sure's deeth Chevy will no leave him."—A masterpiece of Landseerian art: the good hound Chevy is seen couched amid high mountain ice and snows, by the side of a dead deer, which the ravens have already scented from afar.
356. Millais—Pilgrims to St. Paul's.—A more rational title would be "Greenwich Pensioners at the Tomb of Nelson." One of them has lost his left arm—a very resolute, bluff old seaman, whom "foreigneers" may have been shy of tackling in his time; the other halts upon two wooden legs, more senile and commonplace, but also, in his undemonstrative way, one of those who, like his hero, "never saw fear." His face is most triumphantly painted; whether regarded as a mere study of a head, or as a piece of character, or with reference to its intense lighting by the flare of the sepulchral lantern. Indeed, the picture is quite admirable throughout, and in power of painting not to be surpassed by Mr. Millais, nor approached by any competitor. There is in its materials something which verges towards a tour de force; but all is so manly, and so free from sentimental overdoing, that no charge arises against it on this ground.
363. Yeames—Lady Jane Grey in the Tower.—An able satisfactory picture; perhaps the best of its author. Lady Jane is in a controversial colloquy with the Chaplain Feckenham: her face expresses very successfully that she is weighing his arguments in her mind, and considering what may be the true answer to them, but with no prospect of her coming to the conclusion that answer there is none. Feckenham also is appropriately conceived and painted, without any exaggeration. Of costume and accessory there is enough, and not overmuch.
369. Houghton—In the Garden.—A very handsome boy of eight is lifting his little sister of five to smell a rose upon its bush. A kitten which has already made some advances towards cat-hood is romping around the stem. The feeling of the subject would be improved were there more of a look of smelling in the girl's face; and the colour is hardly on a level with the other merits of the picture. It is, however, a very choice and complete little work; fine in design and draughtsmanship, and charming in general impression—quite free,
