storm (as in XX. 439, p. 499), but fifty years ago he was more famous for his portraits of Peel and Carlyle amongst others, several of which he afterwards engraved. He also published other illustrated "Galleries," as well as several works on Biblical criticism, to which he devoted much of his leisure. He was a frequent exhibitor at the Academy, but was never elected to its membership, and late in life he is said to have refused the offer of Associateship. He was, however, able to sell his pictures for large sums, and in 1852 he removed to a property which he purchased at Redhill. Mr. Ruskin, writing in 1848 of a picture by Linnell, referred to the close study pursued by him "through many laborious years, characterised by an observance of nature scrupulously and minutely patient, directed by the deepest sensibility, and aided by a power of drawing almost too refined for landscape subjects, and only to be understood by reference to his engravings after Michael Angelo (Modern Painters, vol. ii., Addenda).

An open space in the outskirts of Windsor Forest, such as Pope has described—

There, interspers'd in lawns and opening glades,

Thin trees arise that shun each other's shades.

80. THE MARKET CART.

T.Gainsborough, R.A. (1727–1788). See under XVI. 760, p. 396. 897. A VIEW AT CHAPELFIELDS, NORWICH.

Old Crome (1768-1821). See under 1037, p. 471. 311. COUNTRY CHILDREN.

T.Gainsborough, R.A. (1727-1788). See under XVI. 760, p. 396. 1178. A LANDSCAPE.

Patrick Nasmyth (1768-1831). See under 380, p. 458. A characteristic piece of the park scenery on the outskirts of London-in Hertfordshire, perhaps—which Nasmyth loved to paint.

100. THE EARL OF CHATHAM'S LAST SPEECH

(April 7, 1778).

J. S. Copley, R.A. (1737-1815). See under 787, p. 450. The scene represented took place in the old House of Lords (the Painted Chamber) on the occasion of the debate upon an address moved by the Duke of Richmond against the further prosecution of hostilities with the American Colonies. The portraits of the Duke and of the other fifty-three peers— all in their state robes-may be made out from the explanatory key below the picture. Chatham was bitterly opposed to the "dismemberment of the Empire ;" and in spite of failing

health and growing infirmities, which had for some time caused him to absent himself from Parliament, resolved to come down and speak against the Duke of Richmond's motion. "When the Duke had spoken, Chatham rose. For some time

his voice was inaudible. At length his tones became distinct and his action animated. Here and there his hearers caught a thought or an expression which reminded them of William Pitt. But it was clear that he was not himself. He lost the thread of his discourse, hesitated, repeated the same words several times, and was so confused that in speaking of the Act of Settlement he could not recall the name of the Electress Sophia. The House listened in solemn silence, and with the aspect of profound respect and compassion. The stillness was so deep that the dropping of a handkerchief would have been heard. The Duke of Richmond replied with great tenderness and courtesy; but while he spoke, the old man was observed to be restless and irritable. The Duke sat down. Chatham stood up again, pressed his hand on his breast, and sank down in an apoplectic fit. Three or four lords who sat near him caught him in his fall. The House broke up in confusion. The dying man was carried to the residence of one of the officers of Parliament, and was so far restored as to be able to bear a journey to Hayes. At Hayes, after lingering a few weeks, he expired in his seventieth year” (Macaulay's Essays: "The Earl of Chatham ").

This picture, commonly called "The Death of Chatham," was immensely popular at the time it was painted, and its early history is interesting as giving one of the first instances of the "one picture shows" now so common. The innovation was by no means relished; and Sir William Chambers, the architect, wrote to Copley on the subject as follows: "No one wishes Mr. Copley greater success, nor is more sensible of his merit than his humble servant; who, if he may be allowed to give his opinion, thinks no place so proper as the Royal Exhibition to promote either the sale of prints or the raffle for the picture, which he understands are Mr. Copley's motives; or, if that should be objected to, he thinks no place so proper as Mr. Copley's own house, where the idea of a raree-show will not be quite so striking as in any other place, and where his own presence will not fail to be of service to his views." This sarcasm did not interfere with the success of the exhibition; and when Bartolozzi's engraving from the picture was published, 2500

copies were sold within a few weeks.

The picture was pre

sented to the nation by Lord Liverpool-the minister under whom the National Gallery was founded.

T. Stothard, R.A. (1755-1834). See under 1069, p. 465. This is the sketch for one of the large compositions which Stothard, fresh from studying Rubens, painted at Burghley, the seat of the Marquis of Exeter, during the summers 1799-1802. The subject is "Mark Antony and Cleopatra," surrounded with various allegorical figures, and the moment chosen is when Cleopatra, in one of the feasts given to Antony at Alexandria, melted pearls into the cups to make the entertainment more sumptuous.

1072, 1073. THE EARL OF CHATHAM'S

SPEECH.

LAST

J. S. Copley, R.A. (1737-1815). See under 787, p. 450. These two sketches in monochrome are preparatory studies for the large picture above (100, p. 485).

310.

WOODY LANDSCAPE: SUNSET.

T. Gainsborough, R.A. (1727-1788).
See under XVI. 760, p. 396.

Yet another "watering-place" (cf. XVI. 109 and XVII. 309, pp. 408, 442). As a landscape painter, Gainsborough is like the rustics of Gray's Elegy; "his sober wishes never learned to stray" beyond the gentle scenery of his Suffolk home. "He was well read," he once wrote, "in the volume of Nature, and that was learning sufficient for him;" and he preferred the old, old chapter that he knew to opening new pages in the book. "He painted

portraits," he said at another time, "for money, and landscapes because he loved them." They often indeed returned to him from the exhibitions unsold, "till they stood," says Sir W. Beechey, "ranged in long lines from his hall to his painting room." This picture was among them, being one of those that were included in the sale of his effects in 1789.

1158. HARLECH CASTLE.

James Ward, R.A. (1769–1859). James Ward, a distinguished animal and landscape painter, born in Thames Street, London, was originally placed with J. R. Smith, the engraver, and afterwards with an elder brother, William, also an

engraver.

This was the branch of art which he first practised, but he subsequently took to painting, and became a disciple of Morland, whose sister he married, whilst Morland married Miss Ward. Besides studying with Morland, Ward also attended diligently at a school of anatomy. "The effect of this course of study," says Mr. Boughton (English Art in the Public Galleries, p. 68), " became immediately apparent in his work. There was perhaps, if anything, an over-insisted-on correctness and hardness at first in his reaction against Morland's looser and lighter style. There was no longer any hesitation in the structural parts of bone or muscle; the vagueness, the generalisation, and the convenient masses of shadow had given place to a hard and fast definition of correctness worthy of a professor of anatomy." This over-insisted-on anatomy is very conspicuous in his cattle-pieces, see XX. 1175, p. 495, and 688 (staircase, p. 648). But "he saw too," adds Mr. Boughton, "by the same process of analysis, deeper and with a more geological eye beneath the surface of landscape. He looked upon nature no longer as a vague bit of background to his figures or animals, to be generalised into a fitting and helping bit of colour scheme; he saw it with large inquiring eyes, and found in the older masters-of nobly selected and treated landscape, like Titian, Rubens, and Rembrandt more sympathetic grasp and treatment." Ward was elected A. R. A. in 1807, and R.A. in 1811.

-a

"Full of observation and movement. A prostrate treetrunk is a prominent figure in the scene, for it seems almost human. The brawny woodman who has felled it still hacks at its sprawling limbs. A great, heavy-wheeled timber waggon writhes and crunches down the hill, laden with hewn logs. In a curiously small space we see the struggling contorted team of powerful horses dragging at their heavy load. Old women are gathering faggots with real movement and interest, and far away stretches 'a lusty plaine, abundant of vitaille,' that reminds one of Chaucer's description of his magnificent Italian landscape" (G. H. Boughton, A.R.A., in English Art in the Public Galleries, p. 69).

In

Room XIX. is devoted to part of the Turner Collection. order to see the whole of that collection together, visitors will find it more convenient to now proceed to Rooms XX. and XXI.; after which they will find themselves in Room XXII., where the principal Turner Pictures are hung. They can then retrace their steps to the remaining Turner Pictures in Room XIX., from which room is the exit from the Gallery.

446 THE PRIDE OF THE VILLAGE.

J. C. Horsley, R.A. (born 1817: still living).

John Callcott Horsley-son of the well-known musician, and grandnephew of Callcott, the artist-first appeared as an exhibitor at the Academy in 1839 with the present picture. He was elected A. R.A. in 1855, and R.A. in 1864. He has also been identified with the cause periodically advocated in the Times newspaper by the "British Matron." He is now Treasurer and Trustee of the Academy, and has taken an active part in promoting the annual exhibitions of the "Old Masters." The fresco of "Religion" in the House of Lords was executed by him in 1845. "There is always a sweet feeling in Mr. Horsley's pictures," says Mr. Ruskin (Academy Notes, 1856, p. 25); and this, like the one of which he then spoke, "is an old story, but prettily told."

"She never even mentioned her lover's name, but would lay her head on her mother's bosom and weep in silence. In this way she was seated between her parents one Sunday afternoon; the lattice was thrown open, and the soft air that stole in brought with it the fragrance of the clustering honeysuckle which her own hands had trained round the window. A tear trembled

in her soft blue eye. Was she thinking of her faithless lover? or were her thoughts wandering to that distant churchyard into whose bosom she might soon be gathered?" (Washington Irving's Sketch Book).