“The Chief’s return from Deer-stalking” (1827) is not only the first important Highland picture by our painter, but the first of his contributions to the Royal Academy as an Associate. It is one of the best of his compositions, the subject giving scope to all his powers in dealing with dogs, deer, and horses. Across the backs of a white and a black pony two magnificently antlered deer are bound. A young chief and his old companion, a mountaineer--with traces of the wear and tear of a hard life on his cheeks and in his gaunt eyes--step by the head of one of the horses. They go slowly and heedfully down the hill. Two dogs pace with them; one of these turns to a deer’s skull which lies in the herbage. With this picture is connected a more noteworthy point than those we have observed in the history of our subject. With it his style of execution was changed from the sound and deliberate firmness of youthful practice to the broader, freer, and more effective mode which next characterized his later work. The careful studies of earlier life enabled him to paint broadly, and with precision, and gave power to indicate at once that which, ere this time, was the result of ardent and long-sustained consideration. Amassed knowledge made the artist a master. It must not be concealed, however, that with this attainment of “mastery” no small sacrifice was made in solidity and elaboration of modelling. Facility that was marvellous, and dexterity which had the charm of magic, astounding to the observer, are somewhat dearly, though in a pecuniary sense profitably, purchased by the sacrifice of qualities which are higher and rarer than facility and dexterity. With “The Chief’s return” appeared “The Monkey who had seen the World,” which was engraved by Gibbon as “The travelled Monkey,” and is a well-known design, showing the reunion of Pug and his untravelled friends. The latter are in their natural costume of hair, the former is dressed as a “beau,” with his head in powder and covered by a cocked hat of the most audacious _mode_; a cravat embraces his neck, and its widely-spreading ends cover his chest; a long-skirted, deep-pocketed, laced, stiff-collared coat holds his lean body, a large lapelled vest hangs nearly to his knees; breeches, stockings, and buckled shoes enclose his lower extremities; his tail is nowhere, but he carries, instead of it, a splendid cane, and bears round his neck a most superfluous eye-glass. His unsophisticated comrades contemplate this figure with expressions which may be readily imagined. The pendant eye-glass bothers them more than all the rest of his bedizenments. A few of the less bold monkeys squat and gibber behind the principal group. This picture belongs to the Baring Collection.