E FA E PR C .

SIR E D WIN LAND SE E R di s c d do at overe the g, or le as t pe r c e ive d and revealed to th e world u nknown

i s of th e c n i n c h c e and n e w and tra t a e ara t r, gave n o r i h ll A n - x n m In b le de as t e re of to a glo Sa o do . th e r m i n e s of A r t o ke d o ve b m i ds g eat , w r r y yr a for h af a m il e n n i u m h e s ou h ou t an u n tou c h e d l l , g t

ode and i fou n d and e x o e d it to th e l happ ly pl r ,

e n ni de i h t of u nn u m b e e d o e s from th e pe r al l g r pe pl , palac es of s m oky an d m agn ific e nt Lon don to th e

- r r d n d u s i s h e ph e rd h u ts of em ote Colo a o a A tral a. f Mil N o a ti s fom th e d s of G io o to t os o r t, r ay tt h e

i s h as b e c o m s o u ic k an d u ni r s f m ou s la , e q ly ve ally a b m e n s of c ou n e s s e rodu c ion s of h i s o k s y a tl r p t w r , s c at e d o dc as as h e ar e th ou all t re br a t, t y , r gh the wide c o ntin e nts and i s lands wh e re th e language of S h ak e s peare and Mac aulay purs u e s i ts c o n qu e ri ng way .

h u r n ld c h e or s u r r ou nd d h i s r ab T e ba e o ba l , e by

le of do s was th e c i e f c h a ac r am id th e e s i b g , h r te r 4 P RE FA CE .

’ de n s of St . oh n s Wood and ofte n c i d t J , re e ve at h is ou s th e m os nob e of th e m e n of E n nd h e t l gla ,

h h h e b o e oron s o r e ns or b r u s e s . w et er t y r c et , p , h

’ L nds e e s s oc a ife as dis i n u is h e d fo m h i s a r i l l , t g r ar tis tic r e h as n ot e t b e e n de s c ib d and ca er, y r e , we wait for th e kin dly attention of a To m Taylo r to do

us ti it j c e .

Th e pre s e nt b iograph ic al s k e tc h 18 b as e d u po n

’ “ Mr e n n G r ave s s dm ir e a u of A b C e . lg r o a a l at log

W k s f h ir th e o o t e a S E dwi n L n ds e R . r l te a e r,

’ “ . G . te h e n s e m oi s f r in Mr F. S p s M r o S i E dw ” L n ds e r an d th e l e illu s tra e d b oo k s w r i e n a e , arg t tt

. nkh u s e an d d s i i Mr . m o W Cos o o e c b n th e by M , r g

’ a is t s ic tu e s . I n c o nn e c tion ith h e s e I h ve rt p r w t , a h u n e d th r o u h th e b io r a h ie s of H do n Rob in t g g p ay , s o n Wi ki e Le s lie S c o t Be wic k Tu r n e r and , l , , t , , ,

h e c o n e m o ar ie s i n s e arc h of fac ts ab ou t Lan d ot r t p r ,

’ s e e r s e s n a ife i n r e s c t to wh ic h th e b ook s p r o l l , pe

r or b m e e Th io r ab ove n ote d a e d e pl a ly agr . e b g a

’ ph y of Prin c e Alb e rt an d Q u e e n Vi c toria s Jour nal h ave s o b e n x m in e d for th e s am e u os al e e a , p rp e ; an d th e e s s s of Ru s i n Ros s e i P ra e an d ay k , tt , alg v , oth e r Br itis h c ritic s .

M . F. S WE E TS ER . C N TE N TS O .

CH APTER I . P AG E ’ ’ . Ar Br h Th e Goldsm ith s Fam ily . J oh n Lan ds e e r Th e tis t s ot ’ e n t ofN atu r e . H a don s nstr u c tion e rs . A Stu d y I

C H APTER I I .

— ’ — Th e Royal Ac ade m y . Joh n Landse e r s Work s . Th e Be aum ont

Th e e ad ion . A r ou of ic tu r e s Sunsh i ne . D L G p P

C H APTER I I I .

A N e w I nspiration . Th e Sc ottish H igh lands . Le s lie . Sir

- Th e Br e e z H th s . r talki n Walte r Sc ott. y e a De e S g

CH APTER IV .

’ — ‘ ’ — . n . Th Th e N e w H om e at St Joh s Wo od Ch e vy Chase . e — ‘ ’ ‘ ’ . w i e . c i n R oyal Ac ade m y H igh Life and I .o L f Ja k ’ — Ofic e . Bir ds

CH APTER V .

— ‘ Th e Shake s pe are of th e World of D ogs . Th e ’ ’ — ‘ ’ Sh e ph e rd s Chie f Mou rn e r . D ig nity and I m p ude nc e

CH APTER V I .

. Th e Th R l lm oral . Th e rac ious u e e n e oya Fam ily . Ba G Q Th ac k e ra uk f d n ur n Ab b e . Dic k e n s D e o Bedfor a d Wob y , y, and Syd ne y Sm ith VI CON TE N TS .

V CH APTER I I .

‘ ’ e . ontin ntal T . T n Th e Gre at Ch ang C e ou r h e Sa c tuary . ’ ’ n . . Fr e sc os . Sh oe i g Pe ac e and War Alexande r an d ’ u is N a le o n Dioge ne s . Lo po

CH A T R V P E II I .

-‘ ’ — — ‘ . lo A A . Personal Appe aranc e Th e F od . n rc tic Sc e n e Th e ’ ’ . ol l on . Con noiss e u r s C oss a Li Statue s Th e Fon t . D e ath and Be qu e sts

List of Pain tings

I ndex LAN D S E E R .

A CH PTER I .

’ — ’ . r . Th e Goldsm ith s Fam ily Joh n Lan dse e r . Th e Artist s B oth ers

’ A Stude nt ofNatu re . H aydon s I ns tr uc tion .

TH E trade of the goldsmith and jeweler i s intimately connected with the higher branches of art, and many are the famous painters who have taken their first lessons i n design

of under the direction its skillful craftsmen . Especially is this connection apparent in th e

of department engraving, which, during its ear lier stages, was practiced by the goldsmiths as a part of their business . Familiarity with the properties and capabilities of the metals is

e equally r quisite in each profession, and he wh o can design and work silver and copper into jewelry finds it n ot difficult to Operate upon plates of those metals with the needle and graver . 8 LAN D S EER .

It was by this natural development from one

profession to another and cognate one that the Landseer family attained to its eminent position f in the world of art. The grand ather of our

- -do artist was a well to jeweler in London , about

m of n the iddle the last ce tury, and recognized the high value of the m ore exalted departme nts

n of design . He was o intimate terms with his

- fellow craftsman Peter Romilly, a wealthy de s c e n dan t of a Huguenot family which fled from France after the revocation of the Edict of

Nantes .

’ The jeweler s son , John Landseer, was born

1 6 1 at London , in 7 , or else (as another good

1 6 authority reports) at Lincoln, in 7 9 . His l taste for art was deve oped at an early age , and claimed such consideration that his father placed him under the instru ction of William

- Byrne, a famous landscape engraver, who had produced the “ Views of the Lakes of Cumber

” “ ’ “ ” d r a a lan , Italian Scene y, Wilson s Ni gar ,

n d and many e gravings after Clau e, Vernet,

A Aliam e t Turner, and other artists . fterwards , was induced to give lessons to the youth ; and through him the art-line age of Edwin Landseer — AR T LIN EA G E . 9 as an engraver extends back almost to the Ref

i n Cu e r nh e rt or m a o . t Theodore , who was born

1 2 2 in 5 , taught the profession to Crispin de

n Pass , who commu icated it to his three sons,

' William and Simon , both of whom went to Eng

land, and Crispin the younger, the teacher of

Bl m ae r the famous Cornelius oe t . From the lat ter the craft was inherited by the great Audran

‘ of th at family, in the person of Charles name,

fr om wh om it passed to his brother Claude ;

’ u thence to Cla de s son Gerard, and his grand

son Jean . The last named transmitted it to

Nicholas Tardieu , who taught J . P . Le Bas , the m aster of Aliam e t ; and the latter taught John

Landseer, the instructor of his three boys .

The sons of the two friendly jewelers, Sam d uel Romilly and John Lan seer, continued the h intimacy in w ich their fathers had lived . The former seems to have taken a great interest in

art, for he attended the lectures of Dr . Hunter A and James Barry at the Royal cademy, and doubtless those also of his friend John, even after he had become one of the most famous

th e n w o n lawyers in U ited Kingdom , and the

dis tinction of kn ighthood . I O LAN D S EE R . John Landseer engraved the pictures for Moore ’ s “ Twenty Views in the South of Scot land a set of plates of the drawings of ani

m Ru mals by the Dutch asters , Rembrandt, bens , and others ; and several from the pictures h i of Turner an d the English artists . After s highly successful lectures before the Royal

th e Institution, he was elected to fill one of six Associate-Engrave r sh ips in the Royal Acad

the emy, and accepted, with declaration that he should devote himself to rectifying the anom alous and subordinate position in which e u A gravers were kept by the cademicians . But

was ff m e t he unsuccessful in these e orts, and with several rebuffs from the ofli c e rs of the in

i n s titu t o .

The chief work of John Lan dseer was pub lish e d 180 of in 7 , and bore the title Lectures

Art on the of Engraving, embodying a series of discourses delivered at the Royal Institution , and still highly respected for its valuable expo sition of the principles and practice of that

of i branch of art . The members the profess on which John Landseer had thus benefited were not u i h is s on ngrateful, and by the r works aided ’ LAN D S EE R S MO TH ER . I I

to the greater part of his fame and fortune .

n No British artist , perhaps one of any nation,

owes so much of his popularity to engravings

as Landseer does . Whe n the famous Alderman Boydell was e n gaged in publishing his great edition of Shake

r peare, with costly illust ations by Reynolds and

h ot other eminent artists , he met with a rivalry

i wh o from Mackl n , endeavored to outdo the new Shakespeare by an even more su mptuous illus

trate d A n Bible . mong the e gravers in his serv

ic e h was the young John Landseer, and throug

his intimacy with the spirited publisher, John

was introduced to his future wife . Macklin had

i nduced Sir Joshua Reynolds to paint several

fo r pictures his new work , and among these was A ‘ an rcadian family scene , called The Cotta

’ ‘ ’ gers, or The Gleaners, wherein Macklin and

his wife and daughter are portrayed, enjoying th e happiness of domestic life before a cosy

e n rustic cottage, whil near them stands the bea

i on e i t ful Miss Pott, of their dearest fr ends,

af of bearing a she corn on her head . Not long afterwards John Landseer met this charming

’ e e r Mac kli n s rt gl an at house , and paid his cou I 2 LAN D S EE R . to h e r to such pu rpose that they were soon

r married . F om this artistic unio n came three

rs — daughte and three sons, Thomas , born in

1 1 n 18 02 . 7 95, Charles, in 7 99, and Edwi , in

u A Q een nne Street, the dull, decorous, almost dismal thoroughfare in th e region of Cavendish

c an Square, never be without honor from all

of of for lovers art and England, there was the h e of r u om Tu ner, and the st dio in which the great landscape-painter executed his most noble works . Greate r claim even than that may the gloomy street advance for the respect of lovers of d 8 art, since in the buil ing numbered 3, and then occupied by John Landseer, the engraver,

n on th Edwin Landseer was bor , or about the 7 of 180 2 Ed March, . His baptismal name was wi n it Henry, but the latter part of was soon

n u dropped, and is not know d ring his future life . The artistic proclivities of th e child Edwin man ifested themselves during his tenderest w years, and were carefully atched and wisely A directed by his father . s soon as he could hold a pencil steadily, the child was taken to th e e on e to w fi lds Hampst ad Heath, and set ork I N FA N T/ LE S TUD IES . 13

h d drawing from the s eep, goats, onkeys, and cattle which were pastured there in great num

i n - bers . The animals were a kind of semi sav

c —b n o and e age ondition , y means tame docil , yet equally far from wildness and fie rc e n e s s .

As late as th e year 1850 John Landseer showed William Howitt an an cient stile o n the

Finchley Road, near the corner of West End

Fr o n al Lane , and a little below g parish church, and said that many a time he had lifted his

s o boy Edwin over it, that he could sketch the

l n cattle the two fields beyond . Three or four

’ n years after Edwi s birth , the family had moved to Foley Street ; and nearly all the way b e tween Marylebone and Hampstead was then

Th e Open fields . neighborhood above alluded

i of - to was a picturesque reg on oak trees, form i n g a favorite walkin g-ground for the Landseer “ children . Says the father : One day when I

m had accompanied the , Edwin stopped by this stile to admire some sheep and cows which

z At h i were quietly gra ing. s request I lifted

n him over, and findi g a scrap of paper and a

o w pencil i n my pocket I made him sketch a c .

r h n ot He was ve y young indeed t en , more ’ 14 LAN D S E E A .

old Af than six or seven years . ter this we came on as h e e several occasions, and gr w older this

of was one his favorite spots for sketching . He

off or n or would start alone , with Joh Charles , an d remain till I fetched him in the afternoon .

I would then criticise his work, and make him

e correct d fects before we left the spot . Some

o ne in times he would sketch in field, sometimes

one the other, but generally in the beyond the old oak t we see there, as it was more pleasan ” an d sunny .

It is thus evident that from his earliest days young Landseer was placed in th e closest c om munion with Nature , and taught to regard her

for hi s teachings, and no others , as the rule

A u future guidance . large number of these j ve n ile sketches of animals were preserved by

’ u the child s father, and are now carefully g arded

- at th e South Kensington Museum . Som e of them were done when Edwin was in his fifth year, and prove that even then he was skillful in drawing, and a sagacious student of the

a As characters of anim ls . Monkhouse has well h said , drawing seemed an organic power wit him n at , and his hand was from the first as E TCH I N G S . 15 u rally sympathetic to his eye as the voice of a

n born so gstress is to the ear. These early achievements of Master Edwin

n o t m as tifis included only pointers, , and span i e ls , horses and donkeys , sheep, and all kinds of cattle, but also lions and other wild beasts, and several pictures of hogs and boars . His

as progress was justly regarded phenomenal, and was referred to n ow and then i n the cur rent Annals of Art while The Sporting

Magazine was glad to get his drawings for publication The resources upon which he

r e u l s i ti o n made q were inexhaustible , since he continued to draw directly from Nature, with

to d out reference copies of any kin , and thus laid the foundations for his mar velous knowl f edge o animal life and character . While Edwin was yet scarcely more than an

of infant he learned the process etching, which

d to he carrie great perfection in later years .

One plate , done in his eighth year, contains heads of a donkey, three sheep, and a boar,

two with donkeys , all of which are done with

r m wonde ful skill, and with but slight istakes in drawing. Several other remarkable sketches 16 LAN D S EER .

and etchings of this period are still preserved ,

- representing life like bulls , maternal cows, and

v n solemn little cal es, profoundly ruminati g.

18 0 The earliest of these dates from 9 , when

n Edwin was but seve years old , and shows the

of heads of a lion and tiger, the latter which th e d m little fellow rew fro a live tiger, in the

m enagerie at Exeter Change .

The Landseers were then dwellin g in Foley

’ r St eet, not far from Haydon s studio, and in the same quarter of London in which lived

s West, Mulready, Stothard , Bank , Chalon, Col

n n l a ou r li s, Northcote , Co stab e , Flaxm n , Shee ,

A n own llston and Leslie , and many other ota

ble sculptors and painters . In this vicinity was

Burlington House , where the Elgin Marbles

were kept at that time , and the Landseer boys

derived great and continui n g benefit from th e

close st u dy which they gave to those glorious

A h e specimens of t nian art . Their contempla

tion was powe rfully instrumental in forming Edwin ’ s style correctly on the best classic

r m models, and the f uits of these early i pres sions may be perceived in some of the most

famous of his later works .

18 LA N D S E E R .

A Keeper of the Royal cademy, and resigned f the o fice in the latter year.

The first artist with whom Edwin came i n effective contact was the eccentric and egotistic

i n c Haydon , who became , a ertain sense , his master . He had just exhibited his greatest

‘ ’ Th e — h h painting, Judgment of Solomon, w ic Landseer afterwards bought as a memento of

’ e d a e d the old teacher, and was g g on Christ s

’ Entry into Jerusalem . His success was great, and certainly no o ne could have foreseen his subsequent hapless fortune and tragic death .

Haydon thu s oddly descr ibes his connection

8 1 u : 1 . with our s bject In 5 Mr Landseer,

h to the engraver, had broug t his boys me , and

‘ said, When do you let your beard grow, and ? ’ ‘ take pupils I said, If my instructions are

’ ‘ useful and valuable, now . Will you let my

’ ‘ ’

? . boys come I said, Certainly Charles and

Thomas , it was immediately arranged , should

n i m come every Mo day, when I was to g ve the

dis se c lessons for the week . Edwin took my

I h im tions of the lion , and advised to dissect — animals the only mode of acquiring !a knowl — edge of] their construction as I had dissected ’ H A YD ON S TE A CH IN G . 19

men, and as I should make his brother do .

This very incident ge n erated in me a desire to form a school ; and as the Landseers made

rapid progress, I resolved to communicate my

t sys em to other young men , and endeavor to establish a better and more regular system of ff ” instruction than even the Academy a orded . Haydon states that he once told his pupil

“ G eorge Lance : Still life will be your forte ; ” u An d yo must be the Weenix of English art .

“ d : u d to Lan seer he said St y animals, and be d f the Sny ers o England .

Edwin and his b r other were for a long time engaged in drawing in chalk from the cartoon

‘ ’ ’ of u u The Bea tiful Gate , among Haydon s p

pils ; and they were included in the satirical

‘ n of pri t The Master in the Grand Style , and

’ h is Pupils , which was published in derision of poor Haydon ’ s methods of teaching and exe

c u i n A t o . mong the di s ciples of this eccentric

e H ar master were Eastlak , Bewick, Lance, and

v e : All n y , of whom Haydon wrote these you g

men looked up to me as their instructor and

n their friend . I took them u der my care,

n taught them everything I knew, explai ed the . 20 L A D SE E R .

' p ri nc i ple s of Raph ae l s wo rks i n m v c olle c ti o n o f his rin ts and di d th e s am e thi n o ve r p , g a ai n whi c h I had d n e to Eas tlake with o u t g o , one sh illin of avm e n t fro m th e m any m o re g p , Th an r The im ro ve d r a ly . e th f om hi m . v p p id gr atitu de of th e m s e lve s an d of th e ir fri e nds

” k n e w n b ou n d o s .

Th e rugge d an d c r o tch e ty o ld H ay do n wo n th e love and r e s pe c t o f hi s pu pils of th e

an s am i an d was away re m e m b e re d L d eer f ly, l s

t m w h in li n th e w re by he it k d ness . Whe v e

b o to l a u di e re are d a a ut e ve his st o, th y p p

of o ne of th e re arto s w t copy g at c on , hich hey t presented o hi m as a parti ng m e m ento . A CH PTER II .

’ Th e Ro n e r rks . Th e e au m on t yal Am de m y . Joh n La dse s Wo B

u nsh i n — T d n — A rou of Pic tu r e s S e h e D e a Lio . G p

JO H N LAN D S EER had taught his s o n to closely

of Observe the external aspect Nature, and Hay

don showed him how to comprehend her less Ob v n th e io s properties, by the aid of dissecting wa knife . Thus the way s prepared for the ,

highest achievements in realistic painting, and

the native energy and sympathy of the you ng

m student acco plished the rest . He did not go

to th e n of Italy, great fi ishing school so many

of m i hi s art his conte poraries , s nce came not

of from the study Raphael , but, as a witty

“ Englishman once said , from a healthy love of

” Scotch terriers . There were many painters of animals before

’ m f wh o Landseer s day, asters of high ame,

worked out their conceptions of the humbler forms of life with ability and skill . What could be finer than the cattle which Paul Potter ’ 2 2 LAN O S EE A .

painted, the aristocratic dogs of Van Dyck, the horses of Leonardo, and the ferocious wild beasts of Snyders ? But the English m aster was the first to make a distinct branch of art which

r to considers animals in their elations man, as

v n m his ser ants , frie ds , companions, and i itators and this delineation of themes which had b e come ve ry dear and familiar in real life placed Landseer i n the most intimate and sympathetic relations with the masses of the people .

18 1 In 5, when he was thirteen years Old, Mas ter Edwin appeared as an hon orary exhibitor

A two at the Royal cademy, sending simple por traits , the one of a mule , the other of a dog

e e and puppy . These animals w r the property

Be l i h . . . e n Es of Mr W H Simpson , of g Gra ge ,

m an v on e art sex, who was for years of the

’ e d s i s t s best fri n s and patron . In this same year another lad, Master J . Hayter, afterwards

- to A a celebrated portrait painter, sent the cad emy Exhibition a picture e ntitled The Crick

’ eter, whose subject was the young Landseer. The exhibition of pictures at the Royal Acad

n emy, thus happily begun, was well conti ued by

s the ma ter, who sent his works there annually ’ LES LI E S P I C TURE . 2 3 f r fift - o the next y eight years, and missed but six years in all that time A year later, and another and more notable

m n - portrait was ade Of the juve ile animal painter,

A n . by Leslie, the famous merica artist He was

v A then li ing with llston on Fitzroy Square , next

s of x door to the hou e Fla man , and , in working ou t his favorite themes from English poetical history, had at this time chosen to represent a

’ scene from the third part of Shakespeare s

w ff m Henry VI . , here Cli ord urders young

Rutland . The latter character was a portrait of

n n Edwin La dseer, k eeling, and with a rope

was h around his wrists . The picture ex ibited at

A and the Royal cademy, afterwards passed into A the gallery of the Philadelphia cademy .

of Leslie , in his autobiography, speaks his

“ - model as , at that time, a curly headed young w ’ ster, dividing his time bet een Polito s wild beasts at Exeter Change and the Royal Acad emy schools Edwin was admitted as a student at the Royal

A b e cademy during this year, although he had come already famous for his genius i n pai n ting animals . He was then a gentle and graceful 2 4 LAN D SE E IQ.

l n an d h lad, fu l of ma liness character, and wit i his bright face crowned by light curl ng hair.

th e of A Fuseli, venerable keeper the cademy, was much pleased with his diligence , and would

u a : often look aro nd fter him, saying Where is my little dog b oy ? The Society of Painters in -Oil and Water

Colors e xhibited in the Great Room at Spring

a 18 16 n to G rdens, in , and La dseer sent their

’ r A galle y a study of a dog s head . t the same time he was engaged on two pictures of Persian h ad cats , whose originals he seen at Maldon .

’ Among the finest of Landseer s dog- pictures was 18 1 the one exhibited in 7 , a portrait of a ff Great St . Bernard masti , a noble animal , which was over six feet long when but a year Old .

His steadfast eyes , hanging jowl , broad chest, d muscular legs , and dignified air are a mirably

' Ste h e n s th i n ks set forth in the portrait, which p was never surpassed even by the artist himself . A live dog was once admitted into the room i with th s picture , and was greatly excited when he perceived i t .

In the same year Edwin exhibited, at the A ’ Royal cademy, a portrait of Brutus, a wise

2 6 LAN D SE ER

A m e ar c haology and o ther studies . bout this ti he made twenty plates for the unsuccessful a ” Antiquities of Dacc , a work which was d ne ver complete . After Edwin had exhibited his wonderful pict ‘ h ’ ure of Fig ting Dogs getting Wind , at Spring

’ 18 18 Gardens, in , and Leigh Hunt s coterie

i n n had sounded its praises the stro gest terms ,

o n an d Sir Ge rge Beaumont bought the painti g, l N w removed i t to Co eorton . o Sir George was a the most eminent dilettant in England , at th t

i n time , and set the fashions art, insomuch that painters whose works he bought or praised im

m e ediately rose to fam , while those whose man

d u - ners he isliked had a long p hill struggle .

Our Allston was one of the favored ones ;

and Turner stood among those who were u n

der the Beaumont ban . Wilkie was another of

’ tu Sir George s favorites , and , by vir e of that

’ n d bond of union , he soo began to notice E win s

pictures, and give them high praise . Quaintly

e x d f enough he sometim s e presse himsel , as “ : Y when , in writing to Haydon , he said oung ’ d al Landseer s jackasses are also goo . This ‘ A ’ ludes to Donkey, which the lad exhibited i at the Ac ademy n 18 18 . EA RL Y COL ON /VG . 2 7

In 18 18 Edwin also painted a portrait of an

fo r . old white horse in a stable , the Right Hon

Pie r r e oi n t H . p , but it disappeared from the stu

f - dio , and could not be ound . Twenty four years later it was discovered in a hayloft, where it had b een hidden by a dishonest servant, and a note was sent to the patron , explaining the occur rence and saying that the artist had not re “ n touched it, thi king it better to leave my early style unmingled with that of my old age .

Pie rre o int When p asked its price , he answered that it would be ten guineas, the price which he had been accustomed to receive at the time

n was whe it painted .

‘ ’ 18 1 The Cat disturbed was exhibited in 9, and represents a dismayed tab by chased to the u pper part of a stable by a dog . Dr . Waagen “ said that this pictu re exhibits a power Of col oring and a solidity of execution recalling such

” masters as Snyders and Pyt These earlier works indeed possess a much greater solidity an d depth than are perceptible in the later pro du c tio n s of the master, and are thus superior in

S w h vigor and pirit . Contemporary it the above

of named picture were several others spaniels, 2 8 LAN D S EE R .

an d terriers, Newfoundl s, and Marlborough dogs and the group of‘ three canines called Th e

’ Braggart, and graphically representing Eng

and land, Scotland, Ireland .

About this time the lio n in the Exeter-Change

menagerie died , and young Landseer succeeded i n getting its body, which he carefully dissected . The results of these singular studies were th e

of famous pictures , each nearly eight feet long,

A A n e n Lion disturbed at his Repast, Lio ’ A ’ joying his Repast, and Prowling Lion, all

of us which were sent to the Exhibitions . Th

’ o Haydon s advice was quickly acted up n , and

not without good results . The honors of Land

’ e seer s pencil were also claimed , during the sam

year, by wolves , vultures, goats, donkeys, deer,

dogs, and horses , manifesting a goodly versatil n ity in a youth of eightee .

’ - The Rat Catchers, the chief picture of

182 1 , shows an exciting scene in an old barn, where four eager dogs are waging war against

the rodents beneath . The advanced guard of

do wh o h as the canine assailants is a small g, already burrowed so deep through the broken

floor and earth below that b u t little more th an ‘ - ’ P OI N TE RS TO H O . 2 , 9

his tail is visible, and that is quivering with frantic excitement and rage . Several dead rats

and lie on the floor, the other three dogs are watching the advance of their pioneer with

fierce and glittering eyes, and limbs tense for a

n Spring. This ve ry successful picture was e

18 2 graved by Thomas Landseer, in 3 . The

’ three expectant dogs are portrait s of Landseer s own pets, Brutus, Vixen, and Boxer, and the subject was so taking that it was repeated two or three times i n pictures which are still pre

of m n served . The chief the re aini g works of

‘ ’ h for t is year were Intruding Puppies , painted

‘ Lord de Tabley A n Old English Blood

’ hound, a portrait of a famous dog of Woburn

‘ r -h o u and Pointe s, TO a brilliant h nting

was scene, which engraved for The Sporting

’ ‘ ’ - n . 18 2 n h o Magazi e In 7 the Poi ters, To l was sold for at th e dispersion of the Gil lott collection . When Sir David Wilkie wrote to

’ Sir George Beaumont, describing this season s

: Exhibition, he said Ward, Etty, Stark, Crome,

ee and Lands r are successful , but in no great

i n work . This was the same year which Mar tin received the Academy prize of £2 0 0 for his A A 'D S 30 L E E R .

’ ’ l m n picture of Be shazzar s Feast, a co positio whose design had been suggested to the artist A by our llston .

182 2 was a memorable year for the young

th 1 0 artist, for then he received e £ 5 premium of the British Institution for his picture of The

’ Larder invaded . The original sketch for this

’ - famous work was made on a school boy s slate,

i r wh ch is still prese ved and has a great value .

’ Eighteen other pictures issu ed from Landseer s

‘ Th e studio this year, among which were

’ Watchful Sentinel, a large black dog standing guard over a pile of packages ; several lion d pictures, inclu ing the famous lioness and her canine foster-mother ; and a group of Devon shire cattle . A bout this time Wilkie wrote to Beaumont, deploring the prevalence of a niggling touch i n

r the painting of the contempora y artists, and “ saying also : I have be en warning our friend

u Collins against this , and was also rging young ” a Landseer to beware of it . The pr ctice to which the great Scottish pain ter thus objected was the outgrowth of a desire for minute and l de icate finish , and interfered with a proper ’ ’ TH E CA T S P A W. 31

breadth of treatment . Landseer was addicted to this over-nicety of execution during his ear lier years , and often elaborated backgrounds w ith a painstaking care and fidelity which left

- behind even the Pre Raphaelites .

’ Th e most famous of Landseer s early pictures

‘ ’ ’ - is The Cat s Paw, a dark toned composition

n - representing the i terior of a laundry room,

t i n m is c h ie v wi h a roaring fire the stove, and a

n ous monkey firmly holding a cat, and usi g her paw to push certain tempting hot chestnuts from f the top of the stove . The un ortunate feline is l squa ling and struggling vigorously, but to no l purpose , while her kittens are mewing spitefu ly

10 0 above . This picture was sold for £ , and is

at Cas h iob u r of now kept y, the seat the Earl of

o Essex. Its present value is ver

There were about a score of pictures painte d this year, including several portraits of the mas

’ -fish in ter s dogs and other pets , horses, trout g, i hunt ng, and a group of four children of th e

d . Be ford family Mr . de Merle also had his

0 fo r dog Lion portrayed, and paid £5 the pict

- ure . Lion was a powerful animal , good tem

h is l pered , yet valiant, and exp oits are still 32 LAN D S E ER .

remembered and chronicled with gr eat adm i a ration . Another picture represented singular

cross between a dog and fox, which Sir Edwin “ to : once showed a friend, saying That was

rather a strange an imal . They call it a fox

. wa dog I painted it many years ago . It s ex a l ” c t y like him . Thereupon he threw the can vas out of the window, and carelessly remarked

You e may have it, if you will take the troubl f h to etch it . The visitor astened to get this w it queerly besto ed gift, and extricated from the branches of a tree into which it had fallen .

34 LAN D S EER .

t r a beau y of loch and heathe y hill, the Highl nd region of Scotland was discovered to art by

Landseer . He was uniformly successful in the treatm ent of the widely differing phases of th e

- glad , breezy, and semi savage life of the far

e .th e u n north , and the hom s and customs of tamed clans . For nearly fifty years he con ti n u e d to draw fresh subjects for h i s pencil from the classic hills of North Britain .

In the year 18 2 4 Landseer was introdu ced to the glorious scenery and congenial themes of the most picturesque part of Great Britain , and afterwards manifested his constant admiration a thereof by annu l visits for many years . His

first tour in Scotland was made u nder the most

v . e fa orable auspices, with Charles R Lesli and

t Sir Walter Scott as companions . Sco t was in

’ London soon after the young artist s success ‘ ’ Paw ’ ful exhibition of The Cat s , and was so charmed with his skill in depicting animal life and expression that he induced him to visit

Abbotsford that season . Leslie was painting

’ n ow n Scott s portrait ( in the Ticknor ma sion , difli at Boston) at this time , and found great

s culty in making his illustriou subject sit, for TH E S CO TTI S H TO UR . 35 the Wizard of the North h ad m ore inclination for wandering about the fields with hi s dog

” u gies, in purs it of rabbits and other small

- - game . With a good natured serio comic petu

A e lance, the merican paint r prophesied that

k r Landseer will ma e himself ve y popular, both with master and mistress of the house, by h sketching their doggies for t em . The overflowing life of the young master ’ s delineations was thus noticed by Sir Walter

“ ’ : Scott, in his journal Landseer s dogs were

t m s aw the mos agnificent things I ever , leap ing and bounding and grinning all over th e canvas . It was late in th e year when Leslie and

m Landseer ade their journey to the Highlands, re aching the Scottish capital by the London and Leith steamer . They visited Glasgow, and then explored the fascinating beauties of Loch d f Katrine and Loch Lomon , a ter which they

t - walked hrough the hill country to Loch Earn .

There they found the Gaelic clan s assembled fo r their annual games, under the patronage of

G w dr h u Lord y , and observed t eir pict resque

- h broad sword exercises, dancing, and other c ar 36 LAN D S EE R . ac te ri s tic athletic pastimes . They also traversed h Loc Earn in a large boat, rowed by Highland

wh o th e ers, regaled the artists with stories of fairies of the loch, and other weird legends .

t - Gilber S . Newton , the famous Nova Scotia

n pai ter, joined them at Edinburgh , and after the visit to the Gaelic assembly at Loch Earn they continued the pilgrimage to Stirling, and then to the lan d of Burns and the Brigs of

A r w y . During the same season Landseer as present at the dinner which the Edinburgh art ists gave to Sir David Wilkie . Many years later Landseer exhibited a pict ure bearing the title Extract from a Journal

t A ’ whils at bbotsford, with the following words

in Found the great poet his study, laughing

at a Collie dog playing with Maida, his favor

h im ite old greyhound , given by Glengarry, and quoting Shake speare Crabbed Old age th and you cannot agree . On the floor was a

- cover of a proof sheet, sent for correction by

th e . . . Constable, of novel then in progress N B This took place before he was the ac kn owl . ‘ ’ edged author of the Waverley Novels . Landseer was one of those who suspected A N E W I N S P I RA TI ON . 37

Scott of the Waverley achievements, long before they were claimed by him ; and he doubtless found reasons for this belief while sojourning at Abbo tsford . From this visit also grew the famou s pictu re ‘ at A ’ of A Scene bbotsford , which the Duke of

Be dford presented to Lord Chief Commissioner

in Adam . Foremost among the canine figures th is composition is the venerable and decrepit

Maida, the favorite dog of Sir Walter Scott

n d a one of the most celebrated of his species . Six weeks after the picture was painted the old dog died . A ’ fter these visits to the north, Landseer s works showed the influen ce of a new inspira

of tion, with a greater breadth treatment, and more of the wild freedom of the hills . More

‘ afie c te d over, he had been by the thoughts and fancies of Sir Walter Scott, insomuch that thereafter he painted many Scottish themes

t b and roman ic subjects , such as he had not e fore attempted . The powerful in fluence of the great poet and novelist was brou ght to bear upon the most impressible years of the young a ff w n rtist, and had a noble e ect in in ing him 38 LAN D S E E R . to a h igher le ve l of endeavor than th at of por

n -d n trayi g pet game ogs and poodles . Ma y of the most n otable works of the great animal pain ter are filled with the bracing air of th e A h a Highlands . s an eminent British critic s “ wisely said : No school was ever more de lightful to the pupil or more successful in the results of its teaching than Scotland to Land

seer . From the time that he first saw it, a

change was obse rvable in the m an and his work

it taught him his true power ; it freed his im

agin atio n it braced up all his loose ability ; it

e levated and refined his mind ; it developed his

” r latent poet y ; it completed his education .

r Seeing and feeling as ea nestly as he did, Landseer also became deeply interested in the types of human life that he found beyond the i Tweed , and enjoyed al ke their humor and

u their pathos . Th s he portrayed , with equal i i sk ll and sympathy, the ill cit distiller, the poacher, the gillie , and the lonely shepherd ; and represented the Gaelic men as tender and

u t e tr e in heir homes, and hard and fearl ss

n r i an d upo the heathe y h lls the gusty lochs . So many were th e game-birds and animals A P OOR H UN TE R . 39

d e that Landseer painte , and so accurate wer

- his portrayals of hunting scenes, that it was naturally supposed , by most people , that he was

a keen sportsman . This , however, was not the

to case, since, although he delighted tramp over the moors and hills in quest of wild ani

- mals, the sketch book was always held as more important than the gun . Ewen Cameron, a

- forest keeper of Glencoe , was taken out on ’ s at Landseer s first shooting excur ion, and

- r w tended him for twenty four years afte ards . He said that the Highland gillies were often deep ly disgusted at being led over the moors

n h n all day, with more sketchi g t a shooting.

Once they grumbled to each other dreadfully, “ ” o wn m in their language ; but, says Ca eron, “ Sir Edwin musMt have had some Gaelic in at an r f r him , for he was g y o the rest of the

r day, it made them ve y careful of speaking f ” Gaelic in his hearing a ter. The gillies were

u n amazed beyond meas re, one day, whe a magnificent stag was bou nding towards their

’ - master s shooting covert, to have Landseer ! thrust his gun into their hands, with a Here

take ! take this l while he hastily pulled out 40 LAN D S EER .

his sketch-book to pencil a reminiscence of

At h e was the glorious creature . first, t master

m m h e a poor shot, but he i proved very uch as grew older . Cameron said : One day Sir

t for Edwin had the laugh at all the par y, ,

th e of knowing that he was not best shots, they had deliberately posted him where the

e n s o herd was not expected, wh it happened that the greater number of the stags went his

m t of way, and he ade by far the bigges bag

in the party ; fact, we found him surrounded ” with dead stags lying all about .

i e His l fe was healthy, vigorous , and br ezy, growing from within rather than moulded from without, less artistic than natural, altogether

- unacademic, and hardly even self controlled .

His habits in London were those of a moder n

n ff gentleman, urba e, a able, and guided by cir c u m s tanc e s rather than governing them ; but this brilliant society life was annually diversi fie d by visits to the m ansions and hunting

h e lodges of the nobles in Scotland, where

a of th e e joined e gerly in the pleasures chas , or decorated the walls of the houses with ap

rO riate p p frescos, or portrayed his hosts with

c l r their hi d en an d pets .

LAN D 42 S EE R .

to set forth his ideas of philosophical necessity,

a in the aw rding of pain and pleasure , and the f scrutability of the decrees o Providence . In almost all his heads of deer there is an expres

of as sion sensitiveness, grandeur, and pain , if he foreshadowed their fate , and pitied them from the depths of his heart . In the light of the catastrophe which is some time coming,

' t e Mor ztu r i s alam h ir expression clearly says , m u s of in , and the sympathy the artist appears every lineament . With the dogs and the chick

r ens he can jest and be mer y, but the antlered kings of the moors call forth deeper and sad

iso der sentiments . The deer, so grand in his

s o lation, gentle and graceful, so valiant and

as strong, is never approached by man except

t e a des royer, and all its fascinations and nobl traits are held only at the mercy of th e r ifle

H ow to ball . easily do their pictures appear us mere parables in color, wherein the valor and strength and thought of humanity are seen in their disguise, in their conflicts , flights, and saddening fate ! The master looked upon the “ ” th e deer from sad hill of philosophy alone, and saw o n ly the tragedy into wh ich they we re

n movi g . CHAPTER IV

’ — ‘ ’ — . l . h Th e Ro a Th e N e w H om e at St . Joh n s Wood C e vy Ch ase y ’ ‘ — ‘ and Low Li e . ac k i n Offic e : Ac ade m y . H igh Life f J

Bir ds .

ALTH OUGH Landseer had now attained the

of m years anhood, and was famous throughout

England, he still lived in the home of his father,

near Fitzroy Square , and made use of a dingy

- and uncarpeted painting room, whose only fur

n itu re was two or th ree cheap chairs and an w ’ easel . His father managed all Ed in s business

aff th e airs, selling pictures at prices which

i n seemed proper to him, and receiv g the money

himself. The young man was quite willing to

f an d have his ather assume these duties , gladly

devolved upon him their emoluments, as well as

i n . o t m an their tr als He was a of the world, and had n o taste for the mercantile phase of his

profession, which he always preferred to have

some one else attend to for him . But at last

it became evide n t that an independent estab LA D 44 N S EER . lis h m e n t n to was ecessary, and so he began

’ of k in examine the neighborhood Regent s Par , order to find a suitable place for a n e w home .

fo r Very reluctantly was this task commenced , the associations of his old hom e were too sweet h . At e to be lightly left behind last, however, found a small house and garden , with a barn

an d suitable for a studio, resolved to establish himself there . But a premium of£ 10 0 was de m an de d of for the possession the house , and

E o n dwin abandone d his plan as impracticable ,

n At accou t of the largeness of the sum . this juncture the friend wh o h ad been i n fluencing h im to move out of the paternal mansion ad van c e d e the amount necessary, and the chang

i n was made . The money was repaid in slow

n s tallm e ts of £2 0 each . In the house thus acquired Landseer lived for

h As e . nearly fifty years, and there also died w his means gre better, and fresh fancies took possession of his mind, he added new parts to

n the house , and enlarged it in various directio s .

’

1 . It was situated at No . St John s Wood Road, in that semi-suburban region of small villas f ’ which derived the name o St . John s Wood N J D O Q U XO TE . 45 from its an cient possession by the priors of the

f of of Hospital o the Knights St . John Jeru salem . The artist distinguished his house by

n the name of Maida Vale , in pleasant allusio to the pet dog of Sir Walter Scott . Landseer seems to have been fond of read

e to ing Don Quixote, and vidently intended

e illustrat that immortal work, as certain rude

18 2 sketches attest . In 4 he painted a picture of n ot Sancho Panza, quite satisfactory, with his donkey, however, admirably rendered ; and a picture of the Don and Rosinante was planned

’ but never finished . Leslie s Sancho Panza

e was almost contemporary, and certainly l ft

es nothing to be d ired .

th e of 18 2 e During season 5, when Lands er

- was out deer stalking, his dogs got lost while

n following a stag which he had wou ded , and at

h r night one of t em retu ned to the house alone .

Th e next day the shepherd found the dead stag,

th e with missing dog, completely exhausted, standing watch over him ; and having notifie d th e ou t artist, the latter took his drawing mate

t e of rials , and made the sketch for the pic ur h ’ t e Dead Stag and Deerhound . 46 LAN D S EE R .

A n i n 18 2 6 mo g the Scottish scenes painted ,

’ t e the chief was the Chevy Chase, which still A mains in its original place at Woburn bbey .

It is an illustration of the old ballad-verse :

To dr ive th e de e r with h ou nd and h om e ,

E rle Pe rc took h is wa y y , Th e c h ie fe s t h ar ts in C h e vy Ch ase ” To kill and b e ar away .

This was the only large historical painti ng th at

L e m andse r ever executed , a atter which is

t on s . subject for congra ulation , some account

The picture seems to b e a reminiscence of Ru

e of e m od b ns and Snyders , a medley anci nt and

- u ern types, with conventional figures, half str ng

adm ir bows, and Flemish dogs . The horses are

’ one of e t ably done, and mark the master s high s successes in depicti ng equine subjects .

Another brilliant sem i-m e dim val work of this

‘ ’ was Th e time Signal , which is now owned by

f Tanke rville I r the Earl o . t is a po trait of the

of Tanke rville r am Countess , standing on the

n n parts of Chilli gham Castle, with a bloodhou d

of m by her side . The ladies the Bedford fa ily

th e n of were also portrayed, for etchi g needle the Duchess . H H I F R ’ T E C E S RE TU N . 47

The Dog an d the Shadow is an illu stration

old s a do r of the fable, and show g c ossing a

l e - placid stream on a fa l n tree trunk, and looking at th e reflection of himself and his s tolen meat

n in the water. The surroundi g landscape is one

of of the most delightful bits English scenery,

in carefully and highly finished in every detail ,

- the man ner of the Pre Raphaelite school .

As soon as he had attained the age of twenty

m h four years, the earliest ti e at w ich an artist c an i n be elected, according to the laws of the s ti tu tio n h an A , Edwin Landseer was c osen sso

m e n ciate of the Royal Academy . But very few

v s o ha e received this honor soon, and among these have been Sir Thomas Lawrence and John i h Everett Millais . It has been sa d t at the paint ing of Chevy Chase led to the promotion of ou r artist, but Monkhouse believes that that

- medley picture had n o influence the re in . Lands eer signalized his election to the Associ ate sh ip by sending to the next Exhibition the

’ nobly composed picture of The Chief s Re turn

’ - d from Deer Stalking, which marked also his a op

of tion a new manner, more broad, free, and e fie c tive ro than that which preceded it . The p ’ 48 LAND S E E A .

n lo ged and deliberate studies of his earlier years, a with their care and firmness, had given him treasury of knowledge wh ich enabled him to

paint afterwards with great facility and precision ,

an d with a dexterity which sometimes seemed ’ h indeed marvelous . The Chief s Return is t e first and one of the best of the works in the new

n . manner . It represe ts a vigorous young High

land chieftain , attended by an ancient mount

ai n e e r i , leading two shaggy pon es, one white

on two t and the other black, which magnificen

antlered deer are bound . ‘ The Monkey who had seen the World ’ is a

u of clever satire in colors, showing a gro p unso

ph is tic ate d and highly amazed anthropoids sur

rounding one of their race who has ret urned

from his travels abroad . He is dressed in

an d an d cocked hat laced coat, with trousers d buckled shoes , and carries a cane in his han

and an eyeglass pendent from his neck . Thomas

Baring gave guineas for this picture , and

rth b r ook bequeathed it to Lord No . It has been

engraved several times, under various titles . The idea was so taking that later in the same

w -f year the master published t enty our plates, “ ” Monk an a . e entitled y ; or, Men in Miniature

50 LAN D SE E R .

wa ’ was obtained in the same y as Turner s,

C i o n m from opyr ghts engravings, and fro book

o f illustrations . He was seconded by a group m n v ost skillful e gra ers, headed by Lewis, Cous

ins , and Thomas Landseer, and numbering

-five more than a hundred and twenty , by whom his conceptions were brought before the people

of in countless thousands copies . In the mat

ter of touching and retouching the proofs of

d r the plates, Sir E win was ve y careful and

scrupulous, and often devoted days, or even h weeks , to t eir correction and improvement . A banker-poet can afford to surround his rhymes with tempting accessories of art and

- of book making, such as are out of the reach

n his impecunious brethren, whose rolli g collars

r are spread only in lofty gar ets . When Samuel

Rogers, of that ilk, published the luxurious edi “ of m of m tions his poe Italy, he su moned

the first artists of England to adorn its pages h with t eir choice designs, and thus light up his

e placid verse by illustrations mor than worthy .

i o f Turner made many, perhaps a major ty, these

sketches ; and Landseer fu rn ished a half dozen

or more scenes in the lives of dogs and deer, ‘ ’ H JG H LI FE . 51

‘ ’ together with The Cardinal and his Cats . I n

f h e w of o . the picture the dogs St Bernard , dre a the anim ls , and Turner put in the surrounding landscape . Besides his illustrations for the Sporting Mag ’ “ ” t azine and for Nimrod s Sporting, the artis t made several characteris ic pictures, which were

f r o n - engraved o his own work deer stalking.

The earliest known portrait of Landseer by

in w - himself was painted his t enty seventh year, “ A ” and published in The mulet, after being

i s engraved by Thomas Landseer . The artist r f e presented in the character o a falconer.

The com panion pictures of High Life an d

‘ ’ Low Life, which became so famous, and were f engraved so o ten , were bequeathed by Robert

r to i i Ve non the Brit sh nat on , and are now

n in the National Gallery, at South Kensingto . The pictures are among the very least in size of all celebrated works of art, and measure

1 x only 8 inches . The High Life re pr e

sents a slender and gentle staghound , which has gen erally and incorrectly been supposed to

’ b e a portrait of Sir Walter Scott s Maida . He is sitting near a table which bears a helmet, 52 LAN D S EER . beyond wh ich the battlemented tower of th e

th e e vi castle appears through window, while de n c e s of luxury and refinement are seen o n

‘ m as all sides . Low Life has for its subject a

- sive and brawny bull dog, sitting in a rude stone

n doorway, and with one eye keepi g guard over

- th e the hat, boots , and pint pot of his master, butcher, while the other eye is lazily blinking in the warm sunshine . He unctuously licks his

of fat jowls, and the evidence his recent cap ital breakfast is seen in a beef-bone below the

n threshold . Perfect satisfactio is apparent in

r it eve y line of his ponderous square head, but

-fi h te r is the satisfaction of a gorged prize g , ready to break, at any moment, into brutal combativeness .

‘ ’ A t 18 2 an d b e Fireside Par y, painted in 9 ,

u e ath e d q by Mr . Sheepshanks to the British nation , is an admirable representation of sev

S eral serious terriers , lying and itting in atti

fire tudes of ease and thoughtfulness before a .

of I nve The dogs belonged to Malcolm Clarke,

r rary , and we e the originals of the Pepper and Mustard terriers described by Sir Walter Scott “ ’ fl a in Guy Mannering . Landseer was now o t V H E L ELL YN . 53 ing in the m id-cu rrent of the Waverley-n ovels

a e in excitement, and under the m gnetic p rsonal

flu e n c e of Scott himself ; and accordingly we

of find him drawing pictures Edie Ochiltree/ G e llatle and David y, and other famous charac

in h e ters t new ro mances .

Anoth er pathetic scene which the pencil of

n u A La dseer illustrated, in a val able cademy pict

’ of a ure , was that described in Scott s poem , young gen tleman who perished by falling from

iff n n a cl on Helvelly mountai , when his faithful dog watched his remains until they were dis covered , three months afterward .

‘ ’ ’ The Stone -Breaker s Dau ghter was a beau

i tu 18 0 an d tiful Scottish p c re , executed in 3 ,

old showing an man sitting by the roadside,

dau h e with hammer in hand, while his pretty g ter gossips with him, and a dog licks her hand aff ectionately. f Ed Be ore he had attained his thirtieth year, win Landseer received the full honors of the

A m Ac ade m i Royal cade y, and was elected an

’ c ian - . His diploma picture, The Dead Warrior, is still preserved by the Royal Academy of A rts . 54 LAN D S EER .

The Old Gu id Wife was painted for th e

of e Duchess Bedford , and b ars the descriptive

“ ’ motto : She minds naething 0 wh at passes

o n the day, but set her auld tales, and she can

’ a Sh e ll spe k like a prent buke . ken fine Cullo

’ ’ Yo u idm an den s sad day. was the gu s clay

e Th e hi f r mor . artist said that s model o this

was r old picture ve y and feeble, and he kept

her alive on whisky while painting her portrait .

In the year 1833 Landseer executed a post

of h humous portrait Sir Walter Scott, wit his hound Maida and th e terriers Spice and Gin

n ger, the latter bei g descendants of Dandie

’ Dinmont s Pepper and Mustard family . Lock “ t . A . har wrote that Mr Edwin Landseer, R . ,

f - has recently painted a ull length portrait, with the scenery of Rymers Glen ; and his familiar ity with Scott renders this almost as val u able h h d as if e a sat for it . The Rymers Glen was the scene of the meeting betwee n the an

e n Erc ildou n e an d ci nt mi strel , Thomas of , the

Fairy Queen ; and Sir Walter wished that it might be used as the background of Leslie ’ s

t s . portrai , but the canva was not large enough

n Not lo g before , Landseer had illustrated four ‘ 7 A CK I N 55

’ more scenes from Scott s romances : th e Bride

r th e of A of Lamme moor, White Lady venel, a the H wking Party, and the False Herald pun is h e d (from Qu entin Durward

‘ ’ Offic e 18 Jack in was exhibited in 33, and is one of the most exqu isite representations o f

u of th e the mingled h mor and pathos artist .

’ A dog s-me at dealer has left his wheelbarrow i n u u of an alley, nder the g ard a fat and dis

to n u dainful mongrel, whom approach several f u r ort nate and hung y dogs, in search of the fragrant dainties which perfume the air . One, a degraded and meagre pointer, with driveling m outh and tail between legs, pleads with his nervous and imploring eyes for charity ; an

t o n own th o her, seated his tail , humbly begs , wi adulatory whine an d droppe d paws ; and still others employ other means of pathetic mendi c anc to o to th e y, weak and cowardly attack pampered cur wh o scornfully looks down upon

f So them from the top o the barrow . super

’ c iliou s is the guardian s air, so contemptuous

’ and vindictive, that the spectator s sympathy and hopes are altogether o n the side of the other dogs . 56 LAN D S EER .

all t A . . C c o t Landseer was intimate with Sir W , on e of the most famous painters of that time ; and at this time he executed the figures in a

’ ‘ h of picture of T e Harvest in the Highlands,

e which Callc ott painted the landscap . The Eagle ’ s Nest ’ is a grand and simple

u e n composition, representing a mo ntain loch

l f on one of wal ed by black and frowning cli fs,

n of which, in the foreground , is a rude est sticks containing two vociferous eaglets . The

- of th e r k mother bird is standing on the edge oc ,

to wh o n calling her mate , is seen flying amai towards his home , over the dark and angry

A of . s looking waters below a painter birds ,

Landseer had no superior, and drew his sub je c ts with unvarying skill and wonde rful dexter ity and his representation s of feath ery plumage and of horny beak and talons were every whit as accu rate as those of the glossy hides of

or of . horses , the electric hair terriers Some of u his works had eagles , swans, or d cks as their chief subjects ; and in many others wild or domestic fowl were effectively introduced as

One of n s accessories . his first infantile drawi g was a pencil-sketch of a parrot an d his last

CH APTER V.

’ ‘ u ns e . Th e Sh e Th e Shak e spe are ofth e World of D ogs . S spe p

’ ’ ’ u n . h e rd s Ch ie f Mou rne r . Dign ity an d Im p de c e

LANDSEER painted many animals with skill

e and accuracy, but his love and enthusiasm wer reserved for dogs . He was eminently human

e for in his disposition , and therefor chose his favorite theme the animal which is the best

of on e and wisest companion man , and the which has the most variety in form and color and size . Indeed, it seemed to have been a

of th e matter intuition rather than choice , for ’ h i very first of Landseer s drawings, made in s

fif was h th e th year, a sketc of a dog ; while last of his works was a portrait of another of the canine race . Mulready, Rosa Bonheur,

Snyders, even Veronese , perchance , painted a d dogs with great skill n technical dexterity, but Sir Edwin was the only artist who r e pre sented all the varying phases of their lives an d SH AKES P E ARE OF D O G S . 59

- to emotions , devoting a life time their study, and learning to distinguish all their traits and

sentiments . N o gesture of paw or head no

language of eye ; no peculiarity of walking or

or i i leaping, waking sleeping ; no v g lance Of the o n e or slee piness of th e othe r ; n o combative o r

e caressing motions, but that wer familiar to him “ whom the English well-called th e Shakespeare

of the World of Dogs . From these wide stud ies and deep sympathies resulted a rich versa

tilit n o a y, insomuch that two of his subjects p

l n o pear a ike, and there are dull repetitions

i n all the wide range of his achievements .

. n i n te lli Mr Mo khouse , the closest and most

u of w w gent st dent the orks of Sir Ed in , has

made the following precise an d convenient clas

“ ’ ‘ ’ s ific atio n : Landseer s pictures of set humor

may be divided into three classes : In which h e uses nothing but the natural expression and character of the dog to suggest qualities which

to . s belong also man This is the highest cla s,

’ to wh ich Dignity and Impudence and There s

n o c Pla e like Home belong. In which he strains their natural expression to caricature

‘ n A huma ity , as in such pictures as lexander 6 0 LAN D S EE R .

’ ’ an d Diogenes, and Laying down the Law .

w n In hich he o ly makes the dog ridiculous,

’ of as in the Comical Dogs , for the purpose

‘ ’ raising a smile .

The favorite point of view i n which Landse er

n of regarded the dog was as the attenda t man ,

h e whether as servant, companion , or pet ; and seldom found satisfaction save in grouping th e

two . The lonely shepherd, the Gaelic moon

S r v of hiner, the fishe man , e en the dustman

to London, has his canine attendant, as dear

to th e its owner, doubtless , as Eos was Prince

Consort, or Islay to the Queen . If the dog is

n portrayed alo e , he is accompanied by a hel h a met, a glove, a Hig land pl idie, or some other

r n an d w accesso y suggesti g his master, al ays in

keeping with his high or lo w estate . There are

those wh o accuse th e artist of overstraining the

l c an facu ties of canine expression , and there be

no doubt that he did exaggerate in this dirc e

i n o t of to t on, but without having a basis truth

b u fld u pon . The master was always vigilant for the safety

of - and comfort his four footed friends, and from

his knowledge of their character was able to CAN I N E Flt/E ND S . 6 I

f i suggest ameliorations o the r condition . He once said that n o dog could endure being kept strictly on the chain for a longer period th an l three years ; that his heart wou d break, or his reason give way, in the interval . In the matter of cropping the ears of dogs he took a decided position against the custom, maintaining that an imals who dig in the earth should have their ears protected, as Nature had provided . Land

’ seer s public opposition to cropping h ad a great ff e ect in causing it to be partly discontinued . He used to walk about sometimes with a

- u - body guard of thoro gh bred dogs , most of whom had been presented to him by patrician

i n c om re h e n friends, and rejoiced in long and p l sib e pedigrees . Maida Vale had more than its “ n share of hou ds and terriers, Tray, Blanche , an d w wh o w S eetheart, al ays welcomed the master home in their characteristic ways . He also retain ed the acquaintance of many aristo cratic dogs in the houses of the nobility, and great was the wagging of tails when he came to

A or Woburn bbey, Taymouth Castle, or royal

Windsor .

r l - i Hame ton , the ca m and good tempered cr tic, 6 2 LAN D S EER

“ has thus expressed his opinion : Everything

’ that c an be said about Landseer s knowledge of

e of animals, and esp cially dogs , has already

. n been said There was ever very much to say, for there was no variety of opinion and nothing to discuss . Critics may write volumes of con

trove r s y about Turner and Delacroix, but Land

’ seer s merits were so obvious to every one that

he stood in n o need of critical explan ations . a The best commentators on L ndseer, the best

u defenders of his geni s, are the dogs them

selves and so long as there exist terriers, deer t hounds, bloodhounds, his fame will need li tle

” assistance from writers upon art . Many artists and connoisseurs think that Landseer ’ s highest achievements and the attain

ment of his loftiest ideal in art occurred i n the

8 A u f Vear 1 34 . mong the four chief pict res o

th th e A is year, the most famous is Bolton bbey

’ t in the Olden Time , a composi ion which has

O ften been engraved and often plagiarized , and

is now owned by the Duke of Devonshire . Etchings of this work were made by no less

personages than Queen Victoria and Prince Al

bert. It was the first picture for which the mas ” TH E N A UG H TY B O Y. 6 3

00 now ter received as much as £4 , and is valued at more than It is a rich and

highly finished composition , representing the

vassals of the Abbey bringing their tributes of

C game, fish, and fruit into the loisters, where they are received by the jovial old mon ks (on e f o A . Callc ott . whom is a portrait of Sir W. )

‘ ’ The Naughty Boy is a picture of a school b oy possessed and shrunken up by outrageous

his r to passion, with toes tu ned in , feet close

rm gether, a s pressed to sides , shoulders raised,

and every muscle tense with anger . Landseer wanted to por tray this little fellow o n account h of his sturdy and andsome face and figure , but

was the subject rebellious and sulky, and finally

h ot broke into wrath, slamming his slate upon

-floor the studio , blowing bubbles between his “ : compressed lips , and savagely shouting I

’ ” w on t ! t be painted Never heless the artist,

w to smiling kindly, ent on portray this little

de thundercloud , and ma an unfading record of

u flaxe n his scowling brows and q ivering locks, and all the hostile expressions of his young face . A Highland Breakfast is a highly humorous and in characteristic composition, showing the ’ 64 L AN D S E E A .

te ri or of a Scottish shieling, with its bonny mis

i n r tress the background , nou ishing her babe ; i wh le in the foreground is a group of sheep , hounds, and terriers waiting to get their break fast from a pan of hot milk, which is slowly cool A ing before them . dignified old retriever is

h ilO S O hic biding his time with p p calmness, and his attendant white terrier vainly endeavors to i mi tate his patience and self- command ; while another sniffs the coming feast and licks hi s mouth in fond anticipation ; a fourth burns his a nose in the steaming mess ; and another, shaggy little terrier, yields a meal to her pup

n own pies while waiti g for her .

‘ ’ Suspense was another noble work of th e

l n cu minating year, which has been e graved

n n ow half a doze times, and belongs to the

on e th e nation . It is of best illustrations of a ’ L ndseer s genius, and is skillfully adapted to . call forth the imagination of the spectator, rather than to display that of its designer .

A noble bloodho u nd is watching with intense solicitude before a closed door, while the car pet beside him is dotted with a li n e of blood

n - m drops, upon which lies a tor eagle plu e, and

66 LAN D SE ER .

So many were the canine applicants for th e honors of portraiture at this time that their names were placed in a list, and awaited their

’ turn i n due order . The master s brush was rapid, and in constant employment, yet each

h ad or s o dog to wait for two three years, long was the list and s o numerous were the appli cants .

’ n n n ow The Sleepi g Bloodhou d , at South

of do Kensington , is a portrait the fine Old g

i n at Countess, painted after she died , and the

i d On d t tu e of sleep . a dark night the og was waiting on a high balcony, at Wandsworth , and

’ anxiously watching for her master s return from

th e of London . Hearing wheels his gig and

n the sound of his voice , she leaped dow , but

n missed her footi g, and fell at his feet , dying . h Placing the ound in his gig, the gentleman

to drove London the next morning, and went

’ was directly to Landseer s studio . The artist at first vexed by th e sudden intrusion o n his w s aw u n for tu orking hours , but when he the nate animal his expression changed to one of

w : sorro and sympathy, and he said This is

n ot . G o an opportunity to be missed away, ’ ’ ’ ’ TH E H R o VE It S H E RA R TUAE . 6 7

’ and come on Thursday, at two o clock . It was then Monday noon, and at the appointed

’ u time he had finished Co ntess portrait, as large

th e Mr as life . This hound was property of .

e th e u Jacob B ll , constant friend and b siness

h e d manager of Landseer, whose pictures sol ,

c th e and colle ted the moneys therefor, just as

’ artist s father had formerly done .

‘ ’ Th e Drovers Departure, Scene in the Gram

’ i n 18 pians, was exhibited 35, and now belongs h l to t e nation . It was original y painted for the

Duke of Bedford, but for some unknown reason

to . he declined take it, and Mr Sheepshanks

secured the prize . The scene represents the

departure of a drove of Highland cattle for the south, with the patriarch of the clan smoking w a pipe, hile his daughter fills his flask with “ ” de w all mountain , and her husband, plaided

to and ready for the start, gives a parting caress h t e . baby In front, a hilarious puppy is being egged on by a b oy to attack the motherly old hen,wh o defends her brood with defiant mien ; the old dog suckles her puppies for the last time ; and a white pony, almost toothless, nib

e th u bl s the grass sideways . In e backgro nd 6 8 LAN D S EER .

de fili n w to the flocks and herds are seen , g a ay the south, over a wide heath, with the mount ains before them and a lake at one side .

In 1836 Sir Fran cis Chantrey killed two wood cocks at one shot, a feat which was considered so remarkable that a book of poetry was writ te n it about , and Landseer also painted a com

u memorative picture , entitled Pen, Br sh, and i ’ Ch sel . The dog therein portrayed was Mus tard , which Sir Walter Scott gave to Chantrey .

Lady Chantrey afterwards presented the pictu re to the Queen .

The Comical Dogs represents two terriers, — one with a hat rakishly c ook e d on the side of his head , and his eye slyly upturned and the

- u other, of the gentler sex, has a mob cap pon

h t her ead and a pipe in her mou h , the while

“ ” - she begs with drooping fore paws . The com position is jocose and absurd , and some one “ has well said that it is not the dogs wh o are

” comical , but the artist .

‘ The deeply pathetic pictures of The High land Shepherd ’ s ChiefMourner and The Shep

’ ’ s o re herd s Grave , which have been often

18 u . produced, were exec ted in 37 The first ‘ D ’ TH E S H E P H ER S MO URN ER . 69

represents the interior of a Highland hut, with ffi the co n of the lonely shepherd in the centre , covered by his maud for a pall, and with a well worn Bible and a pair of spectacles on the ad jacent bench , to indicate at once the piety and th e th e as u great age of dece ed . The only g ard ian and chief mourner of the dead is his dog,

c the faithful companion of his de lining years ,

n ow U - who sits pon the pall , with grief relaxed limbs and face filled with brooding sorrow and profound woe, resting his head on the closed ffi “ co n . Monkhouse calls this picture Land

’ seer s most perfect poem of simple pathos ; and Ruskin gives the following very inaccurate “ but beautiful description of it : Here the ex qu is ite execution of the crisp and glossy h air of the dog, the bright, sharp touching of the green bough beside it, the clear painting of the w ffi an d ood of the co n the folds of the blanket,

— n a l are language , la gu ge c ear and expressive in the highest degree . But the close pressure

’ of the dog s breast against the wood ; the con vu ls ive n a clingi g of the paws, which has dr gged the blanket off the trestle ; the total powerless

u ness of the head , laid close and motionless pon 7 0 LAN H S E E R .

its folds ; th e fixed and tearful fall of the e ye

n t e in its utter hopeless ess ; the rigidi y of repos ,

which marks that there has been n o motion

nor change i n the trance of agony S ince the

last blow was struck upon the c offin -lid ; the

quietness and gloom of the chamber ; the spec

tae les marking the place whe re the Bible was l last c osed , indicating how lonely has been the

u wh o life , how unwatched the depart re, of him

n o w — is laid solitary in his sleep, these are all

thoughts tho u ghts by which the picture is sep

ar ate d of at once from hundreds equal merit, — b h as far as the mere painting goes, y w ich it

ranks as a work of high merit, and stam ps its

th e u author, not as neat imitator of the text re

of S of a a kin or the fold a drapery, but as f Man o Mind .

’ ’ ‘ The Shepherd s Grave is a fresh-h eaped

e - i n s c ri mound of earth, with a h ad stone, whose p

n n ot - tio is yet finished by the stone cutter, whitely revealed in the light of the low-hung

- e moon . The sheep dog watches patiently ov r

u to the silent mo nd , with his head drooping

th e wards earth , in the long vigils which shall

continue u ntil he follows his master (may we

no t h O pe it ?) i n to the un known land beyond . A N E WFO UN D LAN D D OG . 7 1

’ The best of Landsee r s numerous portraits of the members of the Briti sh nobility is that which represents the Sutherland children, the

Marquis of Stafford and Lady Evelyn Gower.

The latter is a pretty young girl , placing a gar land around th e neck of a pet fawn , with a “ Spaniel beggi ng before her ; while the Mar

- i n quis, a curly headed boy a short dress , is

on s h seated the gra s, and a noble old deer ound lolls against the adjacent tree . In the back ground are the towers of Dunrobin Castle . Another work of this period was the drawing

of of eight scenes motherhood, for the Duchess

of Bedford . These included a Highland nurse , and u seven female animals, with their yo ng. ‘ A Distinguished Member of the Humane

’ Society is one of th e most widely known of

’ ou r an d artist s pictures, has been reproduced

m many times , by all anner of processes . It was

Pr a portrait of a fine dog named Paul y, whose t ’ beau y had awakened Landseer s admiration , which was highly increased on seeing th e faith ful pet carrying a basket of very bright flowers

of in his teeth . He was a large specimen the f New oundland breed , and is portrayed reclining 7 2 L AN D S EER . o n - the last stone of a sea side quay, against which the light summer ripples break, lapsing

- upon the mooring ring. He is in broad sun

of light, with the shadow his enormous black head falling upon his white flank, while he watches to seaward with strong and pathetic eyes, and marks a quick attention by the gentle f lifting of his ears . The pain ting o the hide

th e is admirable, and shows rigid and the soft,

- the downy and the high lighted, parts ; the

’ masses of hair as the dog s habitual motions had permitted them to grow ; and the skillful foreshortening of the paws hangi ng over the

’ w of quay s edge . This onderful representation

on e the canine race, of the most inimitable which art has ever produced, was painted for t the trifling sum of fif y guineas . Mr . Thomas Landseer engraved it in the most superb man ner.

‘ ’ Th ere s Life in the Old Dog yet is a pa thetic picture representing a veteran deerhound wh o l ff has chased a stag over a high c i , and

An fallen upon the rocks below, with his prey. ancient sportsman has been lowered down by a

of an d rope , and finds the dead body the deer,

LA 7 4 N D S E E R .

f glittering eyes . On the front o the table are

r — aw pencils, b ushes, a porte crayon , and other dr

‘ n of a ing i struments, and a bit bread, at which daring mouse is greedily nibbling. The ‘ Laying down the Law was painted in l 18 0 . 4 , and be ongs to the Duke of Devonshire It is a transcendent example of Landseer’ s spe c ialty of investing animals with the expression s becoming to human passions, and thus produc

of e c ing bits genial satir , sometimes patheti and sometimes humorous . A CH PTER VI . — — — Th e Royal Fam ily . Balm oral. Th e Grac ious Q ue e n . Th e Duk e

of e d or d and ob ur n Ab b e . ic ke n Th ac k e r a and S dn e B f W y D s, y, y y

Sm ith .

IT is believed by many Englishmen that th e attractive social qualities of Landseer first

Opened a communication between the Royal

Family an d the intellectu al society of the king w dom . It is ell known that for some time after th e accession of Queen Victoria the literar y an d artistic people of England were rigidly and m ark e dl y excluded from the Palace , and Landseer and many others complained bitterly at such an u naccustomed conduct o n the part of the head f o the nation . The first familiar guest from the excluded classes was Edwin Landseer him

’ I n self . a little while St . John s Wood was amazed at the spectacle of the Queen waiting

’ he at Landseer s door, while changed his coat

’ and mounted one of the groom s horses, to w i ride ith V ctoria . The reason appeared that 7 6 LAN D S EER .

he was painting her Majesty on horseback, and

n u e this was a piece of professio al st dy, devis d

impromptu by the royal S itter. A A ’ w gain, Prince lbert s hat and gloves ere

’ of seen on the floor the artist s room, sent there i ’ without the Pr nce s knowledge , in order to be

introduced into a portrait of his favorite dogs, with which he was to be surprised on his birth day and great was the bustle when a groom

u th e rode p, on a horse all in a lather, for hat

ou t and gloves, as the Prince was going , and

must not miss his hat . A few years before , Landseer made the first

of of of several pictures Dash, the Duchess ’ a Kent s favorite spaniel , who was fterwards

n buried on the slopes of Wi dsor Castle , under m a handsome arble monument . This was the

same pet of which Leslie wrote , in describing

: n the coronation of Queen Victoria The Quee ,

r I am told, had studied her part ve y diligently

and she wen t throu gh it extremely well . I

’ in don t know why, but the first sight of her

e her rob s brought tears into my eyes, and it

had this effect u pon many people ; she looked

e a . e almost lik child She is v ry fond of dogs , Q UE E N VI C TORIA . 7 7

and has one very favorite little spaniel , who is always on the lookout for her return when she has been from home . She had of course been separated from him on that day longer than a usu l , and when the state coach drove up to

of n the steps the palace , she heard him barki g

‘ ’ w S ith joy in the hall, and exclaimed, There Dash ! ’ and was in a hurry to lay aside the sceptre and ball she carried in her hands, and

off to o and w as!: take the crown and robes, g

' D ar/z lzi tle .

of Under the reign such a Queen, a Land

of seer might well be certain wealth and honors , and accordingly we find h im a frequent and

m welco e guest at Buckingham Palace, Windsor,

of valu a and Balmoral , and the recipient many A ble presents from Victoria and lbert .

The long series of portraits of th e members of the Royal Family was auspiciously begun in

18 n th e 39 by a picture of the Quee , then in second year of her reign . This was one of the

- A love tokens given by Victoria to Prince lbert, before their happy marriage . A year later he painted the Queen and the Duke of Wellington reviewing a body of troops 7 8 LAN D S E ER .

the Queen on horseback, alone ; and Princess f Mary of Cambridge , with the New oundland

‘ ’ dog Nelson . The Queen and Children was

18 2 A painted in 4 , and also Prince lbert and the Princess Royal ; the Q ueen and Pri nce Al h bert, in the c aracters of Queen Philippa and

. n Edward III the Princess Royal , with her po y and dog ; the Princess Victoire of Saxe-Co

u u bo rg and the Q een and the Princess Royal . A year later and he produced ‘ Windsor Castle

’ in the Present Time , with portraits of the A t Queen , Prince lber , and the Princess Royal ,

f an d A with our dogs ; Princess lice in a cradle , when nine days old, with the dog Dandie . In

18 A 44 lice again appeared , in company with

the famous hound E05; and a year later the Queen was portrayed in the fancy dress of a

é 18 d b al costu m . In 47 the royal la y was depicted while sketch ing at Loch Laggan ; and in 18 54

‘ Landseer painted Her Majesty the Qu een in

’ A rt the Highlands, introducing also Prince lbe

18 and the Prince of Wales . In 6 1 he drew A ’ Prince lbert at Balmoral , which was engraved

’ r i n for the Queen s book, Leaves from a Dia y

th n 186 e Highla ds ; in 4, the Princess Beatrice B LM A OR AL . 7 9

i n 1866 on horseback ; , the Queen at Osborne,

i i an d n with Pr ncesses Lou se Hele a, and also

’ Al n Prince bert s shooting party, at Brechi ; and

18 2 in 7 , the Queen on a white horse .

During his autumnal visits at Balmoral, Sir Edwin enjoyed the pleasantest intimacies with th e members of the Royal Family, and was treated with great consideration . His skill with the billiard—cue was frequently called into req u i s itio n , when he was challenged to play by

Prince Albert ; and his graceful courtesy found at once exercise and reward in helping the

Queen over stiles, during her long rural ram

’ of bles . In Victoria s journal her life in the

of Highlands , the name our artist often appears, and in the most agreeable connection .

’ One of th e master s most fruitful an d long continuing employments was the portrayal of the

s th e c on numerou pets of Royal Family . This

i n 18 genial task began 35, when he painted

’ S Dash , the favorite paniel of the queen s mother,

u t the D chess of Kent, and also the three pe s of

— o Prince George , the pony Selim , the Newf und land dog Nelson, and the spaniel Flora ; Prince A ’ ’ lbert s greyhound Eos ; Islay, the queen s pet 80 LAN D S EER .

Cai r n ac h terrier ; Waldmann and ; Dackel , the

’ - queen s badger dog ; Lambkin, the Duchess of

’ Kent s dog ; Dandie Dinmont and the hedge

’ ‘ an d - hog ; the Islay, Macaw, Love birds ; Dear ’ ’ fa Old Boz , with a rabbit ; Sharp, the queen s vo rite dog in 1866 ; and several others . The set

’ of engraved pictures known as Her Majesty s ” f Pets, and representing the avorite animals of a the royal Victori , includes several portraits made by our artist . Careful students of Landseer ’ s style attribute the great change through which it passed about the year 18 2 4 to his introduction to the Bedford family, and his transition , almost instantane ou s l - t y, from ordinary middle class socie y to that

Of the highest nobility . With the ducal fam ilie s n of Britai he lived for the rest of his life, not only as an artist, but also as a friend and companion .

’ The Duke of Be dford s prin cely palace of Woburn Abbey was a favorite re sort for artists

on e at this period, and at time Leslie , Wilkie ,

Callc ott , Newton , and Landseer spent several days there together, enjoying the pleasant hos

italit At a p y of the ducal family . Woburn , lso,

82 LAN D S E E R .

wealthy Scottish peer, for whom he painted sev

now eral fine pictures . One of the best of these,

’ A in valued at is Scene the Highlands, i n which the chief characters are the Duchess of

of Bedford and the Duke of Gordon . Many the Duke ’ s pictures were afterwards bequeathed

’ e of w e s to Brodi Brodie, whose pictures er old

18 1. at London , in 7 Another Scottish patron of high rank was A John , the fourth Duke of thole , with whom he became acquainted during one of his first High

A th e land visits . thole presented young artist

of at that time with one his fine deerhounds, wh ich was long kept in memory of the donor. Four years later Landseer painted the noble

‘ picture of The Death of the Stag in Glen

’ Tilt, whose chief figure is a portrait of the

r . Duke, su rounded by his clansmen

The Marquis of Abercorn was another of

’ th e Landseer s noble friends , and for him mas

. ter painted several portraits of the m embers of the family . These works are now in th e pos

of th e A session Duke of bercorn . The master was a th e welcome visitor at Taymouth Castle, seat of the Mar quis of Breadalbane ; and also TI TLED P A TR ON S . 83

f h at the palace o the Duke of Buccleuc , at A Dalkeith . The Duke of rgyle was another a f p tron of our artist, who painted his avorite do 18 0 g Blaize , in 3 . Many of the nobles of England chose Land

- seer for their portrait painter, and gave him frequent sittings . Besides those elsewhere

of e spoken , we find among th m the Dukes of

Devonshire and Wellington ; the Marquises of

an d A Hamilton Worcester ; Lords shburton,

Cavendish, Glenlyon and Sefton Ladies Eve

Le ve s o n Ash lyn Stanhope , Gower, Blessington ,

n burto , Peel , Jocelyn, Grosvenor, and Butler ; ’ A and the Count d Orsay . mong the other

notabilities of his time , he painted the portraits

of E w . dward Bul er, Benjamin Disraeli, the Hon

r Mrs . No ton, and Niccolo Paganini . The high estimation in which Landseer was held by Lord Monson appears in a letter from

! the latter to David Roberts, in which he says “ There is one with whom I am anxious to

n n s . lose no time, and that is Edwi La d eer

m Would you be y ambassador, and ask him wh at would be the cost of his paintin g me a pictu re ? I sh ould like him to come here and 84 LAN D S EE R .

s paint my portrait with some remarkable dog , with which, I think, he would be pleased .

Landseer was also retained by the publishers

” t to of The Book of Beau y, execute several of the portraits of the ladies who were distin

u i A n g s h e d in that singular volume . mo g those wh om h e painted were Lady Georgianna Rus

of A n sell , the Marchioness bercorn, the Cou t

of itz h ar r is ess Chesterfield, Lady F , and Miss

Ellen Power . Several other publications of this class enlisted the pencil of the master,

“ wh o drew pictures also for The Gallery of “ Graces and Th e Children of the Ar istoc

” racy . There are those who rank Landseer with Law rence and Reynolds as a painter of children, claiming that he possesses an equal refinement and of naturalness, and makes up for his lack coloring and finish by a freedom f rom th e man n e r ism n of the earlier twai . Certainly his rep r e se ntation s of children are filled with tender n r u h or ess and t th, w ether they are princesses

’ S hepherds children , and have the true form

of t h or and look heir ages, whet er babies

an d all th e e an d c e of youths , freshn ss inno nce D I E CH ARLE S CK N S . 85 those wh o are as yet unspotted from th e

” w e orld . It has been considered wond rful that the childless Landseer and Reynolds s hould h th e ave obtained such insight into complex,

n e of -a amazing, u fathomabl life their hardly p

re c iate d p juniors . With the solitary and remarkable exception

n n o of Sir Joshua Rey olds , British artist ever received at hi s home s o m any distingu ished visitors as did Sir Edwin Landseer. Th e house

’ N o . 1 . Lisson at St John s Wood Road, Grove, was the centre of his social life, and many were the pleasant parties which he sudden ly

to m improvised there, from time ti e, inviting his friends by hasty m essages sent at th e e e e l v nth hour. Landseer was on te rms of i ntim acy with

e 18 8 Charles Dickens as arly as 3 , when Cat te rm ole Mac l ise A , , Stanfield , and Harrison ins w to A orth belonged the same coterie . few years later the artist showed his admiration an d friendship by presenting th e gre at novelist wi of th a drawing Boxer, illustrating The ” k e 18 — Cric et on the H arth . In 54 55, Land seer used to be a regular attendant at Dick 86 LA N D S E E R .

’ e n s s te ama ur theatrical parties, at Tavistock

House, where he frequently met Douglas Jer

n rold . During the ext winter he joined the brilliant circle of Englishmen then passing th e

an d c om season in Paris, there enjoyed the pany of Dickens, Thackeray, Browning, Ma

r ad c e . y , Lytton , Leslie , and Wilkie Collins The master also had some connection with th e great novelist Thackeray, which became a very

‘ I n 18 A warm friendship . 6 0 he drew Black

to Sheep for Thackeray, accompany his story

” W w i n l of Lovell , the ido er, the Cornhil a M gazine .

Lan dseer was intimate with that marvelous

r wit and clerical dignita y Sydney Smith, and two of the best sayings of the facetious par

n s on are con ected with him . Some one urged

to a an d Smith sit to L ndseer for his portrait, he replied in the words of the Syrian messen ger to the proph et Elisha : Is thy servan t a ” dog that he should do this great thing ? Les lie avers th at Smith never said anything of the h f kind , but that, aving met the artist soon a ter

r k : ou the sto y was published, he as ed Have y ” seen ou r little joke in the papers ? To which SI D N E Y S MH H . 87

“ Landseer replied : Ar e you dispo sed to ao ” “ knowledge it ? Smith said : I have no oh

n s At t was je c ti o . another ime the artist talk “ hi m b : ing with a out the drama, and said With

o of an ac t o f y ur love humor, it must be great s elf-denial to abstain from going to the the

’ atre s . To which Sydney Smith made answer “ Th e managers are very polite ; they se nd m e

’ f h u se r e ree admissions , whic I can t , and, in

’ ” turn, I send them free admissions to St . Paul s .

Le slie tells th e following story of an inci dent at a dinner-party at th e h ouse of Sir

s h c Franci C antrey, the great s ulptor, at which

h e was . th e s present Edwin Landseer, be t of of mimics, gave a capital specimen Chant

’ ’ e Ch an tre s own rey s mann r, and at y table .

ni Di ng at his house with a large party, after the cloth was removed from th e beautifully

’ Ch an tre s l polished table, y furniture was a l

’ — e e w beautiful, Lands r s attention as c alled by

th e fl th e of him to re ections, in table, the com

‘ r n . o and i n pa y, furnitu e, lamps, etc C me sit

’ e my place and study p rspective, said our host,

e n f As and w t himsel to the fire . soon as

’ e was at Ch an tre s h Landse r se ed in y chair, e 88 LAN D SE E R . t urned round , and imitating his voice and man

‘ s : m an th ner aid to him Come, young , you ink yourself ornam ental ; now make yourself use a d ’ ful, n ring the bell . Chantrey did as he

th e was was desired ; butler appeared , and per

’ ’ fe c tl y bewildered at hearing his master s voice,

of from the head the table, order some claret, ” while he s aw him standing before the fire . Landseer was never so happy as when draw

or an d n ing studying lions, kept up that bra ch

n n of research u til the end of his life . Whe

ZoOlo ic al ever a lion died at the g Gardens, its

ff n of body was o ered to the master, and one th e anxious z oOlogi s ts of the city might hope

r fo it until he had been consulted . Charles

Dickens used to tell a story that once when a

’ party was assembled at Landseer s house, a

- O ad man servant pened the door, and thus

' s an r oza’ dressed his master, with perfect gf , and “ as if it was a frequent occurrence there : Did ” ? A of th e you order a lion , sir ware sin

ular itie s of a z g their host, and ma ed at this

—of- n straightforward and matter fact questio s , some of the guests were afraid that a living lion was loitering outside , and merely awaiting

LAN D S E R 90 E .

Landseer would not allow th e convers ation to t be quashed hus summarily, and answered

two Oh, I can do that ; lend me pencils, and

’ I will show you . Whereupon , with a pencil in not each hand, and hesitating a moment, he

’ w on e dre with hand a stag s head and antlers ,

’ an h d with the other a horse s ead . The sketches were equally good, and showed great — energy and spirit, as much indeed , as if they

n ff had bee drawn at di erent times , and under more favorable circumstances . The acts of draughtsmanship were perfectly simultaneous, an d not alternate , and showed that the con trolling brain was capable of directing at th e same time two distinct limbs in similar but di verse Operations , attended with distinct mental

H ow processes . this rare feat may have been accomplished is an interesting question for students of the actio n of the brain and of the n erve forces .

‘ ’ The subjects of The Cavalier s Pets were

wh o l two beautiful spaniels , were portrayed y ing on a table , alongside a plumed hat . They

of e n were favorites Robert Vernon , and the

l of e was tire picture, ful precision and grac , W ' RAP I D ORE . 9 1

in two painted less than days , a wonderful

of feat of dexterity and skill . Instances this

’ remarkable celerity are numerous in Landseer s

n life . While visiting the emi ent connoisseur,

W R e dle af th e illiam Wells, at , he painted

‘ ’ Do k Trim, the Old g looks li e a Picture in two h to hours and a alf . The master once sent the Exhibition a picture of rabbits , under which “ he wrote : Painted in three quarters of an ” h u o r . Mr. Wells says that on one occasion, when he was about leaving his mansion of

Re dle af o to g to Penshurst Church , his butler placed a canvas on the easel before Landseer, a who had preferred to rem in in the house . On

n fin his retur , three hours later, the artist had i sh e d - of - a life sized picture a fallow deer, and so th oroughly was the work done that it was impossible to see how it could be improved by further touching. Landseer would place a clean canvas upon

da or his easel, and let it remain for a whole y, h a even for several days, until he d thought out the whole subject, when he would fall to work and carry forward the painting with great r a idit p y and precision . His best work , after the 2 9 LAN D S EE R .

fi was wit i h e r th a rst ten years, from h n , rat n from without. It was his old comrade Bewick who said

r t e Sir Edwin has a fine hand, a co rect eye ,

m fined perceptions , and can do al ost anything

n n w e but da ce o the slack ir . He is a fine

i - S b lliard player, plays at chess , ings when with

h as h u his intimate friends , and considerable mor.

Landseer is sensitive, delicate , with a fine

n — u nesse hand for ma ipulation , p to all the fi of th e art ; has br ushes of all peculiarities for all difficulties ; turns his picture into all m an ner of situation and light ; looks at it from b e t c riti ween his legs, and all with the strictly

of d al cal view discovering hid en defects, f sities of drawing or imperfections . See to what per fe c tion ur he carries his perception of s face,

e d e hair, silk, wool, rock, grass, foliag , istanc ,

m e ! h ow h e th e az or fog, ist, smok paints gl ed ” watery eye I A CH PTER VII .

’ Th e G re at Change . Con tine ntal To u r . Th e Sanc tuary . Fre sc os .

’ ’ n W r . Ale xande r n n Sh oe ing . Peac e a d a a d D ioge e s

Louis N apole on . 0

I N the year 1840 came a great change in the

th e life of master, produced by an attack of ill

h s o ness, whic became serious that he was

n obliged to aba don the studio , and devote some

n n time to traveling o the Contine t . From this date he entered upon his period of reflection and sadness, when his pictures ceased to be nar r ative h , and became painful and pathetic in t eir

- lessons , with high strung passages of spiritual

r i n poet y . But even this late period of solem n ity and r e fle c tive n e s s he executed a fe w pleas ‘ A ant and humorous pictures , like the lexander ’ f f and Diogenes , as if sudden moods o joy ul n ess lightened through th e calm twilight of sor row .

n h Mr. William Wells was one of the most e t u

’ sias tic an admirers of Landseer s paintings, m y 94 L AN H S E E R . of which he added to his great collection of pict ures . The artist became a frequent and honored

’ R e dle af r - an d visitor at , Wells s count y house ; it was during on e of these sojourns that he was

n taken with his first viole t sickness . The main trouble which came upon the master

of at this time was a severe attack depression, on e of the first of those te rrible glooms which dafke ne d n u all his subsequent life, and nearly seated his reason . He was recommended to

an d abandon work for the time , and go abroad in deference to the wishes of his solicitous

o f friends he took a vacation some months,

of during which he traversed parts France ,

z A . h Belgium, Swit erland, and ustria His c ief sojourns were at joyous Vienna and in the n eigh b or h ood of Geneva. Certain sketches of this B time show that the master visited elgium ,

Aix Frankfort, Geneva, Dijon , Strasburg, and

- la Chapelle . It was the only long tour that he ever made outside the limits of his beloved

Britain . He made six ch arming character-sketches on w w this journey, which ere after ards etched by the Que en and Prince Albert . Many other draw A TR UE BRI TON . 9 5

k ti ings were brought bac from the Con nent, but

n was of o use made them, although their beauty

and interest have bee n highly praised . Many of

them are slight and unfinished, but nevertheless

n Show great power and life , bei g for the most

part sketches of men and animals .

u The civic splendors of Br ssels and Vienna, and the m agnificen t scen ery of Switzerland and

to r the Tyrol, appear have made but little imp es

ou r d sion upon master, who har ly even recog

’ wa niz e d their value in art . He s a conservative Briton i n the intense affection with which he

th e -u n wav regarded land of his birth , and the f ering constancy o his attachment to England . His realms of th e imagination were upon the w same narrow island, narro , indeed, but how — glorious i n the picturesque Scottish land ;

and h e was pe rfectly indifferent to the Alps and

the Villa Borghese , as well as to their inhabit

n ants and local divi ities .

When the Cz ar Nicholas of Russia visited

l n 18 2 Eng a d, in 4 , Landseer made a portrait of

him , at Gore House . The drawing was owned

th e A by Duke of St . lbans , who presented it to

the u of Ed n 18 on D ke i burgh , in 7 4, doubtless D E 96 LAN SE R . account of his con nection with th e Russian Im perial family.

‘ ’ r n 18 2 The Sanctua y was pai ted in 4 , for

W of R e dle af for 100 n s illiam Wells, , gui ea but Prince Albert was so taken with the picture

to that he persuaded Mr. Wells give it up, and

e it is now owned by the Queen . Many r pro du c tio n s va of this design have been made, in r n m i io s for s, and render an extended descr ption

n needless . The hu ted stag is just wading up

to th e secure island shore , with the gleaming water behind broken only by the long ripples

h is i l s e from sw mming shou ders, and the till ven

ing sky crossed only by a swerving line of fly

in g fowl . The motto of the picture was tak e n “ ” from the poem of Loch Maree

Se e wh e re th e s tar tle d wild-fowl s c re am i n ris g e ,

’ An d s e e k in m ars h all d fligh t th o se golde n skie s ;

Yon we ar ie d s wim m e r s c ar c e c an win th e land,

H is lim b s e t falte r y o n th e wate ry s tran d.

’ Poor h unte d h art ! th e n l pai fu s tr uggle o e r,

H ow b le s t th e s h e lte r o f th at is land s h or e !

The re wh ils t h e s ob s h is antin h ar t to , , p g e re st,

” N or h ou nd n or h u nte r s h all hi s lai r m oles t.

‘ ’ Th e t am n e x 18 2 Ot er and S l o , hibited in 4 ,

98 LA N D S E ER . an d was ho nored with a monumen t on th e

e s n l p of Wi dsor Castle .

so- n u m The called Milton Villa, an octago al s m e r- of Pal , house in the garden Buckingham w ace , was adorned ith a fresco by Landseer,

‘ ’ representing The Defeat of Comus . This

n e n n compositio has be e graved several times, and is remarkable for its overmastering force , an d its Hogarthian delineation of a wild and At sensual orgy . the same time Leslie, Mac

Uwi ns Si r lise , Etty, Eastlake , , Stanfield , and

“ William Ross were engaged in the Milton l w Villa, each frescoing a unette ith a scene

’ “ from Milton s Masque of Comus and the Queen and the Prince Consort used to visit

the scen e of their labors as ofte n as every

A of day . nother fresco this time was done at

G w de r e m t y Hous , during the co peti ion of car

for of n ow n toons the House Lords, and belo gs A to the Queen . rdverikie Lodge , in the North e rn Highlands , was adorned with a set of game

o n s of pictures , made the walls with piece burnt

e stick and a re d brick . These w re destroyed

fi i 18 b ut e r by re n 7 3, had previously be n epro

du c e d by photography . ’ S H OE I N G . 99

‘ The Otter Hunt was painted for the Earl of

18 Aberdeen, in 44, and is admirably drawn, but

t coldly colored an d flatly executed . It rep e

n s n i n sents a huntsma tandi g a stream, and holding up an otter transfixed through the loins by his spear, writhing and contorted, and bit in - ff i n h i s i g the spear sta dying agon es, while around him is a multitudinous pack of excited d ogs, yelping, leaping, and fighting each other in their fury for the prey . The Challenge was

m another famous picture of this ti e, and shows a vigorous stag loudly bellowing his defiance , either at approaching hunters or other animals of n his ki d .

’ Shoeing is another picture bearing the date of 18 44, which has been many times engraved .

The scene is the interior of a coun try black

’ th e r smith s shop, with farrier t ying a new shoe

S on the near hind hoof of a plendid bay mare, under whose head stands a shaggy little donkey, w ith a bloodhound in front . The main subject of s was th e l thi composition mare Betty, be ong

’ ing to the artist s friend, Jacob Bell , and her master had intended to have her painted with a f a o l . For this purpose he had two successive I 00 LAN D S E E R .

r to u foals bred by her, but they both g ew mat rity before the artist was ready to portray th e

n on e group, and the idea was abando ed . But

’ da h r l y , w en Landsee was at Mr . Be l s , he spoke i n of high terms of the condition the mare, and “ said : I am determined to paint Old Betty after all . The shoeing scene was decided

o u t fa upon , and forthwith carried , with this

m e mous result . The velvety hide of the ar , touched here and there by lustrous high lights, is admirably represented ; and Sh e appears in her accustomed attitude , standing at ease and without a halter . This picture was included

to by its owner in the Bell Gift the nation, and is now at South Kensington .

‘ The companion pictures o f Peace and

‘ ’ War n 18 6 were pai ted in 4 , and are now in

n the Verno Gallery. The former is a beauti ful scene on a high chalk cliff o verlooking the

- f w blue and sun lit expanse o Dover harbor, ith a group of three bright-faced and heedless child

S a hepherds , and sever l sheep and goats grazing A a o n . near by, the fair green downs c nnon has

and fallen from the useless ramparts , a lamb is pulling out th e gras s which one of th e little

102 LAN D R S EE .

’ i n t r n finely reproduced his bro he s engravi g.

It was painted for the Marquis of Bre adal bane . Another conspicuous picture of very large dimensions was pain ted in 1847 for the Mar

of quis Breadalbane, who presented it to

A i n th e Prince lbert , and it is now at Osborne,

’ ‘ n A i f Queen s possessio . The scene is Dr ve o

’ O r c h a Deer, Glen y, and represents the shoot

of l h ing of deer in a pass the High ands, throug which the doomed animals are trooping i n full panic .

‘ ’ ou t th e Digging Otter, an unfinished work

n of of this time, has si ce had the honor being

A. completed by J . E . Millais , R .

f l -Mar o ie d The venerable victor Waterloo, F shal the Duke of Wellington , was fascinated with a courage not inferior to that of his gren adie rs l , and exhibited in a ess sanguinary way,

Am b u r h l by Van g , the ce ebrated menagerie

r f prop ietor . He there ore ordered Landseer to

a h e - p int a large picture of t lion tamer, as he appeared with his animals in the London thea

o n th e t tres , and taking d w his Bible told artis

r x m th e to insc ibe a text under it, as e e plifying 1 A D LA D OR R OSS E TT N N . 103

t gift of God . On accoun of this text Landseer used to call the Van Am b u rgh s cene his s a

i th e cred p cture . The Duke paid for

no w work , which is owned by his successor. The Quee n had a similar picture painted by

r are Landsee , and both of them regarded as

o among the p orest productions of his pencil,

i n e fli c ie n t i n n vulgar in theme, and executio . By this ti m e the critics of London asserte d that the master had lost much of the technical s k and t ill solidi y of his younger days, and that

m c his later works, though ore popular and poeti ,

n were poor i artistic qualities . They were cer tai n ly superior to their predecessors in th e i higher intellectual and imag native qualities , and it se emed evident that Landsee r had at

‘ last found th e tl aits of the popular mind to which he could most successfully appeal . These were two in number, sad pathos and gentle

n n humor, and he ra g the changes upo them w an d ith rarest skill delicacy . Rossetti thus stated the secret of his magic power : Land

is of seer the dramatist the animal world ; life, spirit, incident, are at his command more richly and more sympathetically than with any other 104 LA N D S E ER .

And painter of the like class . Walter Savage

Landor said : There are two men , Hogarth ff a t and Landseer, who a ect my he rt the mos

n c an deeply of all pai ters , and Raphael alone ” detain me s o long a time before him .

In 1848 the m aster received an order from the Government Commissioners on the Fine Arts to paint three subjects connected with

of the chase, for the three compartments the

’ Peers Refreshment Room , in the new Parlia men t House . The amount offered was only

£500 each and it is evident that Landseer accepted the commission more for the sake of

r pat iotism than profit . But this contract came to nothing, for the House of Commons refused

i n to vote the appropriation needful , a moment of pique at the delay in decoratin g the Palace

and th e at Westminster, whole scheme fell to the ground .

‘ ’ The Ran dom Shot was painted for Prince

A 18 8 on e of a lbert, in 4 , and is the most p

’ thetic of Landseer s works . Some careless hunter has wounded a doe, which has retired

e hither to die, followed by her fawn . The scen is a vast and m isty place amid snowy mou nt

106 LAN D S E ER .

of th e n a decade his life, venerable Joh L nd seer was hale and hearty , and frequently took long walks in company with William Howitt, wh wa ’ o s . his neighbor at St John s Wood .

When Robert Vernon commissioned the m as ter to paint a new picture for the nation, in

18 -fie ld as 47 , he selected the battle of Waterloo

A or two its scene . year later Landseer went

to m to Belgium , ake the necessary studies and

an d sketches for the new work, excited great interest among the artists of the Low Coun

r wh o a i t ies, were mazed to see a painter liv ng so luxuriously . They reported among them

t selves, with almost incredulous admira ion , that he was always accompanied by a man -servant

S t l while ke ching in the woods near Brusse s , an d that he was accustomed to regale himself

f n o n the best o champagne . The e ormous sum of was paid for the copyright of the ne w historical painting.

‘ The Dialog ue of Waterloo was the result i n of g picture , and represents the Duke Wel l d -i n -law n ington an his daughter , the Marchio ess

-fie ld of Douro, upon the battle , while the old

e f veteran describ s the scenes o the conflict . A ’ TH E MON R CH . 107

a Near them is a Belgian farmer, whose face is

- of . A . portrait David Roberts , R At this time Sir Edwin was frequently t e c e i ve d th e a by Roy l Family, and enjoyed grat if n yi g attentions at Windsor . He even gave a

n wh o ad few lessons in drawi g to the Queen ,

’ rz/z ze n d m ired his b o om a spirit . In the autumn of this year Sir Edwin also spen t some time at Al Balmoral , and heard the Queen and Prince bert express their hopes that the Royal Acad emy would choose Eastlake for its President .

He immediately informed Leslie of the fact, by letter, and Leslie persuaded the reluctant East a ffi h lake to be candidate for the o ce, to w ich he was easily elected .

‘ 18 1 The Monarch of the Glen appeared in 5 , an d was o ne o f the works designed for the Re

t m an d freshmen Roo of the House of Lords ,

’ left on the ar tist s hands by the failu re of the

t appropria ion bill . He sold the pictu re to Lord

8 0 0 Londesborough for guineas , and the copy

to - 00 right Graves, the print publisher, for 5 guineas . The subject is a magnificent stag, h painted wit wonderful skill and delicacy, and modeled with extraordinary vigor . The title of 10 8 LAN D S EER . t n for his picture has bee given by later writers, th e artist appended n o other name to it than “ n the following lines, from the Lege ds of Gle n

O rc h ay

’ Wh e n firs t th e da -s tar s le ar i h y c , c ool l g t,

’ Ch as in n i h t s s h adows r a g g g y,

With s ilve r to uc h e d e ac h r oc ky h e igh t

Th at irde d w ld l n -s trae g i G e ,

U ros e th e Mon rc h of th e le a n p g ,

Mae t r o r s ic f m h is lai j ,

S urve e d th e sc e n e with ie r c in ke y p g n,

’ ” And s n ufid th e fragrant air .

‘ ’ ’ The Midsummer Night s Dream is a beau

i of th e f t ful poetic invention , and one best o the pictures which have been made to illus a trate Shakespeare . Titania is n imperial and

e - of th e grac ful figure, not fairy like , but full

an d languor of love , crowned with a diadem of

- l leaves and glow worms . She leans caressing y against the complacent Bottom , who reaches his

w of huge paw towards her, hile a troop tricksy fairies mounted on white rabbits surround the m m u is ated lovers , f ll of the liveliest frolics

of s e and the abandonment mirth . Thi pictur was e I s am b ard painted for the gr at engineer,

I I O LAN D S E E R .

u t wa interest and disc ssion . Our artis s th e only on e of his nation to receive the gre at gold medal from the jury of this prodigious

n n gatheri g . The decision was incomprehe sible

s to many English connoi seurs , who believed

z that Mulready was better entitled to the pri e, and had more chance of getting it .

The two foremost pictures of 1853 were

‘ ’ ‘ ’ of Night and Morning, representing a duel f two stags and the death o both . The first is

a scene of late twilight gloom , with a dim moon

and flaws of rain, amid which, hard by a mount ain two lake , the beasts are fighting with the

n of utmost desperatio and intensity action,

m locked horn in horn . It bears the otto verse 3

Th e m oon c le ar wi tne s s of th e fie rc e affra , y ,

’ H e r wake ful lam p h e ld o e r that lon e ly plac e ;

’ in in with li h t th e wild lake s fitful s ra Fr g g g p y,

” Wh ils t m adly glanc e d th e Bore alis r ac e . The second scene is at the still hour of rosy

th e n a dawn , with bright lake slumberi g mong l th e gray hi ls, and the combatants lying dead on the slope, still locked together by their

In th e a o e a of e horns . air b v bird pr y is cir - TH E MI S T P I C TURE . I I I

an d out of c ling, a fox creeps his lair in the

vic fern, both waiting to fall upon their noble

tim .

b r e of de ath th e la Loc ke d in th e c lose e m ac y y,

Th os e m igh ty h e roe s of th e m ountain s ide ;

Con te ndi n c h am i ns for th e kin l s wa g p o g y y,

’ I n s tre n th and s iri t m atc h d th e fou h t an d die d g p y g .

’ The Children of th e Mist is a design which is not much known on this side of the A tlantic, although Sir Edwin once stated that

he had r eceived more complime n tary notes about this little picture than any other he had

ever painted . It was also the subject of the

finest engraving that Thomas Landseer made .

The composition is simple , and represents a

of a St r group deer on wide retch of moo land,

which is covered with clouds .

n When Robert Stephenson , the great engi eer,

was offered a service of silver plate by the Lo n don and North Western Railway Company, he suggested that a picture by Sir Edwin Landseer would be more acceptable . The artist said that that was th e first time he had ever heard of a man preferring a picture to a service of ” a a : e . pl te, dding He shall hav a good one E I 12 LAN D S E R . " Th e theme of the presentation work was Th e ’ a Twins, to which the railway company dded

’ n Stan fie ld s Clarkso Wind against Tide, Til

’ r bury Fo t .

Sir Edwin was present when th e Emperor

Ar t n of 18 gave the prizes at the Expositio 55, and Forster thus narrates Napoleon ’ s reception “ o f h im : As his old friend the great painter

u came p, the comical expression in his face that

‘ n said plainly, What a devilish odd thi g this is

’ ’ n t i t ? altogether, is composed itself to grav ity as he took Edwin by the hand , and said in

‘ ’ to s e e . cordial English, I am very glad you

s o He stood, Landseer told us, in a recess ar ranged as to produce a clear echo of every ff t word he said, and this had a startling e ec .

n In the eve ing of that day Dickens , Landseer,

Boxall e r , Leslie, and three oth rs dined togethe

n i the Palais Royal . Sir Edwin once painted a picture for Jacob

10 0 w Bell for guineas , hich the latter soon afterwards sold for guineas . Placing the

’ l in n . atter amount La dseer s bank, Mr Bell n s o arrated the circumstance, uppressing b th h is own am e and th a of th e r and n t pu rchase ,

114 LAN D S E E R .

th e for h i exposed at market sale , chained to s wife . The most pathetic part of the picture is

of m the face the fe ale dog, which is turned to wards her spouse with a profoundly tearful ex pression . The master never succeeded better in depicting the almost human intelligence of

i n animals , as exemplified their physiognomies .

‘ ’ Rough and Ready is a charming picture of - d a favorite mare, standing in her stable yar ,

an of and looking, with expression annoyance,

and at a hen . who has just laid an egg, with loud an d uproariou s cackles calls all the world

to observe .

’ - was i 18 c n Brae Mar pa nted in 57 , and o tains perhaps the noblest single figure which w Sir Ed in ever painted , a stately stag, stand in -to w g clearly out on a misty hill p, and bello

h is d ing defiance, hea showing the perfection of dignity and pride , while near him are sev

1868 eral does . This picture was sold, in , for

guineas .

‘ ’ Th e Twa Dogs is an illu stration of Bur ns s

m s charming poe of the same name , and show

two a beautiful Highland landscape , with char

a r i ic u o ne is c te st dogs in the foregro nd . The ’ TH E TWA D OG S . ” 5

r t and r- e reclining, with g ea gravity clea ey d dig nity apparent in his face ; and the other is a

an d rough honest Scottish tyke , less gentle

n manly tha his companion , but evidently better

e fitted for service, as his erect and alert attitud

w h is . sho s , and bright, quick eye The scene illustrates the lines

n a b onnie da i n u ne Upo y J ,

h e we ar in thr ou h th e afte n W n g g rnoo ,

Twa do s th at we re na th ran at h am e g g ,

a h e re nc u ti Fore g t d o e pon a m e .

on a k n owe th e s at th e m do u ne Up y ,

And th e re b e gan a lang digre ss ion

’ ” Ab out th e lords o th e c r e ation . A CH PTER VIII .

‘ ’ ‘ e rs n al A n Th l . An A n . Th P o ppeara c e . e F ood rc ti c Sc e e c

’ - — ‘ ’ — Con n ois se u rs . eath Th e Colossal Lion Statu e s Th e Font. D

and Be qu e sts .

MR . . T H i v F S . S EP ENS has g en the following pen-picture of Landseer in his fifty-eighth year : He looked as if about to become an old man , although his years by no means justified the fact ; it was not that he had lost activity or energy, or that his form had shrunk, for he moved as firmly and swiftly as ever ; indeed, he was rather demonstrative in this matter, stepping on and off the platform i n his studio with needless display, and his form was stout w and ell filled . Nevertheless , without seem

n ot ing to be overworked , he did look robust, and he had a nervous manner remarkable in so distinguished a man , one who was usually

f an d by no means unconscious o himself, yet, to of those he liked, full kindness and genial

e e in an unusual degree . The wid green Shad which at intervals durin g his later years th e

118 LA N D S E‘ E R .

of th e s and those strongest . But all he care for in his science is just what suits h is purpose

th at e time . He does not want to be a master of or painting, as a Venetian Florentine might ;

’ ’ he wan ts to do Lady So -an d-SO S terrier s back

s n o . bristles exactly like bri tles , and more He

’ ’ n t o ne of did care for painting, and he was n t

wa an d us . He s much greater and healthier better understood , I dare say , but he shirked the hard work, and he blinked the high aims .

He Should have believed more in his o wn gen

’ hi s h im t ius , and led patrons with ; if he had n thought so much of shooting an d staying about h at big houses , he mig t have done them and

” m hi self immortal honor .

’ Landseer s life -lon g custom in the matter of studies was to make them on mill -boards of a

l z genera ly uniform si e, which also included the

for of n first thoughts many his pictures, desig s

an d which were afterwards modified, bold con c e ptio n s which were never carried ou t in colors . After his death a great n umber of these mill

n a b oards were found in the studio , showi g rtis tic qualities of a very high order.

r e The hai y texture of dogs , the wool of sh ep, TH E H N T D S TA ’ U E G . 1 19

of the plumage of birds, the glossy hides horses, were dexterously imitated by Landseer in a

close approach to the truth of nature , yet by h simple and speedy means, and a thoroug and disciplined knowledge of the capabilities of his

b of - rushes, and original methods using his colors and vehicles . They seem to be intui tive l y perfect, and are worthy the closest ex amination by stu dents of light-handed and bean

Bu t tiful execution . this marvelous facility and rapidity were the fruits of many years of ardu

’ n a h ous prelimi ry studies, by whic the artist s eye and hand had bee n educated to an almost

u int itive accuracy . ‘ The Hunted Stag is the name which the Londoners have substituted for the master’ s title of Bran will never pu t another Stag to

m bay ; and Oscar will no make out by hi self .

’ The deer will do fine yet ! The pict ure thu s christened represented a stag taking to the

r on e of wate , after having mortally hurt the

n an d n pursuing hou ds , drive back the other.

u l It is a vigoro s y designed composition , which the painter changed after its completion by

n m making a b ackgrou d of stor . 1 2 0 LA N D S EER .

. b wh o n s o Mr Jaco Bell, had bee for many

’ years Landseer s most helpful friend, had his

portrait painted by the master at this time, at

n u n af one pai f l sitting, and died not lo g ter w ards . ‘ A Kind Star illustrates the Scottish super

s tition that b in ds are under the protection of

b in d o n benevolent stars, and portrays a dying

t - the shore of a lake, wi h a star crowned spirit

b ending tenderly over it . Realistic London

of n stood aghast before this bit poetic fa cy, and cried that the brain which for so many years had teemed with beautiful concep tions

n l was at last showing sig s of decay, and vio at ing the canons of the Academy by encouraging absurd puerilities . The more charitable attrib

’ u te d this lapse to the master s defere n ce to

m - r so e weak minded patron , or to a momenta y ascendency of a vulgar impulse .

But distressed Belgravia was greatly relieved the next year when Sir Edwi n exhibited h is w strongest and most po erful picture, the Flood

’ u vil in th e Highlands . The scene is a h mble

of e lage , invaded by a resistless torrent wat r,

m fur ni which is sweeping away farm i plements,

I 2 2 LAN D SE E R .

o straw . Contemp rary with this work was a h h grand triptyc of stag pictures , scenes in t e

’ of Bre adalb an e s - Marquis Highland deer forest,

containing i n the centre a fatal duel between

two n an d on mighty a tlered deer, the wings

b i n ds on stags and snowy and misty hills .

‘ ’ Apropos of The Fatal D uel a question was

raised at this time as to whether Si r Edwin

was correct when he painted drops of blood on

- the broken brow antlers of his stags . Frank Buckland took up the subject and studied it

n it carefully, coming to the co clusion that was barely possible that such an appearance might

v ha e presented itself, but very unlikely. He also convinced himself that what a wh ite horse

was to Wouve r m ans a bit of red was to Land

u seer, and states some of the c rious shifts and contrivances to which he had been put to at tain this touch of bright color. Most cri tics and m e n of taste have found serious faul t wi th these dabs of vivid red which Landsee r intro

do - d uces in his pictures , in plaids, g collars, bits

f w u o meat, and other ways , al ays cr de and ir r itati n a v g, and so ggressi ely flaming as to have

’ Mn kh u b an t if a e o o se s m o giv n cause to , that AN AR C TI C S CE N E . 12 3 b th e n we ull should get into Natio al Gallery,

’ should qu ickly s e e the last of Lan dseer s pic t

u . A u res d ller red , dingy and dirty, was also ofte n employed for th e carpets an d table-cloths i n his interiors .

‘ ’ o A Man pr poses, God disposes is an rctic

fin d scene, representing two huge polar bears

’ th e l n ing re ics of Sir John Fra klin s expedition, o n a field of jagged ice, amid the greenish

n light and lurid shadows of the norther noon .

Rosy tints fall on the peaks of ice , and inlets of black water penetrate th e line of the lonely

A n -w coast . cross the fro t is a brine hitened

- n boat mast , with a bit of tarpaulin ha ging over

an d fe w w on are it, a planks belo , which some

an n human bones d a coat of avy blue . One of the bears crunches a whitened bone , and the other is pulling fro m u n der the mast a

g r . a ged bit of bunting, part of a Union Jack

The purch aser of this pict ure paid Sir Edwin

’ O ne of the secrets of Landseer s gr eat pop u larity may be found i n his defe rence to the

t of an d n spiri the age, his readi ess to reflect th e f taste o the period . The influence of A 12 4 L N D S E ER . h passing events was very strong wit him, and caused his pencil to portray the life and advent ures of his friends and countrymen with e nth u

i n s ias t c atte tion . In the days of Rarey and the

‘ - horse breakers, he painted The Taming of the

’ ’ w on Shrew, which all London s admiration ; when the Arctic explorers were sailing north

’ u ward , with England s pro d and tearful eyes

fin d upon them , he delineated the Polar bears ing the Union Jack on the u n trodden ic e ; and the days of the sham -antique revival were il l u strated by the Bolton Abbey and other congenial themes .

The subtlety of Durer, the profound mys te r w y of Leonardo , the weirdness of Blake , ere

’ H e alike foreign to Landseer s genius . told his stories in color, with the utmost frankness

n o r f and clear ess, avoiding all involution hal

h ‘ concealment, and showing forth orror and

n u even repulsive ess altogether undisg ised, when those elements were th e most natural un der

n t the circumsta ces . To this candor he uni ed

u a perfect simplicity of arrangement, witho t

x u an d comple details or recondite all sions , therefore all the more effective with the great

126 L A N D S E E R .

r t chief figure is an eno mous black dog, sit ing

h of as if for his picture, wit an air perfect dig n it - l y and self possession , and ho ding a softener

u i n n th An l br sh his m o . e egant and com posed fawn -colored dog is at his side ; and in

are e s ! the foreground sev ral dead doves , a phea

- v ant, and a cigar case of purple vel et .

‘ 186 an d The Connoisseurs was painted in 5,

n n n e prese ted by Sir Edwi to the Pri ce of Wal s .

It consists of a half-length figure of the artist

f n in himsel , engaged in drawi g, while two very te llige n t and appreciative dogs look over his

v of shoulders , and obser e the progress the work with contem plative and critical expressions . It is a perfect triumph of Landseer ’ s peculiar gift of portraying the most delicate shades of animal “ : feeling. As Monkhouse says The man b e

— S n hind his work was seen through it, e sitive ,

- variously gifted , manly, genial , tender hearted ,

S aff and imple , and un ected , a lover of animals children an d humanity ; and if any one wishes

a e to see at a gl nce nearly all we have writt n , let

e f him look at his own portrait, painted by hims l ; ” connoisseu r with a canine on either Side .

The portraits of Sir Edwin Landseer al s o i n “ ’ ‘ V I T ’ P R OS P ER I TY AN D AD ERS Y. 12 7

’ two d O rs a x e lude by the Count y, e ecuted in

o ’ 18 D u e r s 1 8 0 43 ; pp drawing, dated 3 a photo graph of 1855; and the pictures made i n his earlier years , and elsewhere spoken of . He also had a marble bust executed by Baron Maro h A c etti, which now pertains to the Royal cad emy . Prosperity and Adversity have two horses for their subjects : the o ne a superb and sleek

u hided bay horse , admirably formed , and with p lifted head and expanded nostrils ; the othe r

- in n - a cab horse in an yard, timidly pawing the f ffi l stones with worn hoo s, and sni ng hope essly

o u t h is at a heap of corn which is of reach . His neck has been galled to bleeding by the shabby collar, and his face bears lines of weari ness and deprecation .

h va W en Sir Charles Eastlake died , leaving

of A cant the Presidency the Royal cademy, and Daniel Mac lise modestly declined to be a can didate for ffi a that honorable o ce , a l rge major ity of the Academician s and the friends of art

d n begged Landseer to accept the ig ity . But he

i n refused , the most positive manner.

’ Sir Edwin s first public appearance as a 12 8 LAN D S EE R .

1866 h e d sculptor was made in , when exhibite

t a vigorous model of a s ag at bay . It was originally designed to be cast as a silver centre A piece for the hall of the Duke of bercorn , but proved to be too large fo r reproduction in

in z an d the precious metal , and was cast bron e purchased by Mr. Eaton .

Once more the noble Northumbrian , the Earl

’ of Tank e rville a r i n , appears as L ndseer s pat on ,

186 two 7 , when he secured from him large and

‘ b n u W n m rillia t pict res , ild Cattle in Chilli gha h k ’ w Park and Deer in C illingham Par , hich

’ were destined for the adornment of the Earl s

m a n ifi castle . The former is a painting of a g

c ow an d f cent bull, accompanied by his cal , and a “ standing mong heather and rocks, mightiest of all th e beasts of chase th at roam in woody ” Caledon . The grandest triumph of Landseer as a sculptor is found in the colossal bronze lions

Mn which n ow adorn the base of th e Nelson o

A th e u m e n t . s , in Trafalgar Square early as year 1859 the Government commissioned him to e e execute thes works, since he knew mor than any othe r ar tist of the structure and e x

130 LAN D S E E R .

ous talons, and little recking for the heavy

’ blows of the swan s wings and the bites of

i m a n ifi their feeble bills . Once more , in th s g cent picture, the youthful fire and ambition of the master flamed up in the late evening of his days .

‘ ’ k 18 0 The Sick Mon ey was executed in 7 ,

and met with a great success among th e pe O ‘

ple . Thomas Baring paid guineas for

t he to work, which he bequeathed Lord North

brook, the Viceroy of India .

‘ ’ 18 2 The Font was painted in 7 , and seems

to have been a prophecy of the coming end,

as well in the religious solemnity of the sub

’ j c e t as in the evident decay of the artist s phys

ical powers . It is an exquisite sacred alle

i n gory, which the emblematic sheep and lambs of the Gospel are gathering around an ancient

f O ont in the pen fields , while doves have lighted on the edge of the basin , and a rainbow spans

k S of the distant S y . On the ides the font are

A of the symbols of the tonement, and a mask

the Saviour .

’ ‘ The Lion and th e Lamb was the last im

a i n a ive of e g t picture Landse r, and is distin A ’ FUN E RA L A T S 7 1 P UL S . I 3I gu is h e d for its naked Simplicity and u n SOphis

e to tic at d grandeur . It is an attempt portray the realization of the ancient Hebrew prophecy “ of the time when the lion shall lie down with

” the lamb .

’ The last year of th e master s life was pro du c tive of four pictures : the equestrian portrait of th e Queen ; a picture of his own favorite ‘ k dog Tracker ; The Trickster and Mrs . Pric

’ e tt s dog Jolly . Jolly was the last dog which

Sir Edwin painted . The closing years of Landseer ’s life were

an d darkened by attacks of depression distress, and it was sometimes feared that his reason At would give way . last, having passed the

’ on h e allotted limit of man s existence earth, was gath ered to his fathers . He died on the

18 first of October, 7 3, and was honored by a

’ splendid funeral and an interment in St . Paul s

Cathedral .

The property left by Sir Edwin amounted to over and the pictures and drawings found in the studio were sold , a few months later, for nearly The estate was dis

of f : posed by will , in the ollowing manner To 132 LAN D S E E R .

his brother Charles, to Mr . T . H .

A 0 0 . u Hills, to Mrs shton , 5 g ineas ;

2 0 to Dr. R . D . Darling, £ 5 to Miss Marion

10 0 to n Lee, an annuity of £ ; his serva t, Will

’ 100 w iam Butler, £ to Jennie , Sir Ed in s

r re sister, all the jewel y and other articles p sented h im by the Queen ; and the remainder of the property (an enormous amount) to b e equally divided between his brother Thomas and his three sisters .

134 LAN D S EE R .

Sle e in Bloodh ou nd 18 Waitin H i hland D o s p g , 35; g ( g g ) ,

18 8 D i nit and Im ude nc e 18 Th e D e fe at of 3 ; g y p , 39 ;

C om us 18 Sh oe in 18 Ale xan de r an D o e ne s , 43 ; g, 44 ; d i g ,

18 8 Th e Mad th e and Ma i ie 18 8 4 gp , 5 .

Ro al Ac ade Th Wa m e D e ad r r ior 18 0. y y , , 3

N ali on l l a P or tr ai t G al e r D r . oh n Alle n 1 . y , J , 84 1

N ational G alle r o S c otlan d Re nt D a in ilde r y f , y th e W ne ss , 1868 .

TH E — h s UEEN . D as h 18 Pe n Br ush and C i e l Q , 35; , , ,

18 6 D ash H e c to r N e r o an d Lor ie 18 8 Lorie 18 8 3 ; , , , , 3 ; , 3 ;

Th e u e e n 18 0 Van Am b u r h and his Anim als 18 0 Q , 4 ; g , 4 ;

Is la Ma aw an d Lo v e -b i r ds 18 0 Lio n D o from c y, , , 4 ; g

Ma 0 s la b e in 2 i 2 Th e alt 18 I 18 Cam ac h 18 , 4 ; y gg g , 4 ; , 4 ;

u e e n an d Ch ildr e n 18 2 E os 18 2 Marm oz e tte s Q , 4 ; , 4 ; ,

18 2 Th e ue e n and P r in c e Alb e r t 18 2 Th e Pri nc e s s 4 ; Q , 4 ;

Ro al 18 2 Se wa 18 2 Pr inc e s s Vic toire of Saxe -C o y , 4 , 4 ;

b u r 18 2 Winds or C as tle i n th e P re s e nt Tim e 18 g, 4 ; , 43 ;

Th e D e fe at of C om u s 18 P r in c e s s Alic e i n a C radle , 43 ;

wh e n n ine da s old 18 Fr e s c o at G w de r H o us e y , 43 ; y ,

18 Pr inc e s s Alic e w ith E 05 18 Th e ue e n i n a 43 ; , 44 ; Q ,

fanc dre s s 18 A D r i ve of D e e r — le n O rc h a 18 y , 45; G y, 47 ;

Th e ue e n s k e tc h in at Lo c h La an 18 Th e Fr e e Q g gg , 47

Kir k 18 D ac ke l 18 H u n te r an Bl o ho u d 18 , 49 , 49 ; d o d n , 49 ;

H i h land Lass ie c ros s in th e S tre am 18 1 Th Mo un t e g g , 5 ;

ai n To 18 1 D andie D inm on t an th e H e d e h o p, 5 d g g,

18 2 Th e ue e n in th e H i h lands 18 D e ar Old Boz 5 Q g , 54 ; ,

Th e u n 186 e e at O s b o rn e 1866 . 5 Q ,

Tlze P r i n c e Wales Th e C on noisse u rs 186 I ndian of , , 5

Mar l 1 . Te n t c and Fo a 866 , , ,

T/ze D u ke E di n b u n lz — Th e Em e ror N ic h olas of q/ g , p ’ Rus s ia 18 2 . Tire D u ke Cam b r id e r in e or e , 4 of g , P c Ge g s — Favor ite s 18 . fire D u ke D evon s/i i r e h e h ie f , 35 4 , T C

’ tain s Fr ie nds 1828 Bolton Ab b e in th e O lde n Tim e , ; y , I A I L S T OF P N TI N G S . 135

18 La in do w n th e Law 18 0. Tb e D u ke o Welli n 34 ; y g , 4 f g ton H i h lan d Wh is k Still 18 2 Van Am b u r h and h is , g y , 9 g

T k u /z n ofth e A nim als 18 . b e D u e S t c r la d C h ildr e n , 47 of ,

d o s e c o nd D u k e of u th e r land 18 8 . Tb c D u ke o B e r d S , 3 f f , — — Ch e v C h as e 1826 . T/ze D u ke o A b e r c or n Lo r d y , f ,

C os m o u e 2 otta e I u s tr 1 Mr R s s ll 18 C nd 8 1 a , 5 g y , 3 c h i o ne s s o f Ab e r c r n an d Ch ild 18 Ch ildr e n of th e o , 34

Mr h h t a uis of Ab e r c o r n 18 6 Twe lft N i 18 6 Th e q , 3 ; g , 3 ; ’ Mar i n /ze D u ke o l Vor t/z u T m b er u s of H am ilto 18 1. q , 4 f

’ lan — Th e D e e r s talk e r s Re tu rn 18 2 Th e Ch alle n e d , 7 g ,

18 . Tb e D u ke o L eeds Th e G o dol h in A r ab ian 182 . 44 f , p , 7

T/ze D u ke o At/z ole — D e ath of th e S ta in G le n Tilt f , g ,

k au — i r Th . 1 2 . Tlze D u o B e o t e e nt ne l 1 0 8 9 e f f S , 84

Mz u i s an s dow n e iz u r e of a ar 182 r o L S e Bo 1 q f , , ;

r s n th r e 18 . Mar u i s o N or t/zam fon C os i e B id g g , 34 q f p ,

Th e Swan ne r i nvade d b Ea le s 186 . Vi s c ou n t H ar y y g , 9

— 18 8 i h t 1 Mr 1 di n e D e e r at Ba N 8 o ni n 8 . g , y, 4 ; g , 53 g, 53

Vi sc ou n te ss Cl de n Th e Br e ak fas t Par t 18 1. if , y, 3

’ E ar l o ssex Th e C at s Paw 182 Th e H awk f E , , 4 ; k ' — Th Tr aine r 18 0 . ar l o Tan e r w lle e Si nal 182 6 , 4 E f , g , ;

Th e D e ath of th e Wild Bu ll 18 6 Re d D e e r of Ch illin , 3 ; g

h am 186 Wild Cattle of C h illin ham 186 . ar l o , 7 g , 7 E f

P ow e r sc ou r t — Tw o S ta s fi h tin 182 6 C h ar le s Sh e ri , g g g, ;

a Mrs . h r i l d n S e dan an d C h ld 18 . ar l o N or m an , , , 47 E f

n - Th h to e H i lan d C r adle 18 1. ar l Al alnz es b u r , g , 3 E Qf y ,

Lad Fitz h ar r is E ar E - 18 8 . l o lles m e r e Th e Re y , 3 f , — tu r n from H aw k in 18 . ar l I Z etlan d Volti e u r g, 37 E f , g ,

’ 1 l B r own low - i um N a 8 . ar M 0 ds m e r i h t s D r e m 7 E , g ,

’ 1 un tess c Ck es te ela u n o te r e l 8 1. Co C o te s s fC h e s fi d 5 f nfi , ,

1835.

L or d N or tkb r ook T e Tr av Mnke 182 Lor h e le d o d , y, 7

As hb ur to n 18 1 Th e Sic k Mon k e 18 0 . Lor d de Cli , 4 y, 7 f

M . u i n 1 E R s s e l or d ar a ne 8 2 th e H o n . S l and f , , 9 ; 136 LA N D S E ER . — Broth e r 18 . Lor d H e n n iker Bru n e tte 182 Fair , 34 , , 3 ; y, — 182 . Lor d PV. Ru s sell Th e Be dford Fam il 182 3 , y, 4 ;

Pe ts 18 2 . Lor d A . Ru ssell H ou rs of Inn oc e nc e 182 . , 3 , , 5

Lor d u ss ll e tte rs 18 . or d War d Th C. R e S L e , , 49 ,

Rab b it Warr 82 . Lor d D u le h e e n, 1 7 d y , Off to t Re s ’ — c u e 182 D e e r Fam il 18 8 . Lor d E tz e r ald Th e , 9 y, 3 g ,

Ma h . on rc of th e le n 18 1 Lad Mon ea H r t le o s G , 5 y g , s e at th e F u d Wi lliam s — o ntain 18 0. La Ta a e u r 1 2 1. , 4 y , p g , 8

Lad P r i n le Sta at Ba 18 6 . Lad Wellesle y g , g y, 4 y y ,

Wh i H a 18 te ors e in a St b le , 18.

’ S i r R ob er t P eel Be au t s Bath 18 The Sh e ; y , 39 p

’ h e rd s Pr a e r 18 A z im 186 1 Lad E m il Pe e l 18 2 y , 45 , y y , 7 ;

S i r E P eel Th e D e e r Pas s 18 2 . S i r If. Cr ew e , , 5 ,

G re h ou nds r e s tin 182 . S i r C. H . Coote Th e Bor y g, 3 , d r i nvade d 2 i k r Wal a e u e , 182 . S r Ri c a d l c , D o b tful

C r u m b 1 . i o l r s h M s r e i e T e a 1 8 S r G e V l i ntilla 8 6 . , 59 g , , 3

Si r Fr an c is G r an t E ve ni n S c e ne in th e H i hlands , g g ,

18 8 . S i r F. Cr ossle Fallow D e e r 18 8 . S i r P . de 4 y , , 3

MG r . E e r ton h e In t ude r 18 1 . g , T , 9 M'l ia l rn Wells H e ads of h e e nd Cattle 1 28 , S p a , 8

Ptarm i an an d Roe b u c k 18 0 Tr im th e Old D looks g , 3 ; , og lik e a Pic ture 18 1 H i h land I nte r ior 18 1 alte r , 3 g , 3 Sir W

Sc ott in R m e rs le n 18 Ptarm i an 18 ro us e y G , 33 ; g , 33 G ,

18 Ph e as ant 18 Blac k c oc k and r e h e n 18 33 ; , 33 ; G y , 33 ;

Th e Re a e r 18 Th e H awk 18 e r e rin Fal p , 34 ; , 37 ; Th e P g e c on 18 Th e W -c tte r 1 r nd Mas ood u 8 D h und a , 37 , 37 e e o . ’ tiff 18 Th e Sh e h e rd s G rave 18 Rab b it and , 37 ; p , 37 ;

toat 1 N on th e Br av d r v th Far 18 8 S , 838 ; e b ut e e se e e i , 3

O tte r and Salm on 18 2 N ot au h t e t 18 Pointe r , 4 ; C g y , 43 ; ,

18 Re trie ve r and Woo dc oc k 18 S anie l and 45; , 45; p

Ph e as ant 18 . , 45 — ' 11. PV. E aton Sle e in Mas tifl 1 1 A Favor ite , p g , 8 7 ;

H ac k 182 H orse s and D o s with a Car rot 182 Th , 5; g , 7 ; e

L AN D 138 S EER .

18 2 i r Walte r S c o tt 18 2 T M S h e ar u is ofWor c t 3 , 3 q es e r,

and Sis te rs 18 . Ai r . B ac kste r Ta n ki a Bu c k 18 2 . , 39 , g , 5 — S . Car tw r lzt Win ds or F re s t o 18 0 . D . Cl m m an ig , , 5 p , ’ - Poac h e r s Both ie 18 1. . C/za m au Rat at h , 3 7 p , c c e rs ,

182 1 C r - o a 18 2 2 . E . Colem an ; , , We ll b r e d Sitte rs

th at ne ve r s a th e ar e b or e d 18 M 6 an ro o s e s od y y , 4 p p , G

dis ose s 1 6 O s an d 8 d d E s 1 6 . d n 86 0. . Coo e p , 4 ; , E p ,

’ H i h lan d Sh e h e r d s om e 18 2 I — H . Cox L on 1 2 2 g p , 4 V . , i , 8 ;

Blaiz e 8 Mk r e i t h i 1 0 on oc e d n o s C e ll 18 . IV. 5. , 3 ; p g , 33 ' — ' — Cr az u r a Fair 18 . W. Cr e ke Th e Prowli n qf , y, 35 y , g — io 182 2 . Ms . Cu b itt v a 18 . Mr . D au oe n L n r G e ne , , , 59 y , — ' — Th . l e Bu l and th e r 1 2 2 W. de I l e r le l F o 8 . 17 Lion g , ,

- 182 . u l a o D u i T h 18 20 . r ar d . d o o ! M. ( g ) , 4 y g , E ,

’ Pe rs ian and G r e h o u nds 18 D o s H e ad 18 . C y , 37 ; g , 53 5

n — Fe n to , Th e Th is tle and th e As s lade n with Pr ovisions .

’ 1 Late Flato o le tz on r ow n as tiff le e in 820. n C l e B M s ( ) , p g, l Th Wat h m an r u s ll 182 . a m 18 12 e c 182 Lo d A. R se ; , 5; , 9 y

Fow le r Th e Tir e d Re a e r 18 2 Las s ie h e rdin Sh e e , p , 4 ; g p,

18 2 Cath e r ine S e to n 18 Th e Ptar m i an H i ll 186 . 3 ; y , 33 ; g , 9 — M. a 1 20 h r C m b ar t A Li on e n o in h is Re as t 8 T e , j y g p , ;

Ea e r Te r r l/ n l we or i c h e r 18 8. ie r 182 . l o a G e P n g , 3 g , , 4

G osli n s tate N e tu ne 182 Th e W idow 182 D e ad g E , p , 4 ; , 5; — a D e r h o u ev . . tt Ra t and e nd 182 . R G o Th e t S g , 5 7 ,

’ lb e r s l t t — Th e O t at h rs 1 1. A t r an t a e Co l c i on c c e , 82 G l e ,

te r H un t 18 Pr os e r it 186 Ad ve rs it 186 . Ai r . , 44 ; p y , 5; y, 5 f G r u d Wh at N x Mr . G u r n e H e ads o n e t 18 0 . y , 4 y ,

H Ms s . DV. H ar r i n ton ors e s an d ule 18 0 Ai r . , 4 ; y g , — C ou nte s s 18 . R . H e m i n C h e v 1868 . E . H er m an , 34 g , y , ,

‘

. i e ttin a Sh ot 18 1. H o ar tlz A Br itis h Boar n G g , 3 f g ,

l ru tus and a Re tri e v r 1 . Mr . e l 8 1 O B e 1 a Fi d, 1 4 ; d , 8 7 — l . l l oo e r H i h lan d Wh is k S til 18 2 R . o/i ns on p , g y , 9 7 , — ’ I n tr u din Pu ie s 18 2 1. an e s Th e S to n e b r e ak e r s g pp , 7 y , — D au h te r 18 0 Th e Bar r ie r 18 . Ai r . ! fla I tine r g , 3 ; , 33 g

an t a e s af/ m o s a 182 2 . Pl r 18 1 . Le m N E c e y , 3 , p , LI S T OF P AI N TI N G S . 139 — 18 2 . Ms . Mc on n ell k n th Tim e r C H aw in i e Olde n , g , 3

’ n i Mr . Me W o v h k 18 ? . Ma oc h 5 h e t e tic C to a S g , , 34 y r i Fal ow d ittle D o eé l D e e r 18 8 . fil m . Mi d leton L , , 3 , g

d - l S c o tc h ie an Look i s 18 . IV . . Mille r n a s P g g g , 59 ,

/zi a 1 r . r K. . a e m e 1. Ms il 1 . M 8 Mle r H afe d 8 R G , 3 , , 35 — son G ood D o ie 18 6 . ob s: a lor D e ad G am e , gg , 4 j N y , ,

Swan Pe ac o c k e tc . 1 2 H arv e s t in th e H i h lands , , , 8 7 g ,

’ 18 Th e r e s Life in th e Old D o e t 18 8 Save d 33 ; g y , 3 , ' — 18 6. . N i ela S c e n e in th e H i h lan ds 182 8 Th e 5 "7 , g , ;

Kin l of th e Fo r e s t 18 0 Las s ie 18 0 . . N ob e g , 7 ; , 7 y , — Cros s in th e I c e 18 2 . C . P ae b e Favo r ite Pon and g , 3 , y — S an ie ls 18 . R . T. P ar ke r Th e D u ke of D e vons h i re p , 39 ,

and Lad s tanc e r os v nor 1 ob n e r C on G e 8 2 . n Fe d y , 3 7 ,

Th e Los t Sh e e 18 0 A n E ve n t in th e Fore s t 186 . p, 5 ; , 4 — Mr . P e r ai n m A le e in D o 1 1 . Mr Pln nze r S 8 . , p g g , 7 , D h M b o of t e ar lb o r o u h Br e 1 1 . M ola e d 8 r . P g g , 9 ,

' Wh i te n — M d of v ne l 1 r . on s o b ar La A e 8 0. H on MP e y , 3 . y ,

and Foal 1 Re tu r n h a e n 1 . Mr s 8 r om t e W r r 8 . , 37 ; f , 43

' P r i eketl — l z n s o B b 1 2 o a a 8 . l D o . R . R w l n o , ] y, g , , 5

a “ s —Th e r om ill — Lit l m e i s Br a a t 1 1 . R t e R 8 . C 7 , gg , 9 y ,

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Re d Ridin H ood 18 1 Ac tr e s s at th e D uke s 18 2 . g , 3 ; , 3

H r i o — Hf s ll o at R oss te ali a Mar c h 18 . . Ru s e S n , g , 33 ,

dio u 18 6 Th D i m s on O e e s e r t 18 . TV . IV . S A , 3 ; , 48 p , — Mu le 18 1 . /zar C les S ki r n r 86 . Mr s . e Pe ns i o e s 1 , 5 pp , , 4 — IV. S m it/z A D is tin u is h e d Me m b e r of th e H u m an , g e — oc ie t 18 8 . Mr . S oam s S e Ti e r and I n dian Bu lloc k y, 3 , g ,

22 Mi ss Star ke Th 18 . e B e s t Ru n of th e S e as o n 18 1. y , , 5

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land u r l — F l la N rs e s 18 6 . If. Van m Ms h ie f i n u l P n i c , 5 g , y , ' — 182 . M o s T. Walk r r . V h n D avid G e llatle 182 . e 3 , y, 9 ,

—Th e H u nt r Walli s H e ad o f e d S ta 18 . M. a g, 59 ,

Bu i — D a Ro e D e e r 1 2 Youn c k 18 0 . Mr . W/z te e d 8 . g , 3 , , 9 140 LAN D SE ER .

Mr . or d v a l i telzead D uc h e s s of Be df 18 6 s e e r l , , 3 — ' drawin s . 0 . PVilliam s A Te r r ie r 18 28. Col . P . Will g , , — ' iam k 1 8 . W r am s oc o with a H e d e h o 82 . R . i , J g g, 7 g ,

r M . r ar l W ar H un te rs at a k H al 18 L H . r s s , 34 . ig m G ,

18 H ors e s and Ma ie 18 0 . 7 1 Wr i le Th e 33 ; gp , 4 g y , Ra h om t 1 . nd S o , 848

' e /z s r - u b sfi R ec n tl u r as ea Me Mess r . A ew P i n t li e b n y p y g , p er s — ld Br utu s an a Re tri e ve r 18 1 Two Wolve s , O d , 7 ; ,

1 Al Mas r e a m atin a rav l r 8 820 in e tiffs n i T e e 1 20 ; p g , ;

Pu an d Fro 1822 N e wfou ndlan d D o and Te rr ie rs ppy g, ; g at a tr e am 1 2 2 B ut 2 Th Mo k n k S 8 r u s 18 e n e a d Sic , ; , 4 y

H o u n d 18 2 D e e r h ou nd D e ad Sta an d Fawn 1826 , 5 , g, , ;

S c e ne i n the H i h lands 182 E i O c h i tr 1 g , 8 ; d e l e e , 829 ;

Attac h m e nt 4 82 D e ad S ta 18 2 Th e Br ide f a , 9 ; g, 9 ; o L m m e r m oor 18 0 D e ad Rats 18 0 Th e Wou nde d H ou nd , 3 ; , 3 ,

18 2 Th e Vis it to th e Falc one r s 18 Little Str olle rs 3 , 33 ,

18 D o 1 6 MH o r h 6 8 s e 18 T e u e e n and 3 ; g, 3 ; y , 37 ; Q

D uk e of We lli n to n 18 Br e e z e 18 re H ors e g , 39 ; , 45; G y and G r oom 1 H nr Mar u is W r e t r 8 e of o c s e 18 , 45; y, q , 45;

Sta b e llowi n 18 D i in o u t th e Otte r 18 Me t g g, 45; gg g , 47 ; tle 1 h il re n th e Mi t 1 8 C d of s 8 Th e Pr iz e Calf , 49 ; , 53 ,

18 59.

H e Ki n o tlze B el i an s Lad and S anie ls 18 2 g f g , y p , 4 3 ’

Th e Fore s te r s Fam il 18 6 . y, 4

7 7m D u ke o Sax e -Cob u r -G ot/za — Ziva with Monk e f g , y,

1842 .

I 142 N D EX.

andse e r Ch rl s 1 R e d A Bit f 1 2 . L , a e , 7 . , o , 2

andse e r oh n 8 2 6 0 . R e n t o i th W l s L , , , 5, 43, 5, 1 5 D n e i de r ne s , 129.

nd e r a . La s e , h o m s, 17 Ri si ng alu e s, 12 5. ’ ” Lar d e r i n v ad d Th . l . e , e , 30 R oge rs s I ta y, 50

L a i n d o w n th L aw . R m ll r . . y g e , 7 4 o i y , Si S , 9 L i 2 e s l e 6 11 . . , 3, 34, 7 , 2 R osse tti , 103

L i on ado 1. a ( g), 3 R oug h nd R e ady , 1 14 .

L i o n and L am b Th e 1 0 . R o al A a m 1 2 . , , 3 y c de y , 2 , 3, 47 , 53, 127 ' L i on D o o lllalta . o . g f , 7 3 R yal P e ts , 7 6, 7 9

io n s 2 8 88 . L , , R oyal P ortrai ts, 7 7 . Li o ns T r 8 , h e B o nz e , 12 . R us ki n note d . 69

L ow L i e 1. l f , 5 R u ss e l ortraits , 8 1

R m e r s le n . y G , 54 Mada 6 i . 3 . 37 . 45 ’ fl/at d and Ma i Th 1 . . e e 1 St . oh n s ood 8 gp , , 3 J W , 44, 5

Ma . n P r o o tc 12 . r p se s , e , 3 S an c tua y , The , 96

an u al D e xte rit 8 . S c otland . M y , 9 , 33. 9 5

Ma u . s e o Com i cs 8 Sc ott S ir alte r . q f , , W , 34, 37 , 53, 54 Mi m ! r ds u m e r N li tz D e am 108 . S c u l tur e 12 8. g , p , ’ illb oard Stu die s 1 18 . S h e he r d s Gr ave The 0 . M , p , , 7

M h o . on ke w had s n e tc 8 . y e e , , 4 S hoe i ng , 99 M r t on a c h o he Gle n m . S i h M Th 1 0 . f , y c onkey , e , 3 ’ o th e r ands e e r s 11. S i n al Th 6 . M , L , g , e , 4 Sim lic it 12 p y , 4 N l n a o e o 111, 112 . Sle e i n Bloodh o u nd Th e 66 . p , p g , , N au h o T t B h e m n . g y y, , S ith , Syd e y 86 N i l Th h o as e z . c C ar S or ts m an A Stran e . , , 9 5 p , g , 39 N i h t nd M a o i r n n 110 . S . g , tag at Bay , 10 1 ’ N ci le s Br itis h 80 8 . S ton b r ah r au h t Th , , , 3 e e e s D g er , e , 53.

N o P lac e l i ke H m . fi . o e , 97 S u s/ e ns e , 64

S u th e r lan d Ch ild r e n , 7 1.

Old Gu id Wi Th . fe , e , 54 S w an ne ry an d E ag le s , 12 9 . tte r a l O n d S a m on , 96 . Otte r H u nt Th e T , , 99 am i ng th e S h r e w , 12 1.

Tank e rv ll 1 . i e , Lord , 46 , 2 W 9 P e ac e and ar 100 . , Th ac ke ray, 86 . ’ Pe rs o nal A e aran c e 1 16 . The r e s L : i n th e Old D o . pp , e g , 7 2 P N i e r an d u tc r ac ke r s 12 . Trafal p , 5 qu ar e , 12 8 . - P i n te rs To h o ! . Tw a o 2 o s T . , 9 g , h e , 114

ortraits 2 2 2 1 12 6 . T r w hi tt P , , 3, 5, y , 117 .

ri nc e Alb e rt 6 . P , 7 , 7 9

Pr o e rt ac ui re d 1 1. U c l T n e om 11 . p y q , 3 , 3 P r s r t n A r s o pe i y a d dv e ity , 12 7 . Van A m h b u r g , 102 .

u e e n An n e Str e e t 12 . Vi e n na , , 94. u V ri e e n ic to a, 7 5, 7 9, 10 7 . W ll- e b r e d S itte r s , 125. ' Ran dom S hot A :0 . lV , , 4 i/a Cattle , 129 .

Ra idit 1. ilkie Si r D avid 2 6 2 0. p y, 9 W , , . 9, 3 - a a r T . R t c tc he s he 28 ob ur n Ab b e 80 . , , W y , HELIOTYPE ENG RAVING S

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