36 Sm EDWIN LANDSEER, RA. 



rest of the family— two sheep-dogs and a terrier, to which the church is rendered 

 as "free" as to the human members of the congregation ; and, certainly, the deco- 

 rous conduct of the animals affords a lesson to many bipeds who are accustomed to 

 attend regularly the services of the church. It must, however, be admitted that the 

 expression of one of the dogs suggests a rather lengthy sermon, producing a tendency 

 to drowsiness ; this head is admirably painted ; so also is the old man, which has a 

 character quite Rembrandtesque. There is a pleasant sentiment in another of the year's 

 pictures, «' Collie Dogs," lying on a heather-bank, from which their master has but 

 recently risen, leaving behind him his bonnet and Bible. The fifth and last work of 

 1849 was called "Evening Scene in the Highlands," a subject very similar to one 

 the artist had previously painted in 1844, and which has already been described under 

 the title of " Coming Events cast their Shadows before." In the immediate fore- 

 ground is a fine stag, on the bank of a broad lake, watching another on the opposite 

 shore, and which, as he stands in the water, is evidently meditating a rencontre. With 

 the exception of the summits of the distant mountains, the entire scene is in deep 

 shade, and is most poetically treated. 



At the sale, in 1849, of the works bequeathed to the nation by Mr. Vernon, but 

 which the Trustees of the National Gallery declined to take, on account of their being 

 but of minor importance, were two examples of Landseer — " Catherine Seyton," a 

 small picture, marked " Unfinished, E. L.," which sold for 70 guineas ; and " Heads of 

 Deer and Game in a Pan on a Table," which realized 166 guineas. The former 

 painting was a few years ago, and probably still is, in the possession of Mr. R, 

 Newsham, of Preston. It has been engraved. 



One of the largest pictures, if not the largest, Landseer had hitherto painted, 

 appeared in the Academy in the following year ; it bore the title, " A Dialogue at 

 Waterloo," the principal figures being the hero of that famous victory, iand his 

 daughter-in-law, the Marchioness of Douro, now the Duchess of Wellington, both 

 mounted on horseback, and standing on the field of battle, where the Duke is assumed 

 to be pointing out to the lady the relative positions of the two great contending 

 armies. He is the nearer of the two to the spectator of the picture, and his face is 

 seen in profile, while that of the Marchioness is turned full to the front, with an 

 expression of earnest attention, very different, it may be presumed, from that of 

 " Little Peterkin " in Southey's poem, on a similar victory, the Battle of Blenheim : — 



" ' And everybody praised the Duke, 



Who such a fight did win.' 

 ' But what good came of it at last \ ' 



Quoth little Peterkin. 

 ' Why that I cannot tell,' said he, 

 ' But 'twas a famous victory.' " 



