Estelle M. Hurll

  • William Chambers.
  • George Michael Moser.
  • Francis Milner Newton.
  • Edward Penny.
  • Thomas Sandby.
  • Samuel Wade.
  • William Hunter.
  • *Francis Hayman.
  • George Barrett.
  • Francesco Bartolozzi.
  • Edward Burch.
  • *Agostino Carlini.
  • *Charles Catton.
  • Mason Chamberlin.
  • *J. Baptist Cipriani.
  • Richard Cosway.
  • John Gwynn.
  • William Hoare.
  • Nathaniel Hone.
  • Mrs. Angelica Kauffmann.
  • Jeremiah Meyer.
  • Mrs.

We have naturally come to think of Reynolds as chiefly a portrait painter. It was, indeed, by his work in portraiture that his name ranks among the great masters. Yet he made various interesting excursions into other fields. We may see what charming fancy pictures he sometimes painted in Cupid as Link Boy and The Strawberry Girl. Historical pictures he also attempted, but not so successfully. Religious and allegorical subjects he tried occasionally, and it is to illustrate his work of this kind that our picture of Hope is chosen.

  • Earl of Holderness.
  • Lord Gowran.
  • Sir Everard Fawkener.
  • The Marquis of Granby.
  • Lord Eglinton.
  • Lord Anson.
  • Stuart, the painter.
  • Sir Charles Bunbury.
  • Lord Euston.
  • The Marquis of Hartington.
  • Dick Edgcumbe.
  • Captain George Edgcumbe.

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.

[2] The membership was afterwards successively increased to thirty-five and forty.

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.

Decorative Image

n proportion to a mother's ideals and ambitions for her child does her love take on a higher and purer aspect. The noblest mother is the most unselfish; she regards her child as a sacred charge, only temporarily committed to her keeping. Her care is to nurture and train him for his part in life; this is the object of her constant endeavor. Thus she comes to look upon him as hers and yet not hers.

Mrs. Anna Jameson: The Legends of the Madonna. Boston, 1896.

Crowe and Cavalcaselle: History of Painting in Italy. London, 1864. History of Painting in North Italy. London, 1871. Titian: His Life and Times. London, 1877.

Kugler: Handbook of the Italian Schools, revised by A.H. Layard. London, 1887. Handbook of the German, Flemish, and Dutch Schools, revised by J.A. Crowe. London, 1889.

  • Albertinelli, Madonna in the Pitti, 172.
  • Angelico, Fra, Madonna della Stella, 66-69, 132.
  • Barabino, N., Mater Amabilis, 154.
  • Barocci, F., Madonna del Gatto, 126.
  • Bartolommeo, Madonna in the Capella Giovanato, 30;
    • Madonnas in the Florence Academy, 31;
    • Enthroned Madonna in the Pitti, 42, 47.
  • Basaiti, Madonna in the National Gallery, 177.
  • Bellini, Giovanni, Madonna of San Giobbe, 50, 188;
    • Frari Madonna, 50
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