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his memory, to his native town, and his grateful fellow- 
townsmen have specially erected this Art Gallery to hold 
and maintain them for ever.” 
The galleries consist of a sequence of six spacious and well- 
lighted rooms, varying in size from 27 ft. by 33 ft. to 27 ft. by 
61 ft. The upper hall and four of the rooms are devoted 
exclusively to the Wrigley Collection, which is valued at 
about £100,000. 
The collection of pictures comprises, for the most part, the 
work of the greater British artists who flourished in the first 
half of the nineteenth century, the early Victorian period. 
In the ypper hall have been placed a set of Turner’s “ Liber 
Studiorum,”’ where it is seen under the most favourable con- 
ditions. The gem of the water-colour collection is the ‘‘ Ehren- 
breitstein ’ of J. M. W. Turner. There are four other water- 
colours from the same artist. 
Among other pictures are ‘‘ The Slave Market’ by Miiller ; 
Hunt’s ‘“‘ Hedge sparrow nest’; Rough Weather” by Field- 
ing, who was, perhaps, next to Turner, the greatest English 
artist for representation of breadth of atmosphere and un- 
equalled in certain effects of mist, splendid in their mysterious 
expanses ; ‘‘ Sheep Shearing” by Fredk. Taylor ; a “‘ Highland 
Shepherd,” or ‘Changing Pastures,” by Rosa Bonheur ; 
“View of Cordova’’ by David Roberts ; ‘‘ St. Michael’s Mount, 
Cornwall ”’ by Clarkson Stanfield, whose faultless drawing of 
shipping and marine subjects is unrivalled, both in oil and 
water-colour. There are also pictures from Birket Foster, 
Sidney Cooper and others. 
Some four or five of the oil paintings would add to the dig- 
nity of the best of our national collections. It is doubtful, 
indeed, if finer works by William Collins could be found. The 
splendid examples of rural simplicity in ‘“‘ The Cherry Seller ” 
and ‘‘ The Minnow Catchers”? show the power of Collins to 
combine simple themes taken from country life with quiet 
English landscape scenery, and to make the most harmonious 
effects. A rich, luminous work, characteristic of Turner’s 
brilliancy of colour, is the famous ‘“ Bait Gatherers,” which 
gives a view of Calais sands at low tide. David Cox is 
as well represented in oils as in water colour, and of the four 
oils, one is equal, for pure fresh atmosphere, to anything the 
lecturer had seen elsewhere. ‘‘A Breezy Day: going to 
the Hayfield’ shows Cox’s singular mastery in rendering air 
and space and the freshness and breeziness and movement seen 
on such a day ; there is a wonderful atmospheric effect in the 

