pon the edge of
which are doves. A rainbow spans the sky; on the sides of the font are a
mask of the face of Christ and the symbols of the Atonement. This is a
painful picture, for while it is exquisite in conception its execution
shows the weakness of the painter, who so soon after he made it was
released from all his darkness and suffering.

Sir Edwin Landseer was buried in St. Paul's Cathedral with all the honors
which his genius and character merited. His works are known to almost
every child in America by means of the engravings which have been made
from them. His brother Thomas engraved hundreds of the designs of Edwin
and made them popular all over the world, and a large part of this success
was due to the skill and sympathy which Thomas devoted to what was largely
a work of love. Of course many other engravers have worked after Landseer,
and almost all his pictures have been reproduced in one style of engraving
or another.

There are nine portraits of Sir Edwin Landseer in existence--one by J.
Hayter when Landseer was thirteen years old and is represented as a
cricketer; one painted a year later by Leslie, in which Edwin Landseer is
the Rutland in the work called "Henry VI." It is owned by the Philadelphia
Academy. The next were not made until 1843, when Count d'Orsay painted two
portraits of him; in 1830 Dupper had made a drawing, and in 1835 a
photograph was taken; Baron Marochetti made a bust portrait of Landseer
which is in the Royal Academy, and in his picture called the
"Connoisseurs" Sir Edwin painted his own portrait, with dogs on each side
who stand as critics of his work. This was painted in 1865.

Sir Edwin Landseer left an estate of two hundred and fifty thousand
pounds, and the works unsold at his death brought about seventy thousand
pounds. His will made but a few bequests, and the remainder of this large
sum was divided between his brother and three sisters. With the account of
Sir Edwin I shall close the account of painters given in this volume.

We have seen how few actual remains of the painting of ancient nations are
now in existence. Almost nothing is left even from the times of the
Greeks; in truth, there is more upon the tombs of Egypt than in the land
of Hellas. We read accounts of classic painting which arouse our deepest
interest one moment, only to remember in the next that we can see but the
merest scraps of all this wealth of beauty which moved the cultured Greeks
to write of it wi