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 finished." The result was the picture referred to, and it is said that the grand bloodhound bore a striking resemblance to the picture dealer, whilst the little terrier, presumably, was suggested by the assistant; whose manner, after all, was simply that of a sharp man of business.

"There's Life in the Old Dog Yet," another fine work, was, in 1857, the property of Mr. Henry McConnell, for whom it was painted in 1838. Mr. McConnell was asked if he would lend it to the Art Treasures Exhibition at Manchester. He had a very great horror of railway travelling, but agreed to grant the request on one condition, that the picture, with the others asked for, should be sent down by road. Everything was packed up, and the precious load started on its journey. The van had got about half-way to Manchester, when, in passing over a level crossing—common enough in those days—the horses were startled by an approaching train. It was impossible to get across the lines in time, and the engine dashed into the van, shattering many of the pictures, including "There's Life in the Old Dog Yet." So great was the destruction that when the driver went to the front wheel of the engine, he found entwined round it a piece of the canvas of this famous picture.

An anecdote might be told regarding "The Cavalier's Pets," further illustrating the rapid rate at which Landseer worked, and the fate which seemed to hang over his canine subjects. The dogs were pets of Mr. Vernon's, and a sketch was made in his house as a commission to Sir Edwin. It seems, however, that Landseer forgot all about it, until some time afterwards he was met by the owner of the pets in the street, who gently reminded him of his little commission. In two days the work as it is now seen was completed and delivered, though not a line had been put on the canvas previous to the meeting. Both the beautiful creatures came to an untimely end. The white Blenheim spaniel was killed by a fall from a table, whilst the King Charles fell through the railings of a staircase at his master's house, and was picked up dead at the bottom of the steps.

We cannot do better than conclude with an anecdote which connects this great painter with the early life of Her Majesty.

That the Queen has always displayed a marked interest in works of art is indisputable. Her collection of pictures, many of them of the Flemish and Dutch schools, her Vandykes and Rubens, are almost priceless. But Her Majesty's favours bestowed on matters artistic have also drifted into home channels, as witness her generous spirit shown at all times towards Sir Edwin Landseer.

Amongst all the priceless works to be found in the Royal galleries, one picture may here be singled out with a pleasing story attached to it. "Loch Laggan" shows the Queen in a quiet and unassuming gown, beside her camp-stool, at which she has a few moments before been sketching. The Princess Royal and the Prince of Wales are there as children. In the centre stands a pony with a burden of deer on its back, its owner, a stalwart Highlander, at its head, with an expression of countenance half-amused, half-surprised.

Sir Edwin Landseer—who painted the picture—was at the time in Scotland giving lessons to the Queen. Whilst on his way to Balmoral he wandered in the direction of Loch Laggan, and became perplexed as to which path to take. Espying the Highlander, he bade him hasten to find the Queen, and say that Sir Edwin would reach her ere long. The man needed no second bidding, and jumped on the pony's back. He had not proceeded far round the lake before he drew up his pony in front of a lady, who was sketching, whilst her two