his pictures may not have had at the time of their production, and which
may be partly the result of age. The Goya on the same wall is
uninteresting - one of those poor Goyas which have caused delay in the
just placing of this great Spaniard in the history of art.

The Turner below the Goya has all the imaginative qualities of that
great Englishman's best work. Venice may never look the way Turner
painted it, but his interpretation of a gorgeous sunset over a canal is
surely fascinating enough in its suggestion of wealth of form and color.
Sir William Beechey's large canvas of a group of children and a dog
probably presented no easy task to the painter. The attempt at a
skillful and agreeable arrangement of children in pictures is often
artificial, and so it is to my mind in this canvas. Nevertheless the
colouring, together with the spontaneous technique, put it high above
many canvases of similar type. The Spanish painting on the right of the
Beechey could well afford to have attached to it the name of one of the
best artists of any school. The unknown painter of this Spanish
gentleman knew how to disclose the psychology of his sitter in a
straightforward way that would have done honor to Velasquez, or to Frans
Hals, of whom this picture is even more suggestive.

Below this very fine portrait Sir Godfrey Kneller is represented by a
canvas very typical of the eighteenth century English portrait painters.
The canvas has a little of the character of everybody, without being
sufficiently individual. Reynolds' "Lady Ballington" has a wonderful
quality of repose and serenity, one of the chief merits of the work of
all those great English portrait painters of the eighteenth century. No
matter whose work it is, whether of Reynolds, Romney, Hoppner, or any of
that classic period of the painters of distinguished people, they always
impress by the dignity of their composition and colour. We do not know