Sir Edwin Landseer was an artist who, like Maclise, received large sums for his pictures. He was considered one of the greatest painters of the day, but I am afraid it is no longer the fashion to admire him, although his best works must always hold the position they have deservedly won. I wonder how many people remember that the lions in Trafalgar Square were designed by our great animal painter. "The Sleeping Bloodhound" stands out amongst Landseer's pictures as a masterpiece. It was painted in two hours from the dead body of a favourite hound. It is curious that in many instances, especially of early work, his colour was very rich, and that in his later work his feeling for colour seems to have weakened. Tom Landseer no doubt contributed largely to his brother's reputation by his masterly fine engravings of Sir Edwin's pictures, which were sometimes unsatisfactory in colour and gained in black and white. Herbert, whose name was prominent through his fresco of "Moses breaking the Tablets," was quite a character in those days. I remember he always spoke with what appeared to be a strong French accent, although it has been said he had never been abroad in his life. The story went that, going to Boulogne he stepped from the boat ... slipped ... and broke his English. Later in life he worked himself "out," and his Academy pictures of religious subjects became very grotesque and quite a laughing-stock. I am afraid this type of work needs a watchful sense of humour and a powerful talent to preserve its gravity. Mulready was an artist whose character showed in strong contrast to that of Herbert. He was the dearest of old men; I can see him now with his superb old head, benevolent and yet strong. He painted that indisputably fine picture, "Choosing the Wedding Gown," now in the National Collection at the Kensington Museum. Although the subject will not be viewed with sympathetic interest by many of the present generation, its worth is undoubted. His work is completely out of date, but I remember one curious fact in connection with his crayon drawings, which hung upon the walls of the Academy Schools; when Leighton visited there, he had these drawings covered over, because they were extremely antagonistic to his own teaching. David Roberts, who was then considered the greatest painter of interiors, began life as a scene painter, as did Stanfield who was his contemporary and a very powerful sea painter. Both men were Royal Academicians, as was Edward Cooke, an artist of less power than Stanfield, but of not much less distinction, imbued with the spirit of the old Dutch painters of sea and ships. He lived to a ripe old age with his two sisters, but perhaps the youngest in appearance and manner of the four was his wonderful old mother, who died when she was close upon a hundred.