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  on the Continent with his mother. Having learnt the technique of picture-dealing with Messrs. Colnaghi, whose firm (then in Pall Mall) he entered in 1893, and at the Marlborough Gallery, he set up for himself in 1898, aged twenty-three, and almost without capital, at 2 Pall Mall Place. His flair for recognizing the work of any given painter, allied with the surest instinct for beauty, quickly brought him a fortune and enabled him to indulge a princely generosity.

Lane had no special interest in Ireland till, in 1900, at the house of his mother's sister, Lady Gregory, in county Galway, he met William Butler Yeats and other leaders in the Irish literary revival. Attributing the absence of a corresponding movement in Irish painting to the lack of good modern examples, Lane proposed to found a gallery of modern art in Dublin, and began by commissioning John Butler Yeats to paint a series of portraits of distinguished Irishmen (continued later by (Sir) William Orpen). In 1903 he secured for exhibition in Dublin about one hundred of the best pictures in the Staats Forbes collection, and a large number were purchased as the nucleus of a gallery. Lane himself gave many more and induced artists to give; and when the corporation of Dublin provided a temporary municipal gallery in Harcourt Street (1906), he made the collection more representative by lending a group of pictures, mostly French, which he offered to give if a permanent gallery were provided. But after a vexatious controversy over a site, Sir Edwin Lutyens's plan for a building on a bridge over the Liffey being rejected by the corporation, Lane took back the loan and lent the pictures to the English National Gallery, to which he bequeathed them in 1913.

Lane acted as adviser when a collection of modern art was being formed for the municipal gallery of Johannesburg (1909), and he brought together a collection of seventeenth-century Dutch pictures for the Cape Town National Gallery (1912). In March 1914, in spite of his differences with the Dublin corporation, he was appointed director of the Irish National Gallery. He greatly improved it, and bestowed on it J. S. Sargent's portrait of President Woodrow Wilson. In February 1915, before going to America on business, he wrote a codicil to his will, restoring the French pictures to the Harcourt Street collection, on condition that a gallery should be provided within five years after his death. Returning a few weeks later on the Lusitania, he was drowned when that ship was torpedoed on 7 May. His intention had been expressed to several persons, but the codicil was unwitnessed: the National Gallery became possessed of the pictures and legally had no right to part with them. In Ireland it was held that the pictures should be restored to Dublin, if necessary by special legislation. In July 1924 a committee was set up to consider the matter. Its report, published in June 1926, affirmed, first, that Lane, when he signed the codicil, thought that he was making a legal disposition, but secondly, that it would not be proper to modify his will by act of parliament. It was subsequently stated by the prime minister, Mr. Baldwin, that the government had decided not to introduce a measure on the subject. Thus, at the present time neither London nor Dublin possesses what Lane planned and for a time brought together—a collection of modern pictures which for completeness and excellence had no superior within its own scope, and was unique as the expression of one unifying taste, a taste which artists recognized as approaching creative genius. Lane was knighted in 1909. He was unmarried.

 LANG, ANDREW (1844–1912), scholar, folk-lorist, poet, and man of letters, was born at Selkirk 31 March 1844, the eldest son of John Lang, sheriff-clerk of Selkirkshire, whose father Andrew Lang, also sheriff-clerk, had been a friend of Sir Walter Scott. His mother, Jane Plenderleath Sellar, was the daughter of Patrick Sellar [q.v.], factor to the first Duke of Sutherland, and a sister of William Young Sellar [q.v.], professor of Latin in Edinburgh University. During his childhood he spent a year at Clifton, to which he refers in the autobiographical chapter of his Adventures among Books (1905). He was educated at Selkirk grammar school and the Edinburgh Academy (where he ‘loathed Greek’, but was converted by Homer), and in 1861 matriculated at the university of St. Andrews. His three years' residence there laid the foundations of a lifelong attachment to St. Andrews, which in his later years became his second home. In 1864 he removed for a session to the university of Glasgow in order to qualify as a candidate for the Snell exhibition, and with this he proceeded in 319