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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1885 edition. Excerpt:...before in the 'Black Brunswicker,' the unfinished picture of Lord Beaconsfield, one of whose last acts was to write about his interrupted sittings to his "Dear Apelles," and 'Sweetest Eyes were ever seen' (page 23) were exhibited. The best things in 1882 w-ere ' Sir Henry Thompson,' and 'Cardinal Newman,' at the Academy; and the 'Children of Moulton Barrett, Esq.' at the Grosvenor. The next year gave us 'J. C. Hook, Esq., R.A.,' perhaps on the whole the finest of Millais' portraits, 'Une Grande Dame,' 'Lord Salisbury,' and 'Charles Waring, Esq.' In 1884 we had ' An Idyl, 1745,' and the portrait of ' Mr. Henry Irving,' at the Academy; 'Lady Campbell' and 'The Marquis of Lorne' (page 10) at the Grosvenor Gallery. To the last-named hangs a pleasant tale. When the vice-royalty of her husband in Canada was approaching a close, the Princess Louise asked Mr. Millais, as he then was, to give a sketch to the newlyformed Canadian Art Gallery. The painter replied with this portrait, which, from the executive standpoint, is one of his broadest and most masterly productions. It has now, I believe, been hung at Ottawa. In the season just past, 'Lady Peggy Primrose,' and ' Simon Fraser, Esq.,' appeared at Burlington House, and the second 'Gladstone,' at the Grosvenor. Sir John Millais has of late years painted not a few things which have been seen at neither of the chief exhibitions. Of these the more notable are ' Effic Deans' and 'The Master of Ravenswood,' for the Messrs. Agnew; 'Caller Herrin' and ' The Captive,' the latter a fancy portrait now permanently placed in the Sydney National Gallery, for The Fine Art Society; 'Olivia' and ' Pomona' for the Messrs. Tooth, and a series of child pictures for Mr. Charles Wertheimer. Dramatically the...