462 



MACLISE, DANIEL. 



MAINE. 



clined to submit to arbitration its complaints 

 relative to the violation of neutrality with a 

 view to a claim for indemnity. An informal 

 meeting of the Luxemburg deputies having 

 been held to consider the complaints of Count 

 von Bismarck, and especially those regarding 

 M. Cussy, the French consul, and the shelter 

 afforded French soldiers, Herr Fohr, repre- 

 sentative of the duchy at Berlin, was sent to 

 Versailles to explain the facts to the King of 

 Prussia. The King replied that further explana- 

 tion was expected, to justify the action of the 

 Luxemburg Government. He hoped no future 

 complications would arise. Diplomatic nego- 

 tiations were impossible as long as the war 

 continued. 



The Luxemburg Chamber of Deputies, in its 

 session of December 21st, adopted an address 



proclaiming the attachment of the inhabitants 

 to the ruling dynasty and institutions. 



The British Cabinet, while protesting against 

 the attitude of Prussia toward Luxemburg, in- 

 timated that the proceeding of Prussia in this 

 question was analogous to that of Eussia with 

 regard to the treaty of 1856. Count Bismarck, 

 in reply, denied this analogy, saying that, while 

 Russia aimed at the abrogation of the Treaty 

 of Paris, Prussia fully acknowledged the Treaty 

 of London, and had no desire to be relieved 

 from its obligations. But the renewal of a 

 violation of the neutrality compact by either 

 Luxemburg or France would necessarily cause 

 the occupation of the neutral territory by the 

 German army, the Prussian Government being 

 determined to remove all similar obstacles to 

 its strategical movements. 



M 



MACLISE, DANIEL, E. A., an eminent Brit- 

 ish painter, born in Cork, Ireland, January 25, 

 1811 ; died in London, April 26, 1870. In early 

 childhood he showed great talent for drawing, 

 but was placed as clerk in a banking-house in 

 Cork, which at the age of sixteen he left, and 

 proceeding to London became a student in the 

 Eoyal Academy. Here he labored with zeal 

 and perseverance, and during his course of 

 study received all the medals for which he 

 competed, including the gold medal twice suc- 

 cessively. The summer of 1830 he spent in 

 studying the galleries and ateliers of Paris, and 

 during that time and the two next years he 

 worked diligently, making designs and sketches 

 for booksellers, contributing caricatures to 

 Fraser's Magazine, and painting portraits. Mr. 

 Maclise derived the inspiration for one of the 

 first three pictures he exhibited at the British 

 Institution from that scene of Moore's Lalla 

 Eookh wherein Mokanna unveils his features 

 to Zelica. Some of his other paintings were 

 "All-hallow Eve," and a "Love Adventure of 

 Francis I. with Diana of Poictiers." These 

 established his fame, and he ceased to cultivate 

 portrait-painting, at which he labored more 

 from necessity than taste. In 1835 he exhibited 

 the " Chivalrous Vow of the Ladies and the 

 Peacock," and the Eoyal Academy, appreciating 

 the ability he displayed in this work, elected 

 him one of their Associates. This was followed . 

 by paintings showing great versatility and 

 power of delineation. England in the days of 

 chivalry, the plays of Shakespeare, and Italian 

 scenes, furnished subjects for his brush, and 

 were all treated with masterly skill. In 1841 

 he was elected a member of the Eoyal Academy. 

 From that time he retained the place of one of 

 the first painters in popularity, though he had 

 to endure his share of adverse criticism, owing 

 to the wide difference between his style and 

 that of other painters. In 1842 his chief work 

 was "The Play Scene" in Hamlet, which forms 



a leading attraction in the Vernon Gallery at 

 the Kensington Museum. He executed in the 

 same year " The Eeturn of the Knight " and 

 " The Origin of the Harp." In 1843 appeared 

 his "Actor's Eeception of the Author, Gil 

 Bias ; " and in the following year " The Lady 

 released by Sabrina from the Enchanted Chair." 

 In 1847 he executed his famous design of Shake- 

 speare's " Seven Ages." After that time his 

 chief pictures were "The Spirit of Chivalry" 

 and "The Spirit of Justice," both painted in 

 oil and fresco for the apartments in the British 

 House of Lords. In 1854 he exhibited a large 

 and important picture, representing the mar- 

 riage of Strongbow and Eva, at the time of the 

 English invasion of Ireland, during the reign 

 of Henry II. Among the smaller works of Mr. 

 Maclise were a set of drawings, forty-two in all, 

 illustrative of the Norman Conquest, exhibited 

 by him in 1856, which made considerable im- 

 pression. He had, up to the time of his death, 

 charge of the execution of a series of cartoons 

 to be painted in fresco for the Houses of Parlia- 

 ment, illustrative of the principal events in 

 England's naval and military records. Of 

 these, "The Death of Nelson," and "The 

 Meeting of Bliicher and Wellington after the 

 Battle of Waterloo," were engraved on a large 

 scale, in line, for the Art Union, and a fine 

 picture of the former was in the Royal Academy 

 Exhibition of 1866. After the refusal by Sir 

 E. Landseer in 18G6 of the presidency of the 

 Eoyal Academy, it was offered to Maclise, who 

 also declined the honor. 



MAINE. The Legislature met on Wednes- 

 day, the 5th of January, and adjourned Thurs- 

 day, March 24th, after having passed 336 acts 

 and 105 resolves, which were approved by the 

 Governor. 



A bill to abolish the penalty of capital punish- 

 ment occupied a great deal of the time of the 

 session, but was finally lost in the House by a 

 vote of fifty-six to sixty-nine. A bill to increase 



