Another artist of great note was beginning to make a mark which is likely to grow deeper as the world grows older, for in the man were many fine powers of art and criticism. He was closely associated with our subject. This was Leslie, who arrived in England in 1811, and was at this time, 1815, residing next door to Flaxman, _i.e._, at No. 8, Buckingham Place, or Street, Fitzroy Square. In 1816 Leslie, eight years Landseer’s senior, made a bold attempt with a congenial theme from English poetical history, a class of subject which he affected warmly, being “The Death of Rutland,” from “The Third Part of Henry VI.,” Act i. Scene 3, where Clifford murders the youth. Edwin Landseer sat for the young victim, kneeling, with a rope round his wrists, being then “a curly-headed youngster, dividing his time between Polito’s wild beasts at Exeter Change and the Royal Academy Schools.”[21] The picture, after appearing at the Academy in 1816 (No. 518), was sent to America, and purchased by the Academy of Philadelphia, where it probably still is. It contains a very early portrait of our painter. But this was not the first likeness of Landseer exhibited; for “Master J. Hayter,” afterwards a portrait-painter of considerable note and some cleverness, although then but a youngster, painted “Master E. Landseer” as “The Cricketer,” and sent the work to the Royal Academy in 1815 (No. 450). “Master J. Hayter” died, an old man, not many years ago.[22] That an artist so eminent as Landseer should have first presented himself to the public, or by his father have been so presented, in the ranks of the honorary exhibitors, is curious. The suffix “H.” to the name, and his being included with the class in question, leaves no doubt on the subject. It is understood that pictures by exhibitors of this class are not for sale, and the privilege of thus showing works is, or was, considered a compliment to persons of distinction. Thus we find among the honorary exhibitors of 1815, Sir George Beaumont; the [Illustration: _The Eagle and Dead Stag._] Rev. W. Holwell Carr, a benefactor to the National Gallery; J. Britton, the antiquary; and the Hon. Mary J. Eden. That a picture by a boy of twelve should be so exhibited is among the curiosities of Academy displays. Though in itself more meritorious, it is not less remarkable, than the fact that George Morland, in 1778, sent to the Academy a picture drawn with a poker, or that similar gatherings formerly comprised flower-pieces in human hair, and the like “works of art.”