Charles B. Curtis. Velasquez and Murillo. Description and historical catalogue of their works. London and New York, 1883. The works of Antonio Canova, engraved by Henry Moses. Description by the Countess Albrizzi; biographical memoir by Count Cicognara. London, 1849.

Moritz Thausing. Dürer: His Life and Works. Translated from the German by F. A. Eaton. London, 1882.

Emile Michel. Rembrandt: His Life, his Work, and his Time. Translated from the French by Florence Simmonds. London, 1894.

Dimitri Rovinski. L'Euvre gravé de Rembrandt avec un catalogue raisonné. St. Petersburg, 1890.

Amand-Durand.

Amand-Durand.

Amand-Durand.

Malcom Bell.

Edward Burne-Jones: A Record and Review.

London and New York, 1893.

F. G. Stephens. Dante Gabriel Rossetti. In Portfolio, May, 1894. George Redford. Art Sales. London, 1888.

John Denison Champlin, Jr., and Charles C. Perkins. Cyclopædia of Painters and Painting. New York, 1886.

Bryan. Dictionary of Painters and Engravers. Revised by Robert Edmund Graves. London, 1886.

J. Burckhardt. Le Cicerone: Guide de l'Art Antique et de l'Art Moderne. Traduit par Aug. Gérard sur le 5ieme édition par le docteur Wilhelm Bode. Paris, 1892.

Jean Paul Richter. Italian Art in the National Gallery. London, 1883.

The National Gallery. Foreign Schools. By Authority. London, 1892.

Ernest Law. An Illustrated New Guide to Hampton Court Palace. London, 1894.

Windsor Castle: Official and Authorized Royal Guide. 1894. Susan and Joanna Horner. Walks in Florence. London, 1873. Károly. Guide to the Paintings of Florence. London, 1893. Cæsar Rigoni. Catalogue of the Royal Uffizi Gallery in Florence. Florence, 1892.

Catalogue de la Galerie Royale de Venise. Venice, 1892.

R. Pinacotèque de Bologne. Bologna, 1883.

Catalogo della R. Pinacoteca di Milano. Milan, 1892.

Cav. E. G. Massi. Descrizione delle Gallerie di Pittura nel Pontificio Palazzo Vaticano. Rome, 1887.

xxvi

AUTHORITIES CONSULTED BY THE EDITOR

Galleria Doria Pamphilj. 1894.

Guida per visitare la Galleria di San Luca. Rome, 1882.

D. Pedro de Madrazo. Catalogo de los Cuadros del Museo del Prado de Madrid. Madrid, 1893.

Catalogo de los Cuadros y estatuas en el museo provincial de Sevilla. Seville, 1888.

La Fenestre et Richtenberger. Le Musée National du Louvre. Paris, 1893.

F. Villot. Musée National du Louvre. Ecoles allemandes, flamandes et hollondaises. Paris, 1889.

F. Villot. Musée National du Louvre. Tableaux de l'Ecole française. Paris, 1891.

Le Vte Both de Tauzia. Musée National du Louvre. Ecoles d'Italie et d' Espagne. Paris, 1894.

Edouard Fétis. Catalogue descriptif et historique des Tableaux Anciens du Musée de Bruxelles. Brussels, 1889.

Catalogue. Musée Royal d'Anvers. Antwerp, 1894.

Karl Woermann. Katalog der Königlichen Gernaldegalerie zu Dresden. Dresden, 1892.

Edward Ritter von Engerth and Wilhelm von Wartenegg. Führer durch die Gemälde-Galerie zu Wien. Vienna, 1892. Beschreibendes Verzeichnis der Gemälde Königliche Museen zu Berlin. Berlin, 1891.

Illustrierter Katalog der Alten Pinakothek. Officielle Ausgabe. Munich.

Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Ecoles d'Italie et d'Espagne, par le Bar. E. Brüningk and A. Somoff. St. Petersburg, 1891.

MEMOIR OF MRS. JAMESON 1

THE life of Anna Jameson has a twofold interest, arising at once from her own marked individuality and from her relations to all the progressive movements of her times. Her personality is singularly winning. That" fine aspiring spirit" and "noble instinct for greatness," which Elizabeth Barrett was quick to recognize in her early writings, makes itself felt on every page of her books. As a friend, she was loved for her affectionate and generous heart; as a writer, she was admired for her brilliant mind and scholarly attainments. In private life and in public work her name stood to friends and critics alike for all that was sincere and earnest and noble.

The early half of our century was a time of newly awakening interest in great art. Lord Lindsay and Sir Charles Eastlake in England, as well as the continental writers, Dr. Waagen and M. Rio, contributed much to the true appreciation of the old masters. Among these Mrs. Jameson takes a recognized place of honor. Political Science, too, owes much Hers was the first name on a

to her enthusiastic labors. petition to pass a bill in Parliament securing to married wo

men the use of their own earnings. Schools of Design open to women.

She worked hard to get
She encouraged every

effort to better the education of the masses.

In the social world, as well as in the world of art and letters, Mrs. Jameson was a brilliant figure. She had a positive genius for friendship, and included among her intimates many of her most distinguished contemporaries.

1 The basis of this sketch is Mrs. Gerardine MacPherson's Memoirs of Anna Jameson, Boston, 1878. For many side-lights thrown on the subject by contemporary writers, credit is given in the proper places throughout the narrative.

Among these varied interests was passed a life which, though devoid of striking events, has its own peculiar charm, because so full of intellectual activity and usefulness.

Anna Murphy was born at Dublin in 1794, at a time of great political disturbance in Ireland. Her father was a miniature painter and, withal an ardent adherent to the "United Irishmen." His revolutionary tendencies, however, came to no disastrous results, for he removed to England in 1798, and thenceforward took no active part in Irish politics. For the following five years the family home was successively located at Whitehaven and Newcastle-on-Tyne, where the the children enjoyed the utmost freedom of country life. The father being often absent from home, sometimes accompanied by his wife, Anna, who was the eldest, became the leader and care-taker of the three little sisters, who loved her with loyal devotion.

An amusing incident is related of an attempt of the little troop of maids to escape from the tyranny of their landlady by running away to join their parents in Scotland. Anna organized the expedition with great adroitness, and was deeply chagrined when the party was overtaken and captured. At another time the young adventuress proposed to her followers that they should set forth to earn their own livelihood and help their father. Their plan was to go to Brussels to learn lace-making, and was only frustrated by the defection of one of the sisters.

Of Mrs. Jameson's child-life we have still further her own very interesting record written late in life at the request of a friend, not as an autobiography, but rather as a study of child-nature, which in her opinion was so grossly misunderstood in current educational systems.

"No," she writes, "certainly I was not an extraordinary child. If anything in particular, I believe I was particularly naughty at least so it was said twenty times a day. But looking back now, I do not think I was particular even in this

respect; I perpetrated not more than the usual amount of mischief, so called, which every lively, active child perpetrates between five and ten years old. I had the usual desire to know and the usual dislike to learn; the usual love of fairy tales and hatred of French exercises."

As the narrative goes on it is impossible not to believe, in spite of the writer's modest self-estimate, that she was indeed an extraordinary child. Her most remarkable gift was a powerful imagination. Gathering her younger sisters about her, she used to entertain them with marvellous tales of her own invention, which she related "with a keen sense of triumphant enjoyment in seeing the listener taken in by a most artful and ingenious concatenation of impossibilities. Ferdinand Mendez Pinto, that liar of the first magnitude, was nothing in comparison ! " Not less wonderful were the scenes and events of her own inner reveries, which she never revealed to others. "The shaping spirit of imagination began," she says, "when I was about eight or nine years old to haunt my inner life. I can truly say that from ten years old to fourteen or fifteen I lived a double existence; one outward, linking me with the external sensible world, the other, inward, creating a world to and for itself, conscious to itself only." It was doubtless because of her vivid imagination that the whole period of childhood was haunted by an intense fear of darkness and supernatural influences. Her bed was visited by dread visions of the ghost of Hamlet's father, of Apollyon, and other fantastic creatures known to her through the illustrated volumes of their family library. These visionary sufferings lasted until she was nearly twelve years old, and had she not possessed a strong reasoning power, which rejected and condemned her fears as groundless, the consequences might have been serious. But her imagination was, on the whole, less a source of pain than of enjoyment, as by its magic power she found a constant and boundless delight in the beauty of nature. 66 "The stars were to me," she writes, as the