Lady Charles Wellesley has a picture of this year, a thoroughly characteristic example of Landseer’s then current mode, which was mounted for the Hon. H. Pierrepoint, but not sent home, and when inquired for could not be found. It is called “White Horse in a Stable.” In 1842, many years after its disappearance, the work was discovered in a hayloft, where it had been hidden by a dishonest servant, and was sent by Sir Edwin with a letter to Mr. Pierrepoint, stating that the white horse “was the first of that complexion I ever painted,” and that he had not retouched it, thinking “it better when my early style unmingled with that of my old age.” In answer to a question as to price, he mentioned that the sum he was accustomed to receive at the time of painting this picture was Ten Guineas: see the Royal Academy Winter Exhibition Catalogue, 1874, p. 24. In 1818 a satirical print was published in Elmes’s “Annals of the Fine Arts,” representing Haydon and his pupils drawing from Raphael’s Cartoon of “Elymas struck blind,”[29] which, as Haydon boasted, had by his means been brought to London and placed for the use of artists in the British Institution. This print is a rough etching, and entitled “A Master in the Grand Style & his Pupils;” it represents the interior of the gallery with three enormous canvases placed before the Cartoon, besides a smaller one and a portfolio, at which last a boy is drawing one of the heads on our right of Raphael’s work. Five copyists are busy, two of whom are identified by their portraits and inscriptions on their canvases, as, 1, Bewick, a “romantic” looking youth, who assumes “the grand style” of drawing, pressing his lips together demonstratively after the fashion of poor Haydon himself, while he steps backwards on the rickety platform and draws at arm’s length, sustaining his right elbow with his left hand; his inner mind is evidently divided between his studies and concern for his personal appearance, which is intended to be more than commonly beautiful by means of long curled locks tucked behind his ears, and a falling shirt-collar; his boots are of the smallest. The next artist, 2, is Thomas Christmas, one of Haydon’s pupils, wearing very big boots, his hair and collar being similar to those of his neighbour. The figures working at the smaller canvases on our left do not concern us here; but the portrait of a lad, who, perched on a ladder, measures with a pair of compasses the features of one of the faces in Raphael’s work is important, as it probably represents Edwin (see below) or Charles Landseer, the younger two of Haydon’s pupils, in the figure of a modest-looking, neatly-dressed boy. In the air is Haydon, wearing his broad-brimmed hat and spectacles, busily flying about as a bird and blowing his own trumpet as “Director of the Public Taste.”[30]