At the foot of the Staircase on the left are

Statue of Sir David Wilkie, 1785—1841, by S. Joseph—his pallet is inserted in the pedestal.

Bust of Thomas Stothard, 1755-1834, Weekes.

Bust of W. Mulready, 1796-1863, Weekes.

Relief of Thetis issuing from the sea to console Achilles for the loss of Patroclus-T. Banks.

Troilus and Cressida, painted in 1806 by John Opie, 1761-1807. Manto and Tiresias, painted by Henry Singleton, 1766—1839.

The Collection is supposed to begin in the room farthest from the head of the Staircase. We may notice (beginning on the left) in-

Room I.

430. E. M. Ward. Dr. Johnson waiting neglected for an audience in the ante-room of Lord Chesterfield.

*

604. Sir E. Landseer, 1802-1873. "Dignity and Impudence a bloodhound and a Scotch terrier looking out of the same kennel. 449. Alexander Johnston. Tillotson administering the sacrament to Lord and Lady William Russell at the Tower on the day before his execution.

432. E. M. Ward. The South Sea Bubble, a Scene in Change Alley in 1720-a picture full of excitement and movement.

*621. Rosa Bonheur. The Horse Fair-a repetition from a larger picture.

810. Charles Poussin (Modern French School). Pardon Day on the fête of Notre Dame de Bon Secours at Guingamp in Brittany-a multitude of peasants in costume, in a sunlit wood.

616. E. M. Ward. James II. receiving the news of the landing of William of Orange in the palace of Whitehall, 1688.

425. 7. R. Herbert. Sir Thomas More with Margaret Roper watching the monks of the Charterhouse led to execution from his prison window.

620. Frederick R. Lee. A River with low-lying banks: the cattle by T. S. Cooper.

427. Thomas Webster. A Dame's School-full of nature and charm. 410. Sir E. Landseer. "Low Life" and "High Life"-two dogs.

615. W. P. Frith. The Derby Day, 1856-a gaudy and ugly, but popular picture.

411. Sir E. Landseer. "Highland Music "-an old piper interrupting five dogs at their supper with his bagpipes.

609. Sir E. Landseer. "The Maid and the Magpie "—the story which was made the subject of Rossini's Opera, the "Gazza Ladra." 447. E. W. Cooke. Dutch Boats in a Calm.

422. Daniel Maclise, 1811-1870. The Play-Scene in Hamlet. * 608. Sir E. Landseer. "Alexander and Diogenes "'-a group of dogs.

*606. Sir E. Landseer.

66

Room II. (turning left).

Shoeing."

369. Joseph Mallord William Turner, 1775—1851. The Prince of Orange landing at Torbay, 1688.

407. Clarkson Stanfield, 1793—1867. Canal of the Giudecca, Venice. 397. Sir Charles Eastlake, 1793—1865. Christ lamenting over Jerusalem.

688. James Ward, 1769–1859. A Landscape with Cattle-painted in emulation of the Bull of Paul Potter at the Hague, at the suggestion of Benjamin West.

374. R. P. Bonington, 1801-1828. The Piazzetta of St. Mark's at Venice.

394. William Mulready, 1786—1863. Tipsy Men returning from a Fair.

452. John Frederick Herring, 1794-1865. "The Frugal Meal". an admirable specimen of this great horse-painter.

898. Sir Charles Eastlake. Lord Byron's Dream—a beautiful Greek landscape.

388. Thomas Unvins, 1782—1857. "Le Chapeau de Brigand"- -a little girl who has dressed herself up in a costume found in a painter's studio during his absence.

*600. Joseph Laurens Dyckmans (Flemish Schcol). The Blind Beggar-bequeathed by Miss Jane Clarke, a milliner in Regent Street. 404. C. Stanfield. Entrance to the Zuyder Zee, Texel Island. 412. Sir E. Landseer. The Hunted Stag.

Room III.

340. Sir Augustus Callcott, 1779-1844. Dutch Peasants returning from Market.

689. John Crome, "Old Crome," the Norwich Painter, 1769-1821. Mousehold Heath, near Norwich.

338. William Hilton, 1786-1839. The meeting of Eleazar and Rebekah-beautiful in colour, but without expression.

897. F. Crome. The Chapel Fields at Norwich.

327. John Constable, 1776-1837. The Valley Farm.

121. Benjamin West, 1738-1820.

father-in-law, Leonidas II. of Sparta.

Cleombrotus banished by his

"How do you like West?" said I to Canova. "Comme ça." "Au moins," said I, "il compose bien." "Non, monsieur," said Canova, "il met des modèles en groupes."-Haydon's Autobiography.

130. F. Constable. The Corn Field.

300. John Hoppner, 1759-1810. Prime Minister.

Portrait of William Pitt the

894. Sir David Wilkie, 1785-1841. The Preaching of John Knox before the Lords of the Congregation, June 10, 1559. 345. Sir A. Callcott. The Old Pier at Littlehampton.

813. Turner. Fishing Boats in a stiff breeze, off the coast.

99. D. Wilkie. The Blind Fiddler—a charmingly dramatic picture, painted for Sir G. Beaumont.

126. Benjamin West. Pylades and Orestes brought as victims before Iphigenia--one of the earliest and best pictures of the master. 122. D. Wilkie. The Village Festival.

922. Sir Thomas Lawrence, 1769-1830. A Child with a Kid. 241. Sir D. Wilkie.

The Parish Beadle.

785. Sir T. Lawrence. Portrait of Mrs. Siddons, bequeathed by her daughter.

119. Sir George Beaumont, 1753-1827. A Landscape in the Ardennes, with Jacques and the Wounded Stag, from "As You Like It."

120. Sir William Beechey, 1753-1839. Portrait of Joseph Nollekens the Sculptor.

317. Thomas Stothard, 1755-1834. A Greek Vintage. 171. John Jackson, 1778–1831. architect of the Bank of England.

Portrait of Sir John Soane, the

Jackson was the son of a tailor,

whose genius for art was awakened by seeing the pictures at Castle Howard.

370. Turner. Venice, from the sea.

371. Turner. "Lake Avernus "-quite imaginary.

372. Turner. The Canal of the Giudecca, Venice.

183. Thomas Phillips, 1770-1845. Portrait of Sir David Wilkie in his 44th year.

Room IV.

Is entirely devoted to Sketches by Turner. Here are all the sketches in brown for the "Liber Studiorum," executed in 1807 in imitation of

the "Liber Veritatis" of Claude. Norham Castle, and the Devil's Bridge, near Andermatt, are perhaps the best. The other sketches are often mere indications of form, or splashes of colour, but in both the most salient points are given. Those of Venice will bring its sunillumined towers and glistening water most vividly to the mind: those of Rome are heavier, and less characteristic.

* 41. The Battle of Fort Rock, in the Val d'Aosta, painted in 1815 -a tremendous struggle of the elements above harmonizes with the battle below.

* 35. Edinburgh from the Calton Hill-a noble drawing; the castle and town are seen in the golden haze of a summer sunset.

560. Chichester Canal-a very powerful though unfinished sketch in oils.

Room V.

682. Benjamin Robert Haydon, 1786–1846. Punch and Judy, or Life in London. The scene is in the New Road, near Marylebone Church.

229. Gilbert Stuart, 1755—1828. Portrait of Benjamin West. 792. Thomas Barker, the Bath painter, 1769-1847. A Woodman and his Dog in a storm.

131. Benjamin West. Christ healing the sick in the Temple. Greatly admired when first exhibited.

188. Sir T. Lawrence. Portrait of Mrs. Siddons-presented by her friend Mrs. Fitzhugh.

217. Gilbert Stuart. Portrait of William Woollett the engraver. 793. John Martin, 1789-1854. The Destruction of Herculaneum and Pompeii.

Passing, in the entrance, a group of "Hylas and the Water Nymphs," by John Gibson, we reach

Room VI., entirely devoted to the great works of Turner, which he bequeathed to the nation. Amongst so many, attention may be especially directed to

She

* 524. The Fighting Temeraire tugged to her Last Berth. was an old 98, captured at the battle of the Nile, and, commanded by Captain Harvey, was the second ship in Lord Nelson's division at the battle of Trafalgar, 1805. She was broken up at Deptford in 1838. 516. "Childe Harold's Pilgrimage," an imaginary Italian Landscape-the bridge is that of Narni; second period of the master.

505. The Bay of Baiæ.

511. The Distant View of Orvieto, 1830.

508. Ulysses deriding Polyphemus (1829)—a gorgeous golden and crimson sunrise. The sky is perhaps the finest Turner ever painted: the picture is a grand specimen of his second manner.

* 492. Sunrise on a Frosty Morning.

483. London from Greenwich.

* 497. Crossing the Brook—the valley of the Tamar looking towards Mount Edgecumbe.

496. Bligh Sand, near Sheerness.

458. Portrait of Himself, c. 1802.

472. Calais Pier, 1803. In point of date this is the earliest masterpiece of the artist. It is a grand picture, but the shadows are exaggerated in order to render the lights more powerful.

501. The Meuse, an Orange-Merchantman going to pieces on the bar. 480. The Death of Nelson at the Battle of Trafalgar, Oct. 21, 1805. 476. The Shipwreck-fishing boats coming to the rescue. 1805. 470. The Tenth Plague of Egypt.

495. Apuleia in search of Apuleius—a beautiful hilly landscape. 528. The Burial of Wilkie. Sir David Wilkie died June 1, 1841, on board the Oriental Steamer off Gibraltar, and was buried at sea.

Room VII.

* 112. William Hogarth, 1697-1764. His own portrait.

The feigned oval canvas which contains this characteristic portrait rests on volumes of Shakspeare, Milton, and Swift, the favourite authors of the artist: by the side is his dog Trump. The picture, executed in 1749, remained in the hands of Hogarth's widow till her death in 1789, when it was bought by Mr. Angerstein.

*

* 307. Sir Joshua Reynolds, 1723—1792. The Age of Innocence. 129. Sir T. Lawrence. Portrait of John Julius Angerstein the Banker, and the collector of the Angerstein Gallery, which was the foundation of the National Gallery.

162. Sir J. Reynolds. The Infant Samuel-a picture frequently repeated by the artist.

79. Sir J. Reynolds. The Graces decorating a terminal figure of Hymen. The " Graces are Lady Townshend, Mrs. Gardener, and

Mrs. Beresford, daughters of Sir William Montgomery.

754. Sir J. Reynolds. Portraits of the Rev. George Huddesford and Mr. John Codrington Warwick Bampfylde: the latter holds a violin. 684. Thomas Gainsborough, 1727 — 1788. Portrait of Ralph Schomberg, Esq.