Estelle M. Hurll

• Peter Toms.
• Giuseppe Marchi.
• Thomas Beach or Beech.
• Hugh Barron.
• Berridge.
• Parry.
• James Northcote.
• Score.

Georgiana, the Duchess of Devonshire, was one of the most celebrated beauties of her time. She was the daughter of the Earl of Spencer, and was married[12] at the age of seventeen to William, Duke of Devonshire, "the first match in England".

• 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.

(THE MATER AMABILIS.)

ndoubtedly the most popular of all Madonna subjects—certainly the most easily understood—is the Mater Amabilis. The mother's mood may be read at a glance: she is showing in one of a thousand tender ways her motherly affection for her child. She clasps him in her arms, holding him to her breast, pressing her face to his, kissing him, caressing him, or playing with him.

(THE MADRE PIA.)

he first tender joys of a mother's love are strangely mingled with awe. Her babe is a precious gift of God, which she receives into trembling hands. A new sense of responsibility presses upon her with almost overwhelming force. Hers is the highest honor given unto woman; she accepts it with solemn joy, deeming herself all too unworthy.

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.