His pictures were not mystical, profound or problematic--simply dogs, but
dogs with feelings, affections, jealousies, prejudices. In short, he
showed that dogs, after all, are very much like folks; and from this,
people with a turn for psychology reasoned that the source of life in the
dog was the same as the source of life in man.

Plain people who owned a dog beloved by the whole household, as household
dogs always are, became interested in Landseer's dogs. They could not buy
a painting by Landseer, but they could spare a few shillings for an
engraving.

And so John Landseer began to reproduce the pictures of Edwin's dogs.

The demand grew, and Thomas now ceased to sketch and devoted all his time
to etching and engraving his brother's work.

Every one knew of Landseer, even people who cared nothing for art: they
wanted a picture of one of his dogs to hang over the chimney, because the
dog looked like one they used to own.

Then rich people came and wanted Edwin to paint a portrait of their dog,
and a studio was opened where the principal sitters were dogs. From a
position where close economy must be practised, the Landseers found
themselves with more money than they knew what to do with.

Edwin was barely twenty, but had exhibited at several Royal Academy
Exhibitions and his name was on every tongue. He gave no attention to
marketing his wares--his father and brothers did all that--he simply
sketched and had a good time. He was healthy, strong, active, and could