in Saved, by the fact the dog has rescued the child without any apparent human involvement. Landseer's painting Laying Down The Law (1840) satirises the legal profession through anthropomorphism. It shows a group of dogs, with a poodle symbolising the Lord Chancellor. The Shrew Tamed was entered at the 1861 Royal Academy Exhibition and caused controversy because of its subject matter. It showed a powerful horse on its knees among straw in a stable, while a lovely young woman lies with her head pillowed on its flanks, lightly touching its head with her hand. The catalogue explained it as a portrait of a noted equestrienne, Ann Gilbert, applying the taming techniques of the famous 'horse whisperer' John Solomon Rarey. Critics were troubled by the depiction of a languorous woman dominating a powerful animal and some concluded Landseer was implying the famous courtesan Catherine Walters, then at the height of her fame. Walters was an excellent horsewoman and along with other "pretty horsebreakers", frequently appeared riding in Hyde Park. Some of Landseer's later works, such as his Flood in the Highlands and Man Proposes, God Disposes (both of 1864) are pessimistic in tone. The latter shows two polar bears toying with the bones of the dead and other remains, from Sir John Franklin's failed Arctic expedition. The painting was purchased at auction by Thomas Holloway and hangs in the picture gallery of Royal Holloway, University of London. It is a college tradition to cover the painting with a union jack, when exams are held in the gallery, as there is a longstanding rumour that the painting drives people mad when they sit near it. In 1862 Landseer painted a portrait of Louisa Caroline Stewart-Mackenzie holding her daughter Maysie. Sculpture In 1858 the government commissioned Landseer to make four bronze lions for the base of Nelson's Column in Trafalgar Square, following the rejection of a set in stone by Thomas Milnes. Landseer accepted on condition that he would not have to start work for another nine months, and there was a further delay when he asked to be supplied with copies of casts of a real lion he knew were in the possession of the academy at Turin. The request proved complex, and the casts did not arrive until the summer of 1860. The lions were made at the Kensington studio of Carlo Marochetti, who also cast them. Work was slowed by