present no features which need detain us. It was at this period Landseer made his first visit to Belgium, to procure studies and sketches for the capital “Dialogue at Waterloo,” which appeared in 1850, and is now comprised in the Vernon Gift; it represents the Duke of Wellington and his daughter-in-law, the Marchioness of Douro, at the scene of “the famous victory.” This visit naturally attracted a great deal of attention from the Dutch and Belgian artists, who listened to strange stories of Landseer’s mode of painting, and his, to their notions, luxurious mode of life; that he went out into the woods near the place of his sojourn, Brussels, accompanied by a man servant, and made careful studies on millboard, was not so surprising to our neighbours as that he was reported to regale himself with champagne. It had been the artist’s custom during the greater part of his life, especially during that period which has now been described, to make his studies on millboards of a generally uniform size; great numbers of works of this size exist, and their artistic qualities are of a high order. The sale of his artistic remains brought to light numerous millboard studies, including first thoughts for not a few of Landseer’s finest designs, studies for pictures, and bold versions of thoughts which were never elaborated into pictures, or placed before the world. These studies realized a considerable sum, and thus increased the handsome fortune which he obtained by means of a long life’s labours. * * * * * In 1850 Edwin Landseer was made a knight. [Illustration] CHAPTER VII. A.D. 1851 TO A.D. 1861. SIR EDWIN LANDSEER--THE MONARCH OF THE GLEN--MIDSUMMER NIGHT’S DREAM--MAID AND MAGPIE--THE FLOOD IN THE HIGHLANDS. “The Monarch of the Glen,” exhibited in 1851, was a stag, executed with vigour and soundness of modelling, which recalled some of the finest works of the artist.[1] The group styled “Geneva,” which appeared with this, was a large painting of several asses, a bull, a mule, &c., gathered under an arch. The head of the mule struck us as the best part, where all portions were worthy of the painter. “The last Run of the Season” showed a fox leaving his earth; the texture of the beast’s hide was rendered with dexterity, and the head characterized the painter’s peculiar craft in such subjects, but there was not enough of the “varmint” in its expression.