GILBERT STUART NEWTON (1794--1835), connected with Leslie by friendship and similarity of taste, was a native of Halifax, Nova Scotia. In 1817, when travelling in Europe, Newton met with Leslie at Paris, and returned with him to London. He was a student of the Academy, and soon attracted attention by _The Forsaken_, _Lovers' Quarrels_, and _The Importunate Author_, which were exhibited at the British Institution. Newton began to exhibit at the Academy in 1823, and delighted the world with _Don Quixote in his Study_, and _Captain Macheath upbraided by Polly and Lucy_. In 1828 he surpassed these works with _The Vicar of Wakefield reconciling his Wife to Olivia_, and was elected an A.R.A. _Yorick and the Grisette_, _Cordelia and the Physician_, _Portia and Bassanio_, and similar works followed. In 1832 Newton became a full member of the Academy, and visiting America, married, and returned with his wife to England. The brief remaining period of his life was clouded with a great sorrow; his mind gave way, and having exhibited his last picture, _Abelard in his Study_, he became altogether insane. AUGUSTUS LEOPOLD EGG (1816--1863) was born in Piccadilly, and on becoming a painter chose similar subjects to those of Leslie and Newton. He had not the humour of Leslie; indeed, most of Egg's subjects are melancholy. His first works were Italian views, and illustrations of Scott's novels, which attracted little notice. _The Victim_ promised better. Egg showed pictures in the Suffolk Street Gallery, and, in 1838, _The Spanish Girl_ appeared at the Royal Academy. Failing health compelled him to winter abroad, and on the 23rd of March, 1863, he died at Algiers, and was buried on a lonely hill. Three years before his death Egg had become a full member of the Academy. He is described as having a greater sense of colour than Leslie, but inferior to Newton in this respect. In execution he far surpassed the flimsy mannerism of the latter. His females have not the sweet beauty and gentleness of Leslie's. In the National Gallery is _A Scene from "Le Diable Boiteux_," in which the dexterity of Egg's execution is visible. He partially concurred with the pre-Raphaelites in his later years, and their influence may be traced in _Pepys' Introduction to Nell Gwynne_, and in a scene from Thackeray's "Esmond." Other noteworthy pictures are _The Life and Death of Buckingham_; _Peter the Great sees Catherine, his future Empress, for the First Time_; _The Night before Naseby_; and _Catherine and Petruchio_. EDWIN HENRY LANDSEER (1802--1873) was eminent among English animal painters. No artist has done more to teach us how to love animals and to enforce the truth that-- "He prayeth best who loveth best All things both great and small."