The San Francisco call., 1896-08-16

The National Portrait Gallery is an ex-
tension of the National Gallery itself 1t
was opened year sgo. The building,
presented to the Government, now holds
one of the most remarkable collections ID
existence Many OF them have been taken
from the old permanent exhibitions IN the
South Kensington and Bethnal Green
museums, many have been loaned or pre-
sented from private collections. Here We
have the heroes of war, OF Literature, OF
science, of painting and OF the stage-hung
amicapIy in effigy according to the period
of their activity. There the noble Duke of
Monmouth stares into the face of his con-
oueror, William of Orange; there Warren
Hastings and Burke and Sheridan coufab-
uIate; queens and actresses, and kings and
commopers are reduced to colored illus
trations from the vivid history of the past
three centuries.
Upon entering the gallery we come in
to the great hall sacred to the Chief JUS
tices and Lord High Chancellors, enor-
nous portraits, imposing in size and in
gorgeous colors. Here are scarlet robes of
Office, and gold chains, and ermine mantles,
ana ponderous locks, and the heads under
the great curled wigs have monumental
seriousness and dignity as becoming these
pillars of the state. There is only one por-
trait really interesting from a painters
point OF view and that is one of John,
Lord Cam pbell, Lord Chief Justice, Lord
Chancellor, and author of the Lives" of
many of his distinguished brothers in
office. The artist is Thomas Woolnoth.
The color OF the head is singularly fresh;
the paint has the broken vivid effect of a
sketch, in which the eyes, small and liquid.
twinkle with a pale-blue merriment; the
hair is his own and is shaggy and disor-
dered; the hand in his coat. the sword he
carries, even the frils at neck and sleeves,
contribute 10 the animation of the portrait.
Everywhere the light falls and glitters
slightly in little sharp Joints or subdued
reflections.
Lord Lyndhurst, son of John Singleton
Copley of Boston, has a grim and lofty
countenance, superior to the ills and mis-
cries, the faults and failings of poor earth
born mortals.
The first Lord Denman, one of the Coun-
Gil of Queen Caroline, looks more like
Roman pontiff than British statesman.
His robe is as red as that of cardinal.
Around his neck is a small piece OF trans
parent lawn, cut in small oblong strips,
and in the background is a suggestion OF
columns and rich blue sky, like the COL
onnade of st. Peters and bit of an Ital-
ian summer.
In the rotunda at the head of the stairs
we find Queen Caroline seated in large
chair. with a surprised and expectant ex-
preston. She looks like a tishwIfe mas
querading in royal robes and as though
discovery of the deception was imminent.
A red plush hat with disheveled feather
is clapped down low over her forehead, her
red plush gown Is creased in great folds
over her crossed knees, her hands and
arms are brawny and red.
Opposite hangs the well-known profile
OF her royal lord, King George ". That
fresh and vigorous study was made for the
head on the coinage by Sir Thomas Law
renee.
A careful portrait of Queen Victoria by
Angel, copied from the original in Wind
sor Castle, occupies the place of honor.
In the next room there is an absurd
little portrait of Admiral Nelson, who
comes mincing forward, ION the light,
fantastic toe,'' balancing like dancing
master, in very tight knee breeches, and
long, gold-braided scsrlet coat and his
cooked hat pulled rakishly awry.
One of the most interesting collections
is that presented by Frederick Watts, en-
bracing many of the celebrities OF the last
half century. An entire room is given
over to them and few hardly less inter
esting portraits.
Here is Walter Scott, by Landseer, and
poor young Keats, with his melancholy
profile, bending over book painted after
his death by his friend, Joseph Severn. Here
also is Lord Byron in his youth, and in the
guise of the "Corsair," with theatrical
and sentimental expression. In the cor
ner, in dark room, miserable portrait,