Brutus, Vixen and Boxer—all pets of the artist—appear in “The Ratcatchers;” Paul Pry, another intimate, figures as “A Member of the Humane Society.” As thoroughly appreciative of dog character in the extremes of poverty and ease, are two other pictures called “The Dustman’s Dog,” and “The Critics.” One is a mere sketch (drawn when Sir Edwin was as yet the child Eddie) of a faithful, homely, hard-worked cur; the other is a portrait of himself at work, with a noble canine friend at each shoulder, inspecting the result of his toil.
COUNTESS, THE SLEEPING BLOODHOUND.
(After Landseer’s painting. )
He had a liking—as what painter of animals has not?—for lions; and those in Trafalgar Square which guard the Nelson Monument, prove how well he understood them.
“They are not bumptious,” he said, “nor do they swagger; but look (I hope) as though they might be trusted ... and are all gentleness and tranquillity till Nelson gives the word.”
There is no doubt that Landseer’s memory will live. As man and artist his claims are great. He deserves to be counted among the world’s benefactors for the impulse his work has given to the right appreciation and treatment of the dog. If as great and widely known an artist had patronized Pussy, we should find her better treated to-day, and certainly better understood. Mind painted her with wonderful fidelity, but he lacked the dramatic instinct of Landseer. Pussy was Pussy to him—he never imagined in other situations than those he saw. It was not in him to create a feline Diogenes and Alexander.
THE CRITICS.