Booth," the theory being that he was an old admiral in reduced circumstances. In a low studded, attic room, poorly furnished, with a single roof window, the great artist was found in his mortal sickness. He sent for his favorite doctor from Margate, who frankly told him that death was at hand. "Go down stairs," exclaimed Turner, "take a glass of sherry, and then look at me again." But no stimulant could change the verdict of the physician. An hour before he died he was wheeled to the window for a last look at the Thames, bathed in sunshine and dotted with sails. Up to the last sickness the lonely, old man rose at daybreak to watch, from the roof of the cottage, the sun rise and the purple flush of the coming day. The funeral, from the house in Queen Anne Street, was imposing, with a long line of carriages, and conducted with the ritual of the English Church in St. Paul's Cathedral. Dean Milman read the service, and at its conclusion the coffin was borne to the catacombs, and placed between the tombs of James Barry and Sir Joshua Reynolds. Turner's will, with its codicils, was so confused and vague that the lawyers fought it in the courts for four years, and it was finally settled by compromise. The real estate went to the heir-at-law, the pictures and drawings to the National Gallery, one thousand pounds for a monument in St. Paul's Cathedral, and twenty thousand pounds to the Royal Academy for annuities to poor artists. Turner's gift to the British nation included ninety-eight finished paintings and two hundred and seventy pictures in various stages of progress. Ruskin, while arranging and classifying Turner's drawings, found more than nineteen thousand sketches and fragments by the master's hand, some covered with the dust of thirty years. Sir DAVID WILKIE (1785-1841) has been called the "prince of British _genre_ painters." His father was a minister, and David was placed in the Trustees' Academy in Edinburgh in 1799. In 1805 he entered the Royal Academy in London, and was much noticed on account of his "Village Politicians," exhibited the next year. From this time his fame and popularity were established, and each new work was simply a new triumph for him. The "Card Players," "Rent Day," the "Village Festival," and others were rapidly painted and exhibited. In 1825 Wilkie went to the Continent, and remained three years. He visited France, Germany, Italy, and Spain, and after his return he painted a new class of subjects in a new manner. He made many portraits, and his other works were historical subjects. His most celebrated works in this second manner were "John Knox Preaching," "Napoleon and the Pope at Fontainebleau," and "Peep-o'-Day Boy's Cabin." The portrait of the landscape painter William Daniell is a good picture.