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 of his counsel that she should continue to prefer the pencil to the pen), she began her valuable translation of Waagen's 'Treasures of Art in Great Britain' (1854-7, 4 vols.) In November, to her sister in Ceylon, she wrote a vivid account of Wellington's funeral. In 1854 she met Kingsley, 'a pale, thin man, who stammers,' and Mrs. Grote, 'the cleverest woman in London,' with whom she struck up an intimate and lasting friendship, and whose biographer she eventually became.

In October 1854 Sir Charles Eastlake accepted the directorship of the National Gallery, after an official wrangle with Lord Aberdeen, which his wife described with much humour. In the 'Quarterly' for March 1856, in a review of 'Modern Painters,' she refuted 'Ruskin's elementary errors' about the principles of art. In March 1860 she accepted from Longmans the commission of completing Mrs. Jameson's 'History of our Lord in Works of Art,' to which she devoted all her energies. Her volume was published in March 1864, and the work was reviewed by Lady Eastlake herself in the 'Quarterly' for July. Her diaries show that she now began to see more of Gladstone, at whose house she met Garibaldi, and of Jowett, 'a happy, gentle, grey-haired young man, very agreeable indeed, and very amiable.'

In December 1865 her husband died at Pisa. She published anonymously, in March 1868, 'Fellowship,: Letters addressed to my Sister Mourners,' a book which attracted Queen Victoria (to whom the secret of the authorship was revealed), and won the writer many friends and warm appreciation. Next year she finished the editing of 'Contributions to the Literature of the Fine Arts by Sir C. L. Eastlake: with a Memoir compiled by Lady Eastlake' (1870, 8vo), while almost simultaneously was published her 'Life of John Gibson, R.A., Sculptor' (London, 1870, 8vo). Her opinions upon the Franco-German war are interesting from their singularity in one who knew Germany so well as she did. Her position in court circles in England gave her the entrée at Wilhelmshöhe, where she dined with the crown prince and princess and was frequently received. In 1874 she accomplished a work for which her 'exceptional acquaintance with art specially qualified her,' the remodelling of her husband's edition of Kugler's 'Handbook of Painting: Italian Schools,' for the earlier translation of which, in 1851, she had been mainly responsible. In January 1876 she wrote her instructive article on 'The Two Ampères' for the 'Edinburgh Review,' and followed it up by one on 'Bastiat' (April 1879). After her husband's death John Forster and Sir Henry Layard appear to have been her main literary confidants and advisers.

The death of Forster distressed her only less than that of Mrs. Grote, the 'Sketch' of whose 'Life' she brought out in 1880. About the same time a perusal of her father's letters caused her to prepare a section of them for publication. They were those relating to the events of July 1789 in Paris, and Rigby's subsequent tour through the south of France and Germany; these were issued in 1880, and were welcomed by students as an interesting supplement to Arthur Young. The study of the period induced an enthusiasm for De Tocqueville, and she was next led 'to read and think about' Mme. de Stael, in whom she saw a compound of Johnson and Macaulay, and upon whom she wrote in the 'Quarterly' for July 1881. The train of study did not stop here, but resulted further in the 'Jacobin Conquest' (Quarterly, January 1882), the victory of a political association, with which she was inclined to compare the Irish land league. She was full of admiration for Morelli's work upon the Italian masters, and renewed her studies of Raphael, but was horribly disgusted by the 'Rossetti Exhibition' of 1883. 'Some of the women look as if they were going to be hanged, wringing their hands and poking out their chins; others look as if they had been hanged and were partially decomposed.' As a relief from these 'cadaverous bodies and sensual mouths' she turned to the old masters, and republished in 1883 essays on 'Five Great Painters' (London, 2 vols. 8vo) ; the five being Raphael, Michelangelo, Titian, Leonardo, and Dürer. During 1886 she was translating Professor Brandl's 'Samuel Taylor Coleridge and the English Romantic School' (London, 8vo), which was published in March 1887, and was followed by an able article by her hand in the 'Quarterly,' to which, during the next two years, she contributed her fascinating 'Reminiscences of Samuel Rogers,' her 'Art in Venice' and 'Russia,' and somewhat later, in July 1891, her last article on Morelli. Her 'Reminiscences of Edinburgh' in the forties appeared in 'Longman's Magazine' as late as January 1893.

She died at her house in Fitzroy Square, where she had collected round her some beautiful works of art, on 2 Oct. 1893, and was buried on 6 Oct. by her husband's side in Kensal Green cemetery. Deeply but not ostentatiously religious, showing in every utterance and action her dislike of the mor-