28 Sm EDWIN LANDSEER, R.A. 



sake of the picturesque, it may be presumed, or because French sheep are not con- 

 sidered so symmetrical as our own, the flock of which he is guardian are some of Scotch 

 breed, and others, those wild black-faced tups that will dispute with a stranger the 

 narrow path in their mountain-pastures. The picture is an attractive one in every way, 

 but worthy of special commendation are the fleeces of the animals — real wool they must 

 be. It was reported when exhibited that it was painted for, or purchased by, the late 

 Sir Robert Peel, but I do not find it included in any list of the pictures in the possession 

 of that statesman. 



'• Highland Music," engraved here, was painted in 1832 for the late Mr. Vernon, 

 and is now at South Kensington ; it was never exhibited, though a subject with a 

 similar title appeared at the British Institution in 1830. The picture is among those 

 triumphs of objective truthfulness of representation of which no painter, or any age or 

 country, has afforded more skilful examples than Sir Edwin Landseer. We have here 

 all the fidelity of imitation of the best Dutch masters combined with a thorough under- 

 standing of the contingent varieties depending on local and incidental causes. To this, 

 few only of the Dutch painters have ever attained ; and the sentiment of the subject 

 does not yield to the execution of it. A picturesque old Highland piper appears to 

 have designedly and mischievously interrupted the frugal meal of a group of hungry 

 dogs by a vigorous and sudden appeal to his bag-pipes. The varied effects of " High- 

 land Music" on the different animals are as striking as ludicrous. One blind-eyed 

 little terrier to the left seems disposed to expel the noisy intruder ; another near him 

 has set up an accompaniment of its own ; two fine hounds sit quietly, as if their aristo- 

 cratic blood and breeding were proof against emotion of any kind that would betray 

 strong feelings — thisy would witness a tragedy without shedding a tear, and a comedy 

 without exhibiting a smile. The fifth dog, crouched at the feet of the musician, turns 

 up his eyes to the old Highlander with an intensity of expression, which, though not 

 human, expresses effectually the animal's true sympathetic appreciation of the stirring 

 strains. 



Here we have strong sentiment and forcible imitation. This is very observable in 

 the accessories of the picture ; in the wooden chair on the left, with the plaid hanging 

 over the back ; and in the various utensils about the room, among which the man's short 

 tobacco-pipe is not the least characteristic. The old piper himself stands out with great 

 boldness, through the relief given to his head by the dark recess immediately behind 

 him ; and the effect of space in the small apartment is very cleverly produced by the 

 introduction of a partial glimpse of light in the extreme background. The peculiarly 

 subdued character of colour pervading the picture is worthy of remark : a warm tertiary 

 tone prevails throughout ; the only positive colour being the touch of red of the High- 

 lander's stocking. This wholesome subjection of colour admits of the duly prominent 

 display of the sentiment of the composition, so admirably expressed in the animals. 



