Estelle M. Hurll

Lord Heathfield, the original of this portrait by Reynolds, is famous in English history as the hero of the siege of Gibraltar. Gibraltar, as is well known, is that great rock on the coast of Spain, overlooking the narrow strait which forms the passage between the Atlantic Ocean and the Mediterranean Sea.

• Reynolds.
• Johnson.
• Goldsmith.
• Dr. Nugent.
• Dr. Percy, afterwards Bishop of Dromore.
• Sir Robert Chambers.
• Sir John Hawkins.
• Burke.
• Bennet Langton.
• Chamier.
• Dyer.
• Hon. Topham Beauclerk.

Pickaback is one of the old, old games which no one is so foolish as to try to trace to its origin. We may well believe that there was never a time when mothers did not trot their children on their knees and carry them on their backs. The very names we give these childish games were used in England more than a century ago.

A familiar figure in classic mythology was that of the little god of love, Cupid. He was the son of Venus, and, like her, was concerned in the affairs of the heart. Ancient art represented him as a beautiful naked boy with wings, carrying a bow and quiver of arrows, and sometimes a burning torch. The torch was to kindle the flame of love, and the arrows were to pierce the heart with the tender passion. These missiles were made at the forge of Vulcan, where Venus first imbued them with honey, after which Cupid, the mischievous fellow, tinged them with gall.

Miss Anne Bingham was one of the many aristocratic ladies whose portraits Reynolds painted, and one of the most interesting of this class of sitters. Her vivacious face looking into ours wins us at once, and we should be glad to know more of the charming original.

Village life in England before the time of railroads had a picturesque charm which it has since lost except in remote districts.

The eccentric figure of Dr. Samuel Johnson was one of the familiar sights of London during the middle of the eighteenth century. He was a man of great learning, a voluminous writer, and an even more remarkable talker. He was born in 1709, and, the son of a poor bookseller, he struggled against poverty for many years. Literary work was ill paid in those days, and Johnson gained his reputation but slowly.

by Estelle M. Hurll

This little book is intended as a companion volume to "Child-Life in Art," and is a study of Madonna art as a revelation of motherhood. With the historical and legendary incidents in the life of the Virgin it has nothing to do. These subjects have been discussed comprehensively and finally in Mrs. Jameson's splendid work on the "Legends of the Madonna." Out of the great mass of Madonna subjects are selected, here, only the idealized and devotional pictures of the Mother and Babe. The methods of classifying such works are explained in the Introduction.

It is now about fifteen centuries since the Madonna with her Babe was first introduced into art, and it is safe to say that, throughout all this time, the subject has been unrivalled in popularity. It requires no very profound philosophy to discover the reason for this. The Madonna is the universal type of motherhood, a subject which, in its very nature, appeals to all classes and conditions of people. No one is too ignorant to understand it, and none too wise to be superior to its charm.