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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1851 Excerpt:...he could fancy when awake; he had, therefore, endeavoured to throw his vision upon paper. I must not omit some slight notice of his painting in oil from the Faery Queen, that represents Una surrounded by satyrs. This, for many years, hung in the drawing-room of his own house in Newman Street. It has been sold since his death. It is one of the most characteristic he ever produced. Una, clothed in white, with her fair and flowing hair, delicate and pale in feature and complexion, appears a perfect image of innocence and sweetness. Miss Boddington was the lovely young creature from whom Stothard painted it, the only instance, that I am aware of, in which he combined the portrait of a living subject with historical design. Nothing can be more graceful than the form, or more expressive than the countenance in this portrait. She is depicted in the crouching attitude in which Spenser describes Una, her hands pressed on her bosom, and affrighted by the surrounding wild group who have surprised her in the woods. Chap, Vii. His Robinson Crusoe on the raft. 121 In the same drawing-room hung also two or three other pictures by the venerable painter, that won upon the eye and the mind of the spectator, more and more, every time they were beheld. The R first of these was a subject chosen from the fine old ballad of the Children in the Wood; and the second, Elizabeth proceeding to Tilbury Fort to harangue her Troops. The moment of action seized by the artist for the Children in the Wood, is that in which the cruel uncle, having seated them on a horse before the ruffian to whom he consigns the task of their destruction, places his finger on his lip, and with a dark and sinister look seems to remind the fellow of the foul deed he has promised should be done; whilst his inno...