DESCRIPTION AND ANALYSIS

OF

THE PICTURE,

WHICH IS BY SPECIAL PERMISSION DEDICATED

TO THE MOST REVD. PRIMATE THE ARCHBISHOP OF CANTERBURY.
HIS GRACE THE ARCHBISHOP OF YORK.
HIS GRACE THE ARCHBISHOP OF ARMAGH.

R. T. JONES BARKER, to whom the country is already indebted for very many of its best pictures of her HEROES by land and sea, and stirring scenes of the invincible prowess of her arms, seems latterly to have got into a more serious vein of thought; to wit, his admirable picture entitled "The Secret of England's Greatness," in 1862. And now again, in 1867, we have a work of such magnitude of thought and research as his "Noble Army of Martyrs" and Great Champions of the Reformation. Thus in turn he lays the religious portion of the community under deep obligations to his art.

It was only natural that an artist so observant of men and circumstances as Mr. Barker, should years ago have

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detected the insidious growth of that system called Ritual-
ism, which is likely to rend the Church of England, and
make void the glorious acts of our forefathers, through
whose blood and cruel deaths the Reformation was firmly
established in the 16th century; and, we trusted, all the
blessings that flow from Protestantism—order, morality,
activity, liberty of thought, and liberty of action, which
are the very essence of a nation’s greatness. Seeing these
precious fruits imperilled by the active Romanising
teachings of many in the Church, he boldly took his stand,
in 1863, at his easel, to do what he could to arouse the
spirit of England to take action ere it be too late.

That he was premature cannot for one moment be
thought, when we have the authority of the Archbishop
of Westminster (the Rev. Dr. H. E. Manning) that
Ritualists are doing the work of Rome in England better,
and with greater success, than the priests of Rome them-
selves. Also read the Ritualistic work called "The Church
and the World," or "Essays upon Questions of the Day."
Therein it is declared that the Ritualistic system is intro-
duced to change the character of our churches; to give
them the appearance of places of Roman Catholic worship;
in fact, to restore that worship. The celibacy of the clergy
is urged, and held up to be the highest state of human
existence! The veneration of the Host, also confession
to and absolution by priests, are inculcated in these books.
They plainly state that God does not forgive sins unless
confessed to him through a priest.

These are some of the unscriptural teachings of this
party in the Church of England at the present day. But

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the book of the highest authority amongst them is the
“Directorium Anglicanum,” in which it is stated that
Ritualism is but an expression of doctrine—a setting
forth in symbols of the highest doctrines of the church.
It speaks of the various vestments and the seasons when
they are to be used. White is to be worn at Christmas—
Red at Pentecost—Violet at Easter—and Black on Good
Friday. It is only necessary to glance at the book to see
the close and fatal resemblance between the mode of
worship it inculcates and that of Rome. It states that no
person in the celebration of the ordinance of the Sacrament
is to be allowed to pass the blessed elements without bowing
and genuflecting; and it ordains that the priest shall never
take the chalice at one draught, lest by reason of the
impetus he should unintentionally cough! It further
states that before the MASS the priest shall not wash his
mouth or teeth, but only his lips, and that in so doing he
must keep his mouth closed lest he should intermingle
the taste of water with his saliva! These things may be
laughed at and called trifles, but they have a deep import,
and it requires small knowledge of human nature to know
how soon trifles swell into very important matters; and
still more how rapidly corruptions in form become
principles, the practice of which it may soon be dangerous
to question.

The same book goes on to say—"If a fly or spider or
such like thing should fall into the chalice after consecra-
tion, it must be warily taken out, ofttimes washed between
the fingers, and then burnt, and the ablution and ashes
must be put together and preserved at the altar!!"

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Another rule contained in it states, that if the Eucharist fall on the ground, the place where it lay shall be scraped, and a fire kindled thereon, and the ashes preserved beside the altar. But if the blood is spilled, the priest must take it up with his tongue, and he to whom this has beenfallen must do penance for 40 days! if a bishop, 70 days! and if a laymen, 30!

Abhorrent as these strange and superstitious practices are to the enlightened Protestant mind, the fact must not be forgotten that nearly *two thousand professedly* Protestant Churches in England are teaching them. Surely then it behoves not only artists, but every Protestant Christian, in whatever walk of life God has placed him, to be up and doing, so that these Romanising teachers in our churches may be stopped. It is earnestly to be hoped that those zealous, but misguided, men may see the folly of their teachings, ere it be too late. It has been said, with some truth, that there are very few clergymen of mark —few, who in any way distinguished themselves during their academical studies, that take part in this Ritualistic movement. Yet we trust there is a large number of reflecting men amongst them, who will not fail to comprehend the peculiar identity of the present movement in the Church of England, with that which took place in the early part of the seventeenth century, under the leadership of Archbishop Laud and Montagu of Chichester. Lord Clarendon and Mr. Hallam in their histories tells us, that then (as in our day) a strong desire manifested itself amongst the Anglican clergymen for a union of the Churches; to effect which, then as now, the term clergy-

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man gave place to that of priest. The communion table took the name of altar; obeisances were made to it; crucifixes were placed upon it; pictures were introduced into the churches as the books of the unlearned; incense was burnt at the altars; and the dresses of the priests became more gaudy; many Protestant clergymen, with susceptible women and credulous laymen, were constantly becoming proselytes to Rome. Need the bitter fruits of this foolish effort be stated here?—A royal head rolled upon the scaffold—the Bishops were driven from the House of Lords, and deprived of their revenues—the use of the Prayer Book was prohibited—and the National Church itself completely overthrown and suppressed. Her clergymen or priests, for two or three generations following, were regarded by the upper and middle classes of society as a class inferior to theirs. Their sufferings and the menial duties they had to perform for a subsistence are painfully but graphically described by Lord Macaulay. History repeats itself; it does not lie! The agents of retribution are as powerful in our day as they were in those of Charles and Archbishop Laud!!

Probably more than sufficient has been stated on the circumstances that have called forth this picture; let me now introduce the reader to the work itself. Mr. Barker has—like RAFFAELLE in his great work in the Vatican (denominated the "Dispute on the Sacrament," painted in 1508); and also, PAUL DELAROCHE (in L'Hemicycle, at Paris)—adopted the privilege of assembling in the same work personages essential to his subject, though they lived at different periods; yet great care has been taken that

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only persons who did live and associate together are in
group, and thus the unity of the work is perfect.

The first thing that strikes the mind is its naturalness,
its perfect freedom from anything forced or constrained.
Here are assembled together nearly seventy holy men and
women, as it were in friendly convocation. The person-
ages are at rest; the animation is in the expression and
attitudes, which give the multitude of figures a sort of
Elysian repose, well befitting such an assemblage of holy
beings who no longer belong to this busy changing world,
but to one where all is peace, all divine. The artist has,
with good taste, introduced females into his picture, for
independently of their being worthy in every respect of
such a place, their beauty imparts to the whole composition
softer grace, and more contrasted variety in character and
costume, than would otherwise have been possible.

When we remember that all these various portraits
have been carefully studied from authentic pictures, to be
found in royal palaces, public galleries, private collections,
and colleges, &c., &c., throughout Great Britain and the
Continent, some idea may be formed of the immense labour
and expense attending the production of such a work.

The first figure that arrests the attention is an aged
divine seated (1), with silvered locks and beard, and
wonderfully large penetrating blue eyes; that is JOHN
WYCLIFFE, "The Morning Star," "The Rising Sun"
of the Reformation—the Nehemiah of England, the finder
of the long-lost sacred fire, he who restored it to the altar
of Great Britain in the 14th century, and caused it to burn
so brightly that historians say, in meeting three persons on

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the high road two were certain to be Lollards (followers of
Wycliffe.) Not only was England illuminated by it, but
also the far-off plains of Bohemia. There is placed on his
knee an open Bible, to remind the spectators that nearly
fifteen years of his life were spent in translating that precious
Book into the language of the people of England. Pro-
bably those who do not see the picture will fancy to them-
selves the grand old reformer clothed in a black gown or
surplice. Oh no; he was a pre-reformation priest, and
consequently is painted in one of his vestments still pre-
served in his church at Lutterworth. There can be little
question that one of the artist's objects was to show the
absurdity of introducing such "stage decorations" into our
reformed churches at the present day. The eye then
instinctively wanders to two females seated at his left, who
seem to be deeply engaged in some of the vexed questions
of those troublesome times. The lady in black, with
hands clasped, and face turned full to you, is the sweet and
beautiful, witty and pious ANNE ASKEW (40), the life
and soul of the court of Queen Katherine Parr. It is
sad to think that this sweet and brilliantly gifted creature
should, at the age of 25 years, have been sent to the
stake at Smithfield with others, for a speculative religious
opinion; but her faith did not fail her when at the stake—
there she comforted her fellow-sufferers by exclaiming,
"Rather deathe then false of faythe." Her companion
(41) is KATHERINE HAMILTON, of Scotland. She
saw her brother Patrick sent to the stake at St. Andrew's,
and very narrowly escaped being sent there herself; she
was then advised to withdraw from the country, which

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she did, and was very graciously received at the court of
Queen Katherine Parr, where Anne Askew and she became
inseparable companions. Immediately behind these three
seated figures there is grouped a noble array of Holy
Martyrs—the Bishops who suffered martyrdom in the
reign of Mary. (32) is that grand character in English
history, the apostle Paul of England, the son of the
Leicestershire farmer, the quondam cross-bearer in the
University of Cambridge, he who held the congregated
thousands spell-bound by his fervid eloquence, and here
clothed in white surplice and red hood! Alas! poor
HUGH LATIMER, after suffering years of persecution
and imprisonment for conscience sake, was at the ripe old
age of fourscore years sent to the stake by Queen Mary;
yet the fire of his noble soul was not quenched, for in the
midst of his dreadful sufferings he could cry out, “Be of
good cheer, Master Ridley, we shall this day, by God’s
grace, light such a candle in England as I trust shall
never be put out.” Would to God that Protestants of the
present day would treasure this saying in their hearts,
and keep that candle of grace burning brightly until the
second coming of their Lord. In front of Latimer stands
a commanding figure (34), with broad expansive fore-
head, dark penetrating eyes, and anxious looks, with book
hanging at his waistband, according to the custom of the
times; that is THOMAS CRANMER, the great Arch-
bishop of Canterbury—the Primate of all England in those
stirring times, the compiler of the Church Liturgy—he,
alas! who, like Peter at the hour of trial, denied his Mas-
ter, but fully atoned for his weakness in his able defence

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and confession before his judges, and again, when at the
stake, permitting his right hand to be consumed before
other parts of his body, saying, “This unworthy hand,
this unworthy hand!” Strange to say, when his body was
consumed to a cinder the heart was found untouched,
unscorched by the fierce flames.

On his left stands another martyred Bishop (35), NICHOLAS RIDLEY of London, a man of intelligence and accomplishments. He suffered at Oxford, in company with Latimer; and on that awful occasion “played the man,” giving an imperishable example of the grandeur with which the most ignominious death may be confronted by a Christian! Just over Cranmer’s right shoulder we get a glimse of ROBT. FARRAR, Bishop of St. David’s (33). He was burnt in his own diocese, at Carmarthen, in Wales. On Latimer’s left stands JOHN HOOPER, Bishop of Gloucester (31), whose sufferings at the stake are to dreadful too relate. Cheerfully he bore them, praying and exhorting his people till his tongue, swollen with the violence of his agony, no longer permitted his utterance; he was three quarters of an hour in torture in the fire, which he bore with inflexible constancy. The eye is then arrested by a tall, handsome figure in the act of ascending the steps to join the English Bishops; that is JOHN FREDERICK THE CONSTANT, Elector of Saxony, who declared to the Emperor Charles the Fifth that he was ready to sacrifice his titles, country, and crown, rather than Martin Luther and the Reformation. (Queen Victoria is descended from him.) Between Frederick and Bishop Hooper are seen two earnest, thoughtful figures,

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seated on the steps. (20) is JOHN HUSS, the champion of the Reformation in Bohemia, whose fine head we see in profile; in his hand he holds a scroll, as if to remind you of that fatal "safe conduct" given to him by the greatest potentate in Europe, by which he was, or rather ought to have been, free to go and depart from Constance; he soon could, in truth, repeat the words of the Psalmist of old—"Put not your trust in Princes." For that most binding contract was given under the seal of the Empire, yet it was soon regarded as waste paper, and the blush of shame which mantled the cheeks of Sigismund were chased away by assurance that, being given to a heretic, it is not binding; besides, his Holiness the Pope can loose as well as bind!! The other figure, with full face to you (21), is JEROME OF PRAGUE, one of the most powerful speakers in Bohemia. Both were instructed in divinity at Prague by Wycliffe, when he was driven from England, and took refuge in Bohemia; both suffered at the stake. Just over their heads there appears to be an animated discussion going on between William Farel, Jerome Savanorela, Martin Bucer, George Spalatin, and Frederick Myconius. What discussion, it might be asked, could be carried on by such impetuous spirits as FAREL and SAVANOROLA that would be calm? The arrangement of the group is admirable; only one figure we should like to have seen a little more of, that is (25) HENRY VOES, of the Netherlands, where no less than fifty thousands Christians were put to death, under the rule of the cruel Duke of Alva.

A little past the right shoulder of John Frederick, sits

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the PRINCESS RENEE, Sister to Francis the First of France, in conversation with Ecolampadius (6); no wonder so young and beautiful a Princess, with such brilliant dark eyes and fine person, should have inflamed the love of Henry the Eighth; but his suit failed, notwithstanding the artful diplomacy of the Great Cardinal Wolsey. As Duchess of Ferrara she well earns the title of "protecting and nursing mother" of the French reformed church.

Immediately behind the Princess, stands the man whom she shielded from the Sorbonne, JOHN CALVIN (18), born in Picardy, once rector of a small parish church; but the originality of his mind and his impetuous temper soon led him to a larger field. The depth of his researches and the clearness of his reasonings, are very manifest in his "Institutes of the Christian Religion." On his left we see a long, thoughtful looking face (23), that is BEZA, the sacred historian, and learned divinity professor at Geneva.

Between Beza and Calvin there appears the fine intellectual head of Arminius (22), the founder of the Arminian Christians.

On a level with the Princess Rée, sit two personages of special mark. (4) is the Great ERASMUS, the most learned man in Europe, whose opinions were eagerly sought by the crowned heads of Europe. Pope Leo sent him loads of indulgences. There are some who do not admit he was a Reformer; one thing is certain, his Greek New Testament was the great motive power of the Reformation in England; moral courage he had not, for as soon as he saw the tempest he had raised, he quietly departed from England, remarking, the gift of martyrdom

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was not one of his. The head, with his little eyes, by no
means impresses you as that of a learned man; yet it
must be accepted, the original being painted from life by
Penz, and this in Mr. Barker's picture is carefully studied
from it, which now hangs in the Royal Collection at
Windsor. No. 5, in conversation with Erasmus, is
PHILIP MELANCTHON, perhaps the happiest pose
and conception in the whole composition. The Augs-
burg Confession fully entitled him to be styled the "Theo-
logian of the Reformation in Germany." Leaning over
them, in an attentive listening attitude, is the greatest
critic of his day (13), POMERANUS. At the right of
Erasmus stands JUSTUS JONAS (3), the Great Wittem-
burg Orator, with his back to us, in conversation with
that noble champion of the Reformation in Germany,
MARTIN LUTHER; who in our day has been called a
heretic fit only to rank with Joe Smith the Mormon
prophet! but one who in his day stood out before the
world alone, with all the prevalent and powerful authori-
ties in Europe against him, and declared, "The reign of
imposture shall end!" Luther translated the Bible, and,
on being wanted at Leipsic, where it was printing, was
told that the Duke George would kill him if he went; he
said he would go, if it rained Duke Georges for nine days!
Yet there were no traces of vanity in Luther, for he con-
stantly urged the people not to call themselves Lutherans,
but Christians; that Martin Luther was not crucified for
the world! Near the cedar tree, with blue braided dress
coat (9), is PHILIP DE MORNEY, whose marvellous
escape from the massacre of St. Bartholomew's Day in

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Paris reads more like fiction than history. The Huguenots
in England were greatly indebted to his care and liberality.
In front of the cedar tree stand two noted characters.
(11) ULRIC ZWINGLE, the Patriot Champion of the
Reformation in Switzerland. Poor Zwingle forgot the
sublime teaching of his Lord, whose "kingdom was not of
this world," and that "all they that take the sword, shall
perish with the sword." How true this was in his case;
and how sad to think that the four popish cantons, not
being able to agree as to the honour of burning his dead
body, divided it into as many parts, each throwing one
into the flames! His noble, impetuous spirit resembled
too much the mountain torrents he was wont to cross in
his youth, in carrying the frugal repast from the Alpine
hut to his parent tending the flock on the giddy heights
of Switzerland. The other (12) with broad pointed beard
is the bold and eloquent Dean of Bremgarten, who would
not permit the agent of LEO to defraud his parishioners
by the sale of indulgences; this firm step entailed on
him the AWFUL consequences of an anathema!! How-
ever, he survived that like thousands of others, and be-
came successor to the noble patriot on his right in
Zurich. Just behind Anne Askew stands a divine,
with an individuality of face not easily forgotten; that is
MILES COVERDALE (39), he who publicly returned
thanks at Exeter for the deliverance of the city from the
besieging popish rebels. Shortly after he became Bishop
of Exeter, he assisted Tyndale with the translation of his
New Testament; his own translation of the Bible he
published in 1535. Beside him (38) is WILLIAM

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TYNDALE, the Apostle St. John of England, so called from his lucid manner of explaining the Scriptures to his fellow students at Oxford, and in the villages on the banks of the Severn. There, in his lonely wanderings, vexed that his efforts to teach the people the simple truths of Christianity were always foiled by the monks from Gloucester, the idea flashed upon his mind,—Why not translate the Scriptures into the language of the people, and do for them what Erasmus did for the Scholars, then the people will know whether I or the monks are right? Happy thought! And that volume of his, which was with such difficulty landed on the banks of the Thames, in 1526, is now translated into one hundred and seventy languages and dialects, and sent forth from these same banks by millions of copies to all the nations of the earth.

On the left of Coverdale is the first Christian Martyr in the reign of Mary (42), JOHN ROGERS, Prebendary of St. Paul's, a man eminent for virtue and learning. Poor Rogers! if possible to add to the bitterness of his cup, his cruel persecutors placed on his path to Smithfield his wife and their eleven children, whom he loved most tenderly. Facing Rogers we have the great apostle of the North of England (43), BERNARD GILPIN, called the "father of the poor," was Prebend of Durham, and might have been Bishop of Carlisle. He fancied he could be more usefully employed where he was, as it gave him ample opportunity of visiting the poor villagers scattered through the wild moors and fens of Northumberland and Durham, and labouring in that beautiful little church of his at Houghton-le-Spring. (44 and 45) are also North

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Country men of note; the former, habited in his robes of office, with gold chain, is the eminent SIR MARTIN BOWES, Lord Mayor of London in Elizabeth's reign. He took a most prominent part in the Reformation. The latter (45) is WILLIAM TURNER of Morpeth, Northumberland, a fellow-student with Bp. Ridley at Cambridge, Prebend of York, Canon of Windsor, Dean of Wells, Master of Oriel College, Oxford; he was imprisoned by Gardner, and had repeatedly to fly the country for his life. When abroad he used his pen to some purpose in combatting the superstitious errors of the day, particularly in his little work, "Hunting the Romish Fox." He wrote the first book on medicine in the English language; also one on birds, another on fishes; he was physician to the Protector Somerset, and an M.P. He died in 1568; a monument exists to his memory in one of the Eleven Churches in London that escaped the great fire there in 1666, which destroyed 89 Churches. It may be stated that a descendant of his (a layman) is doing what little he can to combat the growing errors in the Church of England at the present day. At the centre of the bottom of the steps, stand the three noble Scotch Martyrs for the Reformed faith. At that time CARDINAL BEATOUN was Primate of Scotland; he was a stern bigot, and resolved on rooting out all difference of opinion! He sent (47) GEORGE WISHART, the prophetic Reformer of Scotland, to the stake at the age of 25 years. Wishart was a man of education and character, an eloquent preacher, and an able divine. By a scandalous display of inhumanity, the bishops who condemned him were

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present at his death. On his right stands the Alpha, and
on his left the Omega, of the Scottish Martyrs.

(45) With book in his hand, and head slightly elevated, is the first Christian Martyr in Scotland, PATRICK HAMILTON (whose sister is represented in conversation with Anne Askew). Hamilton was a young man of illustrious birth, and received a most liberal education; but he was a reader of the works of Luther, and had been with him at Wittemberg, and now went about the country preaching free justification by faith in the Lord Jesus Christ. That was enough for the Archbishops of St. Andrew's and Glasgow to condemn him to the stake, and on the day of his condemnation he was burnt! When at the stake, he put off his gown and took off his cap, and gave them to a bystander, remarking, they might be of service to him, and it would be a pity to destroy them in the fire with himself.

WALTER MILL (41), the fine old figure, stick in
hand, and bent with age, was sent to the stake at the
advanced age of eighty-two years; with his death closes
the long catalogue of butcheries in Scotland.

In the corner of the proper left of the picture there
are three great characters in the history of Scotland.
(50) With long flowing beard, firm set mouth, and pen-
trating eyes, is the famous JOHN KNOX, who soon fell
under the interdict of Beatoun, and was forced to fly.
He returned to his native country on the eve of a great
persecution, and at once hastened to Stirling, its centre,
ascended the pulpit, and poured forth his fierce denuncia-
tions against the crimes of the age. The multitude

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caught his fiery spirit with the rapidity of an electric
spark; then arose a mighty wave of indignation, which
swept over the whole face of the country with the irresis-
tible force of an avalanche; and Scotland's magnificent
mountains, glens, and fertile plains, of which her people
had been robbed, through the pious frauds of ages, by
the MASS, once more reverted to their rightful owners!!
Knox was appealed to, to stop the despoiling hand, but
his sarcastic reply was, "The only way to root out the
rooks is to pull down their nests." On Knox's right is
GEORGE BUCHANAN, one of the early champions of
Reform; he was tutor to James the First of England,
and wrote a most learned history of Scotland. On the
left of Knox, with hand resting familiarly on his
shoulder, is ANDREW MELVILLE (51), whose fine
face shows him to be of kindred spirit to his predecessor;
he was frequently imprisoned, but his task was rather
to consolidate what Knox had done. Immediately over
the heads of Knox and his companions is JOHN BUN-
YAN (52), the link between the past and present. Who
can estimate the good that has resulted from the labours
of that man when a prisoner for conscience sake for twelve
years in Bedford Gaol? On the top of the steps, just
under the portico, sits RICHARD BAXTER (53), author
of "The Saint's Everlasting Rest." Certainly Baxter was
one of the most remarkable men of his time. A little in
front of him sits a noble martyr, with open book on his
knee; it is LAWRENCE SANDERS (54), Vicar of All
Hallows. He was sent down to Coventry to be burnt;
cheerfully he advanced to the fatal pile, and falling down

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"ment will clem taria all w" out gran "way cann" "artis as tr the g" the than pres" and a lon "noth tant Lett" an a Mail" "high pict only and exec" and —on exec pict min been and stud And trutl with wor cula and elsey Dail

on his knees, he prayed earnestly. Rising, he advanced to the stake, embraced it in his arms, kissed it, saying, "Welcome the cross of Christ, welcome everlasting life!" At his right, looking on the book, sits a great benefactor of Oxford, ALEXANDER NOWELL (55), who founded thirteen scholarships there; also a free school in Lancashire. On the centre of the top steps we have the great divines and reformers of IRELAND. The centre figure (58), with finely moulded face and grey beard, is JOHN BALE, Bishop of Ossory, frequently imprisoned, but who laboured incessantly to establish the Reform doctrines in his country, in the reign of Edward the Sixth. On his right is the learned JAMES USHER (59), Archbishop or Armagh; and on his left GEORGE BROWN (57), the zealous Archbishop of Dublin, who, so early as 1536, engaged in the work of the Reformation. Behind these three, with face completely in shadow, we have BISHOP BEDELL, who suffered a long imprisonment in Lough Oughter Castle for his zeal in promoting the reformed faith. At the right of the Archbishop of Armagh is ARTHUR HILDERSHAM (60), of Ashby-de-la-Zouch, the great Puritan divine. He suffered many and great privations for his attachment to the reformed doctrines. A little in front of Hildersham, with body slightly bent forward, and long flowing beard, is the tutor to Edward the Sixth, the Bishop of Ely, RICHARD COX; who, from his youth upward, always spoke of himself as a martyr, from the bodily sufferings entailed upon him by Wolsey's imprisoning him in a damp fish cellar at Oxford. A little lower down the steps, resting

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on his stick, is the celebrated PETER MARTYR, who came to England on the invitation of Crammer, to aid in the work of the Reformation. He filled the divinity chair at Oxford, from which he was expelled on the accession of Mary, ordered to London, and then requested to leave the country. He finally settled at Zurich. When at Strasburg, on his way thither, he was informed of the indignity committed on the dead body of his poor wife at Oxford. His popish persecutors had it exhumed from consecrated ground, and cast into one of the common dung-hills of the city! Seated upon the steps are the two figures that close this interesting series of portraits. (63) With quaint look, curious hat, and large ruffle about his neck, is JOHN FOXE, author of the "Book of Martyrs." The other is the learned Bishop of Salisbury, JOHN JEWEL, who hurled back the Pope's anathemas on his sovereign ELIZABETH with double interest. He glanced over the countries of Europe in one of his discourses in his own Cathedral, and showed the Popes to be the procurers of rebellion, and that in every instance their blessings and their cursings had been alike contemptible failures. He also wrote strongly against the use of Ritualistic vestments in the Church, calling them "remnants of a superstitious age," "degrading absurdities," "stage dresses," "fools' coats."

We close the notice of this great and deeply interesting Picture by the intimation that Mr. Turner has secured the services of Mr. C. G. LEWIS (the eminent engraver of so many of Mr. Barker's previous works, and

IMPORTANT HIGH CLASS WORKS OF ART

PUBLISHING & RECENTLY PUBLISHED BY
R. TURNER,

GREY STREET, NEWCASTLE-UPON-TYNE, AND LONDON.

“HYDE PARK, 1864.”

CONTAINING UPWARDS OF TWO HUNDRED PORTRAITS OF THE
WEALTH, RANK, AND BEAUTY THAT FREQUENT ROTTEN ROW.

PAINTED BY HY. BARRAUD, Esq., AND ENGRAVED BY W. H. SIMMONS.
Size, 54 inches by 30.

Artist Proofs, £15 15s.; Proofs before Letters, £10 10s.; Proofs, £7 7s.;
Plain Prints, £4 4s. each.

“THE LONDON SEASON.”

CONTAINING NEARLY TWO HUNDRED PORTRAITS, INCLUDING
HER MAJESTY, AND THE "FOUR-IN-HAND CLUB,"

FOREIGN AMBASSADORS, AND MANY MEMBERS
OF THE ARISTOCRACY AND GENTRY WHO
DRIVE IN ROTTEN ROW.

PAINTED BY HY. BARRAUD, Esq. To be ENGRAVED same Size, forming a
Companion to the HYDE PARK.

Artist Proofs, £15 15s.; Proofs before Letters, £10 10s.; Proofs, £7 7s.;
Prints, £4 4s. each.

“THE NOBLE ARMY OF MARTYRS,”

AND
GREAT CHAMPIONS OF THE PROTESTANT REFORMATION.

PAINTED during the last three years, by T. JONES BARKER, Esq., K.L.H.,
from all the most authentic and reliable sources in England, Scotland, Ireland,
Germany, France, Switzerland, the Netherlands, and Bohemia. To be En-
GRAVED IN THE FINEST MANNER BY C. G. LEWIS, Esq. Size, 40 by 20 inches.

Artist Proofs, £15 15s.; Proofs before Letters, £12 12s.; Proofs, £9 9s.;
India Prints, £6 6s.; Plain Paper Prints, £4 4s. each.

“THE SECRET OF ENGLAND'S GREATNESS.”

PAINTED BY T. J. BARKER, Esq., K.L.H., representing an incident in the
Throne Room at Windsor, in 1851. By Special Permission dedicated to the
Right Hon. the EARL OF SHAFTESBURY. ENGRAVED BY W. H. SIMMONS.

Size, 30 by 26 inches.

Artist Proofs, £10 10s.; Proofs before Letters, £7 7s.; Proofs, £5 5s.;
India Prints, £3 3s.; Plain Prints, £2 2s.

“CHATTERTON.”

"The marvellous boy.

"The sleepless soul that perished in his pride."—WORDSWORTH.

PAINTED BY HENRY WALLIS; ENGRAVED BY T. O. BARLOW.

Size, 27 by 20 inches.

Artist Proofs, £8 8s.; Proofs before Letters, £6 6s.; Proofs, £4 4s.; Prints, £2 2s.

“MOZART.”

The closing scene in the Life of the Great Musician; and singular fulfilment of his
strange presentment regarding his Requiem.—VIDE HOLME'S LIFE OF.

PAINTED BY HENRY O'NEIL, A.R.A.; ENGRAVED BY S. BELLIN.

Size, 39 by 27 inches.

Artist Proofs, £10 10s.; Proofs before Letters, £7 7s.; Proofs, £5 5s.; Prints, £3 3s.

BR307
D45
1869