The Daphnephoria]]> Dante in Exile]]> The Syracusan Bride Leading Wild Animals in Procession to the Temple of Diana]]> The Industrial Arts as Applied to War]]> 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 Arts of Peace]]> "We should add that the title, 'The Arts of Peace,' is not that intended by the painter, whose title for his picture is 'Industrial Art applied to Peace,” in contradistinction to the other fresco, “Industrial Art applied to War.' This is more intelligible than 'The Arts of Peace,' which is a very unmeaning title; though we may observe that 'art applied to peace' is not quite a parallel expression with 'applied to war,' since 'war' implies an action or series of actions in a sense in which “peace” does not: swords and spears are useful in the prosecution of war, but we cannot say textiles and bronzes are useful in the prosecution of peace. We should, however, have given Sir F. Leighton’s own title had we received his disclaimer of the other in time; but we received an invitation card to the private view with the title, 'The Arts of Peace,' in very large capitals; and if the South Kensington authorities cannot give the right name to their own picture it is no fault of ours."

"Illustrations. The New Fresco at the South Kensington Museum." The Builder 51 (September 4, 1886): 338.

]]> The Builder, 51 (September 4, 1886), opposite p. 338 (foldout).]]> Spirit Fresco, South Kensington (now Victoria & Albert) Museum]]> The Sluggard]]> Athlete Awakening from Sleeping]]> The Sluggard, 1885, Tate]]> J. E. Millais, the most famous being The Huguenot. Barlow organized memorial exhibitions of works by Phillip and by Thomas Creswick for the South Kensington Museum. He was elected an R.A. when Samuel Cousins retired. Mayall's studio portrait shows Barlow with portraits by Millais and engravings of his own.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 83-86.]]> The Athenaeum, no. 3244 (December 28, 1889): 902.]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point.]]> Duke of Kent, “he Queen, Thomas Carlyle, and The Princess Alice and Her Daughters, executed in marble, bronze, and terra-cotta. Currently, Boehm is finishing up a colossal statue of Darwin for the Natural History Museum.]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 73-75.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3295 (December 20, 1890): 861.]]>
]]> ]]> ]]> F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 29-33.

]]>
]]> ]]> Studies in the Literature of Northern Europe. London: C.K. Paul & Co., 1879.]]> ]]> ]]> Procession of Cimabue's Madonna, which was purchased by the queen. He lived in Paris for a time but eventually settled in London, continuing to send paintings to the Academy; in 1864 he was elected an A.R.A. His Syracusan Brides Leadin Wild Beasts in Procession of 1865 was a popular and professional triumph, but "the acme of successful genius" was Procession of the Daphnephoria. Leighton also distinguished himself as a sculptor, and he has produced designs for the decoration of the dome of St. Paul's Cathedral. In 1878 he was elected president of the RA and knighted. His house, designed by George Aitchison, and its most famous room, the Arab Hall, have been justly celebrated. He is a trustee of the British Museum and a member of the Artists' Volunteer Corps.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 1-4.]]> ]]> ]]> Mrs. [Mark] Pattison (later Emilia, Lady Dilke), “Sir Frederic Leighton, P.R.A..” in Modern artists a series of illustrated biographies, edited by François Guillaume Dumas, 2 vols. (London: J. S. Virtue & Co., [1882]).

]]> ]]> ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 5-7]]> ]]>
]]> ]]> Artists at Home group and the "doyen" of several artistic practices. Webster spent the latter half of his life in Cranbrook, painting homely images of rural life and leading a group of peers referred to as the Cranbrook Colony.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 9-10

]]>
]]> Imperial India. Following his return to England, he also wrote the dramas Cousin Dick and M. Le Duc. He was elected an A.R.A. in January 1879, and was a faithful member of the Artist’s Volunteer Corps.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 11-13]]>
]]> An Essay on Indian Antiquities (London: J. Murray, 1858).]]> Benares Illustrated in a Series of Drawings (Calcutta: Baptist Mission Press, 1831-1833).]]> Imperial India: an Artist's Journals (London: Chapman and Hall, 1879).]]> The Young Men of the Tribe of Benjamin seizing their Brides. In 1848, Millais and a group of like-minded colleagues formed the Pre-Raphaelite Brotherhood. In 1854, Millais married Euphemia (Effie) Chalmers and was elected an A.R.A. After his marriage he painted a number of portraits of notable persons, including W. E. Gladstone and Lord Lytton, and designed several book illustrations. In December 1863, he was elected a Royal Academician, and in the following years became an Officer in the Legion of Honor (1878) and was elected a member of the Institute of France (1882).]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 15-18.]]> January 20, 2017, by LM]]>

]]> The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), p. 59]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]>
]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 19-21.]]> January 20, 2017, by LM]]>
]]> ]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Memoir of Samuel Cousins, R.A., member of the Legion of honour. Exeter: Daily Gazette, 1887.]]> Notes on the Engraved Works of Mr. Samuel Cousins, etc. London: Fine Art Society: Catalogues of exhibitions, 1883.]]> Jeannie Deans was displayed at the Royal Academy. Stephens then recaps the highlights of Lawson’s career, providing a list of works and where they were shown, as well as their contributions to Lawson’s style. He begins by discussing the sculptor’s poetic and narrative works and then briefly describes some of his public portrait commissions. Stephens then lists the sculptures on view in Lawson’s studio at the time of the Mayall photograph.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 23-26]]> January 20, 2017, by LM]]>
]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> A Prior Attachment (Il y en a toujours un Autre) with the Chantrey Fund. ]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 27-28.]]> January 20, 2017, by LM]]> he Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910 (Cambridge: Cambridge University Press, 2003), 58.]]> The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]> Great Expectations, (London: Chapman & Hall, 1861).]]> Our Mutual Friend, (London: Chapman & Hall, 1865).]]> A Child's History of England, (London: Bradbury & Evans, 1852).]]> He Knew He Was Right, (London: Strahan and Co., 1869).]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp.35-38]]> December 6, 2016, by LM]]>
]]> ]]> Art Journal 21 (1859): 205.]]> Art Journal 12 (1850): 49.]]> The Art Journal 5 (July 1, 1859): 205-7.]]> Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), pp. 39-42.]]> ]]> ]]>