The new spirit in Art had already been burlesqued by one of _Punch's_ artists in a series of "intelligent anticipations" of the work of Herkomer, Sargent, Leader and La Thangue as executed in the Futuristic Style; and again in Mr. Haselden's Paulo-Post-Impressionist portraits of various celebrities in the _Almanack_ for 1913. In the same year Mr. Sargent's decision to withdraw from portraiture is commemorated in a fancy picture of "an old Chelsea Gateway," where, beneath the name "John S. Sargent" hangs a notice, "No Bottles, No Circulars, No Hawkers, No Portraits." Here, I may add, that _Punch_ had, three years earlier, with the aid of Mr. George Morrow's ingenious pencil, duly chronicled the decay of flattery in contemporary portrait painting. Three notable additions to the Art Galleries of London were made during this period. The opening of the National Portrait Gallery, in 1896, is recorded in Sambourne's picture of Britannia welcoming British worthies to their new home: "at last we can give you a roof over your heads." The Tate Gallery, opened in the following year, is welcomed with a profusion of puns on the name of the donor; and the installation of the Wallace Collection at Hertford House, in 1900, prompts the observation that "millions after all have their utility." The sensational abduction and recovery of the famous portrait of the Duchess of Devonshire impelled _Punch_ to cry, "_Vive la Grande Duchesse!_" over the "loss and Gain-sborough picture." Another famous portrait of a Duchess--Holbein's superb Christina of Milan--was in danger of being permanently lost to England in 1909, when _Punch_, in "Hans across the sea," portrayed an American dealer with a bag of dollars dragging the Duchess away with the comment: "Once aboard the liner, and the gyurl is mine!" The peril, however, was averted, and Christina still remains with us in London. [Sidenote: _Tenniel, Phil May and Sambourne_]