1 8 SIR EDWIN LAND SEER, R.A. 



Two Other important pictures of the same year were entitled respectively " The 

 Highlands," and "Return from Hawking." 



The year 1838 produced several most excellent works; "The Life's in the Old 

 Dog yet," representing a fine hound which has fallen down a rocky precipice, where 

 he is found by its owner : it is a large picture, admirably painted throughout. 

 Another was "Portraits of the Marquis of Stafford and the Lady Evelyn Gower — 

 Dunrobin Castle in the distance." The two children appear under the shadow of a 

 noble tree in the park of Dunrobin, the seat of their father, the Duke of Sutherland. 

 Lady Evelyn is petting a favourite fawn, and her little lap-dog is evidently jealous 

 of the caresses bestowed upon the gentle creature. In the rear of this group is a 

 magnificent hound, looking, like his small canine companion, somewhat annoyed at the 

 preference shown to the fawn. The picture, which is in the Duke's collection at 

 Stafford House, is engraved by Mr. S. Cousins. " None but the Brave deserve the Fair," 

 is the title of a third picture of the year; it shows a stately stag in the midst of 

 a herd of deer. Another was " A Distinguished Member of the Humane Society ;" — 

 so well-known by the engraving — a noble Newfoundland dog lying with his fore-feet 

 over the stonework of a pier, as if on the look-out for an opportunity of saving some 

 life from the peril of drowning. And yet one more, " Portraits of the Queen's 

 favourite Dogs and Parrot," also engraved. 



" The Naughty Boy," of which an engraving is here introduced, was exhibited 

 at the British Institution in 1834, and is now in the Sheepshanks Collection. There 

 is a story associated with the origin of this serio-comic picture : it is this. A lady 

 having brought her son to the artist to have his portrait painted, the boy became 

 unruly, sulked, and refused to remain in the position in which he had been placed 

 for the operation ; whereupon his mother, after striving in vain to command 

 obedience, put the recusant into the corner of the room as a punishment. Here his 

 resolute air, and sturdy, rebellious attitude so struck Landseer, that he sketched 

 him on the spot, and subsequently painted the picture as it now is ; retaining the 

 features, &c., of the refractory model, but putting him into a dress somewhat more 

 characteristic of a "naughty boy," and supplementing him with such appropriate 

 emblems of idleness and perversity of temper as a broken slate, and a book lying 

 on a form with its cover turned upwards. The painter's idea was evidently to 

 represent a boy idle and contumacious in the school-room. 



fall of the eye in its utter hopelessness, the rigidity of repose which marks that there has been no motion nor 

 change in the trance of agony since the last blow was struck on the coffin-lid ; the quietness and gloom of the 

 chamber, the spectacles marking the place where the Bible was last closed, indicating how lonely has been the 

 life — ^how unwatched the departure of him who is now laid solitary in his sleep ; — these are all thoughts — 

 thoughts by which the picture is separated at once from hundreds of equal merit, as far as mere painting goes, 

 by which it ranks as a work of high merit, and stamps its author, not as the neat imitator of the texture of a 

 skin, or the fold of a drapery, but as the Man of Mind." — Modern Painters, vol. i. p. 8. 



