THE clock here reproduced was presented to King Haakon, of Norway, by the citizens of

Clock Presented to the King of Norway

London, and we understand that it was by his own request that the gift took the form of an old English chiming clock. The order reached Messrs. Gill and Reigate through the Lord Mayor. The clock is in a mahogany case of the Chippendale period, and was made probably about 1760 to 1780. It is most elaborately carved, and has a band of fretwork placed under the moulding immediately above the door in front of the dial. The dial itself is silvered with pierced brass ornaments at the corners, and in the upper part there is a painted representation of the moon, which works with the mechanism indicating highwater mark at Bristol Quay, for the entire period of the lunar month. The name of the maker of the clock is Samuel Whitchurch, of King's Wood, and a peculiarity is the way in which the word quay is spelt, viz., key, a form long since obsolete. The silver-gilt plate placed above the door of the case bears the following words: "Presented to His Majesty, King Haakon VII., on his Coronation, 1906, by Citizens of London."

CLOCK PRESENTED TO KING HAAKON

Our Colour Plates

THE Colour-plate in the present number, Mrs. Mark Currie, is a reproduction of Hanfstaengl's colour-plate of the well-known picture in the National Gallery. A typical example of Romney's skill in depicting womanly beauty, it represents Mrs. Mark Currie in the year 1789, a few months after her marriage. Romney received sixty guineas for painting it, which seems little when it is recalled that when the nation acquired it from the Rev. Sir Frederick L. Currie, Bart., of Uckfield, Sussex, in 1897, the purchase price was £3,500. Lord Burghersh, the subject of another of our

colour-plates in the present number, was the only son of the 10th Earl of Westmorland. Born in 1784, he was known as John, Lord Burghersh, until 1841, when he succeeded his father. He was aide-de-camp to the Duke of Wellington at Talavera, only retiring from the service in 1855, some four years before his death. Distinguished as a soldier and a diplomat, he is also known to fame as the founder of the Royal Academy of Music, in 1823. Reynolds's portrait, from which Bartolozzi engraved his plate, is in the possession of the Earl of Jersey.

We also include amongst our plates in this number another of S. W. Reynolds's small plates, and another. of the series of coaching subjects.

Portrait of Lord Kilwarden

THE most recent addition to the Irish National Portrait Gallery is a portrait of Lord Kilwarden by Hugh Hamilton, the original from which Bartolozzi's well-known engraving was done in 1800. The portrait was painted in 1795, and belongs, therefore, to Hamilton's last period, when he had all but abandoned the pastels, with which his fame was first won, for oil paint. At this time he resided in Dublin, and there painted portraits of many of the notabilities in the political and social world, most of which are in the collections of the Royal Dublin Society, the Dublin Corporation, and in various private collections throughout Ireland. His most famous picture, Dean

Kirwan Preaching, which was painted for the Dublin Female Orphan House, was for a long time on exhibition at the Royal Dublin Society. Some years ago, however, it disappeared, and all traces of it had vanished, until it was recently discovered in an Irish county house. The portrait of Lord Kilwarden represents the ill-fated Chief Justice in the négligé of the period-a loose wrapper with the collar thrown open. Seven years after it was painted, on the night of the Emmet rising in 1803, Lord Kilwarden was barbarously murdered in his carriage in Thomas Street, Dublin, by the brother of a man whom he had sentenced to death some years before. He was, personally, most popular, and his name figures in the records of the period as a humane and just judge. The portrait now acquired for the Dublin Gallery has been for many years in the possession of a collateral branch of the Wolfe family.

THE Grand Lodge of England has authorised fortytwo special centenary Jewels to commemorate, in each case, one hundred continuous years' A Rare existence of the particular, ancient, and Masonic Jewel distinguished Lodge to which the high honour was accorded. In the collection of Grand Lodge, at Freemasons' Hall, there was only, till quite recently, a specimen of each of forty-one of these interesting and venerated Jewels. For many years efforts have been made to secure a specimen of the missing forty-second Jewel, but hitherto without success. On Friday, December 21st, 1906, by the joint efforts of Mr. B. Tooke, of Montreal, Mr. E. T. D. Chambers, of Quebec, Lt.-Col. E. A. Whitehead, of Montreal, and Mr. James Manuel, J.P., of Ottawa, the writer had the pleasure of presenting to Sir Edward Letchworth, F.S.A., Grand Secretary of England, and to Mr. Henry Sadler, Grand Tyler and Sub-Librarian of Grand Lodge, a beautiful specimen of the missing Jewel, so that at last the Grand Lodge collection is complete. It should be understood that special centenary Jewels ceased to be authorised by Grand Lodge in 1866, in which year a general centenary Jewel was designed by the Grand Director of Ceremonies, and approved by the Grand Master, the Earl of Zetland, and it is this general centenary Jewel which has been alone conferred,

since 1866, on ancient Lodges that have proved a continuous working existence of one hundred years. The Jewel so recently and happily acquired is a five-pointed star of formal rays on which rests a circle or band inscribed "Centenary" on the top, and "1861" at the bottom; within the circle are the square and compasses, inclosing "17," the number of the Lodge on the Register of the Grand Lodge of England. The Jewel is worn suspended by a ring, from a sky-blue ribbon, which has one bar or clasp. The Jewel is reproduced, "life-size," in the illustration. The Albion Lodge, No. 17, has an interesting history. It was originated by a warrant of constitution, dated July 3rd, 1781, in association with the Fourth Battalion of the Regiment of Royal Artillery, New York (at that time a British colony). The Lodge was consecrated at New York on October 18th, 1781, and at that date was "No. 213" on the Register of the Grand Lodge of New York, but on December 20th, 1787, the Lodge acquired "for five guineas to the charity," the right to be advanced to No. 9 on the then Register. The Lodge severed its connection with the Grand Lodge of New York in 1783, and retired with the British Army on its evacuation of that city. The Lodge is subsequently heard of at Newfoundland, in 1783; at Woolwich, in 1789; at Quebec, in 1790 and 1791. At Quebec, the Lodge would appear to have had three meeting-places, at first at Brother Ward's house, next at the Officers' Mess Rooms in Dauphin Barracks, and, finally, at Frank's Tavern. At the

Union, in 1813, the Lodge was known as the Albion, No. 17, on the new Register of the Grand Lodge of England, and it was granted a Warrant of Renewal as a Civil Lodge on January 27th, 1829, and worked under the English constitution till 1870, when it joined the Grand Lodge of Quebec, and is now No. 2 on the Register of that august body. On April 3rd, 1862, while still under the English constitution, the Lodge was granted a Centenary Warrant, conferring the right to the special Centenary Jewel, the subject of this article. The Lodge, on becoming "No. 2" on the Register of the Grand Lodge of Quebec, was allowed, by the Most Worshipful Grand Master of England, to retain its Centenary Warrant.-ROBERT MANUEL.

A

The Royal Academy of Arts Dictionary of Contributors

THE seventh volume of The Royal Academy of Arts: Complete Dictionary of Contributors (Sacco to Tofano), Algernon Graves, F.S.A., contains fewer notable names than some of its predecessors, yet its utility is in no wise impaired by this. Though Mr. Graves's records of the great English masters are of unquestionable value, they are to be found in other places besides his admirable dictionary. For the works of the lesser men, however, this must always remain the most eligible source of information, and one even more authoritative than the Academy catalogues, as the omissions and oversights contained in the latter have in most instances been corrected by him. How important these corrections are may easily be gauged by turning up some common name, as, for instance, that of Smith, contained in the present volume.

There are two hundred and odd exhibitors possessing this widely-spread surname, the contributors of over fifteen hundred works. Many of these figure in the original catalogues without their full complement of initials; others without initials altogether, or with wrong ones. That Mr. Graves has succeeded in evolving order out of this comparative chaos by awarding the different works to the rightful artists, whose correct Christian names have in almost every instance been fully supplied, speaks volumes for the thoroughness and completeness with which he is carrying out his great task.

The best known among the Smiths are probably three among the possessors of the Christian name of John. The John Smith who was one of the early presidents of the Old Water-Colour Society boldly changed his Christian name to Warwick; John Thomas Smith, the author of Nollekins and His Times and other gossipy works which will keep his memory green when his engravings are forgotten, was better known as "Antiquity Smith"; but the third, John Raphael Smith, the famous mezzotinter, is great enough to need no nom de plume to distinguish him. It is notable that, though he exhibited seventy-two works to the Academy, in no instance did he send an engraving. This was by way of protest against the treatment accorded to the professors of this art. Smith's great contemporary, Sir Robert Strange, carried the protest even further, for his name is not to be found as an exhibitor in Mr. Graves's records.

George Stubbs, variously styled R.A. or A.R.A., according as to whether the sympathies of the writer are with the artist or the Academy in the celebrated quarrel which occurred between them, must be accounted another protester against academy usages. According to Mr. Graves, Stubbs was elected both A.R.A. and R.A. in 1780, though most of his biographers incorrectly give

1781 as the date of the last honour. In 1782 he sent in seven subjects, five of them being painted on enamel. These were all badly hung. Finding, moreover, that the quotations he had appended to the titles of his works were omitted from the Academy catalogue, Stubbs regarded this treatment as an intentional affront, and retaliated by declining to give a diploma picture to the Academy, this being at the time a wholly optional matter. The Academy in the following year passed a law obliging every newly-elected member to present the Diploma Gallery with a specimen of his powers, and this, though enacted after Stubbs's election, was applied to him. Notwithstanding this Stubbs claimed to be R.A., though in the Academy catalogues he is only given the lesser title of A.R.A. Mr. Graves points out an accidental exception to this in the body of the catalogue for the year 1803.

Mr. Graves apparently has not had access to the Guide to the Royal Academy for 1797 by G. Cawthorn, which contains the names of all the portraits exhibited in that year, and which would have enabled him to supply a few omissions, and correct one or two trifling errors. Thus in the record of Sir Martin Arthur Shee, P.R.A., several of the names that Mr. Graves supplies should be allotted different catalogue numbers, and the portraits of a gentleman and lady which are left unidentified should be respectively Mr. Anbury and Miss Power. In the same way No. 335 in the record of H. Singleton should be Colonel Roach. No. 145 in that of John F. Sartorius should be Captain Champion and Dogs. This latter, by the way, Cawthorn credits to John N. Sartorius, as he also does No. 239, which he records as a Portrait of E. Wetenhall, Jun., instead of Fast Trotting Mare. As Mr. Graves points out that these two exhibits as well as four others are credited to J. N. Sartorius in the index, it may be that the latter, and not the body of the catalogue is correct. This seems the more likely, as Cawthorn explicitly states in the preface to his record that it varies from the Academy catalogue in many places, the latter being in every instance incorrect.

Among the more notable names in the present volume are those of Thomas Stothard, R.A., styled by Austen Dobson "The Quaker of Art," though the subjects of his pictures, which are almost wholly illustrations of novels and poems, and frequently include representations of the partially draped figures, have little that is akin to Quakerism about them; Gilbert Stuart and John S. Sargent, who may be bracketed together as great American portraiturists, though the better part of a century separates their exhibits; Frederick Sandys; Paul Sandby, R.A.; James Sant, R.A.; Domic Serres, R.A.; J. J. Shannon, A.R.A.; Norman Shaw, R.A.; Samuel Shelley; Robert Smirke, R.A.; Sir John Soane, R.A.; James Stark; and W. Clarkson Stanfield, R.A.