 Lent by Ernest Hart, Esq. 
 
 68 A MOSQUE— TUNIS. 
 
 Painted by Ernest George, R.P.E. 
 
 Size 9^ X 14 inches. 
 
 Lent by the Artist. 
 
 69 RICHMOND, YORKSHIRE. 
 
 Painted by Bernard Evans, R.I., R.B.A. 
 
 Size 27 X 41 inches. 
 
 Lent by W. Y. Baker, Esq. 
 
3 ° 
 
 70 ‘DO TELL US.’ 
 
 Painted by Arthur Hopkins, A.R.W.S. 
 Size 1 1 X 8 inches. 
 
 Lent by Colonel Sale, R.E. 
 
 71 WILD CLEMATIS IN 
 EARLY SPRING. 
 
 Painted by J. W. North, A.R.A., R.W.S. 
 Size II X 18 inches. 
 
 Lent by Humphrey Roberts, Esq. 
 
 72 CHARLES'S WAIN— GIRLS 
 RETURNING FROM A 
 CHRISTMAS DANCE AT A 
 FARM. 
 
 Painted by J. W. North, A.R.A., R.W.S. 
 
 Size 26 X 36 inches. Date 1872. 
 
 Lent by Humphrey Roberts, Esq. 
 
 73 THE FIRST SWALLOW. 
 
 Painted by Frederick Walker, A.R.A., R.W.S. 
 Size 13I x inches. 
 
 Lent by Hubert Ilerkomer, Esq., R.A. 
 
 GREAT white hawthorn, in all the 
 exuberant loveliness of full May, 
 mirrors its fragrant snow in a shallow 
 stream, across which flits the swallow. 
 Through the sun and shadow of the walk 
 just beyond, move gently, in full enjoy- 
 ment of the moment, a fair-haired young 
 girl and a boy still younger, her brother 
 
3i 
 
 beyond doubt, she, sheltering herself from 
 the sun’s first hot rays and encircling the 
 boy with her arm, he, dividing his enjoy- 
 ment between his sister’s caress and the 
 big book which he lazily holds. The 
 May tree in bloom is painted as perhaps 
 no May tree was ever painted before, with 
 perfect accuracy in every detail.” Claude 
 Phillips. 
 
 74 WEARY. 
 
 Painted by Hubert Herkomer, R.A., R.W.S. 
 Size io X 8 inches. 
 
 Lent by Humphrey Roberts, Esq. 
 
 75 DURHAM. 
 
 Painted by A. W. Hunt, R.W.S. 
 Size 9! X 14I inches. Date 1872. 
 Lent by C. T. Harris, Esq. 
 
 76 STUDY OF MUSHROOM 
 AND FUNGI. 
 
 Painted by Frederick Walker, A.R.A., R.W.S. 
 Size 7x11 inches. Date 1868. 
 
 Lent by Humphrey Roberts, Esq. 
 
 this exquisite piece of finished work 
 Mr. Ruskin, writing to the Times on 
 20th January, 1876, said, “It entirely 
 beats my dear old William Hunt in the 
 simplicity of its execution, and rivals him 
 in the subtlest truth.” 
 
32 
 
 77 “AND THEY SAW ON THE 
 OTHER SIDE A PLEASANT 
 LAND FULL OF FLOWERS 
 AND WINDING PATHS, 
 
 AND DID HEAR THE SONG 
 OF THE SINGING BIRDS.” 
 
 Painted by Albert Goodwin, R.W.S. 
 
 Size io X 14 inches. Date 1875. 
 
 Lent by Humphrey Roberts, Esq. 
 
 78 FOREST FLOWERS. 
 
 Painted by Henry Tidey. 
 
 Size 24 X 42 inches. Date 1871. 
 
 Lent by John Brinton, Esq. 
 
 79 APOLLO. 
 
 Painted by Briton Riviere, R.A. 
 
 Size 33 X 37 inches. Date 1874. 
 
 Lent by Humphrey Roberts, Esq. 
 
 “ Apollo’s self, 
 
 Deigned to become a shepherd on the hills, 
 
 And tune his lays along the woodland slopes ; 
 Whereat entranced the spotted lynxes come, 
 
 To mingle with thy flocks ; from Othry’s glen 
 Troop’d tawny lions, e’en the dappled fawn 
 Forth from the shelter of her pinewood haunts, 
 Tripped to the music of the Sun-god’s lyre ; 
 
 Euripides ‘ Alcestis.' ” 
 
 80 JACOB INTRODUCED TO 
 PHAROAH. 
 
 Painted by E. J. Poynter, R.A., R.W.S. 
 
 Size 13 X 18 inches. Date 1865. 
 
 Lent by William Coltart, Esq. 
 
33 
 
 8 1 THE UNVEILING OF THE 
 RHIGI. 
 
 Painted by Albert Goodwin, R.W.S. 
 
 Size io X 14 inches. 
 
 Lent by C. T. Harris, Esq. 
 
 8a SPRING. 
 
 Painted by W. Pilsbury, A. R.W.S. 
 
 Size 11 X 17 inches. Date 1884. 
 
 Lent by Colonel Sale, R. E. 
 
 83 AESTHETIC AMENITY. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 
 Size 6.| X 5 inches. Date 1889. 
 
 Lent by C. J. Galloway, Esq. 
 
 84 LILLE, 1708. THE 
 GARRISON MARCHING 
 OUT WITH THE HONOURS 
 OF WAR. 
 
 Painted by A. C. Gow, R.A., R.I. 
 
 Size 12 X 17 inches. Date 1888. 
 
 Lent by Humphrey Roberts, Esq. 
 
 85 TYNEMOUTH PIER. 
 
 Tainted by A. W. Hunt, R.W.S. 
 
 Size 15 X 21 inches. Date 1868. 
 
 Lent by Plumphrey Roberts, Esq. 
 
 86 THE DELECTABLE 
 MOUNTAINS. 
 
 Painted by Albert Goodwin, R.W S. 
 
 Size 24 X 36 inches. 
 
 Lent by Humphrey Roberts, Esq. 
 
 C 
 
34 
 
 87 AN OLD SHEPHERD. 
 
 Painted by Max Ludby, R.I. 
 
 Size 14 X II inches. Date 1893. 
 
 Lent by Colonel Sale, R. E. 
 
 88 POT POURRI. 
 
 Painted by Kate Hayllar. 
 
 Size 13 X 10 inches. 
 
 Lent by John Aird, Esq., M.P. 
 
 89 The following Twenty Vignettes by 
 J. W. M. Turner, R.A., were executed 
 by him as illustrations to the edition of 
 Campbell’s Poems, published by Moxon 
 in 1837. They have never before been 
 publicly exhibited. 
 
 a Camp Hill, Hastings. 
 b Kosciusko. 
 c Swiss Valley, Theodoric. 
 d The Beech Tree’s Petition. 
 e Lord Ullins’ Daughter. 
 f The Dead Eagle. 
 g Battle of the Baltic. 
 li The Brave Roland. 
 i Andes, Coast. 
 i The Soldier’s Dream. 
 k Ode to the Germans. 
 
 I Hohenlinden. 
 m Lochiel’s Warning. 
 n Gertrude of Wyoming — the Waterfall 
 0 Sinai. 
 p Wyoming. 
 q The Last Man. 
 r Death-boat of Heligoland. 
 s O’Connor’s Child. 
 t Summer Eve, Rainbow. 
 
 Lent by Sir Donald Currie, K.C.M.G. 
 
35 
 
 9 0 THE PYRAMIDS OF 
 DASPIOOR AND SACCARA, 
 LOWER EGYPT. 
 
 Tainted by David Roberts, R.A. 
 
 Size 13! X 19^ inches. Date 1839. 
 
 Lent by William Rome, Esq., F.S.A. 
 
 Engraved. 
 
 91 ST. LUKE’S CHAPEL— 
 NORWICH CATHEDRAL. 
 
 Painted by J. S. Cotman. 
 
 Size 13 X 18 inches 
 Lent by J. J. Colman, Esq. 
 
 John Sell Cotman was born at Norwich in 1782. At 
 the age of 18 he came to London and exhibited at the 
 Royal Academy. Six years later he returned to Norwich 
 and became member and secretary of the Norwich Society 
 of Artists. After a residence of some years at Yarmouth, 
 and frequent visits to France, he was appointed, in 1834, 
 Professor of Drawing in King’s College School, London, 
 which post he held until his death in 1842. He was elected 
 an Associate of The Water Colour Society in 1825. 
 
 92 THE DRACHENFELS. 
 
 Painted by J. W. M. Turner, R.A. 
 
 Size 8 X inches. 
 
 Lent by Sir Donald Currie, K.C.M.G. 
 
 '“jpHE Castle of Drachenfels, or the 
 “Dragon’s Rock,” is placed on the 
 highest peak of “the seven mountains,” 
 and almost overhangs the Rhine nearly 
 opposite to Rolandseck, and not far from 
 the City of Bonn. 
 
 In the beautiful lines addressed from the 
 Drachenfels by Lord Byron to his sister 
 
 c 2 
 
Lady Augusta Leigh, the following are the 
 concluding words : — 
 
 “ The charm of this enchanted ground, 
 
 And all its thousand turns, disclose 
 Some fresher beauty varying round ; 
 
 Nor could on earth a spot be found 
 To nature or to me so dear, 
 
 Could thy dear eyes in following mine 
 Still sweeten more these banks of Rhine.” 
 
 Collection of Thomas Brown until 1869. 
 Collection of Mrs. Leech. 
 
 Art Treasures Exhibition, Manchester, 1878. 
 
 STRATFORD CHURCH. 
 EVENING GLOW. 
 
 Painted by Edward Duncan. 
 
 Size 13 X 19.I inches. Date 1866. 
 
 Lent by George Gurney, Esq. , of Eastbourne. 
 
 Edward Duncan, known chiefly as a marine painter, was 
 born in London, in 1803. “ From childhood,’' writes Mr. 
 
 Jenkins, “ he seems to have had a pencil constantly in his 
 hands.” At first the boy seemed destined to become an 
 architect, but in the end he was bound to one of the Havells 
 to study as an engraver. For some years he pursued this 
 profession, “halting between the necessity of living and the 
 inclination to devote himself to painting.” He commenced 
 exhibiting pictures in London in 1830, and joined the Water 
 Colour Society in 1848. Most of his large subjects are 
 incidents associated with the sea, though he was also success- 
 ful in landscapes with figures introduced. His drawings are 
 very numerous. “ Though his life was unusually busy, he 
 was never known to be in a hurry. Thus he found ample 
 time and leisure to do his best in everything. There are no 
 signs of haste in the composition of his drawings.” The 
 events of his life are mostly connected with his work as an 
 artist, as were also the places he visited. In 1875, he writes 
 complaining of rheumatism, but still kept on working, and 
 it was not until the spring of 1882 that he breathed his last. 
 
 DESCENT UPON JERICHO 
 AND THE VALLEY OF 
 THE JORDAN. 
 
 Painted by David Roberts, R.A. 
 
 Size I2§ X 19.^ inches. Date 1839. 
 
37 
 
 Lent by William Rome, Esq., F.S.A. 
 
 Engraved. 
 
 David Roberts was born at Stockbridge, near Edinburgh 
 in 1796. Early in life he worked as a scene painter, and in 
 1822 he caire to London, and was employed for many years 
 in that capacity at Drury Lane. He first exhibited at the 
 Royal Academy in 1826, and was elected an Associate of 
 that body in 1839 and full Member in 1841. In the pursuit 
 of Art he frequently visited the Continent and the East, 
 painting equally well in oil or water colour. He died 
 suddenly in 1864, while engaged in some large pictures on 
 the Thames. 
 
 IN AN ORCHARD. 
 
 Painted by Frederick Walker, A.R.A., R.W.S. 
 Size io£ X 8| inches. Date about 1868. 
 
 Lent by J. P. Ileseltine, Esq. 
 
 Frederick Walker was born in Marylebone in 1840, and 
 early in life became a student at the Royal Academy. He 
 had already begun to draw on wood, and received employ- 
 ment on the periodicals “Once a Week,” “ The Cornhill 
 Magazine,” and other illustrated publications. In 1866 he 
 was elected a Member of the Society of Painters in Water 
 Colours, and in 1871 an Associate of the Royal Academy. 
 He died in 1875 at the early age of 35, and was buried at 
 Cookham, where his brother artists erected a tablet to his 
 memory. Cookham was in the midst of his favourite 
 sketching haunts. His pictures have great feeling, and any 
 incident he painted was clothed by him with an intensely 
 poetic beauty. He is represented in the National Collection 
 by “ The Vagrants,” painted in 1868, and by “The Har- 
 bour of Refuge.” 
 
 THE STILE. 
 
 Painted by Birket Foster, R.W.S. 
 
 Size 10 X 7 inches. 
 
 Lent by W. Y. Baker, Esq. 
 
 CHRISTMAS— CHOIR OF 
 ANGELS. 
 
 Painted by Louisa, Marchioness of Waterford. 
 Size 5 X inches. 
 
 I^ent by the Hon. Miss Mary Canning. 
 
Louisa, Marchioness of Waterford, was the daughter 
 of Lord and Lady Stuart de Rothesay. Lord Stuart was 
 ambassador for several years in Paris, and he was there 
 during the exciting time of the entry of the allies into 
 the capital. On her father's side she was descended from 
 Lady Mary Wortley Montagu. Lady Waterford and 
 her sister Lady Canning, spent their early youth in Paris, 
 but after her marriage to the Marquis of Waterford, her life 
 was spent with him at Curraghmore in Ireland, where she 
 divided her time between painting, to which she was 
 devoted, and visiting the Irish poor. After the death of 
 Lord Waterford, from an accident in the hunting field, she 
 resided principally in England, and died in 1891. In the 
 Summer of 1892 an exhibition of her works, to the number 
 of 343, was held at the residence of the Countess Brownlow, 
 the proceeds being devoted to the mission work which Lady 
 Waterford had established among the colliery villages on 
 the coast of Northumberland. 
 
 98 THE STUDENT. 
 
 Painted by Charles Green, R.I. 
 
 Size 9f X 6 1 inches. Date 1881. 
 
 Lent by Alex. T. Hollingsworth, Esq. 
 
 99 PORTRAIT OF THE ARTIST, 
 IN GERMAN COSTUME OF 
 THE XVI CENTURY. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 
 Size 10 X 7 inches. Date 1887. 
 
 Lent by C. J. Galloway Esq. 
 
 100 KING RENE’S 
 HONEYMOON. 
 
 Painted by Ford Madox Brown. 
 
 Size 10* X 7 inches. Date 1864. 
 
 Lent by William Coltart, Esq. 
 
 J^ING RENE was the titular King of 
 Naples, and was well versed in the 
 Arts. He is here seen with his bride 
 discussing the building of a new palace, 
 the plans for which lie on the grass before 
 
39 
 
 them. The design of this picture was 
 carried out on a larger scale, as representing 
 architecture, for the decoration of a cabinet, 
 being one of four panels, the remaining 
 three, representing Music, Painting and 
 Sculpture being undertaken by D. G. 
 Rossetti and Burne-Jones. 
 
 10 1 A DRAWING. 
 
 Painted by J. M. Whistler. 
 
 Size 9 X 6j inches. 
 
 Lent by A. Arnold Hannay, Esq. 
 
 102 “COSETTE,” 
 
 FROM VICTOR HUGO’S “ LES 
 MISERABLES.” 
 
 Painted by Sir J. E. Millais, Bart, P.R.A. 
 
 Size 5 X 3 1 inches. Date 1863. 
 
 Lent by George Fenton Smith, Esq. 
 
 103 THE DRACHENFELS. 
 
 Painted by T. M. Richardson, R.W.S. 
 
 Size 9 X I2| inches. Date 1843. 
 
 Lent by Mrs. Nathan. 
 
 Thomas. Miles Richardson was born in 1813, and came 
 of an artistic family. From the date of his election, in 1851, 
 to the Water Colour Society, his name is entered as T. M. 
 Richardson, Junr., to distinguish him from his father, who 
 was also a water colour painter of ability, and founder of 
 the Newcastle Society of Painters in Water Colour. He 
 was a most prolific painter, and exhibited a very large 
 number of works. He died in 1890. 
 
 104 A DEAD KING-FISHER. 
 
 Painted by Mrs. Coleman Angell, A.R.W.S. 
 
 Size 6x8 inches. 
 
 Lent by H. J. Veitch, Esq. 
 
 In the Murrietta collection until 1893. 
 
40 
 
 Helen Cordelia ANc.ELLwas born at Horsham in Sussex, 
 in 1847. She received tuition at an early age from her 
 artist brother, William Coleman, and exhibited at the first 
 exhibition of the Dudley Gallery in 1865. Her subjects 
 were flowers, fruit, and birds. In 1875 she married Mr. T. 
 W. Angeli, and in the same year was invited to become a 
 member of the Water Colour Institute. In 1879 she was 
 elected an Associate of the Royal Society of Painters in 
 Water Colours. Mrs. Angeli succeeded Valentine Bar- 
 tholomew in his office of Flower Painter in Ordinary to her 
 Majesty, and died in 1884, at the early age of thirty-seven. 
 
 105 A LOOK AT THE MODEL. 
 PORTRAIT OF THE ARTIST. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 
 Size 10 X 14 inches. Date 1884. 
 
 Lent by C. J. Galloway, Esq. 
 
 Paris Exhibition, 1889. 
 
 106 THE MINUET. 
 
 Painted by Sir J. E. Millais, Bart., P.R.A. 
 
 Size 13! X 9I inches. 
 
 Lent by Abraham Haworth, Esq. 
 
 A LITTLE girl making her debut in the 
 stately dance of Queen Anne’s time. 
 A larger version of this, in oil (43 X 33), 
 was painted 1866. One of the painter’s 
 daughters, now Mrs. James, being the 
 model. 
 
 107 THE RIVALS. 
 
 Painted by Randolph Caldicott, A. R.W.S. 
 
 Size (oval), 10 X 8 inches. 
 
 Lent by Lockett Agnew, Esq. 
 
 Randolph Caldicott was born at Chester in 1846. _ He 
 came to London in 1872, and is understood to have received 
 no art education. He is well known as a book-illustrator, 
 and in 1875 published his drawings for Washington Irving’s 
 Sketch Book, and, later, many children’s books — “The 
 
4i 
 
 io8 
 
 109 
 
 1 10 
 
 hi 
 
 112 
 
 House that Jack built,” "John Gilpin,” etc. He was a 
 member of the Water Colour Society, but rarely exhibited 
 in public galleries. He was a sufferer through life from an 
 affection of the heart, which made all exercise difficult to 
 him. He died at Florida in 1886 at the age of forty. 
 
 A DRAWING. 
 
 Painted by J. M. Whistler. 
 
 Size 9^ X 6 i inches. 
 
 Lent by A. Arnold Hannay, Esq. 
 
 DEAD BIRDS. 
 
 Painted by Mrs. Coleman Angell, A.R.W.S. 
 Size 5x8 inches. 
 
 Lent by H. J. Veitch, Esq. 
 
 OFF CULLERCOATES, 
 NORTHUMBERLAND. 
 
 Painted by T. M. Richardson, R.W.S. 
 
 Size 9 X 13I inches. Date 1843. 
 
 Lent by Mrs. Nathan. 
 
 THE LOST CHILD. 
 
 Painted by W. Holman Hunt, R.W.S. 
 
 Size 5^ X 32 inches. 
 
 Lent by George Fenton Smith, Esq. 
 
 A MOTHER is seeking consolation 
 from the Bible for the loss of her 
 daughter, who has fled from her. 
 
 A DREAM AT DAWN. 
 
 Painted by Sir John E. Millais, Bart., P.R.A. 
 Size 10 X 7 inches. Date 1868. 
 
 Lent by Sir John Fowler, Bart., Iv.C.M.G. 
 
42 
 
 1 13 OVERTURES FOR PEACE. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 
 Size 5 1 X 82 inches. Date 1885. 
 
 Lent by C. J . Galloway, Esq. 
 
 Paris Exhibition, 1889, where it was awarded the 
 Gold medal. 
 
 1 14 A STEP ON THE STAIRS. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 
 Size 8x5! inches. Date 1890. 
 
 Lent by C. J. Galloway, Esq. 
 
 1 15 THE PENSIONER’S 
 GARDEN. 
 
 Painted by Mrs. Allingham, R.W.S. 
 
 Size 15 X 25 inches. Date 1876. 
 
 Lent by Charles Churchill, Esq. 
 
 1 16 THE “DIES IRAE.” 
 
 RHEIMS CATHEDRAL. 
 
 Painted by Wyke Bayliss, P.R.B.A. 
 
 Size 27 X 18 inches. 
 
 Lent by J. Garner Marshall, Esq. 
 
 1 17 PHILIP IN CHURCH. 
 
 Painted by Frederick Walker, A.R.A., R.W.S. 
 Size 17I X 144 inches. Date 1864. 
 
 Lent by Mrs. Henry Tate. 
 
 'Y'HE composition was first designed in 
 black and white for Thackeray’s Novel 
 of “The adventures of Philip,” and ap- 
 peared in the Cornhill Magazine in 1862. 
 
 “ This exquisite work secured for the artist 
 
43 
 
 the second-class medal at the Paris Inter- 
 national Exhibition, 1867, a distinction 
 not obtained by any other exhibited 
 drawing in the same medium.” Claude 
 Phillips . 
 
 Royal Society of Painters in Water Colours, 1864. 
 
 1 18 AFTER SUNSET, VICENZA. 
 
 Tainted by Miss Clara Montalba, R.W.S. 
 
 Size 22 X 15 inches. 
 
 Lent by the Artiste. 
 
 1 19 SOLOMON EAGLE. 
 
 Painted by F. J. Shields, A.R.W.S. 
 Size 28 X 20 inches. 
 
 Lent by C. J. Pooley, Esq. 
 
 ^OLOMON EAGLE was an enthusiast 
 who went about London during the 
 great plague of 1665, denouncing judgment 
 and exhorting the people to repentance. 
 Sometimes he was totally without clothing 
 and with a pan of flaring charcoal upon 
 his head. 
 
 Exhibited at the Manchester Jubilee Exhibition, 
 
 1887. 
 
 120 VENICE— THE GRAND 
 CANAL. 
 
 Painted by Birket Foster, R.W.S. 
 
 Size 13! X 21 inches. 
 
 Lent by George Fenton Smith, Esq. 
 
21 TIMON AND APEMANTUS. 
 
 Painted by Sir John Gilbert, R.A., P.R.W.S. 
 
 Size 30 X 24^ inches. Date 1883. 
 
 Lent by the Artist. 
 
 Exhibited at the Royal Society of Painters in 
 Water Colours, 1884. 
 
 22 ST. GEORGE. 
 
 Painted by E. J. Gregory, A.R.A., R.I. 
 Size 26 X 22 inches. Date 1877. 
 
 Lent by C. J. Galloway, Esq. 
 
 Paris Exhibition, 1878. 
 
 23 THE RETURN OF 
 HIAWATHA. 
 
 Painted by A. B. Houghton, A.R.W.S. 
 
 Size 30 X 42 inches. Date i860. 
 
 Lent by W. S. Caine, Esq., M.P. 
 
 “ Full of wrath was Hiawatha 
 When he came into the village, 
 
 Found the people in confusion, 
 
 Heard of all the misdemeanors. 
 
 All the malice and the mischief. 
 
 Of the cunning Pau-Puk-Keewis.” 
 
 is the custom among the North 
 American Indians, the women bear 
 the burdens and do the menial work. 
 Here Minnehaha (Laughing Water) is 
 seen, heavily laden with the camping 
 materials, while her husband Hiawatha 
 walks freely and unencumbered. 
 
 Arthur Boyd Houghton, a figure painter, was the son ot 
 a captain in the Royal Navy, and was born in 1836. He 
 became an Associate of the Royal Society of Painters in 
 Water Colours, and took to art rather late in life. His 
 name is associated with drawings on wood, and he was 
 employed by Dalriel Bros., upon their illustrated edition 
 of the “ Arabian Nights.” He also worked on the Graphic , 
 but he shows to more advantage in his paintings as “he 
 
45 
 
 was a rich and powerful colourist.” Most of his subjects 
 are of an Eastern character, but there are several which 
 touch, such as the present work, upon the Far West, among 
 the Indians of North America. He died at the age of 
 thirty-nine. 
 
 124 SONNING. 
 
 Painted by George A. Fripp, R.W.S. 
 
 Size 14! X 25 J inches. 
 
 Lent by Sir Richard E. Webster, G.C.M.G., M.P. 
 
 125 OFF GUARD. 
 
 Painted by Sir J. D. Linton, P.R.I. 
 
 Size 22 \ X 43 inches. 
 
 Lent by C. J. Galloway, Esq. 
 
 Paris Exhibition, 1878. 
 
 126 GLENCOE. 
 
 Painted by W. Collingwood Smith, R.W.S. 
 
 Size 27 X 39^ inches. 
 
 Lent by Sir Richard E. Webster, G.C.M.G., M.P. 
 
 William Collingwood Smith was born in 1815 at 
 Greenwich, where his father held an appointment under 
 the Admiralty. His first appearance as an artist was at the 
 Royal Academy in 1836. It was only early in life that he 
 painted in oil colour, and after joining the Water Colour 
 Society he became a water colour painter entirely. His 
 earliest subjects are nearly all marine, but otherwise they 
 are landscapes — many in England, and in Italy and other 
 countries. Fie lived in or near London, and at one time 
 had a number of pupils, many of them distinguished, and 
 who, later, became members of his own society, to which 
 society he acted as treasurer for many years. During the 
 last thirty years of his life he resided on ilrixton Hill, and 
 died there in 1887 at the age of seventy-one. 
 
 127 THE HOLY MOTHER. 
 
 Painted by Frederick Goodall, R.A. 
 
 Size 31 £ X 20^ inches. Date 1881. 
 
 Lent by J. Morris, Esq. 
 
46 
 
 128 TWILIGHT ON THE 
 DOWNS. 
 
 Painted by Henry Hine. 
 
 Size ii£ X 2 i\ inches. Date 1884. 
 
 Lent by Alex. T. Hollingsworth, Esq. 
 
 129 JOAN OF ARC’S ENTRY 
 INTO ORLEANS. 
 
 Painted by Sir John Gilbert, R.A., P.R.W.S. 
 
 Size 19 X 40 inches. 
 
 Lent by Humphrey Roberts, Esq. 
 
 JN 1428 the City of Orleans was besieged 
 by the English, and for the successful 
 part that Joan took toward the relief of 
 the City, she was called the “Maid of 
 Orleans.” “ The maid, the maid is 
 come” was the joyful cry. Arrayed in 
 military attire and carrying her consecrated 
 banner, she entered the City on horseback 
 a little before nightfall and was received 
 by the enthusiastic inhabitants as one sent 
 by heaven to succour them. 
 
 “ A light of ancient France.” ( Tennyson .) 
 
 Exhibited at the Royal Water Colour Society, 1871. 
 Collection of William Leaf, Esq., until 1875. 
 
 130 A GREY AFTERNOON. 
 
 Painted by A. F. Grace. 
 
 Size 29 X 43 inches. 
 
 Lent by the Artist. 
 
47 
 
 131 FAIR WIND AND FINE 
 WEATHER. 
 
 Painted by C. Napier Hemy, A.R.W.S. 
 
 Size 24 X 36 inches. Date 1892. 
 
 Lent by R. E. Tatham, Esq. 
 
 132 A FAIRY SYMPHONY. 
 
 Painted by Hubert Herkomer, R.A., R.W.S. 
 
 Size 1 5 X 26 inches. 
 
 Lent by Clarence E. Fry, Esq. 
 
 133 THE MARRIAGE OF EVA 
 AND STRONGBOW. 
 
 Painted by Daniel Maclise, R.A. 
 
 Size 20 X 31 \ inches. 
 
 Lent by J. Broughton Dugdale, Esq. 
 
 '^pHE Earl of Pembroke, surnamed 
 “ Strongbow,” undertook (a.d. 1170), 
 to assist the King of Leinster to regain his 
 sovereignty on condition that his daughter 
 Eva was espoused to him. Strongbow 
 attacked the town of Waterford, obtaining 
 entrance to which, he put most of its 
 inhabitants to the sword, and scarcely was 
 the blood washed from his hand, when he 
 gave it in wedlock to Eva ; the nuptials 
 being celebrated on the battle-field. 
 
 Exhibited at the Manchester Jubilee Exhibition, 
 1887. 
 
 The large picture of this, in oil, was exhibited in 
 the Royal Academy, 1854, and is now in the 
 National Gallery of Ireland. 
 
Daniel Maclise, R.A., was born at Cork in 1811, and 
 studied at the School of Art there. He gave much attention 
 to the study of anatomy, which laid the foundation for his 
 “future pre-eminence in figure drawing.” He came to 
 London in 1827, centered the Schools of the Royal Academy, 
 and gained silver medals and also the gold medal in 182^. 
 He was elected Associate of the Royal Academy, and in 
 1840 became Royal Academician. His death occurred in 
 1870. 
 
 THE YOUNGER FOSCARI. 
 
 Painted by Ford Madox Brown. 
 
 Size 36 X 24 inches. Date 187a 
 Lent by W. Cuthbert Quilter, Esq., M.P. 
 Collection of F. Craven, Esq., until 1895. 
 
 F the 15th century the illustrious Fran- 
 cesco Foscari was Doge of Venice. 
 After an unusually long tenure of office the 
 affairs of state began to grow heavy upon 
 him and he sought to resign, but he was 
 compelled by the Senate to make oath to 
 retain the Dogeship for life. Giacopo, his 
 only surviving son had married one of the 
 distinguished house of Contarini, and four 
 years later was denounced for having 
 received presents from Foreign potentates. 
 He was tortured and he confessed and was 
 banished for life to Napoli di Romania. 
 A few years after, Hermolao Donato, a 
 chief of the Council of ten, was murdered 
 in the streets of Venice. One of Giacopo’s 
 domestics had been seen in the City on 
 the evening of the murder, and suspicion 
 falling on Giacopo he was brought to 
 Venice, when he denied all participation 
 
49 
 
 in the crime, but he was cruelly tortured 
 and sent back to exile. Once again, after six 
 more years of banishment he was brought 
 before the dreaded tribunal on the accu- 
 sation of having sought the intervention of 
 the Duke of Milan to effect his return to 
 Venice, and for the third time he was 
 mercilessly tortured. One interview was 
 permitted him with his young wife before 
 his return to exile, and this is illustrated in 
 the picture. In due time he reached his 
 Candian prison, where it had been decreed 
 he should pass the first year of his exile — 
 but ere the year was over he was released 
 by death. 
 
 Ford Madox Brown was born at Calais in 1821. He was 
 educated on the Continent, and studied Art at the Academy 
 at Bruges, and also at Ghent and Antwerp, and at the age 
 of twenty-three submitted cartoons for the competition for 
 the wall decoration at Westminster. In i 848 he was sought 
 out by Rossetti, with the intention of being received by him 
 as a pupil, and a strong friendship was formed between the 
 two men. In 1865 he exhibited fifty of his pictures in a 
 Gallery in Piccadilly. His greatest production is considered 
 to be one entitled “Work," now in the Corporation of 
 Manchester Gallery. It was in the first Guildhall Exhi- 
 bition in 1890. For many of the later years of his life he 
 was engaged in decorating in fresco the Town Hall of 
 Manchester. He died in 1893. 
 
 135 THE LADY AND THE 
 CRANES. 
 
 Painted by H. Stacy Marks, R.A. 
 
 Size 8 X 20 inches. 
 
 Lent by H. J. Veitch, Esq. 
 
 Exhibited in the Royal Society of Painters in 
 Water Colours, 1886. 
 
 D 
 
1 36 LOVE DISGUISED AS 
 REASON. 
 
 Painted by Sir E. Burne-Jones, Bart., R.W.S. 
 Size 26 £ X 12^ inches. Date 1870. 
 
 Lent by Gertrude, Countess of Pembroke. 
 Paris Exhibition, 1878. 
 
 Collection of William Graham until 1886. 
 
 137 PERSEFONE UMBRA. 
 
 Painted by Mrs. Marie Stillman. 
 
 Size 19.2 X 152 inches. 
 
 Lent by Mrs. Middleton. 
 
 138 GREEN SUMMER. 
 
 Painted by Sir E. Burne-Jones, Bart., R.W.S. 
 Size 9x11 inches. Date 1864. 
 
 Lent by William Coltart, Esq. 
 
 LADY in black, with white head-gear, 
 is reading from an illuminated book 
 to seven others clad in green, who are 
 seated around on the daisied grass. A 
 running stream and trees with slender 
 stems are seen beyond ; 
 
 “ There is sweet music here that softer falls, 
 
 Than petals from blown roses on the grass.” 
 
 139 WASHING HANDS. 
 
 Painted by D. G. Rossetti, 1865. 
 
 Size 17 X 14 inches. 
 
 Lent by W. Cuthbert Quilter, Esq., M.P 
 Collection of F. Craven, Esq., until 1S95. 
 
51 
 
 j4o PAOLO AND FRANCESCA 
 DA RIMINI. 
 
 Painted by D. G. Rossetti. 
 
 Size 15I X 13 inches. 
 
 Lent by W. R. Moss, Esq. 
 
 JpRANCESCA, the beautiful daughter of 
 Guido da Polenta, Lord of Ravenna, 
 was wedded towards the close of the 
 thirteenth century to Lanciotto, son of the 
 Lord of Rimini, a man deformed in his 
 person, who, later, discovered her in guilty 
 companionship with his brother Paolo, 
 and slew both him and her. The tragic 
 event occurred in Dante’s lifetime, and he 
 twice refers to it in his “Divina Corn- 
 media,” and speaks of his encountering 
 Paolo and Francesca in the second circle 
 of “ Llell,” where carnal sinners are tossed 
 about ceaselessly in the darkness by furious 
 winds. Francesca then tells him her sad 
 story, and Dante is so overpowered by 
 pity that he sinks in a swoon. He had 
 probably known her when an innocent girl 
 living under her father’s roof. The episode 
 is said to have been written by him in the 
 very house at Rimini in which Francesca 
 was born. It is recorded that Paolo and 
 Francesca were buried together, and that 
 three hundred years afterwards their bodies 
 were found at Rimini, with Francesca’s 
 silken garments yet fresh. 
 
 D 2 
 
52 
 
 141 THE SUPPER AT EMMAUS. 
 
 Painted by Ford Madox Brown. 
 
 Size 21 X 185 inches. Date 1876. 
 
 Lent by C. J. Pooley, Esq. 
 
 142 JERUSALEM DURING 
 RAMAZAN. 
 
 Painted by W. Holman Hunt, R.W.S. 
 
 Size 8 1 X 13I inches. 
 
 Lent by Jesse Haworth, Esq. 
 
 Collection of T. E. Plint, Esq., until 1862. 
 Collection of Sir John Pender, until 1873. 
 
 143 A GREEK HIGH PRIEST. 
 
 Painted by Simeon Solomon. 
 
 Size 17 X 13 inches. Dated Rome, 1867. 
 
 Lent by William Coltart, Esq. 
 
 144 THE LADY LILITH. 
 
 Painted by D. G. Rossetti. 
 
 Size 20 X 17 inches. Date 1867. 
 
 Lent by William Coltart, Esq. 
 
 'ytiE Thalmudists say that Adam had a 
 wife called Lillis before he married 
 Eve, and on this hint Rossetti (as Mr. F. 
 G. Stephen’s says) “ set about to educe in 
 solid form his notions of the fair and evil- 
 hearted witch, who had been originally 
 formed like a serpent.” He painted her 
 as a modern type of “ Body’s Beauty ” as 
 distinguished from that of the “Soul’s 
 Beauty.” 
 
53 
 
 Beware of her fair hair for she excels 
 All women in the magic of her locks, 
 
 And when she twines them round a young man’s neck 
 She will not ever set him free again.” 
 
 (Goethe,) 
 
 The larger version in oil is dated 1864. 
 
 Gabriel Charles Dante Rossetti was born in London in 
 1828. He was the son of Gabriele Rossetti, who was exiled 
 from Italy for his political opinions and came to London. He 
 entered the Schools of the Royal Academy in 1846, and in 
 1848 became one of the prime movers in the famous Pre- 
 Raphaelite revolt. In 1850, his brother, William Michael 
 Rossetti, edited “The Germ," a periodical which demon- 
 strated the principles of the brotherhood ; but it was short- 
 lived. Among the works painted according to its principles 
 was the “ Ecce Ancilla Domini,” now in the National 
 Gallery. For the next ten years his chief productions were 
 a series of water colours inspired by passages in the “ Vita 
 Nuova” and the “ Divina Commedia.” In 1860, after a 
 long engagement, he married Elizabeth Eleanor Siddal, a 
 girl of characteristic beauty and a model for some of his 
 most famous works. She died in 1862 from an overdose 
 of laudanum, and on the day of her burial Rossetti placed 
 the manuscript of all his poems, as a last gift, in her coffin. 
 In the autumn of that year he removed to Cheyne Walk, 
 Chelsea, and between that time and 1869 produced some of 
 his finest paintings, achieving a splendour of colour that 
 may be compared with the productions of the great Venetians, 
 and has seldom been surpassed in modern times. In 1869 
 he was prevailed upon to permit the exhumation of his 
 buried manuscripts, and in the following year the first 
 collection of his poems appeared. At this time symptoms of 
 weak health appeared, and he suffered terribly from insomnia. 
 To obtain relief he resorted to chloral, with the customary 
 results. Early in 1882 he went to Birchington, and on the 
 Easter Sunday of that year he died. 
 
 145 APRES LE BAL. 
 
 Painted by Mrs. Lucy Rossetti. 
 
 Size 28| X 23I inches. Date 1869. 
 
 Lent by Miss Olivia F. M. Rossetti. 
 
 146 THE MAGIC MIRROR. 
 
 Painted by Mrs. Lucy Rossetti. 
 
 Size 29 J X 24! inches. Date 1872. 
 
 Lent by Miss Olivia F. M. Rossetti. 
 
 £ORNELIUS AGRIPPA is showing 
 a Vision of the Fair Geraldine to 
 Lord Surrey. 
 
54 
 
 Exhibited at the Dudley Gallery, 1872. 
 
 Emma Lucy Rossetti— known as Lucy Madox Rossetti — 
 was the only child that survived of Ford Madox Brown’s 
 first marriage with his cousin, Elizabeth Bromley. She was 
 born in Paris in 1843. When she was three years old her 
 young mother died of consumption, and at the age of eleven 
 she came to live for some years in the Rossetti family. With 
 the exception of some instruction in drawing at the age of 
 nine, she had no art tuition until she was twenty-five, when 
 her capabilities, inherent and acquired, brilliantly declared 
 themselves. She studied under her father, and during the 
 following eleven years painted some ten remarkable pictures. 
 In 1874 she married Mr. William Michael Rossetti. After 
 an attack of pneumonia in 1885 her health failed ; she 
 developed consumption, accelerated by her father’s death, 
 which occurred in October, 1893. She died at San Remo 
 the following Spring, and is buried in the cemetery there. 
 
 147 GOD’S ACRE. 
 
 Painted by J. M. Macintosh, R.B.A. 
 
 Size 17 X 14 inches. 
 
 Lent by the Artist. 
 
 148 FRESH FROM THE HILLS. 
 
 Painted by Tom Lloyd, R.W.S. 
 
 Size 39.^ X 29.^ inches. Date 1883. 
 
 Lent by Alfred Palmer, Esq. 
 
 149 A SOMERSETSHIRE 
 TROUT STREAM. 
 
 Painted by J. W. North, A.R.A., R.W.S. 
 
 Size 25 X 33 inches. Date 1875. 
 
 Lent by W. S. Caine, Esq., M.P. 
 
 150 THE OLD GARDEN, 
 WIMILLE. 
 
 Painted by Lionel Smythe, R.W.S. 
 
 Size 23^ X l8£ inches. Date 1890. 
 
 Lent by John Gabbitas, Esq. 
 
55 
 
 15 1 THE FEAST OF ROSES, 
 
 FROM MOORE’S “LALLA ROOKH ” 
 
 Painted by Henry Tidey. 
 
 Size 33 X 40 inches. Date 1859. 
 
 Lent by Her Majesty the Queen. 
 
 'Y'HE warm tints of a summer night 
 are diffused throughout the picture. 
 Lamps sparkling on dome and minaret 
 are reflected in the lake, so that even 
 the moonlit sky is seen through a lumi- 
 nous haze. Unconscious alike of the 
 beauty of the scene and of the roses 
 scattered in profusion at his feet, Selim, 
 the lord of this garden of the earth, 
 moves on, himself unmoved, possessed 
 but by the thought of Nourmahal, with- 
 out whom even the lovely Vale of Cash- 
 mere is a desert, its gardens, its lake and 
 its feast of roses, a mockery. 
 
 “ But never yet by night or day, 
 
 Did the sweet Valley shine so gay 
 As now it shines — all love and light ! 
 
 Visions by day, and feasts by night ! ” 
 
 Exhibited at the New Water Colour Society, 1859. 
 
 Henry F. Tidey, the son of a schoolmaster, was born 
 at Worthing in 1814. He first exhibited at the Royal 
 Academy in 1839. In 1859 he became a member of the 
 Institute of Painters in Water Colours. He painted figure 
 subjects, many of them being of large size, and dealing in 
 several cases with Oriental subjects. He was very success- 
 ful also in the portraits of children, and in historical subjects. 
 He died in 1872. 
 
 152 IN EARLY SPRING. 
 
 Painted by Tom Lloyd, R.W.S. 
 
 Size 16 X 36 inches. Date 1891. 
 Lent by R. E. Tatham, Esq. 
 
GILBERT A BECKET’S 
 TROTH. 
 
 Painted by G. J. Pinwell, R.W.S. 
 
 Size 22 \ X 43 inches. Date 1871. 
 
 Lent by Sir John Jaffray, Bart. 
 
 QILBERT A BECKET, a Saxon 
 Yeoman of obscure birth, was taken 
 prisoner in the Holy Land in the times of 
 the Crusades, and reduced to slavery. In 
 this condition he attracted the notice of 
 the daughter of a Saracen Chief and gained 
 her love. By her aid he effected his escape 
 and returned to England. She could not 
 live without him and determined to find 
 her way to the distant country whither he 
 had told her he was going. She knew 
 only two words of English “ London ” and 
 “ Gilbert,” and by the help of the former 
 word she obtained a passage to England 
 where she wandered through the country 
 repeating “Gilbert,” “ Gilbert,” till at last 
 by the aid of certain traders she found the 
 man she loved. Gilbert appears to have 
 received her tenderly, and having taken 
 council with the clergy, he caused her to 
 be baptized, and changing her name to 
 that of “ Matilda ” he wedded her. The 
 Saracen maiden is here seen entering 
 London at sundown. 
 
 Exhibited at the Royal Water Colour Society, 1 87 1. 
 Manchester Jubilee Exhibition, 1887. 
 
57 
 
 George John Pinwell was born in London in 1842. In 
 his work, as also in his life, a great similarity exists to that 
 of Frederick Walker. He was elected to the Water Colour 
 Society in 1869. He died at the age of thirty-three, after 
 spending some time in Tangier for the benefit of his health. 
 
 154 LUXOR, THEBES. 
 
 Painted by Frank Dillon, R.I. 
 
 Size 23 X 41 inches. 
 
 Lent by the Artist. 
 
 155 LOVE’S MESSENGER. 
 
 Painted by Mrs. Stillman. 
 
 Size 33 ;x 27 inches. 
 
 Lent by Mrs. Middleton. 
 
 156 LETHE. 
 
 Drawn by Frederick Sandys. 
 
 Size 47^ X 28! inches. 
 
 Lent by Lord Battersea. 
 
 Study for an oil painting. 
 
 157 QUEEN MAB. 
 
 Painted by Henry Tidey. 
 
 Size, oval, 37 X 46 inches. Date i860. 
 
 Lent by Mrs. Phillips. 
 
 “p'HE theme of this picture is the de- 
 parture of a human soul from the 
 body. The soul of Ianthe is seen rising 
 at the summons of Queen Mab, who is in 
 the act of extracting it by a wave of her 
 wand from the sleeping figure. The 
 chariot of the Fairy Queen with the celestial 
 coursers, and the Queen herself with her 
 “thin and misty form moved with the 
 
moving air,” and spreading a halo round 
 the scene, constitute an unearthly pageantry. 
 
 Exhibited at the New Society of Painters in Water 
 Colors, i860. 
 
 International Exhibition, 1862. 
 
 158 PROSERPINE. 
 
 Drawn by Frederick Sandys. 
 
 Size 47 X 33 inches. 
 
 Lent by Lord Battersea. 
 
 Study for an oil painting. 
 
 pROSERPINE was the daughter of 
 Ceres and was carried off by Pluto 
 to the lower regions while she was gathering 
 flowers on the plains of Enna. 
 
 “ That fair field 
 
 “ Of Enna, where Proserpine gathering flowers, 
 
 Herself a fairer flower, by gloomy Dis was gathered.” 
 
 (Milton.) 
 
Index of gontriDnfors. 
 
 « 
 
 Her Majesty the Queen, 151. 
 
 Agnew, Lockett, Esq., 42, 107 
 
 Aird, John, Esq., M.P., 88 
 
 Ashton, T., Esq., J.P., 8 
 
 Atkins, S. E., Esq., Dep., 64 
 
 Baker, W. Y., Esq., 44, 61, 69, 96 
 
 Battersea, Lord, 156 
 
 Birch, J. W., Esq., 9, 48 
 
 Brinton, J., Esq., 78 
 
 Buckley, Abel, Esq., 16 
 
 Caine, W. S., Esq., M.P., 50, 53, 63, 123, 149 
 
 Canning, Hon. Miss Mary, 97 
 
 Churchill, Chas., Esq., 115 
 
 Colman, J. J., Esq., 91 
 
 Coltart, W., Esq., 80, 100, 138, 143, 144 
 
 Currie, Sir Donald, K.C.M.G., 7, 11, 89, 92 
 
 Devonshire, Duke of, K.G., 19 
 
 Dugdale, J. Broughton, Esq., 133 
 
 Field, Mrs. Walter, 54 
 
 Fowler, Sir John, Bart., 20, 55, 112 
 
 Foster, J. H., Esq., 62 
 
 Fry, Clarence E., Esq., 132 
 
 Gabbitas, John, Esq., 150 
 
 Galloway, Charles J., Esq., 83, 99, 105, 1 13, 114, 122, 125 
 
 George, Ernest, Esq., 68 
 
 Gilbert, Miss Ellen, 60 
 
 Gilbert, Sir John, R.A., 12 1, 129 
 
 Gilbey, Sir Walter, Bart., 38, 46 
 
 Gooden, Stephen T., Esq., 65 
 
 Grace, A. F., Esq., 130 
 
 Gurney, George, Esq., 12, 15, 37, 40, 93 
 
 Hannay, A. Arnold, Esq., 101, 108 
 
 Harris, C. T., Esq., 56, 75, 81 
 
 Hart, Ernest, Esq., 67 
 
 Haworth, A., Esq., 2, 106 
 
6o 
 
 Haworth, Jesse, Esq., 29, 142 
 Herkomer, H., Esq., R.A., 73 
 Heseltine, J. P., Esq., 95 
 Holland, Stephen G., Esq., 18, 22, 39, 45, 49 
 Hollingsworth, A. T., Esq., 47, 51, 98, 128 
 JafTray, Sir John, Bart., 153 
 James, George, Esq., 27 
 Joicey, Sir James, Bart., I 
 Maclean, Messrs., 28 
 Macintosh, J. M., Esq., R.B.A., 147 
 Marshall, J. Garner, Esq., 116 
 Mason, James, Esq., 36 
 Maw, C., Esq., 17 
 Middleton, Mrs., 137, 155 
 Montalba, Miss Clara, 118 
 Morris, J., Esq., 127 
 Moss, W. R., Esq., 140 
 Nathan, Mrs., 5, 103, no 
 Nettlefold, F., 34 
 Nicholson, A. W., Esq., 24 
 Norman, Philip, Esq., 66 
 Palmer, Alfred, Esq., 148 
 Pembroke, Gertrude, Countess of, 136 
 Phillips, Mrs., 157 
 Pooley, C. J., Esq., 1 19, 141 
 Quilter, W. Cuthbert, Esq., M.P., 52, 1 34, 1 39 
 Roberts, Humphrey, Esq., 13, 59, 71, 72, 74, 76, 77, 79, 
 84, 85, 86, 129 
 Rome, W., Esq., 90, 94 
 Rossetti, Miss Olivia F. M., 145, 146 
 Sale, Colonel, R.E., 26, 35, 58, 70, 82, 87 
 Smith, G. Fenton, Esq., 3, 14, 21, 43, 102, III, 120 
 Smith, Hon. W. F. D., M.P., 6, 10, 25 
 Steinkopff, E., Esq., 23 
 Tate, Mrs. Henry, 117 
 Tatham, R. E., Esq., 13 1, 1 52 
 Veitch, H. J., Esq., 104, 109, 1 35 
 Wattenbach, Mrs., 41 
 
 Webster, Sir Richard E., G.C.M.G,, 124, 126 
 
Tndex of flrti$t$. 
 
 « 
 
 Allingham, Mrs., R.W.S., 115 
 
 Angell, Mrs. C., A.R.W.S.,’104, 109 
 
 Barret, G., 18, 21 
 
 Bayliss, Wyke, P.R.B.A., 116 
 
 Boyce, G. VV., R.W.S., 53 
 
 Brown, F. Madox., 100, 134, 141 
 
 Burne-Jones, Sir E., Bart., R.W.S., 136, 138 
 
 Caldicott, R., A.R.W.S., 107 
 
 Collier, T., R.I., 33, 47, 51 
 
 Cotman, J. S., 91 
 
 Cox, David, 24, 25, 26, 28, 31, 34 
 
 De Wint, P., 14, 30, 35, 39 
 
 Dillon, Frank, R.I., 154 
 
 Duncan, E., 93 
 
 Evans, Bernard, R.I., 69 
 
 Fielding, Copley, 1, 2, 16, 29 
 
 Foster, Birket, R.W.S., 62, 96, 120 
 
 Fripp, A. D., R.W.S., 55 
 
 Fripp, G. A., R.W.S., 124 
 
 George, Ernest, R.P.E., 68 
 
 Gilbert, Miss, 60 
 
 Gilbert, Sir John, R.A., P.R.W.S., 121, 129 
 
 Goodall, Frederick, R.A., 127 
 
 Goodwin, Albert, R.W.S., 58, 59, 77, 81, 86 
 
 Gow, A. C., R.A., 65, 84 
 
 Grace, A. F., 130 
 
 Green, Chas., 98 
 
 Gregory, E. J., A.R.A., 83, 99, 105, 1 13, 1 14, 122 
 
 Haag, Carl, R.W.S., 41, 54 
 
 Hayllar, Miss K., 88 
 
 Hemy, C. Napier, A.R.W.S., 13 1 
 
 Herkomer, H., R.A., R.W.S., 50, 74, 132 
 
 Hine, H,, 128 
 
 Holland, J., 45, 49 
 
62 
 
 Hopkins, A., A.R.W.S., 70 
 
 Houghton, A. B., A.R.W.S., 123 
 
 Hunt, A. W., R.W.S., 75, 85 
 
 Hunt, W., R.W.S., 3, 15, 17, 27, 32 
 
 Hunt, W. Holman, R.W.S., 111, 142 
 
 Johnson, E. K., R.W.S., 64 
 
 Lewis, J. F., R.A., R.W.S., 43, 48, 52 
 
 Linton, Sir J. D., P.R.I., 125 
 
 Lloyd, Tom, R.W.S., 148, 152 
 
 Ludby, M., R.I., 87 
 
 Macbeth, R. W., A.R.A., R.W.S., 56 
 
 Macintosh, J. M., R.B.A., 147 
 
 Maclise, D., R.A., 133 
 
 Marks, H. S., R.A., R.W.S., 135 
 
 Millais, Sir J. E., Bart., P.R.A., 102, 106, 112 
 
 Montalba, Miss Clara, R.W.S., 118 
 
 Norman, Philip, F.S.A., 66 
 
 North, J. W., A.R.A., R.W.S., 71, 72, 149 
 
 Oakley, Oct., R.W.S., 5 
 
 Palmer, Samuel, 37 
 
 Pedder, J., 63 
 
 Pinwell, G. J., R.W.S., 153 
 
 Pilsbury, W., A.R.W.S., 82 
 
 Powell, Sir Francis, R.W.S., P.R.S.W., 42 
 
 Poynter, E. J., R.A., 80 
 
 Prout, Samuel, 19, 36 
 
 Richardson, T. M., Junr., R.W.S., 103, no 
 
 Riviere, Briton, R.A., 79 
 
 Roberts, David, R.A., 9, Do, 94 
 
 Robson, G. F., R.W.S., 22 
 
 Rossetti, D. G., 139, 140, 144 
 
 Rossetti, Mrs. Lucy, 145, 146 
 
 Sandys, F., 156 
 
 Sherrin, J., R.I., 61 
 
 Shields, F. J., A.R.W.S., 119 
 
 Smith, W. Colling wood, R.W.S., 126 
 
 Smythe, Lionel, R.W.S., 150 
 
 Solomon, S. , 143 
 
 Stanfield, Clarkson, R.A., 23 
 
 Stillman, Mrs., 137, 155 
 
6 3 
 
 Swan, J. M., A. R.A., 67 
 Tayler, F., R.W.S., 38, 46 
 Tidey, H., 78, 151, 157 
 Topham, F. W., R.W.S., 40 
 
 Turner, J. W. M., R.A., 6, 7, 8, 10, 11, 12, 13, 20, 89, 92 
 Varley, J., 4 
 
 Waite, R. Thorne, R.W.S., 57 
 
 Walker, Frederick, A.R.A., R.W.S., 73, 76, 95, 117 
 
 Waterford, Louisa, Marchioness of, 97 
 
 Whistler, J. M., 101, 108 
 
 Wimperis, E.M., R.I., 44 
 
_ JN 
 
 /1KI G/JLL6RY. 
 
 LOAN COLLECTION 
 
 PRICE SIXPENCE 
 

CORPORATION OF LONDON 
 
 Sift Callerjp. 
 
 w 
 
 atalogue of tfje 
 loan Collection 
 
 of pictures. 
 
 By Painters of the British School who 
 have flourished during Her 
 Majesty’s Reign. 
 
 
 L 
 
 AN 
 
 V 
 
 PREPARED BY A. G. TEMPLE, F.S.A., 
 
 Director of the Art Gallery of the 
 Corporation of London . 
 
 M/ 
 
 EDWARD LEE, Esq., 
 
 CHAIRMAN. 
 
 1897. 
 
IVertheimer , Lea & Co 
 Printers 5 
 
 Circus Place 3 London TVaL , ii.C. 
 
Committee 
 
 \£A 
 
 9 
 
 THE RIGHT HONOURABLE THE LORD MAYOR. 
 EDWARD LEE, Esq., Chairman. 
 
 Sir REGINALD HANSON, Bart., M.P., LL.D., F.S.A., Alderman. 
 Sir STUART KNILL, Bart., F.S.A., Alderman. 
 
 Sir WALTER WILKIN, K.C.M.G., Alderman. 
 
 Lt.-Col. H. D. DAVIES, M.P., Alderman. 
 
 MARCUS SAMUEL, Esq., Alderman. 
 
 JOHN POUND, Esq., Alderman. 
 
 GEORGE PEPLER, Esq., Deputy. 
 
 RICHARD OSMOND HEARSON, Esq. 
 
 EDWARD ANSTED, Esq. 
 
 ALFRED JORDAN HOLLINGTON, Esq. 
 
 FREDERICK DADSWELL, Esq., Deputy. 
 
 ROWLAND NEATE PERRIN, Esq. 
 
 HENRY WILLIAM BROWN, Esq. 
 
 WILLIAM BATTYE, Esq. 
 
 JOHN KING FARLOW, Esq. 
 
 ARTHUR BYRE HUDSON, Esq., F.S.I. 
 
 WILLIAM HENRY THOMAS, Esq. 
 
 CHARLES WALLINGTON, Esq. 
 
 JOHN FRANKLAND HEPBURN, Esq. 
 
 SAMUEL ELLIOTT ATKINS, Esq., Deputy. 
 
 RICHARD IRISH COLLIER, Esq. 
 
 JAMES CALVERT COATES, Esq. 
 
 JOSEPH DOUGLASS MATHEWS, Esq., F.R.I.B.A., F.S.I. 
 CHARLES JONES CUTHBERTSON, Esq. 
 
 BANISTER FLETCHER, Esq., J.P., F.R.I.B.A. 
 
 WILLIAM COOPER, Esq. 
 
 JOHN LOBB, Esq., F.R.G.S. 
 
 CHARLES THOMAS HARRIS, Esq. 
 
 OCTAVIUS DIXIE DEACON, Esq. 
 
 ARTHUR HOLT BARBER, Esq. 
 
 CHARLES JOHN TODD, Esq. 
 
 JAMES PERKINS, Esq., F.R.G.S, 
 
 Captain WILLIAM CHARLES SIMMONS, Deputy. 
 
 JAMES GEORGE WHITE, Esq., Deputy. 
 
 WALTER OWEN CLOUGH, Esq., M.P. (Past Chairman). 
 WILLIAM ROME, Esq., F.S.A., F.L S. 
 
 A 2 
 

 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
/ 'J~'HE present is the Sixth Exhibition held at the Guildhall. 
 
 The First was in 
 
 1890 and it was 
 
 visited by 109,383 
 
 ,, Second ,, 
 
 1892 
 
 ■ „ 236,362 
 
 ,, Third ,, 
 
 Ti- 
 
 er. 
 
 00 
 
 , ,, 300,366 
 
 ,, Fourth ,, 
 
 1895 „ 
 
 , ,, 262,810 
 
 ,, Fifth ,, 
 
 1896 
 
 , ,, 124,271 
 
 
 Total 
 
 ... 1,033,192 
 
 Early Flemish and Dutch examples, and works of the British 
 School have been shown in these Exhibitions. The Fifth Exhibition 
 was exclusively of water colours, and a portion only of the Galleries 
 was devoted to it. 
 
 In addition to the above number, the permanent Collection of 
 the Corporation has been visited, since its establishment in 1886, by 
 468,430, bringing the total number of visitors to the Guildhall Art 
 Gallery to 1,501,622. 
 
 The Exhibition now open is entirely of works of the British 
 School by painters who have flourished during Her Majesty’s reign. 
 
 The Library Committee of the Corporation of London desire 
 to express their thanks to the owners of works for the kindness 
 with which many distinguished and valuable paintings have been 
 placed at their disposal for the Exhibition. 
 
 The Exhibition will be open from Wednesday, the 7th April, to 
 Wednesday, the 14th July, inclusive. 
 
 Week Days 10 a.m. to 7 p.m. 
 
 Sundays 3 p.m. to 7 p.m. 
 
 The Admission will be free. 
 
 A. G. TEMPLE, 
 
 Director. 
 
 Art Gallery of the 
 
 Corporation of London, 
 
 Guildhall, London, E.C. 
 6 th April , 1897. 
 

 
 
 
GALLERY I. 
 
 MARBLE BUST OF HER 
 MAJESTY QUEEN VICTORIA, 
 EMPRESS OF INDIA. 
 
 By JOHN DURHAM, A.R.A. 
 
 MINIATURE PORTRAIT OF HER 
 MAJESTY QUEEN VICTORIA, 
 EMPRESS OF INDIA. 
 
 By MRS. CORBOULD ELLIS. 
 
 R EPLICA of the miniature inserted in the jewel 
 presented by the Queen to the Emperor of 
 China, in return for the presents brought by Li Hung 
 Chang in August, 1896. 
 
 Presented to the Corporation of London by 
 H. HOMEWOOD CRAWFORD, ESQ., City Solicitor, 
 1897. 
 
8 
 
 GALLERY I. 
 
 1 MISS ETHEL ISMAY (MRS. 
 GEOFFREY DRAGE). 
 
 By LUKE FILDES, R.A. Canvas 55 x 40 inches. 
 Lent by T. H. ISMAY, ESQ. 
 
 Exhibited, Royal Academy, 1892. 
 
 2 THE HERRING MARKET AT 
 SEA. 
 
 By COLIN HUNTER, A.R.A. Canvas 41 x 71 inches. 
 Lent by the CORPORATION OF MANCHESTER. 
 Exhibited Royal Academy, 1884. 
 
 T HE scene was painted on Loch Fyne, the time 
 being early morning. The steamers are owned 
 by herring dealers, who follow the boats to the fishing 
 ground for the purpose of getting the fish at once and 
 taking it to the Greenock or Glasgow markets. 
 
 3 GOD’S SHRINE. 
 
 By HUBERT HERKOMER, R.A., R.W.S. 
 
 Canvas 68 x 96 inches. 
 
 Lent by ALEXANDER YOUNG, ESQ. 
 
 4 IN MANUS TUAS DOMINE. 
 
 By BRITON riviere, R.A. Canvas 57 x 84 inches. 
 Lent by ABRAHAM HAWORTH, ESQ. 
 
 Exhibited, Royal Academy, 1879. 
 
GALLERY I. 
 
 9 
 
 5 THE NEWHAVEN PACKET. 
 
 By I-IENRY MOORE, R.A. Canvas 47^ x 83^ inches. 
 Lent by the CORPORATION OF BIRMINGHAM. 
 Exhibited, Royal Academy, 1885. 
 
 Henry Moore was bom at York in 1831. Pie was a brother to 
 Albert Moore, and studied under his father at the York Art 
 Schools, and afterwards in the schools of the Royal Academy. Pie 
 first directed his attention to landscape painting, until 1858, when 
 he began the study of the sea, and has since become famous as one 
 of our most successful and talented marine painters. He was made 
 Associate of the Royal Academy in 1885 and died in 1895. 
 
 6 CALEDONIA STERN AND 
 WILD. 
 
 By PETER GRAPIAM, R.A. Canvas 48 x 72 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
IO 
 
 GALLERY I. 
 
 7 QUEEN ELIZABETH RECEIV- 
 ING THE FRENCH AMBASSA- 
 DOR AFTER THE MASSACRE 
 OF ST. BARTHOLOMEW. 
 
 By W. F. YEAMES, R.A. Canvas 41 x 66 inches. 
 Lent by MRS. COOPE. 
 
 Exhibited, Royal Academy, 1866. 
 
 O N the 24th of August, 1572, St. Bartholomew’s 
 Day, a crime was perpetrated in Paris which struck 
 dismay arid horror throughout the civilized world. The 
 Protestants inhabiting that city were indiscriminately 
 massacred, many of them in the streets, some even in 
 their beds. For eight days and nights the slaughter and 
 pillage lasted. At the Spanish Capital the shocking 
 event was celebrated with court festivals ; at Rome 
 the Pope gave thanks ; but in England the tidings 
 were received with the fiercest indignation. When the 
 French Ambassador sought an audience of Elizabeth, 
 to say what he could in extenuation of the “ dreadful 
 business,” she declined to receive him, but after three 
 days had passed, she granted him an interview. No- 
 thing it is said could have been more affecting than 
 the solemnity of this audience ; silence as in the dead 
 of night reigned through the apartment, and the cour- 
 tiers and ladies clad in deep mourning, and ranged on 
 either side, allowed the Ambassador to pass without 
 one salute or favourable look. 
 
GALLERY I. 
 
 8 HER ROYAL HIGHNESS THE 
 PRINCESS OF WALES. 
 
 By EDWARD HUGHES. Canvas 93 x 58 inches. 
 
 Lent by His Royal Highness the PRINCE OF WALES. 
 
 9 “ LE ROI EST MORT ! VIVE 
 
 LE ROI.” 
 
 By MARCUS STONE, R.A. Canvas 54 x 81 inches. 
 Lent by ROBERT WHARTON, ESQ. 
 
 Exhibited, Royal Academy, 1873. 
 
 T HE old king lies dead, to the left of the picture, 
 and the ministers and courtiers are busy saluting 
 the new monarch, a child, who clings to his mother’s 
 gown. 
 
 IO A CORVETTE SHORTENING 
 SAIL TO PICK UP A SHIP- 
 WRECKED CREW. 
 
 By THOMAS SOMERSCALES. Canvas 48 x 72 inches. 
 Lent by J. L. PEARSON, ESQ., R.A. 
 
 Exhibited, Royal Academy, 1893. 
 
12 
 
 GALLERY I. 
 
 ir THE ROLL CALL. 
 
 By LADY BUTLER (Elizabeth Thompson). 
 
 Canvas 36 x 72 inches. 
 
 Lent by HER MAJESTY THE QUEEN. 
 
 Exhibited, Royal Academy, 1874. 
 
 Originally the property of C. J. GALLOWAY, ESQ. 
 Engraved by F. STACPOOLE, A.R.A., and published by 
 THE FINE ART SOCIETY, 1 48, New Bond Street. 
 
 T HE picture represents the calling of the roll after 
 an engagement in the Crimea. 
 
 12 THE SHORTEST WAY TO 
 SCHOOL. 
 
 13 GENERAL LORD ROBERTS, 
 
 By W. W. OULESS, R.A. Canvas 50 X 40 inches. 
 
 Lent by the MESS COMMITTEE OF THE ROYAL 
 ARTILLERY, WOOLWICH. 
 
 By J. C. HOOK, R.A. Canvas 34 x 55 inches. 
 Lent by SIR SAMUEL MONTAGU, BART., M.P. 
 
 V.C., K.C.B. 
 
 rnjy 
 
GALLERY I. 
 
 1 3 
 
 THE BANQUET SCENE 
 (MACBETH). 
 
 By D. MACLISE, R.A. Canvas 72 X 120 inches. 
 
 Lent by F. W. COSENS, ESQ. 
 
 Exhibited, Royal Academy, 1840. 
 
 Collection of the EARL OF CHESTERFIELD. 
 
 HIS incident is taken from Shakespeare, who, in 
 
 writing his famous tragedy of the Scottish Thane, 
 based the scene on Hollinshed’s “ Chronicles of Scot- 
 land.” Macbeth is giving to his noblemen a supper or 
 banquet, to which Banquo has also been bidden. But 
 Banquo’s murderers are at the moment doing their work, 
 and Macbeth, speaking to the company of the <f noble 
 Banquo,” wishes he were at the feast. As he stands up 
 to “ drink and carouse to him,” Banquo’s ghost appears 
 on a chair behind him. Macbeth, “ turning about to sit 
 down,” sees the ghost which fronts him, so that he falls 
 into a great passion of fear and fury, and knowing now 
 that the dark deed he has ordered has been successfully 
 accomplished, utters in his agitation many words about 
 it, by which, when the company came to learn of the 
 murder, they suspected Macbeth. “ Pr’ythee, see there ! 
 behold ! look ! lo ! how say you ? ” These are the 
 words he is uttering. His Queen attempts to reassure 
 the company by telling them that the King is often 
 thus, and bidding them not to mind him, turning the 
 next moment fiercely to her husband with the words, 
 “ Are you a man ? ” In 1050, Macbeth, it is said, repaired 
 to Rome, probably by pilgrimage, and distributed money 
 
14 
 
 GALLERY I. 
 
 broadcast among the poor, presumably to obtain abso- 
 lution. Seven years later he was dethroned and slain 
 at Lumphanan, in Mar, by Malcolm, who thereupon 
 became King of Scotland as Malcolm III. 
 
 Daniel Maclise, R.A., was born at Cork in 1811, and studied at 
 the School of Art there. He gave much attention to the study of 
 anatomy, which laid the foundation for his “ future pre-eminence in 
 figure drawing.” He came to London in 1827, entered the Schools 
 of the Royal Academy, and gained silver medals and also the gold 
 medal in 1829. He was elected Associate of the Royal Academy, 
 and in 1840 became Royal Academician. His death occurred in 
 1870. 
 
 15 RAMSGATE SANDS. 
 
 By w. P. frith, R.A. Canvas 30 x 61 inches. 
 Lent by HER MAJESTY THE QUEEN. 
 
 Exhibited, Royal Academy, 1854. 
 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 
GALLERY I. 
 
 15 
 
 16 AFTER LANGSIDE. 
 
 By A. C. GOW, R.A. Canvas 44 x 60 inches. 
 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 Exhibited Royal Academy. 
 
 FTER the escape of Mary Queen of Scots from 
 
 Loch Leven Castle, the Regent Murray met 
 her at Langside, near Glasgow, where a battle was 
 fought, in which he totally defeated her. The un- 
 happy Queen fled southwards with great precipitation, 
 and, embarking in a fishing boat at Galloway, landed 
 in Cumberland, whither she despatched a messenger to 
 Queen Elizabeth claiming her protection. 
 
 17 AVENUE IN THE MARSHES. 
 
 By ADRIAN STOKES. Canvas 26 X 48 inches. 
 Lent by CAPTAIN JOPIN AUDLEY HARVEY. 
 
i6 
 
 GALLERY I. 
 
 1 8 CHILL OCTOBER. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. Canvas 55 X 73 
 inches. 
 
 Lent by LORD ARMSTRONG, C.B. 
 
 Exhibited, Royal Academy, 1871. 
 
 Exposition Universelle, Paris, 1878. 
 
 Collection of SAMUEL MENDEL until 1875. 
 
 Etched by BRUNET DEBAINES, and published by 
 MESSRS. T. AGNEW & SONS, 39B, Old Bond St. 
 
 "''HE scene is a backwater of the River Tay, near 
 
 Perth, at a spot known as Sedgy Den. A 
 bank of willows on the water’s brink strikes in dark 
 shade against the highest lights of a gra}^ October sky. 
 The whole foreground is thickly set with water reeds. 
 The picture was painted in 1870, and is famous as the 
 artist’s first landscape proper. 
 
 By E. A. WATERLOW, A.R.A. Canvas 35 x 60 ins. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 19 THE ORPHAN. 
 
GALLERY I. 
 
 17 
 
 20 CYMQN AND IPHIGENIA. 
 
 By LORD LEIGHTON, P.R.A. Canvas 64 X 1 29 ins. 
 Lent by W. CUTHBERT QUILTER, ESQ., M.P. 
 Exhibited, Royal Academy, 1884. 
 
 Photogravure published by the FINE ART SOCIETY, 
 148, New Bond Street. 
 
 'HE scene is taken from Bocaccio, and is laid in the 
 
 island of Cyprus. There, in distant times, noble 
 youths who found a literary education difficult might be 
 set to do a hind’s work about the fields, and there, 
 too, lovely ladies might sleep under the breath of a 
 May night, clad only in “ subtle ” vesture, and with no 
 guard save two lady attendants. Cymon, the untaught, 
 on his way from field to field, or vineyard to vineyard 
 finds in his path the sleeping Iphigenia, “ the revelation 
 of whose beauty touches his dark intellect and hidden 
 heart to the first sensibility of his brief life.” 
 
 By DAVID MURRAY, A.R.A. Canvas 72 x 108 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 Exhibited, Royal Academy, 1893. 
 
 21 HAMPSHIRE. 
 
i8 
 
 GALLERY I. 
 
 22 THE OLD GATE. 
 
 By FRED. WALKER, a.r.a. Canvas 52 x 66 inches. 
 Lent by A. E. STREET, ESQ. 
 
 Royal Academy, 1869. 
 
 The original study, 36 x 48 ins. is in the Art Gallery 
 of Birmingham. 
 
 HILDREN are playing at the foot of the worn 
 
 steps, at the top of which is an old gate, through 
 which are passing a comely country girl, with gay shawl 
 and busy basket, and a lady in mourning, apparently 
 a young widow. On either side of the gate is a square 
 pillar, grey with time, and beyond is the rich county- 
 side, chill and sad on this sunless spring day. Gently 
 the gate closes behind them, and as they descend, a 
 sturdy young labourer passes along the road with his 
 spade on his shoulder and with his eyes turned towards 
 
 23 THE MEADOW MIRROR. 
 
 By DAVID MURRAY, A.R.A. Canvas 40 x 60 inches. 
 Lent by MRS. LEES. 
 
 Exhibited, New Gallery, 1890. 
 
 them. 
 
0-1 
 
 GALLERY I. 
 
 19 
 
 24 THE CITY OF DIS. 
 
 By ALBERT GOODWIN, R.W.S. Canvas 49 x 80 inches. 
 Lent by the Artist. 
 
 Exhibited, Royal Academy, 1892. 
 
 D ANTE, led by Virgil, is passing through the 
 infernal regions. The citizens of Dis bar their 
 passage, but are driven back by a heavenly messenger, 
 after which they proceed on their way between the 
 torments and the city walls. 
 
 LANDSCAPE AND SHEEP. 
 
 By H. w. B. DAVIS, R.A. Canvas 28^ x 60 inches. 
 Lent by humppirey Roberts, esq. 
 
 26 ORPHEUS AND EURYDICE. 
 
 By T. GRAHAM. Canvas 55 x 60 inches. 
 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
20 
 
 GALLERY I. 
 
 27 AUTUMN GLORY. 
 
 By ALFRED EAST, R.L Canvas 48 x 60 inches. 
 Lent by the Artist. 
 
 28 WESTMINSTER. 
 
 By albert GOODWIN, R.W.S. Canvas 37^ x 5 6 ins. 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 29 ENTRANCED. 
 
 By HUBERT herkomer, R.A. Canvas 55 x 44 ins. 
 Lent by ABEL BUCKLEY, ESQ. 
 
 30 THE WHITE LADY OF 
 NtJREMBURG. 
 
 By WYKE BAYLISS, P.R.B.A. Canvas 57 x 40 inches. 
 Lent by THE CORPORATION OF LIVERPOOL. 
 
 Painted 1887. 
 
 QAKR AMENT - HAUS in the Church of St. 
 
 Lawrence. The work was by Adam Kraft and 
 his two apprentices, who represented themselves as 
 kneeling figures, bearing the shrine upon their shoulders. 
 
GALLERY I. 
 
 21 
 
 31 THE RAIN IS OVER AND 
 GONE. 
 
 By ALFRED PARSONS, A.R.A. Canvas 48 X 74 ins. 
 Lent by GEORGE McCULLOCH, ESQ. 
 
 Exhibited, Royal Academy, 1896. 
 
 32 CORDELIA. 
 
 By G. w. JOY. Canvas 41 x 52 inches. 
 
 Lent by the CORPORATION OF LEEDS. 
 
 Presented to the Art Gallery of that city by 
 COLONEL T. W. HARDING, J.P. 
 
 33 THE YOUNG DUKE. 
 
 By W. o. ORCHARDSON, R. A. Canvas 58 X 96 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 Exhibited, Royal Academy, 1889. 
 
 Collection of MR. CHARLES NECK until 1896. 
 
GALLERY I. 
 
 2 2 
 
 34 OUR NORTHERN WALLS. 
 
 By PETER GRAHAM, R.A. Canvas 78 X 53 inches. 
 Lent by JAMES HOULDSWORTH, ESQ. 
 
 By DAVID MURRAY, A.R.A. Canvas 47 x 73 ins. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 Exhibited, Royal Academy, 1895. 
 
 By E. BLAIR LEIGHTON. Canvas 50 X 60 inches. 
 Lent by the CORPORATION OF LEEDS. 
 
 Presented to the Art Gallery of that City by 
 R. BOSTON, ESQ. 
 
 Exhibited, Royal Academy, 1892. 
 
 ODIVA is described as having been a lady of 
 
 great beauty. She married Leofric, Earl of 
 Chester, and three years later induced her husband to 
 found a Benedictine Monastery at Coventry. She made 
 it resplendent with gold and gems to a degree un- 
 equalled in England at that date. But her fame as a 
 religious foundress has been eclipsed by the story of her 
 famous ride through Coventry, A.D. 1041. Apparently 
 the oldest narrative is by Roger of Wendover, who 
 represents Godiva as begging the release of Coventry 
 
 35 THISTLEDOWN. 
 
 36 LADY GODIVA. 
 
GALLERY I. 
 
 23 
 
 from a heavy bondage of toll. Leofric replied : “ Mount 
 your horse naked, and pass through the city from one 
 end to the other, and on your return you shall obtain 
 what you ask.” Godiva accordingly rode, her long hair 
 down, so that no one could recognise her. Struck with 
 admiration, Leofric granted the release by charter. 
 The ballad in the Percy folio, six centuries after the 
 occurrence, is the first to mention Godiva’s order for 
 all persons to keep within doors, and no mention is 
 made of anyone disobeying such an order until 1732, 
 when allusion to it occurs in Rapin. Godiva is believed 
 to have died a few years before the Domesday Survey 
 in 1086. She left a rosary of gems, worth a hundred 
 marks of silver, to be placed round the neck of the 
 image of the Virgin, in the Abbey Church of Coventry, 
 in one of the two porches of which she was buried, her 
 husband having been placed, thirty years previously, 
 in the other. 
 
24 
 
 GALLERY I. 
 
 37 THE EARL OF CHICHESTER. 
 
 By FRANK HOLL, R.A. Canvas 50 X 40 inches. 
 
 Lent by the SUSSEX COUNTY COUNCIL. 
 
 Exhibited, Royal Academy, 1886. 
 
 Frank Holl was born in London in 1845. He was the son of 
 the engraver, Francis Holl, A.RA. At the age of 15 he became a 
 probationer at the Royal Academy Schools. He availed himself only 
 to a very limited extent of the travelling studentship he obtained, 
 feeling that he did not profit by foreign travel. His pictures the 
 next ten years were for the most part scenes of domestic life, often 
 dramatic in their character, and always pathetic to an extent that 
 sometimes brought their realism almost too painfully home ; as in 
 his pictures of “ Hush ” and “ Hushed,” and “ The Visiting Day at 
 Newgate.” He secured his reputation, however, by them, to be 
 increased in a manner unexpected by him, when, in 1879, 
 at the urgent request of an old and intimate friend, he 
 undertook the painting of a portrait, the excellence of which at 
 once discovered bis true vocation. From 1879 to his death in 1888, 
 at the age of forty-three, he painted the portraits of many of the 
 most illustrious men of the day, his most distinguished achievements 
 being, perhaps, the full-length portrait of H.R.H. the Duke of 
 Cambridge, and the three-quarter length of the fourth Duke of 
 Cleveland. As evidence of his industry, it may be remarked that, 
 in the year he died, he had on exhibition at the Academy eight 
 portraits, the fruit of his previous year’s work, all of them painted 
 with the same masterly dexterity and decision, viz. , a full-length of 
 H.R.H. the Prince of Wales, and three-quarter lengths of Earl 
 Spencer, Mr. Gladstone, Baron Huddleston, Sir William Jenner, 
 Sir Andrew Clark, Sir Richard Webster, and Mr. Townsend, of 
 New York. He was elected an Associate of the Royal Academy in 
 1878, and an Academician in 1884. 
 
GALLERY I. 
 
 25 
 
 38 THE WOMEN OF AMPHISSA. 
 
 By L. ALMA TADEMA, R.A. Canvas 48 x 60 inches. 
 Lent by MRS. THWAITES. 
 
 Exhibited, Royal Academy, 1887. 
 
 URING the holy war that followed the taking of 
 
 Delphi by the Phocians, it chanced that the 
 Chyades, women sacred to Dionysos, were seized with 
 religious frenzy, and, wandering aimlessly, came at night 
 to the city of A.mphissa, which was in league with 
 Phocis, and their enemy. But, being weary, and 
 unconscious of danger, they lay down in the market- 
 place, and slept. When the wives of Amphissa heard 
 this, they hastened to the spot, fearing lest the Chyades 
 should suffer insult or injury ; and, standing round the 
 sleepers, waited till they had awakened, then tended 
 them and gave them food. After which, having asked 
 leave of their husbands, they led the wanderers from the 
 city, safe unto the boundaries of their own land. 
 
 39 OF WHAT IS THE WEE 
 LASSIE THINKING ? 
 
 By T. FAED, R.A. Canvas 57 X 39 inches. 
 Lent by ROBERT WHARTON, ESQ. 
 
26 
 
 GALLERY I. 
 
 40 A BABYLONIAN MARRIAGE 
 MARKET. 
 
 By EDWIN LONG, R.A. Canvas 68 x 120 inches. 
 Lent by the TRUSTEES of the ROYAL HOLLOWAY 
 COLLEGE. 
 
 Exhibited, Royal Academy, 1875. 
 
 Collection of the late EDWARD HERMON until 1882. 
 Photogravure published by the FINE ART SOCIETY, 
 148, New Bond Street 
 
 ERODOTUS records one of the customs of the 
 
 Babylonians, “which, whether in jest or earnest, 
 he declares to be the wisest he ever heard of. This was 
 their wife-auction, by which they managed to find 
 husbands for all their young women. The greatest 
 beauty was put up first and knocked down to the highest 
 bidder ; then the next in the order of comeliness — and 
 so on, to the damsel who was equidistant between 
 beauty and plainness, who was given away gratis. Then 
 the least plain was put up and knocked down to the 
 gallant who would marry her for the smallest considera- 
 tion, and so on, till even the plainest was got rid of to 
 some cynical worthy who decidedly preferred lucre to 
 looks. By transferring to the scale of the ill-favoured 
 the prices paid for the fair, beauty was made to endow 
 ugliness, and the rich man’s taste was the poor man’s 
 gain.” — “ Herodotus” George C. Swayne, M.A. 
 
 Edwin Long was born at Rath in 1829, and became a pupil of 
 John Phillip in London. In 1857 he visited Spain, there to study 
 Velasquez, and again in 1S74-75 ; for a long time he was in Egypt 
 and Syria. He was elected Associate of the Royal Academy in 1876, 
 and Royal Academician in 1881. The present picture was painted 
 in 1875, and was sold at the Hermon Sale in 1882 for ,£6,615. He 
 died in 1891. 
 
GALLERY I. 
 
 27 
 
 ON THE STEPS OF SCUOLA, 
 SAN ROCCO, VENICE. 
 
 By HENRY WOODS, R.A. Canvas 40 x 26 inches. 
 Lent by STEPHEN G. HOLLAND, ESQ. 
 
 A FISH SALE ON THE 
 CORNISH COAST. 
 
 By STANHOPE A. FORBES, A.R.A. Canvas 47 x 61 ins. 
 Lent by JOSEPH J. BROWN, ESQ. 
 
 Exhibited, Royal Academy, 1885. 
 
 INTERCEPTED DESPATCHES. 
 
 By J. SEYMOUR LUCAS, A.R.A. Canvas 31 x 46 inches. 
 Lent by SIR SAMUEL MONTAGU, BART., M.P. 
 Exhibited, Royal Academy, 1877. 
 
 THE GREY OF THE MORNING. 
 
 By JOHN BRETT, A.R.A. Canvas 42 x 84 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
28 
 
 GALLERY I. 
 
 45 SPINDRIFT. 
 
 By J. MCWHIRTER, R.A. Canvas 32 x 5 6 inches. 
 Lent by the TRUSTEES of the ROYAL HOLLOWAY 
 COLLEGE. 
 
 “ Q 2 P INDR I FT ” means the spray of the sea caught up 
 vD and whirled away by the wind. The scene is near 
 Loch Range, Isle of Arran. 
 
 Exhibited, Royal Academy, 1876. 
 
 Collection of the late EDWARD HERMON, M.P., until 
 1882. 
 
 46 EASTHAM, ON THE MERSEY. 
 
 By ROBERT TONGE. Canvas 13 x 20 inches. 
 
 Lent by GEORGE RAE, ESQ. 
 
 47 THE JUDGMENT OF PARIS. 
 
 By S. J. SOLOMON, A. R.A. Canvas 96 x 66 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 48 THE STEP. 
 
 By JOHN pettie, R.A. Canvas 31 x 47 inches. 
 
 Lent by H. J. TURNER, ESQ. 
 
 Exhibited, Royal Academy, 1876. 
 
 John Pettie was born in Edinburgh in 1839. He received his art 
 education at the Trustees Academy of that city, and at the schools 
 of the Royal Scottish Academy, exhibiting his first picture “The 
 Prison Pet ” in Edinburgh, in 1859. In 1862 he came to London 
 and was elected an associate of the Royal Academy in 1867, and 
 Academician in 1873. He died in 1893. 
 
GALLERY I. 
 
 29 
 
 49 THE HAPPIER DAYS OF 
 CHARLES L 
 
 By F. GOODALL, R.A. Canvas 33 x 57 inches. 
 
 Lent by ROBERT WHARTON, ESQ. 
 
 C A H ARLES I. married Henrietta Maria, daughter of 
 ^ King Henry IV. of France. The pens of all 
 writers were eloquent in praise of her beauty, and their 
 wedded life was characterised by the exercise of accom- 
 plished pursuits and the enjoyment of refined pleasures, 
 which shed a lustre over their early life. The moral 
 worth of Charles, his devotion to the Queen, and the 
 cultured tastes of both, gave to the Court an elegance 
 till then unknown. 
 
 The picture shows the English Monarch with his 
 Queen and surrounded by a few chosen companions, 
 in a stately park, enjoying on a summer afternoon the 
 simple pleasures of society and song. All is peaceful 
 and suggestive of repose throughout the land he governs, 
 and the shadows which enveloped the latter years of 
 his reign have not yet begun to gather. 
 
3 ° 
 
 GALLERY I 
 
 50 CLEARING THE ORCHARD. 
 
 By H. H. LA THANGUE. Canvas 40 x 34 inches. 
 Lent by C. J. GALLOWAY, ESQ. 
 
 Exhibited, Royal Academy, 1895. 
 
 51 FEBRUARY FILL-DYKE. 
 
 By B. W. LEADER, A.R.A. Canvas 48 x 72 inches. 
 Lent by J. E. WILSON, ESQ., of Birmingham. 
 
 52 MRS. HUGH HAMMERSLEY. 
 
 By J. S. SARJENT, R.A. Canvas 81 x 45 inches. 
 Lent by HUGH HAMMERSLEY, ESQ. 
 
 Exhibited, New Gallery, 1893. 
 
Cri 
 
 GALLERY I. 
 
 31 
 
 53 A HOPELESS DAWN. 
 
 By FRANK BRAMLEY, A.R.A. Canvas 48 x 36 inches. 
 Lent by the PRESIDENT and COUNCIL of the ROYAL 
 ACADEMY. 
 
 Exhibited, Royal Academy, 1888. 
 
 54 BASS FISHING. 
 
 By C. NAPIER HEMY, A.R.W.S. Canvas 26 x 36 ins. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 4 a THE SACRED POOL, KARNAC, 
 THEBES. 
 
 By FRANK DILLON, R.L Canvas 18 x 29 inches. 
 Lent by a Gentleman. 
 
32 
 
 GALLERY I. 
 
 54b RICHARD, DUKE OF GLOU- 
 CESTER, AND THE LADY 
 
 ANNE. 
 
 By E. A. ABBEY A.R.A. Canvas 47 x 98 inches. 
 
 Lent by GEORGE McCULLOCH, ESQ. 
 
 Exhibited, Royal Academy, 1896. 
 
 Etched by M. LEOPOLD FLAMENG for the Subscribers 
 of the Art Union of London. 
 
 T HE picture shows the funeral cortege of King 
 Henry VI. on its way from the Tower of 
 London to Chertsey. Accompanying it is the Lady 
 Anne, scarcely seventeen, recently widowed by the 
 murder of her husband, Prince Edward, at Tewkesbury. 
 Richard, Duke of Gloucester, barely twenty years of age, 
 who was afterwards King Richard III. (the suspected 
 murderer of both King Llenry and Prince Edward), also 
 follows, and seizes the inopportune moment to urge his 
 suit for the hand of the woman he has widowed. With 
 one hand he offers her a marriage ring, with the other 
 a sword wherewith to kill him if his suit be refused. 
 Lady Anne, in spite of all, accepts him, and was herself 
 believed to have been poisoned by him some years 
 afterwards, to allow of a marriage he contemplated with 
 the Princess Elizabeth of York. 
 
 Note. — The receipt of this Picture from Paris is delayed until the 
 middle of April. 
 
On 
 
 GALLERY II. 
 
 
 55 VENICE. 
 
 By J. B. PYNE. Canvas 2 if x 29J- inches. 
 
 Lent by MRS. LEES. 
 
 James B. Pyne was born in 1800, in Bristol, and painted both 
 in oil and wader colour. In 1835 be removed to London, and first 
 exhibited at the Royal Academy in the year following. In 1841 he 
 visited Italy, and there painted many attractive pictures. In 1848 
 he executed a series of English landscapes, which were lithographed. 
 He died in 1870. 
 
 By G. B. WILLCOCK. Canvas 25 X 30 inches. 
 
 Lent by REGINALD VAILE, ESQ. 
 
 George Barrell Willcock was born at Exeter in 1811, and 
 for some years he helped his father, who was a coach builder, 
 by painting the armorial and heraldic devices on carriages ; but 
 in 1842 he turned his attention to landscape painting, and by 
 the counsels of his friend, James Stark, be painted constantly 
 from nature, often completing his work on the spot. Between 
 the years 1846 and 1832, Willcock was a frequent exhibitor at 
 the Academy, but he died at the early age of forty-one from 
 the effects cf cold, caused by painting in the open air during a 
 cold, wet season. 
 
 DEVONSHIRE MILL. 
 
 B 
 
34 
 
 GALLERY II. 
 
 57 THE PENNY WEDDING. 
 
 By SIR DAVID WILKIE, R.A. Canvas 24 X 37 in. 
 
 Lent by HER MAJESTY THE QUEEN. 
 
 Painted for THE PRINCE REGENT. 
 
 Exhibited, Royal Academy, 1819. 
 
 International Exhibition, 1862. 
 
 Sir David Wilkie was born at Cults, in Fifeshire, in 1785, his 
 father being the minister of the parish. His whole life from a very 
 early age was devoted to his Art. In his memoirs he says — “I 
 could draw before I couid read, and paint before I could spell.” 
 After studying at Edinburgh, he came at the age of twenty to 
 London, and worked in the Royal Academy Schools, exhibiting and 
 selling many of his pictures. He was elected Royal Academician in 
 1 S 1 1 . In 1830 he was appointed painter-in-ordinary to the King, 
 and in 1836 was knighted. Four years later he went on a pil- 
 grimage to the East from which he was destined never to return, 
 for on his way home just after the ship had left Malta, he was seized 
 with illness, died and was buried at sea within sight of Gibraltar. 
 His burial is the subject of one of Turner’s most beautiful pictures. 
 
GALLERY II. 
 
 35 
 
 58 RUSTIC CIVILITY. 
 
 By WILLIAM COLLINS, R.A. Canvas 28 x 3 6 inches. 
 Lent by THE DUKE OF DEVONSHIRE, K.G. 
 
 William Collins was born in London in 1788. His father, a 
 native of Wicklow, in Ireland, was a man of literary abilities, and 
 the friend and biographer of George Morland, and carried on the 
 business of a picture dealer in order to provide means for supporting 
 his family. As a boy William Collins was allowed to watch the 
 painter, George Morland, at his work, and in 1807 he obtained 
 admission as a student into the Royal Academy. Even at this early 
 stage in his life he began to exhibit at the annual exhibitions. In 
 1812 his father died, leaving his family penniless, and wholly depen- 
 pent on the young artist for the means of subsistence. In the year 
 1814 his pictures, in the opinion of his fellow artists, showed such 
 qualities of pathos and tenderness, that he was elected an Associate 
 of the Royal Academy, and, six years later, a Royal Academician. 
 He visited the Continent on several occasions, each tour affording 
 him materials for numerous paintings. He died in London in 1847. 
 His favourite and popular subjects are coast-scenes and landscapes, 
 animated with rustic figures, often of children; “As Happy as 
 a King, 5 ’ and “Rustic Civility” (the present picture), may be 
 mentioned as being widely known and appreciated. 
 
 B 2 
 
36 
 
 GALLERY II. 
 
 59 WELSH DROVERS CROSSING 
 A COMMON. 
 
 By JOHN LINNELL, SEN. Panel 1 5 X 22 \ inches. 
 Lent by ABEL BUCKLEY, ESQ. 
 
 Collection of MR. DAVID PRICE until 1892. 
 
 HE effect is that of a fine evening after 
 
 John Linnell was born in 1792. His father was a picture dealer 
 and wood carver. He very early evinced a taste for Art, and be- 
 came a pupil of Benjamin West and John Varley, and also attended 
 the Royal Academy School, where he learnt much from his fellow 
 student Mulready. For a period of seventy years he sent contri- 
 butions to the Academy, and many hundreds of his paintings are in 
 public or private galleries in England. The last thirty years of his 
 life he resided at Redhill, where he died in 1882. 
 
 ram. 
 
GALLERY II. 
 
 60 A SPANISH VOLUNTEER. 
 
 By JOHN PHILLIP, R.A. Canvas 17^ x 13 \ inches. 
 Lent by ABEL BUCKLEY, ESQ. 
 
 Collection of DAVID PRICE until 1892. 
 
 John Phillip was bom at Aberdeen in 1817 ; he was of humble 
 parentage, and very early in life showed a capacity for Art. When 
 about seventeen he came to London as a. stowaway in a coasting 
 vessel, visited the National Gallery and the Royal Academy, and 
 returned in a few days to Aberdeen. By the kindness of friends he 
 was enabled to become a student at the Royal Academy, and his 
 pictures of Scottish life soon attracted attention. In 1851 he went 
 to Seville for the restoration of his health ; and from that time 
 resided mostly in Spain on account of his delicate constitution, 
 paying annual visits to his native town of Aberdeen. In Spain he 
 produced many brilliant works, most of which were exhibited at the 
 Royal Academy. He was elected Associate of the Royal Academy 
 in 1857, and Royal Academician in 1859. In the Spring of 1866 he 
 went on a visit to Rome, but failing health compelled him to return 
 to London, where he died in 1867. 
 
 By ALFRED VICKERS. Canvas 12 x 20 inches. 
 
 Lent by C. WENTWORTH WASS, ESQ. 
 
 Alfred Vickers was bom at Newington in Surrey, in 1786. Pie 
 was self-taught, and studied much from nature and from the works 
 of the Dutch masters. He exhibited at the Royal Academy and at 
 other exhibitions from 1814 to 1868, and died in the latter year. 
 
 PORTSMOUTH. 
 
38 
 
 GALLERY II. 
 
 62 THE CHESS PLAYERS. 
 
 By w. J. MULLER. Canvas, 23^ x 32 inches. 
 
 Lent by JAMES MASON, ESQ. 
 
 ‘ X HIS most celebrated of all Muller’s works is so 
 -i powerful, and yet so brilliant in colour, that it 
 has lately been described by an artist as showing out 
 like ‘ a tray of jewels,’ amidst a collection of works by 
 Turner, Prout, and Copley Fielding. It was outlined on 
 an old deal panel, and he began to paint only part of 
 the subject now represented ; but as the day went on it 
 grew in size and importance, until when leaving off, 
 between four and five in the afternoon, the whole subject 
 began to appear, all the figures in their places, and 
 already full of character and power. Calling to Harry 
 Johnson, he begged him to dip a thick cloth in water, 
 and after wringing it out, to place the same over the 
 picture, covering it up completely, so as to exclude the 
 air ; thus it would be kept from drying, and remain in a 
 pulpy ‘ tacky ’ condition. The next morning Muller again 
 resumed work on it directly after breakfast, and by the 
 time it was dark on the evening of the second day he 
 had finished the picture, such as it now is, excepting, 
 as Mr. Solly wrote in 1875, that the thirty years which 
 have elapsed since it was painted have considerably 
 improved and mellowed its tone. Muller reckoned on 
 this effect of time, and painted brightly in consequence. 
 And thus this marvellous work was produced in two 
 days.” 
 
 William James Muller was born at Bristol in 1812. His father, 
 of German nationality, was curator of the Bristol Museum. He was 
 
GALLERY II. 
 
 39 
 
 at one time intended to be an engineer, but his taste for Art soon 
 became evident. He received his first instruction from J. B. Pyne, 
 and in 1833 his first picture was exhibited at the Royal Academy. 
 He visited the continent shortly afterwards, studying much from 
 nature, and in 1838 travelled in Greece and Egypt, returning with a 
 number of interesting works, among them the “ Prayer in the Desert,” 
 and “ A Street Scene in Cairo.” In the year folio wing he settled 
 in London, and two years later published “ Picturesque Sketches 
 of the age. of Francis I.,” which greatly extended his fame on the 
 continent. He also joined, at his own expense, an expedition sent 
 by the Government to Lycia, and from valuable sketches he made 
 there produced the pictures which w'ere exhibited during the next 
 few years. In 1845, Muller left London for Bristol for the benefit 
 of his health, but he died there the same year of heart disease. His 
 works are much esteemed, and are considered to be of high artistic 
 value ; he is one of the chief painters of Architectural subjects of the 
 past generation, and his death at the early age of thirty-three closed 
 a career of considerable achievement and much promise. 
 
 63 “ GOING TO THE BALL,” SAN 
 MARTINO, VENICE. 
 
 By J. W. M. TURNER, R.A. Canvas 25 x 37 inches. 
 Lent by SIR DONALD CURRIE, K.C.M.G., M.P. 
 Exhibited, Royal Academy, 1846. 
 
 Collection of JOSEPH GILLOTT until 1872. 
 
 Collection of JAMES PRICE until 1895. 
 
TO 
 
 40 
 
 GALLERY II. 
 
 64 A VIEW IN CANTERBURY 
 MEADOWS, WITH COWS AND 
 SHEEP ON THE BANKS OF 
 A STREAM. 
 
 By T. SIDNEY COOPER, R.A. Canvas 42 x 78 inches. 
 Lent by iioratio bright, esq. 
 
 Collection of LORD NORTHWICK until 18 . 
 
 Painted in 1855. 
 
 DEPARTURE OF ADONIS FOR 
 THE CHASE. 
 
 By J. M. W. TURNER, R.A. Canvas 69 x 47 inches 
 Lent by W. CUTHBERT QUILTER, ESQ., M.P. 
 
 Painted, 1806. 
 
 Exhibited, Royal Academy, 1849. 
 
 Collection of JOHN GREEN until 1830. 
 
 NOVAR Collection until 1878. 
 
 Beckett-Denison Collection until 1885. 
 
GALLERY II. 
 
 41 
 
 “ RETURNING FROM THE 
 BALL,” ST. MARTHA, 
 VENICE. 
 
 By J. W. M. TURNER, R.A. Canvas 25 x 3 7 inches. 
 
 Lent by SIR DONALD CURRIE, K.C.M.G., M.P. 
 Exhibited, Royal Academy, 1846. 
 
 Collection of JOSEPH GILLOTT until 1872. 
 
 Collection of JAMES PRICE until 1895. 
 
 Joseph William Mallord Turner was born in 1775 at 26, 
 Maiden Lane, Covent Garden. His father was a hairdresser, and 
 his mother, a native of Islington, was, like her son, small in stature, 
 and an early portrait of her, by Turner, gives her a masculine aspect. 
 It is recorded that she had a bad temper, and led her husband a sad 
 life. She became insane in later years, and from her, it may be, 
 Turner inherited his melancholy and reserved disposition. He 
 began his career as a sort of infant prodigy in his father’s shop, and 
 there is a drawing of Margate church, in existence, executed by him 
 when nine years old. His first school was at Brentford, and at the 
 age of 14 he became a student at the Royal Academy. Four year 
 later he received commissions for drawings to be engraved, and took 
 a studio in Maiden Lane, close to his father’s house. At the age ot 
 24 he was elected an Associate of the Royal Academy. During the 
 next few years he travelled over nearly the whole of England and 
 Wales searching for subjects for his drawings, and made many 
 acquaintances, who were afterwards among his best friends. Be- 
 coming Royal Academician in his 27th year, he practically ceased 
 then to draw for the engraver, and took a house in Harley Street. The 
 same year he made his first tour on the Continent, and exhibited 
 six pictures of foreign subjects. His liber studiorum was begun in 
 1807, and forms, perhaps, the most satisfactory monument of his 
 genius. In 1812 he migrated to Queen Anne Street, which was 
 known as his address to the end of his life, although he later had a 
 country house at Twickenham. He made yearly visits to all the 
 most picturesque parts of the country, and in 1819 went on his 
 first visit to Italy, and from that time dates the commencement of 
 his bolder excursions into colour. In 1830 his first subjects from 
 
42 
 
 GALLERY II. 
 
 Venice were exhibited, and in 1839 his last picture at the Royal 
 Academy was seen, “The fighting Temeraire tugged to her last 
 berth.” During the latter 10 years of his life he became interested 
 in the then new art of photography, and paid several visits, incognito , 
 to the studio of Mr, Mayall, calling himself a Master in Chancery,” 
 and generously helping him, unasked, with a loan of ^300, He 
 received two offers of ^100,000 each for the contents of his house in 
 Queen Anne Street, but declined them, having already, in his will, 
 bequeathed his pictures to the nation. Towards the end of 1851 he 
 was discovered living, under the name of Booth, in a smali house 
 at Chelsea, and he there died the same year, and was buried in 
 St. Paul’s Cathedral. 
 
 67 THE COMMENTATOR OF 
 THE KORAN. 
 
 By J. F. LEWIS, R.A. Canvas 25 x 2 §\ inches. 
 
 Lent by LOUIS HUTII, ESQ. 
 
 Painted 1867. Royal Academy, 1869. Paris Uni- 
 versal Exhibition, 1878. 
 
 Collection of SIR WILLIAM BOWMAN, BART., for 
 whom it was painted, until 1893. 
 
 T NTERIOR of a Royal Tomb at Brussa, Asia 
 1 Minor. 
 
 John Frederick Lewis was born in London in 1805. He 
 received his early tuition in Art from his father, who was an 
 engraver and landscape painter. He exhibited at the Royal 
 Academy in 1821, and his first achievements were in animal 
 painting and chiefly in water colour. In 1843 he -went to the 
 East and remained there for several years, during which time he 
 executed many of his best works. On his return to England in 
 1851 he resided at Walton-on-Thames. He died in 1876. 
 
GALLERY II. 
 
 43 
 
 68 THE SEVENTH DAY OF THE 
 DECAMERON. 
 
 By P. F. POOLE, R.A. Canvas 48 X 75 inches. 
 
 Lent by SIR JAMES JOICEY, BART. 
 
 Royal Academy, 1855. 
 
 Retouched, 1857. 
 
 HE romantic party are by the side of the beauti- 
 
 ful lake in the lady’s valley. In the foreground 
 is Philomena, accompanying her song on the harp, and 
 eleven figures are grouped about her. High hills 
 surround the lake. 
 
 69 THE VALE OF CLWYD. 
 
 By DAVID COX. Canvas 36 X 56 inches. 
 
 Lent by T. J. BARRATT, ESQ. 
 
 David Cox was born in 1783, at Birmingham, where his father 
 was a worker in iron. lie was intended to follow in his father’s 
 footsteps, but owing to an accident, by which he broke his leg, the 
 course of his life was altered, and he was sent to a drawing school. 
 At the age of 17 he became engaged at the theatre as a scene painter. 
 Four years later he came to London, where he supported himself by 
 scene painting, and by making small sketches which he sold at the 
 print shops. After a time he entered the studio of John Varley, 
 and in 1808 married the daughter of his landlady, and took a small 
 cottage at Dulwich, where he obtained pupils for drawing. In 1816 
 he removed to Hereford, where he was installed as a drawing master 
 for two days a w 7 eek at a ladies’ school. It was at this period that 
 he became a country member of the Water Colour Society, and 
 went on many sketching excursions in England and Wales. Some 
 yeart afterwards he returned to London, but his love of rural life 
 and retirement caused him two years later to again take up his 
 residence in the country. Greenfield House, Flarborne, near his 
 native Birmingham, was his last abode, and he died there in 1859, 
 being buried in Harborne churchyard. 
 
GALLERY II. 
 
 OFF MARGATE. 
 
 By GEORGE CHAMBERS. Canvas 38 X 54 inches. 
 Lent by REGINALD VAILE, ESQ. 
 
 THE SICK MONKEY, OR OUR 
 POOR RELATIONS. 
 
 By SIR EDWIN LANDSEER, R.A. Canvas 36 X 27 
 inches. 
 
 Lent by the EARL OF NORTHBROOK, G.C.S.I. 
 
 Royal Academy, 1870. 
 
 Philadelphia Exhibition, 1876. 
 
 Paris Exhibition, 1878. 
 
 T HE mother is tenderly nursing the sick monkey 
 while a black one sits on a rail above eating 
 an orange, and holding another between his hind paws. 
 
 Sir Edwin Landseer was born in London in 1802. He was the 
 youngest son of John Landseer, the well-known engraver. His 
 father taught him, and is said to have sent the boy at an early age into 
 the fields to sketch from nature any animals he came across. Some 
 drawings in South Kensington Museum were executed by him when 
 five years old. His first exhibited picture was painted when 
 thirteen years of age. Three years later he entered the schools of 
 the Royal Academy. In 1826 he became an Associate, and a few 
 years after an Academician. Elis pictures are universally known, 
 and he is “the unrivalled painter of animal life.” In 1850 he 
 received the honour of knighthood. He died at his house in St. 
 Tohn’s Wood in 1873, and was interred in St. Paul’s Cathedral. 
 
GALLERY II. 
 
 45 
 
 72 A RISING STORM. 
 
 By E. WILLIAMS (OLD WILLIAMS). Canvas 15 X 27 ins. 
 Lent by REGINALD VAILE, ESQ. 
 
 73 THE ITINERANT POULTERER 
 LEAVING HOME. 
 
 By WILLIAM SHAVER. Canvas 47 x 38 inches. 
 
 Lent by MRS. NATHAN. 
 
 William Shayer was born at Southampton in 1788. From 
 1824, the date of the foundation of the Society of British Artists, 
 until 1873 he was a constant contributor to their exhibitions, sometimes 
 exhibiting seven or eight or even twelve pictures there in one year. 
 His works, which were very popular, consist of representations of 
 sheep and cattle, also of poultry, as instanced in the present 
 example, and he was remarkable for his landscapes and coast 
 scenery. He became a Member of the Society in 1862, and died 
 at Shirley, near Southampton, in 1879. 
 
46 
 
 GALLERY XI. 
 
 74 PETER THE GREAT SEES 
 CATHERINE, HIS FUTURE 
 EMPRESS, FOR THE FIRST 
 TIME. 
 
 By AUGUSTUS L. EGG, R.A. Canvas 36 x 50 inches 
 Lent by T. H. MILLER, ESQ. 
 
 Augustus Leopold Egg was bom in London, in 1816. He be- 
 came a pupil in drawing of Henry Sass, and entered the Royal 
 Academy as a student in 1836, and was elected Associate in 1848, 
 and Royal Academican in i860 He was well known and ap- 
 preciated as a painter of historical genre. He died in Algiers in 
 1863. 
 
 75 LA BOMBA, OR THE WINE- 
 DRINKERS. 
 
 By JOHN PHILLIP, R.A. Canvas 36 x 45 inches. 
 Lent by ABEL BUCKLEY, ESQ. 
 
 Collection of MR. RALPH BROCKLEBANK until 1 892. 
 Universal Exhibition, Paris, 1878. 
 
GALLERY II. 
 
 47 
 
 6 CHECKMATE. 
 
 By J. c. HORSLEY, R.A. Canvas 33I x 47 inches. 
 
 Lent by W. JESSOP, ESQ. 
 
 Collection of JOSEPH GILLOTT until 1872. 
 
 A BARONIAL hall is lit by a large window, through 
 T~\. which pours the setting sun. An elderly couple 
 are seated at chess, with a young lady standing by ; 
 another young lady is at work nearer the window with 
 a youthful cavalier bending over her, and from behind 
 a screen a page is regarding the couple. 
 
 7 FORDING THE RIVER 
 (SHOWERY WEATHER). 
 
 By J. CONSTABLE, R.A. Canvas 51 x 60 inches. 
 Lent by CHARLES CASSIOT, ESQ. 
 
 A WAGGON with three horses crossing a full 
 stream ; tall trees rise to the left, a castle a little 
 distance away, and a dog is on the bank to the extreme 
 left of foreground. Heavily clouded sky of great power 
 and freedom. 
 
 This eminent landscape painter was the son of a wealthy miller, 
 and was born at East Bergholt, Suffolk, in 1776. As a boy he 
 attended schools at Lavenham and Dedham, but showed little 
 talent for any book-learning, and was always drawing. His parents 
 had wished him to enter the Church, but Constable showing no 
 inclination in that direction, his father took him into his own 
 business. Growing into manhood, he was known throughout the 
 country as “the handsome miller,” because of his fine face and 
 figure. He and his great friend, Dunthorne, used to paint together 
 
48 
 
 GALLERY II. 
 
 in the fields, and his father, acknowledging at last his great talent, 
 reluctantly allowed him to go to London to study Art, but it was 
 not until the year 1799 that Constable became a student at the 
 Royal Academy. During the years following, the summer months 
 were spent in the country, living nearly always in the fields, and 
 seeing nobody but field labourers. Nature was his great instructor, 
 and though he attempted historical and portrait painting, in land- 
 scape is best shown his marvellous excellence. His wdiole life and 
 letters testify to his love and appreciation for the country. In 1816 
 Constable married Miss Mary Bicknell, in 1819 was elected Asso- 
 ciate of the Royal Academy, and ten years later Academician. 
 Though he was a hard worker, for many years his pictures were not 
 popular, but about the year 1829 he began to meet with success. 
 Three pictures of his, exhibited at the French salon, won for him 
 the gold medal, and were much praised. Living at Hampstead, 
 his “dear sweet Hampstead,” in 1827, he writes: — “My little 
 studio commands a view without an equal in all Europe.” The 
 neighbourhood afforded him many studies for paintings, as did 
 Asmington, the home of his wife when a girl, and Salisbury, where 
 his friend Fisher lived. Constable often lectured on the study of 
 Nature, and sometimes painted in water-colour. He died suddenl / 
 in London in 1837. A memoir of him, with much of his corres- 
 pondence, was published 1843 by G. R. Leslie, R.A., and has 
 recently been republished by Messrs. Chapman & Hall. 
 
GALLERY II. 
 
 49 
 
 78 the interior of the 
 
 DUOMO, MILAN. 
 
 By DAVID ROBERTS, R.A. Canvas 52^ x 66 inches. 
 
 Lent by MRS. THWAITES. 
 
 Collection of J. FENTON until 1S79. 
 
 Exhibited, Royal Academy, 1846. 
 
 HTWO great pillars support the octagon, and are 
 1 encircled with the bronze and silver pulpits ; 
 works which were begun by Carlo Borromeo, and 
 completed by the Cardinal Frederick. The bassi-relievi 
 by which they are enriched were executed by Andrew 
 Pellizone, and the Caryatides which support them 
 represent the symbols of the four Evangelists and the 
 four Doctors of the Church — St Gregory, St. Jerome 
 St. Ambrose, and St. Augustine — modelled by Brambilla 
 and cast by Busca. A procession ascends the steps 
 leading to the Choir, and visitors and devotees are 
 distributed in the area. 
 
 David Roberts was born at Stoekbridge, near Edinburgh, in 
 1796. Early in life he worked as a scene painter, and in 1822 
 he came to London, and was employed for many years in that 
 capacity at Drury Lane. He first exhibited at the Royal Academy 
 in 1S26, and was elected an Associate of that body in 1839 and full 
 Member in 1841. In the pursuit of Art he frequently visited the 
 Continent and the East, painting equally well in oil or water colour. 
 ITe died suddenly in 1864, while engaged in some large pictures on 
 the Thames. 
 
GALLERY II. 
 
 5 ° 
 
 79 THE WILY ANGLER, 
 
 “ But bite the perch will, arid that very boldly” 
 
 By j. C. HOOK, R.A. Canvas 38 x S 2 i inches. 
 
 Lent by ABEL BUCKLEY, ESQ. 
 
 Exhibited, Royal Academy, 1883. 
 
 Collection of MR. DAVID PRICE until 1892. 
 
 Etched by DAVID LAW, and published by THE FINE 
 ART SOCIETY, 1 48, New Bond Street. 
 
GALLERY 11. 
 
 51 
 
 80 THE ABANDONED. 
 
 By CLARKSON STANFIELD, R.A. Canvas 36 X 60 in. 
 Lent by THE EARL OF NORTHBROOK, G.C.S.I. 
 Exhibited, Royal Academy, 1856. 
 
 Manchester Art Treasures Exhibition, 1857. 
 International Exhibition, 1862. 
 
 Manchester Jubilee Exhibition, 1887. 
 
 INCE the abandonment of the vessel the sea 
 
 must have sunk many times into repose, but it 
 is now seen in the picture tossing the helpless hulk 
 to and fro, her broken cordage hanging over her 
 sides, and her riven copper showing as she heels to 
 port. She is lifted on to the crest of a wave. 
 Neither on board nor around is there sign of life. 
 
 The correctness of Stanfield’s painting of the sea was based on 
 personal knowledge. He was bom at Sunderland in 1793, and 
 commenced life as a sailor. When still quite young an accident 
 disabled him for active service ; and forming an acquaintance with 
 Douglas Jerrold, he was employed to paint scenes for Jerrold’s 
 theatrical entertainments. In 1818 he was engaged as scene 
 painter at the old “ Royalty,” a sailors’ theatre, and subsequently 
 held appointments with Daniel Roberts at the “Cobourg” in 
 Lambeth, and finally at Drury Lane, where his drop scenes were 
 much admired. He soon, however, began to exhibit pictures. He 
 was elected Associate of the Royal Academy in 1832, and Royal 
 Academician in 1835, an d was thereafter a regular exhibitor at the 
 Academy. He died in 1867. 
 
GALLERY II. 
 
 52 
 
 81 THE BANKER’S PRIVATE 
 ROOM; NEGOCIATING A 
 LOAN. 
 
 By J. C. HORSLEY, R.A. Canvas 40 X 50 inches. 
 Lent by the TRUSTEES of the ROYAL HOLLOWAY 
 COLLEGE. 
 
 HE painter, wishing one day to speak to the 
 
 manager of the bank he dealt with, passed 
 through the office to the door of his private room, which 
 being a glass one, he could see through, and his attention 
 was arrested by observing his old friend, a staid Scotch- 
 man, sitting at his desk with an expression of doubt and 
 hesitation on his face, whilst before him was a lady, 
 with papers around her on the table, leaning forward 
 and apparently stating her case with much earnestness. 
 This incident suggested the present subject to the 
 painter, which he has laid, however, in the seventeenth 
 century, with the curious but interesting garb and, 
 accessories of that time. 
 
 Exhibited, Royal Academy, 1870. 
 
 Collection of THOMAS TAYLOR, of Aston Rowant, 
 
 until 1883. 
 
GALLERY II. 
 
 53 
 
 82 AN AVENUE WITH FIGURES. 
 
 By T. CRESWICK, R.A. Canvas 39 \ x 33^ inches. 
 Lent by THE EARL OF NORTHBROOK, G.C.S.I. 
 Painted 1838. 
 
 Thomas Crkswick, R.A., was born at Sheffield in 1811. He 
 studied drawing at Birmingham, and in 1 828 he exhibited pictures 
 in London at the Academy and at the British Institution. In 1842 
 he was elected an Associate of the Royal Academy, and in 1851 an 
 Academician. He died in London in 1869. 
 
 By LORD LEIGHTON, P.R.A. Canvas 24 x 20 inches. 
 Lent by CHARLES CHURCHILL, ESQ. 
 
 NTIGONE was the daughter of the Greek CEdipus. 
 
 Her brother Polynices, being slain in combat 
 with his brother Eteocles, the King Creon passed 
 sentence of death upon any one daring to give him 
 burial. But Antigone went out by night and scraped 
 away the sand and made a grave for her brother’s 
 body. For this, Creon ordered her to be put into 
 a hollow rock, and she there died. 
 
 Lord Leighton was born at Scarborough in 1830. From his 
 earliest years he showed his talent as an artist. His first serious 
 tuition was received at Rome, and he afterwards studied at Berlin, 
 and at Florence, Frankfort, and Brussels. It was at Brussels that 
 he painted his first picture of “ Cimabue finding Giotto drawing in 
 the fields.” He then visited Paris, and afterwards returned to 
 Rome, where he executed the large picture of “ Cimabue’s Madonna 
 carried through Florence,” which was exhibited at the Academy in 
 1855, and was acquired by the Queen. He was elected an 
 Associate in 1864, and Royal Academician in 1868, and on the 
 death of Sir Frances Grant in 1879, he was made President, and 
 received the honour of knighthood. He was made a baronet in 
 1885, and was created a peer shortly before his death in 1896. 
 
 83 ANTIGONE. 
 
54 
 
 GALLERY II. 
 
 84 A PAGE OF RABELAIS. 
 
 By H. STACY MARKS, R.A. Canvas x inches. 
 Lent by J. HILL HARTLAND, ESQ. 
 
 85 FAITHFUL UNTO DEATH. 
 
 By SIR E. J. FOYNTER, P.RA. Canvas 45 X 29 inches. 
 Lent by THE CORPORATION OF LIVERPOOL. 
 Exhibited Royal Academy, 1865. 
 
 T HE Picture represents a Roman sentry in Hercu- 
 laneum, at a time when the city is overwhelmed 
 by a lava eruption from Mount Vesuvius. Though he 
 encounter certain death in keeping to his post, he will 
 not leave it. 
 
 86 A THORN AMID THE ROSES. 
 
 By JAMES SANT, R.A. Canvas 42 x 32 inches, 
 
 Lent by the CORPORATION OF MANCHESTER. 
 Engraved in mezzotint by PI. SCOTT BRIDGWATER. 
 Published by MESSRS. DOWDESWELL, 160, New Bond 
 Street. 
 
GALLERY II. 
 
 55 
 
 87 THE HARVEST MOON. 
 
 By G. H. MASON, A.R.A. Canvas 33 x 91 inches. 
 
 Lent by ALEXANDER HENDERSON, ESQ. 
 
 Exhibited, Royal Academy, 1872. 
 
 Etched by R. W. MACBETH, A.R.A. Published by MR. 
 
 ROBERT DUNTHORNE, Vigo Street, Regent Street. 
 
 George Hemming Mason was born at Wetley Abbey, in 
 Worcestershire, in 1818. He studied, by his parents’ wish, for the 
 medical profession, but abandoned it, at the age of twenty-six, for 
 Art. He travelled on the Continent with his brother, and even- 
 tually settled in Rome for several years, from which place he 
 contributed many pictures to the Exhibitions of London and Paris. 
 While there news of financial disaster at home reached him, and 
 for a time he was thrown entirely on his own resources. In 1857 
 he returned to England, and thenceforward all his subjects were 
 taken from the neighbourhood of his birthplace, where he partially 
 resided. In 1865 he settled in London, and was elected Associate 
 of the Royal Academy in 1868. He died in 1872. 
 
 88 THE SWEET MEADOW 
 WATERS OF THE WEST. 
 
 By J. W. NORTH, A.R.A. Canvas 51 x 74 inches. 
 Lent by the Executors of the late COLONEL NORTH. 
 
56 
 
 GALLERY II. 
 
 89 THE HOP GARDENS OF 
 ENGLAND. 
 
 By CECIL LAWSON. Canvas 60 x 84 inches. 
 
 Lent by MRS. CECIL LAWSON. 
 
 Exhibited, Grosvenor Gallery, 1883. 
 
 Cecil G. Lawson was born in Shropshire in 1851. His father 
 was a portrait painter. While still a boy he employed himself, 
 under the guidance of his father, in painting small studies from 
 nature — landscapes, clouds, fruit, flowers, &c. In 1S70 he ex- 
 hibited at the Royal Academy his picture of “ Cheyne Walk, 
 Chelsea.” After the lapse of four years he made a tour in Holland 
 and Belgium, and in the same year, 1874, commenced his painting 
 of “Hop Gardens of England.” “The Minister’s Garden” ap- 
 peared at the Grosvenor Gallery in 1878, and attracted much atten- 
 tion. The painter described it as a tribute to the memory of Oliver 
 Goldsmith ; the studies for the composition were made on a hillside 
 near Sandhurst. He married in 1879, and lived at Haslemere ; 
 there he painted “ The August Moon,” which, after his death, was 
 presented to the National Gallery by his widow, in fulfilment of his 
 wish. His health was always delicate, and though he spent the 
 winter of 1881 in the Riviera, he returned to England no stronger, 
 and died in the following year, aged 31. 
 
 By J. AUMONIER, R.I. Canvas 28 x 61 inches. 
 
 WASTE LANDS. 
 
 Lent by T. D. GALPIN, ESQ. 
 
GALLERY II. 
 
 57 
 
 THE GAMBLER’S WIFE. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. Canvas 34 X IS 
 inches. 
 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 Exhibited, Royal Academy, 1869; Exposition Uni- 
 verselle, Paris, 1878. 
 
 Etched by C. WALTNER, and Published by MESSRS. 
 T. AGNEW & SONS, 39B, Old Bond Street. 
 
 A FAIRY RAID, CARRYING 
 OFF A CHANGELING. 
 
 By SIR NOEL PATON, R.S.A. Canvas 37 X 58^ ins. 
 Lent by JOHN POLSON, ESQ. 
 
 Exhibited, Royal Academy, 1867. 
 
 I T is midsummer eve, and the Queen of the P'airies 
 and her elfin chivalry are bearing away a change- 
 ling, captured in a raid upon human domain. The 
 motley cavalcade are dashing through the darkness of 
 a wood, and winding away through a moonlit glade, 
 beyond which, grey and weird Druidical stones stand 
 in the cold moonlight. The boles and gnarled trunks 
 of the trees (about which, among the dewy herbage, 
 grow fungi, foxglove, woodbine, the dog rose and the 
 yellow iris) are the haunts of numberless spirits that 
 float by night through the silent air. I11 every nook 
 and corner they may be discerned intent on mischief. 
 
58 
 
 GALLERY II. 
 
 92 MAN PROPOSES BUT GOD 
 DISPOSES. 
 
 By SIR EDWIN LANDSEER, R.A. Canvas 36 X 96 in. 
 Lent by the TRUSTEES of the ROYAL HOLLOWAY 
 COLLEGE. 
 
 “ Not here ! The White North has thy bones, and thou, 
 Heroic Sailor soul, 
 
 Art passing on thine happier voyage now 
 Towards no earthly pole.” 
 
 HESE are the lines which Lord Tennyson wrote 
 
 on the Cenotaph to Sir John Franklin, in West- 
 minster Abbey. Relics of the illfated expedition of 1849 
 were found, and suggested this picture to the great 
 painter. Two Polar bears have come upon these rem- 
 nants of a human expedition. One has in his teeth 
 a piece of the Union Jack, which he is dragging from 
 the fallen mast, the other is crunching up a bone from 
 which the flesh has long since disappeared. 
 
 Exhibited, Royal Academy, 1864. 
 
 Collection E. J. COLEMAN, of Stoke Park, until 1881. 
 
GALLERY II. 
 
 59 
 
 93 TOPAZ. 
 
 By ALBERT MOORE. Canvas 35 x 1 inches. 
 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 Albert Moore was born at York, in 1841. His father was a 
 portrait painter of some eminence in the North, and he was brother 
 to Henry Moore, A.R.A., the distinguished marine artist, and 
 another brother was J. C. Moore, the painter. His two elder 
 brothers were also artists, and it has sometimes happened that the 
 five brothers have exhibited pictures at the same Royal Academy 
 Exhibition. Albert Moore came to London at the age of fourteen, 
 and studied for a short time at the Royal Academy. He died in 
 1895, ^e age of 55. 
 
 94 JUST AWAKE. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. Canvas 36 X 27 
 inches. 
 
 Lent by HOLBROOK GASKELL, ESQ. 
 
 Exhibited, Royal Academy, 1867. 
 
 Engraved in Mezzotint by T. o. BARLOW, R.A., and 
 published by MESSRS. HENRY GRAVES & CO. 
 
 A CHILD of nine or thereabouts has been awakened 
 by the gathering sunlight in her room and by the 
 singing of a favourite bird. 
 
 The painter’s daughter, Miss Effie Millais, now Mrs. 
 James, was the model in this instance. 
 
t-n 
 
 6o 
 
 GALLERY II. 
 
 THE PORT OF VENICE ; WITH 
 TRABACCOLO OR WINE 
 VESSELS OF THE ADRIATIC. 
 
 By E. w. COOKE, R.A. Canvas 17^ x 29 inches. 
 Lent by C. T. HARRIS, ESQ., C.C. 
 
 Collection of SIR CHARLES BOOTH, BART., until 1 897. 
 
 Edward William Cooke, R.A., was born in London in 1811 
 and was the son of a well-known engraver. His first work was 
 both illustration and a series of etchings of river and coast scenery. 
 He executed his first oil painting in 1832, and devoted himself 
 to marine painting. He was made Associate of the Royal Academy 
 in 1851, and Academician in 1864. He visited Italy, Spain, and 
 Holland, the latter country no less than fifteen times. He died 
 in 1880. 
 
 96 AURORA. 
 
 By G. F. WATTS, R.A. Canvas 34 x 36 inches. 
 Lent by MRS. LEES. 
 
GALLERY II. 
 
 6l 
 
 SEA PIECE. 
 
 By J. S. COTMAN. Canvas io x 13 inches. 
 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 John Sell Cotman was bom at Norwich in 1782. At the age 
 of 18 he came to London and exhibited at the Royal Academy. 
 Six years later he returned to Norwich and became Member and 
 Secretary of the Norwich Society of Artists. After a residence oi 
 some years at Yarmouth, and frequent visits to France, he was 
 appointed, in 1834, Professor of Drawing in King’s College School, 
 London, which post he held until his death in 1842. He w r as 
 elected an Associate of the Water Colour Society in 1825. 
 
 THE RIDER ON THE 
 WHITE HORSE. 
 
 By G. F. WATTS, R.A. Canvas 26 x 21 inches. 
 
 Lent by JAMES KNOWLES, ESQ. 
 
 “ And I saw, and behold a white horse : and he 
 that sat on him had a bow ; and a crown was given 
 unto him ; and he went forth conquering and to 
 conquer.’’ 
 
62 
 
 GALLERY II. 
 
 99 TIGERS AT DAWN. 
 
 By J. M. SWAN, A.R.A. Canvas 21 J x 49 inches. 
 Lent by CAPTAIN JOHN AUDLEY HARVEY. 
 
 100 THE PIED PIPER OF 
 HAMELIN. 
 
 By J. E. CEIRISTIE. Canvas 27 x 38 inches. 
 Lent by ROBERT H. BRECHIN, ESQ. 
 
 101 SNOW IN SPRING. 
 
 By G. H. BOUGEITON, R.A. Canvas 24 x 40 inches. 
 Lent by T. H. ISMAY, ESQ. 
 
 Exhibited, Royal Academy, 1877. 
 
GALLERY II. 
 
 63 
 
 BURCHELL AND SOPHIA IN 
 THE HAYFIELD. 
 
 By W. MULREADY, R.A. Panel 24 x 20 inches. 
 
 Lent by the EARL OF NORTHBROOK, G.C.S.I. 
 
 Painted, 1847. 
 
 Manchester Art Treasures Exhibition, 1857. 
 
 International Exhibition, 1862. 
 
 William Mulready was born at Ennis, Ireland, 1786. From the 
 age of fifteen he supported himself, and is believed to have tried 
 scene-painting, for in later years he was wont to say that he painted 
 on a very large scale when he was young. At the age of fourteen 
 he entered the Academy Schools, and showed great perseverance. 
 In these early days he taught drawing to many persons of note, one 
 of them being Miss Milbanke, afterwards Lady Byron. He was 
 elected Associate and Royal Academician in one year, his name 
 never appearing in the catalogue with the lesser title. Am jng his 
 earliest friends was John Varley, whose sister he married when he 
 was little more than seventeen years of age, but the union was an 
 unhappy one, resulting in early separation, and this sad experience 
 remained a trouble to him all his life. He died in 1863. 
 
 5 THE DRAGON OF WANTLEY. 
 
 By SIR E. J. POYNTER, P.R.A. Canvas 5 6 \ X 1 68 ins. 
 Lent by the EARL OF wharncliffe. 
 
 T HE fight between More of More Hall and the 
 Dragon of Wantley. 
 
GALLERY III. 
 
 104 THE JUGGLER. 
 
 By L. ALMA TADEMA, R.A. Canvas 3 1 x 19 inches. 
 Lent by STEPHEN G. HOLLAND, ESQ. 
 
 Exhibited, Royal Academy, 1870. 
 
 105 THE SHY PUPIL. 
 
 By G. A. STOREY, A.R.A. Canvas 35 x 45 inches. 
 Lent by JOHN W. SLATER, ESQ. 
 
 106 ALWAYS WELCOME. 
 
 By MRS. ALMA TADEMA. Canvas 1 5 X 21 inches. 
 Lent by MERTON RUSSELL COTES, ESQ., J.P., F.R.G.S. 
 Exhibited, Grosvenor Gallery, 1887. 
 
GALLERY III. 
 
 65 
 
 107 “HE LOVES ME, HE LOVES 
 
 ME NOT.” 
 
 By L. ALMA TADEMA, R.A. Canvas 25 x 1 8 inches. 
 Lent by JAMES MASON, ESQ. 
 
 Etched by LEOPOLD LOWENSTAM, Published by MR. 
 STEPHEN T. GOODEN, 57, Pall Mall. 
 
 108 THE LOST PATH. 
 
 By FREDERICK WALKER, A. R.A. Canvas 33 x 28 ins. 
 Lent by H. F. MAKINS, ESQ. 
 
 Exhibited, Royal Academy, 1863. 
 
 Etched by T. WALTNER. 
 
 ^ A WOMAN caught in a snowstorm, which has 
 made of the cross - country path a trackless 
 drift, presses on swiftly, holding her sleeping child 
 wrapped from harm in her shawl; her half-seen face, as 
 she closely presses the precious burden to her bosom, 
 shows courage to fight for life, yet with little hope.” 
 —[Claude Phillips.] 
 
 Frederick Walker was born at Marylebone in 1840, and early 
 in life became a student at the Royal Academy. He had already 
 begun to draw on wood, and received employment on the periodicals 
 “Once a Week,” “The Cornhill Magazine,” and other illustrated 
 publications. In 1866 he was elected a member of the Society of 
 Painters in Water Colours, and in 1871 an Associate of the Royal 
 Academy. He died in 1875, at the early age of thirty-live, and was 
 buried at Cookham, where his brother artists erected a tablet to his 
 memory. Cookham was in the midst of his favourite sketching 
 haunts. His pictures have gr*eat feeling, and any incident he painted 
 was clothed, by him with an intensely poetic beauty. lie is repre- 
 sented in the National Collection by “ The Vagrants,” painted in 
 1 868, and by “The Harbour of Refuge,” 
 
 P 
 
66 
 
 GALLERY III. 
 
 109 THE FOUNTAIN. 
 
 By G. R. LESLIE, r.a. Canvas 41 x 28 inches. 
 
 Lent by WILLIAM KENRICK, ESQ., M.P. 
 
 Exhibited, Royal Academy, 1873. 
 
 no THE FERRY INN. 
 
 By r. w. MACBETH, a. r.a. Canvas 14A x 30 inches. 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 111 BRUNHILDA. 
 
 By G. F. WATTS, R.A. Canvas 2 i}j x 25^ inches. 
 Lent by MRS. RUSSELL BARRINGTON. 
 
 1 12 PLUM PUDDING. 
 
 By T. WEBSTER, R.A. Panel 8i x 14^- inches. 
 Lent by C. T. PIARR1S, ESQ., C.C. 
 
 113 BLACK HORSE AND A 
 PLOUGH BOY. 
 
 By EDWARD STOTT. Canvas 24^ x i6| inches. 
 Lent by C. T. HARRIS, ESQ., C.C. 
 
GALLERY III. 
 
 67 
 
 1 14 A SPANISH COQUETTE. 
 
 By J. B. BURGESS, R.A. Canvas 12 x 9 inches. 
 
 Lent by MERTON RUSSELL COTES, ESQ.. J.P., F.R.G.S. 
 
 By E. J. GREGORY, A. R.A. Panel 8 x 10 inches. 
 Lent by C. J. GALLOWAY, ESQ. 
 
 Exhibited, Dudley Gallery, 1877. 
 
 By RANDOLPH CALDICOTT. Canvas 5 x 8| inches. 
 Lent by the CORPORATION OF MANCHESTER. 
 
 Randolph Caldicott was born at Chester in 1846. He came to 
 London in 1872, and is understood to have received no art educa- 
 tion. He is well known as a book-illustrator, and in 1S75 published 
 his drawings for Washington Irving’s Sketch Book, and, later, 
 many children’s books — “The House that Jack Built,” “John 
 Gilpin,” etc. Fie was a member of the Water Colour Society, but 
 rarely exhibited in public galleries. He was a sufferer through life 
 from an affection of the heart, which made all exercise difficult to 
 him. He died at Florida in 1886 at the age of forty. 
 
 [ 1 5 IS IT A MOUSE ? 
 
 : 16 MAY DAY. 
 
68 
 
 GALLERY III. 
 
 1 17 LOVE’S JEWELLED FETTER. 
 
 By L. ALMA TADEMA, R.A. Canvas 25 x 18 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 1 1 8 INNOCENCE. 
 
 By G. CLAUSEN, A.R.A. Canvas 14 X 12 inches. 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 1 19 INTRUDERS. 
 
 By E. J. GREGORY, A.R.A. Canvas 35 x 21 inches. 
 Lent by C. J. GALLOWAY, ESQ. 
 
 120 DAY DREAMS. 
 
 By VALENTINE C. PRINSEP. Canvas 24 x 20 ins. 
 Lent by MRS. LEES. 
 
GALLERY III. 
 
 69 
 
 12 1 BAWDSEY FERRY. 
 
 By w. L. wyllie, a.r.a. Canvas 12 x 24 inches. 
 Lent by W. CUTHBERT QUILTER, ESQ., M.P. 
 
 122 THE PLOUGH. 
 
 By FRED. WALKER, A.R.A. Panel i6i x 24^ inches. 
 Lent by HUMPPIREY ROBERTS, ESQ. 
 
 T HE finished study for, or a finished reduction of, 
 the large picture, in the possession of the 
 Marquis de Misa. 
 
 123 THE PIPING FISHER BOY. 
 
 By J. M. SWAN, A.R.A. Canvas 13 X 17 inches. 
 
 Lent by HUMPHREY ROBERTS, ESQ. 
 
 124 BLACK DIAMONDS. 
 
 By W. L. WYLLIE, A.R.A. Canvas 18 x 32 inches. 
 Lent by E. T. BALDWIN, ESQ. 
 
?o 
 
 GALLERY III. 
 
 125 VALKYRIE. 
 
 By FREDERICK vS ANDYS. Canvas 31 x 1 6 \ inches. 
 Lent by EDWARD M. DENNY, ESQ. 
 
 Collection of F. R. LEYLAND until 1892. 
 
 ^HE picture shows a Valkyrie, or Norse Sorceress, 
 
 consulting her familiar, in the form of a raven, 
 on the career of Harold Harfagr, or the Fair-haired, who 
 was the son of Halfclan the Black, King of a small 
 district in Norway, about A.D. 850. The words of the 
 sorceress, translated from the Norwegian, read : — 
 
 The young King — the Norse king, 
 Whose keels cut the brine ; 
 Red-rimmed are his bucklers ; 
 
 Betarr’d are his oars ; 
 
 Flis sails are all bleached 
 With the sea-spray and showers. 
 
 Among the early Northmen the raven was a sacred 
 bird. Two of them, it is said, Hugin and Munin, sat on 
 Odin’s shoulders, and only flew away to bring him intel- 
 ligence of what happened in the world. Especial 
 confidence was placed in their omens. 
 
 126 HEAD OF A LADY. 
 
 By FREDERICK SANDYS. Canvas 18 X 14 inches. 
 Lent by W. CUTIIBERT QUILTER, ESQ., M.P. 
 
 By SIR E. BURNE-JONES, BART. Canvas 52 x 18 ins. 
 Lent by W. CONNAL, ESQ., JUN. 
 
 27 THE BATH OF VENUS. 
 
GALLERY III. 
 
 71 
 
 128 APRIL LOVE. 
 
 By ARTHUR HUGHES. Canvas 36 x 20 inches. 
 Lent by henry boddington, esq. 
 
 Collection of J. F. HUTTON. 
 
 By SIMEON SOLOMON. Canvas 14J x 204 inches. 
 Lent by HENRY BODDINGTON, ESQ. 
 
 By PHIL. R. MORRIS, A.R.A. Canvas 20 x 30 inches. 
 Lent by W. CUTPIBERT QUILTER, ESQ., M.P. 
 
 131 FERDINAND LURED BY 
 ARIEL. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. 
 
 Canvas 26 x 21 inches. 
 
 Lent by H. F. MAKINS, ESQ. 
 
 Exhibited, Royal Academy, 1850. 
 
 IRANDA’S lover has just emerged from the 
 
 mazes of a wood, through which he has been 
 
 led by Ariel. His ear catches the faint music of the 
 gauze-winged company that flutter about him — 
 
 “ Where should this music be ? i 5 the air or the earth ? 55 
 The scene is flooded with sunlight, so that the foliage 
 and herbage are of vivid green, shining with the moisture 
 of late rain. 
 
 129 DAWN. 
 
 130 PIPING HOME. 
 
72 
 
 GALLERY III. 
 
 132 THE BELOVED (OR THE 
 BRIDE). 
 
 By D. G. ROSSETTI. Panel 33 £ x 30 inches. 
 
 Lent by GEORGE RAE, ESQ. 
 
 HE shall be brought unto the king in raiment of 
 
 needlework ; the virgins that be her fellows shall 
 bear her company, and shall be brought unto thee.” 
 She advances towards the bridegroom, and is in the 
 act of drawing from her face and throat a thin green 
 
 Dated 1865-6. Repainted 1873. 
 
 Gabriel Charles Dante Rossetti was born in London in 
 1828. He was the son of Gabriele Rossetti, who was exiled from 
 Italy for his political opinions and came to London. He entered 
 the Schools of the Royal Academy in 1846, and in 1848 became 
 the prime mover in the famous pre-Raphaelite revolt. In 1850 
 he edited “ The Germ, 5 a periodical which demonstrated the 
 principles of the brotherhood ; but it was short-lived. Among 
 the works painted according to its principles was the “Ecce 
 Ancilla Domini,” now in the National Gallery. For the next 
 ten years his chief productions were a series of water colours 
 inspired by passages in the “Vita Nuova” and the “ Divina 
 Commedia.” In i860, after a long engagement, he married 
 Elizabeth Eleanor Siddall, a girl of characteristic beauty and the 
 model for some of his most famous works. She died in 1862 from 
 an overdose of laudanum, and on the day of her burial Rossetti 
 placed the manuscript of all his poems, as a last gift, in her coffin. 
 In the autumn of that year he removed to Cheyne Walk, Chelsea, 
 and between that time and 1869 produced some of his finest 
 paintings, achieving a splendour of colour that may be compared 
 with the productions of the great Venetians, and has seldom been 
 surpassed in modern times. In 1869 he was prevailed upon to 
 permit the exhumation of his buried manuscripts, and in the 
 following year the first collection of his poems appeared. At 
 this time symptoms of weak health appeared, and he suffered 
 terribly from insomnia. To obtain relief he resorted to chloral, 
 with the customary results. Early in 1882 he went to Birchington, 
 and on Easter Sunday of that year he died. 
 
 veil. 
 
GALLERY III. 
 
 73 
 
 3 A HUGUENOT, ON ST. BAR- 
 THOLOMEW’S DAY, REFUSING 
 TO SHIELD HIMSELF FROM 
 DANGER BY WEARING THE 
 ROMAN CATHOLIC BADGE. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. Canvas 36 x 24 ins. 
 Lent by T. H. MILLER, ESQ. 
 
 “ When the clock of the Palais cle Justice shall 
 sound upon the great bell at daybreak, then each 
 good Catholic must bind a strip of white linen 
 round his arm, and place a fair white cross in his 
 cap .” — Vide the order of the Duke of Guise. 
 
 A ROMAN Catholic lady, during a stolen interview, 
 is entreating her Protestant lover, with the most 
 moving supplication, to wear the white scarf. She clings 
 to him, and endeavours to tie it round his arm, but he 
 gently prevents her. 
 
 The lady wears a black figured dress, with puffed 
 sleeves slashed with yellow at the shoulder. Her lover’s 
 tunic is of rich purple; black hose and shoes ; white frill 
 round the neck and a golci chain, from which a 
 medallion is suspended. The model for the lady was 
 a Miss Ryan, and General Lempriere was the model for 
 the Huguenot. 
 
 The picture was exhibited at the Royal Academy in 
 1852, when crowds stood before it all day. The painter 
 at that time was not twenty-three years of age. 
 
74 
 
 GALLERY III. 
 
 134 THE LAST MOMENTS OF 
 RAPHAEL. 
 
 By HENRY N. O’NEILL, A.R.A. Canvas 78 x 54 ins. 
 Lent by LORD ARMSTRONG, C.B. 
 
 Exhibited, Royal Academy, 1866. 
 
 Collection of SAMUEL MENDEL until 1 872. 
 
 Collection of BARON GRANT until 1877. 
 
 R APHAEL died on the anniversary of his birthday, 
 of a malignant fever, which proved fatal after 
 running a course of fourteen days. He was in his 
 thirty-seventh year. The scene depicted is an impressive 
 one ; the great painter lies on a couch before an open 
 window. It is Good P'riday, the 8th of April, 1520, 
 a time when primroses, some of which are scattered 
 on the floor, are plentiful. Already the evening light 
 catches the summit of Monte Mario. The friends of 
 Raphael are around his bed ; Giulio Romano holds his 
 arm, Peruzzi is on the spectator’s left, Giovanni de 
 Udine against the wall, and Mark Antonio stands in 
 the centre. At the foot of the bed are ecclesiastics, 
 among whom is Cardinal Bibiana, the uncle of the girl 
 to whom Raphael was engaged. The chalice, candle 
 and monstrance show that the last offices of religion 
 have been administered. Death is at hand, but for a 
 moment the spirit kindles as the dying man’s last 
 great work, “The Transfiguration,” is unveiled before 
 him. 
 
 Henry Nelson O’Neil, A.R.A., was bom at St. Petersburg, in 
 1817. In 1823, he was brought by his parents, who were English, 
 to London, and in 1836 he was a student at the Royal Academy, 
 exhibiting his first picture there in 1839. He was elected an 
 Associate in i86o ; and died in 1880. 
 
GALLERY TIT. 
 
 75 
 
 135 MAY MORNING ON MAG- 
 DALEN TOWER, OXFORD. 
 
 By w. HOLMAN HUNT, RAV.S. Canvas 60 x 79 ins. 
 Lent by the Artist. 
 
 136 SCENE FROM “ TWO 
 
 GENTLEMEN OF VERONA.” 
 
 By W. HOLMAN HUNT, R.w.S. Canvas 38 x 52 in. 
 Lent by the CORPORATION OF BIRMINGHAM. 
 Exhibited, Royal Academy, 1851. 
 
 HE picture shows Valentine rescuing Sylvia from 
 
 Proteus. Valentine is in the centre of the pic- 
 ture, his arm thrown around Sylvia. Proteus is to the 
 right, and on the left is Julia, leaning against a tree. In 
 the background are the Outlaws advancing with their 
 captives, the Duke of Milan, Sylvia's father, and Thurio, 
 Valentine’s rival. 
 
 This picture was much assailed when it was first exhibi- 
 ted forty-six years ago, but Mr. Ruskin wrote courage- 
 ously of its merits. “ There is not,” he said, “ a single 
 study of drapery in the whole Academy, be it in large 
 works or small, which for perfect truth, power, and finish, 
 could be compared with the black sleeve of Julia, or 
 with the velvet on the breast and the chain mail of 
 Valentine.” 
 
 The Sylvia was painted from Miss Siddall, afterwards 
 the wife of Dante Gabriel Rossetti. 
 
76 
 
 GALLERY III. 
 
 t 37 RUNCORN. 
 
 By WILLIAM DAVIS. Canvas 26 X 44 inches. 
 
 Lent by GEORGE RAE, ESQ. 
 
 William Davis was born in Dublin* 1812. His father was a 
 solicitor, whose profession he intended his son to follow, but the 
 natural taste for art was too strong, and his son entered the Royal 
 Dublin Society as a student ; among his fellow-workers was Foley, 
 the sculptor. When his studies were completed he set up at Dublin 
 as a portrait painter, but meeting with small success in that line, he 
 removed to the banks of the Mersey, where better fortune awaited 
 him. In due time he became a member of the Liverpool Academy, 
 at that period the most important Art Society in the provinces. He 
 exhibited constantly at the Royal Academy. In 1870 he removed to 
 London, where he died in 1873. His sketches of herbage are vividly 
 but harmoniously green. The subjects he peculiarly favoured were 
 wide stony wastes, terminating on sea sands. He was a prominent 
 representative of the Liverpool school of painters, which flourished 
 in the first half of the present century. This school was one of the 
 latest survivals of the social state prevailing in England before the 
 introduction of railways. 
 
 138 A BAZAAR IN GAIRO. 
 
 By SIR JOHN GILBERT, R.A., P.R.W.S. 
 
 Canvas 39 x 26 inches. 
 
 Lent by W. PELHAM BULLIVANT, ESQ., J.P. 
 
GALLERY III. 
 
 77 
 
 39 THE BLIND GIRL, 
 
 By SIR JOHN E. MILLAIS, BART., P.R.A. 
 
 Canvas 32 x 21 inches. 
 
 Lent by the CORPORATION OF BIRMINGHAM. 
 Exhibited, Royal Academy, 1856. 
 
 Presented by Alderman WILLIAM KENRICK, M.P., to 
 the Art Gallery of the City of Birmingham. 
 
 T HE village represented in the background is 
 Icklesham, near Winchelsea. Mr. Ruskin’s note 
 of this exquisite work reads : — “The common is a fairly 
 spacious bit of ragged pasture, and at the side of the 
 public road passing over it, the blind girl has sat down 
 to rest awhile. She is a simple beggar, not a poetical, 
 or vicious one ; a girl of eighteen or twenty, extremely 
 plain-featured, but healthy, and just now resting, not 
 because she is much tired, but because the sun has but 
 this moment come out after a shower, and the smell of 
 the grass is pleasant. The shower has been heavy, and 
 is still so in the distance, where an intensely bright 
 double rainbow is relieved against the departing thunder 
 cloud. The freshly wet grass is all radiant through and 
 through with the new sunshine ; the weeds at the girl’s 
 side as bright as a Byzantine enamel, and inlaid with 
 blue veronica ; her upturned face all aglow with the 
 light that seeks its way through her wet eyelashes. 
 Very quiet she is, so quiet that a radiant butterfly has 
 settled on her shoulder, and basks there in the warm 
 sun. Against her knee, on which her poor instrument of 
 beggary rests, leans another child, half her age— her 
 guide ; indifferent this one to sun or rain, only a little 
 tired of waiting.” 
 
GALLERY III. 
 
 140 MORNING. 
 
 By M. R. CORBET. Canvas 8 x 21 inches. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 14 1 THE CAVALIER AND THE 
 PURITAN. 
 
 By W. S. BURTON. Canvas 41 X 35 inches. 
 
 Lent by ALBERT WOOD, ESQ. 
 
 Exhibited, Royal Academy, 1856. 
 
 LADY and her Puritan lover, passing along a 
 
 roadway that skirts a dense wood, come on a 
 spot where a fierce conflict has taken place, and where 
 one of the combatants has been left desperately 
 wounded, his pockets being then searched for papers, 
 and the cards falling out, which are seen on the right 
 of the picture. He has lain there so long that a 
 spider has woven its web round the sword, and upon 
 it has gathered the morning dew. The lady is 
 compassionately endeavouring to do what she can, 
 though late, to tend the terrible wound, while the 
 Puritan merely looks on, the bitter spirit felt by him 
 for all Cavaliers showing itself especially in this case, 
 where the richly-apparelled and evidently high-born 
 Royalist awakens immediate jealousy, shown by the 
 closely-drawn lips and the clenched hand behindTiim. 
 
GALLERY III. 
 
 79 
 
 142 LOVE’S PASSING. 
 
 By MRS. EVELYN DE MORGAN. Canvas 29 X 44 ins. 
 Lent by W. DE MORGAN, ESQ. 
 
 143 A VISION OF FIAMMETTA. 
 
 By D. G. ROSSETTI. Canvas 57 x 37 inches. 
 Lent by CHARLES BUTLER, ESQ. 
 
 Painted 1878. 
 
 Collection of MR. W. A. TURNER. 
 
 144 THE LAST OF ENGLAND. 
 
 By FORD MADOX BROWN. 
 
 Canvas 32^ x 29^ inches, almost circular. 
 
 Lent by the CORPORATION OF BIRMINGHAM. 
 
 Painted 1855. 
 
 A duplicate, but much smaller in size, and painted 
 in i860, is in the possession of MR. GEORGE RAE. 
 
 HIS picture treats of the great emigration move- 
 
 ment which culminated about 1852. In the 
 painter’s note of this work, he states that he singled 
 out for his subject a couple from the middle class, high 
 enough through education and refinement to appreciate 
 all they are giving up in leaving their native land, and 
 yet depressed in means to the extent of having to put 
 up with the discomforts and humiliations incident to 
 a vessel “all one class.” The man is shielding his wife 
 from the sea spray with an umbrella, as he broods over 
 
8o 
 
 GALLERY III. 
 
 blighted hopes and severance from all he has been 
 striving for. Various incidents are in the background, 
 the most noticeable being the reprobate who shakes 
 his fist at the land of his birth, as though that were 
 answerable for his want of success. 
 
 Ford Madox Brown was bom at Calais in 1821. He was 
 educated on the Continent, and studied Art at the Academy at 
 Bruges, and also at Ghent and Antwerp, and at the age of twenty- 
 three submitted cartoons for the competition for the wall decoration 
 at Westminster. In 1848 he was sought out by Rossetti, with the 
 intention of being received by him as a pupil, and a strong friend- 
 ship was formed between the two men. In 1865 he exhibited fifty 
 of his pictures in a Gallery in Piccadilly. His greatest production 
 is considered to be one entitled “Work,” now in the Corporation 
 of Manchester Gallery. It was in the first Guildhall Exhibition in 
 1890. For many of the later years of his life he was engaged 
 in decorating in fresco the Town Hall of Manchester. He died 
 in 1893. 
 
 By WILLIAM HUGGINS. Canvas 25 x 30 inches. 
 Lent by GEORGE RAE, ESQ. 
 
 William Huggins was born at Liverpool in 1820. lie was a 
 painter of animals and was known in his birthplace as the 
 “Liverpool Landseer.” He received his early education at 
 Liverpool, but afterwards resided principally at Chester and in 
 North Wales. He died at Chester in 1S84. 
 
 FRIENDS. 
 
GALLERY III. 
 
 8l 
 
 146 THE STONEBREAKER. 
 
 By JOHN BRETT, A.R.A. Canvas 20 x 27 inches. 
 Lent by JAMES BARROW, ESQ. 
 
 Exhibited, Royal Academy, 1858. 
 
 M R. RUSKIN said of this picture: “I know no 
 such thistledown, no such chalk hills and elm 
 trees, no such natural pieces of far-away cloud in any 
 of their (the Pre-Raphaelites’) works.” 
 
 147 MARY MAGDALENE AT THE 
 DOOR OF THE HOUSE OF 
 SIMON THE PHARISEE. 
 
 By D. G. ROSSETTI. Canvas 25 x 23^ inches. 
 
 Lent by THE RIGHT HON. GERTRUDE COUNTESS OF 
 PEMBROKE. 
 
 M ARY has left a festal procession, and is ascending, 
 by a sudden impulse, the steps of the house 
 where she sees Christ. Her lover is following her, and is 
 endeavouring to allure her back. 
 
82 
 
 GALLERY III. 
 
 148 THE SISTERS. 
 
 By SIR J. E. MILLAIS, BART., P.R.A. 
 
 Canvas 41 x 42 inches. 
 
 Lent by MRS. LEES. 
 
 Exhibited, Royal Academy, 1868; Exposition Uni- 
 verselle Paris, 1878. 
 
 HE painter’s three daughters. In the centre is 
 
 Miss Effie Millais, now Mrs. James ; on the left 
 is Miss Mary, who is seen also in the picture of “Just 
 Awake” (No. 94); and on the right is Miss Caroline 
 Millais, the model for the companion picture, called 
 “ Asleep.” 
 
 John Everett Millais was bora at Southampton in 1829. Early 
 in life he entered the Academy Schools, and earned in turn every 
 honour that they had to bestow. In 1848 he became connected with 
 Rossetti and Holman Hunt in the Pre-Raphaelite Brotherhood, 
 working on methods which were approved and encouraged by Mr. 
 Ruskin. Among other works painted at this time, two of the most 
 striking, the “ Ferdinand and Ariel,” and “ The Huguenot,” are now 
 in this collection, the latter procuring for him immense popularity 
 and thoroughly establishing his reputation. He is the painter also 
 of many landscapes of remarkable beauty and poetic feeling, one of 
 the most charming being “Chill October,” painted in 1871, and 
 exhibited in the present collection. He was elected Associate of 
 the Royal Academy in 1853, and Academician in 1864. On the 
 death of Lord Leighton in 1896, he was unanimously elected 
 President, but died in the August following. Pie was created a 
 Baronet in 1885. 
 
 149 A STIFF BREEZE. 
 
 By ALFRED VICKERS. Canvas 18 x 26 inches. 
 Lent by C. WENTWORTH WASS, ESQ. 
 
GALLERY III. 
 
 150 PAOLO AND FRANCESCA DA 
 RIMINI. 
 
 By FRANK DICKSEE, R.A. Canvas, circular, 51 in. 
 Lent by W. K. d’arcy, ESQ. 
 
 Exhibited, Royal Academy, 1895. 
 
 Photogravure published by the FINE ART SOCIETY, 
 148, New Bond Street. 
 
 “ In its leaves that day we read no more." 
 RANCESCA, the beautiful daughter of Guido de 
 
 Polenta, Lord of Ravenna, was wedded towards 
 the close of the thirteenth century to Lanciotto, son of 
 the Lord of Rimini, a man deformed in his person, who, 
 later, discovered her in guilty companionship with his 
 brother Paolo, and slew both him and her. The tragic 
 event occurred in Dante’s lifetime, and he twice refers 
 to it in his “ Divina Commedia,” and speaks of his 
 encountering Paolo and Francesca in the second circle 
 of “ Hell,” where carnal sinners are tossed about cease- 
 lessly in the darkness by furious winds. Francesca then 
 tells him her sad story, and Dante is so overpowered 
 by pity that he sinks into a swoon. He had probably 
 known her when an innocent girl living under her 
 father’s roof. The episode is said to have been written 
 by him in the very house at Rimini in which Francesca 
 was born. It is recorded that Paolo and Francesca 
 were buried together, and that, three hundred years 
 afterwards, their bodies were found at Rimini, with 
 Francesca’s silken garments yet fresh. 
 
Ui 
 
 84 
 
 GALLERY III. 
 
 r THE MENDICANTS’ HOSPITAL, 
 VENICE. 
 
 By JAMES HOLLAND. Canvas 25 x 36 inches. 
 
 Lent by ABEL BUCKLEY, ESQ. 
 
 James Holland was bom at Burslem in 1800, and came to 
 London in 1819. For some time he supported himself by painting 
 flowers, exhibiting his works at the Royal Academy. Not until 
 1831 did he devote himself to landscape painting. His constant 
 visits to the Continent resulted in the production of many excellent 
 works, both in oil and water colours. In 1858 he was elected a 
 member of the Society of Painters in Water Colours. Ele died in 
 London in 1870. 
 
 152 ST. CECILIA. 
 
 By J. W. WATERHOUSE, R.A. Canvas 46 x 77 ins. 
 Lent by GEORGE MCCULLOCH, ESQ. 
 
 153 SUMMER DAYS FOR ME. 
 
 By ALFRED W. HUNT, R.W.S. Canvas 37 x 61 inches. 
 Lent by MRS. NEWALL. 
 
 154 ST. ELIZABETEI. 
 
 By MARIANNE STOKES. Canvas 38 x 24 inches. 
 Lent by LEOPOLD HIRSCH, ESQ. 
 
GALLERY III. 
 
 85 
 
 55 “ WHEN A MAN’S SINGLE, HE 
 LIVES AT HIS EASE.” 
 
 By J. WATSON NICOL. Canvas 24 x 36 inches. 
 
 Lent by MERTON RUSSELL COTES, ESQ., J.P., F.R.G.S. 
 Exhibited, Royal Academy, 1877. 
 
 Etched by VICTOR LHUILLIER. Published by MR. R . 
 DUNTHORNE, Vigo Street, Regent Street. 
 
 By EYRE CROWE, A.R.A. Canvas 40 x 56 inches. 
 Lent by the Artist. 
 
 Exhibited, Royal Academy, 1868. 
 
 ARY QUEEN OF SCOTS was beheaded at 
 
 Fother ingay Castle on the 8th of February, 
 
 1587. Her remains were covered with an old cloth 
 torn from a billiard table, and conveyed to a large 
 upper chamber, where they were left, as seen in the 
 picture, to await the process of embalming. She was 
 scarcely forty-four years of age, Queen of Scotland, 
 sometime Queen of France, and claimant of the crown 
 of England. She was three times wedded before she 
 was twenty-five. So great was the indignation in 
 Scotland at the piteous execution, that King James 
 would not receive the envoy despatched by Elizabeth 
 to express her sorrow for what she termed the “ miser- 
 able accident ” ; he was warned by James not to advance 
 further than Berwick, as it would be impossible to pro- 
 tect his life from the fury of the people if he ventured 
 
 56 MARY STUART. 
 
86 
 
 GALLERY TIT. 
 
 to enter Scotland. Mary’s remains were conveyed six 
 months later to Peterborough Cathedral, where they 
 were interred with great pomp; all the faithful attend- 
 ants of her imprisonment followed her, and indignantly 
 repelled the courtesies offered them by the English 
 Queen, preferring their own dresses to the black cloth 
 Elizabeth sent for them, and declining altogether the 
 banquet provided for the mourners, saying that “their 
 hearts were too sad to feast.” Twenty-five years later, 
 on her son’s accession to the English throne, the body 
 was exhumed, and carried with reverential care to 
 Westminster, where it now lies, in the South aisle of 
 Henry VII.’s Chapel. 
 
GALLERY III. 
 
 8 ? 
 
 157 PASSING DAYS. 
 
 By J. M. STRUDWICK. 
 
 Canvas 14^ x 44 inches ; arched top. 
 
 Lent by WILLIAM IMRIE, ESQ. 
 
 Collection of HENRY hill, ESQ., until 1889. 
 
 T HE picture represents the days of a man’s life 
 passing before him. His early days are seen in 
 the joyous children to the right ; other days pass 
 on, till the latest are seen approaching from the left. 
 Two happy days have just passed, and the two beautiful 
 forms that represent them stretch out their hands to 
 him, as fain to linger, and he, with regretful mien, would 
 fain they stayed ; but the scythe of Time interposes, 
 and they pass on, followed by a day of adversity, whose 
 pathway is over the thorny briar, and who, with bowed 
 head, sheds tears as she passes. On the right is the 
 pleasant winding river and the fruit tree in blossom, 
 and on the left the leafless tree and the tolling bell. 
 
 158 MRS. RAWLINSON. 
 
 By w. B. RICHMOND, R.A. Canvas 30 x 25 inches. 
 Lent by W. G. RAWLINSON, ESQ. 
 
88 
 
 GALLERY III. 
 
 159 READING THE WILL. 
 
 By F. D. HARDY. Canvas 27 x 35 inches. 
 
 Lent by GEORGE GURNEY, ESQ. 
 
 Painted 1870. 
 
 Collection of J. EDEN, until 1874. 
 
 Frederick Daniel Hardy was bom at Windsor in 1826. He 
 was a painter of genre, and begun to exhibit at the Royal Academy 
 in 1851. His pictures were very popular, being scenes of domestic 
 interiors and of social life. He relinquished the profession of 
 music for that of art. 
 
 By JOHN PETTIE, r.a. Canvas 28 x 41 inches. 
 Lent by G. J. FENWICK, ESQ. 
 
 Exhibited, Royal Academy, 1871. 
 
 HE war that broke out in the reign of Henry VI. 
 
 arose from the rival claims of the Houses of 
 York and Lancaster to the crown. The Duke of York 
 was descended from the third son of Edward III., and 
 King Henry VI. from the fourth son. The scene 
 depicted is in the Temple Gardens. Richard, Duke 
 of York, standing to the left, plucks a white rose, and 
 calls upon his followers to pluck a similar rose with 
 him. The Duke of Somerset, boldly fronting him, 
 gathers a red rose, and commands the supporters of 
 the Duke of Lancaster to do the like. The thoughtful 
 lawyer in the rear seems to foresee the calamitous effect 
 on the country of the position taken up by these two 
 determined men. The partisans of cither House 
 
 160 THE RIVAL ROSES. 
 
GALLERY TTI. 
 
 89 
 
 thereafter wore the white or red rose as a distinctive 
 badge, and the contest became known throughout the 
 world as the “Wars of the Roses.” Many powerful 
 nobles sided with York, among them the renowned 
 Earl of Warwick. Thirty thousand persons, it is 
 recorded, lived daily at his board, and he was the last 
 of those mighty barons who may be said to have over- 
 awed the Crown. But Lancaster could also count 
 many potent nobles, and was, moreover, supported by 
 the actual possession of the Royal authority. Gradually 
 the people grew divided in their sentiments, but not 
 until Henry had sat on the throne for thirty-three years 
 did an appeal to arms take place. The “Wars of the 
 Roses ” lasted for thirty years ; no fewer than twelve 
 pitched battles were fought, and the terrible conflict 
 almost annihilated the ancient nobility of the land. 
 
 1 61 ON THE BEACH AT OSTEND ; 
 SQUALLY WEATHER. 
 
 By E. W. COOKE, R.A. Canvas 12 x 20 inches, 
 
 Lent by MRS. NATHAN. 
 
 162 THE SICK CHILD. 
 
 By JOSEPH CLARK. Canvas 22 x 17 inches. 
 
 Lent by H. J. TURNER, ESQ. 
 
Index ol Contributors 
 
 HER MAJESTY THE QUEEN, II, 1 5, 57 
 HIS ROYAL HIGHNESS THE PRINCE OF WALES. 8 
 
 ARMSTRONG, LORD, C.B., 1 8, 134 
 
 BALDWIN, E. T., ESQ., 1 24 
 BARROW, JAMES, ESQ., 1 46 
 BARRATT, T. J., ESQ., 69 
 BARRINGTON, MRS. RUSSELL, I 1 I 
 BIRMINGHAM, CORPORATION OF, 
 
 5> *3 6 > *39? *44 
 
 BODDINGTON, H., ESQ., 1 28, 1 29 
 BRECHIN, R. H., ESQ., IOO 
 BRIGHT, HORATIO, ESQ., 64 
 BROWN, JOSEPH J., ESQ., 42 
 BUCKLEY, ABEL, ESQ., 29, 59, 60. 
 
 75> 79' I 5 I 
 
 BULL 1 VANT, W. PELHAM, ESQ., 
 j.p., 138 
 
 BUTLER, CHARLES, ESQ., J 43 
 
 CHURCHILL, CHARLES, ESQ., 83 
 CONNAL, W., JUN., ESQ., 1 27 
 COOPE, MRS., 7 
 COSENS, F. W., ESQ., 14 
 COTES, MERTON RUSSELL, ESQ., 
 J.P., .106, 1 14, 155 
 CROWE, EYRE, ESQ., A.R.A., 156 
 CURRIE, SIR DONALD, K.C.M.G., 
 
 m.p., 63, 66 
 
 D’ARCY, W.K., ESQ., 150 
 DE MORGAN, W., ESQ., 1 42 
 DENNY, EDW. M., ESQ., 1 25 
 DEVONSHIRE, DUKE OF, K.G., 58 
 
 EAST, ALFRED, ESQ., R.I., 27 
 
92 
 
 INDEX OF CONTRIBUTORS. 
 
 FENWICK, G. J., ESQ., l6o JOICEY, SIR JAMES, BART., 68 
 
 GALLOWAY, C. J., ESQ., 50, 1 1 5, 
 II 9 
 
 GALPIN, T. D., ESQ., 89A 
 GASKELL, HOLBROOK, ESQ., 94 
 GASSIOT, CHARLES, ESQ., 77 
 GOODWIN, ALBERT, ESQ., R.W.S., 
 
 29 
 
 GURNEY, GEORGE, ESQ., 1 59 
 
 IIAMMERSLEY, HUGH, ESQ., 52 
 HARRIS, C. T., ESQ., 95, 1 1 2, 113 
 HARTLAND, J. HILL, ESQ., 84 
 HARVEY, CAPT. J. AUDLEY, I 7, 99 
 HAWORTH, A., ESQ., 4 
 HENDERSON, ALEX., ESQ,, 87 
 H 1 RSCH, LEOPOLD, ESQ., 1 54 
 HOLLAND, STEPHEN G., ESQ., I04, 
 III 
 
 ITOULDSWORTH, J., ESQ., 34 
 HUNT, W. HOLMAN, ESQ., 1 35 
 HUTH, LOUIS, ESQ., 67 
 
 IMR 1 E, WILLIAM, ESQ., 1 5 7 
 ISMAY, T. H., ESQ., I, IOI 
 
 JESSOP, W., ESQ., 7 6 
 
 KENRICK, WILLIAM, ESQ., M.P., 109 
 KNOWLES, JAMES, ESQ., 98 
 
 LAWSON, MRS. CECIL, 89 
 LEEDS, CORPORATION OF, 32, 36 
 LEES, MRS., 23, 55, 96, 120, I4S 
 LIVERPOOL, CORPORATION OF, 30, 
 
 85 
 
 MAKINS, H. F., ESQ., I08, 131 
 MANCHESTER, CORPORATION OF, 
 
 2, 86, 1 16 
 
 MASON, JAMES, ESQ., 62, 107 
 MCCULLOCH, GEORGE, ESQ., 6, 
 
 16, 19, 21, 26, 31, 33, 35, 
 
 44, 47, 54. 54b, 1 1 7. !4°. IS 2 
 
 MILLER, T. H., ESQ., 74, 133 
 MONTAGU, SIR SAMUEL, BART., 
 M.P., 12, 43 
 
 NATHAN, MRS., 73, l6l 
 NEWALL, MRS., 1 53 
 NORTH, MRS., 88 
 NORTHBROOK, EARL OF, G.C.S.I., 
 71, 80, 82, 102 
 
 PEARSON, J. L., ESQ., R.A., IO 
 
INDEX OF CONTRIBUTORS 
 
 93 
 
 PEMBROKE, GERTRUDE, COUNTESS 
 OF, 147 
 
 POLSON, JOHN, ESQ., 9 1 
 
 QUILTER, W. CUTHBERT, ESQ., M.P., 
 20, 65, 1 2 1, 126, I30 
 
 RAE, GEORGE, ESQ., 46, 1 32, 
 
 137, MS 
 
 RAWLINSON, W. G., ESQ., 1 58 
 ROBERTS, HUMPHREY, ESQ., 25, 
 28 , 90 , 93, 97, IIO, Il8, 122 , 
 123 
 
 ROYAL ACADEMY, 53 
 
 ROYAL ARTILLERY, 1 3 
 
 ROYAL HOLLOWAY COLLEGE, 40, 
 
 45 >' 8l > 9 2 
 
 SLATER, JOHN W., ESQ., 105 
 
 STREET, A. E., ESQ., 2 2 
 SUSSEX COUNTY COUNCIL, 37 
 
 THWAITES, MRS., 38, 78 
 TURNER, H. J., ESQ., 48, 162 
 
 VAILE, REGINALD, ESQ., 56, 70, 
 
 72 
 
 WASS, C. WENTWORTH, ESQ., 6l, 
 
 149 
 
 WHARNCLIFFE, EARL OF, 103 
 WHARTON, ROBERT, ESQ., 9, 39, 
 
 49 
 
 WILSON, J. E., ESQ., 5 I 
 WOOD, ALBERT, ESQ., I4I 
 
 YOUNG, ALEX., ESQ., 3 
 
Index of Artists 
 
 ABBEY, E. A., A.R.A., 54B 
 ALMA TADEMA, L., R.A., 38, 104, 
 107, I17 
 
 ALMA TADEMA, MRS., 106 
 AUMONIER, J., R.I., 89A 
 
 BAYLISS, WYKE, R.B.A., 30 
 BOUGHTON, G. H., R.A., IOI 
 BRAMLEY, FRANK, A.R.A., 53 
 BRETT, JOHN, A.R.A., 44, 1 4 6 
 BROWN, FORD MADOX, 1 44 
 BURGESS, J. B., R.A., 114 
 BURNE-JONES, SIR EDWARD, BART. 
 127 
 
 BURTON, W. S., 141 
 BUTLER, LADY, II 
 
 CALDICOTT, RANDOLPH, Il6 
 CHAMBERS,. GEORGE, 70 
 CHRISTIE, J. E., IOO 
 CLARK, JOSEPH, I 62 
 
 CLAUSEN, G., A.R.A., IlS 
 COLLINS, WM., R.A., 58 
 CONSTABLE, JOHN, R.A., 77 
 COOKE, E. W. R.A., 95, l6l 
 COOPER, T. SYDNEY, R.A., 64 
 CORBET, M. R., 140 
 COTMAN, J. S., 97 
 COX, DAVID, 69 
 CRESWICK, T., R.A., 82 
 CROWE, EYRE, A.R.A., 1 56 
 
 DAVIS, H. W. B., R.A., 25 
 DAVIS, WM., 137 
 DE MORGAN, MRS. EVELYN, 1 4 
 DICKSEE, F., R.A., 150 
 DILLON, FRANK, R.I., 54A 
 
 EAST, ALFRED, R.I., 27 
 EGG, ALFRED, R.A., 74 
 
 FAED, T., R.A., 39 
 
INDEX OF ARTISTS, 
 
 95 
 
 FILDES, LUKE, R.A., I 
 
 LANDSEER, SIR EDWIN, R.A., 7 1 , 
 
 FORBES, STANHOPE A., A.R.A., 42 
 
 9 2 
 
 FRITH, W. P., R.A., 15 
 
 LAWSON, CECIL, 89 
 
 GILBERT, SIR JOHN, R.A., 1 38 
 
 LEADER, B. W., A.R.A., 5 1 
 LEIGHTON, E. BLAIR, 36 
 
 GOODALL, F., R.A., 49 
 
 LEIGHTON, LORD, P.R.A., 20, 83 
 
 GOODWIN, ALBERT, R.W.S., 24, 28 
 
 LESLIE, G. D., R.A., I09 
 
 GOW, A. C., R.A., l6 
 
 LEWIS, J. F., R.A., 6 7 
 
 GRAHAM, PETER, R.A., 6, 34 
 
 LINNELL, JOHN, SENR., 59 
 
 GRAHAM, T., 2 6 
 
 LONG, EDWIN, R.A., 40 
 
 GREGORY, E. J., A.R.A,, 115, 119 
 
 LUCAS, J. SEYMOUR, A.R.A., 43 
 
 HARDY, F. D., 1 59 
 
 MACBETH, R. W., A.R.A., IIO 
 
 HEMY, C. NAPIER, A.R.W.S., 54 
 
 MACLISE, D., R.A., 1 4 
 
 HERKOMER, H., R.A., 3, 29 
 
 MARKS, H. STACY, R.A., 84 
 
 HOLL, FRANK, R.A., 37 
 
 MASON, GEORGE, A.R.A., 87 
 
 HOLLAND, JAMES, 151 
 
 MC WHIRTER, J., R.A., 45 
 
 HOOK, J. C., R.A., 12, 79 
 
 MILLAIS, SIR J. E., BART., P.R.A., 
 
 HORSLEY, J. C., R.A., 76, 8 1 
 
 18,90, 94,131, 133,139,148 
 
 HUGGINS, W., I45 
 
 MOORE, ALBERT, 93 
 
 HUGHES, ARTHUR, 1 28 
 
 MOORE, HENRY, R.A., 5 
 
 HUGHES, EDWARD, 8 
 
 MORRIS, P. R., A.R.A., 130 
 
 HUNT, ALFRED W., 1 53 
 
 MULREADY, W., R.A., 102 
 
 HUNT, W. HOLMAN, R.W.S., 135, 
 
 MURRAY, DAVID, A.R.A., 2 1, 23, 35 
 
 136 
 
 MULLER, W. J., 62 
 
 HUNTER. COLIN, A.R.A., 2 
 
 JOY, G. W., 32 
 
 NORTH, J. W., A.R.A.,88 
 NICOL, J. WATSON, 1 55 
 
 LA THANGUE, H. H., 50 
 
 O’NEILL, H., A.R.A., I34 
 
96 
 
 INDEX OF ARTTSTS. 
 
 ORCHARDSON, W. Q., R.A., 33 
 OULESS, W. W., R.A., 1 3 
 
 PARSONS, ALFRED, A.R.A., 3 1 
 PATON, SIR NOEL, R.S.A., 91 
 PETTI E, J., R.A., 48, l6o 
 PHILLIP, JOHN, R.A., 60, 75 
 POOLE, P. F., R.A., 68 
 POYNTER, SIRE. J., P.R.A., 85, 103 
 PRINSEP, V. C., 120 
 PYNE, J. B., 55 
 
 RICHMOND, W. B., R.A., 1 58 
 RIVIERE, B., R.A., 4 
 ROBERTS, DAVID, R.A., 78 
 ROSSETTI, D. G., 132, 143 147, 
 
 SANDYS, F., I25, 126 
 SANT, JAMES, R.A., 86 
 SARGENT, J. S., R.A., 52 
 SHAYER, WILLIAM, 73 
 SOLOMON, SIMEON, I 29 
 SOLOMON, S. J,, A.R.A., 47 
 SOMERSCALES, T., IO 
 STANFIELD, C., R.A., 80 
 STOKES, ADRIAN, I 7 
 
 STOKES, MRS. ADRIAN, 1 54 
 STONE, MARCUS, R.A., 9 
 STOREY, G. A., A.R.A., I05 
 STOTT, EDWARD, II3 
 STRUDWICK, J. M., 1 57 
 SWAN, J. M., A.R.A., 99, 1 23 
 
 TONGE, ROBERT, 46 
 
 TURNER, J. M. W., R.A., 63, 65, 66 
 
 VICKERS, ALFRED, 6 1, 1 49 
 
 WALKER, FRED., A.R.A., 22, I08, 
 122 
 
 WATTS, G. F., R.A., 96, 98, III 
 WATERHOUSE, J. W., R.A., 1 52 
 WATERLOW, E. A., A.R.A., 1 9 
 WEBSTER, T., R.A., 1 12 
 WILKIE, SIR D., R A., 57 
 WILLCOCK, J. B., 56 
 WILLIAMS, E., 72 
 WOODS, HENRY, R.A., 4 1 
 WYLLIE, W. L., A.R.A., I 2 I, I 24 
 
 YEAMES, W. F., R.A., 7 
 
- ■ , ■ . - - ■■ ■ • . ' - v ;*mm 
 

 CORPORATION or LONDON 
 -V ART Gft LLCRY. 
 
 DescRipnue^TftLQGH £ 
 
 OF The LOAN collection 
 
 OF 
 
 PICTURES 
 
 OF THE FRENCH SCHOOL, 
 
 18 ^ 8 . 
 
 PRICE SIXPENCE 
 
CATALOGUE 
 
 OF THE 
 
 LOAN COLLECTION OF PICTURES 
 
 BY 
 
 PAINTERS OF THE FRENCH SCHOOL. 
 
CORPORATION OF LONDON 
 
 Art Gallery. 
 
 /catalogue of the Loan 
 ^ Collection of Pictures 
 
 By Painters of tfte Trend) Softool. 
 
 r 
 
 WITH DESCRIPTIVE AND BIOGRAPHICAL NOTES 
 
 BY 
 
 A. G. TEMPLE, F.S.A., 
 
 c Director of the *Art Gallery of the Corporation of London. 
 
 
 WILLIAM COOPER, Esq., 
 Chairman. 
 
Blades, East & Blades, 
 
 Printers , 
 
 23, Abchurch Lane, London, E.C. 
 
Committee. 
 
 V 
 
 THE RIGHT HONOURABLE H. D. DAVIES, M.P., LORD MAYOR. 
 WILLIAM COOPER, Esq., Chairman. 
 
 Sir REGINALD HANSON, Bart., M.P., LL.D., F.S.A., Alderman. 
 
 Sir STUART KNILL, Bart., LL.D., F.S.A., Alderman. 
 
 Sir WALTER WILKIN, K.C.M.G., Alderman. 
 
 Sir MARCUS SAMUEL, Knt., Alderman. 
 
 JOHN POUND, Esq., Alderman. 
 
 GEORGE PEPLER, Esq., Deputy. 
 
 RICHARD OSMOND HEARSON, Esq. 
 
 EDWARD LEE, Esq. 
 
 EDWARD ANSTED, Esq. 
 
 ALFRED JORDAN HOLLINGTON, Esq. 
 
 FREDERICK DADSWELL, Esq., Deputy. 
 
 JOHN EDWARD WALFORD, Esq., Deputy. 
 
 OSCAR COHU BERRY, Esq., F.C.A. 
 
 WILLIAM BATTYE, Esq. 
 
 JOHN KING FARLOW, Esq. 
 
 ARTHUR BYRNE HUDSON, Esq., F.S.I. 
 
 WALTER OWEN CLOUGH, Esq , M.P. 
 
 CHARLES WALLINGTON, Esq. 
 
 JOHN FRANKLAND HEPBURN, Esq. 
 
 CHARLES EDWARD ATKINS, Esq. 
 
 JAMES ANTHONY STRATFORD LOVATT, Esq. 
 
 JAMES CALVERT COATES, Esq. 
 
 JOSEPH DOUGLASS MATHEWS, Esq., F.R.I.B.A., F.S.I. 
 
 CHARLES JONES CUTHBERTSON, Esq. 
 
 WILLIAM ROME, Esq., F.S.A., F.L.S. 
 
 JOHN LOBB, Esq., F.R.G.S. 
 
 CHARLES THOMAS HARRIS, Esq. 
 
 OCTAVIUS DIXIE DEACON, Esq. 
 
 ARTHUR HOLT BARBER, Esq. 
 
 CHARLES JOHN TODD, Esq. 
 
 TAMES PERKINS, Esq., F.R.G.S. 
 
 MATTHEW WALLACE, Esq., J.P. 
 
 JAMES GEORGE WHITE, Esq., Deputy. 
 
 THOMAS HENRY ELLIS, Esq. 
 
 JOHN JAMES BADDELEY, Esq. 
 

 
3ntrofcuction 
 
 The present is the Seventh Exhibition held at the Guildhall. 
 
 The First was in 
 
 1890 
 
 and it was visited by 109,383 persons. 
 
 
 Second 
 
 ,, 
 
 1892 
 
 » ,, 
 
 55 
 
 236,362 
 
 55 
 
 ,, 
 
 Third 
 
 5, 
 
 1894 
 
 55 55 
 
 55 
 
 300,366 
 
 55 
 
 ,, 
 
 Fourth 
 
 5, 
 
 1895 
 
 55 55 
 
 55 
 
 262,810 
 
 55 
 
 ?> 
 
 Fifth 
 
 
 1896 
 
 55 55 
 
 55 
 
 124,271 
 
 55 
 
 
 Sixth 
 
 
 1897 
 
 55 55 
 
 55 
 
 248,093 
 
 55 
 
 
 
 
 
 Total 
 
 ... 
 
 1,281,285 
 
 55 
 
 Early Flemish and Dutch examples, and works of the British 
 School have been shown in these Exhibitions. The Fifth Exhibition 
 was exclusively of water colours, and a portion only of the Galleries 
 was devoted to it. The Sixth Exhibition was devoted to works by 
 Painters of the British School who flourished during Her Majesty’s 
 Reign. 
 
 In addition to the above number, the permanent Collection of 
 the Corporation has been visited, since its establishment in 1886, by 
 567,560 persons, bringing the total number of visitors to the 
 Guildhall Art Gallery to 1,848,845. 
 
 The Exhibition now open is composed entirely of works of the 
 French School by painters chiefly of the eighteenth and nineteenth 
 centuries. 
 
 The Library Committee of the Corporation of London desire 
 to express their thanks to the owners of works for the kindness with 
 which many distinguished and valuable paintings and other works of 
 art have been placed at their disposal for the present Exhibition. 
 
 The Exhibition will be open from Monday, the 6th June, to 
 Wednesday, the 31st August, inclusive. 
 
 Week Days 10 a.m. to 7 p.m. 
 
 Sundays 3 p.m. to 6 p.m. 
 
 The Admission will be free. 
 
 A. 
 
 Art Gallery of the 
 
 Corporation of London, 
 
 Guildhall, London, E.C. 
 
 G. TEMPLE, 
 
 Director 
 
 1 st June , i8g8. 
 
GALLERY I. 
 
GALLERY I. 
 
 SOLITUDE. 
 
 Painted by h. harpignies. 
 
 Canvas 37 x 59 inches. 
 
 Lent by the hon. sir j. c. day. 
 
 Exhibited at the Paris Salon 1897, where it gained the 
 Medaille d'Honneur. 
 
 Henri Harpignies. Landscape painter — living. Pupil 
 of Achard. Chevalier of the Legion of Honour, 1875. 
 Works also in water colour. 
 
 FUNERAL OF A CHIEF IN THE 
 IRON AGE. 
 
 Painted by fernand cormon. 
 
 Canvas 67 x 87 inches. 
 
 Lent by monsieur avice. 
 
 Exhibited at the Paris Salon, 1892. 
 
 Fernand Cormon, History and portrait painter — living. 
 Pupil of Fromentin, Cabanel, and Portaels. Officer of 
 the Legion of Honour, 1880. 
 
12 
 
 GALLERY I. 
 
 3 THE EXECUTION OF MARSHAL 
 NEY. 
 
 Painted by J. L. gerome. 
 
 Canvas 25 x 41 inches. 
 
 Lent by Alexander Henderson, esq., m.p. 
 
 FTER the defeat at Waterloo, Marshall Ney, the 
 
 brilliant leader, who had three horses killed under 
 him in the desperate charges on that eventful field — “the 
 bravest of the brave/’ as Napoleon called him, “ Old 
 red face," as the soldiers nick-named him, was among the 
 first to be put upon his trial as one of Buonaparte’s 
 “ accomplices." He was convicted of high treason, and 
 amongst his judges were many marshals and generals who 
 had been his companions in arms. The sentence of 
 death was passed at two o’clock on the morning of the 
 7th December, 1815, and, a few hours later — at the 
 moment when his wife was at the Tuilleries seeking 
 pardon for him — he was shot. The scene of the execu- 
 tion was at the entrance of the Grand Avenue de 
 l’Observatoire. “Soldiers,” cried he, “straight to the 
 heart," and then appealing from the judgment which had 
 been passed upon him, to mankind, to posterity, and to 
 God, and with the cry of “Vive la France," the illustrious 
 soldier fell. 
 
 Jean Leon Ger6me. Born 1824 — living painter. Pupil 
 of Paul Delaroche and of l’Ecole des Beaux Arts, 
 Commander of the Legion of Honour, Member of the 
 Institute of France, and Chevalier of the order of l’Aigle 
 Rouge. His famous picture, painted at the age of 
 twenty-three, “A Combat of Cocks,” was bought by the 
 State and is now in the Luxembourg. Much of his 
 time has been spent in the East, and his record of 
 
GALLERY I. 
 
 13 
 
 Oriental life is charged with masterly completion of 
 design and scholarly finish. His historical scenes — 
 three of the most important of which are in the present 
 collection — are impressive in their truth and afford 
 remarkable evidence of his great capacity for dexterous 
 arrangement and his command of effective detail. 
 
 THE WIDOW. 
 
 Painted by G. laugee fils. 
 Canvas 37 x 40 inches. 
 
 Lent by MRS. NATHAN. 
 
 G. Laugee Fils. Genre painter — living. 
 
H 
 
 GALLERY I. 
 
 5 CLEOPATRA BEFORE CJESAR. 
 
 Painted by J. L. gerome. 
 
 Canvas 73 x 50 inches. 
 
 Lent by ogden mills, esq., of New York, U.S.A. 
 HE scene is in the Palace of the Ptolemy s at 
 
 Alexandria. The Egyptian Queen, determined to 
 gain favour with Caesar, has herself brought into his 
 presence concealed in a bale of cloth, which Apollodrus, 
 her attendant, bears as a present to the Roman Conqueror. 
 She is seen standing amidst the folds of the cloth which 
 have just been cast from her, and which Apollodrus is 
 drawing away from her peison. Caesar, at a table to the 
 left, appears startled at beholding her, and his secretaries 
 a short distance away look in amazement at the superb 
 woman. 
 
 Browning, in his “ Fifine at the Fair," has alluded to 
 this picture : — 
 
 " See, Cleopatra ! bared, the entire and sinuous wealth 
 O' the shining shape ; each orb of indolent ripe health, 
 Captured, just where it finds a fellow-orb as fine 
 I' the body : traced about by jewels which outline, 
 Fire-frame and keep distinct, perfections — lest they melt 
 To soft smooth unity ere half their hold be felt : 
 
 Yet, o’er that white and wonder, a soul's predominance 
 F the head so high and haught— except one thievish glance, 
 From back of oblong eye, intent to count the slain." 
 
 Exhibited at the Royal Academy, 1868. 
 
 ( For notice of the Painter's life see No. 2-) 
 
GALLERY 1. 
 
 I 
 
 6 DENIZENS OF THE 
 HIGHLANDS. 
 
 Painted by rosa bonheur. 
 
 Canvas 37 x 39 inches. 
 
 Lent by lord iveagh, k.p. 
 
 Painted 1857. 
 
 In the collection of Samuel Mendel (Manley Hall) 
 until 1875. 
 
 Collection of H. W. F. Bolckow until 1888. 
 
 Engraved by Thomas landseer, a.r.a. 
 
 7 A MILL IN HOLLAND. 
 
 Painted by j. c. cazin. 
 
 Canvas 32 x 26 inches. 
 
 Lent by mons. durand ruel. 
 
 Jean Charles Cazin. Genre and landscape painter — 
 living. Pupil of Lecoq de Boisbaudran. Officer of the 
 Legion of Honour. 
 
 8 LA SAISON OCTOBRE ; OR, THE 
 POTATO HARVEST. 
 
 Painted by J. bastien-lepage. 
 
 Canvas 71 x 77 inches. 
 
 Lent by george mcculloch, esq. 
 
 Exhibited at the Salon, 1879. 
 
 Etched by le conteux. 
 
 ( For notice of the Painter's life see No. ioo . ) 
 
 o 1 
 
i6 
 
 GALLERY I. 
 
 9 AT QUILLEBOEUF IN 
 NORMANDY. 
 
 Painted by v. binet. 
 
 Canvas 29 x 46 inches. 
 
 Lent by george mcculloch, esq. 
 
 Victor Jean Baptiste B. Binet. Landscape painter — 
 living. 
 
 10 THE EMIGRANTS. 
 
 Painted by j. A. meunier. 
 
 Canvas 36 x 40 inches. 
 
 Lent by Hubert m. wilson, esq. 
 
 J. A. Meunier. Genre painter — living. 
 
 II IN THE WOOD. 
 
 Painted by claude monet. 
 Canvas 28 x 22 inches. 
 
 Lent by mons. durand ruel. 
 
GALLERY I. 
 
 17 
 
 2 CHRIST WALKING ON THE 
 
 Painted by Charles Francois jalabert. 
 
 Canvas 39 x 73 inches. 
 
 Lent by h.r.h. the duchess of Albany. 
 
 Engraved by a. varin. 
 
 ND about the fourth watch of the night He cometh 
 
 unto them, walking upon the sea, and would have 
 passed by them. But when they saw Him . . . they 
 supposed it had been a spirit, and cried out For they all 
 saw Him, and were troubled ." — Mark VI, v. 48-49-50. 
 
 Painted 1863. 
 
 Formerly in the collection of H.I.M. The Empress 
 Eugenie. 
 
 A smaller version of this picture was in the collection 
 of the late Mr. Kurtz. 
 
 SEA. 
 
 Charles Francois Jalabert. Genre and portrait 
 painter — living. Pupil of Paul Delaroche. Studied in 
 
 Italy. Officer of the Legion of Honour, 1855. 
 
GALLERY I. 
 
 LA SOURCE. 
 
 Painted by j. j. henner. 
 
 Canvas 39 x 29 inches. 
 
 Lent by lord strathcona and mount royal, 
 
 g.c.m.g., from his collection at Montreal. 
 
 Painted 1881. 
 
 Jean Jacques Henner. Genre painter — living. Pupil 
 of Drolling and of Picot. Prix de Rome, 1858. Officer 
 of the Legion of Honour, 1878. Member of the Institute 
 of France. Mrs. Stranahan has said of this painter : 
 “ Subject is of little importance with him ; rendering is 
 everything. He is of the most modern accent in art, the 
 realistic ; but he mingles an inspiration of the antique with 
 his truth to nature. This gives him a realism that is truly 
 poetic, made up of the actual physique and the chaste 
 dignity of primeval innocence.” “ Of what pure snow 
 from the summit of the glacier has Henner formed this 
 beautiful, flaming pate of which he has made a feminine 
 nudity,” wrote Roger Ballon once of one of his works. 
 
 PREPARATIONS FOR THE 
 BALL. 
 
 Painted by E. bidau. 
 
 Canvas 34 x 45 inches. 
 
 Lent by MRS. mcculloch. 
 
 Exhibited at the Salon, 1896. 
 
 E. Bidau. Genre painter — living. 
 
GALLERY I. 
 
 19 
 
 15 RESCUE AT SEA FROM A 
 BURNING VESSEL. 
 
 Painted by A. morlon. 
 
 Canvas 73 x 120 inches. 
 
 Lent by the Artist. 
 
 Antoine Paul Emile Morlon. Genre and marine 
 painter — living. 
 
 16 REBECCA BEING CARRIED OFF 
 BY SIR BRIAN DE BOIS 
 GUILBERT. (From Scott’s novel of 
 “ Ivanhoe.”) 
 
 Painted by F. roybet. 
 
 Canvas 35 x 53 inches. 
 
 Lent by monsieur bessonneau, of Angers. 
 
 17 REUNION A LA SALLE 
 GRAFFARD: “VIVE LA 
 COMMUNE ! ” 
 
 Painted by jean beraud. 
 
 Canvas 35 x 46 inches. 
 
 Lent by mons. combier. 
 
 Exhibited at the Paris Salon, 1884. 
 
 Jean Beraud. Genre and portrait painter — living. Pupil 
 of Leon Bonnat. 
 
20 
 
 GALLERY I. 
 
 1 8 A YOUNG GIRL AT PRAYER. 
 
 By EDOUARD FRERE. 
 
 Canvas 38 x 29 inches. 
 
 Lent by mons e. gambart. 
 
 ( For notice of the Painter's life see No. 1 13 .) 
 
 19 THE END OF THE DAY. 
 
 Painted by emile adan. 
 
 Canvas 37 x 59 inches. 
 
 Lent by mons. e. f. hubbuck. 
 
 Exhibited in the Paris Salon, 1885. 
 
 Louis Emile Adan. Genre painter — living. Pupil of 
 Picot and Cabanel. Painter of the well-known “ La fille 
 du passeur,” now in the Luxembourg. 
 
GALLERY I. 
 
 2 1 
 
 20 THE COMMUNICANTS, OR THE 
 FIRST COMMUNION. 
 
 Painted by jules breton. 
 
 Canvas 49 x 75 inches. 
 
 Lent by lord strathcona and mount royal, 
 G.c.m.g., from his collection at Montreal. 
 
 Etched by h. Hamilton. 
 
 T HE young girls, in transparent white and with 
 lighted tapers, go forth under the blossoming trees, 
 the long procession reaching some distance away. One 
 of the number nearer at hand pauses in her walk to 
 receive her grandfather’s blessing and her grandmother's 
 kiss. 
 
 Exhibited in the Salon, 1884. 
 
 In the Morgan Collection, New York, until 1886, when 
 it was sold for 45,500 dollars. 
 
 Jules Adolphe Breton. Genre and landscape painter 
 — living. Pupil of Drolling and of Devigne. Commander 
 of the Legion of Honour. Member of the Institute of 
 France. In his scenes of peasant life he infuses a feeling 
 akin to that of George Mason, the painter of “The 
 Evening Hymn” and “The Harvest Moon.” Tranquillity 
 reigns in his landscapes, and the poetry of human life is 
 in the figures he presents. 
 
 21 LA SARABANDE. 
 
 Painted by F. roybet. 
 
 Canvas 102 x 79 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Paris Salon, 1895. 
 
 Victor Leon Ferdinand Roybet. Figure painter — 
 living. Pupil of TEcole des Beaux Arts, Lyons. 
 
22 
 
 GALLERY I. 
 
 22 THE LION AT HOME. 
 
 Painted by rosa bonheur. 
 
 Canvas 63 x 102 inches. 
 
 Lent by george mcculloch, eso. 
 Engraved by T. l. atkinson. 
 
 23 THE BOATING PARTY. 
 
 Painted by f. heilbuth. 
 
 Canvas 46 x 60 inches. 
 
 Lent by monsieur sedelmeyer. 
 
 Ferdinand Heilbuth. Genre painter. Officer of the 
 Legion of Honour, 1881. 
 
 24 A RECONNAISSANCE. 
 
 Painted by e. detaille. 
 
 Canvas 46 x 80 inches. 
 
 Lent by Messrs, boussod, valadon & co., Paris. 
 
 A N incident in the Siege of Paris. Champigny, Franco- 
 German War, 1870. 
 
 Painted 1876. 
 
 Jean Baptiste Edouard Detaille. Genre and Military 
 painter — living. Pupil of Meissonier. Exhibited first at 
 the Salon at the age of twenty. Officer of the Legion of 
 Honour, 1881. Member of the Institute of France. 
 
GALLERY I. 
 
 23 
 
 25 AMOROSA. 
 
 Painted by E. bisson. 
 
 Canvas 51 x 35 inches. 
 
 Lent by monsieur f. a. herrmann. 
 E. Bisson. Genre painter — living. 
 
 26 THE ANNUNCIATION. 
 
 Painted by adrien demont. 
 
 Canvas 27 x 43 inches. 
 
 Lent by monsieur sedelmeyer. 
 
 Adrien Louis Demont. Landscape painter — living. 
 Pupil of Emile Breton, the landscape painter. 
 
 27 THE RETURN OF THE 
 PRODIGAL. 
 
 Painted by eugene burnand. 
 
 Canvas 34 x 70 inches. 
 
 Lent by the Artist. 
 
 Eugene Burnand. Genre painter — living. 
 
 28 A PEASANT. 
 
 Painted by w. a. bouguereau. 
 
 Canvas 22 x 20 inches. 
 
 Lent by the rt. hon. h. d. davies, m.p., lord 
 mayor. 
 
GALLERY I. 
 
 BRETONNES AU PARDON. 
 
 (A religious feast or festival peculiar to 
 Brittany). 
 
 Painted by p. a. dagnan-bouveret. 
 
 Canvas 49 x 55 inches. 
 
 Lent by mons. F. engel-gros. 
 
 Exhibited at the Paris Salon, 1889, where it gained 
 the Medaille d’honneur. 
 
 A GROUP of seven women seated on the grass in the 
 foreground, wearing black dresses with white linen 
 caps and collars. To the left are two men standing, 
 with blue scarves round their waists. In the distance is 
 a grey stone steepled church, round which, also seated 
 on the ground, are groups of women in similar garb. 
 
 Pascal Adolphe Jean Dagnan-Bouveret. Genre 
 painter — living. Pupil of Gerome. Officer of the Legion 
 of Honour. Painter of the great picture of “The Last 
 Supper,” recently exhibited at the Goupil Gallery in Regent 
 Street ; and of the “ Christ and the Disciples at Emmaus,” 
 shown at Messrs. Arthur Tooth & Sons’ Galleries. 
 
 LE PRINTEMPS (SPRINGTIME). 
 
 Painted by leon perrault. 
 
 Canvas 42 x 54 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Paris Salon, 1896. 
 
 Leon Bazile Perrault. Genre painter — living. Pupil 
 of Picot and Bouguereau. 
 
GALLERY I. 
 
 25 
 
 DEATH OF WILLIAM THE 
 CONQUEROR. 
 
 Painted by albert maignan. 
 
 Canvas 43 x 56 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Salon, 1895. 
 
 I N the progress of his hostilities against the French 
 Barons in 1087, William the Conqueror met with an 
 accident which cost him his life. His horse stumbled as 
 it was bearing him down the steep street of the town of 
 Mantes, and he was flung heavily on to the high pommel 
 of his saddle. He was conveyed in a litter to Rouen 
 and laid in the Monastery of St. Gervais, where on the 
 9th September, 1087, he died at the age of sixty-three. 
 The picture shows him lying where he has been left 
 stripped by the robber servants who had watched him 
 during his last hours. 
 
 Albert Maignan. History and landscape painter — living. 
 Pupil of Noel and Luminais, Chevalier of the Legion of 
 Honour, 1883. 
 
 HAWKING. 
 
 Painted by j. lewis brown. 
 
 Panel 36 x 28 inches. 
 
 Lent by mons. durand ruel. 
 
 John Lewis Brown. Born 1829. Died 1890. Genre 
 painter of military and hunting scenes. Pupil of Roquelan 
 and of Belloc. Chevalier of the Legion of Honour, 1870. 
 
26 
 
 GALLERY I. 
 
 33 FRIEDLAND, 1807. 
 
 Painted by j. e. meissonier. 
 
 Paper 57 x hi inches. 
 
 Lent by John balli, esq. 
 
 F RIEDLAND is a small town in East Prussia, twenty- 
 seven miles from Konigsburg, and the French army 
 commanded by Napoleon is represented in the picture as 
 about to meet the Russian forces, led by Bennigsen. It 
 was on the afternoon of the 14th June, 1807, that the 
 scene depicted is supposed to have taken place. The 
 Emperor stands with his Generals around him, Berthier, 
 Duroc, and Marshal Bessieres, and before him in wild 
 gallop sweep that dashing regiment which in a few hours 
 is to lose so many of its men. The battle had been 
 fiercely contested for some hours when Napoleon de- 
 tected the perilous situation of the Russians in an elbow 
 formed by two rivers. Sweeping the plain with his glass 
 he determined on a general advance, and seizing the 
 intrepid Ney by the arm and pointing out to him Fried- 
 land, the bridges, and the masses of Russians, “ There," 
 cried he, “is your objective ; march straight on without 
 looking round ; penetrate that dense mass at all costs ; 
 enter Friedland, seize the bridges, and don’t trouble 
 about what may be going on to right or left, or in your 
 rear, I and the army are there to watch.” The one 
 exultant roar of “Vive l’Empereur” goes up from the 
 Cuirassiers as they pass him, leader and men are face to 
 face, and the impassible chief whose will directs them, 
 salutes them as they pass. He and they understand 
 each other, and it is for him they charge, and to him they 
 give themselves, with enthusiastic shouts. 
 
 Of this subject Meissonier wrote — “ I did not intend to 
 paint a battle. I wanted to paint Napoleon at the zenith 
 
GALLERY I. 
 
 27 
 
 of his glory ; I wanted to paint the love, the adoration 
 of the soldiers for the great Captain, in whom they had 
 faith, and for whom they were ready to die.” 
 
 Painted 1888. 
 
 Etched by J. jacquet and published by Messrs. 
 
 ARTHUR TOOTH & SONS. 
 
 Jean Louis Ernest Meissonier. Born 1813. Died 
 1891. Pupil of Leon Cogniet. Grand Officer of the 
 Legion of Honour. Member of the Institute of France. 
 He first exhibited when he was twenty-three. His famous 
 “ La Rixe,” painted when he was forty-two, was purchased 
 by the Emperor Napoleon III and presented to the late 
 Prince Consort on his visit with Queen Victoria to the 
 French capital in 1855. In the finish and breadth of his 
 genre subjects, he has been compared to the great Dutch 
 painters, Terburg and Metzu. Throughout his long life 
 his works were eagerly sought for ; they are very 
 numerous, but each possesses in like degree the evidence 
 of his customary laborious study and devotion to finish. 
 In the present example, illustrative of the great Napoleonic 
 era, these characteristic features are freely displayed 
 throughout. For each of the horses and for each of the 
 men a separate study was made of the size of life, and the 
 astonishing accuracy of every detail is manifest. His care 
 in regard to historical fact in all his work was great. It 
 was, for example, quite as a trivial matter that he was 
 once told that Marshal Ney never wore his military 
 overcoat with his arms in the sleeves, and the painter 
 at once imported this curious habit of the great Marshal 
 into a picture, and in the famous “ Campaign of France, 
 1814,” there is the overcoat about the Marshal’s shoulders 
 with its armless sleeves hanging on either side. Incidents 
 of this kind are numberless in Meissonier’s works, and 
 the historical value of his productions is great, apart from 
 their superb attributes as works of art. 
 
28 
 
 GALLERY I. 
 
 34 DEATH AND THE WOODMAN. 
 
 Painted by L. A. lhermitte. 
 
 Canvas 79 x 95 inches. 
 
 Lent by the Artist. 
 
 Exhibited in the Salon, 1893. 
 
 HE picture illustrates the well-known fable of HSsop 
 
 of an old man who had travelled a great way 
 under a heavy burden of sticks, and found himself so 
 weary that he cast it down and called upon Death to 
 deliver him from a miserable life. Death came at his 
 call and asked him his business. “Pray, good sir,” said 
 he “do me but the favour to help me up with my 
 burden again.” 
 
 Leon Augustin Lhermitte. Genre and landscape 
 painter — living. Pupil of Lecoq de Boisbaudran. 
 Chevalier of the Legion of Honour, 1884. Scenes of 
 labour and scenes of rest amongst simple peasant folk 
 are the subjects to which he has kept since first, by 
 the generosity of a neighbour in his native village, he 
 was enabled at the age of nineteen to study in Paris. 
 
 35 UNE BIENHEUREUSE. (THE 
 SLEEP OF THE BLESSED DEAD.) 
 
 Painted by gustave courtois. 
 
 Canvas 33 x 41 inches. 
 
 Lent by the Artist. 
 
 This Picture was awarded the First Gold Medal at the 
 Universal Exhibition, Paris, in 1889. 
 
 Gustave Courtois. History and portrait painter — 
 living. Pupil of Gerome. 
 
GALLERY I. 
 
 29 
 
 PRAYER IN THE DESERT. 
 
 Painted by J. L. GEROME. 
 
 Panel 19 x 32 inches. 
 
 Lent by h. j. turner, esq. 
 
 PASTIME OF A SPANISH 
 KALIFE. 
 
 Painted by J. J. benjamin-constant. 
 
 Panel 53 x 42 inches. 
 
 Lent by the comtesse de casa miranda 
 
 (MADAME CHRISTINE NILLSON). 
 
 A HALL or Court of a Spanish Palace in the 13th 
 century. On the floor is spread an elaborate 
 carpet, beyond which in a domed and shadowed inner 
 court, sits the Kalife, watching a Nubian slave who lies 
 full length on the carpet, irritating two pumas by ex- 
 hibiting to them a snake. The keeper of the pumas 
 stands behind the animals and has dropped their chains. 
 Moorish guests and richly-attired attendants are scattered 
 about the court. 
 
 Painted 1881. 
 
 J. J. Benjamin-Constant. Genre and portrait painter — 
 living. Pupil of Cabanel and of l’Ecole des Beaux Arts. 
 Officer of the Legion of Honour, 1884. Member of the 
 Institute of France. His subject pictures are chiefly of 
 Oriental life, full and brilliant in colour in the dazzling 
 lustre of tropical sunshine, or its delicate effect in Oriental 
 interiors. 
 
30 
 
 GALLERY I. 
 
 38 THE CARDINAL IN GREY. 
 
 'EMINENCE GRISE, or “The Cardinal in Grey" 
 
 was the title given by the wits of the age to the 
 barefooted Capuchin, whom Lytton in his play of 
 “Richelieu" terms Father Joseph. He shared the plans 
 and power and became in fact the alter ego of the great 
 Cardinal ; but he chose to retain the humble grey vest- 
 ments of his order, a strong contrast to the imposing 
 scarlet robes of Richelieu. The scene in the picture is 
 the grand staircase of the Old Palais Cardinal, later the 
 Palais Royal, down one side of which brother Joseph is 
 descending in quiet study of his breviary. Ascending on 
 the opposite side is a troop of courtiers, who in their 
 subservience to him, exaggerate as they meet him their 
 marks of obeisance, but who turn upon him when they 
 are past him a disdainful and insolent stare, their every 
 action expressive of the time-serving manners of the age. 
 
 Painted 1876. 
 
 Formerly in the Collection of Mr. W. R. Stebbins, of 
 
 New York. 
 
 Painted by J. L gerome. 
 
 Canvas 27 x 3 9 inches. 
 
 Lent by mrs. s. d. warren, of Boston, U.S.A. 
 
 ( For notice of the Painter's life see No. 3.) 
 
GALLERY I. 
 
 31 
 
 FAUST. 
 
 Painted by j. p. laurens. 
 
 Canvas 21 x 25 inches. 
 
 Lent by monsieur bessonneau, of Angers. 
 
 Jean Paul Laurens. Historical painter — living. Pupil 
 of Leon Cogniet and Bida. Officer of the Legion of 
 Honour, 1878. Member of the Institute of France. 
 
 LANDSCAPE. 
 
 Painted by jan-monchablon. 
 
 Canvas 36 x 49 inches. 
 
 Lent by h. e. kearley, esq., m.p. 
 
 Ferdinand Jan-Monchablon. Landscape and genre 
 painter — living. Pupil of Cabanel and Laurens. Gold 
 Medalist at the Universal Exhibition in Paris, 1889. 
 Chevalier of the Legion of Honour, 1895. 
 
 LA SALUTATION ANGELIQUE. 
 
 Painted by G. dubufe. 
 
 Three panels, 48 x 25 ; 49 x 64 ; 48 x 25 inches. 
 Lent by the Artist. 
 
 Guillaume Dubufe. Genre and portrait painter — 
 Living. Son and pupil of Edouard Dubufe. Pupil also 
 of Mazervolle. Chevalier of the Legion of Honour. 
 
32 
 
 GALLERY I. 
 
 42 THE KREMLIN AT MOSCOW. 
 
 Painted by Paul bouchard. 
 
 Canvas 52 x 64 inches. 
 
 Lent by the Artist. 
 
 Paul Bouchard. Genre painter — living. 
 
 43 too early. 
 
 Painted by james tissot. 
 
 Canvas 28 x 40 inches. 
 
 Lent by Charles gassiot, esq. 
 
 ( For notice of the Painter see No. 45 J. 
 
 4 3 a THESE ARE THE FLOWERS 
 OF MIDSUMMER. 
 
 Painted by h. fantin-latour. 
 
 Canvas 26 x 32 inches. 
 
 Lent by george woodiwiss, esq., j.p., d.l. 
 
 44 CUPID AND PSYCHE. 
 
 Painted by w. a. bouguereau. 
 Canvas 79 x 47 inches. 
 
 Lent by george mcculloch, esq. 
 
GALLERY I. 
 
 33 
 
 THE LAST EVENING. 
 
 Painted by JAMES tissot. 
 
 Canvas 28 x 39 inches. 
 
 Lent by Charles gassiot, eso. 
 
 Painted 1872. 
 
 James Tissot, genre painter — living. Pupil of Flandrin 
 and Lamothe. Exhibited at the Salon up to 1870. 
 Latterly he has entirely changed the character of his work 
 the ten years from 1886 being occupied in the Holy 
 Land with the painting of a series of pictures (365 in 
 number), illustrative of the Life of our Lord Jesus Christ, 
 and the exhibition of these works was opened in London 
 at the Lemercier Callery, 35, New Bond Street, in the 
 Spring of 1896. 
 
 FLEURS VARIEES. 
 
 Painted by H. fantin-latour. 
 Canvas 17 x 22 inches. 
 
 Lent by mrs. edwards. 
 
GALLERY I. 
 
 SHRIMPERS. 
 
 Painted by pierre billet. 
 
 Canvas 4 2 x 66 inches. 
 
 Lent by mons. Charles guasco. 
 
 Exhibited at the Paris Salon, 1888. 
 
 Pierre Billet. Landscape and genre painter — living. 
 Entered his father’s business of sugar making and distilling, 
 but soon quitted it and studied with Jules Breton, but 
 quitted that master for a while in order to preserve his 
 own independent outlook on nature, and frequented in 
 the meantime the studios of the more practical painters, 
 among whom Meissonier was the chief. 
 
 PORTRAIT OF MADAME LA 
 MARQUISE C. de G. 
 
 Painted by LEON comerre. 
 
 Canvas 64 x 41 inches. 
 
 Lent by prince georges stirbey. 
 
 Exhibited at the Salon, 1886. 
 
 HREE-QUARTER length figure; life-size, elegantly 
 
 poised, facing the spectator ; vivid blue costume, 
 with the bodice richly ornamented with pearls. Her 
 right hand lightly rests on a walking-stick. An effective 
 feature of the background is the deep blue pillar to the 
 left. 
 
 Leon Comerre. Genre and portrait painter- — living. 
 
 Pupil of Cabanel. Won the Prix de Rome, 1875. 
 
GALLERY II. 
 
GALLERY II. 
 
 48 CHILDREN LISTENING TO AN 
 OLD PIPER. 
 
 Painted by antoine and louis le nain. 
 
 Panel iof x 14J inches. 
 
 Lent by the duke of Sutherland. 
 
 N old man is playing on a pipe and has attracted 
 
 five children, who are gathered around him 
 listening. Waagen says of this little picture, that it 
 “ has all the simplicity and truth of feeling and decision 
 of forms ; the impasto and the powerful colouring by 
 which these two artists are so advantageously dis- 
 tinguished from most of their countrymen/' 
 
 Antoine le Nain, born 1588; died 1648 ; and Louis le 
 Nain, born 1593; died 1648, painted conjointly many 
 pictures of domestic and rustic genre — unequalled for 
 natural expression and unmistakable truthfulness. 
 
GALLERY II. 
 
 A GARDEN SCENE. 
 
 Painted by j. h. fragonard. 
 
 Panel 2o\ x 15 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 
 A LADY standing, holding a walking stick, and talking 
 to a gentleman seated. To the left is a garden 
 through which a gay company of ladies and gentlemen is 
 seen approaching. 
 
 Jean Honor£ Fragonard. Bom 1732. Died 1806. 
 Genre and decorative painter ; began life as a notary’s 
 clerk ; then became a pupil of Chardin. He took the 
 Prix de Rome at the age of twenty. Chardin’s scenes 
 of peasant life were not, however, of sufficient charm 
 for Fragonard, and this led him to become the pupil 
 of Boucher and to adopt subjects similar to his, illus- 
 trative often — and with surprising realism and license — 
 of the immoralities of his time. His original power as 
 a painter was not above devoting itself to light and airy 
 incidents in which grace of costume constituted a promi- 
 nent feature, and in which each frill and flounce had the 
 finish of a miniature. His works never wear the aspect 
 of laboured compositions, but suggest rather the effort to 
 seize the detected grace of a momentary position, with its 
 significant disposition of dress. His art, indeed, was so 
 graceful and of such dainty charm, that in his lifetime it 
 suggested such sayings of him that he was born “ in and 
 of the laughing land of Provence.” 
 
GALLERY II. 
 
 39 
 
 50 A LADY AND GENTLEMAN 
 PLAYING CARDS. 
 
 Painted by Robert tournieres (called ROBERT 
 DE LA HAYE). 
 
 Canvas 13 x 11 inches. 
 
 Lent by the marquess of bute, k.t. 
 
 Robert le Vrac Tournieres. Born 1668. Died 1752. 
 Genre and portrait painter. Pupil of Lucas de la Haye, a 
 Carmelite friar, and later of Bon Boullongue in Paris. 
 His small genre pictures after the manner of Gerard Dow 
 and Metzu, became so popular that he eventually gave up 
 for the pursuit of these, his portrait and historical painting. 
 He was a favourite with the Regent, Duke of Orleans, who 
 took great delight in seeing him paint. 
 
 51 A GARDEN SCENE. 
 
 Painted by antoine watteau. 
 
 Panel i 6 \ x 12 J inches. 
 
 Lent by Charles morrison, esq. 
 
 A COMPOSITION of seven figures in a garden. I11 
 the foreground to the right is a gentleman in 
 red, who is playing a guitar to a lady in white, who sits 
 at his side, and who is amusing herself with a spaniel, 
 to the entertainment of a child in pink sitting at her feet. 
 The other four figures are to the left of the picture and 
 two of them are lovers. 
 
 ( For notice of the Painter's life see No. 59 . ) 
 
40 
 
 GALLERY II. 
 
 52 LA FONTAINE. (THE WELL.) 
 
 Painted by j. s. chardin. 
 
 Panel 14-L x 16^ inches. 
 
 Lent by sir francis cook, bart. 
 
 A WOMAN in a stooping attitude drawing water, or 
 wine, from a copper vessel into a large dark jar. 
 White bodice, blue apron, white cap. Another woman 
 is seen through the open door sweeping an adjoining 
 
 Engraved by c. N. cochin. 
 
 Formerly in the Collection of M. le Chevalier de la 
 Roque. 
 
 ( For Biographical note of the Painter' 1 s life see No. 68.) 
 
 Painted by antoine watteau. 
 
 Panel x 6 inches. 
 
 Lent by sir francis cook, bart. 
 
 HIS exquisite specimen shows a man and a woman 
 
 singing. The woman holds a page of music on 
 which the light of a candle falls — which the man is 
 holding. 
 
 room. 
 
 53 THE DUET. 
 
 ( For notice of the Painter's life see No. 59’) 
 
GALLERY II. 
 
 41 
 
 54 A GIRL WITH A YOUNG BIRD. 
 
 Painted by j. B. greuze. 
 
 Panel 9x7^ inches. 
 
 Lent by lord wantage, v.c., k.c.b. 
 
 ( For notice of the Painter's life see No. 56 ). 
 
 55 LES DEUX AMIS. (THE TWO 
 FRIENDS.) 
 
 Painted by N. lancret. 
 
 Copper 11 x 14 inches. 
 
 Lent by j. pierpont Morgan, esq. 
 
 A COM POSITION of three figures in a landscape. 
 
 Sitting to the left is a dainty little lady in a blue 
 and white striped gown, whose chin is being coyly 
 touched by a gentleman in a rich brown costume who 
 is seated next to her ; he is apparently introducing to 
 her another gentleman richly attired in rose-colour 
 and white. By the side of the lady is a basket. 
 
 ( For notice of the Painter's life see No. 84 . ) 
 
42 
 
 GALLERY II. 
 
 56 HEAD OF A BOY. 
 
 Painted by jean baptiste greuze. 
 
 Canvas 17 x 14 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 
 T HE picture is a portrait of the Artist's son, and is 
 recorded in Smith's “ Catalogue Raisonne " as “ A 
 boy with an interesting countenance, indicating admira- 
 tion." 
 
 In the Collection of M. D. Mariette until 1775. 
 
 In the Collection of M. Senneville until 1780. 
 
 Jean Baptiste Greuze. Born 1725. Died 1805. 
 Genre and portrait painter. Pupil of Groudon and of the 
 French Academy ; studying later in Italy. His happiest 
 subjects are taken from the quiet daily life of the middle 
 classes, “The Broken Pitcher,” “The Village Bride,” and 
 “ The Sleeping Girl,” testifying by their titles the character 
 of his art, in which grace and design, gentle movement 
 and tenderness of expression constitute their charm. The 
 last year of his life was passed in very poor circumstances; 
 the large fortune he had amassed was all lost in the great 
 Revolution, and the public had grown to neglect both 
 him and his work in their admiration for the new school 
 of David. The beautiful face which appears in so many 
 of his pictures is doubtless that of his wife, Mademoiselle 
 Babuty, whose extravagance and worthless character led 
 him to separate from her long before his death. 
 
GALLERY II. 
 
 43 
 
 57 MARIE ANTOINETTE AND 
 HER CHILDREN. 
 
 Painted by madame vigee le brun. 
 
 Panel 8x6 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 
 M arie Antoinette, the beautiful daughter of 
 the Royal House of Austria, was born in Vienna 
 in 1755. Before she was fifteen she wedded the Dauphin 
 of France, afterwards Louis XVI, and five years later the 
 youthful couple succeeded to the throne, counting them- 
 selves “too young to reign." She is seen in the picture 
 in those days of splendour which preceded the outbreak 
 of the terrible Revolution. She herself was guillotined 
 in 1793, after fourteen months of anguish in the prison in 
 the Temple; “beautiful, high-born, that wert so foully 
 hurled low." Of the three children here pictured with 
 her, the Dauphin on the right died at the age of eight, 
 before the breaking out of the Revolution ; the child on 
 his mother’s knee is the Due de Normandie, who suc- 
 ceeded his brother as Dauphin and died in his eleventh 
 year, after twelve months of neglect and squalor in the 
 clutches of his gaoler Simon ; the little girl to the left is 
 Marie Therese, Madame Royale, who after more than 
 three years’ imprisonment in the Temple, was released ; 
 she returned to her mother’s family in Austria, where 
 she married, four years later, the Due d’Angouleme, and 
 lived to the age of seventy-two, dying in 1851. After 
 her return to Paris at the age of thirty-six, nothing would 
 induce her ever to allow her carriage to pass through the 
 Place de la Concorde, the spot where the guillotine had 
 taken the lives of her beloved father and mother. 
 
 ( For notice of the Painter's life see No. 80.9 
 
44 
 
 GALLERY II. 
 
 58 ACTORS OF ITALIAN COMEDY. 
 
 Painted by antoine watteau. 
 
 Panel 10 x 8 inches. 
 
 Lent by asher Wertheimer, esq. 
 
 Engraved by Charles simoneau. 
 
 A GROUP of five figures seen to the knees, one of 
 them a lady, in white dress, is dancing, and the 
 other four figures are behind her. 
 
 Painted by antoine watteau. 
 
 Canvas 20 x 23 inches. 
 
 Lent by julius wernher, esq. 
 
 COMPOSITION of eight figures in a garden. A lady 
 
 and a gentleman occupy the foreground, both of 
 them richly attired. The gentleman is playing on a 
 mandolin, and bending over a music book which the lady, 
 seated on the ground beside him, is holding open as she 
 glances up at him. To the right another group is seen 
 of four figures, and beyond these a lady and gentleman 
 are walking away in company. 
 
 Engraved by L. p. le bas. 
 
 Collection of M. D. Mariette. 
 
 In the collection of Mrs. Lyne Stephens until 1895. 
 
 Antoine Watteau. Born at Valenciennes, 1684. Died 
 at Nogent-sur-Marne, 1721. Son of a tiler. His educa- 
 tion was of the slightest, and without money or resources 
 
 ( For notice of the Painter’s life see No. 59.9 
 
 59 LA GAMME D’ AMOUR. 
 
GALLERY II. 
 
 45 
 
 of any kind he made his way to Paris. Studied there 
 under Giilot and with the decorative painter Claude 
 Audran, copying also incessantly the chief paintings of 
 Rubens and Paolo Veronese. His great reputation rests 
 on his unrivalled grace in depicting the life of the early 
 portion of the eighteenth century, in pastoral scenes or in 
 scenes where the pleasures of the upper circles are por- 
 trayed either in music, dance, or festive gathering, investing 
 them all with a subtle charm the originality of which had 
 been up to then unknown in art, an “airy nothing,” which as 
 Mrs. Stranahan observes in her work upon French art, 
 “ gives to woman her coquetry and attraction, a charm 
 far above that of physical beauty.” He constantly erased 
 and repainted his pictures, and it was only by decisive 
 measures that those who bought his works could get them 
 out of his hands. It was in 1721 that he painted the 
 celebrated signboard for the shop of the dealer Gersaint, 
 with whom he resided. It was afterwards cut into two 
 halves, which were acquired in Paris at different times and 
 from different persons, by the agents of Frederick the 
 Great, of Prussia, and are both now in the Old Palace at 
 Berlin. Examples of Watteau are rare, and the National 
 Gallery is without one. 
 
4 6 
 
 GALLERY II, 
 
 6o PORTRAIT OF AMELIA, NINTH 
 BARONESS CONYERS, AT THE 
 AGE OF TEN. 
 
 Painted by f. h. drouais. 
 
 Canvas, oval 28 x 23 inches. 
 
 Lent by the countess of Yarborough. 
 
 Dated 1764. 
 
 ME LI A, ninth Baroness Conyers, married first, 
 
 Francis, fifth Duke of Leeds, and second, Captain 
 John Byron, and became the mother of Augusta Byron 
 (Mrs. Leigh), the poet’s half-sister. 
 
 A pretty child standing towards the right, but fully facing 
 the spectator ; blue bodice richly ornamented with 
 jewelry and lace, and blue collarette with jewels. In 
 her hair two blue bows, and a bracelet of pearls on her 
 right arm. She is carrying a basket of flowers, a rose 
 from which she is daintily holding in her right hand. 
 
 Francois Hubert Drouais. Bom 1727. Died 1775. 
 Portrait painter. Son and pupil of Hubert Drouais, and 
 later of Carle van Loo and Boucher. He painted very 
 many of the famous men and women of his day, including 
 several members of the reigning family of France. One 
 of his most beautiful portraits is that of Madame de 
 Pompadour, in the Museum at Orleans. 
 
GALLERY II. 
 
 47 
 
 6 1 MADAME DE POMPADOUR. 
 
 Painted by FRANgois boucher. 
 
 Panel on Porcelain 8| x 6| inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 
 F ULL length figure seated to the left on a sofa, 
 leaning on her left elbow on the cushions and hold- 
 ing an open book in her right hand ; blue dress with pink 
 ribbons and covered with pink roses ; roses in her hair ; 
 by her side is a writing table, and a dog is at her feet. 
 Jeanne Antoinette Poisson, Marquise de Pompadour, the 
 celebrated favourite of Louis XV of France, was born in 
 Paris in 1722. She was of modest parentage, but under 
 the tutelage of her accomplished mother she early 
 acquired that air of distinction and grace of manner for 
 which she became noted, and which, added to her 
 personal beauty, quickly brought a suitor for her hand 
 in the person of M. D’Etoilles, to whom she was wedded 
 at the age of fifteen. Her first meeting with Louis was 
 at a masque ball some five years after her marriage, 
 the king being then about 32. Frequent interviews 
 ensued between the two in the beautiful forest of Senart, 
 and a few months later, at her own request, she was 
 divorced from her husband. The Marquisate de 
 Pompadour was then bestowed upon her, to which 
 was subsequently added the more lucrative Marquisate 
 de Crecy. Succeeding the Duchesse de Chateauroux in 
 the King’s favors, she rose ultimately, owing to the 
 Kings laxity of rule, to a position which gave her entire 
 control of the political affairs of France. Her luxury 
 was fabulous, Sevres porcelain, Chinese lacquer work, 
 pictures, statues, and costly furniture were collected at 
 her dictate for the castles and palaces in which she 
 
GALLERY II. 
 
 moved, and to which her own beautiful presence added 
 lustre. Over the “weariness” of the King she exerted 
 a charm which no other influence could. She died at 
 Versailles at the age of forty-one, having enjoyed 
 practically supreme power with Louis for twenty years. 
 The beautiful castle of Bellevue which he gave her, 
 and which the art of Pigale, Boucher and Van Loo 
 made a wonder, was entirely destroyed in the Great 
 Revolution. 
 
 Francois Boucher. Born 1703. Died 1770. History 
 and genre painter. Drew first for engravers ; secured the 
 First Prize at the Academy at the age of twenty, and then 
 he went to Rome with Carle Van Loo, on whose death he 
 became first painter to the King. The portrait of the 
 all-powerful favourite, Madame de Pompadour, was painted 
 by him several times. Although a sense of the voluptuous 
 pervades his work, it is nevertheless seldom associated 
 with any distinct disregard of delicacy. The indifferent 
 morals of the age in which he lived were accountable, no 
 doubt in large measure, for the false idea of expression in 
 which he indulged, and in his mythological subjects and 
 pleasing groups or in his elaborate wall and ceiling 
 decoration, of which much was carried out by him, 
 one looks in vain for any elevated motive. Grace of line 
 and delicacy of colour are relied upon to charm, and 
 these qualities are rarely absent from his work. His 
 productions drew from Diderot the well-known expression, 
 “ What colours, what variety ! This man has all but 
 truth.” 
 
GALLERY II. 
 
 49 
 
 62 PORTRAIT OF 
 
 MADEMOISELLE LE DOUX. 
 
 Painted by mademoiselle le doux. 
 
 Panel — Oval 10} x 8J inches. 
 
 Lent by asher Wertheimer, esq. 
 
 In the Collection of J. H. Anderton until 1879. 
 
 63 NICAISE. 
 
 Painted by N. lancret. 
 
 Canvas 11 x 14 inches. 
 
 Lent by j. pierpont Morgan, esq. 
 
 A COMPOSITION of three figures. A lady in white 
 dress with a posy of flowers in her bosom is 
 holding out her hand to a gentleman in brown, who has 
 on his right arm some richly coloured drapery. Among 
 the trees to the right another female figure is seen. 
 
 Vous savez des etoffes vendre 
 Et leur prix en perfection ; 
 
 Mais ce que vaut l’occasion 
 Vous l’ignorez, allez l’apprendre. 
 
 Conte de La Fontaine VII. Livre III 
 
 Engraved by champollion. 
 
 Collection of the Baron de Beurnonville until 1881. 
 Collection of Mrs. Lyne Stephens until 1895. 
 
 (For notice of the Painter's life see No. 84.9 
 
50 
 
 GALLERY II. 
 
 64 A BACCHANTE 
 
 Painted by j. b. greuze. 
 
 Canvas 18 x 14 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c, 
 
 I N Smith’s Catalogue Raisonne, this example is re- 
 corded thus : — 
 
 “ A bust of a pretty girl represented in the character of a 
 Bacchante ; her countenance is animated with smiles and 
 her fair complexion set off with dark hair, entwined with 
 vine foliage ; the head inclines gracefully on the left 
 shoulder and her light and scanty dress leaves the right 
 breast exposed. An exquisite performance.” 
 
 65 PORTRAIT OF A LADY. 
 
 Painted by J. H. FRAGONARD. 
 
 Panel 9^ x 10 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 Painted 1794. 
 
 LADY seated on a stone bench, facing the left, in a 
 
 garden of flowering plants and with a landscape 
 in view. Warm, grey costume trimmed with pale pink ; 
 high hat with pale roses in it ; crimson shoes orna- 
 mented with jewelled buckles. A brown-covered book 
 is in her left hand and an elegant jewelled bracelet is on 
 her left wrist. Rich dark blue drapery is on the ground 
 before her, where also lie two other richly-bound books — 
 one of them open. 
 
 ( For notice of the Painter's life see No. 5 6.) 
 
 ( For notice of the Painter's life see No. 49 . ) 
 
GALLERY II. 
 
 51 
 
 66 THE SONG. 
 
 Painted by antoine and louis le nain. 
 Canvas 1 1 x 1 6 inches. 
 
 Lent by lord aldenham. 
 
 ( For notice of the Painters' lives see No. 48 ). 
 
 67 GARDEN SCENE, WITH 
 PIERROT. 
 
 Painted by antoine watteau. 
 
 Canvas 18 x 15 inches. 
 
 Lent by Charles morrison, esq. 
 
 A COMPOSITION of six figures on a terrace. The 
 chief personage is a pierrot who is playing a 
 mandolin, to the entertainment of three ladies and two 
 gentlemen, who are grouped in engaging attitudes behind 
 him. The aspect is that of a still summer day. A large 
 stone vase stands high to the right, and on the left a 
 basket of flowers is lying on the ground ; soft hazy 
 distance in which a group of trees stands, among which 
 is a statue. 
 
 ( For notice of the Painter's life see No. 59 . ) 
 
5 2 GALLERY II. 
 
 68 LA BLANCHISSEUSE. (THE 
 WASHERWOMAN.) 
 
 Painted by j. s. chardin. 
 
 Panel 14T x 1 6 \ inches. 
 
 Lent by sir Francis cook, bart. 
 
 A WOMAN at a washing tub and a child blowing 
 bubbles ; another woman is seen in an adjoining 
 room hanging out clothes. A pan for receiving the 
 clothes is at the left. 
 
 Engraved by c. n. cochin. 
 
 Formerly in the Collection of M. le Chevalier de la 
 Roque. 
 
 Jean Simeon Chardin. Born 1699. Died 1779. 
 Genre and still-life painter. Pupil of Cazes and of Noel 
 Nicolas Coypel. The painting of a barber’s sign first 
 attracted attention to him. By 1741 he had established 
 his reputation as a painter of peasant and middle-class 
 life, executed always with a certain grace peculiarly 
 French. Latterly he worked in pastel. His works are 
 rare. They are remarkable for neatness of finish, harmony 
 of tone, and for the careful arrangement of light and 
 shade. 
 
 69 LA CONFIDENCE. 
 
 Painted by franqois boucher. 
 Canvas 26 x 21 inches. 
 
 Lent by asher Wertheimer, esq. 
 Engraved by simon Charles miger. 
 
 ( For notice of the Painter's life see No. 61 ). 
 
GALLERY II. 
 
 53 
 
 70 PORTRAIT OF HIS FATHER. 
 
 Painted by j. B. greuze. 
 
 Canvas 17 x 14 inches. 
 
 Lent by e. a. leatham, esq. 
 
 ( For notice of the Painter's life see No. 56 ). 
 
 71 A FETE CHAMPETRE. 
 
 Painted by A. watteau. 
 
 Canvas 23 x 29 inches. 
 
 Lent by the marquise de lavalette. 
 
 A COMPOSITION of nineteen figures in a wooded 
 garden. Towards the left, in the foreground, is a 
 couple dancing to the pipers, who are seated to the left. 
 A lady in white satin gown and ample pink cloak, and 
 with two children endeavouring to engage her attention, 
 is regarding the dancers, and about the scene are several 
 couples in animated coquetry. 
 
 Formerly in the Collection of Lord Henry Seymour. 
 
 ( For notice of the Painter's life see No. 59. J 
 
54 
 
 GALLERY II. 
 
 72 MADAME DE LAUBESPINE. 
 
 Painted by Nicholas de largilliere. 
 
 Canvas 31 x 25 inches. 
 
 Lent by monsieur sedelmeyer. 
 
 H ALF-LENGTH figure of a lady ; white hair with 
 flowers and jewels in it. Low bodice of white 
 lace and sumptuous crimson drapery, lined with white 
 satin. The left hand across her right bosom. Landscape 
 in background. 
 
 Nicholas de Largilliere. Bom 1656. Died 1746. 
 In his eleventh year he became the pupil of Antoon 
 Gouban, at Antwerp, whom he assisted by painting the still 
 life accessories in his pictures. In his nineteenth year he 
 came to England and found work in the Royal Palaces 
 under Sir Peter Lely. This brought him under the notice 
 of Charles II, whose portrait he painted, together with 
 those of many of the nobility. He then settled in Paris 
 and at once obtained a large practice among the bourgeoise 
 and professional classes. In 1686 he was admitted into the 
 French Academy, and it is curious to note that, although 
 he is now remembered only as a portrait painter, and as 
 such has been styled “the French Van Dyck,” yet in his 
 own day he had a great reputation as a painter of historical 
 subjects ; and after the deaths of Le Brun and Mignard 
 he occupied the foremost place in the French School in 
 that branch of art. 
 
GALLERY II. 
 
 55 
 
 THE COUNTESS DE FLAHAULT 
 AND HER SON. 
 
 Painted by madame guiard. 
 
 Canvas 40 x 32 inches. 
 
 Lent by the marquise de lavalette. 
 
 Painted 1785. 
 
 A LADY seated to the left, holding a child who is 
 playing with a miniature. White gown, blue 
 bodice, lace kerchief over the shoulders, purple drapery 
 over chair behind. 
 
 Adelaide Labille-des-Vertus. Born 1749. Died 1803. 
 Pupil of her father-in-law, Franyois E. Vincent, and of 
 Latour. At an early age she became the wife of M. Guiard. 
 She devoted her talent mainly to the painting of por- 
 traits and miniatures. She was received into the French 
 Academy in 1782. 
 
 A GROUP OF CHILDREN. 
 
 Painted by f. boucher. 
 
 Canvas 28 x 28 % inches. 
 
 Lent by Alfred c. de rothschild, esq. 
 
 A COMPOSITION of four nude figures of children, 
 in a rocky landscape, amusing themselves with 
 two bird's nests or cages. 
 
 ( For notice of the Painter's life see No. 61.) 
 
56 
 
 GALLERY II. 
 
 75 LE DESIR DE PLAIRE (The desire 
 to please); or, THE TOILETTE. 
 
 Painted by j. B. pater. 
 
 Canvas 21 x 26 inches. 
 
 Lent by the marquise de lav alette. 
 
 A COMPOSITION of ten figures. In the centre of a 
 room a lady is seated before a looking glass, and 
 a maid is dressing her hair ; other women are waiting 
 around with various toilet articles. A priest is entering 
 the doorway, through which a glimpse of a garden is 
 seen. In the foreground is a spaniel playing with some 
 roses which have fallen from a basket. 
 
 Ce galant attirail qu’un gout exquis eclaire, 
 
 Iris, a des charmes bien doux ; 
 
 Mais il faudrait encor pour etre sur de plaire 
 Que telle qui s’en sert eut les traits comme vous. 
 
 Engraved by louis surugue. 
 
 Collection of M. L’Abbe de Mannville. 
 
 Jean Baptiste Joseph Pater. Born 1695. Died 1736. 
 Genre painter. His father, a sculptor, imparted to him 
 the first principles of art. He then became the pupil of 
 Watteau, whose uncertain temperament, however, soon 
 brought about a separation ; but Pater’s sympathy with 
 his master’s work was great, and when Watteau’s end was 
 approaching, Pater was sent for, and he worked daily 
 under his master’s eye, receiving such instruction from 
 him as thoroughly to imbue him with the spirit that 
 animated Watteau. In subject and composition, Pater’s 
 work closely resembles his master’s, and his colour is rich, 
 but his drawing is not so precise, nor is his handling so 
 firm and deliberate in its completeness. 
 
GALLERY II. 
 
 57 
 
 “LA VOLUPTE.” 
 
 Painted by jean baptiste greuze. 
 
 Canvas 15^ x 13 inches. 
 
 Lent by the rt. hon. lord pirbright, p.c. 
 
 T HIS picture was painted for Queen Marie Antoinette, 
 by whom it was given to one of her pages, Prince 
 Walburg, from one of the descendants of whom it was 
 purchased by the grandfather of the present possessor. 
 
 ( For notice of the Painter's life see No. 5 6.) 
 
GALLERY II. 
 
 \ 
 
 DUG DE PENTHIEVRE. 
 
 Painted by J. M. NATTIER. 
 
 Canvas 94 x 71 inches. 
 
 Lent by h. l. bischoffsheim, esq. 
 
 OUIS-JEAN-MARIE DE BOURBON, Due de 
 
 Penthievre. Born 1725. Died 1793. He was 
 the grandson of King Louis XIV and Madame de 
 Montespan, and father-in-law of the Princess Lamballe 
 and of Pliilippe-Egalite, and consequently the ancestor 
 of the present Due d' Orleans. 
 
 The Duke stands facing the right and holding in his hand 
 a black hat with white ostrich feather. Silver grey 
 costume with short black velvet cloak. To the left is 
 the stooping figure of an attendant in scarlet livery, 
 ornamented with silver ; he is drawing away from his 
 masters figure the heavy folds of a richly gold- 
 embroidered robe. In the rear is seen a gilded couch 
 upholstered in pale blue, and on it elaborate articles of 
 apparel are thrown, gloves, scarves, stars and other 
 jewelled insignia. The silvery effect of this beautiful 
 work is enhanced by the servant's scarlet livery, which 
 though bright is not obtrusive on the spectator's eye. 
 Formerly in the Collection of the Due de Richelieu. 
 
 A small finished study of this picture is in the Wallace 
 Collection at Hertford House. 
 
 Jean Marc Nattier. Born 1685. Died 1766. His- 
 tory and portrait painter. Son and pupil of Marc Nattier. 
 Studied much in the gallery of the Luxembourg, where he 
 copied for the engraver the pictures there by Rubens. In 
 Amsterdam he painted the portraits of Peter the Great 
 and Catherine I, as well as many members of the Russian 
 Court. He won the first prize at the French Academy at 
 the age of fifteen. There is a life of Nattier written by 
 his daughter, Madame Torgal. 
 
GALLERY II. 
 
 59 
 
 78 L’ESCARPOLBTTE. (THE 
 SWING.) 
 
 Painted by N. lancret. 
 
 Canvas 18 x 22 inches. 
 
 Lent by the marquise de lav alette. 
 
 A COMPOSITION of twelve figures, the chief of 
 whom is a young lady in a pink dress with white 
 drapery across it who is swinging between two trees. 
 Two couples are coquetting, one on either side of the 
 swing, and in the foreground to the left is a man with a 
 red tunic, who holds a rope attached to the swing, and 
 beyond whom is a most charmingly painted landscape, 
 with a river and a bridge. 
 
 ( For notice of the Painter’s life see No. 84.9 
 
 79 HEAD OF A GIRL. 
 
 Painted by J. b. greuze. 
 
 Canvas 18 x 14^ inches. 
 
 Lent by c. J. galloway, esq. 
 
 A GIRL looking over her left shoulder. Fair hair ; 
 
 blue ribbon in hair which falls over the left 
 shoulder. White transparent drapery on either side and 
 a yellow band of ribbon tied in front. 
 
 ( For notice of the Painter's life see No. 56 . ) 
 
6 o 
 
 GALLERY II. 
 
 80 PORTRAIT OF A LADY. 
 
 Painted by madame vigee le brun. 
 
 Canvas 41 x 32 inches. 
 
 Lent by j. pierpont Morgan, esq. 
 
 S EATED figure towards the right, on a green divan ; 
 
 face turned full to the spectator, right arm resting 
 upon a cushion, white muslin dress, claret coloured 
 jacket. 
 
 Collection of Mrs. Lyne Stephens until 1895. 
 
 Madame Marie Louise Elizabeth Le Brun (nee 
 Vigee). Born 1755. Died 1842. Portrait, history and 
 landscape painter. Pupil of Briard and Joseph Vernet, 
 and a great student of the old masters in the Louvre. 
 She was twenty-four when she painted the first of the 
 twenty-five portraits which she executed of Marie 
 Antoinette, with whom she was on terms of the closest 
 intimacy. She withdrew to Italy during the great French 
 Revolution, painting while there a portrait of Lady 
 Hamilton as a Bacchante. She was an Associate Member 
 of nearly all the European Academies. 
 
 81 CHILDREN SPORTING WITH A 
 GOAT. 
 
 Painted by F. boucher. 
 
 Canvas 28 x 28^ inches. 
 
 Lent by Alfred c. de rothschild, esq. 
 
 A COMPOSITION of five figures representing children 
 playing with a goat. One of them, whose head is 
 encircled with vine leaves, is riding the goat, and the one 
 behind, pushing it, is carrying a large cluster of grapes. 
 
 ( For notice of the Painter s life see No. 61.J 
 
GALLERY II. 
 
 61 
 
 82 SCENE D’ AMOUR. 
 
 Painted by l. trinquesse. 
 
 Canvas 26 x 20 inches. 
 
 Lent by Reginald vaile, esq. 
 
 A COMPOSITION of three figures in a richly 
 wooded garden. A youth in pale yellow coat is 
 passionately kissing a young girl who wears a white 
 satin dress, over which on either side red drapery falls ; 
 in her bosom is a rose. Another girl in brown, with blue 
 sash and yellow hat, is attempting to draw her companion 
 away. Above the couple, to the left, is the figure of 
 Cupid about to shoot an arrow ; and in the background 
 are seen the leafy recesses of the garden. 
 
 Signed and Dated 1786. 
 
 L. R. Trinquesse. Portrait and genre painter. Pupil 
 of Largilliere. Flourished in Paris and at the Hague in 
 the latter part of the eighteenth century. He was 
 admitted into the Guild at the Hague in 1767, and 
 exhibited at the Academy in Paris as late as 1793. His 
 works are rare. 
 
 83 PORTRAIT OF MADAME DE 
 BOVUILLE. 
 
 Painted by J. m. nattier. 
 
 Canvas 29 x 23 inches. 
 
 Lent by lord burton. 
 
 A LADY seated to the left but turning to the 
 spectator. Richly ornamented low bodice ; blue 
 drapery over the shoulders fastened in front by a large 
 jewel. In her right hand she holds a posy of flowers. 
 
 ( For notice of the Painter's life see No. 77 ). 
 
62 
 
 GALLERY II. 
 
 84 A GARDEN PARTY. 
 
 Painted by nicolas lancret. 
 
 Canvas 35 x 38 inches. 
 
 Lent by lord wantage, v.c., k.c.b. 
 
 Nicolas Lancret. Born 1690. Died 1743. Genre 
 painter. Pupil of Pierre D’Ulin and Gillot, but coming 
 under the influence of Watteau, his works, thereafter, bore 
 great resemblance to those of that graceful and accom- 
 plished master, to the extent not unfrequently of their 
 being mistaken for his ; but the poetic warmth and 
 deliberate charm of Watteau and his beauty of line and 
 adroit arrangement is not so pronounced in Lancret’s 
 work, whose productions, though often extremely capti- 
 vating, are those of a disciple or imitator, rather than those 
 of a master. Yet much of his work is very beautiful, 
 and expressive of the lightness of the age in which he 
 lived, its gallantries and frivolities, and scenes of pastoral 
 gaiety c 
 
 85 CUPID AND CHILDREN. 
 
 Painted by f. boucher. 
 
 Canvas 36 x 39 inches. 
 
 Lent by Alfred c. de rothschild, eso. 
 
 A GROUP of four nude figures of children. One of 
 them is represented as Cupid, whose white wings are 
 seen as he lies, apparently in slumber, on some sheaves 
 of corn, where some blue drapery is spread ; his red 
 quiver full of arrows lies on the ground beside him. 
 
 ( For notice of the Painter's life see No. 61.) 
 
GALLERY II. 
 
 ^3 
 
 86 L'HIVER. (WINTER.) 
 
 Painted by N. lancret. 
 
 Canvas 30 x 25 inches. 
 
 Lent by the marquise de lavalette. 
 
 A COM POSITION of ten figures, all ladies, in a lofty 
 room, some of whom are seated at a table and 
 playing cards. One lady to the left, occupies a large 
 red covered chair and is playing with a cat. Cards and 
 a letter are strewn about the floor. 
 
 Contre l’exces d’un froid souvent insupportable 
 Aux dames en hiver le bal est favorable 
 Mais dans cet exercice on ne saurait passer 
 Quelqu’en soit le plaisir jour et nuit a danser. 
 
 Aussi quand on est lasse on fait une reprise 
 d’Ombre, en chambre bien close et proche d’un bon feu, 
 
 Pour lors bravant le froid chacun joue a sa guise 
 Jusques au petit chat qui veut etre du jeu. 
 
 Engraved by j. P. le bas. 
 
 In the Collection of James Watt, Esq., until 1849. 
 
 ( For notice of the Painter's life see No. 84.9 
 
6 4 
 
 GALLERY II. 
 
 87 LA MARQUISE DE LA 
 FERRONNAYS. 
 
 H ALF-LENGTH figure of a lady seated, facing 
 the spectator; pale blue and white costume, black 
 ribbon round her neck — a white and tan spaniel is on 
 her knees. 
 
 Painted by carle van loo. 
 
 Canvas 36 x 29 inches. 
 
 Lent by monseiur sedelmeyer. 
 
 Charles Andr£ van Loo. Bom 1705. Died 1765. 
 History and portrait painter. Pupil of his brother Jean 
 Baptiste van Loo, and later, in Italy, of Benedetto Luti and 
 the Sculptor le Gros. 
 
 88 HAULING IN THE NETS. 
 
 Painted by eugene isabey. 
 
 Canvas 25 x 37 inches. 
 
 Lent by sir james bell, bart. 
 
 Eugene Louis Gabriel Isabey. Born 1804. Died 1886. 
 Son of the minature painter, J. B. Isabey. Marine painter, 
 occupying the first position in that capacity for many years 
 in France. Officer of the Legion of Honour, 1852. 
 
GALLERY II. 
 
 65 
 
 89 THE DREAM OF THE INFANT 
 JESUS. 
 
 Painted by o. tassaert. 
 
 Canvas 22 x 18 inches. 
 
 Lent by mons. durand ruel. 
 
 Nicolas Francois Octave Tassaert. Born 1800. 
 Died 1874. History and portrait painter. Pupil of Pierre 
 Gerand and Guillon Lethikre. 
 
 90 THE APPROACHING STORM. 
 
 Painted by Charles jacque. 
 
 Canvas 28 x 39 inches. 
 
 Lent by the rt. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 ( For notice of the Painter's life see No. g\). 
 
 91 LE PATURAGE. 
 
 Painted by julien dupre. 
 
 Canvas 15 x 22 inches. 
 
 Lent by Alexander young, esq. 
 
 Painted 1882. 
 
 Etched by le conteux. 
 
 Julien Dupre. Landscape and genre painter — living. 
 Pupil of Pils, Lehmann and Langee. 
 
 C 
 
66 
 
 GALLERY II. 
 
 92 THE SCATTERED HERD. 
 
 Painted by E. van marcke. 
 
 Canvas 34 x 57 inches. 
 
 Lent by the RT. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 Emile van Marcke. Born 1827. Died 1893. Cattle 
 painter. Pupil of Troyon. Chevalier of the Legion of 
 Honour. 
 
 93 SOLITUDE. 
 
 Painted by j. f. millet. 
 
 Canvas 33 x 43 inches. 
 
 Lent by Alexander young, esq. 
 
 {For notice of the Painter's life see No. 1 15). 
 
GALLERY II. 
 
 6 7 
 
 94 FOREST PASTURES. 
 
 Painted by Charles jacque. 
 
 Canvas 25 x 32 inches. 
 
 Lent by the rt. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 Charles Lmile Jacque. Born 1813. Died 1893. 
 Animal and landscape painter. Chevalier of the Legion 
 of Honour, 1867. In his youth he studied as a geographi- 
 cal engraver, and then enlisted as a soldier, remaining in 
 the army for seven years. He then resumed engraving, 
 and a catalogue of his works in that branch of Art 
 numbering four hundred and twenty has been made by 
 Mons. Guiffrey. He worked chiefly at Barbizon — where 
 the peasant folk, their sheep flocks and poultry, and the 
 surrounding forest scenery, engaged alike his pencil and 
 brush. 
 
 95 THE POOL OF THE FAIRIES, 
 FONTAINEBLEAU. 
 
 Painted by leon belly. 
 
 Canvas 23 x 20 inches. 
 
 Lent by madame v. leon belly. 
 
 Painted 1874. 
 
 Leon Auguste Adoi-phe Belly. Born 1828. Died 
 1877. Orientalist and portrait painter. Pupil of Troyan 
 and Rousseau. Legion of Honour, 1862. 
 
 C 2 
 
68 
 
 GALLERY II. 
 
 96 CLAIR BOIS, FOREST OF 
 FONTAINEBLEAU. 
 
 Painted by Theodore rousseau. 
 
 Canvas 27 x 41 inches. 
 
 Lent by james donald, esq. 
 
 Pierre Etienne Theodore Rousseau. Born at Paris, 
 1812. Died at Barbizon, 1867. Landscape painter. 
 Pupil of Pau de St. Martin, Remond and Guillon-Lethiere. 
 Medal of Honour and Officer of the Legion of Honour, 
 1867. Like all original men, the work he first put forward 
 between the age of twenty and twenty-three exhibited a 
 distinct disregard for convention ; and the absence from it 
 of the then popular classical feeling resulted in the rejection 
 of his pictures from the Salon. There ensued as a con- 
 sequence a period of ten years of struggle with adverse 
 fortune. He had taken refuge meanwhile in the Forest of 
 Fontainebleau, in that little village of Barbizon which he 
 and others of like proclivities — Millet, Diaz, Troyon, 
 Dupre — have done so much to immortalize. Here the 
 individuality of the man developed as he realized on his 
 canvases year after year, with ever increasing truth, the 
 subtle aspects of nature, whether in the delicate open 
 atmosphere of the morning lights, or in the profound 
 depths and intricacies of tangled forest into which the 
 lights of evening played with all their richness. 
 
GALLERY II. 
 
 6 9 
 
 LA BOUILLE, NEAR ROUEN. 
 
 Painted by Georges michel. 
 
 Canvas 24 x 32 inches. 
 
 Lent by e. e. leggatt, esq. 
 
 Georges Michel. Born 1763. Died 1843. Landscape 
 painter. His father was employed in the Paris markets, 
 but he himself was placed with a village curate on the 
 plain of St. Denis, and afterwards apprenticed to the 
 painter Leduc. At one time he was the painting com- 
 panion of Louis Bruandet, at another he was living in the 
 house of a noble amateur, whose pictures he finished. 
 His favourite subject was the great plain which stretches 
 from Montmartre to the North of St. Denis. In spite 
 of the small prices he received for his pictures, he contrived 
 to pass his life in modest comfort. 
 
 LANDSCAPE. 
 
 Painted by c. f. daubigny. 
 
 Panel 16 x 26 inches. 
 
 Lent by j. s. forbes, esq. 
 
 ( For notice of the Painter's life see No. 102.) 
 
7 o 
 
 GALLERY II. 
 
 99 THE RETURN TO PORT, 
 HONFLEUR. 
 
 Painted by eugene isabey. 
 
 Canvas 17 x 25 inches. 
 
 Lent by Reginald vaile, esq. 
 
 The original of the celebrated Mezzo-tint by David 
 Lucas. 
 
 Eugene Louis Gabriel Isabey. Born 1804. Died 1886. 
 Son of the minature painter, J. B. Isabey. Marine painter, 
 occupying the first position in that capacity for many years 
 in France. Officer of the Legion of Honour, 1852. 
 
 100 MARIE BASHKIRTSEFF. 
 
 Painted by j. bastien-lepage. 
 
 Canvas 31 x 23 inches. 
 
 Lent by j. s. forbes, esq. 
 
 M ARIE BASHKIRTSEFF was born on the nth 
 November, i860, at Poltava, in the wild region 
 of the Ukraine, and her celebrated Journal, which she 
 commenced at the age of twelve, was published in 1890. 
 It was written in French and translated by Mathilde 
 Blind, who observes in her preface to the work that the 
 “ vast steppes and stirring traditions of her native land 
 form the appropriate background for the extraordinary 
 child, full of quenchless ardour and explosive force." 
 She formed the closest friendship with Bastien-Lepage, 
 the painter of this portrait, and in the summer of 1884, 
 the last year of her life, she met him nearly every day, 
 either in Bastien's sick room or in the Bois de Boulogne. 
 
GALLERY II. 
 
 71 
 
 Her Journal breaks off abruptly on the 20th October, 
 1884, and eleven days later, while only in her twenty- 
 fourth year, she died ; the painter, for whom she had so 
 great a reverence, dying within six weeks of her, at the 
 age of thirty-six. 
 
 The picture shows the half figure of a child in a black 
 cloak and grey hood, trimmed with pink. She is carry- 
 ing a bag on her arm ; in the background are houses. 
 
 Jules Bastien-Lepage. Bom 1848. Died 1884. 
 History and portrait painter. Pupil of Cabanel. Cheva- 
 lier of the Legion of Honour, 1879. His famous “Joan 
 of Arc” is in the Metropolitan Museum, New York. 
 
 1 BARKHAT, A RUSSIAN HORSE. 
 
 Painted by D. raffet. 
 
 Canvas i2\ x 17 inches. 
 
 Lent by E. e. leggatt, esq. 
 
 From the San Donato Collection. 
 
 Dennis Auguste Marie Raffet. Born 1804. Died 
 i860. Pupil of Gros and Charlet. Most of his subjects 
 were scenes from military life. He found a liberal patron 
 in Prince Demidoff — for whom the present picture was 
 painted in 1858. 
 
72 GALLERY II. 
 
 102 BORDS DE L’OISE. 
 
 Painted by c. F. daubigny. 
 
 Panel 13 x 22 inches. 
 
 Lent by the hon. sir j. c. day. 
 
 Charles Franqois Daubigny. Born in Paris, 1817. 
 Died there, 1878. Landscape painter. Pupil of Paul 
 Delaroche. Officer of the Legion of Honour. He 
 studied for three years in Italy, and exhibited first at the 
 Salon at the age of twenty-one. Clock cases, boxes, and 
 other articles of commerce were painted by him in his 
 earlier youth under the tuition of his father, but his 
 original feeling for the painting of landscape, in its sedate 
 or serious moods or in its more impressive aspects, early 
 manifested itself, and upon it is built his great reputation. 
 
 103 LE MAL AVIS. 
 
 Painted by N. v. diaz. 
 Panel 17 x 11 inches. 
 Lent by J. s. forbes, esq. 
 
 ( For notice of the Painter's life see No. 112.) 
 
GALLERY II. 
 
 73 
 
 PORT DE MEULAN ; HAULING 
 THE NETS. 
 
 Painted by c. f. daubigny. 
 
 Panel 17 x 32 inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 102 ). 
 
 L’ORAGE. (THE STORM.) 
 
 Painted by N. v. diaz. 
 
 Panel 24 x 30 inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 112.J 
 
74 
 
 GALLERY II. 
 
 106 LE LAC. (THE LAKE.) 
 
 Painted by j. b. corot. 
 
 Canvas 52 x 62 inches. 
 
 Lent by Alexander young, esq. 
 
 Etched by T. N. chauvel. 
 
 T HIS important picture, painted in the sixties, and one 
 of the largest and most impressive works of 
 Corot, passed immediately into the Collection of M. Brun, 
 from whose widow it was acquired by its present owner. 
 
 Jean Baptiste Camille Corot. Born 1796. Died 
 1875. One of the Barbizon group of landscape painters. 
 Started in life in a draper’s shop. Pupil afterwards of 
 Michallon and Victor Bertin. Officer of the Legion of 
 Honour, 1867. Studied in Italy, then in Provence and 
 Normandy, and in his loved forest of Fontainebleau, in 
 which latter place, by incessant study, he learned to couple 
 breadth with careful though unobtrusive detail. His 
 practice was to paint in the open air in the summer at 
 effects seen as the day dawned or at times of sunset or 
 moonlight — working in his studio in the winter at the ideas 
 he thus gained. In his early years he had to contend with 
 poverty, but in after life wealth flowed freely in on him. 
 His originality was great ; he portrayed nature in a manner 
 replete with poetry and fancy, finding followers in such 
 painters of distinction as Troy on, Diaz, Daubigny, &c. 
 D. C. Thomson, in his work upon Corot,* writes : “ He 
 was the artist poet of the morning and of the evening, the 
 delightful painter of twilight, of rosy dawns, and dewy eve. 
 He was the man of all others who could paint the atmos- 
 phere, the aqueous vapours of the rivers and lakes, and 
 the mists of the valleys; and who could invest every 
 landscape he produced with a romanticism and charm 
 which are thoroughly wonderful. He was the acknow- 
 ledged leader of a great school of landscape painting, and 
 for many years before his death he had a powerful 
 influence over numerous painters, who have become or 
 will yet become, famous.” 
 
 * Barbizon School of Painting Book I. Corot. 
 
GALLERY II. 
 
 75 
 
 107 THE THREE COWS. 
 
 Painted by j. B. COROT. 
 
 Canvas 8^ x 13T inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 106 ). 
 
 108 A GROUP OF FIGURES. 
 
 Painted by N. v. di az. 
 
 Canvas 9x6 inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 112). 
 
 109 THE FISHERMAN. 
 
 Painted by j. b. corot. 
 
 Canvas 8| x 14 inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 106 ). 
 
 no L’ARBRE PENCHE (THE 
 BENT TREE). 
 
 Painted by J. b. corot. 
 
 Canvas 16 x 22 inches. 
 
 Lent by Alexander young, esq. 
 
 ( For notice of the Painter's life see No. 106 ). 
 
76 GALLERY II. 
 
 hi SENTIER DE ST. PRIVE. 
 
 Painted by H. harpignies. 
 
 Canvas 24 x 32 inches. 
 
 Lent by Alexander young, esq. 
 
 1 12 LE SOMMEIL DES NYMPHES. 
 
 Painted by n. v. diaz. 
 
 Canvas 23 x 15 inches. 
 
 Lent by j. inman, esq. 
 
 Narciss^-Virgile Diaz de la Pena. Born at Bordeaux, 
 1809. Died at Mentone, 1876. Landscape painter. 
 Chevalier of the Legion of Honour. In the earliest years 
 he studied nature in the woods. When fifteen he was 
 apprenticed to a manufacturer of porcelain as a shop boy, 
 but his evident capacity as an artist revealing itself, he 
 was promoted to his master’s atelier, where he made the 
 acquaintance of Corbet, Raffet and Jules Dupre, but he 
 quarrelled with his master and left him. He entered then 
 upon a life of absolute poverty, but succeeded nevertheless 
 in increasing his knowledge of painting by his close study 
 of nature. Although his genre subjects have remarkable 
 attributes both in arrangement and colour, it is upon his 
 landscape art that his reputation rests ; depths and intri- 
 cacies of woodland and rugged forest growths. He was 
 for many years neglected, meeting indeed with but little 
 encouragement until towards the end of his life, when he 
 met with wide patronage. He was unfortunate early in 
 life in losing one of his legs, as the result of a bite from 
 an insect, and his death at the age of sixty-seven was due 
 to the bite of a viper. 
 
GALLERY II. 
 
 77 
 
 1 13 SHELLING PEAS. 
 
 Painted by edouard frere. 
 
 Panel 31 x 17 inches. 
 
 Lent by e. e. leggatt, esq. 
 
 Pierre Edouard Frere. Born 1819. Died 1886. 
 Genre painter. Pupil of Paul Delaroche. Chevalier of 
 the Legion of Honour. He first exhibited at the Salon 
 in 1843. His works show much care and study. He 
 recorded scenes homely in character, in which childhood 
 was wondrously interpreted in a manner so full of the 
 charm of village life and the beauty of rustic expression 
 that it has been said of him in regard to his pupilage with 
 the great historical painter that “ the stately swan had 
 hatched a wood bird,” so simple of theme and yet so 
 accomplished in execution was his work. 
 
 1 14 GOING TO MARKET. 
 
 Painted by constant troyon. 
 
 Canvas 36 x 29 inches. 
 
 Lent by james donald, esq. 
 
 Constant Troyon. Born at Sevres, 1810. Died at 
 Paris, 1865. Landscape and animal painter. He worked 
 in the companionship of Rousseau, Diaz and Jules Dupre. 
 He first exhibited at the Salon when he was twenty-three. 
 His subjects were taken invariably from the country in the 
 neighbourhood of Paris, very little other than French 
 scenery ever appearing in his works. 
 
GALLERY II. 
 
 GOING TO WORK. 
 
 Painted by j. f. millet. 
 
 Canvas 22 x 18 inches. 
 
 Lent by james donald, esq. 
 
 Etched by the Painter. 
 
 Jean Fran$ois Millet. Born 1814. Died 1875. 
 Figure and landscape painter. His parents were of the 
 Norman peasantry and engaged in farming. Though his 
 general education was simple, his progress in art was such, 
 that at the age of twenty, the Municipality of Cherbourg 
 was prevailed upon to grant him a small pension to enable 
 him to pursue his studies in Paris. He became there the 
 pupil of Paul Delaroche, in whose atelier he had four 
 companions, Diaz, Rousseau, and Corot. His first work in 
 the Salon was a portrait, when he was twenty-six. He then 
 gained a living by painting signboards. It was not until 
 he was thirty-four that he discovered his true vocation, in 
 the adoption of subjects taken from French peasant life, 
 but his struggle for existence impeded his work. He and 
 his family were frequently in need of the barest necessaries 
 of life. He removed to Barbizon, a village in the 
 beautiful Fontainebleau country, and there he settled in a 
 peasant’s cottage of three rooms, finding amid the scenery 
 and in the humble life so dear to him, no lack of subjects ; 
 but fine as his pictures were, they brought but small prices, 
 being at that time appreciated only by a very few. Not 
 until he was fifty-three did his means improve ; his genius 
 then brought him the Legion of Honour, and his work 
 became more largely sought after. He continued, how- 
 ever, his same simple rustic life to the end. His works 
 have realized enormous prices since his death ; the famous 
 “ Angelus,” painted in 1859, and owned now by M. Chau- 
 chard of Paris, being sold a few years ago for upwards of 
 ^20,000. So small were his life’s gains that his widow and 
 family were left poor, and were granted from the State an 
 annual pension of 1,100 francs; the painter Corot, his old 
 friend and fellow pupil, supplementing this grant by a gift 
 of 15,000 francs. 
 
GALLERY II. 
 
 79 
 
 1 16 THE OPEN SEA. 
 
 Painted by jules dupre. 
 
 Canvas 15 x 18 inches. 
 
 Lent by j. s. forbes. 
 
 Jules Dupre. Born 1812. Died 1889. Landscape 
 painter. Officer of the Legion of Honour. Studied as a 
 boy in the porcelain manufactory of his father. He then 
 essayed oil painting, and at the age of nineteen he first 
 exhibited at the Salon. In force and richness of colour 
 and in tenderness of expression, one of the greatest and 
 most individual of the French painters of landscape and 
 sea. 
 
8o 
 
 GALLERY II. 
 
 1 17 PORTRAIT OF LOUIS THE 
 FOURTEENTH. 
 
 Painted by pierre mignard. 
 
 Canvas 28 x 23 inches. 
 
 Lent by e. a. leatham, esq. 
 
 OUIS XIV, King of France. Born at St. Germains, 
 
 1638. Died at Versailles, 1715. He occupied the 
 Throne of France for seventy-seven years, and was one 
 of the handsomest men of his time. He is represented 
 in the painting in the costume of a Knight of Malta ; 
 face slightly turned to the right, white lace collar, red 
 scarf, steel breastplate, left arm bare from the elbow. 
 
 Pierre Mignard. Born 1612. Died 1695. Portrait 
 and allegorical painter. Pupil of Jean Boucher, of 
 Bourges, and of Simon Vouet. He was summoned to 
 Fontainebleau in 1658 to paint a portrait of Louis the 
 Fourteenth, then in his twenty-first year, by which to 
 effect the King’s betrothal to Maria Theresa, the Infanta 
 of Spain, a portrait which, it is said, the painter accom- 
 plished in three hours. Pie later became the bitter rival 
 of Charles Le Brun, whom he eventually succeeded as 
 Court Painter and Director of the Gobelins and of the 
 French Academy of Painting. 
 
GALLERY II. 
 
 8 1 
 
 1 8 INTERIOR OF THE CAPUCHIN 
 CONVENT, ROME. 
 
 Painted by franqois m. grAnet. 
 
 Canvas 52 x 42 inches. 
 
 Lent by sir Charles robinson. 
 
 Franqois Marius Granet. Bom 1775. Died 1849. 
 Pupil of David. He was termed “The Monk,” from 
 his gravity of character and simple dress of brown. One 
 of his pictures, “ The Choir,” in the Capuchin Monastery 
 of the Piazza Barberini at Rome, he repeated fifteen 
 times. One of these replicas is in the possession of the 
 Queen at Buckingham Palace. 
 
 19 THE FAIR WIDOW. 
 
 Painted by S. J. rochard. 
 
 Canvas 30 x 25 inches. 
 
 Lent by T. j. barratt, esq. 
 
 Simeon Jacques Rochard. Born 1788. Died 1850. 
 Pupil of Merimee and Isabey. He settled in England, 
 where he secured a large and fashionable connection; and 
 exhibited frequently at the Royal Academy. Mr. Joseph 
 Grego, in a recent notice of this painter, has said — “ The 
 fair widow is an example of a rare master, whose practice 
 was influenced by the Schools of Greuze and Hoppner. 
 The few examples he executed of this order were repro- 
 duced in Keepsakes and Books of Beauty, in one of 
 which ornate annuals a version of ‘The Fair Widow’ was 
 engraved.” 
 
82 
 
 GALLERY II. 
 
 120 PORTRAIT OF GUIZOT, 
 
 the French Statesman and Historian, 
 born 1787, died 1873. 
 
 Painted by l. mottez. 
 
 Canvas 45 x 25 inches. 
 
 Lent by admiral sir Leopold heath, k.c.b. 
 Painted 1849. 
 
 Victor Louis Mottez. Bom 1809. Died 
 History and portrait painter. Pupil of Ingres and Picot. 
 
 I 20A REPOSE. 
 
 Painted by Theodore roussel. 
 Canvas 24 x 18 inches. 
 
 Lent by R. vaile, esq. 
 
 120B KENSINGTON GARDENS. 
 
 Painted by Theodore roussel. 
 
 Canvas 24 x 18 inches. 
 
 Lent by R. vaile, esq. 
 
GALLERY III. 
 
GALLERY III. 
 
 * 
 
 12 1 NEWS FROM THE SOUDAN. 
 
 Painted by l. deutsch. 
 
 Canvas 13 x 18 inches. 
 
 Lent by h. j. turner, esq. 
 
 L. Deutsch. Genre painter, Orientalist — living. 
 
 122 THE SICK CHILD. 
 
 Painted by henriette brown. 
 Canvas 14 x 11 inches. 
 
 Lent by mrs. c. e. lees. 
 
86 
 
 GALLERY III. 
 
 123 BAIN MAURE (Moorish Bath). 
 
 Painted by J. l. gerome, h.r.a. 
 
 Canvas 20 \ x 15^ inches. 
 
 Lent by h. J. turner, esq. 
 
 Etched by rajon. 
 
 UDE figure of a girl seated near a bath let into the 
 
 floor of a lofty circular apartment. A Nubian 
 slave, habited from the waist in rich dark clothes, is 
 standing by, holding a heavy brazen vessel of water. By 
 the door a narghile pipe is seen, and on the stonework, 
 the edge of which the girl's raised hand is touching, 
 richly coloured drapery is arranged. 
 
 Painted in London, in 1870, for the present owner, in 
 the time of the Paris Commune. Finished in Paris, 
 as the painter was unable to obtain a good Nubian 
 model in London. 
 
 Exhibited at the Vienna Exhibition, 1873. 
 
 Philadelphia Exhibition, 1876. 
 
GALLERY III. 
 
 S7 
 
 124 A GENERAL OF THE 
 DIRECTORY. 
 
 Painted by c. delort. 
 
 Panel 13 x 9 inches. 
 
 Lent by h. j. turner, esq. 
 
 Charles Ldouard Delort. Genre painter — living. 
 Pupil of Gleyre and Gerome. 
 
 125 THE RETURN TO THE MILL. 
 
 Painted by rosa bonheur. 
 
 Canvas 10 J x 14 inches. 
 
 Lent by mrs. george holt. 
 
 ( For notice of the Painter's life see No. 14 6.) 
 
88 
 
 GALLERY III. 
 
 126 A NOBLE VENETIAN. 
 
 Painted by j. l. meissonier. 
 
 Panel 14^ x io£ inches. 
 
 Lent by monsieur e. gambart, of Nice. 
 
 Etched by Leopold flameng. 
 
 A PORTRAIT of the painter in red velvet robe. He 
 sits in a high-backed chair studded with brass 
 nails, and reads gravely from a book he holds in both 
 hands. To his left is a table with books, and a dog lies 
 on the floor to his right. 
 
 Painted 1866. 
 
 127 THE BATHER. 
 
 Painted by h. fantin-latour. 
 
 Canvas 14 x 12 inches. 
 
 Lent by c. j. galloway, esq. 
 
 Henri Fantin-Latour. Genre and portrait painter — 
 living. Pupil of Lecoq de Boisbaudran. Chevalier of the 
 Legion of Honour, 1879. 
 
GALLERY III. 
 
 89 
 
 28 A CUP OF TEA. 
 
 Painted by emile plassan. 
 
 Panel 10 x 7 inches. 
 
 Lent by the hon. vicary gibbs, m.p. 
 
 Antoine Lmile Plassan. Genre painter. Student of 
 Meissonier. Chevalier of the Legion of Honour. 
 
 29 PORTRAIT OF MADAME 
 GAUTREAU. 
 
 Painted by gustave courtois. 
 
 Canvas 41 x 23 inches. 
 
 Lent by the Artist 
 
 30 A SAINT IN THE DESERT. 
 
 Painted by gustave moreau. 
 
 Canvas 8| x 5 inches. 
 
 Lent by monsieur bessonneau, of Angers. 
 
 Gustave Moreau. Born 1815. Died 1898. Genre 
 painter. Pupil of Picot. Chevalier of the Legion of 
 Honour, 1875. 
 
 31 THE SCHOOL. 
 
 Painted by henriette brown. 
 
 Canvas 12 x 12^ inches. 
 
 Lent by the rt. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 Henriette Brown (Madame de Saux). Genre painter 
 — living. Pupil of Chaplin. 
 
90 
 
 GALLERY III. 
 
 132 CAUSERIE. 
 
 Painted by j. l. meissonier. 
 
 Panel 4J x 3 inches. 
 
 Lent by john m. keiller, esq. 
 
 T WO gentlemen standing and conversing in a lofty 
 room. They are both taking snuff ; one, in a red 
 coat, is leaning against a table. A ray of sunlight falls 
 on a panel to the right. 
 
 In the Secretan Collection until 1889. 
 
 133 HE DINES AT THE CHATEAU. 
 
 Painted by v. chevilliard. 
 
 Canvas 9^ x inches. 
 
 Lent by Messrs, obach & co. 
 
 Exhibited at the Paris Salon, 1895. 
 
 Vincent Chevilliard. Genre painter — living. Pupil 
 of Picot and later of Cabanel. His early pictures were 
 landscapes or antique figures richly draped, and his pleasant 
 phase in which he introduces the dignitaries of the Church 
 and by which he is more widely known was only incidentally 
 adopted. He was entertaining an artist who had brought 
 with him a priest’s costume, and when arrayed in it one 
 day Chevilliard begged him for a sitting. The picture he 
 painted he entitled “An Easy Conscience,” and the 
 Prince of Wales purchased it. Commissions then came 
 quickly to the painter, but no one would have anything 
 but priests, and he thus became a painter of the clergy, 
 investing his subjects with a touch of humour or intro- 
 ducing some interesting suggestive trifle, as in the present 
 example. 
 
GALLERY III. 
 
 91 
 
 134 A GENTLEMAN OF THE TIME 
 OF LOUIS XIII. 
 
 Painted by j. l. meissonier. 
 
 Panel 10 x 7 inches. 
 
 Lent by sir james joicey, bart., m.p. 
 
 F ULL length figure leaning against a stone mantel ; 
 
 his hands are clasped. White and scarlet costume ; 
 background of tapestry ; chair to left of the picture. 
 
 Painted 1890. 
 
 ( For notice of the Painter's life see No. 339. 
 
 135 PORTRAIT OF MISS ALICE 
 SCHLESINGER 
 
 (now MRS. FRED. LIEBREICH.) 
 
 By G. RICARD. 
 
 Canvas 19x15 inches. 
 
 Lent by miss schlesinger. 
 
 Painted 1870. 
 
 Gustave Ricard. Born 1824. Died 1873. Portrait 
 painter. Pupil of Cogniet. His portraits were much 
 sought, and he amassed considerable fortune. In 1863, 
 the Legion of Honour was offered to him, but he replied, 
 “ It is too late ” and could not be prevailed upon to 
 change his decision. 
 
92 
 
 GALLERY III. 
 
 136 THE CHATEAU. 
 
 Painted by armand charnay. 
 
 Canvas 12 x 15^ inches. 
 
 Lent by J. p. heseltine, esq. 
 
 Armand Charnay. Landscape Painter — living. Pupil 
 of Feyen-Perrin and Pils. 
 
 137 THE READER. 
 
 Painted by victor chavet. 
 
 Panel 8J x 6 \ inches. 
 
 Lent by c. wentworth wass, esq. 
 
 Exhibited at the Paris Exhibition, 1855. 
 
 Victor Chavet, Genre painter — living. Pupil of Pierre 
 Revoil and C. Roquephan. Chevalier of the Legion of 
 Honour, 1859. 
 
GALLERY III. 
 
 93 
 
 138 THE FLORENTINE POET. 
 
 Painted by alexandre cabanel. 
 
 Canvas 22 \ x 38^ inches. 
 
 Lent by monsieur bessonneau, of Angers. 
 
 HE poet, seated on a stone bench, is reciting love 
 
 sonnets, which two lovers in front follow with an 
 eager attention that greatly animates the beauty of the 
 lady. Two youths are also listening, and a serene 
 pleasure is depicted on the countenances of all. 
 
 Engraved by a. j. huot. 
 
 A larger version of this work — exhibited in the Salon in 
 1861 — is in the possession of Mr. J. H. Warren, Hoosic 
 Falls, U.S.A. 
 
 Alexandre Cabanel. Born 1823. Died 1889. His- 
 tory and portrait painter. Pupil of Picot. Took the 
 Prix de Rome, 1845. Member of the Institute of France, 
 1863. Commander of the Legion of Honour, 1884. 
 One of his greatest works in its masterly drawing, beauty 
 of line and delicate transparency of colour, is “The Birth 
 of Venus,” painted in 1863, and now in the Luxembourg, 
 and of which three smaller replicas exist, all of them in 
 the United States. 
 
94 
 
 GALLERY III. 
 
 139 THE FIRST KISS. 
 
 Painted by w. a. bouguereau. 
 
 Canvas 47 x 29 inches. 
 
 Lent by the RT. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 William Adolphe Bouguereau. Figure painter — living. 
 Pupil of Picot, and of L’Ecole des Beaux Arts. Took the 
 Prix de Rome at the age of twenty-five. Commander of 
 the Legion of Honour. Member of the Institute of 
 France. 
 
 140 A LION PURSUING 
 ANTELOPES. 
 
 Painted j. l. gerome. 
 
 Canvas 26 x 47 inches. 
 
 Lent by the Artist. 
 
GALLERY III. 
 
 95 
 
 i THE FAINTING OF THE 
 VIRGIN. 
 
 Painted by Paul delaroche. 
 
 Canvas n x 21 inches. 
 
 Lent by mons. philippe delaroche-vernet. 
 
 T HE picture shows the Mother of our Lord in the 
 house of the Apostle John, exhausted with the 
 prolonged hours of anguish on the day of the Crucifixion. 
 Tending her are the other holy women. 
 
 Paul Delaroche. Bom 1797. Died 1856. He studied 
 landscape painting with Watelet, and afterwards entered the 
 studio of Gros, and devoted himself to history. He also 
 expended four entire years of his early life in studying the 
 human figure. He made rapid progress, and in 1819 ex- 
 hibited his first picture. In 1824 he produced three works, 
 for which he obtained a gold medal, and in 1827 appeared 
 “The Capture of the Trocadero,” a work which procured 
 him the distinction of the cross of the Legion of Honour. 
 In 1830 he painted “ The Princes in the Tower,” which has 
 been so often engraved, and which induced M. Delavigne 
 to write his tragedy on the same subject. In 1833 he was 
 appointed professor at the Ecole des Beaux-Arts, and 
 married in 1835, at Rome, the only daughter of Horace 
 Vernet, who was then director of the French Academy in 
 that city. In 1837 the adornment of the Amphitheatre of 
 the Ecole des Beaux-Arts was entrusted to him, and in this 
 work he displayed great originality of conception, obtaining 
 an imposing result by very simple means, completing it in 
 1841. He travelled in the East, in failing health, after his 
 wife’s death in 1843, and impelled by religious reflection, 
 he there painted many sacred subjects, several of which, 
 including the present one, were not finished until later in 
 life. 
 
9 6 
 
 GALLERY III. 
 
 142 AN AMATEUR. 
 
 Painted by l. deutsch. 
 Panel 23 x 16 inches. 
 
 Lent by h. j. turner, esq. 
 
 143 “ L’lMMENSITE.” 
 
 Painted by gustave courbet. 
 
 Canvas 23 x 31 inches. 
 
 Lent by Constantine a. ionides, esq. 
 
 Gustave Courbet. Born 1819. Died 1878. Genre, 
 landscape and portrait painter. Began life by studying 
 law, but relinquished it at the age of twenty, and studied 
 art in the school of David D’Angers. He was addicted 
 early to the painting of caricatures, especially of priests, 
 and did not draw much attention to his capacity for land- 
 scape until he was about thirty. He was considered to 
 be the most positive of the naturalists before the 
 impressionists appeared. Courbet was a Communist, 
 and suffered six months’ imprisonment as the chief 
 instigator of the downfall of the Vendome Column, at 
 the time of the Paris Commune, and after his release he 
 retired to Switzerland. 
 
GALLERY III. 
 
 9 7 
 
 144 EVENTIDE. 
 
 Painted by madame cazin. 
 Canvas 10 x 15 inches. 
 
 Lent by e. e. leggatt, eso. 
 
 145 THE POET WITH THE 
 MANDOLINE. 
 
 Painted by carolus duran. 
 
 Canvas 36 x 29 inches. 
 
 Lent by the Artist. 
 
 Exhibited at the Paris Salon, 1894. 
 
 Charles Auguste Emile Durand, called “Carolus 
 Duran.” Genre and portrait painter — living. Pupil of 
 Frangois Souchon. Studied in Italy and Spain. Com- 
 mander of the Legion of Honour, 1878. His portraits of 
 women have gained him great fame; the spontaneity of 
 life is in them. Art with him is an interpretation of nature, 
 not merely an imitation of it, calling strongly into action 
 the individuality of the painter. His principles and work 
 attract a large number of students to his studio in 
 Paris, especially from England and America. Among 
 his pupils was Mr. J. S. Sargent, R.A. Of his decorative 
 work, the beautiful Gloria of Marie de Medici on the 
 ceiling of the Luxembourg may be regarded as his best. 
 
 D 
 
98 GALLERY III. 
 
 146 THE CHALK WAGGONER 
 
 Painted by rosa bonheur. 
 
 Canvas 25 x 32 inches. 
 
 Lent by the rt. hon. h. d. davies, m.p., lord 
 
 MAYOR. 
 
 Engraved by Charles g. lewis. 
 
 Marie Rosa Bonheur, Animal painter — living, now 
 seventy-six years of age. Daughter and pupil of Raymond 
 Bonheur. Studied the old masters in the Louvre and 
 then sketched and studied in the neighbourhood of Paris. 
 Chevalier of the Legion of Honour, 1865. She made her 
 debut at the Salon in 1841, at the age of nineteen. Her 
 large picture of the “Horse Fair,” 94 x 197 in., is now in 
 the Metropolitan Museum of New York; the smaller 
 version of the subject, 47 x 98 in., was bequeathed to the 
 nation in 1859, and is now in the National Gallery of 
 British Art. During the Siege of Paris in the Franco- 
 Prussian War, the Princess Royal of Prussia (now the 
 Empress Frederick) gave the strictest orders that the 
 house and studio of Rosa Bonheur, at Fontainebleau, 
 should not be disturbed in any way, and these orders 
 were strictly carried out. 
 
GALLERY III. 
 
 99 
 
 147 THE HARE AND THE 
 TORTOISE. 
 
 Painted by a. decamps. 
 
 Canvas 13I x 91 inches. 
 
 Lent by mons. durand ruel. 
 
 Alexander Gabriel Decamps. Born 1803. Died 1863. 
 History, landscape, and genre painter. Pupil of Abel de 
 Pujol, David, and Ingres. Some of his finest works, such 
 as the “ Turkish Patrol in Smyrna,” are in the Wallace 
 Collection, recently bequeathed by Lady Wallace to the 
 nation. 
 
 148 CHILD WITH A KITTEN. 
 
 Painted by ary scheffer. 
 
 Canvas 16 x 13 inches. 
 
 Lent by e. a. leatham, esq. 
 
 Ary Scheffer. Born 1795. Died 1858. Genre painter. 
 Pupil of Guerin. Small genre pictures occupied him in 
 his early career, but later he drew his subjects from the 
 great poets, Dante, Schiller, Goethe and Byron. Religious 
 themes were latterly pursued by him, and many of his 
 works in this direction, such for example as “ Christ the 
 Consoler, made a deep impression. A great number of 
 his works are engraved. 
 
 D 2 
 
100 
 
 GALLERY III. 
 
 149 CUPID AND PSYCHE. 
 
 Painted by Charles landelle. 
 
 Canvas 20 x 12 inches. 
 
 Lent by e. a. leatham, esq. 
 
 Charles Landelle, genre and portrait painter — living. 
 Pupil of Paul Delaroche and Ary Scheffer ; Chevalier of 
 the Legion of Honour. He has executed much decorative 
 work in the public buildings in Paris, one of the salons in 
 the Palace Elysee containing six panels by him. 
 
 150 A CUP OF TEA. 
 
 Painted by auguste renoir. 
 
 Canvas 40 x 32 inches. 
 
 Lent by mons. durand ruel. 
 
 Auguste Renoir. Genre, portrait, and landscape 
 painter — living. Has identified himself with the Impres- 
 sionist School. 
 
GALLERY III. 
 
 IOI 
 
 i THE BEHEADING OF ST. JOHN 
 THE BAPTIST. 
 
 Painted by puvis de chavannes. 
 
 Canvas 49 x 65 inches. 
 
 Lent by mons. durand ruel. 
 
 Painted 1869. 
 
 Pierre Puvis de Chavannes. History and genre 
 painter — living. Pupil of Henri Scheffer, and of Couture. 
 Commander of the Legion of Honour, 1877. Leaving the 
 beaten track he has sought to revive the monumental 
 painting of the Renaissance. “ His works, though wanting 
 in organic cohesion, precise drawing, energetic modelling 
 and colour, are redeemed by a certain grandeur, clearness 
 of thought, and novelty of invention.” 
 
 2 THE BALLET SCENE FROM 
 MEYERBEER’S OPERA OF 
 ROBERTO IL DIAVOLO. 
 
 Painted by E. degas. 
 
 Canvas 29 x 31 inches. 
 
 Lent by Constantine a. ionides, esq. 
 
102 GALLERY III. 
 
 153 BOULEVARD DES ITALIENS. 
 
 Painted by c. pissarro. 
 
 Canvas 29 x 36 inches. 
 
 Lent by mons. durand ruel. 
 
 154 POPLARS AT GIVERNY. 
 
 Painted by claude monet. 
 
 Canvas 40 x 26 inches. 
 
 Lent by mons. durand ruel. 
 
 Claude Monet. Landscape painter — living. One of 
 the leaders of the Impressionist School. 
 
MEDALS, 
 
 OBJECTS OF ART, ETC, 
 

 . 
 
 
flfcebate, ©bjects of art, etc 
 
 155 By OSCAR ROTY, Medalist, Member of the Institute of France. Officer 
 of the Legion of Honor — 
 
 MEDALS, STRUCK— 
 
 Sir John Pope Hennessy. Silvered bronze. Circular. Obverse and reverse. 
 An Award to Firemen. Silvered bronze. Circular. Obverse and reverse. 
 In Commemoration of a Marriage. Silver. Obverse and reverse. 
 Motherhood. Silver. Circular. 
 
 The Virgin — Guardian of Childhood. Silver. Oval. 
 
 St. Genevieve — Patroness of Paris. Silver. Oval. 
 
 Joan of Arc. Silver. Circular. Obverse and reverse. 
 
 The Chamber of Commerce of Lyons (Council of Administration). Silver. 
 The Penitentiary Congress at Paris, 1895. Silver. 
 
 The Twenty-fifth Anniversary of the Franco- Prussian War, 1870. Silver. 
 Obverse and reverse. 
 
 An Award to Exhibitors at the National Exhibition of Roney. Silver. 
 Portrait of Colonel Laussedat, Director of the National Conservatoire of 
 Arts and Crafts, Paris. Silver. 
 
 The Chamber of Commerce of St. Nazaire (Council of Administration). 
 
 Silver. Octagon. Obverse and reverse. 
 
 The New Silver Coin of France. Obverse and reverse. 
 
 MEDALS, CAST- 
 
 Portrait of Mr. Lewis Campbell, Professor of Greek at St. Andrews. 
 Bronze. Circular. 
 
 In Commemoration of the Introduction of the Railway into Algeria. 
 
 Bronze. Circular. Obverse and reverse. 
 
 To mark the Centenary of Chevreul, Dean of the Academy of Sciences, 
 Paris. Bronze. Circular. Obverse and reverse. 
 
 PLAQUES, STRUCK— 
 
 Portrait of Mr. Plenry Loze, Prefet of Police, 1892. Silver. Obverse 
 and reverse. 
 
 A Shepherdess. (Ministry of Agriculture.) Silvered bronze. Obverse 
 and reverse. 
 
 Love and the Nymph. Silver. 
 
io6 
 
 MEDALS, OBJECTS OF ART, ETC. 
 
 PLAQUES, STRUCK — continued. 
 
 Seventieth Anniversary of the Birth of Pasteur. Silver. 
 
 Portrait oi M. L. A. Collin, maker of surgical instruments. Silver. 
 
 “To my Friends” (“in labore ovies.”) Silver. 
 
 In Commemoration of the Fiftieth Anniversary of the Maison Christolph. 
 
 Silvered bronze. Obverse and reverse. 
 
 Dr. Leon Gosselin, Surgeon, of the Academy of Sciences. Silver. 
 Obverse and reverse. 
 
 Monsieur Him, Member of the Academy of Sciences. Silvered Bronze. 
 Obverse and reverse. 
 
 The French Alpine Club. Silver. Obverse and reverse. 
 
 Bracelet of the Centenary, 1889. Silver. 
 
 PLAQUES, CAST— 
 
 In Celebration of a Silver Wedding. Obverse and reverse. 
 
 Marie Roty. Bronze. 
 
 Maurice Roty. Bronze. 
 
 Jeanne. Bronze. 
 
 In Celebration of the Silver Wedding of Monsieur and Madame Bigo, 
 1862. Bronze. 
 
 In Celebration of the Fortieth Anniversary of the Marriage of Monsieur 
 and Madame Soulanger. Bronze. 
 
 Eudoxe Marcille. Bronze. 
 
 156 By AUGUSTE PATEY— 
 
 A Case containing 27 MEDALS and PLAQUES. 
 
 157 By EMILE GALL 15 , Officer of the Legion of Honor — 
 
 A set of GLASS VASES, with designs in colour. 
 
 158 By ADRIEN DALPEYRAT— 
 
 ETRUSCAN VASE, with handle. 
 
 159 By AUGUSTIN DELAHERCHE, Chevalier of the Legion of Honor- 
 
 Four COLOURED VASES of fired sandstone. 
 
 160 By FERNAND THESMAR, Chevalier of the Legion of Honor — 
 
 A TRANSPARENT ENAMELLED CUP, bordered with gold. 
 
 A GOBLET, enamelled, bordered with gold. 
 
 161 By A. BIGOT— 
 
 A GREEN VASE, shape of a pear. 
 
 A JUG, with handle. 
 
 A SMALL VASE, with horizontal stripes and handles. 
 
 A FOUNTAIN, sandstone and bronze (de Manneville). 
 
MEDALS, OBJECTS OF ART, ETC. 
 
 107 
 
 162 EXAMPLES IN PEWTER by the following artists 
 
 A. — “Le Repos.” Shell, in pewter, with reposing figure. By Ledru. 
 
 B. — “ La Vague ” (the Wave). Shell, in pewter, with figure of a woman 
 
 listening to the sound of the wave. By Ledru. 
 
 c. — “La Perle.” Shell, in pewter, with reclining figure. By Ledru. 
 
 d. — Large Jug, in pewter. By Ledru. 
 
 e. — “ Le Cidre.” Jug, in pewter ; the design of the handle being the figure 
 
 of a man drinking. By Paul Richer. 
 
 F. — “Le Vin.” Vessel, in pewter, with ornamentation of hops and hop 
 leaves, and with the sleeping figure of Silenus. By Vital Cornu. 
 
 g. — “Indiscrete.” Nautilus Shell, in pewter, with figure of a woman. 
 
 By Ledru. 
 
 h. — “Porte Bonheur.” A Horse-Shoe, in pewter, with the figure of a 
 
 woman driving a nail into the shoe. By Recipon. 
 
 I. — “ La Vague.” Dish, in pewter, with the figure of a woman, in relievo, 
 lying among the waves of the sea. By Ledru. 
 
 j. — “Surprise.” Dish, in pewter, with the figure of a woman, in relievo, 
 
 lying among flowers. By Ledru. 
 
 k. — Small Lamp, in pewter, in the form of a poppy, and a figure of a 
 
 woman awaking to the light. By Ledru. 
 
 l. — “ Berce de Chine.” Tall Lamp, in pewter. By Coupri. 
 
 m. — “Anemones.” Inkstand, in pewter, with figures of woman and child. 
 
 By Vital Cornu. 
 
 n. — Small Tray, in pewter. By Levillain. 
 
 Exhibited by MM. SUSSE FRERES. 
 
3nt»ey of Contributors 
 
 ALBANY, H.R.H. THE DUCHESS 
 OF, 12 
 
 ALDENHAM, LORD, 66 
 AVICE, MONS., 2 
 
 BALLI, JOHN, ESQ., 33 
 BARRATT, T. J., ESQ., 1 1 9 
 BELL, SIR J., BART., 88 
 BELLY, MADAME LEON, 95 
 BESSONNEAU, MONS., 1 6, 39, I30, 
 
 138 
 
 BISCHOFFSHEIM, H. L., ESQ., 77 
 BOUCHARD, MONS. PAUL, 42 
 BOUSSOD, VALADON & CO., 24 
 BURNAND, MONS. E., 27 
 BURTON, LORD, 83 
 BUTE, MARQUESS OF, K.T., 50 
 
 CAROLUS DURAN, 1 45 
 CASA-MIRANDA, COMTESSE DE, 37 
 COMBIER, MONS, 1 7 
 COOK, SIR F., BART., 52, 53, 68 
 COURTOIS, MONS. G., 35 , 1 29 
 
 DAVIES, RT. HON. H. D., M.P. J 
 
 LORD MAYOR, 28, 90, 92, 94, 
 
 131, 139, 14 6 
 
 DAY, HON. SIR J. C., I, 102 
 DELAROCHE-VERNET, MONS. P., 
 141 
 
 DONALD, J. ESQ., 96, II4, 1 1 5 
 
 DUBUFE, G., ESQ., 41 
 
 DURAND RUEL, ESQ., 7 , II, 32, 89, 
 
 147 , 150, 151, 153 , 154 
 
 EDWARDS, MRS., 45a 
 ENGEL-GROS, MONS., 29 
 
 FORBES, J. S., ESQ., 98, 100, 103 , 
 Il6 
 
 GALLOWAY, C. J., ESQ., 79, 1 27 
 GAMBART, MONS. E., 1 8, 1 26 
 GASSIOT, C., ESQ., 43, 45 
 GER6ME, MONS. J. L., I40 
 GIBBS, HON. VICARY, M.P., 128 
 GUASCO, MONS. C., 46 
 
 HEATH, ADMIRAL SIR LEOPOLD, 
 K.C.B., 120 
 
 HENDERSON, A., ESQ., M.P., 3 
 HERRMANN, MONS., 25 
 HESELTINE, J. P., ESQ., 1 36 
 HOLT, MRS. G., 1 25 
 HUBBACK, E. F., ESQ., 1 9 
 
 INMAN, J., ESQ., 1 12 
 IONIDES, C. A., ESQ., I43, 1 52 
 IVEAGH, LORD, K.P., 6 
 
INDEX OF CONTRIBUTORS, 
 
 109 
 
 JOICEY, SIR J., BART., M.P., 134 
 
 KEARLEY, H. E., ESQ., M.P., 40 
 KEILLER, J. M., ESQ., 1 32 
 
 LAV ALETTE, MARQUISE DE, 71, 
 
 73, 75, 78, 86 
 
 LEATHAM, E. A., ESQ., 70, 1 1 7, 
 148, I49 
 
 LEES, MRS. C. E., 122 
 LEGGATT, E. E., ESQ., 97, 1 01, 
 
 1 13, 144 
 
 LHERMITTE, MONS. L. A., 34 
 
 MAIGNAN, MONS. A., 3 1 
 MCCULLOCH, G., ESQ., 8, 9, 22, 44 
 MCCULLOCH, MRS., 14 
 MILLS, OGDEN, ESQ., 5 
 MORGAN, J. PIERPONT, ESQ., 55, 
 
 63, 80 
 
 MORLON, MONS. A., I 5 
 MORRISON, C., ESQ., 5 1, 67 
 
 NATHAN, MRS., 4 
 
 OBACH & CO., MESSRS., I33 
 
 PERRAULT, MONS. L., 30 
 PIRBRIGHT, RT. HON. LORD, P.C., 
 
 49, 56, 57. 61, 64, 65, 76 
 
 ROBINSON, SIR J. C., 1 1 8 
 ROTHSCHILD, A. C. DE, ESQ., 74, 
 
 81, 85 
 
 ROYBET, MONS. F., 21 
 
 SCHLESINGER, MISS, 1 35 
 SEDELMEYER, MONS. C., 23, 26, 
 
 72, 87 
 
 STIRBEY, PRINCE GEORGES, 47 
 STRATHCONA AND MOUNT ROYAL, 
 LORD, G.C.M.G., 1 3, 20 
 SUSSE FRiiRES, MM., 1 62 
 SUTHERLAND, DUKE OF, 48 
 
 TURNER, H. J., ESQ., 36, 12 1, 123, 
 I24, I42 
 
 VAILE, R., ESQ., 82, 99, I20a, I20b 
 
 WANTAGE, LORD, V.C., K.C.B., 54, 
 84 
 
 WARREN, MRS. S. D., 38 
 WASS, C. W., ESQ., 137 
 WERNHER, J., ESQ., 59 
 WERTHEIMER, A., ESQ., 58, 62, 69 
 WILSON, H. M., ESQ., 10 
 WOODIWISS, G., ESQ., J.P., 43a 
 
 YARBOROUGH, COUNTESS OF, 60 
 YOUNG, A., ESQ., 91, 93, IO4, 105, 
 106, 107, 108,109, II0 > 111 
 
3nfcey of Hrtists 
 
 ADAN, E., 19 
 
 BASTIEN-LEPAGE, J., 8, 100 
 BELLY, L., 95 
 
 BENJAMIN-CONSTANT, J. J., 37 
 
 b£raud, j., 17 
 
 BIDAU, E., 14 
 BIGOT, A., l6 1 
 BILLET, P., 46 
 BINET, V., 9 
 BISSON, E., 25 
 
 BONHEUR, ROSA, 6, 22, 125 , I46 
 BOUCHARD, P., 42 
 BOUCHER, F., 6l, 69, 74, 8l, 85 
 BOUGUEREAU, W. A., 28, 44, 1 39 
 BRETON, J., 20 
 
 BROWN, HENRIETTE, 122 , I3I 
 BROWN, J. LEWIS, 32 
 BURNAND, E., 27 
 
 CABANEL, A., 138 
 CAROLUS-DURAN, 1 45 
 CAZIN, J. C., 7 , I44 
 CHARDIN, J. B., 52 , 68 
 CHARNAY, A., 1 36 
 CHAVET, V., 13 1 
 CHEVILLIARD, V., 1 33 
 COMERRE, L., 47 
 CORMON, F., 2 
 
 CORNU, V., 162 
 
 COROT, J. B., 106 , 107 , 109 , IIO 
 COUPRI, — ,162 
 COURBET, G., I43 
 COURTOIS, G., 35 , I29 
 
 DAGNAN BOUVERET, P. A., 29 
 DALPEYRAT, A., 1 58 
 DAUBIGNY, C. F., 98, 102, IO4 
 DECAMPS, A. G., 1 47 
 DEGAS, E., 152 
 DELAHERCHE, A., 1 59 
 DELAROCHE, P., I4I 
 DELORT, C. E., 1 24 
 DEMONT, A. L., 26 
 DETAILLE, E., 24 
 DEUTSCH, L., 1 2 1 , 142 
 DIAZ, N. V., 103 , 105 , 108 , 1 12 
 DROUAIS, F. H., 60 
 DUBUFE, G., 41 
 DUPRE, JULES, 1 16 
 DUPRE, JULIEN, 9 1 
 
 FANTIN-LATOUR, H., 43a, 45a, 
 
 127 
 
 FRAGONARD, J. H., 49, 65 
 FRERE, E., l8, 1 13 
 
 GALLE, E., 157 
 
 ger6me j. l., 3, 5, 36, 38, 123, 
 T4O 
 
INDEX OF ARTISTS, 
 
 III 
 
 GRANET, F. M., Il8 
 
 GREUZE, J. B., 54, 56, 64, 70, 76, 
 
 79 
 
 GUIARD, MDME., 73 
 
 HARPIGNIES, H., I, III 
 HEILBUTH, F., 23 
 HENNER, J. J., 13 
 
 ISABEY, E., 88, 99 
 
 JACQUE, C., 90 , 94 
 JALABERT, C. F., 12 
 
 LANCRET, N., 55 , 63, 78, 84, 86 
 LANDELLE, C., I49 
 LANGEE, G., FILS, 4 
 LARGILLIERE, N., 72 
 LAURENS, J. P., 39 
 LE BRUN, MDME. V., 57 80 
 LE DOUX, MDLLE., 62 
 LEDRU, — ,162 
 LE NAIN, A. & L., 48, 66 
 LEVILLAIN, — , 162 
 LHERMITTE, L. A., 34 
 
 MAIGNAN, A., 31 
 MEISSONIER, J. L., 33, 1 26, 1 32, 
 
 134 
 
 MEUNIER, J. A., 10 
 MICHEL, G., 97 
 MIGNARD, P., 1 17 
 MILLET, J. F., 93 , 1 15 
 MONCHABLON, J., 40 
 MOREAU, G., I30 
 MORLON, A., 15 
 
 MOTTEZ, L., 120 
 MONET, C., II, I54 
 NATTIER, J. M., 77 , 83 
 
 PATER, J. B., 75 
 PATEY, A., 156 
 PERRAULT, L., 30 
 PISSARRO, C., I53 
 PLASSAN, E., 128 
 PUVIS DE CHAVANNES, I 5 1 
 
 RAFFET, D., 1 01 
 
 r£cipon, — , 162 
 
 RENOIR, A., 150 
 RICARD, G. 135 
 RICHER, — ,162 
 ROCHARD, S. J., 1 19 
 ROTY, O., I55 
 ROUSSEAU, T., 96 
 ROUSSEL, T., 1 20 a, 1 20 b 
 ROYBET, F., l6, 21 
 
 SCHEFFER, ARY, 1 48 
 
 TASSAERT, O., 89 
 THESMAR, F., l6o 
 TISSOT, J., 43, 45 
 TOURNI&RES, R., 50 
 TRINQUESSE, L. R., 82 
 TROYON, C., 1 14 
 
 VAN LOO, C., 87 
 VAN MARCKE, E., 92 
 
 WATTEAU, a. si, S3, S 8, 59, 67, 
 
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