mceRnAcionAL

EMILY AND LAURA ANNE CALMADY BY SIR THOMAS LAWRENCE

Gallery, London, 1900. It is half-length; her hair Exhibition in Edinburgh in 1876. The Gains-
is dressed somewhat high and bound with a borough landscape—"Peasants Driving Cattle:
ribbon. The third is a bust portrait of the great Evening"—is one of the loosely swept in visions
Mrs. Siddons, her striking profile being set against of rich wooded landscape that he so delighted in,
the dark backgr°und almost like some piece of very luminous and mellow. It is from the Gould-
marble. The white gown is indicated very sketchily ing Palmer Collection and was shown at the
and the whole effect is of intense dramatic import. British Institute in 1845. The French school fares
The portrait of "Mrs. Mary Russel, of Elsick not so well, perhaps, in the Willys Collection,
Kincardine" by Sir Henry Raeburh is one of his although the "Foret de Fontainebleau" and the
radiantly brushed in likenesses, luminous, facile, "Fontainebleau: the Pool" by Diaz de la Pena
spirited. It comes originally from a member of are fine examples of the Barbizon Iandscapists.
the Russel family, and was shown in the Raeburn The Jules Dupre—"Paturage au Bord d'un Ruis-

FEBRUARY I 9 2 }

three seventy-three