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Updated: June 19, 2025
It was pleasant to see them like walking mites, flecking the dark brows of the mountains. They made a picture; they made a tableau vivant of the same illustration as Landseer's lamb looking into the grass- covered cannon's mouth. This is the Border-land! Here the fiercest antagonisms of hostile nationalities met in deadly conflict.
For a play-spell, each day John Landseer and his boys tramped across Hampstead Heath to where there were donkeys, sheep, goats and cows grazing; then all four would sit down on the grass before some chosen subject and sketch the patient model. Edwin Landseer's first loving recollections of his father went back to these little excursions across the Heath.
It was not long before Landseer's near neighbors at Saint John's Wood were stricken speechless at the spectacle of Queen Victoria on horseback waiting at the door of Landseer's house, while the artist ran in to change his coat. When he came out he mounted one of the groom's horses for a gallop across the park with the Queen of England, on whose possessions the sun never sets.
We know the deep personal interest that John Landseer felt in the boy, for he preserved his work, and today in the South Kensington Museum we can see a series of sketches made by Edwin Landseer, running from his fifth year to manhood. Thus do we trace the unfolding of his genius. That young Landseer's drawing was a sort of play there is no doubt.
Naturally it followed that an artist thus favored by the queen would be patronized by the nobility, and it is true that much of Landseer's time, both as an artist and as a gentleman of society, was passed in the company of people of the highest positions in Great Britain; and with the one exception of Sir Joshua Reynolds, no artist in England was ever visited by so many people of rank.
One of Landseer's early advisers had told him he must dissect animals to get the proper effects in painting them, as it was necessary for him to understand their construction.
There is no appearance of cross-breeding in Landseer's dog; on the contrary, he reveals all the characteristics of a thoroughbred.
Here are double rows of cages, containing a fine South American ocelot, a lynx, a puma, coatamondis, an ichneumon, and several monkeys; the last affording an excellent opportunity of appreciating the fidelity of Mr. Landseer's Monkeyana, and illustrating the vraisemblance of men and monkeys. Intended Aviary. 25. Mexican Hogs, &c. 26. Huts for Jackalls, &c. 27. Unfinished Houses.
The narrow passage running through the centre of the building was also wainscoted with cedar and adorned with fine engravings of Landseer's best pictures, whose richly carved walnut frames looked almost cedarn in the pale chill light that streamed upon them through the violet-colored glass which surrounded the front door and effectually subdued the hot golden glare of the sunny sun.
Not desiring the religion, but the delight only of its art, in proportion to the greatness of the power of the Venetians was the shame of their fall. The next discourse is on 'Vulgarity. A striking exemplification of it Mr. Ruskin finds in the expression of the butcher's dog in Landseer's 'Low Life, and Cruikshank's Noah Claypole in the plates to Oliver Twist.
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