The joke is heightened by the publication line of the print stating that it was “Published for the Annals of the Fine Arts, No. 8, by Sherwood, Neely & Jones, Paternoster Row, April 1, 1818.” In this Journal it appeared with a long letter animadverting on Haydon and his pupils. If anybodies’ merits were certain to be recorded in Elmes’s “Annals,” they were those of Haydon and his pupils; but the editor, in order, as he stated, to show his impartiality, did not hesitate to publish the satire on his friends; he was doubtless assured that there was nothing Haydon enjoyed so much as notoriety. “Mr. E. Landseer” is named with his brother in the “Annals,” for 1818, p. 360, as among those who drew in chalk from the Cartoon of “The Beautiful Gate.” According to the “Annals,” ii. 433, the brothers, Thomas and Charles, drew the lictors and the figure of Elymas in the “Elymas struck blind” in 1817.[31] Some of these drawings were exhibited by Haydon, 1819, in Pall Mall. “Messrs. Thomas Christmas and the two Landseers have taken their canvases to the Academy (British Institution), to make drawings from the Ananias,” &c., so says the “Annals,” No. 6, p. 436; and there seems to have been a tolerably unwise squabble about the pupils of Haydon and their drawings from this cartoon. (See pp. 442-3 of the same volume.) “The Cat disturbed” was a picture of the year 1819, contributed to the British Institution, and afterwards engraved with the title of “The Intruder.” It, we believe, reappeared at the Gallery of the Society of British Artists in 1826, with the title of “The intrusive Visitor,” and represents a cat hunted to a high place in a stable by a dog, into whose quarters she had ventured. This was probably the work belonging to Sir C. Coote, of which Dr. Waagen wrote, in complete harmony with the opinion intimated in these pages, that Landseer at an early stage painted with greater solidity than in later days. It is now in the possession of Sir Philip de Malpas Egerton. Dr. Waagen says, “This picture exhibits a power of colouring”--by this he doubtless meant depth of tone, for colouring is simply out of the question in Landseers’s art--“and a solidity of execution recalling such masters as Snyders and Fyt.” Here we may as well say that no one has a true and complete, or even a satisfactory, notion of the spirit and vigour of our painter’s powers at this time unless he has studied these triumphs. They possess qualities not discoverable in his later works, but, of course, lack extraordinary merits which predominated when he grew older.