THE GRAFTON GALLERIES

Grafton Street, Bond Street, W.

HONORARY DIRECTORS.

T. D. CROFT, ESQ.

ALFRED FARQUHAR, ESQ.

MARQUESS OF GRANBY.

CARL MEYER, ESQ.

HON. JOHM SCOTT MONTAGU, M.P

EARL OF WHARNCLIFFE.

A. STUART-WORTLEY, ESQ.

SECRETARY. HENRY BISHOP, ESQ.

8, GRAFTON STREET, LONDON, W.

16•7 •

INTRODUCTORY NOTE.

WORD or two of introduction to the present Exhibition A may not come amiss. That Madox Brown was a remark­ able figure in the Art world of the present reign is now, I think, an acknowledged fact. That he was also a great painter has been generally ceded, even by those who, until lately, were his most ardent decriers. But there remains a body of public and cognoscenti who either ignore, or are ignorant of, both the man and his work. It is in the hope of reaching that body that the present Exhibition is held.

"One-man shows" may or may not be desirable things; but, whether or no, such a show of Madox Brown's work is singularly appropriate, for did he not, along with a host of other incongruous things, invent the "one-man show " ?

In 1865, at 191, Piccadilly, he exhibited a selection of 100 of his own works, a selection ranging from his earliest studies to his last picture, " Work," which had cost him eleven years' labour. Before that time no artist had been bold enough to challenge a verdict on so large a portion of his labours, though single pictures had been exhibited by artists like Mr. Holman Hunt and the late R. B. Martineau.

Madox Brown's position was that he had been slighted by the Royal Academy, who never did better than " sky his works," even when they were as fine as the " Christ Washing Peter's Feet," now in the National Gallery. The position remains un­ altered as far as the Academy is concerned, for that body refused to hang even one picture of Madox Brown's at the Old Masters Exhibition that succeeded Madox Brown's death.

Since 1865 Madox Brown's works have hardly been seen in London. He has been represented by single pictures at long intervals, but his art is still almost unknown.

The exhibition of some of his works at the Arts and Crafts Exhibition during last autumn did little to lighten the cloud of INTRODUCTORY. ignorance as far as his pictures were concerned. It brought out strongly the fact that he was one of the " fathers" of the present decorative school, achieving this by showing a repre­ sentative array of his cartoons for stained glass.

But the pictures exhibited were added as au afterthought, and, being undated in the catalogue, gave a rather erroneous impression as to the limits of Madox Brown's art. Thus, one critic, judging the whole from a part, stated that Madox Brown never used an}' but primary colours of as violent a hue as were conveniently attainable ; another, that he affected exclusively colour that one may call " aesthetic," and so forth. The fact is that, unlike au antediluvian reptile, Madox Brown's art cannot be reconstructed in its- entirety by looking at one picture. As I have tried to point out whenever I have written ou the subject, his art varied almost invariably with the changes of styles of the art of the century. Thus, in his pupilage, his work showed the influences of Deveria, Delacroix, or Gustaf, Baron Wappers; in the forties it was eclectic, shadowing forth the art of the P.R.B. Later it became sternly realistic, and we have such an undoubted masterpiece as " Work." Later again he became the sestheticist, and as such is best known to the world.

Another defect in the otherwise excellent selection of his works at the New Gallery was the lack of descriptive episodes iu the Catalogue. To set a picture so full of "literary ideas" as the '•'Cromwell mi his Farm" unexplained before a public not over- prone to trouble itself to discover motives is to court misconception. This I have remedied by quoting in extenso the excellent descriptive passages of Madox Brown himself, or by supplying descriptions of my own for pictures most needing it. It must then appear how excellent a story-teller and pithy a thinker Madox Brown was.

Finally, in making the present Collection, which I venture to assert is as nearly representative as is possible, I have been careful to leave out as little as was feasible, neither excluding works which are not to my own taste, nor suppressing others which might, perhaps, be accounted comparative failures. The limits of Madox Brown's style were so large, his experiments in various directions so constant, that it was not within the range of possibilities that his work should remain at one level. As I have INTRODUCTORY. said elsewhere, Madox Brown possessed technical powers of no slight order. That he was no mean draughtsman the studies exhibited by Mr. Fairfax Murray would alone go to prove, and similar evidence is not wanting that he was " well-grounded " in all branches of technique. At the same time he frequently suffered his pursuit of colour and dramatic expression to cause the overriding of the noble powers of draughtsmanship that were certainly his.

"He sinned here and here," one may say; yet there is rare pleasure to be had for the mere effort to place oneself cn rapport with his genial view of life and Art. He ran counter to the usual course of artists' progress, becoming less and less facile of executive expression as he learnt more and more, becoming more enthusiastic where others become settled and monotonous.

His singular conscientiousness limited his output by making him devote a prodigal amount of work and thought to each individual picture, and consequent adversity taught him that bread and butter can only be gained by having recourse to duplicates. In spite of this, the amount of thought he has recorded is more than ordinary. His artistic and intellectual idiosyncracy was marked, and all his work pregnant with suggestion ; he worked well, and, by his works, taught well.

Included in the Exhibition are several works of Madox Brown's children, Oliver, Lucy, and Catherine Madox Brown. Working in their father's studio, they absorbed the method of his work and translated his spirit into their own inventions.

Oliver was a youth of great promise and some little achievement. Dying at the early age of nineteen, he had already painted several pictures of no small merit, and had written two novels, distinguished by fervid imagination and considerable literary skill. Lucy, whose gifts have hardly received any recognition, achieved more than her brilliant brother. Catherine still survives. FORD M. HUEFFER.

CATALOGUE.

A'OTE.—The following descriptions of the pictures, when quoted from the 1865 Catalogue of Madox Brown's Exhibition, are included within inverted commas and signed "F. M. B." The remainder are from the pen of F. M. Huepfer, and signed " F. M. H." The asterisks indicate that the Picture is one of the designs for the Mazichester frescoes.

STAIRCASE.

CARTOONS.

1. — YOUNG MILTON. Executors of Miss Blind.

2. — CHRIST IN THE GARDEN. C. Rowley, Esq., Jun.

3. — BEETHOVEN. OwenA College, Manchester.

4- — SHAKESPEARE. Owen's College, Manchester.

5. — SPENSER. OwenA College, Manchester.

6. — SHIPWRECK OF ST. PAUL. C. Rowley, Esq.

J. — LORD BACON. OwenA College, Manchester.

O. — HOMER. Owe AS College, Manchester. OCTAGON GALLERY.

9. — SKETCH FOR " CHAUCER." Mrs. Ellen B. Marshall.

This shows the original conception of the picture, which was to have formed part of a triptych (1845). F. M. H.

I0o — WATER-COLOUR SKETCH FOR "SPIRIT OF JUSTICE." (See NO. 36). Harold Rathbone, Esq.

II. — EXPULSION OF THE DANES FROM MANCHESTER.* Harold Rathbone, Esq.

" Rushing clown the narrow and winding street ot a small wood-built city, the Danes are seen making for an open gateway, that discloses the country outside, with a Saxon church on a hill. "The Norsemen, or Vikings, wVio organised the plundering expeditions that at this time so much harassed Europe, used to begin their apprenticeship to rapine very early. Fifteen is said to have been above the age when they would start ofl'in quest of adventure and of that booty on which a few rears later thev would settle down upon as respectable married men and heads of houses. " The Danes are here represented therefor as very young men, mere beardless boys, in fact, with one or two better-seasoned elders to assist them with their experience. " The wealth which they acquired they were wont to convert into gold bracelets, which were worn on the right arm. "A rich and successful young chieftain, the wearer of many bracelets, but now badly wounded, is being borne past on a hastily-constructed stretcher, his companions endeavouring to protect him and themselves with their uplifted shields, as they run the gauntlet of the townsfolks' missiles. In the, front of these, four men have fallen, confusedJy, over another on (he ground. The pavement consists of the polygonal blocks that t/ie Romans had formed their road of, which ran through Manchester. OCTAGON GALLERY. 9

" From a house which faces this scene a young woman has thrown a tile, that strikes down the ' Raven standard-bearer.' An aged inmate, from the same window, throws a spear, the national Saxon weapon, while two little boys gleefully empty a small tub of boiling water on the fugitives. " The Danes, who in a group have reached the shelter of the rampart gate, pause for one moment to hurl back threats of future revenge on the inimical townspeople, whose chained-up dogs bark fiercely at the runaways, while in the background the soldiers of Edward the Elder are seen smiting the unfor­ tunate loiterers in the race for life. (About the year of our Lord 910.)"— F. M

12 . — THE ROMANS BUILDING MANCHESTER.* Henry Boddington, Esq. These are the original one-eighth-sized panels of which the frescoes in the Manchester Town Hall are the ultimate outcome.—F. M. H.

" This subject embodies the foundation of Manchester, for although the British name ' Mancenion ' seems to indicate this locality as a centre for popula­ tion, it is improbable that anything worthy the name of a town existed before the Roman Mancunium. "Agricola was Governor of Britain at this date—A.D. 60—and was, as his son-in-law Tacitus informs us, a humane as well as an energetic Governor. His rule was much connected with this part of England, so that the General depicted may be considered as representative of that Governor. " A Centurion holds the parchment plan of the camp that is being fortified, while his Chief, who also has hold of it, gives his orders. His standard-bearer, in this instance a ' Dragonifer,' holds up the silken, wind-inflated Dragon Standard, which the Romans at this period had adopted from the ' Barbarians.' " The legionaries are doing the masons' work, but the bearers of stones and cement are Britons impressed for the occasion. "The River Medlock bounds the camp on the south, the back-ground beyond it is formed of oak forests red with the last leaves of November, while in the extreme distance is visible the blue streak of the distant Peak Hills. " A chilly wind is depicted as agitating the garments of the conquerors and making the work in hand more arduous to men of southern nationality. " The General's wife, with her little boy, has stepped out of her ' cathedra,' or litter, to take the air on the half-finished ramparts. She wears a fur cloak, hooded for the cold, and on her hands are muffles. Her naturally black hair is represented as dyed yellow, her eyebrows remaining black, to indicate the luxury of Roman living, even in a camp. Her little son, who is attired in soldier's uniform and ' caliga' (boots), is mischievously aiming a kick at one of his mother's Nubian slave chair-bearers. " The interior of the camp, with the Roman four-square tents made of skins, is to be seen behind this group."—F. M. B. (1879-90).

I3. — SKETCH FOR " ASCENSION " (1844). //. Bod- ditig/ojty Esq. IO OCTAGON GALLERY.

14. — WINDERMERE. Mrs. John Marshall. " A study, painted from nature in the Autumn of 184S; made into a picture and the cattle added in 1854."—F. M. B.

I*J. — ELIJAH AND THE WIDOW'S SON. John Bibby, Esq. •' We all remember how the widow in the extremity of her grief cried out. ' Art thou come unto me to call my sin to remembrance, and to slay my son ? ' So we can all imagine the half (or half-assumed) reproachful look with which Elijah, as he brought the child downstairs, would have said, ' See, thy son liveth !' and even surmise the faint twinkle of humour in the eyes with which he would receive the reply, ' Now by this I kmm< that thou art a man of God.' The child is represented as in his grave-clothes, which have a far-off resemblance to Egyptian funeral trappings ; having been laid out with flowers in the palms of his hands, as is done by women in such cases. Without this, the subject (the coming to life) could not be expressed by the painter's art, and till this view of the subject presented itself to me I could not see my way to make a picture of it. The shadow on the wall, projected by a bird out of the picture returning to its nest (consisting of the bottle, which in some countries is inserted in the walls to secure the presence of the swallow of good omen), typifies the return of the soul to the body. The Hebrew writing over the door consists of the verses of Dent. vi. 4-9, which th3 Jews were ordered so to use (possibly suggested to Moses by the Egyptian custom). Probably their dwelling in tents gave rise to the habit of writing the words on parchment, placed in a case, instead. As is habitual with very poor people, the widow is supposed to have resumed her household duties, little expecting the result of the Prophet's vigil with her dead child, he has, therefore, been kneading a cake for his dinner. The costume is such as can be devised from the study of Egyptian, combined with Assyrian, and other nearly contemporary remains. The effect is vertical sunlight, such as exists in southern latitudes (1864)."—F. M. B. This is the original water-colour, the duplicate of which is to be seen in South Kensington Museum.—F. M. H.

IO. — CHAUCER AT THE COURT OF EDWARD III. John Bibby, Esq. " The sketch for this picture was painted, and the picture itself commenced, in the year 1845, at Rome. Circumstances, however, which required my imme­ diate return home, caused me to abandon that first beginning. This present work was begun in London in 1847, and finished early in 1851. During this interval, however, the pictures of Wick/iff', King Lear, Hie Infants' Repart1 Shakespeare, Windermere, and other works not here exhibited, were painted. As the sketch shows, the picture was originally designed as a triptych, figures of other great English poets occupying the wings. But this idea was conceived abroad, at a time when I had little opportunity of knowing the march of literary events at home. On my coming to England, I soon found that the illustrious in poetry were not all among the dead, and to avoid what must either have remained incomplete, or have appeared pretentious criticism, I gave up the OCTAGON GALLERY. I I

idea indicated in the side compartments. The picture as it now stands might be termed the First, or Firstfruits, English Poetry. Chaucer, along with Dante, is one of the only two supremely great mediaeval poets who have come down to us, at least by name. But Chaucer is at the same time as much a perfect English poet—1 am almost tempted to say a modern English poet—as any of the present day. Spelling and a few of the minor proprieties apart, after a lapse of five hundred years his delicate sense of naturalistic beauty, and his practical turn of thought, quite at variance with the iron grasp of realism, the deep-toned passionate mysticism, and super-sensual grace of the great Italian, comes home to us as natuarallv as the last volume we hail with delight from the press. *

" Chaucer is supposed to be reading these pathetic lines from the ' Legend of Custance' :— " ' Hire litel child lay weping on hire arm, And, kneling, pitously to him she said, ' Pees, litel sone, I wol do thee no harm ! ' With that hire couverchief of hire bed she braid And over his litel even she it laid, And in hire arme she lulleth it ful fast, And unto the hevens hire eyen up she cast.'

" Edward III. is now old, Philippa being dead ; the Black Prince is supposed to be in his last illness. John of Gaunt, who was Chaucer's patron, is represented in full armour, to indicate that active measures now devolve upon him. Pages, holding his shield, Sec, wait for him, his horse likewise in the yard beneath. Edward the Black Prince, now in his fortieth year, emaciated by sickness, leans on the lap of his wife Joanna, surnamed the Fair Maid of Kent. There had been much opposition to their union, but the Prince ultimately had his way. To the right of the old King is Alice Perrers, a cause of scandal to the Court, such as, repeating itself at intervals in history with remarkable similarity from David downwards, seems to argue that the untimely death of a hero may be not altogether so deplorable an event. Seated beneath are various personages suited to the time and place ; a troubadour from the South of France, half jealous, half in heart-struck admiration, a cardinal priest on good terms with the ladies, a jester forgetting his part in rapt attention of the poet. Thi> character, I regret to say, is less mediaeval than Shakespearian. Two dilettante courtiers, learnedly criticising, the one in the hood is meant for the poet Gower. Lastly, a youthful squire, of the kind described by Chaucer as never sleeping at nights ' more than doth the nightingale,' so much he is always in love. '' Sitting on the ground being common in those days, rushes used to be strewn to prevent the gentlemen from spoiling their fine clothes. " This picture is the first in which I endeavoured to carry out the notion, long before conceived, of treating the light and shade absolutely as it exists at any

t: " I need not tell most of my readers that much of the difficulty as to accent and quantity is avoidable if the verses are read on the principle of French verse, with the final mute syllables allowed for when preceding words beginning with a consonant, and omitted before vowels. This rule, however, does not in all cases apply, probably because some words were even then beginning to take the modern form of pronunciation." 12 OCTAGON GALLERY.

one moment, instead of approximately, or in generalised style. Sunlight not too bright, such as is pleasant to sit in out-of-doors, is here depicted. The figures in the spandrils of the arch symbolise the overthrow, through Chaucer, of the Saxon Bard and Norman Troubadour, This picture gained the f$o prize of the Liverpool Academy in 1859."—F. M. B. This is a replica of the original, which is in Sydney Municipal Gallery. The duplicate differs in slight details from the original. It was begun in 1856 and finished for the late Mr. Leyland in 1867.—F. M. H.

iy. — THE SUPPER AT EMMAUS. E. Wood, Esq.

Io. — PORTRAIT OF THE ARTIST'S FATHER (1837). Harold Rathbone, Esq.

19. — PORTRAIT OF W. M. ROSSETTI (1856). W. M. Rossetli, Esq.

" Painted by lamp-light, as the reflection on the wall shows."—F. M. B.

20. — CORDELIA AND LEAR. Mrs. Maria Leathart. " Painted in 1848-9,considerably retouched in 1854. This picture, though one of the earliest of my present or English style, as I may term it, I have always considered one of my chief works. The subject is too well known, and the picture itself has been too often seen and commented on to require much description from me. The outline of the tragedy, for such as may not have it vividly present to their minds, is briefly this: Lear, King of Britain, wishing to abdicate, sends for his three daughters, and challenges them to say wdiich loves him the best, in order to deserve a larger share of his kingdom. Cordelia, disgusted by the hypocrisy and daring flattery of her eldest sisters, remains silent. At length she declares she loves him as in duty bound. Lear, incensed, disinherits her, and she departs, chosen in marriage by the King of France. Once possessed of power, the true character of the elder sisters discloses itself, and Lear, ill-used, aged, and helpless, goes mad. Cordelia, now Queen of France, returns with au army to rescue him. Found wildly running about the beach at Dover, he is secured, put to sleep with opiates, and the physician, who is about to wake him by means of music, has predicted that his reason will reason with consciousness. Cordelia, at the foot of the bed awaits anxiously the effect of her presence on him, and utters the touching soliloquy, beginning— " ' Had you not been their father These white flakes Had challenged pity of them.' Now would she recall the moment when honesty, stiffened to pride, glued to her lips the soft words of flattery expected by the old man, and perhaps, after all, his due, from her who was the best beloved of his three. So^ virtue, too, has its shadowed side, pride ruining itself and others. OCTAGON GALLERY. 13

"Having its origin in the old ballad, Shakspear's King Lear is Roman- pagan—British nominally; mediaeval by external customs and habits, and again, in a marked degree, savage and remote by the moral side. With a fair excuse it might be treated in Roman-British costume, but then clashingwith the mediaeval institutions and habits introduced, or as purely mediaeval. 1 But I have rather chosen to be in harmony with the mental characteristics of" Shakspear's work, and have therefore adopted the costume prevalent in Europe about the sixth century, when paganism was still rife and deeds were at their darkest. The piece of Bayeux tapestry introduced behind King Lear is strictly an anachronism, but the costume applies in this instance, and the \roung men gaily riding with hawk and hound contrast pathetically with the stricken old man. The poor fool who got hanged for too well loving his master looks on with watery eyes. The Duke of Kent, who, though banished, disguised himself in order to remain with the King, is seen next the fool, having a wig on to alter his appearance. The physician, with his conjuring book, was magician also in those days."—F. M. B.

21. — FINISHED STUDY FOR CORDELIA AND LEAR (1848). Thomas Brocklebank, Esq.

22. — PORTRAIT OF F. MADOX BROWN. W. M. Rossetti, Esq.

23. — STAGES OF CRUELTY (1856-90). H. Boddington, Esq.

The idea of this picture is Hogarthian. The child torments the dog, whilst her grown-up sister tortures her lover. " Love-lies-Bleeding " is the instrument of torture in the one case. This was begun whilst " Work " was in progress, but put aside for want of a purchaser until the year 1890, when it was completed. F. M. H.

24. — PORTRAIT OF MRS. F. MADOX BROWN AND DAUGHTER. W. M. Rossetti, Esq.

25- — THE PARTING OF CORDELIA AND HER SISTERS. 1. R. Wilkinson, Esq.

" Sketch for a picture, not painted, originally etched in the Germ, in 1850, painted in 1854. Cordelia, about to depart with her affia-.ced husband, the King of France, pronounces the somewhat tart admonition to her sisters : — " ' Use well our father, To your professed bosoms I commit him ; But yet, alas ! stood I within his grace, I would prefer him to a better place. So farewell to you both.' I4 OCTAGON GALLERY.

"For genius, ho wever gentle in disposition, the owner must out with the sharp stinging reproof at the fitting and rightful moment. Goneril and Regan, with appropriate female powers of rejoinder, reply logically, if not convincingly—• " ' Let your study Be to content your Lord, who hath received you At Fortune's alms. You have obedience scanted, And well arc worth the want that you have wanted.' " Cordelia responds— " ' Time shall unfold what plaited cunning hides, Who cover faults at last shame them derides:

20. — CARRYING CORN. H. V. Tebbs, Esq.

'•This small landscape was painted at Finchley, in 1854."—F. M. B.

27- — KING RENE'S HONEYMOON. IF. Coltart, Esq.

2o. — JOHN DALTON.* H. Boddington, Esq.

"John Dalton, inventor of the Atomic Theory, was born at Eaglesfield, near Cockermouth, in Cumberland, September 5th, 1766. As early as when only twelve he started a school in partnership with a brother only a few years older. The stronger pupils, it is stated, would challenge Dalton to fight on his offering to correct them. For many years of his life he maintained himself in Manchester by school-teaching, but his laborious, if honourable, occupation did not hinder him from indulging in the most abstruse and far-reaching speculations and researches, the result being that this Manchester schoolmaster, alone and unassisted, made himself the father of modern chemistry—that is, if chemistry is one of the exact sciences, and not a succession of independent experiments. How the idea of the Atomic Theory first presented itself to his mind it would be interesting to know, but we know little of it. All we hear is that it occurred to him as required in order to explain certain remarkable phases of matter which combine in some proportions and not in others. Once that the idea had taken hold of his mind, he never abandoned it till he had worked it out. The natural gases presented the readiest mode of investigation ; so he is represented as collecting marsh-fire gas, one of the natural and primitive forms of gas. The mode of getting it is the usual one of stirring-up the mud of a stagnant pond, while an assistant (in this case a farmer's boy), catches the bubbles as they rise in a wide-mouthed bottle, having a saucer ready to close up the mouth under the water when the bottle is full. A group of children are watching him, and the eldest, who has charge of them, is telling the little boy who is bent on catching sticklebacks that ' Mr. Dalton is catching Jack-o'-Lantems,' marsh-fire gas being, when on fire, the substance the * YVill-o'-thc-VVisp' is composed of. OCTAGON GALLERY. 15

" Dalton's great invention met with slow recognition at first, as is usual in conservative England ; but the French Institute, having made him one of their eight foreign members, and treated him with the highest distinction while in Paris, the English Royal Society gave in at length, anil elected him without his consent, and he was pensioned by the Government of William IV. He died in July, 1844."—F. M. B. (1886).

2Q. — EHUD, AND EGLON, KING OF MOAB. H. Boddington, Esq. " ' So the children of Israel served Eglon, the King of Moab, eighteen yen's' (Judges iii. 14). 'But Ehud made him a dagger which had two edges, and did gird it under his raiment upon his right thigh.' ([6). 'And Eglon was a very fat man' (17). 'And Ehud said, I have a message to thee from God; and he (Eglon) arose from his seat.' (20). 'And Ehud put forth his left hand and took the dagger from his right thigh' (21). " The costume and accessories of this cartoon are taken from Assyrian and Egyptian remains of a remote period. These alone, it seems to me, should guide us in Biblical subjects. To pretend that the Semitic races, to which the Israelites belong, have not changed in costume and character of appearance up to the present day is against the evidence of our eyes, as may be readily seen by the Assyrian remains, and those of their near neighbours, the Egyptians, wdiich we have in the British Museum, to compare with the modern Arab. English­ men should always remember that this convenient resemblance between the Israelite of old and the Arab of our days came into vogue in France, rather suspiciously, at the time of the French Conquest of Algiers under Louis Philippe. "The Moabites having remained in Palestine from the time of Abraham and Lot, I have given a more Assyrian character to Eglon. Ehud, on the contrary, I have thought necessary to represent with more of the Egyptian character, the Israelites having come from that country-. "This cartoon has been executed with a view to a wood engraving for Messrs. Dalziel's Illustrated Bible (1865)."—F. M. B.

30. — BAPTISM OF EDWIN.* (FINISHED STUDY, 1878-9.) H. Boddington, Esq.

31. — WICKLIFFE ON His TRIAL.* Henry Boddington, Esq. " John Wickliffe, to whom we owe the first translation of the Bible, was born at Spresswell, in the extreme north of Yorkshire, about the year 1324. " He has been styled 'The Morning Star of the Reformation,' and well deserved the appellation, for recent researches in Germany show that many of the Latin Tracts published by John Huss a century later were, in reality composed by Wickliffe, and John Huss lead the way to Luther and Reformation almost another century later. But our world-renowned Englishman was not only an innovator and thinker of great originality, he was also one of the greatest scholars of his age. Mister of Balliol College, Oxford, from his thirty-seventh 16 OCTAGON GALLERY.

year, and possessed, seemingly, of unlimited attainments for those times, he was not a mere student, but withal, a man of the world, much employed, politically, by Edward III. and his Parliaments, being delegated as Royal Commissioner, first to the Pope at Avignon, and again to the Peace Conference at Bruges. •' Gradually, as his ethical views of Christianity became confirmed, he gave up the pluralities with which the Court had rewarded his services, retired to his Rectory at Lutterworth, abandoned soft living, and, going barefoot himself, began organising that company of poor itinerant preachers (somewhat on the model of the Barefoot Friars) which soon was to spread itself over the length and breadth o( England. "The Court of Rome at last thought it time to intervene, and caused Wickliffe to be cited before Convocation in Old St. Paul's, London. On February 19th, 1377, he there accordingly appeared, but his great patron, John of Gaunt, Earl Palatine of Lancaster—son of the King, and practically Prime Minister at that time—appeared by Wickliffe's side, with Lord Percy, the Earl Marshal, and soldiers for his protection. The trial, from six o'clock to nine of that winter morn, was little else than an unseemly dispute between John of Gaunt, the S ivereign of Lancashire, on the one hand, and Courtney, Bishop of London, on the other, till tli2 citizens of London, fancying they heard the Duke threatening their Bishop ' to pull him out of the Church by the hair of his head,' began such a riot that the trial had perforce to be postponed, and Wickliffe was suffered to resume his duties at Lutterworth. " In the composition, near to Courtney on the dais, sits Simon Sudbury', the Archbishop of Canterbury, depicted as endeavouring, in whispers, to assuage the indignatian of his colleague. At Wicklifl'e's feet are seen the five mendicant friars appointed as his counsel, Wickliffe not yet having publicly differed with them. The Earl Marshal is represented as ordering a stool for the Reformer, for, said he, ' An you must answer from all these books, Doctor, you will need a soft seat,' causing the prelate still greater indignation; but Wickliffe remained standing. Constance, John of Gaunt's second Duchess, a Princess of Spain, is shown plucking her spouse back by his mantle, as though in fear he might in his excitement do some injury to the prelate. In the background Chaucer, the Duke's otherprotegi, is seen taking notes on his tablets. "John Wickliffe died peaceably in his Rectory at Lutterworth seven years later."—F. M. B. The picture contains, in the head of the Bishop, an admirable portrait of the artist himself. The head of Wickliffe was studied from the features of Mr. Shields, that of John of Gaunt from Madox Brown's pupil, Mr. Harold Rathbone (painted 1885-6).—F. M. H.

32. — WEIGHTS AND MEASURES. H. Boddington, Esq. The Proclamation regarding the rectification of Weights and Measures in the reign of Mary Tudor caused considerable perturbation among the tradesmen of Manchester. The wife of the butter merchant here shown is accordingly scraping from beneath her scale butter which had hitherto given adventitious weight.—F.M.H. OCTAGON GALLERY. '7

33- —CARTOON FOR "ROMEO AND JULIET" (1876). Charles Rowley, Esq.

(See No. )

34» — PENCIL SKETCH FOR U CORDELIA AND LEAR." H B. Tebbs, Esq.

35. — ORIGINAL SMALL CARTOON OF " HAROLD." W. M. Rossetti, Esq. This was exhibited at the Cartoon Competition: in Wesminster Hall, 1844. —F.M.H.

36. — THE SPIRIT OF JUSTICE. Harold Rathbone, Esq. " The five figures at the top are representations of Justice, with, on the right, Mercy and Erudition, and, on her left, Truth and Wisdom. " The two groups in the foreground are indicative of power and weakness. An unbefriended widow is seen to appeal to Justice against the oppression of a perverse and powerful Baron, Sec."—F. M. B. [No. 98 in Catalogue of 1845). This is the original Cartoon, which was exhibited at Westminster Hall on the occasion of the Cartoon competition in 1845.—F.M.H. (Coloured Sketch of the above, No. 10 in Catalogue. H. Boddington, Esq.) MUSIC ROOM.

37* — TOOTHLESS. C. Rowley, Esq. " A modest village maidie. The doll was a prize for good conduct. The title I first gave this drawing—Old Toothless—-was objected to by several. All I can say is that I have heard the very words used at different times by different ladies to children when changing their teeth. Written under a picture, it seems to offend. I have softened it to Toothless. The same remark applies to the title Pretty Baa Lambs. Again I have been urged on every side to replace the growing tooth by a fully developed one. I confess myself here at a loss. How any thinking person can in his mind confound together a law in nature that we have all undergone, in itself full of promise and symbolic of much, with such an accident and defect as a broken tooth in a grown person, is to me in­ explicable (1864, Water Colours)."—F. M. B.

38. OURE LADYE OF GOOD CHILDREN. W. D. Pass, Esq. " Was first executed in black chalk as a cartoon soon after my return from Italy in 1847. The colour was only added in 1861, fourteen years later. During my sojourn Italian art had made a deep and, as it proved, lasting impression on me, for I never afterwards returned to the sombre Rembrandtesque style I had formerly worked in. I must observe that this composition was little more than the pouring out of the emotions and remembrances still vibrating within me of Italian art. To look at it too seriously would be a mistake. It was neither Romish, nor Tractarian, nor Christian art (a term then much in vogue) in intention ; about all these I knew and cared little; it was merely fanciful, just as a poet might write some Spenserian or Chaucerian stanzas. On the other hand, if imitative of Italian art in certain respects, it is original in others. The defined effect of light intended for just after sunset is not Italian. In idea the children are modern English, they are washed, powdered, combed, and bedgowned, and taught to say prayers like English Protestant babes. The colouring added in 1861 did not affect the system of light in the work, which always indicated twilight in the cartoon treatment."—F. M. B.

39- — MAY MEMORIES (1869-84). Mrs. Catherine Hueffer.

40. — WAITING. H. Bodaington, Esq. MUSIC ROOM. 19

41. — QUEEN ELIZABETH RIVERS, WITH THREE CHILDREN. H. Boddington, Esq.

A scheme for a portrait group.

42. — WICKLIFFE READING HIS TRANSLATION OF THE BIBLE TO JOHN OF GAUNT, IN THE PRESENCE OF CHAUCER AND GOVVER. T. R. Wilkinson, Esq. " Wickliffe, whose reforming tendencies seem to have embraced social as well as religious topics, like most of the other great religious innovators, used to inculcate contempt of mundane cares and vanities, going barefooted and in cassock of the coarsest materials. Chaucer is taken from the small portrait existing of him in illumination by his pupil, the poet Ocleve. Gower's effigy is to be seen, or was, on his monument in St. Saviour's, Southwark. This picture was painted in 1848 and re-touched in 1861."—F. M. B.

43- — JESUS WASHES PETER'S FEET. W. Brocklebank, Esq. " St. John tells us that Jesus, rising from supper, ' laid aside his garments,' perhaps to give more hnpressiveness to the lesson of humility, ' and took a towel and girded himself,' poured water into a basin (in the East usually of copper or brass;, ' and began to wash the disciples' feet, and to wipe them with the towel wherewith he'was girded..' Then Peter said, 'Lord, dost thou wash my feet?' And again Peter said unto him, 'Thou shalt never wash my feet.' The purposely assumed humility of Jesus at this moment, and the intense veneration implied in the words of Peter, I have endeavoured to render in this composition. The very simple traditional costume of Jesus and his disciples, which seems, moreover, warranted by modern research, as also the traditional youthfulness of John, curly grey hair of Peter, and red hair of Judas, which I should be loth to disturb without having more than my own notion to give in lieu, I have retained, combined with such truth of surroundings and accessories as I thought most conducive to general truth, always intending, however, in this picture, the documentary and historic to be subordinate to the supernatural and Christianic, wherefore I have retained the nimbus. This, however, everyone who has considered the subject must understand appeals out from the picture to the beholder, not to the other characters in the picture. Judas Iscariot is represented lacing up his sandals after his feet have been washed. This picture was painted in 1851-52. It was subsequently worked over, and in certain respects altered, in 1856, in which year the ^50 prize of the Liverpool Academy was awarded for it, in exclusion of the picture of the 'Last of England,' which formed part of the same exhibition."—F. M. B. Replica of the original in the National Gallery.—F. M. H.

44« — IRISH GIRL. Geo, Rae, Esq.

Study of child's head. Painted in i860. 20 MUSIC ROOM.

45* — BAPTISM OF EDWIN.* Harold Rathbone, Esq-

" Edwin was King of Northumbria andDeira, and was baptised at York, his capital, in the year of Our Lord 627, and the next day 11,000 of his principal subjects were baptised together in the river Swale, and his dominions became Christian. Manchester formed part of the Kingdom of Deira and was therefore under the rule of Edwin. Our authority for this subject is the Venerable Bede, a monk of Jarrow-upon-Tyne, who wrote his Ecclesiastical History of England about 100 years after this event. Edwin, who in his youth had been a fugitive and ' tutored in the school of sorrow,' having regained his inheritance of Northumbria and successfully annexed the surrounding country, sought in marriage the hand of Ethelburga, daughter of Ethelbert, the Christian King of Kent. Bertha, the Queen of Ethelbert and daughter of Clovis, the first Christian King of France, had stipulated that on marrying the King of Kent she should be allowed her Church and the free exercise of her religion, and, this being conceded, after a while she effected the conversion of her husband. Ethelburga, their daughter, before uniting herself to Edwin, demanded the same concessions and was rewarded with a like result. She and her Bishop, Paulinus, whose appearance Bede minutely describes, persuaded the King to be converted about six years after the marriage. '• Wordsworth, in his sonnet entitled 'Paulinus,' thus beautifully paraphrases the elder writer : — " • lint to remote Northumbria's Royal Hall, Where thoughtful Edwin, tutored in the school Of sorrow, still maintains a heathen rule, Who comes with functions apostolical ? Mark him, of shoulders curved and stature tall, Black hair and vivid eye, and meagre cheek, His prominent feature like an eagle's beak ; A man whose aspect doth at once appal And strike with reverence . . . . ' " A small wooden church, Bede tells us, was hastily constructed for the purpose. This being pulled down afterwards, a stone church was erected in its place on the site of the present York Minster.

'' A Roman mosaic pavement is represented as having been used as foundation for the wooden church, as well because at this early date classical remains were frequently incorporated with pagan buildings as to indicate the connection of this panel with the subject of that of No. I, which is to represent the Romans in Britain. Bishops at this date had not yet adopted the mitre, the first indications of which are only found in eleventh century monuments. " Edwin was a wise and valiant King, who, but for his death at the age of 48 in a battle with Cadwallader, King of Wales, might at this early date have united all the Kingdoms of the Heptarchy under his dominion."—F. M. B.

Edwin, naked, except for a waist cloth, kneels in a stone baptismal font, whilst a priest pours the holy water over him from a bottle. Paulinus, with his right handraised in the benedictional position, utters a fervent prayer, or perhaps the words " Baptizo le." MUSIC ROOM. 21

The Queen, who stands at a little distance, is also praying with one of her waiting women upon her knees beside her. She has her little daughter by the hand, and the child looks questioningly up at her mother, wondering what they can be doing to her King-father. The congregation kneels, half-hidden, behind the cloth thrown over what is, perhaps, the Communion railing. Their mental attitude is one compounded of mocking wonder and superstitious dread. A laughing mother holds up her naked baby that he may have a better view of the outlandish ceremony, whilst an old man, whose gouty limbs make kneeling a sad task, is most occupied with the disposition of his crutch, even though Baldur be come again. The Saxon warriors, young and old, refuse to bow the knee to the new white God. The little thurifers, after their manner, are not over-reverent behind the Saint-Bishop's back—one of them laughs mockingly at the other, who can only keep his incense alight by blowing it. Through the small windows, hewn with an axe in the wooden boards forming the sides of the church, we catch a glimpse of the sky and of some old Roman remains, their graceful columns contrasting with the barbaric attempts at pillars upholding the little new wooden structure.

Original pastel for the Manchester fresco (1878-9).—F. M. H.

46. — THE TRAVELLER. Henry Boddington, Esq.

The traveller, whose costume is that of the end of last century, rides past a little cabaret, where the lights are just high enough to show shadows on the blinds, whilst at the door the comely French hostess is nursing her baby. Beside her are her son and a daughter, who has just left her spinning-wheel. Close to them the hind wheels of a post-chaise betoken the halting for the night of the arrival, whose milles are not yet unstrapped. Away from this scene of tranquillity the traveller is urging his tired horse, whilst round the inn corner you can see the long road running into the sunset. At one side of it the lamp at the gates of a chateau begins to shine out (1868-84).—F. M. H.

47- — THE ENGLISH BOY. C. P. Scott, Esq.

This is a portrait of Oliver Madox Brown ; a companion picture for " The Irish Girl" (1860).—F. M. H.

48. — JUAN AND HAIDEE. The Louvre, from the bequest of Miss Mathilde Blind.

Juan, a nude figure, is extended on the sand, his hand " drooped dripping on the oar" which had served to buoy him up, over him the nurse Zoe leans forward from her knees with her hand on his heart, whilst to the left Haidee stands with her eyes fixed on Juan's face and her hands clasping each other in an attitude of naive excitement. In the background the rocky coast rises, fretted into columns and needles, and, like the sky and suddenly-stilled water, the rocks and sand are almost iridescent in colour. Haidee's costume is semi-Orientally Greek in shape, full of bright colours, and admirably fitted for making fine folds (1878).—F. M. H. MUSIC ROOM.

49' "" T^YoUNGER FosCARr- Cuth6eri QuMer'm"

The wife of the " Yo °* Ae Venetian Council ofT*" SCari'" visitil>g her husband in the dungeon* torture. leU' imds »™ torn almost out of human shape bj "Mar. My best beloved l Joe. Foseari (embracing her) \u , happiness' > fue wife and only friend, what *". We'll part no more Jac. Foseari. How ; ur , ,

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51. — PORTRAIT OF FORD MADO* R„

Of Madox Brown's portrait ,,r 1 • necessary. We see the artist, a man of" "° eUb°rate description is cast, Ho,nan-nosed,broadofforcCl L-ral,am,SOmeneSS °< a m^«=uUne the face lather oval and broad at the c'heZ n '"^ ^^-^-Ped eyes, Parted in the middle and falling mane li]'" l5rofuse grey hair, carefully ^y beard, beginning to grow white, impart an^Wi ^ "? the SWeePin« otherwise vigorous enough. The domiLt • P^chal air to a face one, but the expression^ -^^JTi'^^ "**« unless otherwise excited, was habitually benign-1 had „ , ^ ^ ^ expression (1875).—F. M. H. ™ign—I had nearly said sweet-in

52. - THE WRITING LESSON. C. Rowley, Esq.

53- --CROMWELL PROTECTOR OF THE VATJDOIS FF6W, Esq. ' In the present picture we have Cromwell at theheiriil of „• not only the interests of the commonalty L^^l^;^ sovereigns n, the interests of their subjects of the reformedT^' I *" -ap of paper in his hand he dictates to Milton the le^he ^ f™ * ____^-^ . ki,t the poet Latinises them in ££ before

' The Proclamation is to be seen in the RecordOffic7~ MUSIC ROOM. 23

the French King—though, to judge from Cromwell's ace, one might have thought that good, broad English would have done well enough. Andrew Marvell in turn writes from the dictation of the blind poet. The contrast of the three figures is as remarkable as may be. The Lord Protector, a man of almost colossal proportions, has come in from reviewing his troops in the Park, and sits with his legs astride the corner of the massive table. His face is full of violent emotion as he turns towards Milton, perhaps his dogmatic spirit is buoyed up still more by the remembrance of the ironsided phalanxes he has just seen defiled before him. Milton, his face full of the tranquillity that so often ennobles the expression of the blind, is the exact reverse of Cromwell. His features are delicately cut, illumined with all the inward fire of genius, his clothing and attitude are alike precise and calculated, his legs are crossed in his favourite and characteristic- manner, and, whilst he " mouths out his hollow o's and a's " for Marvell to set down on the parchment, he motions with his hand —a delicate poet's hand—to restrain the Protector's indignant (low of words. He is, in fact, both the great poet and the merciless precisian. In Marvell, on the other hand, we see the subtile homme d'affaires, satirist, and wit, who Milton himself said "is a scholar besides, anil well read in Latin and Greek, and probably of good conversation also, for he comes now lately out of the house of the Lord Fairfax, who was General, where he was instructed to give some instructions in the languages to the lady his daughter." Thus they sit and make history on that May-day. The red afternoon sunlight strikes here and there on Milton's face and on the wall of the room of the house in Petty France where Milton dwelt. Behind Milton is his organ, with its key-board shown round his head ; the caning of the organ seems to form the poet's crown of laurel. At the feet of the poet lie the roses he has dropped ; at the feet of the Protector the Proclamation of a solemn fast on the occasion of the Massacre of the YValdenses. At his side, beneath his weighty hand, is the map of the country that the Duke of Saxony has so mercilessly harried, and that Cromwell now lakes under his protection. On Cromwell's arm is a band of Crape—emblem of mourning for the slaughtered Saints of the Vaudois Cantons.—F. il. H.

*)4* — WORK. Manchester Corporation Gallery.

" This picture, on account of which, in a great measure the present exhibition* has been organised, was begun in 1852 at Hampstead. The background, which represents the main street of that suburb not far from the Heath, was painted on the spot. " At that time extensive excavations, connected with the supply of water were going on in the neighbourhood, and seeing and studying daily as I did the British excavator, or navvy, as he designates himself, in the full swing of his activity (with his manly and picturesque costume, and with the rich glow of colour, which exercise under a hot sun will impart), it appeared to me that he

•This refers to the 1865 Exhibition.—F. M. H. 24 MUSIC ROOM.

was at least as worthy of the powers of an English painter as the fisherman of the Adriatic, the peasant of the Campagna, or the Neapolitan lazzarone. Gradually this idea developed itself into that of ' Work' as it now exists, with the British excavator for a central group, as the outward and visible type of Work. Here are presented the young navvy in the pride of manly health and beauty; the strong, fully-developed navvy, who does his work and loves his beer ; the selfish old bachelor navvy, stout of limb, and perhaps a trifle tough in those regions where compassion is said to reside ; the navvy of strong animal nature, who, but that he was, when young, taught to work at useful work, might even now be working at the useless crank. Then Paddy, with his Iarry and his pipe in his mouth. " The young navvy who occupies the place of hero in the group, and in the picture, stands on what is termed a landing-stage, a platform placed half-way down the trench ; two men from beneath shovel the earth up to him, as he shovels it on to the pile outside. "Next in value of significance to these is the ragged wretch who has never been taught to work ; with his restless, gleaming eyes, he doubts and despairs of every one. But for a certain effeminate gentleness of disposition and a love of nature, he might have been a burglar ! He lives in Flower-and-Dean Street, where the policemen walk two and two, and the worst cut-throats surround him, but he is harmless ; and before the dawn you may see him miles out in the country, collecting his wild weeds and singular plants, to awaken interest, and perhaps find a purchaser, in some sprouting botanist. When exhausted he will return to his den, his creel of flowers then rests in an open court-yard, the thoroughfare for the crowded inmates of this haunt of vice, and played in by mischievous boys, yet the basket rarely gets interfered with, unless through the unconscious lurch of some drunkard. The bread-winning implements are sacred with the very poor. •' In the very opposite scale from the man who can't work, at the further corner of the picture, are two men who appear as having nothing to do. These are the brain-workers, who, seeming to be idle, work, and are the cause of well- ordained work and happiness in others. Sages, such as in ancient Greece, published their opinions in the market square. Perhaps one of these may already, before he or others know it, have moulded a nation to his pattern, converted a hitherto combative race to obstinate passivity; with a word may have centupled the tide of emigration, with another have quenched the political passions of both factions—may have reversed men's notions upon criminals, upon slavery, upon many things, and still be walking about little known to some. The other, in friendly communion with the philosopher, smiling perhaps at some of his wild sallies and cynical thrusts (for Socrates at times strangely disturbs the seriousness of his auditory by the mercilessness of his jokes—against vice and foolishness), is intended for a kindred and yet very dissimilar spirit. A clergyman, such as the Church of England offers examples of—a priest without guile—a gentleman without pride, much in communion with the working classes, ' honouring all men,' 'never weary in well-doing.' Scholar, author, philosopher, and teacher, too, in his way, but not above practical efforts, if even for a small result in good. Deeply penetrated as he is with the axiom that each unit of humanity feels as MUSIC ROOM. 25 much as all the rest combined, and implusive and hopeful in nature, so that the remedy suggests itself to him concurrently with the evil. " Next to these, on the shaded bank, are different characters out of work : haymakers in quest of employment; a stoic from the Emerald Island, with hay stuffed in his hat to keep the draught out, and need for his stoicism just at present, being short of baccy ; a young shoeless Irishman, with his wife, feeding their first-born with cold pap ; an old sailor turned haymaker ; and two young peasants in search of harvest -work, reduced in strength, perhaps by fever, possibly by famine.

"Behind the Pariah, who never has learned to work, appears a group, of a very different class, who, from an opposite cause, have perhaps not been sufficiently used to work either. These are the rich, who have no need to work— not at least for bread—the ' bread of life' being neither here nor there. The pastry-cook's tray, the symbol of superfluity, accompanies these. It is peculiarly English : I never saw it abroad that I remember, though something of the kind must be used. For some years after returning to England I could never quite get over a certain socialistic twinge on seeing it pass, unreasonable as the feeling may have been. Past the pastry-cook's tray come two married ladies. The elder and more serious of the two devotes her energies to tract distributing, and has just flung one entitled,''The Hodman's Haven; or, Drink for Thirsty Souls,' to the somewhat unpromising specimen of navvy humanity descending the ladder : he scorns it, but with good nature. This well-intentioned lady, has, perhaps, never reflected that excavators may have notions to the effect that ladies might be benefited by receiving tracts containing navvies' ideas, nor yet that excavators are skilled workmen, shrewd thinkers chiefly, and, in general, men of great experience in life, as life presents itself to them.

" In front of her is the lady whose only business in life as yet is to dress and look beautiful for our benefit. She probably possesses everything that can give enjoyment to life ; how then can she but enjoy the passing moment, and like a flower feed on the light of the sun ? Would anyone wish it otherwise ?— Certainly not I, dear lady. Only in your own interest, seeing that certain blessings cannot be insured for ever—as for instance, health may fail, beauty fade, pleasures through repetition pall—I will not hint at the greater calamities to which flesh is heir—seeing all this, were you less engaged watching that exceedingly beautiful tiny greyhound in a red jacket that will run through that lime, I would beg to call your attention to my group of small, exceedingly ragged, dirty children in the foreground of my picture, where you are about to pass. I would, if permitted, observe that, though at first they may appear just such a group of ragged dirty brats as anywhere get in the way and make a noise, yet, being considered attentively, they, like insects, molluscs, miniature plants, Sic., develop qualities to form a most interesting study, and occupy the mind at times when all else might fail to attract. That they are motherless, the baby's black ribbons and their extreme dilapidation indicate, making them all the more worthy of consideration ; a mother, however destitute, would scarcely leave the eldest one in such a plight. As to the father, I have no doubt he drinks, and will be sentenced in the police-court for neglecting them. The eldest girl, not more than ten, poor child ! is very worn-looking and thin, her frock, evidently 2b MUSIC ROOM.

the compassionate gift of some grown-up person, she has neither the art nor the means to adapt to her own diminutive proportions—she is fearfully untidy therefore, and her way of wrenching her brother's hair looks vixenish and against her. But then a germ or rudiment of good housewifery seems to pierce through her disordered envelope, for the younger ones are taken care of, and nestle to her as to a mother—the sunburnt baby, which looks wonderfully solemn and intellectual as all babies do, as I have no doubt your own little cherub looks at this moment asleep in its charming basinet, is fat and well-to-do, it has even been put into poor mourning for mother. The other little one, thought it sucks a piece of carrot in lieu of a sugar-plum, and is shoeless, seems healthy and happy, watching the workmen. The care of the two little ones is an anxious charge for the elder girl, and she has become a premature scold all through having to manage that boy—that boy, though a merry, good-natured-looking young Bohemian, is evidently the plague of her life, as boys always arc. Even now he will not leave that workman's barrow alone, and gets his hair well pulled, as is natural. The dog which accompanies them is evidently of the same outcast sort as themselves. The having to do battle for his existence in a hard world has soured his temper, and he frequently fights, as by his torn ear you may know; but the poor children may do as they like with him—rugged democrat as he is, he is gentle to them, only he iiates minions of aristocracy in red jackets. The old bachelor navvy's small, valuable bull-pup also instinctively distrusts outlandish-looking dogs in jackets.

"The couple on horseback in the middle distance consists of a gentleman, still young, and his daughter. (The rich and the poor both marry early, only those of moderate incomes procrastinate.) This gentleman is evidently very rich, probably a Colonel in the army, with a seat in Parliament, and fifteen thousand a-year, and a pack of hounds. He is not an over-dressed man of the tailor's dummy sort—he does not put his fortune on his back, he is too rich for that; moreover, he looks to me an honest, true-hearted gentleman (he was painted from one I know), and could he only be got to hear what the two sages in the corner have to say I have no doubt he would be easily won over. But the road is blocked, and the daughter says, ' We must go back, papa, round the other way.' " The man with the beer-tray, calling 'Beer ho ! ' so lustily, is a specimen of town pluck and energy contrasted with country thews and sinews. He is hump­ backed, dwarfish, and in all matters of taste vulgar as Birmingham can make him look in the 19th century. As a child he was probably starved, stunted with gin, and suffered to get run over. But energy has brought him through to be a prosperous beer-man, and 'very much respected,' and in his way he also is a sort of hero ; that black eye was got probably doing the police of his master's establishment, and in an encounter with some huge ruffian whom he has conquered in fight, and hurled out through the swing-doors of the palace of gin prone on the pavement. On the wall are posters and bills ; one of the ' Boys' Home, 41, Euston Road,' which the lady who is giving tracts will no doubt subscribe to presently, and place the urchin playing with the barrow in ; one of the ' Working Men's College, Great Ormond Street; ' or, if you object to these, then a police bill offering ^50 reward in a matter of highway robbery. Back in the distance we see the Assembly-room of the ' Flamstead Institute of Arts,' MUSIC ROOM. -/ where Professor Snoox is about to repeat his interesting lecture on the habits of the domestic cat. Indignant pussies up on the roof are denying his theory in tot a. "The less important characters in the background require little comment. Bobus, our old friend, 'the sausage-maker of Houndsditch,' from PAST AMI PRESENT, having secured a colossal fortune (he boasts of it now) by anticipating the French Hippophage Society in the introduction of horse-flesh as a cheap article of human food, is at present going in for the county of Middlesex, and, true to his old tactics, has hired all the idlers in the neighbourhood to carry his boards. These being one too many for the bearers, an old woman has volunteered to carry the one in excess. "The episode of the policeman who has caught an orange-girl in the heinous offence of resting her basket on a post, and who himself administers justice in the shape of a push, that sends her fruit all over the road, is one of common occurrence, or used to be—perhaps the police now ' never do such things.' " I am sorry to say that most of my friends, on examining this part of my picture, have laughed over it as a good joke. Only two men saw the circum­ stance in a different light, one of them was the young Irishman, who feeds his infant with pap. Pointing to it with his thumb, his mouth quivering at the reminiscence, he said, ' That, Sir, /know to be true.' The other was a clergy­ man ; his testimony would, perhaps, have more weight. I dedicate this portion of the work to the Commissioners of Police. '' Through this picture I have gained some experience of the navvy class, and I have usually found that if you can break through the upper crust of mauvaise Jionte, which surrounds them in common with most Englishmen, and which, in the case of the navvies, I believe to be the cause of much of their bad language, you will find them serious, intelligent men, and with much to interest in their conversation, which, moreover, contains about the same amount of morality and sentiment that is commonly found among men in the active and hazardous walks of life ; for that their career is one of hazard and danger, none should doubt. Many stories might be told of navvies' daring and endurance, were this the place for them. One incident peculiarly connected with this picture is the melancholy fact that one of the very men who sat for it lost his life by a scaffold accident before I had yet quite done with him. I remember the poor fellow telling me, among other things, how he never but once felt nervous with his work, and this was having to trundle barrows of earth over a plank-line crossing a rapid river at a height of eighty feet above the watei. But it was not the height he complained of, it was the gliding motion of the water underneath.

" I have only to observe, in conclusion, that the effect of hot July sunlight attempted in this picture has been introduced because it seems peculiarly fitted to display work iu all its severity, and not from any predilection for this kind of light over any other. Subjects, according to their nature, require different effects of light. Some years ago, when one of the critics was commenting on certai works then exhibiting, he used words to, the effect that the system of light of those artists was precisely that of the sun itself—a system that would probably outlast, &C, &c. He might have added, aye, and not of the sun only, but of 2 8 MUSIC ROOM.

the moon, and of the stars, and, when necessary, of so lowly a domesti luminary as a tallow candle ! for tragedies dire as the CEdipus, and tender, joyful comedies, melting to tears, have ere now been acted to no grander stage- light, I imagine. " For the imperfections in these paintings I submit myself to our great master, the public, and its authorised interpreters, pleading only that first attempts are often incomplete. For, though certainly not solitary, attempts of the kind have not yet been so frequent as to have arrived at being mapped out in academic plans. But in this country, at least, the thing is clone, 'la cosa muove,'and never again will the'younger generations revert to the old system of making one kind of light serve for all the beautiful varieties under heaven, no more than we shall light our streets with oil, or journey by stage-coach and sailing-packet. ' Lo que empieza el hombre para si mismo, Dios le acaba para los otros.' ' Ce que l'homme commence pour lui, Dieu l'acheve pour les autres,' being in a some­ what more Christian if less Catholic tongue, for the benefit of those who, like myself, don't read Spanish. "Finally, if in this Catalogue I have been somewhat profuse in assigning dates, be it borne in mind that, strictly, my only claim is, not to plagiarise. Poor must be the country that could boast of only one original thinker for each profession ; but England, I rejoice to know, owns many a glorious painter ! The picture contains portraits of Carlyle and Kingsley, who represents brain, as opposed to muscular work."—F. M. B.

55. — ENTOMBMENT. H. Boddington, Esq.

56. — CORDELIA'S PORTION. Albert Wood, Esq.

Lear, the central figure, exhausted with the passion thrown into the speeches, " Let it be so ; thy truth, then, be thy dower," . . and " Cornwall and Albany, with my two daughters' dowers, digest this third," has sunk into his mistletoe-hung seat, with his eyes fixed on Cordelia. His hand, which has been pointed vigorously at the map, torn across the third patt, marked " Cordelia," remains sunk in that position. France, saying, " Fairest Cordelia, thou art most rich, being poor," takes her by the hand. Cordelia, during his speech seems to have lost somewhat of the acid self-possession that found words for her dismissal of Burgundy. Goneril, Regan, and their husbands, supporting the King on his right, have their fingers interlaced in the interstices of the crown. At the back of the King's throne the subsidiary figures of the tragedy crowd to look over the back of the high throne or each others, shoulders. Right in the background Kent is still lingering, looking back from the doorway.

The costume is once again that of the undefined, semi-mythical period in which, as I have said, Madox Brown delighted to place his characters. Lear might be a Druid,* France one of the Carlovingian kings, Cordelia a slightly Byzantine median-al figure. The palace is an old Roman villa. (1867-79).—F.M.H.

•" Roman-Pagan, British." Cf. the description of Lear's bedside, 1848-9. .MUSIC ROOM. 29

^7» — PORTRAIT OF PROFESSOR AND MRS. FAWCETT. Sir Charles Dilke, Bart.

^O. — WILLIAM SHAKESPEAR. Lowes Dickinson, Esq.

" Painted in 1849-50. " Carefully collated from the different known portraits, and more than any other from the bust at Stratford, this picture is an attempt to supply the want of a credible likeness of our national poet, as a historian recasts some tale told long since by old chroniclers in many fragments."— F. M. B.

59- — ENGLISH AUTUMN AFTERNOON. Geo. Rae, Esq. " This was painted in the Autumns of 1852 and 1853, and finished, I think, in 1854. It is a literal transcript of the scenery round London, as looked at from Hampstead. "The smoke of London is seen rising half-way above the fantastic-shaped, small, distant cumuli, which accompany particularly fine weather. The upper portion of the sky would be blue, as seen reflected in the youth's hat, the grey mist of autumn only rising a certain height. The time is 3 p.m., when, late in October, the shadows already lie long, and the sun's rays (coming from behind us in this work) are preternaturally glowing as in rivalry of the foliage. The figures are peculiarly English, they are hardly lovers, more boy-and-girl neighbours and friends. In no other country would they be so allowed out together, save in America, where (if report says true) the young ladies all carry latch-keys, both of us true inheritors from the Norsemen of Iceland, whose ladies would take horse and ride for three months about the island without so much as a presumptuous question on their return from the much-tolerating husbands of the period."—!-". M. ii.

DO. — ROMEO AND JULIET. C. W. Oman, Esq.

The subject of the Romeo and Juliet is that of Act III., Scene 5, and the opening of the scene with Juliet's— " Wilt thou begone, it is not yet near day ? " Romeo, who is half over the balcony, with his left foot on one of the rungs of the rope ladder, embraces Juliet, having his right arm round her, his left arm is still in the attidude of pointing towards the "envious streaks that lace the severing clouds in yonder East." Against the saffron gray of the dawning sky you can see the towers of Verona rise, but, down below in the garden, the shadows linger among the orange trees.

This is a small-water colour finished study for the picture now in Delamere, U.S.A. It is in many respects superior to the large work.— F. M. H. MUSIC ROOM.

01. " WlLHELMUS CONQUESTATOR." Mrs. Ma Leathart. na

" Willelmu, Conquistator was originally executed at Pori • o the cartoon of Harold exhibited in Wes^H^ l^T t^ repainted it, and as the old name Harold had become very much us^d no fth h

not the subject), I re-christened it VVUlelmus, who truly L^ tie mo ' *

feeling in art did not as yet exist ,1 i "^ Y Speald,1S the medi^al With^me, in ^^ZtZ^^TtT ^ *"* ' ^ other consideration, such was the ££'h^^ ^*" "-T David Scott, the British Delacroix here set il , T m*rance- and by the Bayeux tapestry, that Saxon ^ ft 7tZ I Tf ^ * Confess0rl d Normanised the nation, dressed precise v ie v " *° tWlght necessary, in order to make the sc^n mtelFihU t , ""* ' * Saxon costume of an anterior period "' ° **" Har°,d in the

"Again, the Pope's consecrated banner in the fa,. , • • but a pennon, such as William's wife Mat da rl 1 T " " ""^ "^ and fixed herself to his lance I cho * embroidered for him, took advantage of it, to throw a broad ZL^SZT' "* *** conqueror and his officers. On repaintin, tl T ^"^ °f the been tempted to give Harold " v *? T ta l86l> * »** have narrow literality 3 truth wouH ^J^^Y* ' -— that

changed the banner, to do which won, h 'a" I I *r*? — «™ of the whole composition. Moreover Haroll * "^ Aade very probably have reverted to the Saxon TtV "r .. 8 ^ Cr"Wn' mi8ht the old Saxon party. But the human ! i JrT " T* "* ^ °f in interest in this work. ' supersede the sartorial

" Excessive and exuberant joy is describe,] i„ *i ,, , the Norman host after the victory Thfct ,, "^ " P°SSe^ and expressions of the conqueror.;. ZZ^l """I" ™ *" demea"°Ur

athletic man, even among Saxon heroes TLe'"" *»***& •*& victorious Duke. All that are left alive on the me" " ^ b°dy to the were taken. Quarter was neither^^^ N"-° prisoners somewhat of the Polonius kind, with raised hand ' ""*"* k^ht' hand was a man. I„ mv youn, . , ™ ; ^ms to say, ' Here, indeed, One of William's attendants, of the wagoi7sort I 71 ""* "' *" Same mind' fist, and exhibits its puny proportion, aWsMoft H & ft ""* ^ * *' with the broken battle axe in its iron 2 f ^ ^'"^ hand- ^M Conqueror. A fair-haired Norman offi ^ ' "" * grfm smi,e f'»"> the gashed pretty freely with ^^^ *"»**»««. Wf £ The monk, who is dressing his wound f, ** " Si"ht'°f H"°ld- surlily bids him be quiet. \ZZg*££ " ^ »»* - «* work, aftCT day. A father supports his wound d son n on "^ ^ «* a h death grapple, lie the bodies of a Norman and S«on 0"T "***" " • the back, while he in turn has bitten his 2^.^ ^f ^ "" °the< ersary's throat like a dog. .MUSIC ROOM. 31

" Beachy Head, which is just perceptible from the scene of the battle, appears across the bay in the extreme distance. The effect is just after sunset."—F. M. B.

02. — CROMWELL ON HIS FARM. Oliver Brockbank, Esq.

The following excellent description of the picture is from the pen of Mr. Forbes Robertson, senior. In all but the wording it was inspired by the artist himself:— On a white horse, which grazes leisurely by the roadside before us, sits a stalwart man of saturnine visage, in the prime of lusty manhood. He is attired in the sober costume worn by thoughtful men in the early part of Charles I.'s reign, is booted in buff, and his beaver is slouched. His coat is clark- brown, and his cloak is sage-green in colour. On his brow there is a palpable wart, and on the scant white bands which adorn his neck is a red spot as of blood. Before him burns a heap of weeds and stubble, which those two labourers have grubbed from the hedges they have been trimming, and it is the flames thereof that have arrested the attention of their master, and on which he now gazes so earnestly yet so absently. In vain may the buxom wench, sent by her mistress, who stands with her two children by the garden-terrace in front of the goodly manor-house yonder to to the right, raise her voice above the lowing of cattle, the grunting of pigs, and the quacking duck which she holds in her lusty grasp, to tell the master that dinner waits. He hears and heeds her no more than the little lamb does that nibbles contentedly the herbage by the horse's nose, or than the pig that fancies some­ thing good is going on in her neighbourhood, and comes scampering up, with her squeaking litter, among the very horse's feet. By the consenting fall of the lines of the mouth, and the weird specula­ tion is those eyes, he of the wdiite horse sits evidently spell-bound ; and that which fixes him in no fairy dance, no pleasing phantasy, but the soul-sobering vision of the prophet or seer. We have seen where we are in time ; but where are we in place, and who is he ? The level landscape, then, which lies so sunny before us, with its dog-roses, chamomile, and marsh-mallow, with its pollard-willows throwing their stumpy shadows on the luxuriant pasturage, with its flat, Dutch-like horizon, is the Fen country of Old England. We are in Huntingdonshire, and yonder in the distance rises the famous tower of its capital. That is the Black Ouse beyond the meadows, which, with winding equivocation, loiters lazily towards the Wash. Could we turn our heads away from the dreamer of day-dreams and look a few hundred yards to the right, we should see the town of St. Ives. As it is, we are standing on the lands of the Manor of Sleep Hall ; all these, to the river-side, are its meadows, used, as we see, for grazing purposes, and yonder lady, with her two children, is its mistress. She is the daughter of Sir James Bourchier, and was married at St. Giles's Church, Cripplegate, some nine or ten 3 2 MUSIC ROOM.

years ago. Her husband is the melancholy man before as on the white horse, and his name is Oliver Cromwell. He has not been long back from Parliament, and it will be ten or eleven years before he sits there again. In the meanwhile his notions about kingcraft have been sadly shaken, and he has made up his mind to devote himself to the interests of his family, and of his grazing farm, and, above all, of his soul. Accordingly, he associates only with such earnest neighbours as Hampden and Pym, Lords Brook, Say, and Montague. " Living neither in any considerable height nor yet in obscurity, I did endeavour," said he afterwards in a famous speech in Parliament, " to discharge the duty of an honest man." Oliver Cromwell, as we see him here, is supposed by the artist to be returning from a neighbourly visit, and, on his homeward road, to have opened his Bible at these passages:— " Lord, how long ? Wilt thou hide Thyself for ever ? " And shall Thy wrath burn like fire ? " Pondering on the texts, he comes all at once on the burning stubble, and the concrete fact, so palpable to his outward eyes, answers readily to the vision within, and the man lapses, in the saddle where he sits, into a religious trance . . . (1874).

63- — JACOB AND JOSEPH'S COAT. W. ColtarL Esq. " The brothers were at a distance from home, minding their herds and flocks, when Joseph was sold. Four of them are here represented as having come back with the coat. The cruel Simeon stands in the immediate foreground, half out of the picture, he looks at his father guiltily and already prepared to bluster, though Jacob, all to his grief, sees no one and suspects no one.. The leonine Judab, just behind him, stands silently watching the effect of Levi's falsity and jeering levity on their father; Issachar, the fool, sucks the head of his shepherd's crook, and wonders at his father's despair. Benjamin sits next his father, and with darkling countenance examines the ensanguined and torn garment. A sheep dog, without much concern, sniffs the blood which he recognises as not belonging to man. "A grandchild of Jacob nestles up to him, having an instinctive dislike for her uncles. Jacob sits on a sort of dais raised round a spreading fig-tree. The ladder, which is introduced in a naturalistic way, is, by convention, the sign of Jacob, who, in his dream, saw angels ascending and descending by it. " The background is taken from a drawing made by a friend in Palestine. The same remarks about costume apply to this as to the Ehud cartoon, only that in this one the costume is still more remote and uncertain ; the loin cloth, as worn now by the negroes of Africa, is probably the garment from which all others derive themselves, and is peculiarly suited to this period. In the East, taking off shoes or sandals is equivalent to uncovering the head with us ; on this account Simeon stands with his straw sandals [in his hands; such also is the reason of Ehud's sandals being left at the door, lest by any breach of etiquette he might arouse, one instant too soon, the suspicions of the tyrant. MUSIC ROOM. j 3

" That the Assyrians and Egyptians used chairs, as we do, is quite ascertained ; as also that their furniture was much more like our own, and the Greek or Roman, than like anything modern Turkish or Arab (1864)."—F. M. B.

64. — THE LAST OF ENGLAND. Geo. Rae, Esq. SONNET. " The last of England ! O'er the sea, my dear, Our homes to seek amid Australian fields. Us not the million-acred island yields The space to dwell in. Thrust out ! Forced to hear Low ribaldry from sots, and share rough cheer With rudely-nurtured men. The hope youth builds Of fair renown bartered for that which shields Only the back, and half-formed lands that rear

" ' The dust-storms blistering up the grasses wild, There learning skills not, nor the poet's dream, No, aught we loved as children shall we see.' She grips her listless hand and clasps her child Through rainbow-tears she sees a sunnier gleam, She cannot see a void, where he will be." F. M. B., Feb., 1865. " This picture is in the strictest sense historical. It treats of the great emi­ gration movement, which attained its culminating point in 1852. The educated are bound to their country by quite other ties than the illiterate man, whose chief consideration is food and physical comfort. I have, therefore, in order to present the parting scene in its fullest tragic development, singled out a couple from the middle classes, high enough, through education and refinement, to appreciate all they are now giving up, and yet depressed enough in means to have to put up with the discomforts and humiliations incident to a vessel ' all one class.' The husband broods bitterly over blighted hopes and severance from all he has been striving for. The young wife's grief is of a less cankerous sort, probably confined to the sorrow of parting with a few friends of early years. The circle of her love moves her

" The husband is shielding his wife from the sea-spray with an umbrella. Next them, in the background, an honest family of the greengrocer kind, father (mother lost), eldest daughter, and younger children, makes the best of things with tobacco pipe and apples, Sic, Sec. Still further back a reprobate shakes his list, with curses, at the land of his birth, as though that were answerable for ///.fwant of success. I lis old mother reproves him for his foul-mouthed profanity while a boon companion, with flushed countenance and got up in nautical toos for ihe voyage, signifies drunken approbation. The cabbages *hin„ round the stern of the vessel indicate to the practised eye a lengthy voyage ; but for this tbcii- introduction would be objectless. A cabin boy, too used jto ' leaving his native land ' to see occasion for much sentiment in it, is selecting vegetables for the dinner out of a boatful. 34 MUSIC ROOM.

"This picture, begun in 1852, was finished more than nine years ago. To ensure the peculiar look of light all round which objects have on a dull day at sea, it was painted for the most part in the open-air on dull days, and the flesh was painted on cold days. Absolutely without regard to the art of any period or country I have tried to render this scene as it would appear. The minuteness of detail which would be visible under such conditions of broad daylight 1 have thought necessary to imitate, as bringing the pathos of the subject more home to the beholder."—F. M. B. This is a duplicate of the original, which is in Birmingham Municipal Gallery. It was executed in i860.—F. M. H. CENTRE GALLERY.

1 65- JESUS WASHES PETER'S FEET. H. Boddington ) Esq. This is a replica of the original in its first state. To please a patron M. B. clothed the figure of Christ in the picture now in the National Gallery. He was, however, anxious to leave a replica of the picture as it was at first, and this, painted in 1876, is the result.—F. M. H.

66. — AT THE OPERA — WATER-COLOUR DRAWING. Harold Rathbone, Esq.

Vj. — CROMWELL ON HIS FARM. H Boddington, Esq. Study for picture, commenced 1864, retouched 1887.—F.M.H.

68. — CROMWELL ON HIS FARM. J-. P. Seddon, Esq. The original sketch for the picture (1856).—F. M. H.

69- — THE BUTCHER-BOY. Mrs. Alice S. Woolner. Study for " Work."—F. M. H.

70. — " TAKE YOUR SON, SIR." Harold Rathbone, Esq. Unfinished (1856).

71. — MANFRED ON THE JUNGFRAU. H. Boddington, Esq. From Lord Byron's Drama. " This work, composed in 1840, when I was nineteen, and painted the next year in Paris, belongs, with the five following examples, to the period of my Art- studentship in Belgium and Paris. In this instance, however, the picture has been much touched upon, as recently as i86t, so that the original scheme of colour is quite obliterated, little more than the dramatic sentiment and effect of black-and-white remaining. Such as it was, it was a first, though not very recognisable, attempt at out-door effect of light. The costume is of the 10th or nth century, to which period Byre: . i< rers his subject back, by making Manfred speaK of the fall of Mount Rosenburg.'- These words of M. B. referred to the companion picture of the one now exhibited. They apply equally, however, to this one, which represents Manfred in the chamois hunter's suit. 36 CENTRE GALLERY.

72. — TELL'S SON (1878). Mrs. Catherine Hueffer.

73. — HEAD OF A MAN. H. Boddington, Esq. After Franz Hals. (1839.)

74. — PARISINA'S SLEEP. H. Boddington, Esq. From Lord Byron's Poem. "Parisina, in her sleep, mutters a name, which first gives weight and direction >o the suspicions already implanted in the mind of her husband, the Prince Azo. " ' He pluck'd his poniard in its sheath, But sheathed it ere the point was bare— Howe'er unworthy now to breathe, He could not slay a thing so fair— At least not smiling—sleeping there. Nay, more ; he did not wake her then, But gazed upon her with a glance Which, had she roused her from her trance, Had frozen her sense to sleep again And o'er his brow- the burning lamp Gleamed on the dew-drops, big and damp. She spake no more, but still she slumbered, While in his thought her days are numbered ' "This work, painted at Paris in U842, offers a good example of my early style . having been only very slightly retouched since. Such as it is, this style I must observ-e is neither Belgian, such as I learned in the school of Baron Wappers nor that of the Parian ateliers, the latter I always entertained the gre tes aversion for, cold, pedantic drawing, and heavy opaque colour are impartially dispensed to all m those huge manufactories of artists, from which however every now and then a man of feeling or genius surges up and disentangles himself Ihe style had rather its origin in the Spanish pictures and in Rembrandt "-F.MB.

75. — HEAD OF A MAN. H. Boddington, Esq. After Rembrandt. (1842.)

76. — HEAD OF A BOY. //. Boddington, Esq.

JJ. — PRISONERS OF CHILLON. (1843.)^ Boddington,Esq. |

78. — HEAD OF A WOMAN. H. Boddington, Esq. After Rembrandt. (1842.) CENTRE GALLERY. 37

79- — HEAD OF A BOY. H. Boddington, Esq. oO. — PORTRAIT GROUP OF MRS. BROMLEY'S CHILDREN (1841). W. M. Rossetti, Esq.

81. —- PORTRAIT OF A LITTLE GIRL ON A TRICYCLE (Painted about 1883). C. P. Scott, Esq.

82. — PASTEL PORTRAIT OF MRS. W. M. ROSSETTI AND DAUGHTER. W. M. Rossetti, Esq.

83- — PASTEL PORTRAIT OF MISS DUFFUS HARDY. Fairfax Murray, Esq.

84* — PASTEL PORTRAIT OF MRS. MADOX BROWN Harold Rathbone, Esq.

85« — MRS. KENDRICK PYNE. J. Kendrick Pyne, Esq.

86. — PASTEL PORTRAIT OF MISS MATHILDE BLIND. Mrs. Ludwis Mund.

87- — CONVALESCENT. H. Boddington, Esq.

88. — PASTEL DRAWING OF MISS MARIE SPARTALI (MRS. STILLMAN). Mrs. Middleton.

89* — A GIPSY. J. Kendrick Pyne, Esq.

90. — PENCIL SKETCH OF "THE LAST OF ENGLAND." Harold Rathbone, Esq.

9I« — HEAD OF BABY. Mrs. Catherene Hueffer. 38 CENTRE GALLERY.

92. — PORTRAIT OF MRS. MADOX BROWN. Mrs. Catherine Hueffer.

93. ~ HEAD OF FORD MADOX BROWN AT 28. Mrs. Catherine Hueffer.

94* — ST. JEROME. Mrs. Catherine Hueffer.

95- — HEAD OF A BABY. Mrs. Catherine Hueffer.

96. — PORTRAIT OF MRS. F. M. B. Mrs. Catherine Hueffer. BY CATHERINE MADOX BROWN

97« — FOUR DESIGNS FOR PANELS. Oliver Madox Hueffer, Esq.

98. — HEAD OF BABY. Mrs. Catherine Hueffer.

99. — HEAD OF A CHILD. // Boddington, Esq.

100. — STUDY FOR "CINDERELLA." Mrs.Catherine Hueffer.

101. — HEAD OF A BABY. Mrs. Catherine Hueffer.

102. — PORTRAIT OF F. M. B. Mrs. Catherine Hueffer. BY CATHERINE MADOX BROWN.

103. — PASTEL OF ARTHUR ROSSETTI. W. M. Rossetti, Esq.

104* — PORTRAIT OF JULIET HUEFFER (1884). Mrs. Catherine Hueffer. CENTRE GALLERY. 39

IO^. — PORTRAIT OF MICHAEL ROSSETTI. W. M. Rossetti, Esq. Bv MRS. W. M. ROSSETTI (LUCY MADOX BROWN).

106. — PORTRAIT OF OLIVER FRANCIS HUEFFER. Mrs.

Catherine Hueffr.

107. — PASTEL OF MARY ROSSETTI. W. M. Rossetti, Esq.

108. — PORTRAIT OF CATHERINE MADOX BROWN. Mrs. Catherine Hueffr. 109. — AFTER THE BALL. W. M. Rossetti, Esq.

BY MRS. W. M. ROSSETTI (LUCY MADOX BROWN).

HO. —FERDINAND AND MIRANDA PLAYING CHESS W. M. Rossetti, Esq.

BY MRS. W. M. ROSSETTI (LUCY MADOX BROWN). The Tempest.

111. —• ROMEO AND JULIET. Act V., Sc. iii. W. M. Hardinge, Esq. BY MRS. W. M. ROSETTI.

112. — MARGARET ROPER. W. M. Rossetti, Esq. BY MRS. W. M. ROSSETTI (LUCY MADOX BROWN). Margaret Roper was the daughter of Sir Thomas More. She here receives the head of her martyred father, who was executed on Tower Hill.

113. — FAIR GERALDINE. W. M. Rossetti, Esq. The Earl of Surrey is here shown his distant mistress, Fair Gcraldine, in the glass of Cornelius Agrippa, the magician.

114. — THE DUET. W. M. Rosetti, Esq. JO CENTRE GALLERY.

11^. —• SARDANAPULUS'S DREAM. Henry Boddington, Esq. The builder of seven cities in a day is represented as lying on a couch, or, to speak more precisely, tossing in his sleep on it. Myrrha, the Greek slave, who immolated herself, is lifting up the coverlet to see if the condition of his wounds causes his uneasiness. The walls represent the winged man-headed bulls. In the open doorway an archer on the watch is discharging an arrow. On the cushion at the couch side is the royal horned helmet and the king's spear and shield.—Unfinished (1873-91).—F1. M. H.

116. — PORTRAIT OF F. M. B. Mrs. Catherine Hueffr. Bv CATHERINE MADOX BROWN.

117. — PORTRAIT OF MRS. EDMUND GOSSE. Mrs. Edmund Gosse. BY CATHERINE MADOX BROWN.

118. —PORTRAIT OF DR. HUEFFER. Mrs. Catherine Huejjer. Bv CATHERINE MADOX BROWN.

119. ~ MRS. ALMA TADEMA. Mrs. Alma Tadema. Bv CATHERINE MADOX BROWN.

120. — PORTRAIT OF MRS. MADOX BROWN. Mrs. Catherine Hueffer. BY CATHERINE MADOX BROWN.

121. — CROMER—WATER-COLOUR. Harold Rathbone, Esq. BY CATHERINE MADOX BROWN (MRS. HUEFFER).

122. — MAZEPPA. Mrs. Catherine Hueffer. Bv OLIVER MADOX BROWN.

123. — " SILAS MARKER." E. Wood, Esq.

BY OLIVER MADOX BROWN. CENTRE GALLERY. 41

I24< — STUDY OF A DONKEY. Mrs. Catherine Hueffer. BY OLIVER MADOX BROWN.

I25. — ORIGINAL SKETCH FOR " THE CENTAURS." F. M. Hueffer, Esq. This was designed at the age of nine. Bv OLIVER MADOX BROWN.

120. — QUEEN MARGARET AND THE ROBBER. Harold Rathbone, Esq. Designed by Oliver Madox Brown at the age "of eleven.

127. — PORTRAIT OF OLIVER MADOX BROWN. Mrs. Catherine Hueffer. Aged 5.

128. — ROUGH FIRST SKETCH FOR BYRON'S " DE­

FORMED TRANSFORMED.'' Harold Rathbone, Esq. BY OLIVER MADOX BROWN.

129. — " EXERCISE." W. M. Rossetti, Esq. BY OLIVER MADOX BROWN.

130. — STUDY OF WATER. W. M. Rossetti, Esq. BY OLIVER MADOX BROWX.

131. — PENCIL SKETCH FOR " MAZEPPA." Mrs. Catherine Hueffer. BY OLIVER MADOX BROWN.

132. — THE ENTOMBMENT. Mrs. Leathart. Finished Study. 42 CENTRE GALLERY.

I33« — BYRON AND MARY CHAWORTH. Henry Boddington, Esq. Byron is represented in the picture as a somewhat early-matured youth of sixteen or seventeen years of age. He has ridden over from Newstead to Annesley, and, in company with the dog Boatswain, has taken a stroll with the heiress of the latter place. The day is a hot one, and the poet and his beloved have seated themselves on a little knoll overlooking the great plain in Notting­ hamshire. Byron has hold of Mary Chaworth's hand, and is pouring out impassioned nothings, whilst Mary has only ears for the distant sounds of the hoofs of that sturdy Nimrod, Jack Muster's, horse, and eyes for that scarlet-coated gentleman himself. Boatswain, too, looks in the direction whence the sounds come, just preparing to cock his ears and perhaps utter the bark that will bring Byron to a sense of the world around him and, to a certain extent, to his own senses.—Finished Study (1869-89).—F. M. H.

134' — HAIDEE AND DON JUAN. H. Boddington, Esq. Finished Study for the Picture.

I35* — PENCIL SKETCH OF ABOVE. Mrs. Catherine Hueffr.

I36. — SPECIMENS OF POTTERY, containing a Series of Plaques from the designs of Ford Madox Brown, modelled by his pupil, Harold Rath­ bone, Manager of the Delia Robbia Pottery, Ld. SMALL GALLERY.

I37» — CARTOONS FOR STAINED GLASS AND DESIGNS FOR FURNITURE. " The following cartoons have been executed for the firm of Messrs. Morris, Marshall, Faulkner & Co., for stained glass. With its heavy lead lines surround­ ing every part (and no stained glass can be rational or good art without strong lead lines) stained glass does not admit of refined drawing, or else it is thrown away upon it. What it does admit of, and above all things imperatively requires, is line colour, and what it can admit of and does very much require also is invention, expression, and good dramatic action. For this reason work by the greatest historical artists is not thrown away upon stained glass windows because, though high finish of execution is superfluous and against the spirit of this beautiful decorative art, yet as expression and action can be conveyed in a few strokes equally as in the most elaborate art, on this side stained glass rises again to the epic height. So in medals it is well known grandeur of style arises out of the very minuteness of the work, which admits of that and little else. The Cartoons for this firm are never coloured, that task devolving on Mr. William Morn's, the manager, who makes his colour (by selecting the glass) out of the very manufacture of the article. " The revival of the mediaeval art of stained glass dates back now some fifty years or so, nevertheless with the public it is still little understood. A general impression prevails that bright colouring is the one thing desirable, along with a notion that the brightest colours are the most costly. In an age that has become disused to colour the irritation produced on the retina by the discordance of bright colour is taken as evidence of the so-coveted brightness itself. The result of this is that the manufacturers, goaded on by their clients and the ' fatal facility' of the material (for all coloured glass is bright), produce too frequently kaleidoscopic effects of the most painful description."—F. M. B.

I38. — EARLY ENGLISH BISHOP. Harold Rathbone, Esq.

139* — ST. LUKE. 0. Madox Hueffer, Esq.

140. — EDWARD I. Westminster Technical Institute, Vincent Square, S. W. 44 SMALL GALLERY.

141. — GREY. Ford Madox Hueffer, Esq.

142. — ETHELBURGA. Ford Madox Hueffer, Esq.

143. — CARDINAL BEAUFORT. Westminster Technical- Institute, Vincent Square, S.W.

144. — WHITGIFT. Harold Rathbone, Esq.

145- — THE GOOD SHEPHERD. Westminster Technical Institute, Vincent Square, S. W.

I46. — THE MOTHER OF ST. JOHN THE BAPTIST- CARTOON. Harold Rathbone, Esq. END GALLERY.

147* — THE BRAZEN SERPENT. W. M. Rossetti, Esq.

I48. — THE TRANSFIGURATION. Messrs. Powell & Co.

" Cartoon for stained glass. " A moment's consideration will, I think, make clear to the beholder that the holes in our Lord's hands are not there by any oversight. "Though I was not aware of it at the time, it appears to have been the customary way of treating this subject with the early Masters (1858)."—F. M. B. Executed before the " firm" came into existence.—F. M. II.

THE EDITH SERIES.

I49' — TWELVE CARTOONS. Manchester Corporation. These were originally intended for stained glass, but were afterwards worked up into finished designs (1873).

I^O. — SOLOMON BUILDING THE TEMPLE. F. M. Hueffer, Esq.

151. - THE ESCAPE OF ST. PETER. F. M. Hueffer, Esq.

1^2. — THE FINDING OF MOSES. Walter ferrold, Esq.

153* — THE CRUCIFIXION—CARTOON. Harold Rathbone, Esq.

I*>4- — ST. MICHAEL—CARTOON FOR STAINED GLASS. Harold Rathbone, Esq.

I55. — THE ROMANS BUILDING A FORT. W. M. Rossetti, Esq.

Etching, after Lord Madox Brown. By G. W. RHEAD. 46 END GALLERY.

I56. — SARDANAPULUS. W. M. Rossetti, Esq. Etching, after Ford Madox Brown. By G. W. RHEAD.

CARTOONS (GREAT MEN SERIES).

157* — ClCERO. Owen's College, Manchester.

1^8. — ARISTOTLE. Owen's College, Manchester.

159* — GALILEO. Owens College, Manchester.

160. — ALFRED THE GREAT. Owen's College, Manchester.

161. — HENRY CAVENDISH. Owen's College, Manchester.

162. — MICHAEL ANGELO. Owen's College, Manchester.

l63» — JOAN OF ARC. Owen's College, Manchester.

164* — SIR ISAAC NEWTON. Owen's College, Manchester.

l65' — COLUMBUS. Owen's College, Manchester.

166. — ABRAHAM AND ISAAC. W. M. Rossetti, Esq.

167. --THE INCREDULITY OF PETER. W. M. Rossetti, Esq.

168. — ELI AND SAMUEL. Executors of late Miss Blind.

169. — THE DEATH OF TRISTRAM, CARTOON FOR STAINED GLASS (1862). Fairfax Murray, Esq. END GALLERY. 47

170. — "NOLI ME TANGERE." W. M. Rossetti, Esq.

171. — EXPULSION FROM THE GARDEN OF EDEN. Mrs. Catherine Hueffer.

172. — THE FEATHER (ILLUSTRATION). F.M. Hueffer, Esq. This was F. Madox Brown's last finished design.—F. M. H. (1892).

ON SCREEN.

173. — STUDIES OF A YOUNG GIRL SEATED IN A CHAIR (1849). Fairfax Murray, Esq.

I74' — CHARLEMAGNE. Westminster Technical Institute, Vincent Square, S. W.

I75' — STERNE AND MARIA (1842). Fairfax Murray, Esq.

I76. — DESIGN FOR DRINKING FOUNTAIN (ROSSETTI MEMORIAL). H. Boddington, Esq.

I77' — ELEVEN WOODCUTS FOR DALZIEL'S BIBLE. Fairfax Murray, Esq.

I78. — EIGHT DESIGNS IN PEN-AND-INK, IN ONE FRAME, FOR STAINED GLASS. Harold Rathbone, Esq.

179- — TEN PORTRAITS OF MRS. MADOX BROWN, IN ONE FRAME. Fairfax Murray, Esq. F. MADOX BROWN and D. G. ROSSETTI.

180. — A PEASANT WOMAN AT A- DOORWAY TALKING TO Two GENTLEMEN OUTSIDE. (1842). Fairfax Murray, Esq.

181. — THE NOSEGAY, y. Kendrick Pyne, Esq. Pastel Study. 48 END GALLERY.

182. — STUDY FOR DOGS IN " WORK." 0. Madox Hueffer Esq.

183. —' STUDY FOR PRISONER OF CHILLON 0. Madox Hueffer, Esq.

184. — Two FIGURES IN CIRCLES FOR SPANDRILS OF FRAME TO " WYCLIFFE " (1848). Fairfax Murray, Esq.

185. — Six DESIGNS (FROM A SERIES OF SEVEN) FOR PANELS TO A BOOKCASE. Fairfax Murray, Esq. (1.) The Proposal (1809). (2.) The Departure for the Peninsula. (3.) The Charge. (4.) Wounded. (5.) The Return. (6.) Telling the Story of the Battle to his Grand-daughter (1862). The Seventh Design (fourth in order) was entitled the " Gazette."

186. — PORTRAIT OF F. M. B. W. M. Rossetti, Esq. Bv D. G. ROSSETTI.

187. —' DESIGNS FROM KING LEAR. Sir Henry frving. " Goneril violently rates her father, Kent sorrowfully looks on, and the Fool rails at her. " King Lear, incensed, leaves Goneril's house, her husband in vain seeking to interpose. " The Duke of Kent tries to pick a quarrel with Goneril's steward. "King Lear wall not believe that his own daughter, Regan, would have his messenger, Kent, placed in the stocks." King Lear gives the history of his wrongs to Regan and her husband in the presence of the Duke of Gloucester. " Lear, perceiving that Goneril and Regan are both agreed as to their intention, curses them, and goes off in the rising storm, shelterless. " King Lear with his Fool in the storm. " Ring Lear mad on the beach at Dover."—F. M. B. These studies were purchased by Sir Henry Irving when the Lyceum pro­ duction of Lear was in preparation. It may be remembered that Madox Brown had a considerable (hand in designing the costumes and scenery of that representation.—F. M. H. END GALLERY. 49

188. -- DESIGN FOR "LOHENGRIN" PIANO. Mrs. Catherine Hueffer.

189. — .STUDIES OF A MOTHER NURSING HER CHILD (1848). Fairfax Murray, Esq.

190. —STUDIES FOR''ASCENSION" (1844). FIRST SKETCH

FOR "CHAUCER" (1845). Fairfax Murray, Esq.

191. — PORTRAIT OF THE ARTIST'S MOTHER. W. M. Rossetti, Esq.

A COLLECTION

OF REPRODUCTIONS OF THE WORKS

OF

FORD MADOX BROWN, F. SHIELDS, AND D. G. ROSSETTI.

Published by the Autotype Company, Limited.

FORD MADOX BROWN. 192. — Cromwell, the Protector of the Vaudois,

D. G. ROSSETTI.

193. — The Roman Widow.

194. — The Lamp of Memory.

195. — Veronica Veronese.

I9O. — Rosa Triplex.

197- — Love's Greeting. 50 END GALLERY.

198. — Beata Beatrix.

199. — Lady Lilith.

200. — The Return of Tibullus.

201. — The Loving Cup.

202. — Ecce Ancilla Domini.

203. — Tazio's Mistress.

204* — Launcelot at the Shrine.

205' — Silence.

200. — Perlascura.

207. — The Laboratory. Illustration to R. Browning's Poem.

208. — II Penseroso.

209. — Sub Umbra.

210. — The Loving Cup.

211. — Portrait of Robert Browning, 1855.

FORD MADOX BROWN. 212. — The Blessing of Isaac. 213. — Chancellor llolbrook, of Peterhouse, Cambridge. END GALLERY. 51

D. G. ROSSETTI. 214. — Portrait of W. Holman Hunt.

2I3. — Guinevere at the Well.

FORD MADOX BROWN. 210. — Milton and Spencer.

217. — Whitgift the Reformer.

D. G. ROSSETTI. 218. — Portrait of the Artist.

219. — Portrait of the Artist.

FORD MADOX BROWN. 220. - Crashaw the Poet.

221. — The Archangels, Sts. Michael and Uriel.

D. G. ROSSETTI. 222. — The Angel of the San Grael.

FORD MADOX BROWN.

223. — The Last of England.

224. — Abraham and Isaac.

225. - Paeda, King of Kent. D. G. ROSSETTI. 226. — The Window. 521 END GALLERY.

FORD MADOX BROWN. 227. — Eli and the Infant Samuel.

228. — David and Goliath.

FREDC. J. SHIELDS.

229. — Christ and St. Peter.

230. — The Good Shepherd.

231. —' The Angel Guardian. D. G. ROSSETTI. 232. — Study for an Angel.

FORD MADOX BROWN. 233' — The Expulsion of the Danes from Manchester.

D. G. ROSSETTI. 234' — Study for an Angel.

FORD MADOX BROWN. 235' — Zachariah the High Priest.

236. — The Mother of St. John the Baptist.

D. G. ROSSETTI. 237' — The Christmas Carol.

FORD MADOX BROWN. 238. — " Suffer Little Children to come unto Me."

239. — The Scourging at the Pillar. CENTRE GALLERY. 53

D. G. ROSSETTI. 240. - Water Willow.

241. — Dr. Johnson at the " Mitre."

FORD MADOX BROWN. 242. — The Crucifixion.

243- — St- Martin in Heaven.

D. G. ROSSETTI. 244* — Monna Rosa.

245- — Proserpina.

FORD MADOX BROWN. 246. — An Evangelist.

247« — (a) ^n earty English Bishop. (b) Simeon.

D. G. ROSSETTI. 248. — The Lady with the Fan.

FORD MADOX BROWN. 249' — ^ne Entombment.

250. — Hugo de Balsham, Bishop of Ely.

251. — Queen Eleanor Conferring the Charter of Peterhouse.

D. G. ROSSETTI. 252. — La Pia. 54 END GALLERY.

FORD MADOX BROWN. 253. — The English Boy.

254* — Cordelia's Portion.

255' — His ^wn Portrait-

D. G. ROSSETTI. 256. — Venus Verticordia.

FORD MADOX BROWN. 2*)7* — Chaucer at the Court of Edward III.

258. — Homer.

D. G. ROSSETTI. 259' — The Sphinx.

FORD MADOX BROWN. 260. —• Solomon Directing the Building of the Temple.

FREDC. J. SHIELDS. 261. — The Raising of Lazarus.

D. G. ROSSETTI. 262. — Ecce Ancilla Domini.

263. — Study for " Silence."

FORD MADOX BROWN. 264* — St. Peter Delivered by the Angel. END GALLERY. 55

205. — Shakespeare.

D. G. ROSSETTI.

266. — Beata Beatrix.

267. — Study for " The Blessed Damozel."

268. — Our Ladye of Pity.

269. — Study for " Found."

270. — The Lady with the Fan.

271. — Study for "The Blessed Damozel."

272. — The Sea Spell.

273. — The Blessed Damozel.

F. J. SHIELDS. 274* — The Raising of Lazarus.

FORD MADOX BROWN. 275' — Set of Autotype Illustrations to the " Life of F. M. Brown." BY F. M. HUEFFER. CORRIDOR.

('Leading from Octagon Gallery to Music Room.)

276. — CARTOON FOR SHAKESPEARE. H. Boddington, Esq.

277* — ONE OF SIXTEEN DESIGNS FOR THE DOME OF THE MANCHESTER JUBILEE EXHIBITION. E. Wood, Esq.

278.— PASTEL PORTRAIT OF THE LATE MATHILDE BLIND. BY HAROLD RATHBONE (PUPIL OF FORD MADOX BROWN). INDEX TO EXHIBITORS.

AUTOTYPE COMPANY, LIMITED. 192 to 275.

BIBBY, JOHN. 15, 16. BLIND, Executors of Miss. 1, 168. BODDINGTON, HENRY. 12, 13, 23, 28, 29, 30, 31, 32, 40, 41, 46. 55. 65- C7, 71, 73 to 79, 87, 99, 115, 133, 134, 176. BROCKBANK, OLIVER. 62. BROCKLEBANK, THOMAS. 21,43.

COLTART, W. 27, 63.

DELLA ROBBIA POITERY, Ltd. (Manager of the). 136. DICKINSON, LOWES. 58. DILKE, SIR CHARLES, Bart. 57.

GOSSE, Mrs. EDMUND. 117.

HARDINGE, W. M. 111. HUEFFER, FORD MADOX. 125, 141, 142, 150, 172. HUFFIER, Mrs. CATHERINE. 39, 72, 91 to 96, 98, 100, 101, 102, 104, 106, 108, 116, 118, 120, 122, 124, 127, 131, 135, 171, 188. HUEFFER, OLIVER MADOX. 97, 139, 182, 183.

JEKROLD, WALTER. 152.

IRVING, SIR HENRY. 187.

LEATHART, Mrs. MARIA. 20, 6;, 13;. LOUVRE, THE (from the bequest of Miss Mathilde Blind). 48.

MANCHESTER CORPORATION GALLERY. 54, 149. MARSHALL, Mrs. ELLEN B. 9. MARSHALL, Mrs. JOHN. 14. MIDDLETON, Mrs. 88. MUND, Mrs. LUDWIG. 86. 58 INDEX TO EXHIBITORS.

MURRAY, FAIRFAX. 83, 169, 173, 175, 177, 179, 180, 184, 185, 188, 189.

OMAN, C. W. 60. OWEN'S COLLEGE, MANCHESTER. 3, 4 5, 7, 8, 157 to 165.

PASS, W. D. 38. POWELL & Co., Messrs. 148. PYNE, J. KENDRICK. 85, 89, 181.

QUILTER, CUTHBERT, M.P. 49.

RAE, GEO. 44, 59, 64. RATHBONE, HAROLD. 10, 11, 18, 36, 45, 66, 70, 84, 90, 121, 126, 127, 138, 144, 146, 153, 154, 178. ROSSETTI, W. M. 19, 22, 24, 35, 80, 82, 103, 105, 107, 109, no, 112, 113, 114, 128, 129, 147, 155, 156, 166, 167, 171, 186, 191. ROWLEY, C, Jun. 2, 6, 33, 37, 52.

SCOTT, C. P. 47, 81. SEDDON, J. P. 68.

TADEMA, Mrs. ALMA, I 19. TEBBS, H. V. 26, 34.

WATTS-DUNTON, W. THEODORE. 51. WESTMINSTER TECHNICAL INSTITUTE. 140, 143, 145, 174. WILKINSON, T. R. 25, 42, 50. WOOD, A. 53, 56, 123. WOOD, E. 17. WOOLNER, Mrs. ALICK S. 69.