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RAEBURN.   SIR WALTER SCOTT.

That this unhackneyed conception of daily life has its special home in England is further demonstrated by the work of Daniel Maclise, who depicted “The Meeting of Wellington and Blücher,” “The Death of Nelson,” and other patriotic themes upon walls and canvases several yards square, with appalling energy, promptitude, and expenditure of muscle. By these he certainly did better service to national pride than to art. Nevertheless, with their forcible, healthy realism they contrast favourably with the mythological subjects so universally produced on the Continent at that time.

Beside the portrait painters of men stand the portrait painters of animals. Since the days of Elias Riedinger animal painting had fallen into general disesteem on the Continent. Thorwaldsen, the first of the Classicists who allowed animals to appear in his works (as he did in his Alexander frieze), dispensed with any independent studies of nature, and contented himself with imitating the formal models on the frieze of the Parthenon; or, in lack of a Grecian exemplar, simply drew out of the depths of his inner consciousness. Especially remarkable is the sovran contempt with which he treated the most familiar domestic creatures. German historical painting knew still less what to make of the brute creation, because it only recognised beauty in the profundity of ideas, and ideas have nothing to do with beasts. Its four-footed creatures have a philosophic depth of contemplation, and are bad studies after nature. Kaulbach’s “Reinecke” and the inclination to transplant human sentiments into the world of brutes delayed until the sixties any devoted study of the animal soul. France, too, before the days of Troyon, had nothing to show worth mentioning. But in England, the land of sport, animal painting was evolved directly from the old painting of the chase, without being seduced from its proper course. Fox-hunting has been popular in England since the time of Charles I. Racing came into fashion not long after, and with racing came that knowledge of horseflesh which has been developed in England further than elsewhere. Since the seventeenth century red deer have been preserved in the English parks. It is therefore comprehensible that English art was early occupied with these animals, and since it was sportsmen who cared most about them, the painter was at first their servant. He had not so much to paint pictures as reminiscences of sport and the chase. His first consideration in painting a horse was to paint a fine horse; as to its being a fine picture, that was quite a secondary matter. John Wootton and George Stubbs were in this sense portrayers of racehorses. The latter, however, took occasion to emancipate himself from his patrons by representing the noble animal, not standing at rest by his manger, or with a groom on his back and delighting in the consciousness of his own beauty, but as he was in action and amongst pictorial surroundings.

WEST.THE DEATH OF NELSON.

Mansell Photo
MACLISE.THE WATERFALL, CORNWALL.

COPLEY.THE DEATH OF THE EARL OF CHATHAM.