himself, and his earnest advocacy of the Elgin Marbles was honourable to him. To this advocacy he attributed an importance that was in excess of the fact, although it was of great service. He was a valuable champion in art by means of these marbles, and the studies which he made his pupils produce from them, to say nothing of the effect of his introducing to other countries casts of the statues, and promoting the bringing to London several of the Cartoons of Raphael, which his pupils Charles and Thomas Landseer drew manfully at the British Institution. Edwin Landseer made studies from the same works. The catalogues of pictures exhibited in various galleries show that Edwin Landseer was at this period domiciled with his father and brothers, and Mr. Henry Landseer, his uncle, at 33, Foley Street or Foley Place. A few doors off, at No. 30, lived Thomas Campbell, a fellow-lecturer with John Landseer at the Royal Institution, where he delivered “Discourses on English Poetry.” This house was of much superior character to that which its present appearance indicates; the whole of the Foley Street region has “gone down” in the world within the writer’s memory of forty years’ duration.[24] Haydon’s studio, at 41, Great Marlborough Street, was near for a youth’s walk; and that artist, with ill-concealed difficulties gathering around him, struggled yet against them without a sign of failure. Burlington House, where the Elgin marbles were placed while critical combats were waged about them ere they found a home in the British Museum, was close at hand, and the noblest academy for study. Independently of Haydon’s declaration, there can be no doubt that the Landseers derived immense benefit from the study of those models, even if they have shown nothing that can be directly referred to them. It is in the formation of style that one would expect benefit from these types, rather than in mere copying their characteristics. We fancy that in Landseer’s dogs, such as “A Distinguished Member of the Humane Society,” “Suspense,” and wherever breadth and grandeur of elements are involved, are results of impressions thus made. We cannot conceive a student who is familiar with these examples losing the ideas he had obtained from them. Not only did these works afford lessons which occurred fortunately with studies from Nature, but the advice of Haydon, that his pupils should dissect, was the sure guide to success. Having received such instructions from John Landseer as fixed Nature in his mind as the ever-present and indisputable director; and from Haydon the injunction to study the marbles as models of style, together with counsel and aid in dissecting human and leonine subjects, Edwin Landseer’s powers were in the fairest way of development. Ability and energy must have done the rest; they were all-sufficient to bring that reputation which is so widely spread.