ing what I think should be the colour of this dog; that which is most fancied is yellowish, or sandy, with a darker shade through it, approaching to a brindle—an iron grey is by no means to be despised, and this is the prevailing colour of the Irish dogs. If the prevailing colour be dark grey, the breast, throat, and belly are generally white.

A good hound of this breed should be able to kill an ordinarysized wolf single-handed; and, doubtless, all my readers are acquainted with the legend of Beth Gelert, in which a hound of this variety is introduced as saving his master's heir from one of those fierce marauders.

The most frequent epithets applied to this dog in Ossian's poems are singularly characteristic of the breed, viz.-"hairy-footed," "white-breasted," and "bounding." The two former are singularly true of the white breast I have already spoken; and I have now to mention that the feet are much more hairy on the sole than those of other dogs: nay, in a high-bred specimen these are almost like a hare's a perfect brush; this is a wise provision, for it protects the dog's feet from being cut by the sharp stones, and rocks, and briars, which form the main features of the country in which his services are most put in requisition. "Bounding" is also a singular characteristic the common greyhound runs in the ordinary manner, by a succession of springs of equal length; but the deer-hound is remarkable as having the propensity of bounding in his course, i. e., of taking an occasional extra spring, equal perhaps to two or three ordinary ones. The name of Fingal's dog," Brau," is in itself remarkable, it signifying in Celtic mountain torrent.

In Hollinshed's Chronicles we find recorded a circumstance which proves the high estimation in which these dogs were formerly held, viz., of a quarrel which took place between some Pictish and Scottish nobles, in consequence of the abduction of some deer-hounds by the former from their Scottish neighbours-a quarrel which led to a serious war between the two nations, and to the loss of many lives. The deer-hound is very fierce towards other dogs, so much so that when brought to a house or bothy in the stalking season, all the other dogs must be sent out of the way, as otherwise they will be surely worried to death.

Deer-hounds are now becoming very scarce, and sell for very high prices. It is a curious fact that in no breed of dogs does there exist such disparity of size between the male and female as in this; the bitches in the same litter with dogs of 28 inches in height rarely reaching that of two feet, or even 23 inches; indeed, a slut of this breed 26 inches high is regarded as quite a phenomenon.

Many noblemen and gentlemen, proprietors of parks and forests, have sought to repair the scantiness and degeneracy of this race of dogs, by crossing, &c. Perhaps a few judicious remarks might not be thrown away, or deemed superfluous; accordingly such shall be found in another place.

The Scottish greyhound is, whatever may be the opinion of other

A.D. 1583.

naturalists or sportsmen, neither more nor less than a badly bred deerhound; and I have not lightly adopted this conclusion, having only arrived at it after years of research and inquiry; he differs only from that dog in stature, texture of his hair, and in being more fashioned after the slim form of the greyhound, and built like him rather for speed than strength. The Scottish greyhound is a very fast dog; and although not permitted to entrance by some coursing clubs, on the ground of his being apt to run sly, or in other words, endeavouring to catch the hare by a short cut, which he certainly will occasionally do, is decidedly a dangerous opponent-witness the recent exploits of a rough dog at the Glasgow coursing meetings, who has gained unperishable fame for himself, despite of much envious endeavour to write him down as a mongrel.

The Russian greyhound is evidently a branch of the great Irish stock, and a twin brother of the Highland deer-hound, which he closely resembles, the only striking point of difference being in the greater bushiness of his tail, and the back part of his thighs. This dog being occasionally used in the pursuit of the wild boar or bear, is often erroneously styled " Boar-dog." The true dog entitled to that appellation will be treated of in his proper place. As is usually the case, the true boar-dog differs as much as possible from the supposititious.

Resembling the same stock is the Persian greyhound, or Polygar dog of India-one of the most perfectly beautiful creatures that can be conceived. There are two varieties: one which is covered all over with a long silky hair like a spaniel, and carrying a deep fringe to his ears; and the other smooth on the body, with a lighter coloured fringe of the length of eight or nine inches on the tail and back part of the thighs. The former is to be found in the southern and flat parts of India: the latter inhabits the more inhospitable mountainous regions, and is accordingly a fiercer and more hardy dog. These dogs possess good noses, are fast, and very courageous.

And lastly we come to the French mâtin, hardly indeed a true greyhound; his head is too thick across the temples, and his general form savours of coarseness. Buffon, in an enthusiastic burst of nationality, sought to prove this dog to be the source of the entire canine race. I have seen some dozens, but would banish every one of them from my kennel as useless, barking CURS; and, indeed, the French word. matin is synonymous with our word cur, and is applied at present indiscriminately to those nameless, wretched wanderers, who seek their existence from the offal of the street-Chiens des Rues.

NOTE.-Some of the above animals were treated of, by me, at length in former numbers of this magazine, and I merely advert to them in this place for the sake of rendering my present subject complete.

Need I mention his name?" Gilbertfield,"

342

LITERATURE AND THE FINE ARTS.

RACING MANUALS FOR 1846.

RUFF'S GUIDE TO THE TURF: a Pocket Racing Companion for 1846.-The compiler of this most excellent little work has had more practical experience of the subjects to which it relates than any who could have turned their hands to such a composition in the present day. It is every way worthy that gentleman's acknowledged ability: clear, concise, yet comprehensive. We recommend it as essential to the convenience of all who adopt the turf, whether for their amusement or more serious occupation. It is supplied by all booksellers.

CALCULUS: The Turfite's Computer. By J. Dow. Appleyard, Farringdon Street. This manual contains many hundreds of calculations of the bearings of the odds, and will be found a complete ready-reckoner for all who engage in betting.

FINE ARTS.

We have almost every month occasion to notice some sporting engraving published by the Messrs. Fores, of Piccadilly, who have certainly taken the lead in that department of our fine arts, and seem determined to keep it. The gem from their porte-feuille for May is a racing subject, painted by J. F. Herring-the unapproachable in his line, and engraved by J. Harris, entitled "Thorough-Breds." It represents the interior of a saddling-stable, in which the four best of their year are seen as preparing to race, namely:-The Baron, Sweetmeat, Alarm, and Refraction-all but the last mounted; the filly in an attitude quite apropos to her name. In conception and execution it is fit to class with the exquisite turf series which the Messrs. Fores have commenced on a scale never before attempted, and in the prosecution of which they have every claim on the patronage of all who are connected with British racing, or desire to encourage a national branch of British Fine Arts.

SPORTING PAINTINGS,

IN THE EXHIBITION AT THE BRITISH INSTITUTION.

Next to the exhilarating delight which a good sportsman derives from the active pursuit of his favourite pleasure is the contemplative or passive gratification he finds in the graphic delineations of some able artist— a Landseer, or a Scrope. When seated in his comfortable dining-room, before a sea-coal fire and a bottle of the true Lafitte, he may point to

some admirable specimen of British genius, and exclaim, "There is nature for you! That dog is alive; and that horse is positively in action." Then follows the revival of the performances and anecdotes of animals and their owners; thus keeping alive a remembrance of the past, than which nothing is more refreshing to the mind and health of a true sportsman. I remember, when at Knowlsey some years since, during the life of the late Earl of Derby, to have heard that his chief source of amusement, when suffering under the infliction of gout, to which he was quite a martyr, was to have a couple of well-trimmed game birds placed on the carpet, and fought before the fire. The sport may not be the most refined; but to an old cocker of the Westminster school, I can well understand the gratifying excitement. If any further proof were necessary of the morbid, misanthropic feeling which sometimes warped and usurped the reasoning powers of Lord Byron, it might be traced in his assertion that "Of all the arts, painting is the most artificial and unnatural, and that by which the nonsense of mankind is most imposed upon." If he could have lived to see the splendidly illustrated editions of his own works, he would have retracted his error.

Painters of sporting subjects-of animal life, of dead game, of the events of the field and the chase-take a first-rate position in the British school of art; and their works are among the most attractive features of every public exhibition. It is a question if the eminent ancients derived greater prices for their works than some of our modern artists. Cuyp, Snyders, Wouvermans, A. Vandevelde, Bergham, and Van Stry are great masters; but even in the present day, when their works have become scarce, a fine Edwin Landseer will bring quite as much money. However, we must not indulge ourselves, or intrude upon our sporting readers remarks upon ancient art, albeit we acknowledge our infirmity of attachment thereunto. Our peculiar province must here be to review sporting paintings-representations of real life-as we find them in the present exhibition.

66

No. 64. Dead Game " (J. W. Rivers) is a pleasing composition, rather heavy in colouring, but otherwise well-drawn and arranged.

No. 68. Sketch of a Courtier (A. H. Bulley) represents one of those overfed ladies' pets-a spaniel of King Charles's breed. To those who delight in such animals, this painting will be attractive as a true portraiture of a well-fed and well-bred favourite.

No. 79. "Contentment" (Alfred Corbould) is a capital bit of natural humour-a noble-looking mastiff sleeping in his kennel, gorged with a hearty meal, as it appears by the untouched food lying near him. The repose of the animal is excellent, and the tone of colour and treatment of the subject admirable.

No. 92. Sketch of Two Stag-hounds-Oscar and Ossian," (J. Giles, R. S. A.) Very bold and spirited portraits of two Scotch dogs of the Highland breed.

"

No. 148. Beagles" (C. Josi). A singularly clever production. Four or five beagles are seen, in every position, hunting through a deep, sedgy cover, on the brow of a hill. The artist must have studied in the field, for nothing but animated nature could have produced such a representation. The drawing and colouring are equally deserving of approbation.

No. 173. "Otter Hounds looking out" (T. Woodward). A couple of heads of good dogs peeping out of their kennel, very spiritedly sketched and boldly painted.

No. 183. "Pitt-a Favourite old Russian Terrier " (H. B. Chalon). Poor Pitt is hung up so high that he is nearly out of sight. By the aid of our lunette we were able to recognise a clever sketch of a dog's head. No. 194. "H. R. H. Prince Albert's West Island Ox" (J. Cook). A portrait, no doubt, of a most singular-looking animal, something between a buffalo and a bonasus, perched upon a peak of barren rock, and looking very ferocious. We do not think the artist has displayed the animal to the best advantage.

No. 217. "Drovers' Halt, Island of Mull in the Distance" (R. Ansdell); although not altogether a sporting picture, yet abounding in attractive materials for the sportsman's contemplation. First, the scenery is sporting ground; then, the dogs are admirably painted; and the drovers' group, with their cart and horses at the alehouse door, are genuine Scotch peasantry; the sky is painted in the bold style of Rembrandt, and yet not deficient in aërial effect. As the work of a young artist, we think it a performance of surprising merit, and were not surprised to see it marked-" Sold."

No. 235. "Interior" (J. F. Herring). One of the best paintings we ever saw from his pencil, representing a grey and a brown horse in a stable, with some game fowls feeding among the straw. There is a great power of pencil and colour in this work, and an accurate knowledge of the anatomy of the horse.

No. 273. The Watering Place" (C. Hancock). Cattle drinking at a stone trough, are well-grouped and freely painted.

No. 285. "A Happy Family" (the late Stephen Taylor). The title is rather inappropriate to the demise of the artist, and the picture is not one of the best of his works.

No. 327. "Dead Roebuck, Grouse, &c." (W. Simson). A beautiful work, and a true bit of sporting embellishment, deserving a place in the cabinet of some wealthy admirer of nature and art.

No. 356. "Favourite Horses, the Property of His Grace the Duke of Beaufort" (H. B. Chalon), representing a gig and a carriage horse -a piebald and a black-both harnessed, and, although very carefully painted, looking as stiff as if they were cut out of card-board. landscape and trees are intolerable.

The

No. 364. "Glen Quoich, in Mar Forest, with Red Deer disturbed," (J. Giles, R. S. A.); a very animated, clever, and well-arranged work,

true to nature.

No. 372. Perthshire Foresters (W. & H. Barraud). An old man, a boy, and a pony are reposing, after deer-stalking. The stag is seen lying dead in the fore-ground; and the old forester is engaged in twisting a withy band, to bind him on the horse. The composition is natural and effective, and the colouring grand.

No. 447. "Red Deer," and 464,"Fallow Deer" (by W. Barnard), are the sporting gems of this year's exhibition. In the absence of any work from Edwin Landseer, they stand first in estimation for all the superlative qualities of art: the red deer are breathing, and the beautifully spotted skins of the fallow-herd are painted to the life. The drawing