picture, which are sustained even by the placing of a dog in the distance, looking on, as if in hopes to profit by the chances of a _mêlée_. “The naughty Boy,” exhibited at the British Institution in 1834 as “A naughty Child,” and well known by means of Finden’s engraving, was a portrait of a sulky little urchin whom Landseer essayed to paint on account of the determination his features exhibited and the sturdiness of his handsome face and frame. The boy being in a rebellious frame of mind, was brought straight from his school to the workshop of the painter; sulky at first, he became outrageous when he saw his enemy seated with a kindly laugh on his face; pouting, the boy frowned and hugged himself with his own arms, blew bubbles between his compressed lips, scowled, and obstinately turned his knees in. Pending the preliminaries of the picture, the irate young gentleman was left standing alone in the centre of the room. Wrath overcame him at seeing resistance would be useless; with dreadful clangour, he flung down his slate like the shield of a wounded Homeric hero and, skulking into the corner, savagely cried, “I _won’t_ be painted!” and was painted for the admonition of all “naughty” boys, so that “his knit and furrowed forehead” gathers itself under a fine head of flaxen hair, twisted into Gorgonian curls, and quivering with determination and wrath. It is right to notice how the self-devouring passion of the child makes him shrink into the smallest possible space, and turn his toes in, huddling his feet together, while his arms are pressed against his sides, and his shoulders raised, as though every power of body and mind concentrated itself. The artist introduced accessories from an infants’ school, including a book lying on a form, &c. [Illustration] [Illustration] CHAPTER V. A.D. 1834 TO A.D. 1842. SUSPENSE--HIGHLAND SHEPHERD DOG--BOLTON ABBEY--DROVER’S DEPARTURE--SHEPHERD’S CHIEF MOURNER--DIGNITY AND IMPUDENCE--OTTERS AND SALMON--THE SANCTUARY.