Mendel Collection-Various Collections, 1875-The Col- lection of Mr. Albert Levy-The Wynn-Ellis Collection- Various Collections, 1876—Gallery of M. Schneider— The Kensington House Gallery-The Novar Collection, Modern Portion-Novar Collection, Ancient Portion- Pictures by Angelica Kauffman, R.A.-The Gallery of Mr. Charles Kurtz-Rembrandt's "Le Doreur "-Ruys- dael, a Disputed Point-An Altar-Piece by Murillo- Giving the Original for the Copy-Sir Henry Raeburn's Portraits M. Thiers and Ruysdael- Albert Dürer's Pictorial Compliment to a Lady-Wet and Dry-The Critics and the Dog-Cleaning Pictures-Refusing to Pay for Portraits-Buying all the Bad Ones-A Knowledge of Sculpture A Grateful Artist-Burning a Picture-How Marshal Soult obtained his Murillo- Painting from Nature -A Remarkable Work of Art-A Disappointed Genius- The Oldest Picture known-Mind Chiselling-The Royal PENCIL AND PALETTE. Biographical and Personal. THE PEN, THE CHISEL, AND THE BRUSH. NOT long before his death, Sir Walter Scott gave to Sir Francis Chantrey a specimen of the celebrated mustard-and-pepper breed of terriers. When, in the fulness of time, the dog waxed old and was about to die, Sir Edwin Landseer regenerated it on canvas, and presented the sketch to its sorrowing master. In the background of this little picture, which attracted much notice at the time of its exhibition, are represented the interior of the sculptor's studio, an unfinished bust of Sir Walter Scott, two woodcocks brought down at a single shot by Chantrey at Holkham, his favourite cat, snuff-box, modelling tools, &c. After the sculptor's death in 1841, the picture was offered by Lady Chantrey to Her Majesty the Queen, who was graciously pleased to accept such an interest A ing memorial of the friendship which so long existed between these three great artists. Landseer survived Scott forty-one, and Chantrey thirtytwo years, the great painter himself passing away in October 1873. Eight years before that event happened, on the death of Sir Charles L. Eastlake in 1865, Sir Edwin was offered the Presidency of the Royal Academy, but declined it. LANDSEER'S "WHITE HORSE IN STABLE." In 1874 there was exhibited in London, among other famous works, a picture entitled the "White Horse in Stable," which deserves notice on several accounts. In the first place, it was painted so long ago as 1818 for the Right Hon. A. Pierrepont, but for some reason it was never sent home; and when inquired for, could not be found. It was not until 1842 that the picture was discovered in a hayloft, where it had been hidden away by a dishonest servant, and was sent home to Mr. Pierrepont by Sir Edwin Landseer, with a letter in which he stated that the white horse was the first "of that complexion" ever painted by him, and that he had not retouched it, thinking it "better to leave my early style unmingled with that of my old age." Landseer was probably joking, for he was to live and paint for thirty years longer. It is a noteworthy fact that the price received by the painter was only ten guineas. We wonder by what figure that modest sum would have to be multiplied now in order to attain the present value! Only Lawrence is said to have surpassed Landseer in income; in a monopoly of printshop windows, only Wilkie equalled him. Yet though always successful, Landseer, like other men, had, as we have seen, his beginnings. For the copyright of "The Highland Drover," his first successful picture, he received only 200 guineas; but since that day publishers have wrangled for his copyright; and for the "Peace and War" Mr. Graves paid him 3000 guineas in addition to 1200 guineas paid by Mr. Vernon, and another 3000 guineas for the "Dialogue at Waterloo." LANDSEER'S OFFHAND SKETCHES. Landseer possessed the gift of making offhand sketches with marvellous skill and rapidity. The writer of an article in the British Quarterly, shortly after the painter's death in 1873, mentions that once Landseer was kept for a few minutes at some |