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!]]> Sir John Gilbert, from a Drawing by Himself]]> The Leisure Hours (London), 1897–98, p. 426.]]> A Painter at Work in his Studio, 1881, exhibited at the Royal Society of Painters in Water-colours in 1881; wood-engraving, from supplement to The Graphic, April 29, 1882. Reproduced in Sir John Gilbert: Art and Imagination, edited by Spike Bucklow and Sally Woodcock (Burlington, VT: Lund Humphries, 2011), 224-25, fig. 150.]]> The Illustrated London News]]> Sir John Gilbert's Shakespeare]]> Sir John Gilbert, 1877]]> The Aldine 8, no. 8 (1877): 239.]]> Sir John Gilbert, 1876-78]]> Sir John Gilbert, 1883]]> Self-Portrait]]> Samuel Cousins]]> CC BY-NC-SA 4.0]]> Nineteenth-century Mezzotinters: Samuel Cousins (London: George Bell & Sons, 1904), 46.]]> Samuel Cousins, 1884, oil on canvas; Royal Albert Memorial Museum and Art Gallery, Exeter]]> ]]> Thomas Oldham Barlow]]> The Studio: A Collection of Photographic Portraits of Living Artists, taken in the style of the Old Masters, by an Amateur, part 5, "After the Felmish School," 1864.]]> The Huguenot]]> A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge, by J. E. Millais, 1852, private collection]]> CC BY-NC-ND]]> The Athenaeum, no. 3244, Dec. 28, 1889, p. 902: "There are some good portraits of Barlow, the most important, and since it was altered the happiest, of which is that by Sir J. Millais, which we all remember seeing at the Academy a few years since."]]> The Inner Life of The Royal Academy, with an account of its schools and exhibitions principally in the reign of Queen Victoria (London, 1914; reprinted New York: Benjamin Blom, 1971), p. 206: "Millais's portrait of him is wonderfully like the man in his later years. Millais and Barlow were great friends, but it is curious that Barlow was not at all pleased with this portrait, just as Cousins was dissatisfied with his own portrait by Frank Holl.".]]>