in all cases how distinguished their sitters really were, but like
Reynolds' "Lady Ballington," they must often have been of a sort
superior physically as well as intellectually.

Above the Reynolds a small Gainsborough landscape blends well with the
predominant brown of these old canvases. From the point of view of the
modern landscape painter, who believes in the superiority of his outlook
and attitude toward nature, we can only be glad that Gainsborough's fame
does not depend upon his representation of out-of-doors. This small
canvas, like the very big one on the opposite wall, is interesting in
design. But neither gives one the feeling of outdoors that our modern
landscape painters so successfully impart. Historically they are very
interesting, and even though they carry the name of such a master of
portraits as Gainsborough undoubtedly was, they are devoid of all the
refreshing qualities that modern art has given to the world.

Sir Peter Lely and Sir Henry Raeburn claim particular attention on the
north wall - the first by a deftly painted portrait of a lady, and the
other by a broadly executed likeness of John Wauchope. As portraits go,
the first picture is one of the finest in the gallery. Very conspicuous
by their size, the two big Romney portraits on the east wall are not in
the same class with either the Lawrence or the Reynolds on the same
wall. The great Lawrence portrait, the lady with the black hat, is
one of the most superb portraits in the world. There is a peculiar charm
about this canvas quite independent of the very attractive Lady Margaret
represented in the picture. The luscious blacks and pale reds and the
neutral cream silk cape make for a colour harmony seldom achieved.
Reynolds' portrait of John Thomas, Bishop of Rochester, is equally rich
and full of fine colour contrasts. The shrewd-looking gentleman is
psychologically well given, although one's attention is detracted from