Morland's brother-in-law, the painter and engraver _James Ward_, born in 1769 and dying in 1859, united this old English school with the modern. The portrait which accompanies the obituary notice in the _Art Journal_ is that of a very aged gentleman, with a grey beard and thick, white, bristly hair. The pictures which he painted when he had this appearance--and they are the most familiar--were exceedingly weak and insipid works. In comparison with Morland's broad, liquid, and harmonious painting, that of Ward seems burnished, sparkling, flaunting, anecdotic, and petty. But James Ward was not always old James Ward. In his early days he was one of the greatest and manliest artists of the English school, with whom only Briton Rivière can be compared amongst the moderns. When his "Lioness" appeared in the Royal Academy Exhibition of 1816 he was justly hailed as the best animal painter after Snyders, and from that time one masterpiece followed another for ten long years. What grace and power there are in his horses and dogs! In pictures of this sort Stubbs was graceful and delicate; Ward painted the same horse in as sporting a manner and with the same knowledge, but with an artistic power such as no one had before him. His field of work was wide-reaching. He painted little girls with the thoroughly English feeling of Morland, and had the whole animal world for his domain. Lions, snakes, cats, pigs, oxen, cows, sheep, swans, fowls, frogs are the characters in his pictures. And characters they were, for he never humanised the looks of his four-footed models, as others did later. The home of his animals is not the drawing-room, but the woods and meadows, the air and the gardens. His broad, weighty manner was transformed first into extravagant virtuosity and then into pettiness of style during the last thirty years of his life, when he became senile. His reputation paled more than he deserved before the star of the world-famous Landseer. [Illustration: MORLAND. THE CORN BIN.] The most popular animal painter, not merely of England but of the whole century, was _Edwin Landseer_. For fifty years his works formed the chief features of attraction in the Royal Academy. Engravings from him had such a circulation in the country that in the sixties there was scarcely a house in which there did not hang one of his horses or dogs or stags. Even the Continent was flooded with engravings of his pictures, and Landseer suffered greatly from this popularity. He is much better than the reproductions with their fatal gloss allow any one to suppose, and his pictures can be judged by them just as little as can Raphael's "School of Athens" from Jacobi's engraving. [Illustration: _Portfolio._ MORLAND. GOING TO THE FAIR.]