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Related article: The Quorn Hunt: a caricature sketch in oils. The scene is the district of Stapleford, in Leicester- shire, and the figures are portraits of well-known followers of the Hunt. Sir F. Holyoake Goodricke leads the first flight on Brilliant, and the other riders are the Mar- quis of Worcester, Lord Bel- grave, Lord Milton, Lord Fores- ter, Lord Alvanley, Lord Bru- denell. Sir Bellingham Graham, Sir Francis Burdett, Sir Edward Mostyn, Sir Francis Mackenzie, Colonel the Hon. Arden, the Hon. Robert Grosvenor, Captain Fred- erick Berkeley, Captain C. Berke- ley, Captain Garth, Captain Ross, Count Sandos, Messrs. George Anson, Blount, William Coke,""' Maxse, Maher, White, Kent, Patrick, T. Heycock, Gilmore, • This gentleman, on a chestnut horse, is por- trayed in the foreground, wearing a low-crowned hat. It is worth noting that Mr. William Coke introduced this style of headgear, which has since been known by his name in the slightly corrupted form of *' Billycock." Nicholson, Lyne Stephens, Whar- ton, John Wormald, Henry Wor- mald, and Dick Christian. The riders are represented in very various attitudes ; Sir F. Holy- oake Goodricke, who leads, was said Effexor Xr Anxiety to try and catch the fox himself, while others are riding hard, fall- ing off — in short, in every position in which the fortune of the chase may find a keen rider. On the left of the picture we see a Effexor Xr Prices group, eager and angry, having been stop- ped at a gate in a lane by a brood mare and her foal, which block their way. This canvas is dated 1828 ; size 83 inches by 25 inches; it is in the Elsenham collection. Sir Francis Burdett, Bart. : an equestrian portrait. Ferneley re- ceived from Miss Burdett Coutts (now the Baroness Burdett Coutts) the commission to paint this pic- ture of her father, who then re- sided at Foremark, Derbyshire. Filagree and Cobweb: two race- horses with foals : painted for Lord Jersey. Velocipede and The Cur: two race-horses, painted for Mr. Crawford. Waiting for a Shot at Roedeer : a portrait of John Henry Bouclitch, for 45 years head keeper to the Earl of Kintore. The Horse Fair and The CatfU Market. These were two of Ferneley's latest works ; their interest is largely due to the artist's introduction therein of equine portraits, and of ** horsey " characters of note at the time. Ferneley's contributions to the Royal Academy were less numerous than his large output might justify us in expecting; the probability is that in his day the practice, now so usual among- painters, of stipulating for per- mission to exhibit a work before delivery to the person who had commissioned it, was not in vogue. During the period 1806-1853 he 1897.] ANIMAL PAINTERS. 191 sent only nineteen pictures — a list of these is appended. In the issues of the Sporting Magazine , between the years 181 2 and 1859, we find seven engravings from his works, and the New Sporting Magazine, for the years 1832, 1834, ^^^ 1838, contains three plates, engraved from pictures by Ferneley. During the artist's long re- sidence at Melton Mowbray, ex- tending over 54 years, he neces- sarily witnessed many changes ; his experience is eloquently re- flected in his works, which give us portraits of three generations of the hard-riding sportsmen of Leicester- shire. It is impossible to leave this phase of the subject without more specific reference to the man who was so prominent a figure with the Quorn hounds in Feme- ley's day ; and again, we cannot do better than quote from the book already mentioned — Sir John Eardley Wilmot's Reminiscences of Thomas Assheton Smith. It is peculiarly apposite, as the writer's remarks are inspired by a picture painted by Ferneley : — *' Speaking on the subject of hounds, we are naturally drawn to contemplate the splendid picture of the hunt at Tedworth, painted at Penton in 1829, by Mr. Feme- ley, who came expressly from Leicester- shire into Hants, and was the squire's guest for a fortnight, for this purpose. Mr. Smith, as has been elsewhere already men- tioned, is on Ayrton, with Dick Burton, his huntsman, standing at the side of the Big Grey ; Tom Day, the first whip, on Reformer ; and Bob Edwards, the second whip, holding Anderson, Mr. Smith's second horse. The numerous hounds in the picture are all portraits. Among those most famous are Rifleman, standing close to Dick Burton, who has a pair of couples in bis hand. Watchman, Dimity, Chorister, Dabchick, Trimbush, Tomboy, Traffic, Reginald, Rubicon, Round ley, Rosy, Commodore, and Clinker. Trimbush is looking up at Mr. Smith, while Chorister stands under his horse's head, and Rifle- man with the huntsman is at his side. In front of the picture are Commodore and Watchman, while Rarity is gamboling towards her master. Under the tree, in the background, sits Remus, a well-known hound. On the left is Tedworth House. The sportsman in the green coat just about to mount his horse in the distance is Mr. North-east, the agent of the Tedworth estates, famous for his judgment and experi- ence in the breeding of Southdown sheep." Speaking of this picture, and of the princi- pal figure in it, Mr. Ferneley says in a letter written on the 23id of October last: •* It gives me much pleasure to hear of the publication of a memoir of so excellent a sportsman and so good a man. It is now fifty-three years since I first saw him ; he was riding his horse Jack-o'- Lantern. I saw him near Frisby Gorse, trying to get his horse over a flight of rails six or seven times, but he refused, and Mr. Smith had to take him to another place before he could succeed." Mr. Ferneley adds: ** He was the first red-coat I painted, and on Jack-o*- Lantern. The picture was bought by Mr. Valentine Maher, and at his death it was sold, and I do not know what be- came of it. This was in 1806, the year Mr. Smith first took the Quorn Hounds. I also painted his portrait with his hounds for the Earl of Plymouth. In the same picture were portraits of Lords Plymouth, Aylesford and Dartmouth, Messrs. P. Mills, J. Bradshaw, Paris, J. W. Edge, Hinton, &c. This was in 1819; and I fear never again will Leicestershire boast the assembling together of such thorough six>rtsmen, as well as kind, noble-hearted men." Ferneley's unwearying energy and industry and dauntless per- severance continued until the last, though during the two closing years of his life he was a great invalid. To the end he was an early riser ; no matter how sleepless or full of pain the night, he was in his studio with the morning light, handling the brush which produced so much, and such marvellous work. He was a man whose interests were not con- fined to his own department of art ; to the end of his life it was