The next year, 1866, produced the unfortunate “Lady Godiva’s Prayer;” the finely painted white “Mare and Foal” lying on the grass by the side of an Indian tent; “Odds and Ends, a Trophy for a Hall,” a collection of bucks heads, hunting weapons, &c., grouped with three living dogs, an unlucky grouping. There was likewise a large cartoon, recalling the triptych we have described, and showing a stag rushing at full speed, and followed hard by a great hound, both full of action. In this year Sir Edwin made his first appearance as a sculptor with the vigorous “Stag at Bay,” the fruit of practice of which the then long-delayed Lions for Trafalgar Square were expected to have the benefit. “Wild Cattle at Chillingham Park, Northumberland,” one of the pictures of 1867, gave a fine painting of a magnificent bull, companied by a cow and a calf, standing among heather and rocks. This and a companion picture, “Deer in Chillingham Park,” were destined for a chamber at Chillingham Castle, the seat of the Earl of Tankerville. In January of this year the Lions were placed in Trafalgar Square: they had been commissioned from Sir Edwin Landseer so long before as 1859. They have monumental poses, with by no means wholly fortunate realistic execution. Their attitudes are undeniably grand, the surface treatment of each figure is excellent; but the incongruity of the two characteristics is injurious to examples of architectonic art. This may be admitted by those who have recognized in the statues from the pediments of the Parthenon, similar characteristics combined in works which, like the Lions, were intended for architectonic service.