A Huguenot]]> A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge]]> Princess Elizabeth in Prison at St James’]]> A Dancing Girl]]> A Dancing Girl:
"The figure is represented in repose, and is particularly graceful and easy; she holds a tambourine in the left hand, and in the right hand, which rests on the stem of a tree, she holds a garland. This statue should be compared with Canova's conception of the same subject, No. 137. With equal elegance, the one before us has far more of nature, simplicity, and quietude. She is resting, while Canova's dancer is only pausing. This statue was executed in marble, for the London Art Union, and exhibited in 1848. It has been reproduced, of a small size, in Parian, and forms an exquisite ornamental statuette. Classical style."]]> "W. C. Marshall," in Artists at Home: "'The Dancing Girl reposing' obtained an Art Union premium of £500, and large numbers of reductions of the statue were distributed among subscribers to that society."

]]> The Ferry]]> In Clover]]> Harvesting in Arran]]> Highland Landscapes--Paintings of Scotland in the Nineteenth Century (London: Garamond Publishers Ltd., 1990), S.16]]> The Valley of Slaughter, Skye]]> Words of Love]]> Our First Tiff]]> And the Sea Gave up the Dead Which Were in It]]> : "And the sea gave up the dead which were in it; and death and hell delivered up the dead which were in them: and they were judged every man according to their works" (Revelation 20:13).]]> The Industrial Arts as Applied to War]]> The Syracusan Bride Leading Wild Animals in Procession to the Temple of Diana]]> Dante in Exile]]> The Daphnephoria]]> Monsieur B. Bertrand, fencing-master of the late Prince Imperial Louis Napoleon]]> Royalist and Realist: The Life and Work of Sir Joseph Edgar Boehm (New York and London: Garland Publishing, 1988), pp. 66-67, reproduced plate 53. "An undocumented but obvious instance of Boehm's captivation by an expressive head was that of the Prince Imperial's fencing master, B. Bertrand. No other Boehm bust conveys the dramatic immediacy or the sense of colour of Bertrand's startled, upward glance. Although the portrait attracted little or no attention at the Royal Academy of 1882--probably becaue Bertrand was an unknown--the importance that Boehm accorded it is evident in J. P. Mayall's photograph for Frederic George Stephens's Artists at Home where it is prominently displayed in the studio" (pp. 66-67).]]> Romeo and Juliet]]> The Happiest Land]]> The Merry Wives of Windsor]]> As a Decrepit Father Takes Delight]]> To see his active child do deeds of youth,
So I, made lame by Fortune's dearest spite,
Take all my comfort of thy worth and truth.
For whether beauty, birth, or wealth, or wit,
Or any of these all, or all, or more,
Intitled in thy parts do crowned sit,
I make my love ingrafted to this store.
So then I am not lame, poor, nor despised
Whilst that this shadow doth such substance give
That I in thy abundance am sufficed
And by a part of all thy glory live.
Look what is best, that best I wish in thee.
This wish I have, then ten times happy me!]]>